Dude, just shut up. He may be a talented drummer, but goddamn does System of a Down’s John Dolmayan say some dumbass shit sometimes. I’m not gonna get into all of it here—you can very, very easily look it up for yourself—but he’s basically like a MAGA puppet that’s for whatever reason allowed to walk around on his own. What’s funny about the situation at hand though is he thinks South African actress Charlize Theron is the one who said some dumbass shit when in reality, what was said wasn’t dumb, and Theron wasn’t even the one who said it in the first place.
Dolmayan took to his Instagram a couple days ago to react to a screenshot that claimed Theron said: “What drives me is this: my children are all queer. My Eldest child is non-binary. My son is gay. My youngest child is fluid.” Sweet words, whether they came from Theron or not, right?
Well, Dolmayan decided to take his giant, kick drum blasting foot and shove it up his own ass, because he posted the screenshot to his stories along with the caption:
“This woman should be in an asylum or jail. These children are being mentally abused, statistically impossible!”
Here’s the thing though—while Theron does openly advocate and support trans rights, and she has two adopted children, one of whom is transgender, this quote is misattributed to her. She never said it!
Instead, the words actually came from another actress, Academy Award-winning Marcia Gay Harden. According to People, Harden said the following back in 2023:
“What drives me is — my children are all queer. My eldest child is non-binary. My son is gay. My youngest is fluid. And you know, they are my kids and they teach me every day.”
Whether Charlize said it, or Marcia, the point is it’s not hard to support your children for who they are. Like, it’s really, really not. Maybe John didn’t feel nearly enough of that love growing up and that’s why he’s out here in these streets acting this way now? Something to think about, but put the phone down, John. Put it down, in another room, and go find some compassion.
On the evening of 13th April, Glasgow’s intimate club venue Slay played host to a triple bill of black metal mastery. The lineup featured Spain’s Noctem, Britain’s Winterfylleth, and headliner Blackbraid, whose rising profile brought the crowd together for a night that promised fierce energy, sonic depth, and a sense of unity within the genre. … Continue reading Gig Review: Blackbraid / Winterfylleth / Noctem – Slay, Glasgow (13th April 2026)
Justin Bieber’s Coachella Weekend 1 set has been spawning a lot of conversations online. Some people argue that him bringing out a laptop to sing karaoke over his old music videos was lazy; others argue that he’s endured enough in his career and should be able to do whatever the hell he wants. Either way, he switched things up for his Weekend 2 headlining performance last night, bringing out a slew of special guests: Billie Eilish, SZA, Sexyy Red, Big Sean, and Dijon.
With the mystery of no officially announced support acts, it’s safe to say anyone with a taste for the brutal and melodic were thoroughly surprised yet tantalised by newly formed band TheBoyShadow. Connor Sweeney, former guitarist for Liverpool-based metalcore band Loathe, unveiled his new project by releasing the group’s one and only published single on … Continue reading Gig Review: President / TheBoyShadow – SWG3 Galvanizers, Glasgow (15th April 2026)
April 2026 He recorded with Tim Hardin and produced Long John Baldry, he arranged strings for THIN LIZZY and RENAISSANCE and conducted orchestras onstage with FACES, he worked with such different artists as AIR SUPPLY and BAD COMPANY, he credited … Continue reading →
Brad Marino released his 5th studio album Agent of Chaos on April 3rd, and it truly embodies the sound he’s been perfecting for decades. For those not familiar with Brad Marino, he has created a niche in the art of power pop and garage rock. In all his releases, he originates punchy power pop with classic punk and rock energy, and in his new release that identity feels more prominent than ever. On Agent of Chaos, Marino maintains his signature Ramonescore style by pairing sharp guitars with mesmerizing melodies and catchy choruses. The production has a vintage sound to it that complements the songwriting and overall vibe, giving the album a nostalgic and timeless feeling.
Agent of Chaos starts off with the track “Blowing Smoke”, an immediate burst of energy that sets the tone for everything that follows. With a 90’s pop punk, garage rock vibe, buzzing guitars, and infectious hooks, it wastes no time pulling you in to want more. It’s a perfect opener for this album, and just made me want to get up and dance. The next track “Dissin’ & Dismissin’” slows things down a bit and focuses more on groovy driven melodies. It’s a perfect track to help to show that Brad has range.
“Voodoo” brings the energy back up with catchy riffs and a strong melodic core. I feel like this is one of his best, most straightforward power pop moments on the album.
“Murder and Violence” is one of my favorites on this album. The dark-sounding title is a bit misleading, as it’s actually a pretty upbeat song, though lyrically it’s deeper that it sounds. I just really love the tambourine, the melodies, and the overall sound of it. I’ve always been a fan of songs that hide dark and disturbing lyrics behind upbeat and catchy melodies.
“I Don’t Want You Anymore” is another track that makes me want to get up and dance. With pretty straightforward lyrics, it’s super catchy and easy to remember. Followed by “Regards”, another upbeat, infectious track that surprised me with a harmonica! It works so well in his album, I absolutely love the classic rock feel it added. This is also one of my favorites on the album, another one that is very catchy, groovy, and full of character. “Calling Your Bluff” keeps that same energy with great guitar hooks and solid songwriting. This one oddly feels like a classic you could have been listening to for decades now, proving that Brad Marino keeps the true sound and spirit of punk rock and roll alive.
“Lost Without You” draws you in from the moment it starts til it ends. With straightforward and captivating lyrics, it’s another slower track that leans into that classic power pop and Ramonescore sound. The next track is my favorite on the whole album. “Devil May Care” is such a good song that I cannot stop listening to. The steel guitar, keyboard, tambourine, and melodies all come together in a way that is so incredibly addicting. It seamlessly blends an early sixties vibe with that classic vintage garage rock feel to create a perfect track, showing just how well Marino can expand his sound.
“Sick of You” picks things up again with one minute and forty-two seconds of fast, frustration-fueled energy. “Reason or Rhyme” just continues that, and really just encapsulates the true garage rock band feel. Like it makes me want to get up, write my own songs, and start a punk band in my garage.
The last track on the record, “Make This Last” is the perfect closer. It brings another reflective moment on the album. With a super catchy chorus, it balances melody and sentimentality with Marino’s signature punchy songwriting and guitar work. This song feels vintage and nostalgic in the best way, bringing the record to a satisfying close and solidifying that timeless feeling of Agent of Chaos.
In the end, Agent of Chaos is everything you would expect from a Brad Marino record, and more. It stays true to his signature blend of power pop and garage rock while delivering plenty of memorable hooks and vintage inspired energy. Catchy and full of personality from start to finish with enough variety to keep you wanting more. Significant songwriting, quality hooks, and a sound rooted in classic punk and garage rock are what make this record so fun, and bound to get stuck in your head.
Birmingham’s Asylum Venue played host to an unusually early but no less electrifying evening on April 18th, as Creeper brought their theatrical headline show to town. With doors flung open at 5:30pm and the first notes ringing out by 6:30, this was a gig that demanded punctuality, and then thoroughly rewarded it. Despite the early start, the crowd filtered in quickly, a sea of black attire and corpse paint with anticipation building for a night steeped in gothic drama, punk energy, and a touch of macabre romance.
Opening the night were The Howling, who wasted no time setting a playful tone. Their intro, the an unexpected pairing of the ‘Scooby Doo theme’ tune and The Smiths ‘What Difference Does It Make?’ raised smiles before the band launched into ‘Little Promises’.
Photo Credit: Tim Finch Photography
Musically, The Howling delivered a tight and confident set. Tracks like ‘Incantation’ and ‘Linger’ showcased a blend of brooding atmospheres and punchy hooks, while ‘New Religion’ leaned into a more anthemic territory. Perhaps the most surprising moment came with their cover of ‘Like a Prayer’, which was gave the song a darker, more alternative spin.
Closing with ‘The Murder Capital’ and ‘Unholy’, The Howling left the stage having firmly won over those who arrived early.
Photo Credit: Tim Finch Photography
Creeper took to the stage at the incredibly early headline time of 7:30, and the atmosphere shifted dramatically. From the first moments of ‘Mistress of Death’ it was clear the headliners were operating on another level of theatrical intensity. Drawing some inspiration from Glenn Danzig’s gothic swagger, but injecting a distinctly pop-rock-infused sensibility, Creeper have carved out a sound that feels both nostalgic and refreshingly modern.
Frontman Will Gould commanded the stage with a mix of preacher-like charisma and punk rock urgency. Planet Rock favourite ‘Blood Magick (It’s a Ritual)’ had the crowd singing along, finishing Gould’s words before he had a chance. As ‘Lovers Led Astray’ hit the mark, we see keyboardist Hannah Greenwood front and centre for this first time this evening, stepped forward to share lead vocal duties with Gould. The chemistry between the two elevated the track, and the performance.
Photo Credit: Tim Finch Photography
As the set progressed, songs like ‘Black Heaven’, ‘Chapel Gates’ and ‘The Crimson Bride’” kept the crowd locked in, singing along with fervour. Even deeper cuts like ‘More Than Death’ felt like anthems in this cosy, very personal setting.
The encore sealed the night in emphatic fashion. ‘Further Than Forever’ and ‘Cry to Heaven’ provided a soaring, emotional finale, leaving the crowd spent. For a show that started so early, there was nothing half-hearted about it, Creeper brought a full-scale performance that felt grander than the venue itself. Considering the stages the band have played on over the past few years, it seems unlikely we’ll see the band back in such small confines, but those who were at the sold out show this evening witnessed something very special.
Yesterday was the first anniversary of Addison Rae’s “Headphones On,” one of last year’s best songs. The day before yesterday, Olivia Rodrigo released “drop dead,” the lead single to her upcoming third album you seem pretty sad for a girl so in love. This all coincided with Weekend 2 of Coachella, a festival that’s become notorious for surpriseguestappearances. Rae and Rodrigo seized the opportunity to link up during the former’s Coachella set yesterday, performing both of those aforementioned songs together.
