A Night In Texas have just announced the release of The Darkest Side Of Humanity.

Glenn Hughes has announced his retirement from live work. The 74-year-old former Deep Purple singer and bassist, who underwent surgery in 2013 to repair an enlarged aorta, has decided to stop performing on medical advice. The announcement comes just days after Hughes performed with all-star covers band Kings Of Chaos in California.

“This past year, I’ve had some health issues,” says Hughes. “The results from numerous MRIs, CT scans, and an echocardiogram have alerted my medical team that I need another open-heart surgery. I really have no option and no choice, as health is my number one priority. Grateful to have been chosen with a life full with the gift of music. Thank you for walking beside me.”

In 2014, Hughes revealed he was diagnosed with a heart murmur when he was a child, and claimed he was lucky not to have suffered heart problems earlier as a result of his high-profile battles with drink and drugs in the 1970s and 80s.

“I had a heart attack on Christmas Day in 1991,” Hughes told Classic Rock in 2016. “God obviously had a sense of humour: ‘Let’s see if he’s paying attention – kapow!’ He gave me the heart attack. Or something did – well, that would have been the drugs, wouldn’t it?

“I realised how close to death I was then. I knew I had to get in a car, and my girlfriend drove me to hospital. And I very distinctly said to them at the hospital: ‘I’ve OD’d.’ And then I blacked out.

“I woke up, and I’d been sober for twenty-four hours. Which was a great moment for me, because I’d been trying for years. I was an embarrassment to myself. I never really went out in public. I lived in Laurel Canyon [in California] for two years and never really left. I used to get my food from the Country Store down the hill. I was kind of a hermit. Pretty sad.”

Hughes finished his extensive Chosen Years tour last November in Argentina, but cancelled his touring plans for this year in January.

“I’m taking advice from my medical team, who I am working closely with,” he said at the time. “Hoping to see you, on the road of happy destiny.”

In May, Hughes appeared with his former band the Dead Daisies at the Arcadia Club in St. Charles, IL. A second show, scheduled for October 2 at the Canyon Club in Agoura Hills, CA, has been cancelled.

Hughes’ final show was on Saturday with Kings Of Chaos at the Agua Caliente Casino in Rancho Mirage, CA. He was joined onstage by Richie Sambora, Jack Blades, Kevin Cronin, Matt Sorum, Steve Stevens, Phil X and more.

Kingdom Of Giants have just released a new track ahead of their Australian tour.

Sublime was formed in Long Beach, California, in 1988 by vocalist and guitarist Bradley Nowell, bassist Eric Wilson, and drummer Bud Gaugh. The trio created a distinctive sound by combining ska, reggae, punk rock, dub, hip-hop, and the relaxed atmosphere of Southern California beach culture. The band’s independent debut album, 40oz. to Freedom, appeared in 1992 and became an underground success through live performances, word of mouth, and regional radio play. Sublime followed it with the experimental and deliberately lo-fi Robbin’ the Hood in 1994. Bradley Nowell died from a heroin overdose on May 25, 1996, at the age of

The post Top 10 Sublime Songs appeared first on ClassicRockHistory.com.

On Old Mill, the penultimate track from Chalk Teeth’s self-titled debut, the Los Angeles trio turns repetition into an engine of dread. Chalk Teeth’s geographical history – Los Angeles by way of New York City and Oakland – feels audible in the song’s mixture of downtown abrasion, warehouse discipline, and West Coast scale. Karolina’s eerie Polish vocal rises through the mass with a cold clarity, delivering an apocalyptic dream of flaming galleons suspended in the sky.

The title began as Miller’s working name for the track, chosen before he understood Karolina’s lyrics. Its images of smoke, spinning metal blades and burning lumber happened to meet her vision midway. The song seems governed by accidental correspondences: disco electronics and noise rock, dream imagery and physical labour, ecstatic movement and looming catastrophe. Those elements collect without becoming cluttered, because the trio understands how to leave a severe melodic line exposed inside the distortion.

Her guitar, sharp and glacial, cuts across Wallace’s broader sheets of noise, producing a tension between precision and collapse. Each instrument appears to push against the others, yet the song remains locked to its central motion, advancing with the indifferent certainty of industrial machinery. A drum-machine pattern circles with the severe patience of early electronic body music, while Jason Miller’s bass and sequences establish a hard, metallic floor beneath Adam Wallace’s overdriven guitar. The opening suggests a malevolent cousin to Charanjit Singh’s 12 Ragas to the Disco Beat, rerouted through John Carpenter’s anxious minimalism, before the arrangement swells into a dense collision of fuzz, feedback and blunt rhythmic force. The hypnotic drone also calls to mind the sinister undertones of Lebanon Hanover and the catchiness of Pixies in the curious backbeat.

Wallace’s accompanying video extends that logic into a piece of expressionist street theatre. The band hauls a railroad tie through an industrial district, maneuvers black geometric fabric, and breaks into abrupt, awkward dances that recall silent cinema without settling into pastiche. Shot by cinematographer Benjamin Kasulke near the group’s North Hollywood studio, the clip benefits from the blunt texture of its surroundings: concrete, debris, vacant lots and the peculiar civic afterlife of discarded materials.

The railroad tie itself was found in the middle of the road after the band failed to source one, an intervention from North Hollywood’s vast informal archive of rubbish. Carried through the frame, it resembles a relic, a burden and a corpse. Chalk Teeth become pallbearers for obsolete American infrastructure, escorting it toward an unknown sentence while Old Mill churns behind them.

Watch the video for Old Mill below:

Chalk Teeth’s Old Mill is severe, strange, and physically persuasive: dance music for a factory condemned by fire, still operating after everyone has fled. Its violence is controlled, its imagery lucid, and its propulsion strong enough to make catastrophe feel briefly communal, even strangely celebratory, under immense pressure.

Chalk Teeth’s self-titled debut album is out now as of June 26th on DNTL Records.

Listen to Old Mill below and order the album here.

Catch Chalk Teeth live on the West Coast!

• 8/4 Los Angeles – Gold Diggers
• 9/4 San Francisco – TBA
• 9/5 Portland – The Six Below Midnight
• 9/6 Seattle – Barboza
• 9/12 Los Angeles – Bar Sinister

Follow Chalk Teeth:

• Bandcamp
• Instagram
• Spotify

The post Los Angeles Trio Chalk Teeth Strut Through Industrial Decay in Expressionist Video for “Old Mill” appeared first on Post-Punk.com.

The album of the same name is due out in early September.

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With shows across Mexico, Colombia, Brazil, Argentina, and Chile

Source

You can have your judgment day with it.

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Seems like it may be a bit of a callback.

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