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Next to The Beatles, there is no doubt that Queen could be considered the most loved band in UK music history, their Greatest Hits collection alone being the highest-selling UK album ever, and the outfit is rightly revered for their genre-straddling output and incredible live shows.
It was not always that way, though, and their birth was not one lauded by the critics. Their 1973 self-titled debut was not just dismissed but torn apart in the press at the time. Whilst doubtless this criticism stung, the band were made of tougher stuff and with a growing army of fans behind them, the band headed back into the studio to create their sophomore album, Queen II.
It was make-or-break time for the quartet, and they went in with a ferocious spirit, determined to do things their way and push envelopes that had only been hinted at before.
Fast forward fifty-two years, and a select group of competition winners, friends, family and various press representatives are gathered in the lower part of the West End’s highly upmarket Soho Hotel, ready to listen to the playback of the newly remastered version of Queen’s second album.
Following a welcome selection of drinks and canapés, the assembled throng is ushered into the small, cinema-like set up of the listening room, and the star of the evening, Sir Brian May, is introduced, already having wandered around the space, warmly greeting loved ones and colleagues.
Tall, dressed in a dark suit and eminently likeable, it is impossible not to be drawn into his charismatic orbit, his smile and care for all those in the room genuine.
“I feel like I know everyone in the room,” he states, and whilst he is surely one of the most recognisable musicians on the planet, this thoughtfulness brings smiles and appreciation all round.
Turning to a table at the front of the auditorium, he picks up one of the original magnetic tapes that the album was recorded on, explaining the process and how much work it was prior to the wonders of digital techniques.
Following an unboxing of the stunning new edition and the playing of two brief selections of what treasures the set holds, along with a number of anecdotes, the guitarist took his set amongst those there and suggested that rather than watch the visuals created for the playback, everyone wishing to should close their eyes to focus on the music itself.
Much-loved now, hearing the whole album once again from start to finish in its new form was a revelation. The clarity is truly stunning, and you feel you are actually in the studio when it was recorded. Everything sounds bigger, bolder and brighter than ever.
Whilst the instrumentation and arrangements glisten with a new weight and sharpness, it is the vocals that hit the hardest, especially those of Freddie Mercury, the loss of such an incredible talent heartbreaking afresh.
Certainly, as the last notes of Seven Seas Of Rhye fade, there is a hushed silence for a pause before the audience breaks into an utterly deserved wave of applause.
Visibly affected, a very moved May sits there still for a moment, eventually stating that he had not heard the album like that in a very long time. To see him so genuinely emotional just adds to the whole experience, and when he says that Freddie would have loved it, it is impossible not to get a little choked up.
Extending the evening further, the guitarist walks back out to the front to take questions about the album and the whole experience. Full of highs and lows, you can fully appreciate just how proud he is of the new mix and why it was such a pivotal album for Queen, the outfit truly starting to morph into the world-beating giants they became.
Touching on his complicated relationship with Roger Taylor and sadness at John Deacon’s distance from the band these days, there is a perpetual sense of care and appreciation of his fellow travellers and the magic that the four of them created together.
Reiterating something that he told Jon Bon Jovi as a key quality for bands, “stick together” seems something as vital and relevant for Queen and their fans to this very day. Given the strength of their material and such a world-beating legacy, that relationship is set to last for decades to come.
A rock icon, global superstar and one of the warmest and most professional people you could hope to meet, he hung around long into the evening, happily having photos and signing albums.
He may have played in front of millions, but for this one evening, this small gathering was treated to something very special indeed. A landmark album, an incredible band and a legacy that will never be forgotten.
Long live Queen.
The Queen II 2026 Remaster/Remix features a 2026 mix by Justin Shirley-Smith, Joshua J Macrae, and Kris Fredriksson, and is available as a 5CD+2LP box set, 2CD deluxe edition, vinyl, and picture disc. It includes White Side and Black Side sessions, plus rarities, and demos.
The post SHANNON JAE RIDOUT: American Folk Singer/Songwriter To Release Two Busted Boots And A Broken Heart LP On Anti-Corp Music On June 12th; âThe Day Iâve Had Enoughâ And Preorders Posted appeared first on INFRARED MAGAZINE.
They say that the best things in life are worth waiting for. Finally, after a decade, two EPs and a string of singles, Swedish Death Metal outfit RIKET are set to unleash their first full-length. Simply titled 2026, you will only need one listen to realise it has been worth the wait, for this is a well-created and brutally impressive listen.
Release Date: 10 April 2026
Words: Jools Green
RIKET lyrically find inspiration in themes that encompass darkness, struggles, and war. With a sound that melds the raw aggression of Death Metal with a Thrash drive and old school Punk defiance and attitude, 2026 is performed in their native Swedish tongue.
The band say the album is “rooted in the darker corners of our shared past: small historic tales of catastrophe, blunder, and human downfall.” The result is both darkly unnerving and crushing as hell.
Each of the nine pieces is dated with the year of its reflected event, beginning with the first single released last May, 1868: Sommar Vid Vinterviken (Summer By The Winter Bay), which looks back at the disaster at Alfred Nobel’s explosives factory at Vinterviken.
Opening on pounding, repeating riffs punctuated with ominous melodic swathes, the pace quickens before an ominous mid-point break, rebuilding on more pounding, almost industrial-sounding rhythms. Then an explosion expands out into searing leadwork before returning to the original trajectory. A powerfully expressive piece.
Next is the second single released this February, 1867: Storsvagåret, known as the year of the great famine brought about by severe freezing conditions resulting in poor harvests. This was worsened by work requirements to receive aid and the continuation of cereal exports to Great Britain. Some of the local emergency committees mixed the flour with lichen and had it baked into bread before distributing it to the poor.
Its consumption caused chest pains and, in children, vomiting. The flour aid was also secretly mixed with tree bark. Musically, a pounding repeat dominates, and the harsh vocals are delivered with vitriol. The vocal layering is impactful, the lead work is searing, and together, they make a statement that grabs your attention. I love how the pace and intensity build towards the close. It delivers a strong sense of dark desperation.
I am not quite sure what event 1965: Höghus Och Kultur refers to. The title translates as high-rise buildings and culture, and there are a lot of historic events around that subject, but nothing I can pinpoint. However, musically it is a catchy beast, an up-tempo driver that pounds along and grabs your attention from the outset.
The vocals are delivered with raw rapidity, and between the pounding drives, there are catchy swathes and searingly good blasts of leadwork that have a slightly thrashy quality, along with a wonderfully ominous lead segment midway through. Then, once again in the second half, all across the piece, the switching is frequent and slick, making it such an irresistible listen.
Next up is the third single released in March 1948: Att Döda Ett Barn (To Kill A Child), which tells of a terrible tragedy, where a moment of distraction and the driver not noticing the child in the road leads to the terrible loss and eternal burden of those involved.
Musically, it is probably my favourite RIKET piece. It has a very defined Swedish Death Metal sound and a repeating melodic element that is somewhat reminiscent of Rogga Johansson’s style, which I like immensely. You get a flowing mix of punchy drive and hauntingly emotive melodic swathes with the vocals punching through, and instead of a lead burst, the melody is reflected in a clean guitar passage in the second half. You do not need to speak Swedish to appreciate the emotion embedded within this piece. It is a superb listen.
1885: Dödsdansen (I Månskensnatten) reflects upon “The Dance of Death in the Moonlight Night” when Swedish singer Kristina Nilsson gave a free concert to the less well off from her Stockholm hotel balcony. This attracted so many people that it resulted in a human stampede and the death of many people, mostly women and children, for which Kristina largely blamed herself.
Musically, it is beautifully reflective to open with a clean acoustic guitar, then switching to a driving, crushing tumult of riffing, which largely dominates the piece, reflecting the stampeding crowd. This is broken up with melodic swathes that overlay the crushing riffs.
The midpoint zenith is a frantic bust of squealing leadwork, while the close is quite dramatic too, rapidly dropping away to acoustic guitar once again.
The next ill-fated tale is 1897: Mot Polen (Towards the Pole), referring to Andrée’s Arctic balloon expedition of 1897, a failed Swedish effort to reach the North Pole via a hydrogen balloon. He ignored many of the early signs of danger associated with his balloon plan, most importantly, not checking the equipment and the greater loss of hydrogen than expected.
This resulted in the balloon crashing after two days. The men S. A. Andrée, Knut Frænkel, and Nils Strindberg were unhurt but ill-prepared for the trek back, with no one making it back to safety. Their fate was not discovered for thirty-three years.
Musically, it’s a super atmospheric piece opening on icy winds, slow sombre riffs, and a very haunting tone to the vocal growls. I do like the contrast from the imposing swathes of tremolo picking dropped in amongst the more sombre segments. The midpoint leadwork is superb, soaring and uplifting, and for me suggests hope and success that was never realised. Closing on the icy winds, it is a beautifully expressive and powerful piece from RIKET.
1991: 2000 år (Saliga äro De Tålmodiga) Years (Blessed Are The Patient) I suspect refers to a period of significant political and economic change in Sweden when they underwent political turbulence and at times faced severe economic issues and recession. It is a sombre, reflective piece to open, and I love the protraction of the opening growl.
Afterwards, the pace elevates slightly, rising and falling, reflecting the social situation but always maintaining that sombre, serious mood. I like this piece immensely.
Although I do not know the story behind 1937: Lågor Vid Portarna (Laws At The Gates), what I do know is what a powerful, emotive and engaging listen the piece is. There is a haunting, repeating melody at the core that twists and mutates with fluidity. The vocals are delivered with power and authority, with leadwork that soars but maintains an ominous tone.
Final piece 2009: Alla Ska I Jorden (All Shall Go To The Earth) is a cover of a piece originally by Swedish rock singer-songwriter Stefan Sundström. The original was largely acoustic and was a powerful and moving piece in its own right.
RIKET follow true to the original with the raw bleak vocal delivery and acoustic element, but swap the blues rock element of the original with a more Death/Doom element, which works equally as well. I think it is an excellent interpretation.
2026 is an undeniably powerful listen, even more so because I love a good backstory. RIKET release 2026 on 10 April 2026 via Black Lion Records, it will be available as CD, vinyl or digital download. Pre-orders are available from orcd.co/blp0192.
Taylor Momsen has some weird luck. Two years ago, the former Gossip Girl star was on tour with her band the Pretty Reckless, opening for AC/DC in Seville, Spain. While she was performing, a bat flew up and bit her on the leg. After a stagehand pulled the animal off, Momsen told the crowd, “Well, that hasn’t happened before. I’m telling you. I’m a fucking witch. I attract the bats.” Apparently, she attracts the spiders, too.
The post Taylor Momsen Bit By Another Creature On Another AC/DC Tour appeared first on Stereogum.
Twenty One Pilots’ ‘Drag Path’ has become a much bigger hit than the band may have ever expected, but when it’s performed like this, it’s understandable why it has become so special.
The duo have shared footage shot at the T&T Block Party 2026, which took place on April 03 at American Legion Mall in Indianapolis, IN.
Delivered with tenderness, intricacy and emotional devastation that such a beautifully building track deserves to be accompanied by, it’s a stunning performance of a song that is starting to spread further than ever anticipated. But the fact that so many are clinging to it so tightly is exactly why it is needed.
Have a watch for yourself.
The song was originally released as part of ‘Breach: Digital Remains’, an expanded version of their 2025 album ‘Breach’ that was available to purchase for one week only. Though thanks to the song’s virality, especially on TikTok after being used on over 75,000 videos, and with there being no official version of the song available, the band have decided to let it run free. But with a slight change.
The version of the song that can now be listened to is a different edit than what was on ‘Breach: Digital Remains’, meaning that those who purchased it last year still have their own special version of it.
And here is the beautiful video created to accompany it.
If you’re in the UK, you will be able to see the band playing the track when they headline All Points East, joined by Wunderhorse, REN, BBNO$, PVRIS, Nova Twins, Dead Pony, Kid Kapachi, LEAP, NOAHFINNCE, Honey Revenge, Royal & The Serpent, Mouth Culture, Half Alive, Red Leather, Teen Jesus And The Jean Teasers, Artio, Emi Grace, Reece Young, Gang of Youths and Jessie Murph on the absolutely stacked line-up.
The event will be taking place on August 30 at London’s Victoria Park. Tickets are available right now from www.allpointseastfestival.com
The post WATCH: Twenty One Pilots Perform ‘Drag Path’ At T&T Block Party 2026 appeared first on Rock Sound.
This April sace6 will be visiting Australia for the first time supporting nothing, nowhere on their national tour. We talk about their evolution as a band/project and how they transform what they do into a live setting. The bands debut album ‘brutalist’ is due on May 8 via Sumerian Records. This record is nothing like I have heard before it’s a chaotic journey that forces styles that shouldn’t work together move hand in hand.
The guys are a great chat with an incredible story. sace6 is an incredibly unique project that you simply have to experience. Live I can not wait to shear and see what they do.
A huge thanks to Sumerian Records, Dallas Does PR and Destroy All Lines for the opportunity.
The post INTERVIEW: sace6 Talk Brutalist, Live Chaos and Their First Australian Tour appeared first on The Rockpit.