Category: news

Fred Durst received a congratulatory letter from World Trade Center officials on September 10. Twenty-four hours later, the towers fell. Continue reading…

Here are 25 rock and metal songs that were written about the tragedy that struck when the World Trade Center was attacked on Sept. 11, 2001. Continue reading…

Dogstar, Theory of a Deadman and Trans-Siberian Orchestra all announced significant tours this past week. Continue reading…

Back in January we talked to Anna Butterss, the LA-based bassist with too many cool affiliations to keep track of. (SML, Jeff Parker’s ETA IVtet, Makaya McCraven, Jason Isbell, boygenius, Neko Case, Flea… the list goes on.) Butterrs also makes solo albums, though as you might expect, they tend to feature a bunch of the other great musicians in their orbit.

The post Anna Butterss – “Ninths” appeared first on Stereogum.

Steven Wilson, a six-time Grammy Award nominee as a musician, songwriter, and producer, has laid out the details of his ninth studio album. Requiem for a Village lands via Fiction Records on Friday, Nov. 6, with a format spread that covers digital, CD, Blu-ray, 140g double-LP black vinyl, a 2x Oxblood 12″ vinyl edition, and a box set holding two CDs and a Blu-ray disc packaged inside a 96-page hardback book.

Where Wilson‘s well-received eighth album, 2025’s The Overview, pushed outward into the vastness of deep space, Requiem for a Village pulls the lens way in — down to a fictional, forgotten pocket of the British Isles that feels untouched by the modern world. It’s a place where Stanley Spencer paintings line the local gallery, where M.R. James and Algernon Blackwood stories fill the public library shelves, and where the Children of the Stones play out in the market square. Wilson steered clear of A.I. and any corrective studio tricks this time, leaning instead into organic instrumentation and letting imperfections stay in the mix rather than getting scrubbed out.

Described as intimate, ambitious and more than a little eccentric, Requiem for a Village carries a narration penned by XTC‘s Andy Partridge and read by David Tennant — known for Doctor Who, Broadchurch and Rivals. Longtime collaborator and multi-instrumentalist Randy McStine, drummer Russell Holzman , and vocalist Katherine Priddy round out the backing musicians.

The title track, “Requiem for a Village,” premiered today across DSPs and streaming platforms — a chaotic burst of frantic drums, a driving bassline, and jagged guitars that build into something like a soundtrack for the end of the world. A companion live performance video, the first entry in a planned Village Sessions series filmed with McStine and Holzman, also went up today on YouTube. Alongside all that, an exclusive clip of the album’s narration dropped earlier in the week, tied to a new website styled as a parish council page for the fictional village, stacked with song and lyric references and hidden Easter eggs for fans to dig through.

“I wanted to get back to a kind of music where you can hear the metaphorical thumbprints,” said Wilson. “Doubling down on the human gestures and flaws in the music, stuff that can’t be created using software. For example using only analogue synths with all their unpredictability, or not having instruments perfectly in tune. But it also lead to me picking up the violin, the oboe, or trying my hand on the drums — playing things I don’t really know how to play but getting something out of them that inspired me in ways I didn’t expect. Approaching the music with a sense of innocence and seeing where it took me. And where it took me was to the village.”

Wilson will give the album an early spin during a DJ set at London’s The Social (5 Little Portland Street, London, W1W 7JD) on Tuesday, Sept. 22. Billed as Songs From the Village, the set will trace the influences behind the record, pulling from the hazy textures of Boards of Canada and Demdike Stare, the eerie ragas of Third Ear Band, and the unsettling tone of British children’s television and broadcasts from the 1970s. Proceeds go to Here 2 Belong, a U.K. charity that supports care-experienced young people as they move into independent living.

The following month brings two already-sold-out shows at London’s Royal Albert Hall on Oct. 28-29 — Wilson‘s seventh time headlining the venue. The performances will feature new orchestral arrangements of The Overview alongside other material prepared specifically for the shows, backed by his band, the Parallax Orchestra, and the Sansara Choir under conductor Tom Richards. More live dates are expected to follow.

Requiem for a Village is available to pre-order here.

The post STEVEN WILSON Shares Title Track From Upcoming Album “Requiem For A Village” appeared first on Sonic Perspectives.

There exists a certain species of electronic music that has been embalmed by its own admirers, preserved beneath enough black clothing, antique drum machines, and solemn references to 1981 that you half expect the Smithsonian to issue the next twelve-inch. Mercury Girl’s latest single Spirit Forward escapes that mausoleum because Aaron Pena sounds less interested in curating the past than in using its machinery to pick a fight with the present.

Pena, the Filipino American San Diego musician behind Mercury Girl, works with the familiar furniture of cold wave: stiff percussion, bass lines that keep walking even when the room feels empty, synthesizers that seem permanently one bad voltage spike away from collapse. Spirit Forward, however, has a wiry nervous energy that puts it somewhere between Black Marble’s private unease, the laboratory pop of Oppenheimer Analysis, Tom Vek’s angular minimalism, and the sideways rhythmic intelligence of Talking Heads. The bass carries most of the physical argument, a rubbery little engine repeating itself beneath chords that keep looking upward as though expecting an answer from a ceiling full of dead fluorescent tubes.

The question is the oldest one available: “What’s the meaning of all of this?” Pena understands that asking it in 2026 means pushing through advertising, algorithms, compulsory self-branding, endless feeds, and the faint suspicion that somebody has already converted your existential crisis into a subscription tier. Its beat suggests motion without destination, which turns out to be a useful musical equivalent for living inside a culture forever promising connection while quietly perfecting isolation.

“This song mirrors the frustrations I, and I’m sure many others, have had when trying to make sense of life and the meaning behind it, especially in a world so enveloped with distracting you from doing so,” says Pena. “We’re all fed ideas about who and what we should be; this song rejects those expectations.”

Pena recorded the material with vintage synthesizers and half-working sequencers, and you can hear the appeal of equipment that misbehaves, because human uncertainty sounds better when the machines possess a little uncertainty of their own. The arrangement has space, but never comfort; every open patch seems to leave another philosophical bill unpaid.

Listen to Spirit Forward below and order the single here.

Ahead of Mercury Girl’s debut album, A NuTone, Spirit Forward makes a persuasive case for Pena as a songwriter who understands that cold wave can still carry blood, doubt, humour, and the embarrassing human need to ask enormous questions while the drum machine keeps perfect time.

Follow Mercury Girl:

• Instagram
• Spotify
• Bandcamp

The post San Diego Coldwave Act Mercury Girl Shares Atmospheric Second Single “Spirit Forward” Ahead of Debut Album “A NuTone” appeared first on Post-Punk.com.

Live Nation Brasil has announced that Sepultura‘s farewell concert, set for Nov. 7, 2026 in São Paulo, Brazil, is switching venues. The show moves from Mercado Livre Arena Pacaembu, a roughly 26,000-capacity stadium, down to the Suhai Music Hall, which seats just over 9,000. Support slots from Krisiun, Sacred Reich and Metal Allegiance are unaffected.

Tickets already purchased for the stadium date will carry over to the new venue, and anyone who can’t make the switch can request a refund.

The original venue carried some baggage: formerly known simply as Pacaembu, the stadium reopened on Jan. 25, 2025, timed to São Paulo’s anniversary, and came back as Mercado Livre Arena Pacaembu with a trimmed capacity of 26,000 and its famous “Tobogã” section torn out entirely. The renovation was meant to modernize the site, adding a hotel and making the complex more workable for events outside of sports.

That stadium wasn’t picked at random — it’s been tied to Sepultura since the early 1990s, most notably through the legendary show the band played at Praça Charles Miller, right outside its gates, a gig that helped cement the band’s standing in Brazil.

This isn’t being billed as a simple goodbye show. Organizers are framing it as a full-blown celebration of Sepultura‘s history, pulling in different eras, generations and collaborators from across the band’s 40-year run — a tribute to both the band and to Brazilian heavy music’s reach worldwide.

Metal Allegiance is bringing serious firepower to the bill, with a lineup that includes Mike Portnoy of Dream Theater; Alex Skolnick and Chuck Billy of Testament; Phil Demmel, formerly of Machine Head; Troy Sanders of Mastodon; and bassist and founder Mark Menghi.

Also confirmed are Krisiun, widely regarded as one of the best death metal bands on the planet, and American thrash outfit Sacred Reich.

A handful of musicians tied to Sepultura‘s past are expected to show up too, including Jean Dolabella and Jairo Guedz — the latter having played guitar in the band before Andreas Kisser took over that role.

Sepultura formed in Belo Horizonte back in 1984 and went on to become the most globally recognized Brazilian rock band ever, reshaping what heavy metal could sound like along the way. Albums like Beneath the Remains, Arise, Chaos A.D. and Roots left a mark on entire generations and paved the way for Brazilian metal on the world stage.

Over the decades, the band played nearly every major festival stage that matters, from Rock in Rio and Lollapalooza to Wacken Open Air, Hellfest and Download — a résumé that puts it firmly in metal’s history books.

Sepultura‘s farewell tour kicked off on March 1, 2024 at Arena Hall in Belo Horizonte, Brazil, with a sold-out crowd on hand for the live debut of new drummer Greyson Nekrutman, previously of Suicidal Tendencies.

The North American leg of that farewell run, billed as the “Celebrating Life Through Death” tour, brought out thrash veterans Exodus, hardcore stalwarts Biohazard , and up-and-comers Tribal Gaze as support. It opened April 29 in Montclair, New Jersey, worked its way through cities across the U.S. and Canada, and wrapped May 29 at The Wiltern in Los Angeles.

The post SEPULTURA Moves Farewell Show To Smaller Venue In Brazil appeared first on Sonic Perspectives.

Emerging at the end of rap’s mixtape era and thriving at the dawn of streaming, the swaggy, triplet-happy Atlanta rap trio Migos built up one of the most appealing catalogs of any 2010s rap act: lacing our playlists with heater after heater, topping the charts with “Bad And Boujee,” and, with 2017’s Culture, delivering a classic album. That legendary run eventually petered out. The various members pursued their solo careers. And then, seemingly, the Migos project came to an end with Takeoff’s death in November 2022.

The post Quavo Says He And Offset Are Planning One Last Migos Album And Tour appeared first on Stereogum.

It’s well-known that late Motörhead legend Lemmy Kilmister was fond of an alcoholic tipple, and was a generous host when inviting fans, friends, and peers to join him for a celebratory drink.

But as Ricky Warwick, frontman of The Almighty and Black Star Riders, and a solo artist in his own right, recalls in the new issue of Classic Rock magazine, trying to keep pace with the indomitable rock ‘n’ roll hero could be a challenging, and indeed potentially hazardous, pursuit.

When The Almighty first burst onto the UK music scene at the tail end of the 1980s, Ricky Warwick made no secret of the fact that Motörhead were one of the band’s key influences, and that Lemmy was one of his heroes. As it turned out, Lemmy was a fan of The Almighty too.

“When we started coming to London we’d bump into Lemmy in places where he hung out, like the St. Moritz club [in Soho],” Warwick recalls. “He was brilliant with me straight off the bat, very friendly, very funny, and he always offered loads of advice.”

In 1991, The Almighty were offered the opportunity to support Motörhead on their 1916 album tour, which Warwick recalls being “huge” for his band. Ahead of that tour, both Motörhead and The Almighty were booked play a music conference in Los Angeles called the Foundations Forum, and Lemmy invited Warwick to hang out whenever he got to LA.

“So we arrived at the hotel,” Warwick tells Classic Rock, “and Lemmy had left a note for me, saying: ‘I’m in room blah blah blah, come up.’ It’s, like, three in the afternoon, and I’m jet-lagged to fuck, but I knock on this door, and there’s a full-on party going on.

“Through the smoke I see Lemmy in his denim cut-off, his tight denim shorts and a cowboy hat. They’d just finished mixing 1916, so he sat me down, racked me out the biggest fucking tramline of whatever the fuck it was, poured me a pint of Jack Daniel’s and Coke, put headphones on me, and goes: ‘Listen to this’.”

“I’m buzzing, I’ve got the new Motörhead blasting, and Lemmy keeps topping up my glass. I’m trying to be cool, but as it’s coming to the end of the album, the room is spinning, and I’m thinking, Fuck, I’m in a bad way here, this isn’t good.”

What happened next makes for painful reading, even if Warwick is laughing as he shares the memory.

“So I get up to tell Lemmy what I think of the album,” he continues, “and my legs just go, I fall flat on my face on the floor, the pint glass shatters and cuts my fucking eyebrow when I land on it, and I throw up at the same time.

“So I’m fucking lying there in a pool of blood, and vomit, and glass, and snot, and then I feel this acrid breath close to my face, and it’s Lemmy going, ‘Warwick, you’re a fucking lightweight, you’ll never make it’.”

Happily, losing face in front of Lemmy didn’t ruin Warwick’s friendship with the great man.

“We did the 1916 tour, and we couldn’t have been treated better,” he recalls. “Lemmy and all the guys in Motörhead were just fantastic, and I miss them a lot.”

You can read the interview in full in the new issue of Classic Rock.

Saosin releases explosive new single, ‘Just Be Honest’ was originally published on HM Magazine by Nao Glover.

Saosin continues to assert themselves as one of the most dominant voices in today’s rock scene with their latest single “Just Be Honest.” Born out of betrayal and a desire for closure, “Just Be Honest” turns that pain into power with brooding melodies and a crushing performance from vocalist Cove Reber. Directed by the band’s bassist Chris Sorenson, […]

Saosin releases explosive new single, ‘Just Be Honest’ was originally published on HM Magazine by Nao Glover.