This is one of those things that is not terrible, but also is not good enough that you would seek it out again, mainly because this IPA still tastes like a normal beer with some lemon juice added.
The fermenty flavors of regular American beer, tamed a bit, intrude on the IPA nature of this beer, so that instead of a nice lemony bitter diatribe of forgotten hopes and failed dreams, you get a Michelob that someone poured a little bit of a real IPA into.
It is not bad. Far from it, it is very pleasant. But like most things California, it is mostly hype, and so you get fooled in the moment, but once you go home to think it through, you see the self-interest behind the hype and never will return.
The Smashing Pumpkins will return to the road this fall with The Rats In A Cage Tour, a North American run built around the 30th anniversary of the band’s 1995 double-album opus Mellon Collie and the Infinite Sadness. The trek opens September 30 in Columbus, Ohio, and runs through mid-November, with each show promising two distinct sets: one devoted to Mellon Collie and another spanning nearly four decades of Pumpkins material, from fan favorites to deeper cuts.
The band says the Mellon Collie portion of the night will be presented in a “highly theatrical setting,” while the second set will pull from the rest of the catalog, including songs from Gish through the band’s most recent album, 2024’s Aghori Mhori Mei. Corgan called the idea of a Mellon Collie-themed show something the band has discussed “for over a decade.”
Tickets go on sale to the general public Thursday, May 21, at 10 a.m. local time, following Citi and Verizon presales beginning Tuesday, May 19, and a VIZ CLUB fan-club presale on Wednesday, May 20. VIP packages will include a pre-show acoustic performance and Q&A with the band, lounge access, memorabilia, exclusive merch, and priority merchandise shopping.
The announcement follows several days of teasing that culminated in a “Requiem For ZERO” event at the Hollywood Legion Theater in Los Angeles, where 300 guests witnessed a symbolic funeral for ZERO, the silver-pants-and-star-shirt avatar Corgan first inhabited during the original Mellon Collie era. Before the tour begins, the Pumpkins will headline Lollapalooza in their hometown of Chicago on July 31, marking their first return to the festival in more than 30 years.
The new tour also arrives after an unusually active period for Corgan and company. The Smashing Pumpkins released Aghori Mhori Mei on Aug. 2, 2024, through Martha’s Music and Thirty Tigers, their first album after longtime guitarist Jeff Schroeder’s departure. Following an open audition that drew more than 10,000 applicants, the band brought in guitarist Kiki Wong for its touring lineup.
In 2025, Corgan also launched Billy Corgan and The Machines of God for the “A Return To Zero” tour, revisiting material from Mellon Collie, Machina/The Machines of God, Machina II/The Friends & Enemies of Modern Music, and Aghori Mhori Mei. That same anniversary cycle included A Night of Mellon Collie and Infinite Sadness, Corgan’s collaboration with Lyric Opera of Chicago, which reimagined the album with orchestra, chorus, and operatic soloists.
Corgan has also been busy behind the mic on his podcast, The Magnificent Others, with Billy Corgan, which recently featured a 97-minute conversation with David J of Bauhaus and Love and Rockets. In the May 13 episode, David J discussed growing up in working-class England, discovering reggae and punk, the accidental birth of “Bela Lugosi’s Dead,” and Bauhaus’ mission to dismantle rock conventions.
See the full list of The Rats In A Cage Tour dates below.
The Smashing Pumpkins — The Rats In A Cage Tour:
Sept. 30 — Columbus, OH — Schottenstein Center Oct. 2 — Boston, MA — TD Garden Oct. 3 — Baltimore, MD — CFG Bank Arena Oct. 4 — Brooklyn, NY — Barclays Center Oct. 6 — Pittsburgh, PA — PPG Paints Arena Oct. 7 — Hamilton, ON — TD Coliseum Oct. 9 — Montreal, QC — Bell Centre Oct. 11 — Madison, WI — Kohl Center Oct. 13 — St. Paul, MN — Grand Casino Arena Oct. 14 — Chicago, IL — United Center Oct. 16 — Charlotte, NC — Spectrum Center Oct. 17 — Jacksonville, FL — VyStar Veterans Memorial Arena Oct. 18 — Tampa, FL — Benchmark International Arena Oct. 20 — Indianapolis, IN — Gainbridge Fieldhouse Oct. 22 — Nashville, TN — The Truth Oct. 24 — Oklahoma City, OK — Paycom Center Oct. 25 — Austin, TX — Moody Center Oct. 27 — Denver, CO — Ball Arena Oct. 29 — Salt Lake City, UT — Delta Center Oct. 30 — Las Vegas, NV — MGM Grand Garden Arena Nov. 1 — Portland, OR — Moda Center Nov. 3 — Calgary, AB — Scotiabank Saddledome Nov. 5 — Vancouver, BC — Rogers Arena Nov. 6 — Seattle, WA — Climate Pledge Arena Nov. 8 — San Jose, CA — SAP Center Nov. 11 — Phoenix, AZ — Mortgage Matchup Center Nov. 12 — Los Angeles, CA — Kia Forum Nov. 14 — Huntington Beach, CA — Darker Waves Festival
STREAM THE FULL LOADED RADIO PODCAST INTERVIEW BELOW:
Tarja Turunen is currently standing at the precipice of her most aggressive musical chapter to date. As the Finnish soprano prepares for the June 12, 2026, release of her tenth solo studio album, Frisson Noir (Free-sohn Nwahr), she is finally addressing the high-octane evolution of her sound and her high-profile creative reconciliation with a former brother-in-arms.
In an expansive new sit-down on the Loaded Radio Podcast, the symphonic metal pioneer reveals why her new record is the “heaviest of her career,” the truth behind working with extreme metal icon Dani Filth, and what it really feels like to share a stage with Marko Hietala again in 2026.
Frisson Noir: Beauty Meets Brutality
After years of traversing cinematic orchestrations and rock landscapes, Tarja’s 2026 return to pure metal is a deliberate, hard-hitting statement. Produced by Tarja herself and mixed by the Grammy-nominated Neal Avron (Linkin Park, Disturbed), Frisson Noir marks a significant departure from her previous solo efforts, leaning heavily into industrial textures and aggressive riffing.
The album’s second single, “I Don’t Care,” features a shocking collaboration with Cradle of Filth frontman Dani Filth. Tarja describes the track as a “fierce declaration of independence,” pitting her soaring operatic soprano against Filth’s razor-sharp screams. “I have always admired how Dani has created a brand that stands out,” Tarja explains. “I truly believe he is perfect for this song, where I praise individualism and simply don’t give a shit about what others have to say.”
The Hietala Connection: ‘Leap of Faith’ and the 2026 Reunion
Perhaps the most significant development for fans is Tarja’s renewed partnership with Marko Hietala. Following their overwhelmingly successful “Living The Dream Together” European tour circuit, the duo has officially immortalized their creative reconnection on the new track “Leap of Faith.”
The collaboration follows eighteen years of silence between the two icons, a gap that was finally bridged during their 2024–2025 world tour. On the podcast, Tarja reflects on the “natural and easy” chemistry she still shares with Hietala, noting that their shared history allows them to reinterpret their musical legacy with a fresh, modern perspective. The track is already being hailed as a centerpiece of the new album, combining Hietala’s gritty, introspective vocals with Tarja’s unparalleled power.
FAQ: Tarja Turunen ‘Frisson Noir’ and 2026 Updates
When is the new Tarja Turunen album being released?
Tarja will release her new metal album, Frisson Noir, on June 12, 2026, via earMUSIC.
Who is the guest singer on Tarja’s song ‘Leap of Faith’?
The track features Marko Hietala (ex-Nightwish), marking a major studio reunion for the two symphonic metal legends.
Is there a collaboration with Dani Filth on the new album?
Yes. The second single, “I Don’t Care,” features Dani Filth of Cradle of Filth.
Tarja Turunen is a world-renowned Finnish singer-songwriter and a pioneer of the symphonic metal genre. After rising to global fame in the late 1990s, she successfully transitioned into a prolific solo career that spans ten studio albums and multiple chart-topping releases. Known for her three-and-a-half-octave vocal range and her ability to blend classical opera with heavy rock, Tarja remains one of the most influential and respected women in the history of heavy music.
Tarja Turunen has completed her heaviest album to date, ‘Frisson Noir,’ featuring collaborations with Dani Filth and Marko Hietala, marking a massive new era for the symphonic metal queen.
Does Tarja’s move into a heavier, more collaborative sound prove she is still the leading force in symphonic metal, or is the reunion with Marko Hietala the real reason 2026 is her biggest year yet? Let us know in the comments below.
There is no stopping the juggernaut that is Lorna Shore. As they tear through the final leg of their massive 2026 North American headlining tour, the New Jersey quintet has once again proven why they are the most formidable force in modern extreme metal. This week, the band unveiled a visceral new official video for “In Darkness”, a standout track from their latest masterpiece, I Feel The Everblack Festering Within Me.
Frontman Will Ramos continues to defy human biology with a vocal performance that ranges from guttural depths to banshee-like shrieks, all while maintaining a commanding stage presence that has turned every venue on this tour into a site of sonic worship. “This tour has been about pushing our limits,” Ramos shared. “The energy from the fans has been unlike anything we’ve ever experienced.”
The Symphonic Carnage Continues
The “In Darkness” video captures the raw, unfiltered chaos of their live show, blending cinematic visuals with the band’s signature symphonic arrangements. Guitarist and mastermind Adam De Micco has crafted a soundscape that is as beautiful as it is brutal, a balance that has become the hallmark of the Lorna Shore sound. With sold-out shows in every major city, the band is not just playing concerts; they are leading a movement.
As the tour prepares to wrap up in late May, rumors are already circulating about a massive European summer festival run. For now, the world remains in the grip of the Everblack. If you haven’t witnessed this era of Lorna Shore yet, you are missing out on the evolution of heavy music.
I Feel The Everblack Festering Within Me is out now via Century Media Records. The tour continues through May 22nd.
There is no stopping the juggernaut that is Lorna Shore. As they tear through the final leg of their massive 2026 North American headlining tour, the New Jersey quintet has once again proven why they are the most formidable force in modern extreme metal. This week, the band unveiled a visceral new official video for “In Darkness”, a standout track from their latest masterpiece, I Feel The Everblack Festering Within Me.
Frontman Will Ramos continues to defy human biology with a vocal performance that ranges from guttural depths to banshee-like shrieks, all while maintaining a commanding stage presence that has turned every venue on this tour into a site of sonic worship. “This tour has been about pushing our limits,” Ramos shared. “The energy from the fans has been unlike anything we’ve ever experienced.”
The Symphonic Carnage Continues
The “In Darkness” video captures the raw, unfiltered chaos of their live show, blending cinematic visuals with the band’s signature symphonic arrangements. Guitarist and mastermind Adam De Micco has crafted a soundscape that is as beautiful as it is brutal, a balance that has become the hallmark of the Lorna Shore sound. With sold-out shows in every major city, the band is not just playing concerts; they are leading a movement.
As the tour prepares to wrap up in late May, rumors are already circulating about a massive European summer festival run. For now, the world remains in the grip of the Everblack. If you haven’t witnessed this era of Lorna Shore yet, you are missing out on the evolution of heavy music.
I Feel The Everblack Festering Within Me is out now via Century Media Records. The tour continues through May 22nd.
Waiting is rarely part of metal’s vocabulary, but Dimmu Borgir have never moved on anyone’s schedule but their own. Eight years separate Grand Serpent Rising from Eonian — long enough for trends to cycle twice, for rivals to dissolve and reform, for the band’s own lineup to shift. In 2024, guitarist Galder departed after a quarter century to return his focus to Old Man’s Child, dissolving the three-headed creative partnership of Shagrath, Silenoz, and Galder that defined Dimmu Borgir’s imperial era. Lesser bands calcify under that kind of pressure. Dimmu Borgir made arguably their finest record.
That claim deserves scrutiny, so here is the evidence: since forming amid Norway’s second-wave black metal moment in 1993, Shagrath and Silenoz have spent three decades refining a sound that exists somewhere between the acrimony of Gorgoroth and the orchestral grandeur of Nightwish, threading the needle between genuine blackened menace and widescreen theatricality with a sophistication that most of their contemporaries only approximate. Puritanical Euphoric Misanthropia (2001) established the formula; Death Cult Armageddon (2003) expanded it with full orchestral integration; Eonian (2018) showed the seams, its orchestrations sometimes sitting atop the guitars rather than inside them. Grand Serpent Rising addresses that imbalance directly and with authority.
Conceptually, the album traces an esoteric arc — the Kundalini, or Serpent Fire, the ascending spiritual current rooted in Hindu tantric tradition that is said to awaken dormant divine centers within the practitioner, transforming the seeker across lifetimes. For Dimmu Borgir, who have always operated at the intersection of occult aesthetics and genuine philosophical inquiry, this is native territory. The serpent of the title is not a horror image; it’s a symbol of renewal and gnosis — shedding skin, ascending, transcending the mortal condition. The thematic coherence never hardens into a rigid concept-album structure, but the thread runs through the record’s thirteen tracks, giving Grand Serpent Rising a gravitational center that Eonian lacked.
That coherence extends to the production. Working once again with Fredrik Nordström — the Gothenburg producer behind both Puritanical Euphoric Misanthropia and Death Cult Armageddon — Dimmu Borgir have achieved something genuinely difficult: a symphonic black metal record that sounds organic. The stated goal was to capture the band as a live unit, and the result bears it out. The orchestrations and keyboards, handled by Gerlioz, no longer float above the instrumentation like a separate layer of lacquer; they are woven into the arrangements deliberately, appearing where they add mass and receding when they would crowd the riff. The decision to scale back the choirs is the right one — their absence is felt as tension, and their entry on tracks like “Repository of Divine Transmutation” hits with corresponding weight. Daray’s drum work deserves particular attention: where Eonian buried the kit in a processed morass, the natural timbre and resonance of the drumheads are audible on Grand Serpent Rising, lending a dimensionality that gives the rhythm section actual presence in the mix.
The guitars — shared between Silenoz and guest guitarist Kjell ‘Damage’ Karlsen of Chrome Division — hold the record together. Karlsen is not Galder, but his contributions are judicious where they need to be and ferocious where the song demands it. The intro to “Repository of Divine Transmutation” immediately establishes his command of Dimmu Borgir’s melodic vocabulary, and his solo in “Ascent” — the opening proper after the brief orchestral overture “Tridentium” — sets the record’s tone with precision: aggressive and technically assured, but never indulgent. Silenoz and Karlsen trem-pick with purpose, and the crystalline clean passages in “As Seen in the Unseen” provide relief from the album’s sustained intensity without releasing its tension. Shagrath, meanwhile, deploys his characteristically less abrasive vocal palette — a baritone croak that slides into melody — with the assurance of a vocalist who knows exactly where his instrument lives in the frequency range. On “Slik Minnes en Alkymist,” one of two tracks recorded in Norwegian, that instinct feels particularly well-calibrated, the native language giving the melodic phrasing an extra weight that English would have softened.
“As Seen in the Unseen” and “The Qryptfarer” are the album’s twin peaks. The former threads razor-sharp melodic hooks through an atmosphere of coiling, decorative austerity — it is the record’s most immediate track and also one of its most intricate. The latter resounds with the kind of unhurried confidence that comes from a band who genuinely know what they’re doing: the interplay between the orchestration and the riff is as precisely calibrated as anything Dimmu Borgir have written. Both tracks demonstrate how thoroughly Silenoz and Shagrath have absorbed the lesson of Eonian‘s shortcomings and corrected course.
At sixty-nine minutes across thirteen tracks, Grand Serpent Rising is a substantial commitment. The back half tests that commitment in ways the front half does not: “Shadows of a Thousand Perceptions” and “Recognizant” are competent but don’t hit with the force of the record’s strongest material, and the closer “Gjol” — a reference to the Norse mythological river that separates the living from the dead — resolves the album’s spiritual arc with an atmospheric restraint that is conceptually fitting but may leave some listeners reaching for a more cathartic endpoint. Whether that restraint is a sequencing misstep or a deliberate tonal choice is a question that repeated listens haven’t fully resolved.
What is not in question is the accomplishment: Grand Serpent Rising is the most fully realized record Dimmu Borgir have made since Death Cult Armageddon, and the first time in two decades that the band’s symphonic ambitions and their black metal instincts have been in genuine equilibrium.
The Serpent has shed its skin. What emerges is the most dangerous Dimmu Borgir in twenty years.
The website contains all sorts of hipster bullshit for anal cuckolds, but the beer is good: it is a slightly fruity but lemon-bitter IPA similar to Karbach Hoppadillo Juicy, but slightly gentler.
Gentler! Yes, it has more rounded edges, maybe due to the wheat malt they threw in which gives it a slight taste of 1980s Coors. But in general, this is a great all-day beer because despite its bitterness like my black nihilistic heart, it also has a good breadth of flavor and no fermenty or vinegary rough edges.
What do you want from a beer? It needs to taste distinctive, have balance in that taste, deliver alcohol (optional if you are a DD), and leave pleasant memories of those experiences, which Stash IPA does with panache despite being from a hipster shithole town.
Last month, Lowertown released “Worst Friend,” the third (and best?) single from their upcoming album Ugly Duckling Union. Now, they’re back with one final preview before the record release this Friday. It’s called “Mice Protection,” and it serves as the opener. “The first song written for Ugly Duckling Union, the song starts with an exhale,” the…
