Why did Jannik Sinner’s girlfriend Laila Shares not go to the Madrid Open? Here’s the reason, and it’s a good one.
The post Jannik Sinner’s Girlfriend Laila Shares Why She Missed Madrid Open appeared first on Audio Ink Radio.
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Gus G. – Steel Burner Review
Gus G. is a busy man. For some odd 25 years and counting, the Greek guitarist has not only been running his own band Firewind but also contributed to many notable heavy/power metal acts’ beginnings, such as early Mystic Prophecy and Dream Evil. And somehow on top of that, he’s even managed to fit in five solo albums during that time! Steel Burner becomes the sixth album under the Gus G. moniker, the first since 2021’s very fun Quantum Leap. I was a big fan of Firewind’s energetic 2020 comeback and enjoyed 2024’s anthemic rock-oriented Stand United plenty as well. How does Steel Burner compare to his other recent works, and were any Steel Druhm’s harmed in the making?1Gus has proven himself to be a very potent guitarist since the early ’00s, and Steel Burner’s strand of heavy metal offers a good general gist of the instrumental and solo craft he’s known for. The album doesn’t steer too far off Quantum Leap’s core in this regard. Gus’s natural bend towards ’80s rock and metal shows up in full force once again, containing Yngwie and Blackmore-esque guitar hero cheese (“What If,” “Closure”) in terms of both shred and soulful play. A surprising highlight is “Advent” with its interesting djent-ish influences by way of downtuned 2010s rhythm guitar work. It pans out much better than one might think and makes for a refreshing listen in an album full of otherwise expected source material.
The other side of Steel Burner is the record’s confusing flow and identity, the guest vocalist tracks being at odds with the instrumental songs. Whereas Quantum Leap was fully instrumental, Steel Burner contains a theoretically balanced set of five tracks with vocals and five instrumentals. This intentional variety quickly ends up working against itself. Doro (Doro, ex-Warlock) and Matt Barlow (ex-Iced Earth, ex-Pyramaze) are both starting to show their age, delivering some good lines but flat choruses (“Nothing Can Break Me,” “Dancing with Death”). The suddenly enervated instrumentation exacerbates the quality contrast between Steel Burner’s different aspects. Fortunately, the back half fares better. Vocal mercenaries Ronnie Romero (ex-Rainbow) and Dino Jelusić lend stronger performances on better, more AOR-adjacent tracks (“My Premonition,” “No One Has to Know”), and I wouldn’t mind Gus working with Ronnie more often based on “My Premonition.” Aside from the vocal-instrumental clash, the drums are a sticking point. Gus’s drum programming on the aforementioned tracks is solid, but Quantum Leap’s guest drumming proves that more varied and potent percussion would have helped make these songs much more lively.
Much like Jeff Waters (Annihilator), Gus G. is an excellent guitarist who is usually better when sharing vocals-forward songwriting reins with other people. Steel Burner tends to repeat some of his early-career hiccups with Mystic Prophecy, where the rhythm guitar tends to be underdeveloped and the songs oddly stripped-down without the choruses compensating for it. Gus is very good at crafting colorful instrumental compositions (“Advent,” “Confession”) or even standard power metal tracks at higher BPMs (“Kill the Pain” on Firewind’s self-titled, “Escape from Tomorrow” all the way back on Forged by Fire), but making a ‘normal’ mid-paced track with vocals often requires some extra hands alongside him. Firewind’s two most recent records are proof of this, and the positive effect of a consistent powerhouse vocalist like Herbie Langhans is undeniably lacking here.
Steel Burner has its bright spots, but ends up feeling like two EPs in a bar fight. It mashes together parts of Quantum Leap and Stand United, and both halves unfortunately suffer as a result. While nothing on the record is strictly off-putting, the instrumental side is clearly the better and more inspired one, containing the usual guitar goodness you would expect from Gus. Even so, one listen to Quantum Leap’s title track exposes Steel Burner’s general lack of urgency compared to prior works. Grab most of the instrumental tracks and “My Premonition,” and you’ve got a solid EP! Despite the overall experience being hit-and-miss, I still respect Gus’s work ethic, and I’ll be gladly waiting to see what he comes up with next.
Rating: Mixed
DR: Nope! | Format Reviewed: Alas, poor Stream!
Label: Metal Department
Websites: gusgofficial.com | Facebook | Instagram
Releases Worldwide: April 24th, 2026The post Gus G. – Steel Burner Review appeared first on Angry Metal Guy.
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The Haunted North Unleash “Savage Ghost” – Randy V Talks Origins, Heavy Hitters, and What’s Next on Metal Devastation Radio – @thebeast
The Haunted North Unleash “Savage Ghost” – Randy V Talks Origins, Heavy Hitters, and What’s Next on Metal Devastation Radio
If you like your heavy with grit, groove, and zero plastic polish, this one hits like a hammer.
On a recent episode of The Zach Moonshine Show on Metal Devastation Radio, The Haunted North stormed in with their crushing new single “Savage Ghost” , and frontman Randy V pulled back the curtain on how this whole thing came together. The result is a band rooted in real history, real connections, and a sound that doesn’t chase trends, it bulldozes through them.
“It’s like a freaking hammer” – The Sound of Savage Ghost
Right out of the gate, the vibe was clear. This isn’t overproduced, copy-paste rock. This is weight.
“It is smash your head… it’s like a freaking hammer, isn’t it?”
That pretty much sums up Savage Ghost . Thick, groove-heavy riffs with a dark, almost cinematic feel. You can hear the DNA of classic heavy hitters, but it never feels like imitation. It feels lived-in.
Heavy Hitters in the Mix: JD DeServio & Jeff Fabb
One of the big talking points was the involvement of some serious players behind the scenes.
Randy V broke it down:
“JD jumped in… Jeff did the last two singles… these guys literally did their tracks and then jumped on a plane to LA to start rehearsing.”
That kind of commitment shows up in the final product. The rhythm section alone gives Savage Ghost that undeniable punch, the kind that hits you in the chest and sticks.
A Wild Origin Story You Can’t Make Up
The Haunted North didn’t form the usual way. No Craigslist ad, no “hey let’s start a band” moment.
This thing is built on what can only be called pure rock and roll fate.
From gym meetups in Canada…
To connections through Black Label Society circles…
To a chance encounter with Layne Staley’s mother…
Yeah, seriously.
Randy V shared one of the most surreal moments:
“I realized… that’s Layne Staley’s mom… and we ended up becoming really good friends.”
That connection eventually led to the creation of music tied to tribute material, which snowballed into something much bigger.
“It wasn’t coincidental… all that had to happen for us to meet.”
You don’t script stuff like that.
From One-Off Track to Full-Blown Band
What started as a single turned into something else entirely.
“He said, ‘What if I could get Jeff and JD to play on it?’ I said… ‘well, then I’d have to reconsider.’”
That reconsideration turned into a full project, and now The Haunted North is building serious momentum.
Influences: From European Metal to Grunge Darkness
Randy V didn’t shy away from talking influences, and it paints a clear picture of where that sound comes from.
“We were more into European metal… Priest, Schenker… then when everything shifted, the two bands that grabbed you… Soundgarden and Alice In Chains.”
That blend explains a lot. You’ve got the precision and power of classic metal mixed with the mood and weight of early 90s darkness.
And it shows.
No Fake Emotion. No Industry BS.
One of the real standout moments was Randy talking about authenticity in music.
“People know when you’re… not real… when you actually felt it, they hear it.”
That’s the difference between something that sounds good and something that sticks with you.
The Haunted North leans hard into that second category.
Gear Talk… Sort Of
For the tone chasers out there, there were a few nuggets dropped, even if Randy laughed off being “the wrong guy” for full gear breakdowns.
What we do know:
Friedman amps are part of the tone equation
Gibson-style guitars in the mix
A serious, dialed-in setup from guitarist Sean
“I know tones very well… if it sounds like shit, I’ll call it instantly.”
Fair enough.
What’s Next: Live Shows and More Releases
The focus now is simple. Take this thing to the stage.
“We’re hyper focused on getting out and playing live this summer.”
Plans are pointing toward shows around Sturgis and beyond, with more content rolling out, including:
The Bleed video gaining traction
A new Savage Ghost lyric video using 30+ year old footage
A growing catalog of heavy tracks like Medusa , 21 Grams , and The Beast
The Haunted North Is Just Getting Started
There’s something refreshing about a band that isn’t trying to fit into whatever the algorithm says is hot this week.
The Haunted North is building this the old-school way:
Real connections
Real players
Real stories
Real heavy music
And it shows in every riff.
Listen Now
The full episode featuring Randy V of The Haunted North , including the interview and a stacked lineup of new underground releases, is now available on Mixcloud via Metal Devastation Radio.
Turn it up loud. This one wasn’t made for background noise.
Track List:
Battle Of The Bands Top Six Winners:
1 – Antipope – The Maker – (289,749 votes)
2 – Another Demon – Drawn and Quartered feat. James Murphy (Testament, Death, Obituary) – (131,632 votes)
3 – NIKOLA’S CAGE – RASCAL – (27,654 votes)
4 – Severed Sun – Complex – (25,239 votes)
5 – Mistress – Terrified eyes – (9,493 votes)
6 – Heidbekka – Völva – (6,412 votes)
The Zach Moonshine Intro
7 – Ozzy Osbourne – Over The Mountain
8 – Black Label Society – Pedal to the Floor/Lords Of Destruction
The Haunted North – Interview featuring Savage Ghost/The Beast
9 – Dark Chapel – Sign of Life/Hit of Your Love
10 – Zakk Sabbath – Electric Funeral/Lord Of This World
11 – Jeff Fabb – Listen to Hear
12 – Awaiting Abigail – Funhouse
13 – The Funeral Procession – Carrion
14 – SEEING HELL A.D – DISSECTION
15 – Empire of None – You
16 – Broadslab – Keep On Rollin’
17 – LANGUISH IN DESPAIR – Killing Spree
18 – Stygian Mind – Crown of Bullets
19 – Riftpatrol – Parasite (feat. Yuuko Sings, DJ Neon Nights & Amanda Power)
20 – Crystallion – Shell Shock (MANOWAR Cover)
21 – Bjarte K. Helland – The Final Count
22 – HELL-BORN – In Scarlet And Death
23 – Mephisto Odyssey – CRASH Feat. Brad Gillis, Wayne Static
24 – MARTYRED – WHERE THE BODIES LIE
25 – VITHIAL – War of the Gods, the Balance of Darkness and Light
Also check out the interview portion up on YouTube, Spotify, Apple:
Super massive shout out to the 292,325 metal maniacs from around the world that tuned in for the live devastation Friday night!
Follow the band:
https://www.thehauntednorth.com/ -
STEVEN TYLER TO FACE JURY: Aerosmith Frontman Set For Child Sexual Assault Trial Despite “Massive Win” Claims
TL;DR
Aerosmith frontman Steven Tyler will face a jury on August 31, 2026, in a child sexual assault lawsuit filed by Julia Misley. While a judge dismissed the majority of the claims due to statutes of limitations in other states, a portion of the case remains active under California’s “lookback” laws. The trial focuses on alleged incidents that occurred when Misley was 16 and Tyler was approximately 26, including claims of coerced guardianship and assault.
LOS ANGELES, CA — Aerosmith legend Steven Tyler is officially headed to trial on August 31, 2026, at Los Angeles County Superior Court to face allegations of child sexual assault. The 78-year-old singer had hoped to have the entire 2022 lawsuit filed by Julia Misley—formerly Julia Holcomb—dismissed, but a judge’s ruling this week has cleared the path for a jury to hear at least part of the case. While Tyler’s legal team is celebrating the dismissal of the majority of the charges, the rock icon remains legally tethered to a three-year relationship that Misley alleges was rooted in coercion and exploitation rather than the “romantic love affair” Tyler has previously described.
Why is Steven Tyler still facing trial if most charges were dismissed?
The judge’s decision to dismiss the majority of Misley’s lawsuit was primarily based on the statute of limitations governing other states. Because Tyler and Misley lived in Massachusetts, Oregon, and Washington during much of their relationship, those specific charges were thrown out as they were not revived by California’s legislation. However, California’s Child Victims Act “lookback window” allowed alleged victims to file sexual assault lawsuits regardless of how much time had passed, provided the conduct occurred within the state.
The trial will focus on alleged incidents that occurred when Tyler reportedly crossed state lines with Misley into California. At the time, Tyler was approximately 26 and Misley was 16; the age of consent in California was, and remains, 18. Tyler’s attorney, David Long-Daniels, characterized the ruling as a “massive win,” stating that 99.9% of the claims were dismissed and only “one night, 50-plus years ago” remains under legal scrutiny.
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What are the core allegations in Julia Misley’s lawsuit?
The lawsuit includes harrowing charges of sexual assault, sexual battery, and intentional infliction of emotional distress. Misley alleges that the relationship, which began in 1973, involved Tyler persuading her parents to sign over custody so he could take her on tour without fear of arrest. Key points of the legal battle include:
- Coerced Relationship: Misley claims Tyler used his rock star status to “groom, manipulate, exploit, and sexually assault” her over a three-year period.
- Guardianship Abuse: The singer allegedly convinced Misley’s mother to grant him legal guardianship by promising to enroll her in school, a promise Misley claims he never intended to keep.
- Abortion Allegations: The suit alleges Misley became pregnant with Tyler’s child in 1975 and was coerced into having an abortion after suffering smoke inhalation in a fire.
- Memoir Evidence: The lawsuit cites Tyler’s 2011 memoir, Does the Noise in My Head Bother You?, where he wrote about his 16-year-old “girlfriend to be” and admitted her parents “signed paper over for me to have custody” so he wouldn’t be arrested while traveling out of state.
Will the Aerosmith “Peace Out” Farewell Tour be affected?
While Aerosmith is currently attempting to navigate their “Peace Out” farewell tour following Tyler’s 2023 vocal cord injuries, this legal shadow looms large over the band’s final bow. Misley has stated that her goal with the lawsuit is to make the music industry safer and expose the “predators” and “enablers” who allow exploitation to occur. Industry insiders suggest the band aims to conclude their North American dates before the trial officially begins in late 2026, though the legal tension has undeniably complicated their retirement.
Check This Out – Lightning in a Bottle: The 13 Greatest Debut Metal Albums That Were Never Topped
The Unfiltered Perspective
Calling a child assault trial a “massive win” because only “one night” remains on the docket is a bold legal strategy that risks a massive backfire in the court of public opinion. While statutes of limitations may protect Tyler from the full weight of the three-year relationship in a strictly legal sense, the details he openly admitted to in his own memoir are now coming back to haunt him in a California courtroom. Misley isn’t just looking for a settlement; she is aiming at the very structure of the music industry that allowed a man in his mid-20s to “adopt” a 16-year-old for the sake of a tour. Come August, a jury will decide if that “one night” in California is enough to rewrite the legacy of one of rock’s biggest icons.
STAY LOUD: Catch the full breakdown of the Steven Tyler legal battle on the Loaded Radio Podcast, or crank the hard rock and metal 24/7 on our digital stream at LoadedRadio.com.
The post STEVEN TYLER TO FACE JURY: Aerosmith Frontman Set For Child Sexual Assault Trial Despite “Massive Win” Claims appeared first on Loaded Radio.
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Watch Sugar Reunite For First Show In 31 Years
Sugar are back. Last fall, Bob Mould announced that his short-lived post-Hüsker Dü band were gearing up for a big reunion that would include a tour and a couple of new songs. Last night at New York’s Webster Hall, the alt-rock trio played both those new songs live for the first time at their first show in 31 years.
The post Watch Sugar Reunite For First Show In 31 Years appeared first on Stereogum.
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Baby Cruise Music Label ABUNDANCE Review
Baby Cruise Music Label ABUNDANCE Review
The single “ABUNDANCE” radiates vibrant energy through its rock anthem and pop vibes, instantly engaging listeners. From the first notes, it becomes clear that this track is designed to uplift. The music feels carefree, yet the lyrical content delves deeply into the nature of materialism. It critiques society’s chase for superficial possessions, revealing them as ultimately insignificant. Instead, the song encourages an appreciation for the small joys that enrich our daily lives.
This track aims to awaken consciousness. With its infectious rhythm, “ABUNDANCE” successfully targets a young audience. It can certainly be described as educational, fostering reflection on important life values. It implores listeners to recognize what truly matters and re-evaluate their priorities.
Complementing the music, the animated music video adds another layer to the song’s message. Featuring a cartoon band performing on stage, the video juxtaposes ordinary daily interactions with remarkable human achievements. Viewers witness scenes of technology—computers and phones—next to images of space exploration and the wonders surrounding us. This blend of images reinforces the song’s core themes.
ABUNDANCE – Sound and Atmosphere
The animation effectively contrasts the mundane aspects of life with extraordinary accomplishments. As the band plays energetically, it serves as a reminder that while society often values grand achievements, there is beauty in everyday moments. This idea echoes throughout the lyrics, encouraging individuals to cherish their experiences rather than chase material wealth.
The song’s incessant energy drives it forward. It creates a sense of urgency, resonating with the youth who listen. Its upbeat tempo invites listeners to dance while simultaneously engaging them intellectually. This duality enhances the effectiveness of the song’s message, allowing it to reach a wider audience.
ABUNDANCE” is an essential anthem for a generation in search of meaningful connections.
ABUNDANCE – Performance and Production
The catchy chorus delivers a powerful punch. Its repetitive elements encourage participation, turning listeners into active participants in the experience. This is key to the song’s appeal, creating a shared moment among those who hear it. The engagement is palpable, drawing in fans who seek both entertainment and enlightenment in their music.
“ABUNDANCE” stands out with its engaging mix of energy, reflection, and social commentary. The animated visuals enhance the overall impact, ensuring that the song’s message resonates visually as well as sonically. It invites all listeners to reassess their values and, in doing so, find joy in life’s simplicity.
This single from Baby Cruise Music Label is not merely a song—it’s a movement towards awakening and awareness. Each aspect of the track bolsters its intent, making it not only a musical experience but also a life lesson.
Inspiring
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If you love this music: Discover More
The post Baby Cruise Music Label ABUNDANCE Review appeared first on Edgar Allan Poets – Noir Rock Band.
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Rob Moss and Skin-Tight Skin and 7 Door Sedan – Split single
This is my sixth time writing about Rob Moss and Skin-Tight Skin’s split single series. This series is one of the most interesting and enjoyable musical endeavors I’ve had the pleasure of following in recent years. Out today is the latest installment, which finds Moss collaborating with 7 Door Sedan, the Silver Spring, Maryland–based trio featuring singer/guitarist Glenn Kowalski from legendary D.C. punk band White Boy.As always, the format is that the two bands cover each other. I think what I like most about this series is that nobody ever settles for a straight “faithful” cover. In his vision for what these splits ought to be, Moss really seems to encourage creative interpretations of the selected songs. And we need more of that in today’s music, when cover songs are too often dismissed as filler. There’s real artistic value in taking someone else’s song and making it your own.On this release, Moss, joined by Tom McNally and Steve Naff, adds a new wrinkle to that concept. He covers not one but two songs by 7 Door Sedan: the opening and closing numbers off the band’s 2008 LP Killer Good. Remarkably, Moss and Skin-Tight Skin combine “Everything in The World” and “Cement Man” so seamlessly that you might not even realize these were two separate songs. As a single track, “Everything in The World/Cement Man” is not just a creative reworking of the original songs. It’s also a little bit of a different sound for Moss: less sneering ’70s punk and glam and more of a moody post-punk slow burn. Moss really shows his talents as a pure singer here, and I love his rather eerie guitar work.On its side of the digital wax, 7 Door Sedan goes big and takes on one of Moss’s signature songs: “I’m On a Rocket Ship (Heading My Way Back Home)” from the album Now With More Rockets. As you would expect from 7 Door Sedan, the T. Rex vibes loom large. Kowalski played lead guitar on the original version, so he came to this song with a unique perspective. But he and his bandmates Josh Singer and Norman van der Sluys definitely transform the song here, trading the intergalactic anthemic feel of the original for a grittier, slightly Stones-ish approach. And I’m left feeling the way I don’t feel enough when I hear covers: more appreciative of the original than ever but also blown away by the new rendition.What really hits me about all these Rob Moss and Skin-Tight Skin splits is that the two bands involved are never merely just friends — they’re also huge fans of each other’s music. You can sense the love for the source material and admire the effort made to do something genuinely transformative as a tribute. This latest installment involves two immensely significant figures in the history of D.C. punk rock. And the point is that neither is resting on any laurels. Moss and Kowalski are out there making vital and exciting music, and it ought to be heard. -
The Last Party Now and Now Review
The Last Party Now and Now Review
The song begins with an intriguing rhythm and a bassline that effectively communicates with the drums. Soon after, vocals introduce a dual-layer effect, with both high and low tones creating a signature style that is unique to the duo. The pads enrich the auditory space while the bass maintains its groove, supported by a relentless drumbeat.
This composition has a distinctly dystopian feel, reminiscent of bands like Depeche Mode. Additionally, there are clear influences from David Bowie, which add depth to the aesthetic. The guitar contributes various colors to the arrangement, subtly enhancing the overall sound while remaining in the background. Despite being somewhat subdued, its notes carry a sense of deviation that complements the track’s themes.
“Now and Now” evokes images of a nighttime city, one that appears to be in slumber, while you drive through the streets, lost in your thoughts. This atmosphere is characteristic of the Scottish indie duo based in Ireland, comprising Drew on bass and Coxie handling the guitar and vocals. Their experience in music composition is evident; their sound feels complete, and their vision remains crystal clear.
Now and Now – Sound and Atmosphere
The initial impression of the single is striking. The rhythm section grabs attention immediately, creating layers that invite listeners to delve deeper into the track’s intricacies. The bassline serves as the backbone, an element that is crucial for any compelling musical composition. It drives the song forward with a steady pulse, while the drum patterns add urgency to the overall feel.
Vocals in “Now and Now” are particularly noteworthy, showcasing the duo’s ability to layer melodies in a way that feels innovative and familiar. The dual vocal lines harmonize expertly, creating moments of tension and release that are engaging to the ear.
The atmospheric pads contribute significantly to the expansive feeling of the music. They create a sonic environment that feels immersive, drawing listeners into a world that captures the imagination.
Now and Now – Performance and Production
The guitar work weaves in and out of the foreground, providing textures that enhance rather than overpower the primary elements of the song. The choice of notes carries a slightly dark tone, adding to the dystopian vibe while keeping the essential mood intact.
The Last Party has created a piece that stands out in today’s musical landscape. There is a delightfully retro touch, influenced by iconic bands while still feeling fresh and modern. The mix of electronic and organic instrumentation is handled with finesse, showcasing a keen understanding of production techniques.
Now and Now” by The Last Party encapsulates a mixture of musical styles and influences. It reflects their collective experience as musicians while forging a distinctive sound. The combination of rhythm, melody, and lyrical content creates an enriching auditory experience.
Crepuscular
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For fans of:
Depeche Mode • David Bowie
The post The Last Party Now and Now Review appeared first on Edgar Allan Poets – Noir Rock Band.
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The Chelsea Curve – The Rideout
Can we rightfully call an album that comes out on May 1st a “summer” release? Can we even call it an album if it only has seven songs? I suppose those questions are up for debate. But since I find such debates largely obnoxious, I’m going to say “yes” and “yes” in the case of The Chelsea Curve’s The Rideout, out now on Rum Bar Records. On its second album, the Boston-based trio is giving feelgood vibes all day long. Some recent years were trying for The Chelsea Curve, but the band has endured it all and now finds itself inspired and excited about what’s ahead.The theme of The Rideout comes through loudly and clearly: life is short, so live it up! “This record is about living for the moment, being with your people, and just enjoying life,” says bassist/vocalist Linda Pardee. That spirit comes through not just in the lyrics but also in the music. If anything, coming back from all that adversity has energized the trio’s sound. While the Chelsea Curve still lives in that mod/punk/pop lane, this album in particular puts the “power” in power pop. Pardee, guitarist Tim Gillis, and dynamo drummer Bruce Caporal tear into these tunes with force and vigor, and what results is 20 minutes of infectious and incredibly exciting music. If I might be so bold as to call this the first summer record of 2026, then the timing of its release was certainly no coincidence. This is your soundtrack to the good times that lie in front and ahead of you — some of which will certainly involve you at the wheel of some sort of motor vehicle with the sun shining and the wind at your back, en route to days and nights of adventure, romance, fun, and friendship.The leanness of The Rideout is almost certainly by design. Every song clocks in somewhere in the neighborhood to two-to-three minutes and embodies perfect pop with a whole lot of snap and crackle. Three of these songs were released as digital singles last year, yet it feels like these seven tracks were meant to be heard together and in this precise order. “Ride” is the tone-setter — a song that literally invites the listener to join along in living for the moment. Last year’s summer hit “Kindawanna” is the perfect follow-up — an ode to all those things you can’t wait to do with that present or future special someone in your life. After another vintage Chelsea Curve mod-pop bopper in “Outta My Head,” there are some cool surprises. “Never Come Down,” another song about seizing a magical moment, features Gillis on lead vocals and channels Oasis by way The Who in its psychedelic era. “I Can’t Help It” is an homage to Letters To Cleo and the heyday of Boston indie power pop. The band goes full-on “freedom rock” on closing track “Rally ‘Round,” and any skepticism I may have originally had about this song was wiped away as soon as I heard how it and “Ride” bookend the album with affirmations of community and hope.Arriving four years after its predecessor All the Things, The Rideout captures a considerably evolved and revitalized Chelsea Curve. The sound is bigger and more layered, and the vibe is so joyful and optimistic that some might take it as corny. But as Pardee says, “Life’s way too short to be precious.” Rebounding from dark times and riding the spark that a drummer like Caporal can bring to a band, The Chelsea Curve is in the mood for (as a wise man once put it) rocking out and having fun. So yeah, this is not just a summer album. It’s THE summer album. Push play and raise a glass to life!
https://rumbarrecords.bandcamp.com/album/the-rideout
https://open.spotify.com/album/6AN6D9WYhyBiTTEgtsYMil
https://thechelseacurve.bandcamp.com/album/the-rideout
https://www.instagram.com/thechelseacurve/
https://www.tiktok.com/@thechelseacurve
https://www.facebook.com/thechelseacurve
https://www.youtube.com/@thechelseacurve6041
https://www.facebook.com/RumBarRecords -
Muck and the Mires – Ghost of Roky Erickson
That ever-dependable institution of Boston garage rock is back with another slab of toe-tapping, hip-shaking goodness! I speak, of course, of Muck and the Mires, a foursome as consistent and notorious as death and taxes combined. Out on Madrid’s stellar Ghost Highway Recordings, the new EP Ghost of Roky Erickson follows the typical Muck recipe. You get two wild, garage-rocking smashers and two power pop gems that sound like they could have been plucked straight from the British Invasion (one of them actually was!). The ripping title track is one of the rockers. The song title is no red herring. The song really does describe an encounter with the ghost of Roky Erickson (on the 13th floor of an elevator, of course!). If you’re going to come face-to-face with a ghost, wouldn’t this be the one you’d want to meet? I always love a tune that tells a story! This song proves to be as inspired as its subject matter — just the latest in a long line of bangers from the Muck hit factory. “Hey Sunshine” is firmly in 1963 Beatles territory, and “It’s Gonna Be Alright” is a killer cover of the Gerry & The Pacemakers classic. Bringing it on home is “Dead To Me,” a stomping kiss-off that combines some good, old-fashioned spurned lover bitterness with deliciously dark humor. And that’s that: four tunes in a little over nine minutes, and it’s all perfect rock ‘n’ roll just as the music gods intended. You always know what you’re getting from Muck and the Mires, and it never stops being thrilling. My friends here in the states can pick this one up from the Rum Bar Records Bandcamp page!
https://ghosthighwayrecordings.bandcamp.com/album/the-ghost-of-roky-erickson
https://rumbarrecords.bandcamp.com/album/ghost-of-rocky-erickson-ghost-highway
https://www.muckandthemires.com/
https://www.facebook.com/muckandthemires
https://www.youtube.com/user/muckandthemires
https://ghosthighwayshop.com/producto/7-muck-and-the-mires-the-ghost-of-roky-erickson-pre-order/
