There’s a certain kind of anger that doesn’t just sit—it moves. It mutates. It finds a way out. On their latest single, ‘Parasite,’ New Jersey deathcore unit 9 Dead let it rip.
Formed in 2020 in Gloucester City, the quartet has been steadily building a name for itself through a mix of modern slam brutality and early deathcore bite. That momentum has already carried them further than most bands at this stage—onto festival stages, into collaborations with heavy hitters like Eddie Hermida (Suicide Silence, All Shall Perish) and Don Campan (Waking the Cadaver), and, increasingly, across the Atlantic. Now, they’re doubling down.
“It’s our second time going over to Europe in under a year, and all of us still can’t believe it ourselves,” says vocalist Jonathan Stauffer. “First time we did seven countries, this time twelve. We absolutely love it over there and can’t wait to see our friends and fans again.”
That same intensity fuels ‘Parasite,’ a track that feels less like a calculated release and more like a pressure valve finally blowing.
“We were really angry as we were creating it,” Stauffer explains. “You might hear ‘the anger’ within the song itself. But what’s cool about music, especially this genre, it allows us to vent. Whether we had a bad day at work or this or that, the beauty in music is its magic power, freeing ourselves to escape within it, and forget about life for a while.”
That balance—between chaos and catharsis—is exactly where 9 Dead thrives. There’s a rawness to ‘Parasite’ that doesn’t feel overly polished or overthought; it’s immediate, physical, and built for impact, whether that’s through earbuds or in the pit.
And with a 12-country European run on deck, they’re about to test that impact the hard way. If ‘Parasite’ is any indication, the response won’t be subtle.
For decades, Shinichi Atobe was considered shadowy. Until last May, the 50-something Japanese artist had not been interviewed. He seldom performs, save for the occasional appearance at a space near his apartment in Saitama — such as WWW in Tokyo or the FFKT festival. “When I listen to great music, my own work can feel immature,” he tells me in an email, when questioned about his choice to stay private. “I still feel like I’m learning.” In spite of the humility and reclusiveness, Atobe’s discography is one of the most revered in deep house and techno.
All of our shows start with a simple premise: invite some of our favorite singer-songwriters to share a stage. On June 18th, that stage is the legendary Café Wha? in New York City. Charlie Marie possesses a voice that draws comparisons to country music’s classic era—the kind of singing that stops a room. Her songs […]
Polish progressive rock outfit Riverside have been dealt another major shake-up, as also guitarist Maciej Meller (who joined the band as a touring member in 2017) announces his departure from the band. Read more…
Dave Grohl reflected on Nirvana‘s legacy and the years following Kurt Cobain‘s death in an appearance on the Broken Record Podcast. He said (transcribed by Blabbermouth): “The Nirvana experience was — I don’t even know what the word is for it. It was just something else — in all the best and worst ways. And when you go through something like that with a small group of people, you’re forever connected by that. We’re a big family, all of the people that were there, and we all do love each other.”
The Foo Fighters frontman described how music pulled him through the loss: “When Nirvana ended, I kind of knew… Well, at first it was hard for me to get through it. And then I realized that music is the thing that’s going to get me through it.”
Grohl also spoke at length about his bond with Nirvana bassist Krist Novoselic: “Krist has such a gigantic heart and such a brilliant, amazing mind. And Krist sees the world through an entirely different lens than anyone you’ve ever met, in the most beautiful way. He’s an artist. And he’s a writer. And he’s the same. The first day I ever met him, he had not changed. And so the experience that we had together in Nirvana, we’ll be connected by that forever. And just as we all continue to move forward in life and live life, it’s like, we’re still beautiful, loving friends. And whenever I see him, it’s a trip… So, yeah, he’s amazing.”
In a separate interview with Apple Music‘s Zane Lowe, Grohl described the search for safety in music right after Nirvana ended: “I think that we all wound up in places that felt… I don’t want to say comfortable, but safe. When I went into the studio and recorded that stuff by myself, I felt safe there. And I can’t speak for Krist, but I think at that time it was like we were just trying to get our feet back on the ground. For me, that’s something that I thought, ‘Okay, well, music is the thing that’s going to rescue me.’”
He talked about what it felt like to approach the old material again in the years that followed: “It’s such a weird thing to feel afraid to play songs. And for a long time, it’s like I was even afraid just to sit down at a drum set and play the opening riff to ‘Smells Like Teen Spirit’. It just seemed sort of forbidden. And so the few times that Krist and Pat [Nirvana guitarist Pat Smear] and I have gotten together to do it, it’s a trip… The noise that the three of us make together, you don’t really get that noise anywhere else. The way that Krist strums his bass lines, the bass that he uses, the equipment he uses, his sense of feel and time, it’s like all of those things, combined with Pat, with that crazy Germs/Pat Smear guitar thing. And then some loud-ass drums, when it happens, you’re just, like, ‘Oh, fuck, I remember this. Shit, I haven’t heard this in 35 years.’ It’s a really beautiful sound and a beautiful feeling.”
Grohl was equally direct on Cobain‘s stature as a songwriter: “The songs that he wrote, I think he wrote them to be heard. I think that most songwriters, when they write songs, want them to be heard or you want them to be felt or you want — not necessarily validation, but you want someone to feel what you feel, just as a listener wants to feel what the artist feels.
“I don’t know what the exact intention was, but I do know that Kurt was one of the greatest songwriters of all time. And it was inevitable that his songs would be recognized as some of the greatest songs of all time.”
Nirvana was inducted into the Rock and Roll Hall of Fame in 2014, introduced by R.E.M.‘s Michael Stipe. Grohl, Novoselic, and Smear performed four tracks at the ceremony with guest vocalists including St. Vincent, Lorde, Sonic Youth‘s Kim Gordon, and Joan Jett.
Blues rock has always thrived on the collision between feeling and force. It takes the soul, groove, and storytelling tradition of the blues and combines it with the volume, swagger, and energy of rock and roll. The result is one of the most enduring styles in modern music, a genre powered by overdriven guitars, commanding vocals, and songs that can hit just as hard decades after they were first recorded.
From the British blues explosion of the 1960s to the arena-filling revivalists of the 2000s, blues rock has continued to evolve while staying rooted in the same emotional core. Every era has produced artists who found new ways to channel the sound, whether through fiery improvisation, sharp songwriting, or larger-than-life performances.
Narrowing the genre down to only 10 songs is no easy task. There are dozens of worthy contenders and countless classics left on the outside. But these selections are not simply great tracks. They are essential songs that helped define the style, inspired generations of musicians, and remain key listening for anyone wanting to understand blues rock.
Cream – “Crossroads”
Few live recordings changed the course of blues rock like Cream’s version of “Crossroads.” Originally rooted in Robert Johnson’s “Cross Road Blues,” the song was transformed into a high-voltage showcase for Eric Clapton, Jack Bruce, and Ginger Baker. Recorded live, it captured the trio operating with the kind of fire that only great bands can summon on stage.
Clapton’s guitar tone became legendary for a reason. It is thick, urgent, and packed with feeling, while Bruce and Baker drive the performance with barely controlled chaos. The result is a song that feels dangerous in the best possible way. Beyond the musicianship, “Crossroads” helped younger rock audiences trace the lineage back to the Delta blues. It remains one of the genre’s most important bridge songs between eras.
Rory Gallagher – “Bad Penny”
Rory Gallagher built his reputation the hard way, through relentless touring and unforgettable performances. “Bad Penny” remains one of his defining studio cuts, a song that captures everything fans loved about him. The riff is punchy and memorable. His voice sounds honest and unfiltered. Then the guitar enters with the kind of conviction that made Gallagher a hero to serious players across generations. There is no wasted motion here. “Bad Penny” is direct, tough, and full of personality. It is blues rock stripped down to its essentials.
ZZ Top – “La Grange”
Some riffs do all the talking. “La Grange” opens with one of the most recognizable guitar figures ever recorded, and from that moment forward the song never lets go. ZZ Top understood groove better than most of their peers. Billy Gibbons’ guitar tone is greasy and sharp, Dusty Hill’s bass keeps things moving, and Frank Beard’s drumming gives the track a steady swagger. Nothing about it feels forced.
The song became a massive hit because it works on multiple levels. Casual listeners love the hook, musicians appreciate the pocket, and blues fans hear the Texas roots underneath it all.
The Black Crowes – “Remedy”
When many mainstream acts were chasing newer trends, The Black Crowes doubled down on groove, attitude, and classic influences. “Remedy” became the payoff. Chris Robinson attacks the vocal with charisma, while Rich Robinson anchors the song with a riff built more on feel than flash. The band sounds loose, confident, and alive, which is exactly what the song needed. Most importantly, “Remedy” proved blues-based rock still had a place in a changing era. It did not feel retro. It felt real.
Stevie Ray Vaughan & Double Trouble – “Pride and Joy”
Stevie Ray Vaughan did not just revive blues rock in the 1980s. He supercharged it.
“Pride and Joy” remains one of the clearest examples of why he made such an immediate impact. His rhythm guitar work is every bit as impressive as the lead playing, filled with snap, groove, and perfectly placed accents. Tommy Shannon and Chris Layton swing hard behind him, giving the song a pulse that never quits. There is joy in the performance, but also authority. Vaughan sounded like a player who had fully absorbed the tradition and was ready to carry it forward.
Joe Bonamassa – “Mountain Time (Live)”
Modern blues rock needed artists who could bring the genre into larger venues without losing its soul. Joe Bonamassa answered that call, and “Mountain Time (Live)” is one of the strongest examples. The performance unfolds gradually. It begins with atmosphere and patience before opening into soaring solos and dynamic peaks. Bonamassa never rushes the journey, which makes the payoff stronger when it arrives.
Live blues rock at its best should feel like a story being told in real time. That is exactly what happens here.
Free – “All Right Now”
Some songs become so familiar that people forget how great they really are. “All Right Now” falls into that category.
Paul Rodgers delivers a masterclass in rock vocals, soulful without overreaching. Paul Kossoff answers with guitar playing built on taste and touch rather than speed. His phrasing is a lesson in saying more with less. The song’s mainstream success helped bring blues-rooted rock to a huge audience, but its staying power comes from the groove. Decades later, it still feels effortless.
Gary Moore – “Still Got the Blues”
Not every essential blues rock song has to roar. Some cut deepest when they ache. Gary Moore’s “Still Got the Blues” is built on emotion from the opening note. His tone sings, bends cry out, and every phrase feels carefully chosen. Moore had world-class technique, but the brilliance of this recording is how little he needs to prove it.
The song also helped reintroduce expressive blues guitar to a wider audience in the 1990s. It remains one of the genre’s most moving ballads.
The Allman Brothers Band – “Whipping Post” (Live at Fillmore East)
If someone asks what a great live band sounds like, play them “Whipping Post.” The Allman Brothers Band took blues roots, Southern soul, jazz-like improvisation, and rock power, then fused it all into one towering performance. Gregg Allman’s vocal carries real weight, while Duane Allman and Dickey Betts trade scorching guitar passages throughout the extended arrangement. What stands out most is the band chemistry. Every turn feels instinctive. Every buildup lands. It is not just a song, it is an event.
Derek and the Dominos – “Layla”
Few songs have ever combined heartbreak and power like “Layla.” Eric Clapton poured raw emotion into the performance, and the result became one of the most iconic recordings in rock history.
The opening riff is immortal. Duane Allman’s slide work adds another dimension, creating a conversation between guitars that lifts the entire track. Then comes the famous piano coda, shifting the mood into something reflective and almost cinematic.
“Layla” endures because it offers everything blues rock can be: passionate, melodic, explosive, and deeply human.
Riot V has announced the departure of frontman Todd Michael Hall, who had been with the band since 2013. Italian vocalist Valentino Francavilla of White Skull steps in as a temporary replacement for the band’s upcoming 2026 tour dates.
Todd broke the news on social media: “I am stepping down as the lead singer of Riot V. Being a member of Riot V has made many of my rock & roll dreams come true. While the opportunity has been life-changing, it has meant that I have not been able to prioritize other aspects of my life. After 13 years, 3 albums, and over 200 live shows, I need to take a break to focus more on my wife, my family, and my family business.”
“Regardless of what my future holds, I wish the guys the best of luck. I am grateful to Donnie [Riot V bassist Don Van Stavern] and Mike [Flyntz, Riot V guitarist] for the opportunity to be a small part of the Riot legacy. I deeply appreciate the friendship of Donnie, Mike, Frank [Gilchriest, Riot V drummer], Nick [Lee, Riot V guitarist], and Jonathan [Reinheimer, Riot V guitarist]. I am also very proud of the music we made and thankful to everyone who promoted and supported us.”
“I am blessed to have met so many wonderful people along the way. God bless everyone around the world who welcomed me warmly, cheered loudly, and sang along. You have brought great joy into my life. Thank you.”
The band followed with its own statement, confirming the split and introducing Valentino: “ATTENTION METAL WARRIORS! We have important news for Riot‘s upcoming 2026 tour dates — it seems like a lot of bands are going through this with members!”
“Unfortunately, singer Todd Hall has informed us he cannot perform with the band anymore at this point because of family issues. We wish the best for him and thank him for his years in the band, and who knows what the future might hold! In the great tradition of the band and in Mark Reale‘s beliefs and words, ‘the show must go on’ for the fans! Mike and Don have been a part of the band for over 40 years, and this is not the first time we have had to deal with this situation, and on such short notice. We have searched for fill-ins for the 2026 tour runs, and luckily, we have recruited Italian guitar virtuoso/singer Valentino Francavilla! Valè has been a longtime fan of the band and performed with us in Japan, and loves this opportunity to help out one of his favorite bands, belting out the highs and a little guitar!”
“As for the long-term, we will keep all you Metal Soldiers posted for updates on fill-ins and a permanent situation! We are currently working on our 18th record, so stay tuned. Warriors, we will never surrender! Thank you and see you soon! Shine On! — DVS, Mike, Frank, Jonathan, and Mark!”
Todd joined Riot V in 2013 following the death of founding member Mark Reale, recording three studio albums with the band: Unleash The Fire (2014), Armor Of Light (2018), and Mean Streets (2024), plus the live releases Live At Keep It True Festival (2018) and Live In Japan (2019).
Before Riot V, he was a member of Jack Starr‘s Burning Starr. His solo work includes Sonic Healing (2021) and Off The Rails (2024), both with Metal Church guitarist Kurdt Vanderhoof via Rat Pak Records. In 2020, he made the top 20 on Season 18 of NBC’s The Voice, landing on Team Blake.