SoCal pop-punks Moonraker have signed on with Punkerton Records for the release of their upcoming album Me and the Bells, recorded with and produced by Chris Fogal of The Gamits at Black in Bluhm in Denver, CO. We’re stoked to bring you the exclusive premiere of the brand new single “Find Your Fangs”. Check out the music video below and stay tuned for more to come!
Here’s some background on the video, courtesy of Moonraker drummer David Green:
“We shot this using the backup cameras in our cars and a truck I borrowed from work. Shoutout to Raine for shooting it and to my coworker Aaron for working the lift gate on the truck while Matt ripped his solo. We all got crazy sun burnt making this. Turns out when you film in a parking lot all day, you should wear sunscreen. There’s a Beastie Boys video where they have famous actors play them (“Make Some Noise”). When asked about the filming of it, Danny McBride said, “Once you’re there, rapping into a fisheye lens, you realize you’ve been training for this your entire life.” He was right.”
This premiere is brought to you in part by Punk Rock Radar. If you’d like your band’s music video to be premiered by Dying Scene and Punk Rock Radar, go here and follow these instructions. You’ll be on your way to previously unimagined levels of fame and fortune in no time.
The David Longdon Foundation launched on June 17th, 2026, on what would have been musician David Longdon’s 61st birthday.
David Longdon was one of the most gifted musicians of his generation. As frontman of Big Big Train, he spent twelve years producing work of extraordinary emotional depth, earning devoted fans across the world. He was also a solo artist, a collaborator of rare generosity, and a multi-instrumentalist of exceptional ability. When he died in a domestic accident in November 2021, music lost someone truly irreplaceable.David believed with conviction that music belonged to everyone. That belief is the beating heart of this Foundation.
The David Longdon Foundation (Registered Charity No. 1216766) has two core purposes. The first is to support young musicians from socioeconomically disadvantaged backgrounds through financial bursaries and mentoring by a panel of professional musicians and music industry experts. The second is to fund music therapy for those in need. For this strand of its work, the Foundation is delighted to have aligned with Nordoff & Robbins, the UK’s largest music therapy charity, through whom all music therapy fundraising will be channelled.
The Foundation has been established by David’s fiancée, Sarah Ewing, and his manager and close friend Nick Shilton, who serve as its trustees, with the wholehearted support of David’s daughters, Amelia and Eloise. The advisory panel includes musicians Danny Manners, Dave Gregory and Louis Philippe, producer Gary Bromham, Prog magazine Editor Jerry Ewing, and music industry marketing professional Steve Cadman. All of them knew David extremely well and care deeply about the work ahead.
(This is Daniel Barkasi’s review of a new album by the Norwegian black metal band Mork, which will be released by Peaceville Records on June 19th.) If you don’t evolve, you can get left behind. As humans, we learn and grow as we traverse this wild journey called life. It can be similar for music, […]
Outlaw country legend Blaze Foley — a guy who not only lived that life but died that death, shot by the son of his friend Concho January at age 39 — is the subject of a new tribute album. Sittin’ With Blaze, due out in August, features covers of the Austin singer-songwriter’s work by artists including Lucy Dacus, Lucinda Williams, Joshua Ray Walker, John Moreland and Lydia Loveless, and more.
The vast, sprawling $850 million edifice known as the Barack Obama Presidential Center — it’s not a library, though it has a library — has been in the works for more than a decade, and it’s finally ready to open its doors to the public. The Obama Center sits on a 19-acre plot in Jackson Park, on Chicago’s South Side, and it houses a museum, an education project, various community facilities, and the Obama Foundation’s headquarters. It technically opens to the public tomorrow, for Juneteenth. But today, there will be a grand-opening ceremony that’ll feature performances from a ton of Obama’s musician buddies.
Iron Maiden's Bruce Dickinson called out 'legends' who 'can't sing anymore' during a recent interview when he was asked about retiring. Continue reading…
Classical music and rock often seem like opposite musical worlds.
Classical music usually suggests orchestras, written scores, concert halls, formal training, and older traditions.
Rock usually suggests rebellion, electric guitars, amplified sound, loud drums, and popular culture.
Late 1960s rock made that connection especially clear. Deep Purple’s 1969 performance with an orchestra became an important early example of a rock or metal band sharing a stage with a full orchestra.
That event helped show that amplified rock could work beside orchestral sound without losing its power.
Why Classical and Rock Music Fit Together
Classical music and rock fit together because they often use different tools for similar effects.
Classical music builds force through orchestration, dynamics, harmony, and long development.
Rock and metal build force through distortion, volume, rhythm, riffs, and vocal intensity.
Shared emotional intensity
Classical music can sound massive, dark, heroic, tragic, or supernatural. Rock and metal often aim for those same emotions through amplified instruments.
Beethoven, Wagner, and Mussorgsky used fate, fear, heroism, and conflict as major musical ideas.
Black Sabbath created a related kind of darkness through tritone-heavy riffs and heavy guitar tone.
Rock and metal often turn emotional pressure into sound through specific musical choices:
Distortion can make a guitar feel threatening or urgent.
Loud drums can create a physical impact.
Repeated riffs can build tension like repeated orchestral motifs.
Harsh or dramatic vocals can intensify fear, anger, grief, or triumph.
Shared focus on virtuosity
Classical music values technical mastery on the violin, piano, cello, voice, and other instruments.
Rock and metal created their own virtuoso tradition through guitar, bass, drums, keyboards, and vocals.
Ritchie Blackmore became one of the first major rock guitarists strongly associated with classical inspiration.
His playing helped bring classical-style phrasing, scales, and drama into hard rock guitar.
Later musicians such as Yngwie Malmsteen pushed that influence further.
Malmsteen’s neoclassical metal style uses ideas linked to Bach and Paganini. Fast arpeggios, rapid scale runs, and complex harmonies make his guitar playing sound close to classical violin writing.
“Far Beyond the Sun” is a key example because its fast passages recall Paganini’s Caprices.
Other rock and metal virtuosos also connect rock technique with classical difficulty.
Steve Vai, John Petrucci, Jason Becker, Mike Portnoy, and Danny Carey use advanced rhythm, speed, precision, and instrumental control.
Their work can be compared to demanding figures such as Liszt, Paganini, Stravinsky, and Bartók.
Shared interest in complex structure
Classical works often use motifs, multi-section designs, counterpoint, and long musical development.
Progressive rock and metal often avoid simple verse-chorus design and use longer structures with repeated themes and changing sections.
Metallica’s “One” develops like a classical composition. It begins with a clean, sad introduction and builds toward a heavy climax.
Iron Maiden’s “Hallowed Be Thy Name” works like a classical suite because it moves through several sections and brings musical ideas back across the song.
Dream Theater also shows a classical approach to structure.
Intricate time signatures, thematic development, long instrumental passages, and sudden shifts make the band’s progressive metal sound carefully composed.
Early Uses of Classical Instruments in Rock
Early rock did not always depend only on guitar, bass, drums, and voice.
Some recordings added orchestral instruments to create emotion, polish, or dramatic tension.
String instruments were especially important because violins, violas, and cellos already carried strong associations with classical performance.
Their continued importance outside concert halls is evident in modern string-instrument resources such as greatviolincases.com, which focuses on protective cases for violin, viola, and cello players.
Strings became especially important because they could make rock songs sound sharper, sadder, or more serious.
Strings in early rock and pop-rock
Buddy Holly’s “It Doesn’t Matter Anymore,” released in 1958, was an early rock or pop-rock recording to use violins.
That choice showed how orchestral sound could enter popular music without replacing rock rhythm or vocal style.
The Beatles’ recordings helped make classical textures normal in rock. “Yesterday” used a string quartet. “Eleanor Rigby” used sharp string writing.
“She’s Leaving Home” used orchestral sound to support storytelling.
Important Beatles string examples show different emotional uses:
“Yesterday” uses strings for intimacy and sadness.
“Eleanor Rigby” uses strings for tension and severity.
“She’s Leaving Home” uses orchestral writing for narrative emotion.
Paul McCartney’s classical touches helped audiences accept more formal musical ideas inside rock and pop songs.
Beatles and classical inspiration
Beatles songs also used classical ideas, not only classical instruments.
Their work showed that classical influence could appear in harmony, melody, texture, and instrumental design.
“Blackbird” connects to Bach-like guitar writing. Bach’s Bourrée in E minor influenced Paul McCartney’s writing of the song.
“Because” connects to Beethoven’s “Moonlight Sonata.” John Lennon used the mood and harmonic feeling as inspiration.
“In My Life” includes a Bach-inspired keyboard solo. George Martin drew on Bach’s Invention No. 12 in A major.
“Penny Lane” uses piccolo trumpet, linked to Bach’s Brandenburg Concerto No. 2.
Rock Bands That Made Classical Instruments Central to Their Sound
Some bands used classical instruments only once or twice.
Others made those instruments central to their identity. In those cases, orchestral sound became part of the band’s personality rather than a small addition.
Moody Blues
The Moody Blues made orchestral texture central on Days of Future Passed.
“Nights in White Satin” used orchestral sound and flute to create a symphonic rock style.
Ray Thomas’ flute became a key part of the band’s sound. Orchestral interludes helped the album feel unified and large in scale.
The Moody Blues also influenced Electric Light Orchestra by showing that orchestral color could become part of a rock band’s identity.
Electric Light Orchestra
Electric Light Orchestra built its sound around rock instruments, strings, and orchestral arrangements.
Strings were not an occasional decoration. They became a main part of the band’s sound.
“Roll Over Beethoven” directly connected rock-and-roll energy with classical reference.
ELO continued the orchestral-rock model associated with Moody Blues and made strings a defining feature.
Jethro Tull
Ian Anderson made the flute a lead rock instrument.
Jethro Tull placed the flute at the center of its sound instead of using it as background texture.
Flute changed the band’s identity in several clear ways:
It gave Jethro Tull a sound instantly linked to Ian Anderson.
It allowed flute solos to work like guitar solos.
It made a classical or folk-associated instrument feel energetic inside rock.
It showed that rock lead instruments did not have to be limited to guitar and keyboard.
Roxy Music and Who
Roxy Music used an oboe through Andy Mackay. Songs such as “If There Is Something” and “Ladytron” gained an art-rock sound through that instrument.
John Entwistle played French horn in “Pictures of Lily.”
That example shows that brass could also enter rock directly and memorably.
Classical Instruments Used in Unconventional Rock Ways
Classical influence in rock did not always mean polished orchestral arrangements.
Sometimes musicians used classical instruments or techniques in strange, rough, experimental, or aggressive ways.
Those choices changed how listeners thought about those instruments.
Velvet Underground
John Cale used an electric viola in the Velvet Underground. Its droning, experimental sound became important on the band’s debut album.
Viola usually belongs to classical chamber or orchestral music, but Cale used it for tension, repetition, and avant-garde rock texture.
His playing made the viola sound unstable, hypnotic, and intense.
Led Zeppelin
Jimmy Page guitar solo violin bow|Reddit
Jimmy Page used a violin bow on an electric guitar in “Dazed and Confused” and “How Many More Times.”
That technique came out of string playing, but Page used it to create eerie rock sounds.
Bow on the electric guitar created long, ghostly tones that normal picking could not produce. Classical technique became a way to make rock sound stranger and more theatrical.
Led Zeppelin’s “Friends” has also been connected to Holst’s “Mars, the Bringer of War.” Heavy rhythm and dark mood help explain that connection.
Apocalyptica
Apocalyptica built metal around cellos. Cellos sit at the center of the band’s sound rather than behind guitars.
Their approach shows what classical instruments can do inside metal:
A cello can create heaviness through its low range and aggressive attack.
Bowed rhythm can create pressure similar to guitar riffs.
Multiple cellos can create harmony, melody, and percussive force.
Metal energy can exist without a standard electric guitar as the only main instrument.
Closing Thoughts
Classical and rock music connect through drama, virtuosity, structure, and instrumentation. Both styles can be intense, technical, emotional, and theatrical.
Rock bands used classical instruments to expand sound, increase emotion, and challenge popular music’s limits.
Strings, flute, oboe, French horn, viola, cello, choir, and orchestra all helped rock become broader in sound and more ambitious in design.
When rock bands used classical instruments, they transformed classical sound into modern, amplified, emotionally powerful music.
Did you know it’s Bitch Summer? It officially started a couple weeks ago when Lizzo released her new album Bitch. Apparently the world hasn’t caught on yet, because Bitch hasn’t cracked the Billboard 200. Her last album, Special, which was released in 2022, debuted at #2 on the same chart.
One of the popular plot lines in a number of current TV shows is about someone with a regular life who, it turns out, was trained as an assassin/spy/renegade. Then their memory was wiped so they could live a normal life until some trigger brings back the badass. There’s some parallel to that in musician […]
