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Face The Promise, the only Bob Seger album never to have been released on vinyl, will make its debut on plastic on September 18 as an expanded version is released to mark its 20th anniversary.

Face the Promise was originally released in September 2006, after an 11-year hiatus following 1995’s It’s a Mystery. Notably, it was Seger’s first studio album since 1975’s Beautiful Loser not to feature the Silver Bullet Band, as he self-produced the project in Nashville using session musicians.

“I am so hard on myself as a songwriter,” Seger told The Northern Express in 2006. “I never really know the answer because songwriting is so mysterious. You never know when the songs are going to come. So I write a lot of them, and that keeps me from getting blocked up.

“I never get what they call writer’s block because I write all the time. When the songwriting gods are with me, that’s when the next album will come together, and I can’t predict when that is going to happen.”

The new version of Face The Promise has been remastered and expanded, and will include four songs not on the original: Time, Red Eye To Memphis, Let Me Try and Little Jane. The latter has already beren released, and can be streamed below.

Seger has also released a short behind-the-scenes video, in which he reflects onWait For Me, the album’s lead single, released in July 2006.

Face The Promise is available to pre-order now.

Bob Seger: Face The Promise (expanded edition) tracklist

LP Side 1
Wreck This Heart
Wait for Me
Face the Promise
No Matter Who You Are

LP Side 2
Are You
Simplicity
No More
Real Mean Bottle (with Kid Rock)
Won’t Stop

LP Side 3
Between
The Answer’s in the Question (with Patty Loveless)
The Long Goodbye

LP Side 4 (expanded edition bonus tracks)
Time
Little Jane
Red Eye to Memphis
Let Me Try

It is hard to imaging screwing up this plot: urban explorers break into a hotel with a long scary history, confront evil, and have to escape. But the MillennialMovie™ managed to make it boring.

Postmodern movies are comprised entirely of teachable moments, sort of like Soviet propaganda. Characters do not act, but instead discuss action, and whoever is deemed ideologically right takes over leadership.

Not only that, the acting is horrible. The actors argue their lines rather than present them as an organic outpouring from the character. As a result, every scene feels like C-SPAN adapted to a horror movie.

Making things worse, the drama is fake. The forces that oppose them are physical and can be conquered. But when action is finally taken, it seems like a random choice of a character, not a culmination of action.

Like most millennials, these people are so saturated in equality propaganda that they view success in life as a matter of getting into the right firm, right project, and right role.

After that, you get promoted for seniority, and so doing the job well is secondary. That shows in the acting, which is phoned-in, as well as the writing, which is paint-by-numbers plus mystical posturing.

Like most Millennial Movies,™ this one features an aggregate of everything that succeeded in cinema from 1996 onward. The slow-burn, found footage, emo introspection etc eat up screen time.

Consequently, the actual mystery — the purpose of the fjucking film! — gets short shrift, and instead you get a stream of millennial clichés warring it out for screen time.

This movie reminds me of metal now, in that it is mediocre and pointless, yet people tune in to check the box and have something “new” to talk about. If you miss it you will lose nothing.

Sixties legends The Kinks have been the subject of reunion rumours for years, and it appears that there’s still a chance that Ray and Dave Davies, who haven’t performed onstage together for more than a decade, may reunite the band.

The brothers talk about the current state of their famously fractious relationship in a new interview with The Times, undertaken to mark the opening of The Kinks: Brothers, an exhibition in London that finds the pair collaborating with English painter Christian Furr, best known in musical circles for his paintings of the Rolling Stones, Marianne Faithfull, Kate Bush and Jimi Hendrix.

“It’s miraculous, really, how we’ve become so bonded,” Dave says, before revealing that the project with Furr has helped to thaw any remaining ice. “We were getting on great. We have fluctuated between getting on really well and not getting on at all over the years, but there’s always been telepathy, since childhood.”

Asked if a Kinks reunion is still possible, he says, “I don’t know, but never say never.”

In late 2023, Ray Davies revealed that he was sitting on a large stash of unfinished new songs by The Kinks, and that both brother Dave and drummer Mick Avory had contributed to the recordings.

“There are about two or three songs I want to finish,” he said. “And when they’re finished, I’ll put the whole thing together.”

Speculation about a possible return to action from The Kinks grew after Ray joined his brother onstage for the first time since 1996 at a show at London’s Islington Assembly Hall in late 2015, when the pair performed the classic You Really Got Me together.

The Kinks: Brothers opens today at the Gibson Garage in London and runs until September 6. The collection is based on a passport booth photograph of the brothers taken in East Finchley, North London, in 1968.

From Metal Blade Records Facebook:

Psycroptic announces US/CAN tour this Fall/Winter with INFERI, Summoning The Lich and label-mates, Cognitive! Tickets go on sale FRIDAY!

11/05 Clifton, NJ – Dingbatz
11/06 Hamden, CT – Space Ballroom
11/07 Montreal, QC – Piranha Bar
11/08 Quebec City, QC – L’Anti
11/09 Ottawa, ON – 27 Club
11/10 Toronto, ON – The Cave
11/11 Detroit, MI – Sanctuary
11/12 Chicago, IL – Reggie’s
11/13 Milwaukee, WI – X-ray
11/14 Menomonie, WI – Zymurgy Brewing
11/15 Winnipeg, MB – Sidestage
11/16 Saskatoon, SK – Black Cat Tavern
11/18 Edmonton, AB – Starlite
11/19 Calgary, AB – Dickens
11/20 Kamloops, BC – The Night Shift
11/21 Seattle, WA – El Corazon
11/22 Portland, OR – Star Theatre
11/24 San Jose, CA – The Ritz
11/25 Anaheim, CA – Parish Room @ HoB
11/27 Phoenix, AZ – Rosetta Room
11/28 Las Vegas, NV – Backstage Bar
11/29 Salt Lake City, UT – Aces High Saloon
12/01 Denver, CO – HQ
12/02 Omaha, NE – Reverb
12/04 Indianapolis, IN – Black Circle
12/05 Pittsburgh, PA – Preserving Underground
12/06 Brooklyn, NY – Woodshop

Go .

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Fernando Perdomo 2026 American polymath’s proof that eliminating lyrics from a song won’t necessarily make it less eloquent. For all his erudite knowledge of pop and rock, continuous quest for obscure gems, and endless desire to experiment with sound, does … Continue reading →

The post FERNANDO PERDOMO – Guitar As A Voice appeared first on DMME.net.

That self-titled effort will arrive through BLBKIIBLK.

The post Forbidden’s First New Album Since 2010 Due In October, Tour And “Psyclops” Music Video Unveiled appeared first on Theprp.com.

The musician Conor Oberst spoke with Joe Coscarelli and Jon Caramanica, hosts of “Popcast,” about navigating stardom, overcoming health struggles, writing political music and playing with his band, Bright Eyes.

Watch the full Popcast conversation with Conor Oberst here. Edited excerpts from the interview are below.

July 18 was a good night to be in Nashville if you’re into the heavier, weirder end of rock. Tomahawk was finally back on stage after a 13-year touring hiatus, and they brought the Melvins with them, which honestly felt right. Both bands have basically built entire careers on not sounding like anyone else, so seeing them on the same bill made a lot of sense. Plus Buzzo and Patton go together like peanut butter and chocolate.

Melvins opened, and they didn’t waste any time. Buzz Osborne and Dale Crover, with Steven McDonald and Coady Willis rounding things out, just came out swinging: heavy riffs, pounding drums, no warm-up lap. The set moved through sludge, punk, that off-kilter groove thing they’ve been doing for something like 40 years now. Songs would stretch out and go somewhere you didn’t expect; Trevor Dunn even jumped on stage at one point. That’s really the Melvins in a nutshell: you show up knowing it’s going to get strange, and it does.

Then Tomahawk came out, and the whole room changed. Mike Patton, Duane Denison, Trevor Dunn, John Stanier – the crowd’s reaction alone told you how long people had been waiting for this lineup to take the stage again.

Patton‘s still got it. He can go from this quiet, haunting thing to a full-on scream in seconds, and somehow none of it feels like a performance for performance’s sake. He was cracking jokes about bowling with the crowd one minute, totally locked in the next. That back-and-forth is a big part of why he’s still so fun to watch live. The rest of the band was right there with him. Denison‘s guitar was sharp and precise all night, Dunn’s bass held everything together without stepping on anyone, and Stanier, as usual, just doesn’t seem to get tired, powering through some pretty complicated rhythms like it’s nothing.

They played stuff from all over their catalog, but the real moment was hearing songs off Tonic Immobility live for the first time. And somehow it didn’t feel like “new songs vs. old favorites”; it all just sounded like them. That’s kind of the whole appeal with Tomahawk, honestly. A song can be dead quiet one second and explode the next, and it never feels like a gimmick. It feels like they know exactly what they’re doing, even in the moments that sound completely unhinged. Brooklyn Bowl was a good fit for it too, small enough to feel every bit of it, but still loud enough that the heavy parts actually hit, plus it was a hometown show to welcome the guys back. People up front were singing along, cheering after every song, just fully there for it. Tomahawk and the crowd were so into it, Patton and crew even gave them 2 encores!

Between the Melvins doing what they always do and Tomahawk sounding this locked-in after being gone for over a decade, the night didn’t really feel like nostalgia. It felt more like these guys never actually lost anything. They just got back up there and picked up exactly where they left off.

The post CONCERT REVIEW: TOMAHAWK Returns In Top Form At Brooklyn Bowl After A 13 Year Hiatus appeared first on Sonic Perspectives.