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Keith Richards is opening up about the Rolling Stones’ future. Here’s what he says about the band’s position.

The post Keith Richards Shares Bad News for Rolling Stones Fans appeared first on Audio Ink Radio.

And Blöthar The Berserker has implied that the band have faced governmental pressure over their onstage antics.

The post GWAR Once Again Draw MAGA Ire After ‘Disemboweling’ Trump Effigy Onstage At Washington, DC ‘Vans Warped Tour’ appeared first on Theprp.com.

“I think he probably does need to go to therapy and is a scared little boy who cares too much about the scared little boy inside…”

The post Lindsay Schoolcraft (Ex-Cradle Of Filth) Slams All That Remains’ Phil Labonte Over His Comments That “Therapy Is For Women” appeared first on Theprp.com.

Brisbane’s Runt are on the verge of their debut album release.

The four piece will see their self-titled full length appear on August 7 (XMusic), with the third single Surrendered available now. Pre-order Runt here.

There are nights when escape presents itself as a pair of headlights. You get into the car, turn the key, and drive—not toward somewhere, necessarily, but away from everything that has become unbearable. The world contracts to the strip of road caught in the beams. Behind you lies the life you no longer want; ahead, only darkness.

That impulse powers “Blunt,” the explosive debut single from Midlands UK outfit Dolours. Operating at the junction of post-punk, noise rock, and dark alternative music, the band converts frustration, anxiety, and emotional unrest into relentless forward motion. Abrasive guitars scrape across a pounding rhythm section, while synths and stacked voices close in like thoughts that become louder the farther one drives.

“Blunt” is built on a particularly effective contradiction. Its rhythm is serrated: drums, bass, and guitar lock into a clipped, unforgiving pulse, all hard edges and nervous friction. The lead vocal moves differently. Possessing a smooth, controlled power, it recalls the cool command of the early-2000s post-punk and garage-rock revival—particularly The Horrors and The Strokes—with a trace of The Verve’s widescreen Britpop melancholy in its more open, soaring turns. Rather than matching the instrumental attack, the voice glides above it, making the turbulence underneath feel more acute.

That contrast sharpens later, when deceptively simple la-la-la refrains coincide with blasts of compressed, industrial-hardcore shouting. One voice remains melodic and composed; another appears crushed into the mix, forcing fragments of lyrics through distortion. The collision is both inviting and hostile—part singalong, part alarm—as though two states of mind were occupying the same transmission.

Produced and mixed by Dolours, and recorded across a patchwork of studios, bedrooms, and garages, the single retains its uncompromising DIY abrasion without losing weight or definition. The drums land with physical force, the bass provides a persistent undertow, and every guitar edge remains legible as the arrangement thickens. The result is forceful but precise: a song that keeps tightening its grip while appearing to travel in a straight line.

The accompanying video gives that tension a visual language poised between Twin Peaks and Lost Highway. A car moves along an unlit road; a lone figure stares into the lens before heavy curtains; flashes of green, amber, and white briefly reveal a room that never becomes fully knowable. Around these images, mouths, flames, houses, tower blocks, wireframe terrain, and fractured digital architecture assemble and disappear according to dream logic.

The highway is the film’s central channel. Shot from the moving car, it advances without context or destination, the verge and lane markings surfacing for an instant before falling away. The repetition induces a kind of highway hypnosis: speed without arrival, attention narrowed to whatever enters the headlights next. In the psychic geography of Lost Highway, the road is never merely a route. It is a threshold where memory loosens, identity slips, and leaving one life behind may mean becoming someone else.

The curtained performance scenes carry a different but related unease. Like the charged interiors of Twin Peaks, the room feels less like a location than a waiting area between realities. The curtain suggests a stage, but no performance can quite explain what is happening; intermittent illumination exposes the singer only to return him to shadow. Here, light does not clarify. It interrupts.

The video continually folds these spaces into one another. The room gives way to the highway; the highway dissolves into diagrams, burning domestic scenes, duplicated faces, and landscapes reduced to grids. Familiar objects remain recognizable while losing their ordinary function. A house becomes an emblem, a mouth becomes a disembodied signal, and the road becomes the passage through which the entire visual world is being rewritten.

Watch the video for Blunt below:

Ultimately, Blunt is an exercise in highway hypnosis. Its jagged pulse supplies the lane markings, its poised vocal fixes the gaze, and its distorted shouts flare at the edge of perception. By the time the la-la-la refrain returns, the song no longer seems to be carrying the listener down a road so much as drawing them through a hidden seam in it—into another place where the curtains breathe, the lights speak in flashes, and the person who began the journey may not be the one who arrives.

Listen to Blunt via Spotify below;

Follow Dolours:

• Instagram
• Bandcamp
• YouTube
• Spotify

The post Lost Highway Hypnosis — Midlands UK Post-Punk Outfit Dolours Drive Into the Dark in Video for Debut Single “Blunt” appeared first on Post-Punk.com.

With shows running from February 13 in Wolverhampton through to a final show in London on February 27

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The latest single from their upcoming album ‘Yearning: the unbeautiful after’

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Prominent progressive metal label Sensory Records proudly announces the signing of LAZARUS EFFECT, the new solo project of former Symphony X bassist Thomas Miller.

“I’m very excited to announce, after years of contemplating and eventually writing and recording my first solo project, the signing to Sensory Records,” Miller writes. “After speaking and collaborating with Ken Golden, I’ve decided it’s the perfect team to launch the CD and start the promotions for a Fall 2026 release. I met Ken in 1998, while still in Symphony X, and always had it in the back of my mind that, if I did decide to record and release an album, he’d be at the top of the list.”

“I hope everyone is as excited as I am. Between recording with some of my old friends and bandmates to finding the perfect match in Sensory Records to give it the proper attention and promotional care I was hoping for. So, the new chapter has begun, and I’m looking forward to a prosperous future relationship with Sensory Records and re-connecting with the old fans as well as new ones. Stay tuned.”

Label owner Ken Golden states, “I was a fan of Symphony X early on and met Thomas back in 1998. Those Symphony X albums were part of my introduction into the world of progressive metal and instantly won me over. Thomas was a vital part of the band’s sound, and I feel that the LAZARUS EFFECT project is going to surprise and excite fans of Symphony X and Thomas’ brilliant bass work.”

Thomas Miller started his music career in central New Jersey and played in numerous cover and original bands influenced by progressive bands from the 1970s and 1980s. In 1986, he met Michael Romeo, a local progressive and classically influenced guitarist, whom he then recorded and played out in several bands with. In 1994, they formed Symphony X and recruited the rest of the band members to complete the lineup and sign with Japanese record label, Zero Records.

After international critical acclaim for their albums Symphony X, Damnation Game, The Divine Wings Of Tragedy, Twilight In Olympus, and A Prelude To The New Millenium, they did various tour dates in Japan, Europe, and NYC. Shortly afterwards, due to personal issues, Thomas stepped away from the band.

Continually writing and recording on various projects and honing his writing skills, Miller collaborated on a recording project with vocalist Hollywood How Portney in 2017, who had recorded with several local bands and labels including Megaforce Records. After interactions with fans over the years and realizing his chemistry with How, he decided to start writing for the LAZARUS EFFECT project.

He then asked Michael Romeo and Michael Pinnella to lend their recording talents to the project, and then Eric Rachel, producer of Symphony X’s first six albums, to mix and master the album. The result is music and lyrics inspired by majestic themes, progressive metal, and various musical overtones.

With the album fully complete, Thomas is now starting to promote the release of the album and working in collaboration with The Lasers Edge Group’s distribution and promotional team. The LAZARUS EFFECT debut is currently being finalized for release early this Fall. Expect additional details, previews of the album, and more to begin posting during the Summer.

https://www.lasercd.com

https://lasersedge.bandcamp.com

https://www.facebook.com/TheLasersEdge

Source: EARSPLIT PR

Watch the new live video for “The Arrival of Satan’s Empire”

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Flagman.

The post Flagman Announce August West Coast U.S. Tour appeared first on Theprp.com.