Jen Mize & The Rough N’ Tumble’s new tune is a dose of feel-good medicine aiming to remind people there are responses to the feelings of helplessness and hopelessness experienced in these sorry times. ‘Greater Good’ is a call to the community to seek out friendship & understanding, to raise up kindness and compassion in all our interactions. ‘Greater Good’ asks ‘What happens if we try some patience and vulnerability? What happens when we look for the greater good?’
Starting with a simmering tremolo guitar, the groove hits and Mize comes out of the gate with a fearless and soulful first verse. Delivered like those late 1960’s East Village beat poetry readings – a narrative encounter with a ‘good friend of mine’ who has all the worries of the world weighing on his mind, Jen is sharing her ear, ‘gettin’ in deep’ and something clicks and she says ‘Man, I think I know what you mean!’
Written by Mize and Jeremy Edwards, ‘Greater Good’ sees the Australian band taking some risks, both musically and walking-out-on-the-edge philosophically. ‘We don’t envision ourselves gurus by any stretch of the imagination.’ says Mize ‘We’re not here to preach to people or change their beliefs, we just hope that we can help people find a way to better get along, despite any differences they have.’
Laughing, she continues, We’re attempting to do our version of what Woody Guthrie said a folk singer’s job is ’To comfort disturbed people and to disturb comfortable people’ The Rough N’ Tumble’s ‘Greater Good’ is a rough-around-the-edges-2am-stoner-philosophy version of that – delivered with plenty of warmth and lashings of joy.
‘Greater Good‘ follows on from ‘Double Talk’ – the first single lifted from the band’s new album ‘Tilt’ – due out later this year.
Greater Good is out today, April 14 via Pathfinder Music
We are thrilled to host an exclusive premiere stream for Sun Fall Down’s debut album, Burn. You can listen to the full record ahead of its official release by scrolling down to the end. Some more information, though, if you need convinced! Hailing from Milan, modern alternative dark metal project Sun Fall Down are set … Continue reading Exclusive: Premiere stream of Sun Fall Down’s debut album “Burn”
MG Live and Frontier Touring are thrilled to announce Australian indie-rock stalwarts The Temper Trap will embark on their highly anticipated national tour across September-October 2026. Having just announced their new album Sungazer – dropping 10 July – the tour celebrates the band’s first full-length project in ten years, as they return with an explosive, anthemic sound and more confident than ever before.
The Temper Trap will kick off the tour at Forum Melbourne on Friday 11 September before heading to Brisbane for a set at Night At The Parkland on Saturday 12 September. The band head to Hindley Street Music Hall, Adelaide on Wednesday 16 September before a performance at Night At The Barracks, Sydney on Friday 18 September and rounding out with a final show at ICF:Warehouse, Perth on Friday 9 October.
Frontier Members can access their presale on Thursday 16 April from 10am local time, before tickets go on sale from 11am local time on Friday 17 April. Tickets and tour information via frontiertouring.com/thetempertrap
A special release in the band’s career, Sungazer reflects nearly two decades of evolution, blending The Temper Trap’s signature sound with fresh experimentation. Tracks like ‘Lucky Dimes’ and ‘Giving Up Air’ showcase a shift toward electronic textures and dancefloor energy, while title track ‘Into the Wild’ balances introspection with powerful crescendos. The album veers from yearning intimacy to full-throttle catharsis, from guitar-riffing indie tunes to heavy electronica, all anchored in Dougy’s expansive, instantly recognisable voice.
The Temper Trap will hit the road in 2026 in a monumental way, having last toured their home country in 2025 with a series of intimate East Coast headline shows. Recently announced to support UK rockers Muse on their North American tour, as well as a definitive return to US shores alongside festival sets at Outside Lands (San Francisco) and Summerfest (Milwaukee) sharing the stage with the likes of The Strokes, Rüfüs Du Sol and Charli XCX, the band will share Sungazer with fans across the globe and close to home for the very first time.
Rising to global attention with their 2008 UK Top Ten debut single ‘Sweet Disposition’, the Melbourne locals quickly built an international following through their soaring vocals, reverb-heavy guitars, and anthemic choruses. Drawing from their debut album Conditions (2009) , the album achieved multi-platinum success in Australia and gold status in the UK, followed by The Temper Trap (2012) and Thick As Thieves (2016). One of the most sought-after bands to come out of Australia, they’ve accumulated billions of streams, won multiple ARIA Awards, and gained recognition from major global stages and tastemakers, with ‘Sweet Disposition’ cementing itself firmly in Australian music history.
Now, nearly twenty years after their breakthrough, The Temper Trap continue to evolve while staying true to their emotional core. With new music, collaborations, and now a national headline tour all in 2026, these unmissable live shows represent both a reinvention and a reaffirmation of what has made their music resonate: a powerful blend of personal vulnerability and communal, uplifting sound.
DES MOINES, IA — The shadow of Joey Jordison has loomed large over the heavy music world since his passing in July 2021. For the members of Slipknot, the relationship with their founding drummer was complex, fraught with legal silences and a painful 2013 split. Now, in a raw and vulnerable new interview, turntablist Sid Wilson is stripping away the industry polish to offer a definitive tribute to the man he simply calls his “buddy.”
Sid Wilson: “I Was Still Friends with Joey”
Speaking with the Get On The Bus podcast, Wilson made it clear that despite the public narrative surrounding Jordison’s exit, their personal bond remained intact until the end.
“He wasn’t in the band anymore at that time… [But] I was still friends with Joey. I always maintained a friendship with Joey, man. I love that guy,” Wilson shared. He touched on the “different lifestyles” that often pull bandmates apart, noting, “Sometimes that lifestyle’s more important than hanging out with your buds. It sucks. Did it stop us from hanging out? No.”
Wilson’s reflections took a philosophical turn when discussing the impossibility of truly knowing another person’s struggle: “If we could get a skin ticket to anybody’s life, then maybe we would understand, but it’s not for me to understand or try to figure it out… I just have to accept it and know that he was my buddy.”
The Legend of the “Little Dude” Who Saved Metallica
Joey Jordison wasn’t just a drummer; he was a phenomenon that even the elite of the “Old Guard” couldn’t ignore. Wilson recalled the legendary 2004 Download Festival incident where Jordison stepped in for Metallica’s Lars Ulrich with almost zero notice—a testament to his freakish musical retention.
“Joey was the best that ever did it. Hands down,” Wilson asserted. “That dude would hear anybody’s music once and could play it. Lars didn’t make it to a Metallica show once… Joey got up there and played the set for him. He could hear anyone’s music once and know how to play it without playing it. He was amazing.”
Wilson emphasized that Jordison’s physical stature often fueled his explosive performance style. “He was such a little dude. All that power… He was like, ‘I’m gonna fucking show you… don’t think I’m just some little dude, ’cause I’ll fucking tear your face off.’ He had something to prove, man.”
The Architect: Joey Jordison (1995–2013). Sid reveals that legends like Stewart Copeland (The Police) called Joey “The One.”
The “T-Section”: The 2013 split remains one of the “hardest decisions” in band history. Joey later revealed he battled acute transverse myelitis, which temporarily paralyzed his legs.
The New Era: Wilson describes current drummer Eloy Casagrande as a “fresh breath of air,” stating the band hasn’t felt this way since their earliest days in Des Moines.
Record Store Day 2026: Slipknot is finally releasing the long-lost Look Outside Your Window project this Saturday, April 18.
2026: The Eloy Casagrande “Breath of Fresh Air”
While the tribute to Jordison was heavy, Wilson was equally vocal about the current state of the Nine. Following the addition of former Sepultura drummer Eloy Casagrande, the band feels a renewed sense of purpose.
“Eloy is a fresh breath of air for us,” Wilson noted. “It hasn’t felt like the beginning until he came along. And I’ll leave it at that.”
Sid’s 2026 comments suggest that while the “business” of Slipknot had to move on—what Corey Taylor famously called the “T-section” of their relationship—the “brotherhood” never truly dissolved. As the band prepares for the release of the “lost” Look Outside Your Window album and their 25th-anniversary tour, Jordison’s legacy remains the foundation they continue to build upon.
Stay tuned to Loaded Radio for more exclusive Slipknot updates and metal history. Stream us 24/7 here.
Multi-platinum band Young the Giant have released their new single, Already There — listen here. Produced by Brendan O’Brien (AC/DC, Pearl Jam, Bruce Springsteen, Bob Dylan) and Young the Giant, and written by the band collectively, the track is an emotionally charged song about distance, longing, and the quiet ways we stay connected to the ones we love, no matter how far apart we are. An equally inspiring music video for the track is also out now.
Speaking on the new single, the band shared, “Already There is a song about the strange tension between distance and intimacy. It’s about two people who are far from one another but share the same dream of being together — existing in that in-between space where love feels both absent and overwhelmingly present at the same time. There’s something almost spiritual about that kind of connection, especially in young, earth-shattering love, where even across miles you feel like part of you is already there.”
The release follows the band’s recent single Bitter Fruit — listen here and watch here. This anthemic track followed Different Kind Of Love, which debuted as the #1 most-added track at Alternative Radio and #5 at Triple A in its first week — listen here. The track continues to climb at Alternative Radio, currently sitting in the Top 10. Both singles will appear on Young the Giant’s forthcoming sixth studio album Victory Garden, arriving May 1.The project marks the band’s first full-length release since 2022’s American Bollywood.
Earlier this year, Young the Giant announced their forthcoming Victory Garden Tour, kicking off May 24 and running through August 9 across North America. The run of arena and amphitheater shows will feature support from Cold War Kids, almost monday, and KennyHoopla, with Cold War Kids also celebrating the 20th anniversary of their debut album Robbers & Cowards.
Organisers of Outback Australia’s biggest music event the Broken Hill Mundi Mundi Bash have today announced a luminous new lead-in event, the inaugural Mundi Mundi Lightfest that will run in Broken Hill from 6pm – 9pm over three evening from August 15-17, 2026 before the main festival opens on the Mundi Mundi Plains later that week.
The new Mundi Mundi Lightfest event is part of the NSW Government’s Open Streets Program led by Transport for NSW and is a free, three-night festival that will encourage festivalgoers to arrive early and spend more time in the region. The event will also be supported by Broken Hill City Council.
“We’re excited to bring even more for our festival goers to do when they head to the Mundi Mundi Bash this year. We have a cracking music line up with some of the biggest names in Oz rock performing at the Bash, and now Lightfest will give an awesome lead in to the main event. It will also give local artists the opportunity to shine and be part of the event, and will build on the huge economic boost that the Mundi Mundi Bash already delivers to local businesses in town,” said Festival founder and Outback Music Festival Group Managing Director Greg Donovan.“We appreciate the support from the NSW Government in helping us grow the Mundi Mundi Bash by funding the Mundi Mundi Lightfest. We were already the biggest event staged in Outback Australia, and this just makes our event bigger and better.”
Pierce Brothers – Photo: Matt Williams
The Mundi Mundi Lightfest will transform Argent Street Broken Hill into a pedestrian-only night precinct featuring large-scale drone shows, lighting installations, live local music and street food.
“This announcement is exciting news for our community and economy, and another chapter in the great partnership between the Outback Musical Festival Group and Council. I have no doubt our CBD traders will be overjoyed to see Argent Street brought to life with this event, and locals will love having a part of the Bash staged in the heart of Broken Hill. I want to thank Outback Musical Festival Group and Council staff for their work to secure this funding, and commend the NSW Government for their support”, said Broken Hill Mayor Tom Kennedy.
The event will be part of the Transport for NSW Open Streets Program: Foundation Events 2026-27 – which brings streets across NSW to life. The Open Streets Program is part of the NSW Government’s Vibrant Streets Package.
Minister for Transport, John Graham said, “Too often our main streets are something we drive through, rather than drive to. As this event highlights, we can use our streets to bring communities together and drive revenue for local businesses. Through the Open Streets program, the Minns Labor Government is making it easier for streets to be activated across NSW, cutting red tape and supporting local events like the Mundi Mundi Lightfest in Broken Hill.”
Birds of Tokyo – Photo: Matt Williams
At its centre will be a nightly drone show presented by Elite Drone Shows, whose large-scale works have been commissioned by major brands such as Moet & Chandon and public events across Australia. The company has previously delivered record-breaking drone spectacles in Victoria and large-format installations for Australia Day celebrations in Sydney, and the Mundi Mundi Lightfest will mark the first time they’ve taken the spectacular show to Far West NSW.
Hundreds of drones will be deployed above Argent Street, with lighting installations, street performers and live performances from local artists and DJs as well as a range of different food vendors at street level throughout the closed-to-traffic precinct.
“The drones will be spectacular and something totally different for the region. Combine that with all the other activities happening at the Mundi Mundi Lightfest and there will be a great vibe in town for locals to also enjoy. Many might not be able to make it to the Mundi Mundi Bash but this event will literally be right on their doorstep and is free for all to enjoy. We hope they embrace it as a fun add on to the Mundi Mundi Bash,” added Greg Donovan.
The new event builds on the growing footprint of the Mundi Mundi Bash, which has become one of regional Australia’s most significant music and tourism event drawcards – taking out Gold for Major Festival & Event at the 2025 NSW Tourism Awards.
The Mundi Mundi Lightfest if proudly funded by the NSW Government’s Open Streets Program, led by Transport for NSW. Outback Music Festival Group were successful in securing a $333,333 grant to deliver the event. Further information on the Open Streets Program can be found at www.transport.nsw.gov.au/openstreets
Progressive death metal still carries a certain baggage—either a promise of something transcendent or an excuse to disappear into excess. On Blind In Abyssal Realms, Ordh don’t bother arguing with either side. They simply use the label as intended: a license to push outward while keeping one foot planted firmly in the dirt. Today, we’re premiering the full album stream ahead of its April 17 release via Pulverised Records.
Before Ordh, there was Barishi. When that chapter came to a close, guitarist/vocalist Graham Brooks took the opportunity to reset—leaning fully into death metal, but on his own terms. The foundation is unmistakably rooted in the old ways—echoes of Entombed and Demilich linger in the guitar tone and low-end churn—but the structures are far less constrained, stretching across five tracks that refuse to rush toward anything resembling a conventional payoff.
At just over forty-three minutes, Blind In Abyssal Realms plays less like a collection of songs and more like a slow descent. “Apis Bull” still serves as the gateway—its cavernous weight and shifting momentum setting the tone—but what follows expands that palette in unexpected ways. Tracks like “Moon Of Urd” and “Phlegraean Fields” lean further into melody without sacrificing density, while the title track and twelve-minute closer “Hierothesion” feel almost architectural in their design, building and collapsing in cycles rather than moving in straight lines.
There are progressive hallmarks, sure—unusual time signatures, knotty transitions, the occasional flash of technicality—but they’re rarely the point. What lingers instead is the atmosphere. Ordh understand when to let the music breathe, when to hold tension in place, and when to drag the listener back under. It’s death metal that feels expansive rather than suffocating, cosmic rather than purely subterranean.
That balance extends to the performances. Jonathan Hébert (Come to Grief) doesn’t so much “deliver vocals” as summon them, his guttural presence acting as a constant gravitational force beneath Brooks’ spiraling guitar work. Behind them, Dylan Blake and Josh Smith keep the material grounded without ever reducing its sense of scale, locking into grooves that feel deliberate rather than merely technical.
The production follows suit. Tracked largely in-house—with drums recorded at Guilford Sound and mixing handled by Andrew Oswald (Mortiferum)—the album avoids sterility in favor of something more organic and tactile. There’s weight here, but also space; clarity without polish.
Even the name Ordh—an archaic English term for the tip of a spear—feels fitting. Blind In Abyssal Realms doesn’t overwhelm through sheer force. It moves with intent, piercing first, then widening the wound. By the time “Hierothesion” fades, the effect isn’t exhaustion—it’s immersion.
If “Apis Bull” was the invitation, this is the full descent. Listen to Blind In Abyssal Realms in its entirety below.
TL;DR: The Slipknot Drumming Legacy
