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Trap a toddler, just any foundling who wanders into your snare, and he’ll tell you: maximum gross-out can never be induced by sight, smell, touch, or taste alone. No, it’s that combination of all or some of the above that we call texture–texture is the most reliable shortcut to the gag reflex. With that in mind, Ferox eyed the self-titled debut from Aussie sextet Slime Dimension. AMG Industries already has a Vomit Guy on staff. Could I carve out a similar niche for myself in all things slimy and mucous-y? Ya gotta specialize to survive the onslaught of n00bs coming for your spot. I want to be Snot Guy! Will these nine tracks of death metal, delivered in a fleeting, sneeze-like twenty-six minutes, get me there? Empty your sinuses on me, Slime Dimension, and let’s find out.

When you unwad the tissue that is Slime Dimension, you may be surprised by the nuggets inside. The band name and album art promise something burbling and viscous. Instead, Slime Dimension traffics in polished and even catchy melodeath. From the moment you click “play,” it’s apparent that this platter is more of a sweet treat than it is a pile o’slop. Opener “Carcass Gravy” snaps you to attention with big Skeletonwitch vibes, as thrash-y riffs and Chance Garnette-style vocals fly by in a blur. Track after track whips past, with Slime Dimension displaying an aptitude for infectious choruses (“Carcass Gravy,” “The Beyond”) and tastefully dispensed guitar solos (“Weightless, Unhinged,” “Necrotic Solace”) that evoke genre titans The Black Dahlia Murder. Sprinkle it all with an overlay of the Party Lovecraft ethos that distinguishes Xoth and Slugdge from their peers, and it’s apparent that Slime Dimension has coughed up an appealing loogie. Even if this long player never escapes the shadow of its influences, Slime Dimension is still mostly worthy of the sliver of time it asks of you.

This is all familiar territory, but Slime Dimension make small choices along the way that keep things from getting mired in formula. The guitars of Sloptimus Slime and Slimeon Phoenix (a duo that’s been replaced since recording by Arnold Sludgenator and John Slimebo) intersect with the songs in interesting ways. They don’t simply plop a solo down two-thirds of the way through every track. That restraint makes the classic rock-inflected bars that finally drop during album centerpiece “Weightless, Unhinged” land harder than they otherwise might. These well-conceived dollops of novelty pop up throughout the slab’s brief run to make twenty-six minutes disappear before anyone has time to say “Gesundheit.”

The time might fly by too fast. Slime Dimension is a fleet and entertaining listen, but few moments stand out or leave a lasting impact. “Weightless, Unhinged,” “Necrotic Solace,” and closer “The Beyond” sport dynamic songwriting, and all three will stick to the wall if you flick ’em yonder. There are no outright duds on the platter, but the remaining tracks can feel like they’ve been buffed and shined to the point of becoming slight. Slime Dimension’s debut is crafted with enormous good cheer, from the earworm riffs to the slime-based fake names that come off just a bit goofy. The album lacks substance, though; there’s never enough nutritious gristle to justify the insulin spike these nine offerings are sure to induce.

An inessential good time is still a good time. Slime Dimension spew forth with a strong handle on their sound and the ability to channel their influences with brio. I got through this album with ease each and every time I played it. I’d bet large sums that the band is a ton of fun in a live setting. If they’re going to make an impact in the studio, though, they might want to balance their exuberance with something stickier.

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Rating: 2.5/5.0
DR: 8 | Format Reviewed: FLAC
Label: Self-Release
Websites: slimedimension.bandcamp.com|slimedimension.com
Releases Worldwide: September 11th, 2026

The post Slime Dimension – Slime Dimension Review appeared first on Angry Metal Guy.

One Alice in Chains album didn’t get the love it deserves.

The post The Most Underrated Alice in Chains Album Ever Released appeared first on Audio Ink Radio.

LEAP have shared a new track, serving as their first for new label Epitaph as well as first since the release of their debut album ‘Entropy’.

Titled ‘Bloodlines’, it’s a perfectly constructed piece of pop-rock, overflowing with jangly chords and rhymthmic basslines and bolstered by a chorus made to get trapped inbetween your ears.

It’s an extension of their journey so far as it is an expansion on the unifying and euphoric sound that have developed for themselves.

Vocalist Jacky Scott had this to say about it:

“Bloodlines is our first single since our debut album last year and it’s the first thing we wrote after we wrapped that record. A lot has changed for us in the past year, and this track kinda feels like it captures the madness of that journey a bit. It’s a song about that cosmic pull that keeps bringing you back to someone no matter how toxic, but it’s still got that playful side, like we’re celebrating the chaos. We’ve been writing loads so we cannot wait to start releasing music again, and this single feels like the start of something new.”

LEAP are on the cover of the new issue of Rock Sound, as part of our British Summer group. You can pick up a copy right now from SHOP.ROCKSOUND.TV

The post LEAP Share Glistening New Track ‘Bloodlines’ appeared first on Rock Sound.

Mötley Crüe will celebrate 45 years of their debut album Too Fast For Love with a definitive deluxe limited-edition box set, released through BMG on 30 October 2026. The collection brings together the album’s original 1981 Leathür Records version and its 1982 Elektra Records edition, alongside rare live recordings, the band’s first studio demos and replica memorabilia.

A previously unreleased March 1981 demo, Nobody Knows What It’s Like To Be Lonely, is available now with an accompanying music video.

Too Fast For Love Turns 45

Originally self-released in November 1981, with only 900 LPs pressed on Mötley Crüe’s own Leathür Records imprint, Too Fast For Love was a fiercely independent opening statement. The band’s growing reputation on the Los Angeles live circuit helped make the record a sought-after underground release, and Elektra Records signed Mötley Crüe less than six months later.

A remixed and remastered edition, featuring a revised tracklist, followed in August 1982. Lead single Live Wire reached a wider audience through radio and MTV, while the band’s punk attitude, glam-rock swagger and explosive stage presence helped distinguish them within the emerging Los Angeles Heavy Metal scene.

Too Fast For Love was certified Platinum in the US and Gold in Canada. It reached No. 77 on the US album chart, No. 17 on the UK Rock & Metal Albums chart, No. 77 on the Scottish Albums chart and No. 95 on the Swiss Albums chart.

Live Wire has remained a cornerstone of Mötley Crüe’s live set, while the band’s current tour also features Too Fast For Love and Take Me To The Top.

45th Anniversary Deluxe Edition Contents

• One LP featuring the remastered 1981 Leathür Records ten-track version
• One LP featuring the remastered 1982 Elektra Records nine-track version
• Two LPs of rare live recordings from the 1982 Perkins Palace performances
• One LP featuring Mötley Crüe’s first studio session from March 1981
• A 100-page hardcover book with rare and previously unpublished early-band photographs
• A replica of the original demo cassette
• A replica of the original seven-inch single
• A CD of the 1981 Leathür Records ten-track version
• A replica poster
• A lyric book

Fans can watch the deluxe box set unboxing and pre-save, pre-add or pre-order the anniversary release.

An ultra-limited edition, featuring additional elements in a hand-numbered run of 250 copies, will be sold exclusively through the Crüeseum. Standard CD and LP editions will also be available, together with retailer-exclusive physical editions.

The Leathür Records version of Too Fast For Love will also become available on streaming services for the first time.

Too Fast For Love 45th Anniversary Tracklists

1981 Leathür Records Version – LP And CD

Side A: Live Wire; Public Enemy #1; Take Me To The Top; Merry-Go-Round; Piece Of Your Action.

Side B: Starry Eyes; Stick To Your Guns; Come On And Dance; Too Fast For Love; On With The Show.

1982 Elektra Records Version

Side A: Live Wire; Come On And Dance; Public Enemy #1; Merry-Go-Round; Take Me To The Top.

Side B: Piece Of Your Action; Starry Eyes; Too Fast For Love; On With The Show.

Live At Perkins Palace 1982 – 2LP

Side A: Take Me To The Top; Looks That Kill; Public Enemy #1; Red Hot.

Side B: Starry Eyes; Piece Of Your Action; Shout At The Devil.

Side C: Merry-Go-Round; Running Wild In The Night; Hotter Than Hell.

Side D: Live Wire; Knock ‘Em Dead, Kid; Helter Skelter.

March 1981 Demos

Side A: Nobody Knows What It’s Like To Be Lonely; Public Enemy #1; Stick To Your Guns.

Side B: Take Me To The Top; Tonight.

Stick To Your Guns / Toast Of The Town 1981 Seven-Inch Single

Side A: Stick To Your Guns.

Side B: Toast Of The Town.

Original 1981 Demo Cassette

Sides A and B: Public Enemy #1; Take Me To The Top; Stick To Your Guns; Toast Of The Town. The programme repeats on both sides.

The Return Of The Carnival Of Sins Tour

Mötley Crüe are currently touring North America on The Return Of The Carnival Of Sins Tour, their first full tour in three years. The 33-city run marks the 20th anniversary of the band’s 2006 Carnival Of Sins Tour and continues until 26 September.

Part of the proceeds from every ticket sold will be donated through the Mötley Crüe Giveback Initiative to ASAP! (After School Arts Program), supporting hands-on music and arts programmes for students. Tickets and VIP packages are available from the official Mötley Crüe website.

Remaining 2026 Tour Dates

• 10 September – Dallas, TX – Dos Equis Pavilion
• 11 September – Houston, TX – The Cynthia Woods Mitchell Pavilion
• 13 September – Albuquerque, NM – First Financial Credit Union Amphitheater
• 16 September – Phoenix, AZ – Talking Stick Resort Amphitheatre
• 18 September – Chula Vista, CA – North Island Credit Union Amphitheatre
• 19 September – Long Beach, CA – F&M Bank Amphitheater
• 21 September – Salt Lake City, UT – Utah First Credit Union Amphitheatre
• 23 September – Wheatland, CA – Toyota Amphitheatre
• 24 September – Mountain View, CA – Shoreline Amphitheater
• 26 September – Ridgefield, WA – Cascades Amphitheater

The post Mötley Crüe Announce Too Fast For Love 45th Anniversary Box Set first appeared on MetalTalk – Heavy Metal News, Reviews and Interviews.

Soundgarden teamed up with The Pretty Reckless vocalist Taylor Momsen and Pearl Jam guitarist Mike McCready on September 9 for a special NFL show at Seattle’s Lumen Field.

Following McCready’s pre-show rendition of the US national anthem, the hometown heroes performed Outshined and Spoonman during the halftime break at the Seattle Seahawks’ NFL season opener against New England Patriots.

The Seahawks, who defeated the Patriots earlier this year in Super Bowl LX, won 13-10.

Momsen has performed lead vocals with the surviving members of Soundgarden on several occasions since the death of frontman Chris Cornell on May 17, 2017. Her band, The Pretty Reckless were the opening act on Soundgarden’s last tour with Cornell, and she subsequently sang at the 2019 I Am the Highway tribute concert and at their 2025 Rock & Roll Hall of Fame induction ceremony.

Soundgarden guitarist Kim Thayil and drummer Matt Cameron also guested on The Pretty Reckless’ 2021 album, Death By Rock And Roll, on the song Only Love Can Save Me Now.

“Chris Cornell’s work speaks to me on a level that nothing else does,” Momsen told NME earlier this year. “When something touches you that way, it’s hard to put into words just exactly why. There is just this connection, and it’s like it is speaking to you on a level that is so deep that it feels like a part of you. I’ve listened to his solo work and to Soundgarden so many times, but every time I listen to them, it evokes something different in me.

“There is the sheer amount of depth and sensitivity and aggression… [but] also, it’s so smart. It’s musically exquisite and complex — like this never-ending onion where you discover something new about it and about yourself every time you listen to it. I think that is so powerful and so fucking rare. It’s coming from a place that’s so deep and so powerful that it touches your soul.”

A post shared by Seattle Seahawks (@seahawks)

A photo posted by

Taylor Momsen + Soundgarden, + Mike McCready at halftime… only in Seattle do we get football with a side of grunge https://t.co/M3pixXP2lpSeptember 10, 2026

Soundgarden are currently putting the finishing touches to unreleased material featuring Cornell.

“It’s atypical in the way we approach it,” Thayil said in an interview with LifeMinute. “There isn’t a record label budgeting time and money with a particular schedule with everybody else’s obligations, professionally or with family or whatever. We have to find the time and coordinate amongst ourselves to address the work. It’s coming.

“It’s important for the legacy of Soundgarden,” he added. “It’s important for the legacy of Chris Cornell. It is doing right by our collective work. It is doing right by our partner and friend.”

Posted on September 10th 2026, 11:43am

Live Review – A New Day Festival 2026 Mt Ephriam Gardens, Kent – August 21st-23rd, 2026 Reviewer / Photographer – Paul Dubbelman A New Day Festival (ANDF) celebrated its 10th Anniversary in the picturesque settings of Mt Ephriam Gardens, near Faversham, Kent with a blend of classic rock, prog, roots and blues that have proved […]

The post Live Review – A New Day Festival 2026 appeared first on ROCKPOSER DOT COM.

Posted on September 10th 2026, 11:10am

Ian Parry continues his ongoing Consortium Project series of connected concept-based albums with a sixth chapter titled Legacy of Empires. As usual, it’s a masterful slice of progressive metal with symphonic tendencies. Ian’s been around for decades now going back to the likes of Elegy. He got the Consortium Project off the ground back in […]

The post Ian Parry’s Consortium Project VI: Legacy of Empires Review first appeared on New Wave of British Heavy Metal.

When the 9/11 attacks took place in 2001, former Yes keyboardist Tony Kaye’s need to express his emotions sent him back to making music for the first time in several years. The result was his debut solo album, End Of Innocence, which took two decades to complete. In 2021 he told Prog about its creation.

Tony Kaye has a very good reason for not previously making a solo album in his lengthy and distinguished career. “The Dark Side Of The Moon has already been done and so has The Six Wives Of Henry VIII,” he says. “I had no clue what else to write about!”

Now living in Florida, the former Yes keyboardist – a founding member of that band’s predecessor Mabel Greer’s Toyshop, who went on to work with David Bowie, Yoso, Badfinger, Flash and Badger – adds that despite considering a solo project, he’d never found any passion for the idea. “I’m the sort who needs to be inspired,” he explains. “I’m not a natural songwriter who can sit down and it all comes out. I have musical ideas in my head; but in the past I had to abandon thoughts of making my own album because there was nothing for me to focus on.”

All that changed on September 11, 2001. “I was living in LA at the time, and a friend of mine phoned and told me to turn on the TV. Like so many, I was transfixed by what was happening before my eyes. My mind was racing, telling me I had to go to the garage and dig out my keyboard, which I hadn’t touched for five or six years. I set it up in a very hot room and started coming up with music – and so I began this 20-year journey, reaching the point where the album has finally come out.”

Two weeks after 9/11 occurred, Kaye met his wife-to-be, Dani Torchia, who’s been heavily involved with the album. “We’ve shared this adventure. She’s a singer and songwriter herself, and came up with the track Sweetest Dreams. I told her I wanted something about the first responders who arrived on the scene, and that’s what she wrote. It was perfect; we recorded it immediately.”

However, Kaye wasn’t exactly set up to record. “All I had was an eight-track cassette recorder. I used it to do the 911 Overture, the first piece I composed,” he explains. “But I then I got to grips with new technology, so I could transfer everything I’d done on that cassette machine to a much more advanced computer programme.” It was far from plain sailing: “I lost some of the multitracks! So I was forced to go back to the original recordings and use a few on the final album. That worked out much better than I’d feared.”

This resultant album, End Of Innocence, might have been in the pipeline for two decades, but he hasn’t been concentrating solely on the project all that time. “No, that would have driven me crazy! I wrote and recorded in batches. I had no record deal, so no deadline. But when I reconnected with the Yes guys for Cruise To The Edge in 2019, their management took on the project and signed me to Spirit Of Unicorn. They said if I wanted to have it ready for the 20th anniversary of 9/11, I had to hurry up and complete it. That’s where being in lockdown really helped – I could fully focus on the album as there was nothing to distract me.”

Along with his wife, Kaye had help from several others. “I got to know Jay Schellen, who’d been helping out Yes, and he came in to do some of the drumming. You can hear him on Flight 11, which is my interpretation of the conversations on the plane; Jay did a brilliant job in bringing it to life. There are also some local friends of mine who play on some tracks.”

Kaye argues that End Of Innocence doesn’t allow the listener to dip in and out. “You have to play the album from start to finish. It’s is the only way you can sense what was going through my mind. How did I feel once this was completed? Emotionally exhausted! I wouldn’t say it was in any way cathartic to write and record it, but when I listened back, it fully reminded me of my personal journey over these last 20 years.”

He believes the title sums up the impact of 9/11 and its aftermath. “The world seems a more dangerous place as a result of that atrocious attack. I wanted to reflect that and End Of Innocence does that – it sums up the darkness and fear, which inevitably colours the musical atmosphere.”

He’ll donate 10 percent of the profits from sales of the album to the Gary Sinise Foundation, which supports veterans and first responders when they face times of hardship. “I’m a very big fan of him as an actor and have always been interested in the fact that he raises a lot of money for those who put their lives at risk to help others,” he says. “It’s a charity I’m very happy to support.”

Now he’s bitten the bullet, is he ready to make a second solo album? “I’ve no plans for another,” he admits. “As I said , I’m not someone who can just sit down and have songs pour out. If I was to do a second solo record, it would be because something had truly inspired me the way 9/11 did.”