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  • Five For Friday: July 24, 2026

    Greetings, Decibel readers!

    This is truly an eclectic day for new releases, as we’ve got standbys like death-doom and death-thrash here alongside some New York Hardcore and classic 1970s revivalism. Perhaps you like one of these styles. Maybe you like all of them! And, well, if you like none of them, why’d you click this article?

    Anyway, enjoy!

    Eternal Mourn – Winds of Sorrow

    This album is an easy win for us at Decibel, being giant fans of high-quality death/doom rooted in the classic days of Paradise LostAnathemaKatatoniaEternal Darkness, Ceremonium and all the rest. There’s bits of other influences here as well, as certain parts reminded me of Gorement’s The Ending Quest. This excellent EP is the debut release from Italy’s Eternal Mourn, which hopefully holds the promise of many sad returns to come.

    Horns of Abomination – Horns of Abomination

    Think of Von but hooked up to the entire power grid of the US eastern seaboard. Oppressive, terrifying, and very, VERY LOUD.

    Stream: Apple Music

    JORDSJØ – Pestkrønikene

    Man, Dying Victims really does have a little bit of everything in its roster, huh? This is a cool throwback release that summons the ghosts of the 1970s and provides a fresh take on Camel, Uriah Heap, Manilla Road and King Crimson. Although it might not be as heavy as what we usually cover here, the sonic world-building present on albums like this gives your mind an opportunity to seek and find the darkness lurking beneath the organs and rich guitar harmonies.

    Stream: Apple Music

    Madball – Not Your Kingdom

    After eight long years, it’s time to demonstrate your style again at last. Madball is a NYHC institution, and songs like “Tethered,” “Stab Wounds” and “Family First” make it clear why. Aside from the melodic flourishes on “Rebel Kids” and “The Ride,” Not Your Kingdom sticks to the band’s well-established program: chord-based guitar grooves and a standard set of rhythms that lay the foundation for Freddy to deliver his sermons.

    Stream: Apple Music

    Ripper – Towards Rebirth

    Speaking of bands returning after a long absence, Chile’s Ripper is back with their first album in 10 years. When it comes to thrash, the band knows where to mine for the most valuable gold: the deathy borderlands of KreatorSadusCoroner, and early Sepultura. If the belt doesn’t have bullets, they don’t want it!

    Stream: Apple Music

    The post Five For Friday: July 24, 2026 appeared first on Decibel Magazine.

  • The Corset as Gothic Symbol: Constraint, Beauty, and Dark Romanticism

    Gothic Corset Symbolism: Constraint and Beauty

    A woman stands before a mirror illuminated by candlelight. Layers of fabric fall around her like shadows while unseen hands tighten the laces behind her back. The transformation appears elegant. Her posture changes. Her silhouette becomes more dramatic. Yet beneath the beauty lies discomfort, discipline, and control. Few objects capture the complex landscape of gothic corset symbolism more completely than this tightly laced garment.

    For more than three centuries, the corset occupied a unique place within Western fashion. It shaped bodies, influenced social expectations, and inspired fierce debate. Some viewed it as a symbol of refinement and beauty. Others saw it as a physical reminder of restrictions placed upon women. Dark romanticism embraced both interpretations, transforming the corset into an enduring emblem of desire, repression, mystery, and power.

    The fascination continues today. Corsets appear in alternative fashion, vampire films, Victorian-inspired art, and dark fantasy. Their popularity persists because they embody a tension that remains deeply human: the conflict between freedom and constraint, self-expression and expectation, beauty and sacrifice.

    Understanding why the garment became such a powerful asset to Gothic culture requires looking beyond fashion. Its story reveals changing attitudes toward identity, gender, desire, and the darker complexities of human nature.

    Gothic corset symbolism in Victorian fashion and dark romanticism.
    The corset became one of alternative culture’s most enduring symbols because it embodies both beauty and constraint.

    The Historical Reality Behind the Corset

    Modern discussions often reduce the corset to a simple symbol of oppression. The historical reality is more complicated. Corsets evolved over centuries and were worn in different ways depending on social class, fashion trends, geography, and personal preference.

    During the Victorian era, corsets became particularly associated with ideals of elegance and respectability. Fashion magazines promoted carefully structured silhouettes, while manufacturers developed new production methods that made corsetry more accessible to a growing middle class.

    Not every corset was painfully restrictive. Many were designed for everyday wear and provided support similar to modern structured garments. At the same time, extreme tight-lacing existed and became the focus of intense cultural debate. Medical professionals, journalists, and social reformers argued over the physical consequences of pursuing unrealistic beauty standards.

    This contradiction lies at the heart of historical gothic corset symbolism. The garment occupied an ambiguous space between personal choice and societal expectation. Some women embraced it as an expression of fashion and identity. Others experienced it as a literal reminder of the intense social pressures that shaped nearly every aspect of Victorian life.

    Gothic culture would later transform that physical tension into something larger than history. The corset became a haunting visual metaphor for invisible forms of control.


    Beauty With a Price

    The Gothic imagination has always been fascinated by beautiful things that conceal darker, more demanding realities. Haunted mansions appear magnificent before revealing their secrets. Vampires possess supernatural charm while carrying destruction beneath the surface. Enchanted objects often demand sacrifice in exchange for power.

    The corset fits naturally within this tradition. Its elegance is undeniable. Victorian portraits, fashion plates, and period photography frequently present corseted figures as graceful and sophisticated. Yet the garment also suggests discipline, restriction, and a deliberate physical transformation.

    This duality explains why the laced silhouette appears so frequently in dark imagery. It reflects a recurring theme central to the noir perspective: true beauty rarely exists without deep complexity.


    Why Gothic Culture Embraced the Corset

    The rise of Gothic literature during the eighteenth and nineteenth centuries coincided with a growing cultural interest in psychology, identity, and internal emotional conflict. Writers increasingly explored characters trapped by social expectations, family obligations, forbidden desires, and personal fears.

    Against this backdrop, the corset acquired symbolic significance far beyond its practical function as an undergarment. It became an object capable of communicating emotional and psychological realities without a single word of text explanation.

    A tightly laced corset could suggest intense social pressure or a guarded, repressed nature. An unlaced corset might imply vulnerability, rebellion, madness, or extreme intimacy. Victorian readers instinctively understood these visual cues because the garment already carried strong cultural associations in everyday life.

    As Gothic aesthetics developed, artists and writers repeatedly returned to the garment because it condensed multiple psychological themes into a single image. Beauty, desire, control, conformity, and resistance all existed within the bounds of the same object.


    The Gothic Heroine and Social Entrapment

    Many Gothic heroines struggle against forces that seek to define, contain, or completely control them. Some confront oppressive family dynamics; others face restrictive social expectations or dangerous romantic relationships. Their conflicts are almost always psychological as much as they are physical.

    The silhouette of the corset became a natural visual extension of these narratives. It represented the heavy external structures attempting to forcefully shape individual identity. The garment itself was not the villain. Rather, it symbolized the broader, rigid systems of expectation surrounding the characters who wore it.

    This symbolic role would become increasingly important as alternative literature evolved, deeply influencing how later generations interpreted both the fashion of the past and the psychology of the women associated with it.


    The Gothic Heroine and the Language of Restriction

    One reason the corset became such a persistent asset to dark romanticism is that it mirrors the recurring structural conflicts within the genre itself. Gothic heroines often find themselves trapped by forces they did not create. Family expectations, social conventions, inheritance laws, and restrictive gender roles shape their lives long before supernatural threats ever materialize.

    The most memorable protagonists rarely battle external monsters alone. Instead, they struggle against invisible systems of social power that dictate how they should behave, whom they should love, and what future they are required to accept.

    Within this context, the garment evolved into a visual shorthand for pressures operating beneath the surface of everyday polite society. The laces suggested discipline and conformity, but the act of wearing it out into the world also hinted at a quiet, enduring resistance. Every heroine exists somewhere between those two forces.


    Jane Eyre and the Refusal to Be Controlled

    Charlotte Brontë’s Jane Eyre provides one of the clearest examples of a heroine struggling for autonomy within a restrictive Victorian society. Although the novel does not revolve around fashion items themselves, the social environment surrounding Jane reflects many of the same psychological pressures the corset came to symbolize.

    Throughout the story, Jane repeatedly refuses to surrender her identity despite immense pressure from the patriarchal structures around her. Wealth, status, religion, and romance all attempt to forcefully shape her future. Yet she insists on preserving her independence at all costs.

    “I am no bird; and no net ensnares me: I am a free human being with an independent will.”

    This famous declaration captures the absolute heart of the genre. The true struggle is not merely against physical obstacles; it is a battle against internal and external systems that attempt to rigidly define the individual.

    The garment later became tied to this same conflict because it occupied such an ambiguous space between self-expression and expectation. Brontë’s heroine beautifully embodies that tension, demonstrating that the psychological desire for liberation exists even when the physical restraints remain in the background.


    Wuthering Heights and Emotional Confinement

    Emily Brontë’s Wuthering Heights explores a much darker version of the same theme. Here, the conflict moves beyond standard social expectations into the territory of obsession, raw passion, and emotional imprisonment. Characters become completely trapped by their own desires as much as by the bleak circumstances surrounding them.

    Catherine Earnshaw’s legendary declaration illustrates the terrifying depth of her internal conflict:

    “I am Heathcliff.”

    The statement expresses an emotional bond so volatile that it threatens individuality itself. Love becomes both absolute liberation and profound confinement. Desire creates attachment while simultaneously destroying personal freedom.

    This paradox lies at the center of dark romanticism. The forces that attract us often possess the devastating power to consume us. Beauty, love, ambition, and obsession frequently arrive in the exact same package.

    The lacing of a corset resonates within this emotional landscape because it visually embodies contradiction. It enhances appearance while restricting movement. It shapes external identity while suggesting internal containment. Alternative culture repeatedly returns to such imagery because it reflects genuine psychological truths.


    When Desire Becomes a Cage

    Unlike simple cultural symbols, enduring Gothic images rarely communicate a single, linear meaning. The core of gothic corset symbolism remains compelling because it can represent multiple forms of confinement simultaneously.

    For one character, it may symbolize severe societal pressure. For another, it may represent romantic expectations, body dysmorphia, or deep-seated personal insecurity. In still other contexts, it becomes associated with the dangerous, intoxicating pursuit of beauty itself.

    The strongest dark works rarely offer easy answers regarding these tensions. Instead, they invite readers to inhabit the uncertainty. Characters often discover that freedom and restriction coexist in unexpected ways, a complexity that allows the style to remain culturally relevant long after its historical origin.


    The Yellow Wallpaper and Invisible Restraints

    Few literary works examine psychological confinement more effectively than Charlotte Perkins Gilman’s The Yellow Wallpaper. Published in 1892, the story follows a woman whose husband isolates her under the guise of a medical “rest cure.” Physical restraints are largely absent from the room, yet control shapes every single aspect of her existence.

    As the narrator’s mental state deteriorates due to isolation, she becomes obsessed with the wallpaper surrounding her room. Gradually, she begins seeing an anonymous woman trapped behind the shifting pattern.

    “The woman behind shakes it!”

    The image remains powerful because it externalizes a devastating psychological reality. The trapped figure becomes a universal symbol of confinement, frustration, and the desperate desire for escape.

    Although corsets are not the explicit focus of Gilman’s story, the symbolic connection is impossible to ignore. Both represent external structures capable of forcefully shaping human behavior and limiting personal autonomy. More importantly, both reveal how restriction can become deeply internalized until it feels completely unavoidable.


    The Psychology of Beauty and Restriction

    The enduring fascination with these structured historical silhouettes cannot be explained entirely through history or literature. Psychology also plays an important role. Human beings are instinctively drawn to symbols that contain inherent contradictions; we find them emotionally compelling because they accurately reflect the complexity of real life.

    Beauty and sacrifice frequently intersect. Desire and fear constantly coexist. True freedom requires a certain amount of structure, while structure can sometimes feel like a prison. The corset visualizes these complex internal tensions with remarkable clarity.

    This may be the deepest reason alternative culture continues embracing the garment. Its symbolism extends far beyond the bounds of vintage fashion. It stands as a reflection of conflicts that remain relevant regardless of the historical period, asking a question that dark art has explored for centuries: how much of ourselves are we willing to alter in order to become who we wish to be?


    From Victorian Constraint to Gothic Power

    One reason the corset remains culturally fascinating is its remarkable transformation over time. During the nineteenth century, critics often viewed it as a symbol of social compliance and physical discipline. Modern subcultures, however, frequently interpret the garment very differently.

    Rather than representing restriction alone, the corset increasingly became associated with self-expression, dark femininity, and personal power. This shift reflects broader changes in how we understand identity, subversion, and alternative fashion choices.

    Objects do not possess fixed meanings. Symbols evolve as cultures change. The corset survived because it proved adaptable enough to carry modern interpretations while retaining its heavy historical associations. The tension between its past and present meanings gives the garment its incredible symbolic depth.


    Vivienne Westwood and the Reinvention of the Corset

    Few designers played a larger role in transforming the corset’s modern image than Vivienne Westwood. Throughout her career, Westwood repeatedly incorporated historical garments into contemporary punk and alternative fashion, challenging conventional ideas about beauty, authority, and gender roles.

    Rather than hiding corsetry beneath layers of modest clothing, she placed it directly at the center of the design itself. The garment became visible, deliberate, aggressive, and entirely unapologetic.

    This approach fundamentally altered how the modern world perceived the silhouette. Instead of appearing as an instrument of control imposed upon women from the outside, it became a tool through which individuals could autonomously shape and express their own identity. The alternative community fully embraced this reinterpretation, linking it permanently to confidence, theatricality, and creative freedom.


    Corsets in Modern Gothic Cinema

    Film has played a major role in preserving the garment’s place within the dark aesthetic. Directors repeatedly use it because it communicates historical atmosphere and internal character development instantly. Audiences recognize its subtextual associations even when they are not consciously thinking about them.

    In Francis Ford Coppola’s Dracula, heavy Victorian fashion contributes to an intense onscreen atmosphere where desire and mortal danger constantly overlap. Clothing becomes an active part of the emotional architecture of the story.

    Guillermo del Toro’s Crimson Peak offers an even more direct example. The film’s elaborate costumes emphasize themes of toxic social expectation, emotional confinement, and hidden family secrets. The female characters appear devastatingly beautiful, yet the structural visual design constantly suggests unseen, crushing pressures operating right beneath the surface.


    The Aesthetics of Contradiction

    The dark imagination rarely embraces simple, one-dimensional symbols. The most enduring images contain opposing meanings that exist together without ever fully resolving. Ruins suggest both structural decay and romantic beauty. Vampires represent lethal danger and irresistible attraction. Ghosts embody memory and profound absence.

    The corset belongs fully within this artistic tradition because it operates entirely through contradiction. It can symbolize strict discipline or wild rebellion. Helpless constraint or absolute empowerment. Rigid conformity or fierce individuality. Rather than choosing a single interpretation, alternative culture embraces the tension itself.


    Why the Corset Still Matters

    Fashion trends come and go, yet certain symbols endure because they speak directly to experiences that remain fundamentally human. The corset survives because it represents questions that every generation continues to struggle with.

    How much of our identity is shaped by the society we live in? How much is chosen freely? Where is the line between personal expression and cultural expectation? Can beauty become a genuine source of power, or does it inevitably create new forms of confinement?

    The dark artistic imagination has always been drawn to these questions, exploring the spaces between freedom and limitation. The visual language of the corset maps those boundaries with unusual clarity, functioning as a cultural symbol capable of communicating complex psychological realities.


    The Symbol Beneath the Laces

    Ultimately, the garment became a pillar of the alternative aesthetic because it refuses to offer simple answers. It remains beautiful yet restrictive, historical yet deeply contemporary, intensely personal yet connected to massive social expectations.

    Its significance extends far beyond fashion because it mirrors the conflicts that appear throughout classical literature, cinema, and human psychology. Characters struggle against invisible pressures, individuals negotiate competing desires, and freedom and limitation remain locked in a constant, beautiful tension.

    From Victorian novels to modern dark runways, the laces continue to tighten whenever artists seek to explore these themes. Every corset is a physical reminder that our struggles with identity and constraint are timeless—and that complexity is precisely what keeps the style alive.


    Wear the Darkness

    If Gothic fashion, Victorian aesthetics, and dark romantic symbolism inspire you, explore the Edgar Allan Poets store. Discover apparel and artwork created for lovers of literature, mystery, and the beauty hidden within the shadows.


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    Frequently Asked Questions

    Why is the corset associated with Gothic culture?

    The corset symbolizes themes central to Gothic storytelling, including beauty, restriction, desire, identity, mystery, and social expectation.

    Did Victorian women always find corsets uncomfortable?

    Not necessarily. Many corsets were designed for everyday wear, though extreme tight-lacing existed and became the focus of considerable debate.

    Why do corsets appear so often in Gothic fashion?

    They visually connect modern Gothic aesthetics to Victorian history while also functioning as symbols of individuality and self-expression.

    How did Vivienne Westwood influence modern corset fashion?

    Westwood helped transform the corset from a hidden undergarment into a visible statement piece associated with creativity, rebellion, and personal identity.

    What makes the corset a powerful Gothic symbol?

    Its enduring appeal comes from its contradictions. The corset simultaneously represents beauty and restraint, empowerment and limitation, history and modernity.


    The post The Corset as Gothic Symbol: Constraint, Beauty, and Dark Romanticism appeared first on Edgar Allan Poets – Noir Rock Band.

  • Slothrust Announce New Album What They Grow In The Garden: Hear “Ring The Bell” & “00101001”

    Boston alt-rockers Slothrust are based in LA these days, and they’re ready to announce their follow-up to the 2021 album Parallel Timeline. The band released a new single called “Burn The Deck” earlier this year, and that’ll appear on What They Grow In The Garden, a new LP that’ll come out later this summer. The record will also include “Ring The Bell” and “00101001,” the two new songs that Slothrust released today.

    The post Slothrust Announce New Album <em>What They Grow In The Garden</em>: Hear “Ring The Bell” & “00101001” appeared first on Stereogum.

  • BLACK ALTAR – 30 Anniversary Album – Video Premiere And Pre-Orders

    Odium Records recently announced BLACK ALTAR’s 30 anniversary album called “XXX Years ov Rituals Upon the Black Altar – 1996-2026”. The premiere of the first videoclip from this album, “Infernal Damnation”. You can watch it at: https://youtu.be/mgR141I8z8Y?si=V5dMlmrvg5QBKkjD Also, pre orders have started. You can buy cd version and t-shirt at:www.odiumrex.com/webshop or www.odiumrecords.bandcamp.com “XXX Years ov Rituals Upon the Black […]

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  • Iron Maiden’s Bruce Dickinson Joins Billie Joe Armstrong’s Covers Band At Comic-Con

    The Green Day road trip movie Nimrods, that we’ve been hearing about for ages, is finally seeming more like a reality. Last month, we got the official trailer, and then a few weeks later we got a new Green Day song, “I’m Never Gonna R.I.P.,” featured in the movie and more information about the soundtrack. Today, there was a surprise event promoting Nimrods at the San Diego Comic-Con where Iron Maiden joined Green Day on stage.

    The post Iron Maiden’s Bruce Dickinson Joins Billie Joe Armstrong’s Covers Band At Comic-Con appeared first on Stereogum.

  • TRENCH WARFARE To Unleash “Achtung! Destroy The Weak”

    War metal bastards TRENCH WARFARE will unleash hell in the form ​of their venomous new album, Achtung! Destroy The Weak​. The eight tracks comprising Achtung! Destroy The Weak highlight a much heavier and aggressive sound informed by classic death metal titans like MORBID ANGEL and DISMEMBER, while their appreciation for bands as varied as DEIPHAGO, DIOCLETIAN, GENOCIDE SHRINES, […]

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  • Feralia – Ultima Requies Review

    Being the manager of a large arcade, you’d correctly imagine that summer has been kicking my keister. Consequently, this review is late, and not in a “I had it written, and Steel took his sweet time getting its glory to the masses” way.1 This one is my fault altogether, such that I almost let it slip through the cracks and gave it the TYMHM treatment. And yet, I cannot. International outfit (by way of Sweden and Italy) Feralia have quietly come out with a release which has enticed and enthralled me, warts and all, til I felt spiritually obligated to make sure I spoke of its darkness in a semi-timely manner. Third album Ultima Requies has been released, and while ostensibly black metal, it draws from so many colors within its palette that it makes for a quality and engaging listen.

    In a stunning, fist-shaking gesture of defiance to AMG HQ procedures appropriate for my country celebrating the 4th of July, I’m gonna knock the whining out of the way up front. Ultima Requies has a lot of clean vocals, and not all of them stick the landing. Opening track “Ballata Avernale” is the worst offender, where the vocals don’t so much transition as much as startle with an effort at a baritone reminiscent of modern Mayhem but with a much more jarring, disjointed presentation. They do get smoother as the album unfolds; “Defigere” in particular manages to hit a particularly mournful tone about halfway through which fits quite well. Nevertheless, they’re easily the part that takes the longest to warm up to, and Feralia needs to improve their ability to mesh this element in with their overall sound.

    The good news is Feralia has such a masterful command of textures that you shouldn’t let this get in the way of your enjoyment. Ultima Requies utilizes an excessive breadth of extra instrumentation ranging from organs (“Ballata Avernale”) to synthy choirs to acoustic guitars to a full-blown Beard-bait-dudgeon-synth-adjacent interlude (“Emperio”), and not one of them feels forced or uncalled for. While there aren’t any riffs here that could be classified as life-changing, the band exercise a mastery of flow from requisite crushing power to melancholic, introspective calm without missing a step. Ultima Requies is an excellent example of an album with a journey, escorting the listener across brief dollops of straightforward Havukruunu charge, and occasional Fell Omen riffs by way of mid-era Immortal tones, assembled between and around calmer moments of introspective peace with the arrangement skill of Nechochwen. Listeners should not come in expecting hellfire and suffering, but also not a lovely waltz through the woods; here there be thunderstorms and toppled statues as much as peace and serenity.

    This defiance of easy classification is the most enticing thing about Ultima Requies. It isn’t so overtly assaulting as to be called a blackened slab of violence; nor does it rely on its interludes and peaceful moments enough to properly be classified as atmospheric. It has some whiffs of dissonance, trying to channel the most Omega of Deathspells (“Ver Sacrum”), but these moments collapse into bass-led melody as quick as they appear. Said bass, courtesy of member Krhura is given a lot of spotlight, with the guitars sometimes turned down for him to take complete sonic command in the stylings of more modern Krallice. Occasional leads pop up in the spirit of less flashy Aran Angmar but always with a focus on raw atmosphere and emotion rather than the slaughter of one’s enemies. Despite this constant carousel of mood and tone, Feralia have offered up a cohesive, well-assembled work which refuses to be limited by its genre labels despite working well within its established ideas.

    Ultima Requies is a confusing album in the best possible sense. Not content to merely make you headbang, but also not trying to drag you into depression; not so evil as to make you throw horns but hardly giving in to anything that could be considered light and joy, it is a kaleidoscope of sound under a black metal umbrella. Driving home at two in the morning, exhausted from ten hours of exposure to the cacophony of screaming children, it hits different. Feralia have offered a great encapsulation of power spent, of the peace after the storm, with enough sparks of remaining spirit and might to invigorate as much as soothe and relax. That’s a rare treat in the realm of black metal, and in this abominable heat and exhausting season, it’s worthy of your time.


    Rating: 3.5/5.0
    DR: Lost to time | Format Reviewed: Bandcamp stream
    Label: Aeternitas Tenebrarum Musicae Fundamentum
    Website: Album Bandcamp
    Releases Worldwide: June 26th, 2026

    The post Feralia – Ultima Requies Review appeared first on Angry Metal Guy.

  • “They punched their way to the front and started spitting at us.” The story behind the violent, riotous gig which got the Rolling Stones banned from an English seaside town for 44 years

    1964 was a banner year for The Rolling Stones. The band scored their first and second UK number one singles (It’s All Over Now and Little Red Rooster), became the first band to perform on the BBC’s new flagship music show Top Of The Pops, released their self-titled debut album, and toured the US for the first time. But it wasn’t all good news, for on July 24, 1964, the quintet’s show at the Empress Ballroom in Blackpool ended in a riot, and earned the Londoners an indefinite band from the seaside town.

    Following their disappointing US debut tour – bassist Bill Wyman preferred to describe it as a “disaster” – the Stones might have anticipated that they’d be assured a warmer welcome on home soil. In Blackpool, however, this was certainly not the case.

    According to eye witnesses, the trouble started when some unruly audience members began spitting at guitarist Brian Jones, and escalated alarmingly when Keith Richards retaliated in kind: “In those days I had a temper…” the guitarist later admitted.

    “There was a mass rush for the stage,” concert-goer Terry Regan told the BBC. “There was a group of people, probably two or three hundred, determined to lay hands on the Rolling Stones.”

    “They punched their way to the front, straight to the stage and started spitting at us,” Keith Richards recalled.

    After being hit by a fork thrown at him, Richards kicked one of the principal trouble-makers in the face, all hell broke out. Bottles were thrown at the band, seats were ripped up and hurled towards the stage, and chandeliers in the grand old venue were smashed.

    Tour manager Ian Stewart recalls pushing Richards off-stage, telling him, “For fuck’s sake get out of here while you’re still alive!”

    When the Stones vacated the stage and sought sanctuary in their dressing room, the mob invaded the stage and smashed up amps, a grand piano and Charlie Watts’ drum kit. So enraged were elements among the audience at this point that they even tried to gatecrash the nearby Winter Gardens venue where The Dave Clark Five were playing. In the end, 50 people were taken to hospital, and four arrests were made, but not before an estimated £4,000 of damage had been done to the Ballroom.

    “Some people in the audience obviously didn’t like us,” Mick Jagger later noted, with considerable understatement.

    When the quintet sought to book a return to the seaside resort in 1965, the police watch committee refused them a licence, and an indefinite band was imposed by the town council.

    In 2008 however, the local council finally sought to offer an olive branch to the band.

    “I’ve given instruction to our council officers to write to The Rolling Stones to say, ‘Right, the ban is lifted. We reach out the hand of friendship’,” Blackpool council leader Peter Callow told the BBC. “What I am saying is, Come back Mick, all is forgiven.”

    The Stones have no immediate plans to return to the town.

  • BRUCE DICKINSON Joins BILLIE JOE ARMSTRONG & THE COVERUPS For Surprise Performance At San Diego Comic-Con Event

    A surprise collaboration stole the spotlight during the Fandom and Z2 party in San Diego on Thursday, July 23, as Comic-Con weekend got underway with one of its traditional kickoff events.

    The evening was headlined by The Coverups, the covers outfit led by Green Day singer Billie Joe Armstrong, but the biggest moment came when Bruce Dickinson of Iron Maiden made an unexpected appearance. Armstrong invited the metal frontman onstage for a performance of “All The Young Dudes”, the classic written by David Bowie and originally made famous by Mott The Hoople.

    The pairing of Bruce Dickinson and The Coverups delivered an energetic take on the song, a fitting choice given that Dickinson previously recorded “All The Young Dudes” for his 1990 solo album Tattooed Millionaire. The unannounced guest appearance quickly became one of the highlights of the opening night of Comic-Con weekend, drawing a huge reaction from the crowd.

    The annual Fandom celebration was held at FLOAT inside the Hard Rock Hotel and was presented by Xbox’s “Halo: Campaign Evolved”. Additional sponsors included Suntory -196 Vodka Seltzer as the official spirits partner, along with Z2, which promoted the graphic novel and film “…And Out Comes The Wolf”.

    According to the event organizers, “Fronted by the legendary Billie Joe Armstrong, The Coverups have earned a reputation for explosive, high-energy performances that celebrate the songs that inspired generations of rock fans. Rather than performing Green Day hits, the band tears through a handpicked set of classic punk, power pop, new wave, and rock favorites from artists they love, delivering a loose, electrifying club-show atmosphere packed with surprises, deep cuts, and crowd-pleasing singalongs.”

    The organizers also highlighted the growing status of the gathering, stating: “The annual party has officially cemented itself as the ultimate convention-week celebration, bringing together industry leaders, creators, celebrities, influencers, and fans to celebrate the worlds of entertainment, gaming, comics, and pop culture they love most. This year’s show raises the bar yet again with an extraordinary live music event that promises to be one of the week’s most talked-about moments.”

    The post BRUCE DICKINSON Joins BILLIE JOE ARMSTRONG & THE COVERUPS For Surprise Performance At San Diego Comic-Con Event appeared first on Sonic Perspectives.

  • MALEFIC Unleashes Provocative New Music Video for “Blood of the Throne” From Latest Album Impermanence

    Photo by Jeri Mize IG@529jeri IG@vizions_of_mize.llc

    L-R – Andy McGraw – Bass, Aaron Baumoel – Drums and Vocals, Jason Davila – Guitars, Sam Williams – Guitars

    Atlanta blackened death/thrash unit Malefic has dropped the official music video for “Blood of the Throne”, the explosive opening track from their latest album Impermanence, released this past February via Terminus Hate City. The video marks a bold visual departure for the band, one that drummer/vocalist Aaron Baumoel calls “another form of artistic expression; another layer of depth to add to the media.”

    “Blood of the Throne” has long been one of Malefic’s most popular tracks, a blistering blackened thrash assault built on high‑speed precision picking, ornate drumming, and a soaring melodic break. The new video juxtaposes the band’s extreme‑metal identity with Atlanta’s dominant hip‑hop cultural influence, an intentional contrast that reflects the city they call home.

    Watch the “Blood of the Throne” music video at: https://www.youtube.com/watch?v=0Fnnqfysxxo

    Baumoel acknowledges that some viewers may misinterpret the imagery. Despite anticipating criticism, the band stands firmly behind the concept and the talented women who helped bring it to life. The track itself explores the crushing realities of capitalism and modern power structures.

    “People will always judge based on their preconceived notion of things without ever digging in below the surface. This is part of the sickness in our society. We all know who the real demons of our society are; we just don’t agree on what the solution is,”adds Baumoel.

    Following the video’s release, Malefic continues to push their latest album Impermanence, a 40‑minute whirlwind of thrash‑driven drumming, melodic black‑metal atmospheres, technical death‑metal precision, progressive rhythmic shifts, and lyrics rooted in personal struggle, societal pain, and existential reflection. Mixed by Alex Parra, the record rejects the sterile, overly‑compressed production dominating modern metal, instead embracing nuance, dynamics, and human imperfection.

    “We wanted something that still showcased the nuances in the guitar work, the dynamics in the drumming, and allowed for mistakes. It just needed to feel human. The personal struggles, the current socio‑political issues, and the societal struggles all seemed extremely relatable… they tell the tale of the ever‑changing nature of life as a whole,” says Baumoel.

    Track Listing:

    1. Blood of the Throne – [3:33]
    2. In Darkest Dreams (the Reaping) – [3:44]
    3. Of Gods and Man – [4:14]
    4. Idiocracy – [3:56]
    5. Deserter – [3:53]
    6. Disembodiment – [4:39]
    7. Obsidian Earth – [4:37]
    8. Echoes of Silence – [4:45]
    9. It Haunts – [4:01]

    Formed in 2007, Malefic set out to push blackened metal into a modern direction while preserving its weight and emotional gravity. Their current lineup features Aaron Baumoel (drums/vocals), Jason Davila (guitar), Doug Rosander (bass), and Sam Williams (Guitar) (also of Cemetery Filth, Jaeger). The band’s collective experience across Atlanta’s metal scene fuels their razor‑tight live performances.

    Watch the “Blood of the Throne” music video at https://www.youtube.com/watch?v=0Fnnqfysxxo

    Recommended for fans of Old Man’s Child, Carcass, Testament, Dissection, and The Black Dahlia Murder, Impermanence (released Feb 13, 2026) is available at the following links:

    Vinyl – https://www.terminushatecity.com/shop

    Spotify – https://open.spotify.com/album/3d9ZKsvOYoYC2gi0Jrqy6Y

    Album Band Line-up:
    Aaron Baumoel – Drums and Vocals
    Devin Autry – Guitars
    Jason Davila – Bass and Lead Guitars
    Sam Williams – Lead Guitars

    Live Band Line-up:
    Aaron Baumoel – Drums and Vocals
    Jason Davila – Guitars
    Sam Williams – Guitars
    Doug Rosander – Bass

    More info: https://linktr.ee/malefic

    Source: ASHER MEDIA RELATIONS