Category: news

Serj Tankian, frontman of nu-metal icons System Of A Down, features on a newly released cover of David Bowie‘s paranoid classic I’m Afraid Of Americans.

The new version of Bowie’s 1997 song appears on Can You Feel the End Begin?, the upcoming album by composer Brendan Angelides, who is most famous for his work on Netflix’s 13 Reasons Why and Showtime’s Billions, as well as the game Assassin’s Creed Mirage.

“I always loved Trent Reznor‘s remix of Bowie’s original,” says Angelides. “I’ve been working on a new album for the past year, and as this particular beat came together, I unexpectedly started singing those words on top.

“The first person I thought to collab with was Serj. He has been an inspiration to me forever and I’m now lucky to call him a friend. The video is built from our childhood photos. We filmed ourselves to drive the motion capture, then face-tracked, composited, and had a mosh party.”

“I keep thinking about what happens to creative communities during authoritarian times,” he adds. “It’s half of what this upcoming album is about.”

Can You Feel the End Begin? will be released on August 14 via Angelides’s Ancestor label.

This is the second time Tankian has guested on someone else’s music this year – in May he featured on Tom Morello’s Adjourn It single, which appears on the Rage Against The Machine man’s upcoming album Everyone Gets Everything They Want.

System Of A Down, who headlined a pair of stadium shows in London earlier this month, have recently announced a run of dates in Australia and New Zealand, with Faith No More – who haven’t played live in a decade – as support. Full schedule below.

System Of A Down live dates

Oct 24: Fort Worth Sick New World Festival, TX

Jan 22: Accor Stadium, Sydney Olympic Park, Australia*
Jan 27: Marvel Stadium, Melbourne, Australia*
Feb 01: Suncorp Stadium, Brisbane, Australia*
Feb 07: Hnry Stadium, Wellington, New Zealand*

*=with Faith No More

Find System Of A Down tickets.

The Australian maximalist Ninajirachi one of the most exciting new electronic pop artists going. Her album I Love My Computer cracked our list of last year’s best, and we named her one of 2025’s best new artists too. So it was a bummer when she soundtracked an ad for Meta’s AI creeper glasses, as I’m sure Lorde would agree.

The post Ninajirachi & Porter Robinson – “WannaCry” appeared first on Stereogum.

Featuring stops in Louisville, Detroit, Los Angeles, and more

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PAM WHISENHUNT | Go Venue Magazine

Mystic Lake Amphitheater in Shakopee, MN is the new kid on the block. Minnesota’s largest outdoor venue opened June 20 in Shakopee, holding 19,000 between its covered bowl and sprawling lawn, and barely a month into its inaugural season it landed one of the biggest rock pairings of the year. The co-headlining North American tour of Avenged Sevenfold and Good Charlotte rolled in July 27th 2026 on night two of the run, and the venue reported over 14,000 tickets sold.

The whole night felt like a family gathering. Half the crowd repped Good Charlotte, the pop punk side of the family. The other half were the Avenged Sevenfold metalheads. Two bands from completely different corners of 2000s rock, with a friendship going back more than twenty years, finally on the same stage. This reunion was a long time coming.

Jayden Hammer came out shredding. The LA based guitarist built her following on YouTube and TikTok with viral guitar covers, and her live set shows why. She does a bit of everything, mixing songs live behind the decks while ripping guitar over the top. Hammer also played an original called “Sunshine,” a song she wrote about her girlfriend. The rest of the world gets to hear it August 5 when the single drops, but Shakopee got it first.

Days before this tour kicked off, Avenged Sevenfold surprise released a four song EP under the persona, STATICA, and that persona held the next slot on the bill. The band performed the entire EP from backstage while graphic visuals played on the screens. Not gonna lie, STATICA was weird. Avenged Sevenfold has talked in depth about AI, even covering the topic in their songs, and maybe this set was our warning. If we fall into the AI music trap, this is our future. No band on stage, just graphics on a screen.

Good Charlotte (GC) kicked off their set with “The Anthem,” “Girls & Boys,” “Riot Girl,” “Keep Your Hands Off My Girl” and “Predictable” before slowing it down slightly with “Wondering.” Not knowing a lot about Good Charlotte going in, I was surprised to see seven members on stage. The core members were front and center, Joel Madden on lead vocals, Benji Madden on guitar and vocals, Paul Thomas on bass, and Billy Martin on guitar and keyboards. GC sounded phenomenal and kept the energy high through the set. Joel Madden encouraged crowd participation and gave us the lowdown on their relationship with Avenged Sevenfold. Madden told us they’d been friends for twenty plus years and been wanting to tour with Avenged Sevenfold for a long time.

GC played “Rejects,” off their newest album Motel Du Cap, just before “The Chronicles of Life and Death,” “The Motivation Proclamation,” “Hold On” and “Bodies.” The surprise of the night came when Avenged Sevenfold’s M. Shadows joined them for “The River.” Some people saw it coming and were hoping since Shadows was featured on the original single back in 2007 on “Good Morning Revival”.

GC pressed on with “Dance Floor Anthem” and “Last Night” before bringing us back to 2002 with “The Young and the Hopeless.” Before wrapping up with “Little Things,” “I Just Wanna Live” and “Lifestyles of the Rich & Famous,” GC told us Minneapolis was a very special place to them, a place that changed their lives, though they didn’t elaborate. They said it felt good to shake off the rust, and that after the first show of the tour they turned to each other and said “we gotta do this again,” hinting that another tour may be firming up.

Avenged Sevenfold (A7X) dove right into their set with “Nightmare,” their newest single “Magic,” “Afterlife” and “Shepherd of Fire”. M. Shadows then paused, telling us he thought the set flowed too well up to that point to stop. He asked the crowd about some local folklore he’d heard, bringing up “Mistake Lake.” The crowd laughed. He asked if he understood correctly and that Minnesotans tended to drink a little and make some mistakes out there. He also called this amphitheater one of the most beautiful places to play. Then Shadows spotted a kid in the front row with a broken arm and brought him up front so the band could sign the cast, mentioning his own kid recently jumped off the houseboat and broke his leg too.

A7X picked back up with “Seize the Day,” “Hail to the King” and “Nobody.” “Nobody” definitely didn’t sound like the album version, but Synyster Gates was flawless working through it. Gates, Johnny Christ and Brooks Wackerman stayed on stage to close the song out before exiting.

The band came back out for “The Stage.” Shadows felt compelled to pause again, saying “I normally wouldn’t talk right here,” but he had to congratulate the Minnesota Timberwolves on landing LaMelo Ball. He mentioned the Timberwolves are his son’s favorite team, and said if it wasn’t for the Lakers, he’d be a Timberwolves fan himself.

Avenged closed out the night with “Bat Country,” “Unholy Confessions,” which spurred a huge circle pit, a drum solo from Wackerman, and “Cosmic.”

Overall, Avenged Sevenfold’s vocals were raw and real, not polished like the recordings. The band took liberties all night and proved they’re the real deal. No AI, no fillers, 100 percent Avenged Sevenfold. If STATICA was a glimpse of a possible future, the headlining set was the argument against it, and after a night like this at Minnesota’s newest venue, the argument wins.

Avenged Sevenfold

[See image gallery at www.govenuemagazine.com]

Good Charlotte

[See image gallery at www.govenuemagazine.com] All images © Pam Whisenhunt

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The post Avenged Sevenfold and Good Charlotte Pack Minnesota’s Newest Amphitheater appeared first on Go Venue Magazine.

“I’ve been wondering where your ache breathes, in mazes you design?”

Metropolis Records has announced the signing of Swiss quartet Lone Assembly, whose debut album, Knots & Chains, was released in Europe in late February.

Formed by vocalist Raphaël Bressler, guitarist Glenn Le Meur, bassist Jim Bodeman and drummer Romain Segu, Lone Assembly draw from new wave, synth-pop and post-punk, pairing forceful rhythms and expansive guitars with Bressler’s low, commanding vocal delivery.

Knots & Chains is a stunning collection of poetry, exploring connection, struggle, resilience and the bonds that can offer support while also becoming sources of restriction. Its songs address personal relationships, internal pressure and the influence that physical environments exert over those who inhabit them. Although much of Knots & Chains deals with pain, alienation and emotional constraint, the album also leaves room for hope, courage and recovery. Its movement from enclosed spaces toward uncertain freedom gives the record the shape of a gradual release, even when that freedom remains fragile.

“The album takes shape like a cycle, moving from suffocation to openness, from closed spaces to greater, albeit fragile, breathing space,” explains vocalist Raphaël Bressler.

That transition is particularly clear on the single In The Open, where the search for air and space becomes a response to the album’s recurring sense of confinement. The song follows a person caught in a private cycle of pain, disorientation, and retreat, while longing for some open air beyond it. A remembered date bears the pressure of unresolved grief. At the brink of collapse, calling another person becomes a tentative route back toward freedom and relief.

Watch the video, directed by Manon Stutz, below:

Musically, the record carries the austere atmosphere associated with the Factory Records era, presented through modern production and a larger pop framework comparable to Editors, Pink Turns Blue and The Horrors – even a little INXS. Le Meur’s guitars stretch across the record’s dense foundations, while Bodeman and Segu provide a heavy, urgent rhythm section beneath Bressler’s baritone.

Control forms one of the album’s central themes, appearing as something imposed by others, internalised by the self, or embedded within the spaces people occupy. You’re Pulling At The Same Strings examines the power one person can hold over another, with its lyrics searching for the hidden wound behind destructive behaviour and the emotional maze built around it. Other songs turn that scrutiny inward. The Pain Keeper and My Life’s Solid consider the private restrictions people place upon themselves, where endurance can harden into another form of confinement. “The City Works Like This,” meanwhile, presents the city as an active force capable of absorbing, rejecting, and reshaping its inhabitants, until the surrounding streets begin to exert a will of their own.

Lone Assembly first attracted wider attention with their 2024 EP, That Never Happened, written in tribute to a lost loved one. During the making of the EP, the project developed beyond a group of friends playing together and became a shared space for grief, closeness and healing. Those foundations continue throughout Knots & Chains, expanding the band’s focus from personal loss toward the relationships, habits and surroundings that govern everyday life.

Knots & Chains is out now. Further details regarding Lone Assembly’s first releases through Metropolis Records are expected to be announced. The LP and CD formats will be made available in North America on September 18th, 2026.

Listen to it now below and order the album here.

Follow Lone Assembly:

• Website
• Instagram
• Facebook
• Bandcamp

The post Swiss Quartet Lone Assembly Sign to Metropolis Records — Listen to Debut Album “Knots & Chains” and Watch Video for “In the Open” appeared first on Post-Punk.com.

Featuring special guests Stand Atlantic and Footballhead across North America

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The video features footage captured during the band’s recent touring

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New record ‘Worlds to Conquer’ drops August 14

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Tickets go on sale July 31, with more than 100 artists expected across two days of music and skate culture

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