Cox was diagnosed with stage 3 cancer in April 2025.

The post Coal Chamber’s Mikey “Bug” Cox Breaks Silence On His Private Cancer Battle, Auctions Off Drum Kit For Charity appeared first on Theprp.com.

Fifty years ago, on April 23, 1976, Ramones dropped their debut Ramones and set off a shift that still runs through punk and hard rock. Built on speed, volume, and stripped-down songwriting, the record cut through the excess of the time with a direct approach. The lineup — Joey Ramone, Johnny Ramone, Dee Dee Ramone and Tommy Ramone — delivered short, sharp tracks like “Blitzkrieg Bop” and “Judy Is A Punk” that reshaped the sound and attitude of rock.

Reflecting on the album’s impact, Rolling Stone wrote: “Punk rock started in 1976 on New York’s Bowery, when four cretins from Queens came up with a mutant strain of blitzkrieg bubblegum,” when naming Ramones the No. 1 “Greatest Punk Album Of All Time” (later naming it the No. 1 “Best Debut Album Of All Time”). “But even if punk rock began as a kind of negation — a call to stark, brutal simplicity — its musical variety and transforming emotional power was immediate and remains staggering.”

Decades later, the record still carries weight. As The New York Times put it: “the album’s influence has been incalculable”, and the reach of Ramones continues to expand. To mark the anniversary, the band’s camp has teamed up with Rhino Entertainment to roll out a year-long series of events focused on the album’s legacy and the wider impact of punk.

One of the key pieces is an official exhibition organized by The Punk Foundation alongside Linda Ramone and Ramones Productions Inc. The exhibit will debut at The Punk Rock Museum on July 4, 2026, bringing together music, memorabilia, and the broader cultural footprint of the band. The program will include live performances, artist talks, interactive elements, guided tours, and workshops tied to the band’s influence across music, art, and design. The museum will also host a 4th of July bash featuring the Ramones tribute band Mama’s Boy.

Additional releases and tribute events are planned through the end of 2026. A set of remastered and upgraded videos is already available, covering tracks like “I Wanna Be Sedated”, “Psycho Therapy”, “Rock N Roll High School”, “Sheena Is A Punk Rocker”, “Merry Christmas (I Don’t Want To Fight Tonight)”, “We Want The Airwaves”, “Time Has Come Today”, “I Wanna Live”, “Something To Believe In”, “Howling At The Moon” and “Do You Remember Rock And Roll Radio?”.

The post RAMONES Mark 50 Years Of Debut With Reissues And Museum Exhibition appeared first on Sonic Perspectives.

(written by Islander) Brisbane-based Gutter Prince Cabal has established a reputation as a go-to platform for exposing the world to killer underground metal from Australia and New Zealand, and they’ll continue doing that in May when they present the debut of NZ’s Molosser. Here’s the vivid language they use in introducing the record: Set for […]

The post AN NCS PREMIERE: MOLOSSER — “STRYCHNINE HILL” appeared first on NO CLEAN SINGING.

Longtime At the Gates guitarist Martin Larsson picks his favorite song off every one of the band's albums, as well as their first demo. Continue reading…

Written by Ellis

It is not lost on me that I have come out of an unintentionally long review hiatus to talk about an album that everybody knows is gonna be good anyway, but if I ever pass on the opportunity to say nice things about Terror please know that someone has taken my family and I am operating under duress. This is the best hardcore band of the 21st century with no asterisk needed anywhere near that, back with what’s being billed as their tenth full-length album although I actually think it’s their ninth as I concur with the likes of No Echo and The Metal Archives that Lowest of the Low was an EP. Anyway, we’re not here to count we’re here to fuckin’ rock and with Still Suffer coming out on one of the hottest labels in the scene in Flatspot Records one should have no trouble doing exactly that.

Even with the remarkable consistency of their discography in mind, excitement for this one feels particularly justified given the strength of its 2022 predecessor Pain Into Power, which saw the band team up with OG guitarist and Nails mastermind Todd Jones as producer to trim even the tiniest amount of fat and craft an 18-minute ripper that stands with a fair shout for a place in their top three (alongside the aforementioned Lowest of the Low and 2004’s One With the Underdogs for my money). Jones is back for this one, joined this time by engineer Taylor Young (of Twitching Tongues and God’s Hate and all that), who is also credited with some additional production, and with mixing and mastering from Jon Markson and Brad Boatright respectively.

It is Markson’s involvement that is perhaps most interesting here. He has credits on a load of Drug Church records, the last couple of Drain LPs, and even the most recent Story So Far album—all evidence of a slightly more ‘polished’ pedigree which translates on Still Suffer to a crisp and spacious mix. Nick Jett’s drums sound absolutely massive, the bass is chunky, the guitars are sharp, and the inimitable Scott Vogel stands front and centre and booming throughout, ready to share the mic with an inevitable onslaught of stage divers as he deals in bread and butter themes of owning your shit and finding strength through adversity and turning your back on haters and traitors and so on with his usual ‘angriest life coach in the world’ type panache.

The tracks themselves are all the bangers or ragers or ass-beaters they should be, with all but one clocking in at under three minutes and even the exception only falling outside of that on a technicality which I’ll get to in a moment. The title track is an early highlight—a chugging steamroller of a verse and a catchy chorus stuffed with gang vocals running into the guaranteed bone-juddering breakdown to close. “Destruction of My Soul” a couple further along is another and maybe the most pissed on the record, with Vogel’s snarl of “There’s only one way out / Burn it to the fucking ground” setting up another dick-swinging, sick-riffing breakdown to close.

Later on, “Beauty in the Losses” starts with a well-placed hip-hop type interlude courtesy of Jay Peta of Mindforce and Crush Your Soul, who in turn jumps in for another bouncy highlight when the song itself kicks in, while penultimate track “To Hurt the Most” forces the third mention of Lowest of the Low in this review as its sub-90-second runtime careens by with the kind of blistering intensity that the band came tearing out the gates with almost 25 years ago. In the midst of all this, perhaps the closest Still Suffer comes to a surprise is the guest spot of Chuck Ragan of one of Vogel’s well-documented faves in Hot Water Music on fifth track “Fear the Panic”. While having a gruff voice is essentially Ragan’s whole deal, he straight up attacks his four bars here, with way more ferocity than one might have expected given his more tuneful regular gig. It’s a shame they had to let this particularly vicious cat out the bag early by releasing it as a single, but, as everyone keeps telling me, that is just the game nowadays.

Ok fine, a bit of criticism: the last five minutes or so of closer “Deconstruct It” are unnecessary. The track itself is a proper chonky beast, made chonkier still by a pair of monstrous turns from Brody King of God’s Hate and Dan Seely of King Nine, but after about two minutes it ends with a bit of silence followed by what is essentially just Vogel’s answering machine played over another Peta produced Wu Tang type beat. Everyone from Andrew Vacante of Combust to Austin Sparkman of Haywire to Aaron “Knuckles” Butkus of Death Threat dials in to talk hardcore or tour memories or just to pay homage to a band that definitely deserves it, but it does go on a fair bit and in turn pushes the runtime to around 27 minutes instead of the tight 22 it would have been otherwise. Maybe this is the band’s way of subbing for the lost art of shouting out your friends and influences in the liner notes—and if it gets someone into some of the deeper cuts like Krutch then all power to them—but it’ll probably be a skip for most people after they’ve heard it once, especially because it’s right at the end of the record.

THE BOTTOM LINE

Bottom line is it’s Terror init. Why have you read this? Thanks if you have but honestly you should have known this was gonna be great. If you are completely unfamiliar with the band Still Suffer is a strong place to start, particularly for its fantastic production, and if that is the case and you like what you hear then you my friend are in for the discography run of a lifetime. MORE STAGE DIVES.

The post Album Review: Terror – “Still Suffer” (Hardcore) appeared first on Noob Heavy.

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London dance producer Love Remain specializes in music that’s hard and physical but that’s also trapped deep in its own memory. His mixtape With Every Cloud came out last fall, and he followed it with the single “Steppa” earlier this year. Yesterday, Love Remain released “Paris, Forever,” a new track that pairs a sweaty breakbeat…

The post Love Remain – “Paris, Forever” appeared first on Stereogum.

An emotional Yungblud paid tribute to Ozzy Osbourne in the late rocker's hometown, calling him a "dear friend in the sky." Continue reading…

The post The Flavor That Kills Thunderbird Lodge Review appeared first on Edgar Allan Poets – Noir Rock Band.

A dispute over early recordings connected to Black Sabbath has been settled, with the band now back in control of the material. Sharon Osbourne confirmed, on the latest episode of The Osbournes podcast, that ownership of the demos has returned to the original lineup.

The issue centered on plans from former manager Jim Simpson to release a set of 1969 recordings tracked before the band adopted the Black Sabbath name. At the time, they were still performing as Earth, and the material was lined up for release under the title Earth: The Legendary Lost Tapes. Legal action led by Osbourne stopped that from moving forward.

Speaking on The Osbournes podcast, Sharon said the situation has now been resolved: “We settled with Jim Simpson and the band now have their demos back. And all four of them [the original members of Black Sabbath] own it, which is where it should be. All of that stuff should be theirs. So it all ended well. So, yeah, they own them. We’re gonna talk about what everybody wants to do with it, and we’ll go from there.”

The recordings capture the original lineup — Ozzy Osbourne, Tony Iommi, Geezer Butler and Bill Ward — at an early stage, before the band’s defining shift into heavy metal.

Sharon pointed out that the material reflects a different side of the group compared to what followed: “I just think it’s historically important – for music lovers of that genre. And then we got [the rights to] the pictures that were taken at that time too. So, that is all so important.

“I mean, listen, you [Jack] want those pictures. Everybody in the band’s kids and grandkids would love to see [them]… It’s special. And I’m just happy that it’s where it should be – with the band, and [they can decide] what they wanna do as a band, what they’re gonna do with it. So that’s great.”

Along with the demos, rights to photos from the same period have also been returned. These items document a key moment in the band’s early development and carry weight both for fans and for those close to the group.

Simpson, who originally backed the sessions in 1969 and later worked on restoring the tapes, had maintained that the recordings held historical value. He also said he had approached the band about being part of a release, though that offer was turned down.

Despite the earlier dispute, Sharon acknowledged how things concluded: “He did the right thing at the end of the day. He did the right thing for the band.”

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