Category: news

  • Report: Sid Wilson out of Slipknot

    The band and Wilson have not publicly addressed the report as of this writing.

    Source

  • LA Industrial-Punk Trio Purest Form Explores the Horror of Surveillance Tech in Video for “Animal”

    PUREST FORM’s latest single, ANIMAL, opens with electronic menace. A blunt industrial beat stomps into view, guitar slashes scrape across the machinery, and Story Beeson’s voice carries the command of somebody who has already located the emergency exit. The Los Angeles trio wanted “White Zombie meets Underworld,” which sounds on paper like a backstage argument at a 1997 festival, yet the combination proves remarkably natural.

    Beeson, guitarist and programmer Madi Woodward, and bassist Riley Oikawa-Dahlson bring hardcore discipline to music designed for bodies in motion. ANIMAL pivots between serrated riffs, fractured breakbeats, low-end pressure, and sudden structural swerves, but every turn feels purposeful. The track has muscle, sex, and a mean little grin. Its aggression never becomes gray sludge; there is too much rhythmic wit in the programming, too much snap in the bass, and too much pleasure in the collision between metal weight and acid-house momentum.

    There is also a refreshing lack of genre etiquette here; stylistic boundaries are treated as petty municipal ordinances, useful mainly for telling dull people where to stand, then barrel through them with the cheerful confidence of repeat offenders. Beeson’s performance supplies the volatile center. She delivers each line as though language has become a physical object requiring immediate disposal, shouting near the edge of collapse while retaining enough control to sharpen every phrase. Around her, Woodward’s guitar behaves less like decoration than a damaged power tool, while Oikawa-Dahlson keeps the track planted firmly enough for the electronics to lunge, buck, and misbehave.

    The video, directed by Beeson, extends the song’s argument into the realm of surveillance horror. “The video takes on the horror of surveillance,” says Beeson. “While using a lot of throwback technology, mostly to pay homage to its influence – Peter Christopherson’s video for Ministry’s Over The Shoulder, it very much intends to communicate how more modern technology is being used for violence against our communities and humanity as a whole. It fits with the concept of ANIMAL: whether the nature is sexual or simply a desire to exist, we deserve to have freedom and we must take that freedom back.”

    Watch the video for Animal below:

    That conviction also drives RESISTANCE, the six-track EP arriving September 4 through Dais Records. Written amid fires, displacement, ICE raids, and the grinding obscenity of late-stage capitalism, the record channels anger toward collective action rather than private despair. “Resistance, less of an idea, more of an absolute action that has to be taken,” asserts Beeson.

    ANIMAL makes that action feel immediate, physical, and dangerously enjoyable. Revolution may remain poorly organized, but PUREST FORM have at least supplied it with a better bassline.

    Listen to ANIMAL below and order the single here.

    Catch PUREST FORM live on the following dates:

    • Sep 11: Los Angeles, CA – The Globe Theater w/ Fiddlehead, Pity Sex + more 
    • Sep 18: Austin, TX – Cold Waves Festival
    • Sep 25: Chicago, IL – Cold Waves Festival
    • Oct 22: New York, NY – TBA
    • Nov 14: Orange County, CA – Darker Waves Festival 

    Follow Purest Form:

    The post LA Industrial-Punk Trio Purest Form Explores the Horror of Surveillance Tech in Video for “Animal” appeared first on Post-Punk.com.

  • Sid Wilson Reportedly Fired From Slipknot

    It would appear the original 9 are now down to 4.

    The post Sid Wilson Reportedly Fired From Slipknot appeared first on Theprp.com.

  • The Vaqueros from Rochester “Echo” / “Desert Wind” on Audition

    The Vaqueros, from left: Steve Corona, Tom Corona, Larry Weld and David Heath

    The Vaqueros had the first release on the Audition Recording label out of Rochester, New York, “Echo” / “Desert Wind”. It hit local charts in early June, 1964 and received a review in Cash Box on June 13, 1964.

    Audition Label Bows with “Echo” by the Vaqueros, Cash Box, June 27, 1964

    The group registered copyright for “Echo” on June 15, 1964, music by Larry Weld (Laurence R. Weld), David Heath & Tom Corona (Thomas J. Corona). I haven’t yet found a copyright registration for “Desert Wind”.

    Band members were:

    Larry Weld – lead guitar
    Tom Corona – rhythm guitar
    Steve Corona – bass
    David Heath – drums

    The Vaqueros, from left: Larry Weld, Tom Corona, David Heath kneeling with drum sticks and Steve Corona with bass
    Vaqueros in the Democrat And Chronicle, June 8, 1964

    David Heath wrote a history of the band and provided the photos seen here.

    In 1963 two 16 year old boys found an old guitar in the house attic in Rochester NY. Larry Weld, the older of the two, decided he would put strings on it and learn how to play. The other boy David Heath said he had a small pair of bongos, round metal tray mounted on a wood stand and a pair of drum sticks. Together they spent many hours trying to play songs they had heard on the radio.

    One month later Larry had purchased his first electric guitar and Dave had purchased his first drum set and by this time both had learned several songs and were starting to make new songs of their own. Knowing they needed a rhythm background Dave and Larry asked another Charlotte High school student Tom Corona to join the group and decided on the name “The Vaqueros” for the band. About a month later we composed the song “Echo”. At this point we were starting to play at many parties and events.

    Record review in Cash Box, June 13, 1964
    Vaqueros with Al Cecere at WBBF Studio, June 25, 1964

    Around 10 months after we first started playing we were asked to play for a Rochester business event and that was the first time we met Al Cecere who was just starting Audition Records. Al said he liked our band sound and said he would like us to make a record with his new company. We said we would and set up a date to record but we had two major problems to overcome.

    1: We had no bass player in the band

    2: We had no second side for the record

    The first problem was resolved by asking Tom’s older brother Steve Corona to play bass. He agreed and he purchased a bass guitar. Then Tom and Larry showed him what notes to play so we could make the record. The second problem was resolved by rapidly (in one day) composing the song “Desert Wind”.

    The Vaqueros (and Al Cecere in back) with the Letterman, Niagara
    The Vaqueros opened for the Lettermen at Niagara Falls Memorial Arena, July 11, 1964

    The Vaqueros in Cash Box, July 18, 1964
    After the song was released and hit #1 on the Rochester and surrounding radio stations we had steady play dates in many venues. We had interviews on radio stations, band picture signing dates, photos and release info in Cashbox, and we were the opening act for The Lettermen in Niagara Falls Canada.Within the next month we wrote and (on acetate demo record) recorded our next two songs to be released “Whiplash” and “Our Lost Love”. Al Cecere was setting up for us to open for The Beach Boys.

    Just as things were going very well for the Vaqueros the dark side of this business began to show its face. Al Cecere never informed the band of any record sales and stopped supporting us. He had moved on.

    With communication with Al Cecere heading downhill, everything slowed and we were all around 18 years old at this point. Life took over and the band started to split. Larry, Dave and Steve went on to other Rochester bands and Tommy married and started a family. We never played together again but do remain friends. Tommy passed away in 2025.

    The Vaqueros and the Tweeds at Teen Town, Kenmore, NY, October 1965

    The Vaqueros recorded other songs that went unreleased at the time that now exist on lacquer “acetate” or second-generation tape; a few very effective instrumentals that were ready for release and others that were in progress.

    “Whiplash” has an excellent ‘wet’ surf sound I did not find a copyright registration for this one.

    “Daybreak” is a spirited vamp with excellent lead guitar from Larry Weld and agile drum fills from David Heath. The group registered it as “Daybreaks” on February 25, 1965, with copyright to the full band including Steve Corona.

    “Our Lost Love” is a slower ballad, registered on July 1, 1965 to the four members of the group.

    Thank you to Dave Heath for his help with this article and for letting me hear the unreleased songs.

  • “I Prey on the Void Inside” — The Pixel Rain Confronts False Prophets and Messiahs in Cyberpunk Single “Sacrifice”

    Once all the papers get signed
    We lift you up on discount price
    You just have to make this sacrifice

    Every false prophet and messiah begins by telling the frightened that they have been chosen. The voice offers clarity, belonging, and the promise of a perfected self; only later come the contract, the price, and the surrender of everything that made the convert difficult to own. On Sacrifice, Southeast London industrial post-punk project The Pixel Rain sends that transaction through the age of algorithmic gurus, where charisma can pass for truth and transformation becomes a product.

    Sacrifice is the second single and opening track from The Pixel Rain’s forthcoming debut album, A Sense of Danger, currently scheduled for release in late October. Following Last, the song introduces the album’s post-apocalyptic frame through a society governed by power, authority, consumerism, and technological control.

    Sacrifice moves through a cyberpunk dream of deep bass, Kraftwerkian retro-computer pulses, and synth leads glowing with the sterile polish of a showroom terminal. Áron Siegler’s dusky voice maintains a close, controlled pressure throughout the verses, then surges through the chorus’s “So trust me,” landing somewhere between Brian Molko, Trent Reznor, and Paul Banks. Driving rhythms and industrial textures keep the track pushing ahead as the promise at its center grows steadily more predatory.

    The lyrics borrow the soothing vocabulary of cults, motivational seminars, and influencer culture. The prophet addresses his followers as “children,” while the parenthetical responses—“We’ll hold you” and “You know we leave no one behind”—resemble scripted affirmations designed to smother suspicion. A promise to remove self-doubt soon becomes permission to remove the self, with salvation reduced to paperwork, discount pricing, and the command, “You have to sell yourself tonight.”

    The final verse reveals what this digital saviour has wanted all along. “I prey on the void inside” turns an apparent confession of faith into an admission of appetite, before the closing line—“So we can eat you alive”—strips the sales pitch of its remaining benevolence.

    Siegler describes the false prophet behind the song:

    “‘Sacrifice’ started with the idea of modern-day false messiahs and how easily charisma can be mistaken for truth. As online platforms continue to blur the line between genuine guidance and performance, I found myself drawn to the psychology behind people who build influence by promising transformation. That idea felt like the perfect companion to the track’s cold, mechanical, electronic atmosphere.”

    The song’s science-fiction setting preceded its arrangement:

    “Like many of my songs, ‘Sacrifice’ started with a visual idea rather than a musical one. I was inspired by the worlds of Neuromancer and Cyberpunk 2077, and that atmosphere naturally led to a synth-heavy sound. From there, I mixed melodic influences from bands like Depeche Mode and Muse with the industrial pulse and textures of Nine Inch Nails and Ministry.”

    Created by Ádám Molnár, the accompanying lyric visualizer treats the viewer’s screen as the target of a computer virus. A digitized version of Siegler’s head becomes the infection’s persuasive face, addressing the viewer as the virtual machinery draws them further into its illusion. The polished interface connects the song’s false promises to the screens through which those promises now spread.

    Watch the visualizer for Sacrifice below:

    Sacrifice by The Pixel Rain is out via Bandcamp, Spotify, and all major digital platforms. A Sense of Danger is currently scheduled for release in late October.

    Listen to Sacrifice below, and order the single here.

    Founded by Hungarian-born vocalist and multi-instrumentalist Áron Siegler, The Pixel Rain took shape within Southeast London’s underground and released a self-titled debut EP in 2023. Drawing from industrial rock, post-punk, synth-pop, and electronic music, Siegler balances guitar-led songwriting with layered production, dark atmospheres, and sharply defined melodies. A Sense of Danger extends that approach across songs concerned with power, authority, consumerism, and social unease, viewed through post-apocalyptic imagery and cold electronic machinery.

    Follow The Pixel Rain:

    The post “I Prey on the Void Inside” — The Pixel Rain Confronts False Prophets and Messiahs in Cyberpunk Single “Sacrifice” appeared first on Post-Punk.com.

  • “I had a creepy feeling things were going against us”: The chilling prophecy and unthinkable tragedy that overshadows one of Lynyrd Skynyrd’s greatest albums

    “I had a creepy feeling things were going against us,” said Lynyrd Skynyrd singer Ronnie Van Zant in the summer of 1977. Street Survivors, the album released just three days before the plane crash in October that year, always seems irreversibly bound up in that tragedy. But while there may have been strange vibes and bad juju brewing, the band had been rejuvenated.

    Lynyrd Skynyrd’s newest recruit, 28-year-old Oklahoman guitarist and songwriter Steve Gaines, was an inspired choice, and ended up co-writing the lion’s share of the album. But making Street Survivors was anything but easy.

    The band started work with producer Tom Dowd at Miami’s Criteria Studios in December ’76, only to be told by management that the recordings weren’t good enough. After the inevitable bust-up, Ronnie agreed. A second version was cut at Studio One in Doraville, Georgia, the following summer, the final album pieced together from both sessions.

    Lynyrd Skynyrd’s Steve Gaines and Ronnie Van Zant performing onstage in 1977

    Lynyrd Skynyrd’s Steve Gaines and Ronnie Van onstage in the 1977, the year they died in a plane crash (Image credit: Ed Perlstein/Redferns)

    Van Zant’s “creepy feeling” stemmed from a run of dangerous mishaps prior to recording. Ronnie had just become a father, and was trying to curb his excessive lifestyle. In the meantime, Gary Rossington, drunkenly passed out at the wheel of his car, ploughed into an oak tree and a telegraph pole and wound up in hospital.

    When fellow guitarist Allen Collins and keyboard player Billy Powell were involved in similar car accidents, Van Zant came up with That Smell: a warning message to his hell-raising bandmates – ‘Too much smoke and too much coke… The smell of death surrounds you’. It was an omen of worse to co

    Joining That Smell were two more instantly defining Skynyrd tracks: What’s Your Name and You Got That Right were brawny Southern rockers in the grand tradition of Saturday Night Special. What’s Your Name was a risqué tale of a one-night stand and barroom punch-up, played out to blaring horns; You Got That Right included another prophetic lyric (‘You won’t find me in an old folks home’) and Steve Gaines serving up one of the album’s sweetest solos.

    Despite its bad omens, Street Survivors is also an album full of upbeat moments that hint at what Skynyrd might have done next. There’s a cover of Van Zant’s favourite songwriter Merle Haggard’s Honky Tonk Night Time Man, which shows off Skynyrd’s country rock credentials. (Ronnie also cut an alternative version, titled Jacksonville Kid, featured on the album’s 2008 reissue.) Gaines’ I Know A Little was the kind of spicy jazz-blues you could imagine Stevie Ray Vaughan covering.

    The original cover infamously showed the group enveloped in flames, quickly reissued with an alternative cover shot. But on both you can still relish Leon Wilkeson’s majestic top hat and ‘My Grass Is Blue’ T-shirt, and the band looking like the last gang in town. Inside, the music is prime Skynyrd: raw, sweet, angry and fun. Separated from the terrible circumstances that surrounded it, Street Survivors sounds like a band reborn.

    Originally published in Classic Rock Presents Lynyrd Skynyrd

  • BLACK ALTAR Unleashes “Infernal Damnation” Video From Upcoming 30th Anniversary Album XXX Years ov Rituals Upon the Black Altar – 1996-2026 – @thebeast

    FOR IMMEDIATE RELEASE
    BLACK ALTAR Unleashes “Infernal Damnation” Video From Upcoming 30th Anniversary Album XXX Years ov Rituals Upon the Black Altar – 1996-2026

    Black Altar returns to the abyss with the first taste of its highly anticipated 30th anniversary release, XXX Years ov Rituals Upon the Black Altar – 1996-2026 , due out October 15, 2026 via Odium Records .
    Celebrating three decades of uncompromising darkness, the band has unveiled the official video for the new track “Infernal Damnation,” offering fans a glimpse into a monumental retrospective that honors Black Altar’s legacy while reaffirming its unwavering devotion to the black arts.
    Spanning approximately 80 minutes, XXX Years ov Rituals Upon the Black Altar – 1996-2026 serves as both a celebration and a ritualistic journey through the band’s storied history. The album combines newly recorded material with carefully selected tracks from across Black Altar’s discography, all newly remastered to create the definitive anniversary collection.
    Steeped in themes of death, witchcraft, devil worship, and the Qliphotic Void, the release captures the essence of Black Altar’s signature sound and enduring influence within the underground black metal scene. The anniversary album stands as a testament to three decades of relentless dedication to the genre’s darkest traditions.
    Fans can experience the first chapter of this occult celebration now by watching the official video for “Infernal Damnation.”
    Watch “Infernal Damnation”



    Release Information
    Band: Black Altar
    Album: XXX Years ov Rituals Upon the Black Altar – 1996-2026
    Release Date: October 15, 2026
    Label: Odium Records
    Format: Digital, CD
    Genre: Black Metal
    Country: Poland
    For Fans Of
    Behemoth, Marduk, Watain, Dark Funeral, Infernal War
    Follow Black Altar
    Website: www.black-altar-horde.com
    Facebook: www.facebook.com/blackaltar
    Instagram: www.instagram.com/blackaltarband

    Follow Odium Records
    Website: www.odiumrex.com
    Facebook: www.facebook.com/odiumrex
    Instagram: www.instagram.com/odiumrecords
    Bandcamp: www.odiumrecords.bandcamp.com
    YouTube: www.youtube.com/odiumrec
  • ‘618 FEST’ Is Back This November

    South Australia’s heavy music community is gearing up for another massive day of riffs, breakdowns and circle pits, with 618 Fest returning to Lion Arts Factory on Saturday, November  21.  Following a hugely successful debut, the independently run festival is raising the bar with its biggest lineup to date, bringing together some of Australia’s most […]