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  • Remembering that time Rush’s Alex Lifeson trolled the Rock And Roll Hall Of Fame with the most ridiculous awards speech ever

    Awards shows can be a tiresome old thing. We sit for hours on end, watching celebrities be wheeled out one after the other to give carefully scripted introductory speeches, before handing awards to their celebrity mates, who give carefully planned, endlessly long speeches of their own, thanking everyone they’ve ever met in their decades of existence, before finally walking off with a gong that’ll inevitably end up in a draw or on a toilet shelf somewhere.

    Alright, maybe that’s a little over the top – when done right, awards shows can be a legitimate and emotional way to pay tribute to our heroes – but whether it’s an overly sanitised Brit Awards or a Rock And Roll Hall Of Fame that can’t seem to go a year without pissing off a fanbase or two, it certainly feels like, for the most part, when it comes to awards, we’ve just seen it all before.

    It’s perhaps why legendary Rush guitarist Alex Lifeson decided to take matters into his own hands when Rush were inducted into the Rock And Roll Hall Of Fame in 2013. The induction was widely accepted in the rock community as a huge victory for prog music, and a moment of vindication for a band who had often been treated snidely by certain corners of the rock media and fanbase.

    This didn’t stop Lifeson, however, deciding to undermine the whole shindig in the most hilarious way possible. Following warm, eloquent and heartfelt speeches by his Rush bandmates, bassist/vocalist Geddy Lee and drummer Neil Peart, the guitarist proceeded to spend no less than two and a half minutes ‘blah blah blah’-ing into the microphone.

    We’re not being facetious. He literally spends his entire speech saying ‘blah’ in more ways that we ever thought possible, from imitating instruments to pretending to have a phone call and, most brilliantly of all, mocking the teary-eyed acceptance speeches of many an awards show gone by.

    As it dawns on the star-filled audience that this isn’t merely an opening gag, Lifeson’s bandmates look on in amusement, and a ludicrous moment of Rock And Roll Hall Of Fame history is born.

    Years later, Lifeson would comment on the speech, telling Rolling Stone: “Well, it just seemed like a good idea at the time. I had a speech written and I was trying to memorize it and I couldn’t remember it. And I thought I might as well just [go] ‘blah blah blah.’ And I thought, ‘Well, that’s a good idea.’ And so I thought it would tell the story of our history and how we got to that stage without using any words. And the interesting thing is that everybody remembers my speech.”

    Watch the iconic moment below.

  • Listening Now : N.A.N – Not A Number – Monolith

    N.A.N – Not A Number’s Monolith is a captivating blend of shoegaze, atmospherick rock, and cold wave, wrapped in a cinematic atmosphere that mirrors its exploration of technological alienation. Lush guitar layers, shimmering synths, and understated vocals create a melancholic yet immersive sound, while the gradual rise from introspective verses to a driving bridge gives the track a compelling sense of movement. Inspired by the enigmatic symbolism of 2001: A Space Odyssey, Monolith balances emotional subtlety with sonic ambition, offering a thoughtful and richly textured introduction to the band’s forthcoming album.

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  • AC/DC Gives Fans More Than a Concert With PWR/UP Pop-Up Experience

    AC/DC is bringing exclusive PWR/UP Pop-Up experiences to every stop of its North American tour, featuring limited-edition merch, photo ops, giveaways, collectibles, and more for fans before the show.

    The post AC/DC Gives Fans More Than a Concert With PWR/UP Pop-Up Experience appeared first on Audio Ink Radio.

  • Saliva Release “Edge Of A Knife” Music Video

    Their new album “Breaking Through” is due in August.

    The post Saliva Release “Edge Of A Knife” Music Video appeared first on Theprp.com.

  • Album Review: Vmbra – Polylith

    Album Review: Vmbra – Polylith

    Reviewed by Dan Barnes

    Manchester Progressives, Vmbra (pronounced Umbra) have been making serious waves since their inception in 2021, the 2022 release of debut EP, RESVRGAM and the solidification of the band as a four-piece. Since that time, the band have released a sophomore EP, DELAPSVS, in 2024 and had a wow of a year in 2025 with appearances at RADAR festival in their hometown, and winning the Manchester heat of Metal 2 the Masses, leading to a spectacular slot on Bloodstock’s New Blood Stage, where they captivated hearts and bamboozled minds with their performance.

    This month sees the release of Vmbra’s full-length debut record, Polylith, where the band get the chance to show they can capture the emotional depth of the EPs and the explosive energy of their live performances into forty-seven minutes.

    Early tasters have dripped out in the shape of A Man Walks In and Wyrm, both of which demonstrate a slightly different aspect of Vmbra. …Walks In opens Polylith with a host of punchy beats, enticing guitars played over a robust low end, and with Ai Sánchez’s hypnotic vocals, it all adds to create an atmosphere that permeates throughout the album. Slow building, with seamless combinations of the musical harshness and the lushly melodic, A Man Walks In feels like the fatalistic consideration of individual existence that it is.

    Wyrm continues those ideas, extending the exotic combinations and the Eastern vibes to offer a different perspective on the band’s aesthetic. Short musical moment, Reside on High is something of a firebreak, leading into the spastic rhythms and angular riffs of Coldest Heights. They give way, through a moment of electronics, to a simple drumbeat and a fragile guitar, all held together by a pulsing bass. The combinations enmesh perfectly and the deep resonance at the mid-section gives a warning that all is not bright and breezy.

    Pariah feels thematically linked to A Man Walks In, even thought it begins with a swing and a piano, the distance between the unmoving bottom end and the delicate vocal reflects those themes admirably. The largely acoustic Fooled Me Once finds Ai giving a masterclass in how vocals can act as an instrument in one of Polylith’s most emotive moments. You Are the Sun starts like you’ve somehow switched to Zeppelin’s debut and Good Times, Bad Times opening section. Even more bizarre is, although this features the most aggressive moments from Ai across the whole record, the pre-choruses could have been lifted out of a Take That track; how do I know such things?… How indeed!

    For me, good as Vmbra have been so far on Polylith, it’s the two, seven-minute-plus compositions that really show the band’s chops. Dark Sheperd and You Leader use every arrow in their not inconsiderable quiver, to expose the two areas it is generally not advised to discuss: Politics and Religion. Both tracks have a conversational style, with the domineering vocal standing as the status quo, arguing for more control because it’s good for us; Ai represents the individual, the soul whose beauty comes from the autonomy of free-thought and expression without interference.

    Vmbra’s musical palette is well-used in this exploration, combining hard-edge, dissonant riffs of the oppressive and the lush, lilting lines of the unbridled. It’s Urban vs Rural, Will vs Grace and – at the risk of being controversial – Male vs Female. You Leader, in particular has the feeling of being musical theatre and is a fine way for the band to close out their debut.

    I think we can safely conclude Vmbra have shown beyond any reasonable doubt that they are capable of producing a full-length record which match their talents for EPs and in a live environment. I was at Manchester’s Metal 2 the Masses final a couple of weeks ago and they continued to wow, showing both Wyrm and A Man Walks In are killer live tracks too. If there is any justice in this world, Vmbra would be on the fast train to the big-time, stat. But, knowing how the industry treats talent, let’s just hope that isn’t the Train to Busan.

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    The post Album Review: Vmbra – Polylith appeared first on The Razor's Edge.

  • “Music is a personal journey. Once you make it, it belongs to the world.” Geoff Tate on the third instalment of what’s now an Operation Mindcrime trilogy

    Fourteen years after his toxic dismissal from progressive-metal monarchs Queensrÿche, Geoff Tate has released a new solo album, Operation: Mindcrime III, recorded by the singer and his current backing group.

    Lightning bolt page divider

    Eighteen years separated Queensrÿche’s Operation: Mindcrime and its sequel. Since then, two more decades have passed. What made you decide it was time to do chapter three?

    I didn’t [laughs]. I happened to listen to Mindcrime II during lockdown and realised it was all about the lead character, Nikki. I hadn’t listened to Mindcrime in a while, and I realised that was about Nikki, too. That started me thinking: “Who is Doctor X?” We don’t really get to know him. So I started taking some notes, and that led to songs being written.

    Can you give us a thumbnail sketch of the plot of the new record?

    In a paragraph or two?! No. But I guess it’s about Doctor X: who is he? How did he get to where he is? And why does he have this power over the other characters?

    Has the storyline been left open for a fourth album?

    That could probably happen… if I thought about it for long enough.

    Ronnie James Dio was a guest on Mindcrime II. Any cameos this time?

    None as famous as Ronnie, but John Moyer [of Disturbed] played bass. He’s pretty famous in certain circles. John also produced the album and made it sound incredible.

    Is Pamela Moore back as Sister Mary?

    No, not for decades. Clodagh McCarthy, a very talented lady from my band, plays that role.

    In picking up the story, did you feel there was any obligation to consult the former Queensrÿche members?

    None at all.

    Compared to the first Mindcrime, which was a huge hit, Mindcrime II received a mixed response. Do you think those criticisms unwarranted?

    I don’t have a view on how it was received. I don’t take a survey. I never read reviews. Music, in my opinion, is a personal journey. Once you make it, it belongs to the world.

    You almost had me believing you for a moment there.

    I’m being honest. Music either affects you or it doesn’t. There’s no way I could convince somebody to listen to something, or to enjoy it.

    But Mindcrime II did okay sales-wise?

    Again, I don’t know. It’s the only record that we recouped on [made money from the record company], I do know that. With the new album there’s no record company involved, it’s being self-released.

    How are you finding that?

    It’s simple: we put the record up for sale. People will buy it if they like it, and if they don’t they won’t. I don’t understand the big mystery. If you have an audience, they’re pretty likely to check it out. And I have an audience.

    This year you’re performing the original Mindcrime in its entirety for a final time. How will the show be structured?

    We will play Mindcrime I in its entirety, plus excerpts from Mindcrime II and Mindcrime III. Then, if we get an encore, we’ll play tracks from other albums.

    Operation: Mindcrime III is available from the Geoff Tate website.