Killing Time, Missing Link, Shattered Realm, Mizery and more will also be picking up select dates.
The post Pain Of Truth’s Fall North American Tour To Feature Madball, 100 Demons, Rotting Out & More appeared first on Theprp.com.
Killing Time, Missing Link, Shattered Realm, Mizery and more will also be picking up select dates.
The post Pain Of Truth’s Fall North American Tour To Feature Madball, 100 Demons, Rotting Out & More appeared first on Theprp.com.
You won’t be hearing it this year however.
The post Belphegor Have Wrapped Their 13th Studio Album appeared first on Theprp.com.


The AM Pro X30 is the flagship model in Westone's AM Pro X series, a lineup built specifically for performing musicians who need a monitor mix without losing touch with the stage around them. It sits above the AM Pro X10 and AM Pro X20 as the range-topping option, built around three balanced armature drivers (one each for bass, midrange, and treble) split by a three-way passive crossover. Every model in the AM Pro X series includes Westone's StageSense ambient filter, a passive design that blends a controlled amount of outside sound into the mix so performers can hear an audience, a bandmate, or a cue without pulling an earpiece out. It's priced at about $549 USD, positioning it as a premium option built for people who use their IEMs professionally rather than a casual audiophile purchase.

The X30 uses the same compact, low-profile shell shared with Westone's Mach series, formed from clear plastic that shows off the balanced armature drivers and internal wiring inside. The build quality is excellent, with clean tooling and no visible mold lines. The cable connects via Westone's T2 connector system, using a twisted SuperBAX cable made from silver-plated copper with a sweat-resistant, 360-degree rotatable connector designed to hold up to stage use.
The accessory package is generous for the price. The box includes five pairs of silicone tips and five pairs of foam tips (XS through XL), a compact Monitor Vault carrying case, a cleaning tool, and a cloth storage bag, backed by a 2-year warranty on the shell and internal components. That kind of fit customization matters for a stage monitor, since a bad seal doesn't just hurt sound quality; it can also cause the earpiece to work loose during a set.





Overall Sound: The AM Pro X30 delivers a balanced, "normal" sound signature that leans toward accuracy over excitement, which is exactly what you'd want from a monitor built for critical, professional use. Detail retrieval is strong for the price, and separation between individual notes stands out even compared to some pricier IEMs. While the X30's main focus is for professional performers, they sounded quite good during normal listening and could be used for both.
Bass: Bass is tight, controlled, and well-defined, a hallmark of a properly executed balanced armature setup. It doesn't dig especially deep, with sub-bass response rolling off earlier than dynamic-driver fans might expect, but what's there is precise rather than loose or boomy. For stage use, that tightness matters more than raw sub-bass extension, since it keeps low end from muddying a busy monitor mix. When listening to music casually, the bass doesn't feel lacking, but it is definitely on the more withdrawn side than many V-shaped audiophile headphones.
Mids: The midrange is where the X30 shines. Vocals and midrange instruments come through clean and forward, with the added third driver over the X20 specifically dedicated to boosting clarity in this range. This makes the X30 a strong pick for vocalists, guitarists, and anyone who needs to hear themselves clearly over a full band mix. Westone has always had a particularly excellent midrange tuning with their monitors, and the X30 is no different.
Treble: Treble is smooth and detailed without becoming harsh or fatiguing over a long set. It extends cleanly and adds air to the mix without drawing attention to itself, which is the right call for a monitor meant to be worn for hours at a time.
Timbre, Soundstage, and Imaging: Timbre is natural and accurate rather than colored, matching the X30's overall "monitor first" tuning philosophy. Imaging is very strong, with instruments and vocals placed precisely within the soundstage, which helps performers track their position in a mix during a live show. Soundstage width is respectable for an in-ear design, though it prioritizes precision over the expansive, airy feel some audiophile-tuned IEMs chase.

Comfort is one of the X30's biggest wins. Between all of the Westone products I've tested, comfort has always been industry-leading. The shell is compact and lightweight, built to be worn comfortably through hours-long rehearsals and shows without fatigue, and the dual set of foam and silicone tips means most ear shapes can dial in a secure, comfortable fit.
Isolation is more nuanced here because of the StageSense ambient filter. This is a passive, semi-open design meant to let a controlled amount of outside sound in, so performers aren't fully cut off from the room. That's a feature for musicians who need to hear an audience or a cue from a bandmate, but it does mean the X30 isolates less than a fully sealed IEM at the same price. If your priority is blocking out a loud stage or a noisy commute completely, Westone's own sealed Mach series is the better fit. If you need to stay connected to your environment while still getting a clear monitor mix, the ambient filter is exactly the point.
Vs. Westone AM Pro X20: The X20 is the AM Pro X30's direct sibling and the most natural comparison point, since it's built on the exact same ambient filter concept in a smaller package. The X20 uses two balanced armature drivers instead of three, and the difference shows up mainly in the midrange: the X30 adds a dedicated driver specifically for that band, giving vocals more body and separation than the X20's slightly leaner, brighter presentation. The X20 also has a lower impedance (27Ω vs. 56Ω) and higher sensitivity, making it a touch easier to drive off a phone or basic interface. If your budget tops out closer to $300 to $400 and you don't need the added midrange richness, the X20 covers most of the same ground for less money. If you want the fullest, most balanced version of Westone's ambient monitor concept, the X30 is worth the jump.
Vs. Shure SE535: The SE535 is a similarly priced, similarly positioned triple-driver stage monitor, but it's a fully sealed design with no ambient pass-through. The Shure isolates better in loud environments and has a slightly warmer, more relaxed low end, while the X30 pulls ahead on midrange clarity and imaging precision. The choice mostly comes down to whether you need to stay aware of the room, which is where the X30's ambient filter becomes the deciding factor.
Vs. Westone Mach 30: The Mach 30 shares the X30's shell and driver count but drops the ambient filter entirely in favor of a fully sealed design aimed at audiophiles and sound engineers rather than performers. It isolates significantly better and is tuned with a bit more low-end warmth for casual listening. The X30 is the right call for anyone performing on stage who needs to hear around them; the Mach 30 makes more sense if your use case is studio monitoring, personal listening, or maximum isolation onstage.

The Westone AM Pro X30 is a purpose-built tool that happens to sound excellent as a result of that focus. It won't be the most exciting or bass-heavy IEM you'll try, and its ambient filter means it isn't the best choice if total isolation is your priority. But for musicians, engineers, and anyone who wants a monitor with precise imaging, a clean midrange, and the ability to stay connected to the room, the X30 delivers exactly what it promises at a price that's fair for what you get. With it's price at over $500 it wont suit people who only use their IEMs for home-listening, but if you are a musician who needs a technical monitor for use on stage and want a pair of earbuds you can use off stage to sound great, the AM Pro X30 is just that.
Thanks for reading!
Their fifth album “The Darkest Side Of Humanity” is due in September.
The post A Night In Texas Streaming New Single “A Primal Conditioning” appeared first on Theprp.com.
This one feels special. Not only am I interviewing three members of a tribute band dedicated to my favorite rock band of all time, My Chemical Romance (you might have guessed that from my pen name), but after 348 interviews for FemMetal since 2018, I am finally interviewing musicians from my own country. And not just one, but three.
Alisha, Lizzie, and Yara, the bassist, drummer, and vocalist of The Black Parade, talked about how the tribute act came together, their other musical projects, their upcoming appearance at Beirut Rock Live Festival, and the artists who inspire them.
Read on, and welcome to The Black Parade.
Reuel
Hello girls! I’m happy to chat with you. How are you doing?
Alisha
We’re good, thank you for asking!
Lizzie
Good, thank you!
Yara
Super excited!
Reuel
So you’re all going to be playing at the Beirut Rock Live Festival next month! How excited are you for that?
Lizzie
Very excited! My brother and our friend are organizing the event, they’ve been planning for about a year now. It’s gonna be a huge and really fun event!
Alisha
It’s my first time playing in a festival so I’m really hyped!
Reuel
How did you all meet, and whose idea was it to start playing these MCR songs together?
Lizzie
The project started through my friend Karim, whom I’d met by playing a gig with him back in 2024. He dreamed of doing a Black Parade tribute show, so we found members who loved MCR as much as we did and put a band together! I met most of the members from local gigs.
Alisha
Actually Karim came to me first to ask me to be the singer of the band! But I felt like the genre did not match my voice and I love the basslines! So that’s how I ended up as the bassist and backing vocalist!
Yara
I also randomly met Karim and Kimmy at a gig and we talked about MCR at the time, but it wasn’t until a few months later that they approached me about joining the band.
Reuel
Do you remember the very first My Chemical Romance song you jammed together as The Black Parade? What was that energy like?
Yara
I joined the band way after all the other members, but I think the first song we played together was Dead! I immediately knew that I loved everyone’s energy and that I would enjoy playing together.
Lizzie
We started with the first few songs off The Black Parade album like “The End” and “Dead,” and other hits like “Helena” and “I’m Not Okay!” The energy was very hype and fun from the start, and we connected fast.
Reuel
Which song in MCR’s discography was the most challenging for you to master, and what made it so difficult?
Lizzie
I felt that the hardest was “Welcome to the Black Parade.” Though a fan favorite, the dynamics and fast drum fills are a little challenging.
Yara
Yeah, me too, it’s vocally challenging for me personally because it’s at a difficult part of my range.
Alisha
Agreed, “Welcome to the Black Parade” for sure!
Reuel
You’re all also in other music projects. Can you tell us about your other bands?
Alisha
I used to be in an original band called Open Road Archives, but now im mostly doing gigs here and there playing with amazing musicians across many genres, blues, Funk, old pop, Soul…
Lizzie
My two main projects are Brick Floyd – a Pink Floyd tribute show, and Dreaming Madmen – a progressive rock originals band. I also play for the punk band Glide and pop artist Pól!
Yara
I’m in an emo and post-hardcore cover band called Phase with my brother and some of our friends! We haven’t done any gigs yet, but we’re practicing every week.
Reuel
What musicians can you credit as the ones who inspired you, personally, in your life or career as a musician?
Alisha
My biggest inspiration was my mom and my grandfather who were both really into music. But also Michael Jackson! I always told myself I want to have his energy on stage and his presence, which is why I always strive to be super active and interactive on stage.
Lizzie
My biggest inspirations were my dad, who is also a great drummer, and my brothers, who I always thought are musical geniuses. I personally also love drummer Mike Portnoy’s energy on stage and I’ve gotten very inspired by him, and female drummer Anika Nilles, the new drummer of Rush!
Yara
My biggest inspiration is my vocal coach, Lara Jokhadar. She took me under her wing when I was 7 years old and she taught me classical technique and how to adapt it to any style of singing. My other vocal and acting coach, Christine Abou Zeid, is also a huge inspiration and she’s the reason I feel confident to go up in front of large crowds and perform.
Reuel
Lebanon’s rock and metal scene is definitely growing with young musicians like yourselves. If you could change one thing, outside of the big political stuff we can’t control, to help the local scene grow faster, what would it be?
Alisha
i would honestly like for musicians to be taken more seriously, for venues to be more prepared, and for gear to be cheaper!
Reuel
Thank you for your time, Lizzie, Alisha, and Yara! Is there anything else you’d like to add?
Lizzie
We’re very excited to see everyone there and play a show for you again. Thank you FemMetal!!
Alisha
Can’t wait to perform! Thank you for your time.
Yara
Thank you for having us!
The post Interview | Alisha, Lizzie, and Yara of Lebanon’s MCR Tribute, The Black Parade first appeared on FemMetal – Goddesses of Metal.
A portion of the proceeds will now go towards Stop Hate UK and Gendered Intelligence.
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They’re the biggest heavy metal band of all time and have had nothing short of a rollercoaster career. But how much do you know? Here’s the complete 26-point alphabetical guide to everything Metallica.
It’s no exaggeration to say that if it wasn’t for alcohol, there almost certainly would never have been a Metallica, with the super-introverted James Hetfield leaning heavily on booze from day one in order to conquer his stage fright and crippling shyness. On Ride The Lighting the quartet gave a shout out to Carlsberg, by Master Of Puppets their burgeoning status meant they were giving “xtra fucken yahooz” to Absolut Vodka. But as Hetfield later noted, the Alcoholica tag “turned from fun into destruction: it started to take over us.” Hetfield’s subsequent admission into rehab circa St. Anger saved his band, his marriage and quite possibly his life.
Though taken from this world in tragic circumstances on September 27, 1986, Clifford Lee Burton aka ‘The Legend in Loon Pants’, will always be part of Metallica. That James Hetfield, Dave Mustaine and Lars Ulrich were prepared to uproot from Los Angeles to San Francisco purely to make Burton part of their band speaks volumes about the bassist’s charisma and talent, and his musicianship, compositional skills and creative fearlessness helped transform a scrappy garage band into a genuinely world class outfit. He will be forever missed.
From 1987’s $5.98 EP (Jason Newsted’s first recording with the band) to 1998’s Garage Inc. collection through to their 2012 cover of Deep Purple’s When A Blind Man Cries (exclusively covered for a Classic Rock fan-pack magazine), Metallica have never been shy of paying tribute to their influences. Indeed at their very first gigs, back in March/April 1982, the quartet would play up to seven or eight cover songs a night, neglecting to tell those watching that the likes of Am I Evil? and Killing Time were in fact NWOBHM originals. Sneaky!
The crumbling centre-piece of Metallica’s …And Justice For All stage-set, Doris aka ‘Lady Justice’ represented Metallica’s first real foray into stage production. Pulled out of storage for the band’s 2012 The Full Arsenal tour, the statue was one of the ‘stars’ of the Through The Never film, and was subsequently broken up into chunks and given away with a special deluxe edition of the movie on DVD. Perhaps they should have used the chunks of masonry to stone to death whoever conceived the utterly shit script instead. Just a thought…
‘Edna’ was Metallica slang for any young lady willing to spend time, and share bodily fluids with, band or crew members. The young Californians weren’t particularly choosy, and clearly the young ladies who wanted to hook up with these stinky, spotty, bumfluff-‘tache- sporting metalheads weren’t either. “They enjoyed what they did,” James Hetfield told Playboy in 2001. “And, heh-heh, they were good at it. Back then, we all shared stuff. ‘I did her. Dude, here! Have my chick.’ Lars would charm them, talk his way into their pants. Kirk had a baby face that was appealing to the girls. And Cliff – he had a big dick. Word got around about that, I guess.”
Metallica’s first ballad (accompanied, inevitably, by the first accusations that they’d “sold out”), dealt with themes of suicide, helplessness and despair, and was originally inspired by the theft of the band’s gear in Boston in January 1984. “I’m sure I wasn’t really thinking of killing myself,” James Hetfield noted, “but it was my favourite Marshall amp!” When the band first premiered the song in San Francisco, their mates in the audience took the piss by waving hankies at the stage.
For all the heat and light generated by Metallica’s decision to headline Worthy Farm in 2014, the gig itself was rather unremarkable, just another crushing day at the office for the biggest metal band in the world. The bespoke ‘Glastallica’ T-shirt and specially-commissioned Julian Temple intro film were works of genius, though.
Gorham and Robertson. Smith and Murray. Tipton and Downing. Not a ‘twin’ guitar team in the classic sense, Hetfield and Hammett are nonetheless one of the most formidable and well-respected duos in six string science. Arguably the best rhythm guitar player in metal, Hetfield didn’t actually permit Kirk Hammett to record rhythm parts on a Metallica album until Load, while the decision to restrict their gifted lead guitarist to only rhythms parts on St. Anger remains one of the most curious decisions of the band’s career.
Recorded at the personal request of M:i-2 star Tom Cruise, I Disappear, Metallica’s first ever contribution to a Hollywood film soundtrack, is most significant because its appearance – in unfinished form – on peer-to-peer music sharing networks sparked off Lars Ulrich’s epic, much-misunderstood battle with Napster. Mercilessly abused at the time for his campaign, Ulrich’s arguments have proved uncannily accurate, even if the affair left an unpleasant stain on Metallica’s public profile.
At 19 minutes 29 seconds long, the closing track of Lulu, Metallica’s controversial collaboration with Lou Reed is the longest piece of music Metallica have ever recorded. It’s also the first Metallica song to reduce both Kirk Hammett and James Hetfield to tears. “It was insane,” recalled Hammett of the moment he and Hetfield broke down in the studio. “[Lou Reed] managed to take out both guitar players in Metallica in one fell swoop, with his amazingly poetic lyrics. And [then] he came into the kitchen and he was laughing. He looked at James and I and said, ‘That’s a good one, huh?’”
They may have been forced to back down from their original plan to call it Metal Up Your Ass, but Metallica’s debut album was otherwise compromise-free: an unkempt, snarling, in-your-face riff assault which re-defined the metal genre. On the opening day of the two week Kill ‘Em All recording session producer Paul Curcio pulled James Hetfield aside and informed him that the sound coming from his Marshall amp didn’t sound ‘normal’: “It’s not meant to sound normal,” Hetfield spat back. And so a legend was born.
The haircuts! The guy-liner! The blood-and-semen artwork! When Metallica’s sixth album emerged in 1996 it was accompanied by howls of protest by devoted fans who couldn’t figure out what the fuck their favourite band was doing. “Cliff would have hated this!” they howled, seemingly oblivious to the fact that it’s more bluesy, ‘greasy’ feel drew much inspiration from many of the late bassist’s favourite bands – ZZ Top, Skynyrd and Thin Lizzy among them. If you’ve not listened to it in years, it’s much, much better than you remember, honest.
On the morning of April 11, 1983 Dave Mustaine was rudely awoken by James Hetfield, Lars Ulrich, and Cliff Burton and informed that he was no longer a member of Metallica. It was a brutal exit for the guitarist who’d contributed much to the band’s early sound, and was viewed by many at the time as the group’s de facto leader. Dumped at NYC’s Port Authority bus station, Mustaine’s anger only increased when he realised he’d be undertaking the three day trip back to California without a single cent in his pockets. “It had to happen,” James Hetfield later mused. “[With] his personality in this band, there would have been myself, Lars and him all trying to drive and it would have been this triangulated mess.”
And if it hadn’t happened, we’d never have had Megadeth, of course.
With hindsight, it’s obvious that James Hetfield, Kirk Hammett and Lars Ulrich were deeply traumatised following the death of Cliff Burton, and that their inability to process their loss contributed to the trio acting like absolute dicks to ‘Newkid’ Jason Newsted. One ‘wheeze’ found Metallica informing the media that their new bassist was gay, another saw them charge thousands of dollars worth of drinks to the hapless new recruit’s hotel room. At autograph signing sessions, James Hetfield would adjust Newsted’s custom signature ‘Jason, bass face’ to read ‘Jason, ass face.’ Hilariously childish.
Less amusingly, earlier this year Newsted revealed that he took the decision to leave Metallica in 2001 because, at the time, he was dealing with serious addiction issues and his bandmates’ refused to allow him to take time out to get help.
“The reason I left Metallica is because I was a horrible addict,” he admitted. “I was way up against myself, and if I didn’t get some kind of help, I was going to die. And so I just said, ‘You guys, can I have a minute? Please give me a minute.’ And they said, ‘No’.”
That Metallica then put everything on hold so that James Hetfield could address his own addiction issues doesn’t reflect well on their organisation, but in doing so, they saved their career.
Using the title of Cliff Burton’s classically-informed instrumental masterpiece as the name of their own bespoke music festival was a nice touch from Metallica. For all the goodwill and positive press generated by the event however, after just two stagings, Orion was laid to rest. “It’s been a disaster financially,” James Hetfield admitted bluntly. “Right now, it seems like metal is struggling a little bit in the States.”
In licensing their music to Paradise Lost, Joe Berlinger and Bruce Sinofsky’s documentary about the West Memphis Three, Metallica threw their weight behind the campaign to have the convictions of Damian Echols, Jason Baldwin and Jesse Misskelley Jr, three Arkansas teenagers accused of the murder of three eight year old boys, over-turned. In 2011, after 18 years in jail, the three young men finally walked free, by which time the film-makers had already turned their cameras on Metallica themselves, for the film Some Kind Of Monster.
As anyone who’s ever been in a band will testify, choosing a good band name is a painful, tortuous business. When the teenage James Hetfield and Lars Ulrich decided to unite in the cause of heavy metal, their initial ideas were not exactly inspiring, with Helldriver, Death Chamber, Exterminator and er, Thunderfuck among the monikers under consideration. By coincidence, however, Ulrich’s friend Ron Quintana was searching for a title for his new fanzine around the same time, and had shown a list of potential names to the little Dane. The canny drummer duly advised Quintana to go with the name Metal Mania, while filing away the next suggestion on his pal’s list – Metallica – for his own use.
Just as Spinal Tap’s manager Ian Faith liked to carry around a cricket bat (“In the topsy turvy world of heavy rock having a good solid piece of wood in your hands is often useful”) so Cliff Burton never left home without his trusty ball pen hammer. During a tension-filled gig in Finland on the Ride The Lightning tour, the wisdom of that decision became obvious when Burton dispersed a rioting crowd of pissed-off teenagers by wading into their midst swinging his hammer like a vengeful hippy Thor. If the Californians thought this would be the only crowd disturbance to mar their concert history, they had yet to encounter Mr Axl Rose.
What. A. Film.
A raw, unflinching depiction of Metallica’s fumbling attempts to hold their band together in the wake of Jason Newsted’s exit and James Hetfield’s disappearance into rehab, 2003’s Some Kind Of Monster is one of the greatest music documentaries ever made. Not least for the infamous scene where a frustrated Lars Ulrich screams “FOCK!” into Hetfield’s face, a confrontation which band therapist Phil Towle later told Metal Hammer was “scary, but necessary“
‘Tub tarts’ was the not terribly PC name given to any adventurous young female who wished to prolong an evening with Metallica by joining the band for a post-gig shower. Things, predictably, would get a little steamy from this point on. “It started around the Ozzy tour, was perfected around the Black Album tour,” recalled Kirk Hammett. “It was a pretty big motivation at one point, just how many women we could get into the shower. I remember one time I turned the corner and there were at least 30 women in there…”
Aka The Little Prince. Whatever truth there might be in the rumours that James Hetfield and Cliff Burton were of a mind to kick their motormouth Danish drummer out of his own band in 1986 – “It’s certainly not something that I was ever aware of”, Ulrich said in 2022 – there’s simply no question that Metallica would have amounted to anything without the driving ambition, networking ability and sheer bloody-minded work ethic of the young Lars Ulrich. Haters gonna hate, but when it comes to Metallica business, their biggest fan usually has the last laugh.
Despite MTV’s undoubted ability to break metal bands into the mainstream, Metallica refused to shoot a promo video for any of the songs from Kill ‘Em All, Ride The Lightning or Master Of Puppets. The quartet finally acquiesced on …And Justice For All, but on their own terms, with a stark, horrifying meditation upon war which still gives our own Simon Young nightmares…
“Bang your head against the stage like you never did before. Make it ring, make it bleed, make it really sore…” Metallica have written more sophisticated songs, but as mission statements go, this paean to the unadulterated thrill of pure heavy fucking metal is hard to top. Decades after the teenage James Hetfield penned its lyrics, the lines “We’ll never stop, we’ll never quit ‘cause we’re Metallica” remain a wonderful statement of intent.
On November 14, 1996 Metallica were billed to appear alongside the likes of George Michael, Boyzone and Simply Red at the MTV Europe Music Awards, staged at London’s Alexandra Palace. Rather than playing their new single King Nothing as scheduled, however, the quartet chose instead to treat a watching television audience in the tens of millions to a cover of the Anti-Nowhere League’s So What. “I fucked a sheep, I fucked a goat, I rammed my cock right down its throat” roared a beaming James Hetfield above the sound of MTV executives’ jaws hitting the venue floor.
Yeah? Fuck yeah!
Metallica’s first manager, New Jersey record store owner Jon ‘Jonny Z’ Zazula re-mortaged his house to start Megaforce Records to release Kill ‘Em All when no other label in the world showed the slightest interest in the noisy Californians. Following Zazula’s death in 2022, Lars Ulrich posted a touching tribute, writing, “Thank you Jonny for taking a chance on these crazy, noisy, uncompromising and undisciplined dudes from NorCal who didn’t know what was up, down or sideways, but who were ready, willing and more than able to fuckin throw it all to the wind and go for it.
“Thank you for giving us a sense of belonging and ultimately, a sense of self-worth. I will forever be grateful for your friendship, advice and blind belief that the music we played could be shared with way more people who were just like us… outsiders and misfits!”