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  • More than 80 minutes of historic 1970 Led Zeppelin footage emerges online: “This is a monumental addition to the Led Zeppelin canon”

    Four years after 30 minutes of Led Zeppelin’s performance at the Bath Festival of Blues and Progressive Music in 1970 appeared online – before being removed – all the known footage from the event has been uploaded to the YouTube account of film archivist ledzepfilm.

    “After 56 years, I am proud to present all the 16mm footage shot by Peter Whitehead and Ernie Vincze of Led Zeppelin‘s performance at the Bath Festival on June 28th, 1970,” says ledzepfilm. “Rumoured for decades, this is a monumental addition to the Led Zeppelin canon and an essential watch for any fan.”

    Whitehead and Vincze originally planned to shoot the concert and interview Led Zeppelin, but the pair arrived at the festival site late and missed the band’s arrival by helicopter. During the show itself, they were shooting using film stock only suited to daytime shooting, so much of the live footage looks dark, and the band didn’t have multitrack recording set up, so the sound – captured on a portable reel-to-reel machine and matched to the footage later – is incomplete and certainly not hi-fidelity.

    Even so, the complete Bath footage, which captured Led Zeppelin at an early career crossroads, has become a holy grail among Led Zeppelin fans.

    “It’s historically very important,” Dave Lewis, editor of Led Zeppelin’s Tight But Loose fanzine, told Classic Rock in 2017. “It was a turning point for the band – their biggest UK show, five encores, great reviews, the first time they played acoustically (they played That’s The Way, from Led Zep III) and it set them up for the rest of their career, really.”

    Highlights of the newly uploaded footage include Jimmy Page backstage with then-girlfriend Charlotte Martin, Robert Plant and John Bonham backstage, the debut live performance of Immigrant Song, and clips of Dazed And Confused, Since I’ve Been Loving You, Whole Lotta Love, Moby Dick and more.

    Some of the footage remains silent, some synced to Whitehead’s original audio recordings, and some matched with tapes made by audience members. Watch the historic footage below.

  • Black Sabbath’s Tony Iommi Wanted Geezer Butler on His New Solo Album

    It makes sense. Tony Iommi wanted to bring a little bit of Black Sabbath history into his upcoming solo album.

    The post Black Sabbath’s Tony Iommi Wanted Geezer Butler on His New Solo Album appeared first on Audio Ink Radio.

  • THRESHOLD Release Report From Rock Hard Festival

    THRESHOLD Release Report From Rock Hard Festival

    There’s no shortage of THRESHOLD concert recordings – in fact, their live-to-studio albums ratio is 7:12 and is about to become 2:3 with the issue of “Live At Rock Hard 2025” on September 4th, which will nevertheless be a special … Continue reading →

    The post THRESHOLD Release Report From Rock Hard Festival appeared first on DMME.net.

  • Review TEMPLE OF DREAD “Dreadspawn Dominion”

    Temple Of Dread have firmly established themselves as one of Germany’s leading death metal bands. Hailing from Spiekeroog, one of the East Frisian Islands, the band has been proving since 2017 that outstanding metal doesn’t have to come from major cities only. Their debut album, Blood Craving Mantras, marked the first step for the five-piece from… Continue Reading →

  • IRIDIUM Join NAPALM RECORDS And Drop New Single

    Iridium have just signed to Napalm Records.

  • KAMELOT Deliver New Single

    Kamelot have just delivered a powerful new single.

  • SIGH Team Up With OPETH For New Track

    Japanese metal pioneers Sigh are back today ‘Unputenpu’, the first single to be taken from their upcoming new studio album ‘Goh-ka’, alongside a stunning new music video created by Costin Chioreanu.  Speaking about the new track, frontman and Sigh mastermind Mirai Kawashima said “Honestly, I have no idea at all how the song sounds to other people. Shuffle […]

  • Kelly Osbourne Seemingly Calls Out Her Ex Sid Wilson Over Child Support & More In Cryptic Social Media Posts

    Another wrinkle to metal’s current biggest mystery.

    The post Kelly Osbourne Seemingly Calls Out Her Ex Sid Wilson Over Child Support & More In Cryptic Social Media Posts appeared first on Theprp.com.

  • PROPAGANDHI Announce Australian Tour

    Propaghandi have just announced an Australian tour.

  • “All This Time I’ve Been Hurting for You” — Mareux and The Drums Collaborate on New Single “It Didn’t Matter”

    And all this time I’ve been hurting for you

    Whatever I tried, it didn’t matter

    And all of my heart has been aching for you

    Gave all of my love  – did it even matter?

    There is something fitting about Jonny Pierce opening his new label Abysmal Records with a song about emotional nullification. The Drums have spent fifteen years turning romantic injury into bright, economical pop, yet It Didn’t Matter, a collaboration with Mareux, carries a colder sense of aftermath. Its title lands with the bluntness of a verdict delivered after the argument has ended, when language has been exhausted, and the abandoned person is left to rearrange the evidence.

    Mareux’s presence is immediately legible. Aryan Ashtiani supplies synthesizers that glide with severe elegance, placing Pierce’s voice inside a glassy architecture of drum-machine momentum and bruised pop chords straight off the 80s pop charts. The production remains clean without becoming sterile; each element has room to move, while the song’s forward motion suggests somebody walking quickly through a city to avoid calling the person they are trying to forget. Pierce sings with the fragile directness that has long defined The Drums, though age has added a finer grain to his delivery. Foolishness, need, and disbelief are presented without disguise.

    The song describes someone trapped in the aftermath of an unequal relationship, still longing for a partner who pushed them away without releasing them. Hurt, ashamed, and angry at themselves for needing love, they question whether their devotion, sacrifice, and enduring pain ever meant anything to the person they loved.

    Pierce describes the session in unusually personal terms: “Not since writing my earliest music has a song come together so effortlessly. Whenever that happens, it makes me feel certain the song was meant to exist -that it needed to be here, for all of us. Mareux’s synthesizer wizardry threw me back to my teenage years, when almost everything I listened to was synthesizer-based music, especially synth-pop. His sounds, textures, and perfect pop chord changes reminded me of the soundtrack to such a tender time in my life – when I was desperate for love but just couldn’t find it, and synthesizers became the soundtrack to my sadness. This one is for those of us who keep banging our heads against the wall of another heart, only to be given nothing in return.”

    The collaboration grants Mareux increasing space to move beyond the viral mythology of his Cure cover, “The Perfect Girl,” showcasing him as a composer whose precise synthesizer skills elevate another artist’s songwriting and emotion. A disciplined bassline, succinct percussion, and sighing keys anchor Pierce’s confession here, letting the melody carry the emotional weight that the production keeps in elegant balance.

    Watch the visualizer for It Didn’t Matter below:

    It Didn’t Matter‘s autobiographical charge belongs to a lineage of synth-pop where polished surfaces intensify private collapse, but Pierce and Ashtiani avoid empty period detail. Their shared instincts meet in the space between romantic candour and formal restraint, producing a track that feels immediate without sounding disposable.

    As the first entry in a six-month series of collaborations, it gives Abysmal Records a persuasive opening statement. More importantly, it suggests that Pierce’s next phase may be built through exchange rather than isolation. It Didn’t Matter turns rejection into motion, carrying its unanswered question forward with poise, clarity and a quietly devastating hook.

    Catch Mareux live this autumn:

    • 09/19 — Santa Ana, CA — Observatory Festival Grounds with AFI, Kumo 99, and L.A. Witch
    • 10/30 — London, UK — Hootananny Brixton
    • 10/31 — Paris/Montreuil, France — Bal Chavaux
    • 11/03 — Athens, Greece — Floyd Live Music Venue
    • 11/05 — Istanbul, Turkey — IF Performance Hall Beşiktaş
    • 11/07 — Tbilisi, Georgia — Academy

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    The post “All This Time I’ve Been Hurting for You” — Mareux and The Drums Collaborate on New Single “It Didn’t Matter” appeared first on Post-Punk.com.