Album Review: Mystery Moon – Way Beyond Pride & Joy Music – September 18th, 2026 Reviewer – Chris O’Connor Mystery Moon returns with their excellent sophomore offering ‘Way Beyond‘, barely two years after ‘Shine‘ (review here) introduced the partnership of Swedish vocalist Rob Lundgren and German multi-instrumentalist Markus Pfeffer. If that debut established their credentials in […]
The post Album Review: Mystery Moon – Way Beyond appeared first on ROCKPOSER DOT COM.
Soundgarden have released the full official video of their Seattle Seahawks halftime performance, seventeen days after NBC declined to broadcast a single second of it.
The set — ‘Outshined’ and ‘Spoonman’, played by Kim Thayil, Ben Shepherd and Matt Cameron with Taylor Momsen of The Pretty Reckless on vocals, Mike McCready of Pearl Jam on second guitar and the Seahawks’ 32-piece Blue Thunder Drumline behind them — went out at Lumen Field on 9 September and was seen only by the people in the building. NBC cut to studio analysis instead.
Fans have spent the two and a half weeks since sharing phone recordings and demanding the real thing. It’s now on the band’s own YouTube channel, and it was worth the wait.
STREAM THE METAL BREAKDOWN DAILY NOW:Scott Penfold breaks down the latest hard rock and metal news on today’s Metal Breakdown Daily. Download the free Loaded Radio App on Apple iOS and Google Play and stream the show now.
Let’s start with why this is a story at all, because a band posting a video of themselves normally isn’t.
On 9 September, Soundgarden — a band who have played live five times in nine years — performed at the halftime of the Seahawks’ season opener against the Patriots, in their own city, with a guest vocalist and a 32-piece drumline. It was the closest thing to a genuine event that an NFL halftime slot has produced in years.
NBC aired halftime analysis.
Not a truncated version. Not thirty seconds and a cut to the studio. The broadcast went to the desk and stayed there, and the only people who saw the performance were the ones standing in Lumen Field.
The reaction was immediate and it was not gentle. One viewer: ‘Shout out to the people who got videos and are sharing with the rest of us who couldn’t see Taylor & Soundgarden, since @NBCSports had one job (to air it) they couldn’t even do that right. So irritating because they used Taylor & Soundgarden just to bring in more viewers.’
Another, and this one’s my favourite thing anybody said about it: ‘Unless it was the band’s decision, it is truly incomprehensible to me how @nbc did not televise Soundgarden’s historic halftime performance and instead platformed the same tired commentary that is about as useless as a poopy flavored lollipop.’
Worth noting that McCready’s national anthem did make the broadcast. The anthem got airtime. The band didn’t.
LIVE & LOUD: Stream the World’s Hardest Radio Station 24/7Here’s the part that turns an annoyance into a pattern.
Four years ago NBC pulled the same trick on Ozzy Osbourne, airing a matter of seconds of his set before cutting away. Same network, same slot, same instinct — book a rock legend to sell the broadcast, then don’t broadcast the rock legend.
I’ve spent enough years around this to know exactly what happens in that control room. Music is what gets cut when a segment runs long, every single time, because the producer’s assumption is that nobody tuned in for it. And that assumption is wrong in a very specific and very expensive way: the band’s name is in the pre-game promo precisely because somebody upstairs believed it would pull viewers in. You cannot use a band to sell the broadcast and then treat them as the thing you cut for time. Pick one.
What makes it worse in this case is the rarity. This isn’t a touring act you can catch next month. Soundgarden have performed five times since 2017. There was no second chance to see this.
Two songs, and they picked the right two.
‘Outshined’ opens it — that Badmotorfinger riff in dropped D, the one that had half of Seattle retuning their guitars in 1991, and it is absolutely enormous in a stadium.
Then ‘Spoonman’. Which, if you think about it for about four seconds, is the most obvious marching-drumline song ever written and nobody had ever done it. There’s a percussion break sitting in the middle of that track that has been waiting since 1994 for somebody to hand it 32 drummers. The Blue Thunder Drumline walk straight into it and the whole thing lifts off.
Taylor Momsen takes the vocals and — crucially — doesn’t attempt a Chris Cornell impression. That’s the right call and not an easy one when you’re standing in front of a full stadium singing songs that belonged to one of the greatest voices in rock history. She sings them as herself. It works.
And in a proper board mix rather than through somebody’s phone microphone, the difference is night and day. If you’ve only heard the bootleg audio that’s been going round, this is not the same experience.
We Recommend – THE NORTHWEST INVASION: Best Grunge Albums Ranked – The 13 Most Essential Pillars of the Seattle Sound
Context for why fans were so angry about missing it.
Soundgarden have played live five times since Chris Cornell’s death in 2017:
That’s it. That’s the whole live history of one of the most important bands Seattle ever produced across nearly a decade. They are extremely selective about what they say yes to, and a hometown NFL opener was a pointed choice. Putting that in front of a national audience and then not putting it in front of a national audience is the part that stings.
Check Out – Grunge’s Grunge-iest: 13 Bands That Defined the Genre
The bigger picture, and the reason none of this is a farewell lap.
Thayil, Shepherd and Cameron are building a new Soundgarden album from recordings Cornell made before his death in 2017. Terry Date, who produced two of their classic records, is on it. Joe Barresi is mixing.
No release date. But that’s a real record with a real production team behind it, which means the halftime sets and tribute shows aren’t the ending — they’re what’s happening while something larger gets finished.
NBC cut to halftime analysis instead of broadcasting the set. No explanation has been given by the network. Mike McCready’s national anthem performance earlier in the day did air.
The complete official footage is now on Soundgarden’s own YouTube channel, released seventeen days after the performance.
Two: ‘Outshined’ from Badmotorfinger and ‘Spoonman’ from Superunknown, backed by the Seahawks’ 32-piece Blue Thunder Drumline.
Taylor Momsen of The Pretty Reckless. Soundgarden have used a rotating cast of guest singers since Chris Cornell’s death in 2017 rather than appointing a permanent replacement.
Five. The 2019 ‘I Am the Highway’ tribute at the Forum, the 2022 Taylor Hawkins tribute, a six-song Showbox set in 2024 under the name Nudedragons, the 2025 Rock And Roll Hall Of Fame induction, and this halftime performance.
NBC booked one of the most selective live bands in rock and then didn’t air them — and they did it to Ozzy four years ago too. Tell us in the comments whether that’s incompetence or whether music just always gets cut first. Follow Loaded Radio for daily rock and metal news.
The post Soundgarden Breaks The Internet: Band Finally Drops Full Official Halftime Performance Video appeared first on Loaded Radio.
Emerging from Stoke-on-Trent, UK five-piece The Groves channel the gold standard of ’90s and ’00s guitar rock, taking direct cues from power-pop and slacker-rock icons like Elliott Smith, Brendan Benson, and Guided by Voices. Powered by the songwriting team of brothers Luke and Joshua Prince alongside Tom Adamson—and rounded out by vocalist Kris Morgan and bassist Harvey Brown—the band moves effortlessly between hook-laden power-pop, heavy alternative riffs, and stripped-back lo-fi textures.
Say The Groves about their new song: ‘Yeah Yeah Yeah’ is a guitar riff driven track built up from a live studio recording. This approach ensured that we captured a raw energy reminiscent of the 60s/90s garage rock/power pop sound that influences us. Lyrically the song airs both internal and outward frustrations around artistic integrity and personal insecurities.
I find the song fun to listen to, energetic and with pure 90s vibes. Amazingly performed, catchy and with a perfect sound for the genre (it was recorded at Sun Street Studios in Stoke-on-Trent with producer Mark Eyden). It’s got some pop elements and I find it enjoyable from start to finish. Give it a go by clicking on the Spotify player below and follow The Groves if you like what you hear.
Brisbane progressive heavy rock project Distant Emperor, the vision of writer, instrumentalist, and producer Marc Di Camillo—delivers an ambitious fusion of crushing modern rock power and nostalgic ’80s synth textures. Utilizing a rotating lineup of guest vocalists to give every track a distinct identity, Di Camillo uses his cinematic soundscapes to tackle deep thematic terrain ranging from societal decay and Orwellian control to personal isolation. Following up the sweeping scope of his debut Generation Salvation and the darker edge of the Vow Heaven/Unleash Hell EP, Di Camillo returns with his most expansive full-length to date, Mind Games.
Opening the new album, standout track “Ether Veil” sets an exceptionally high bar with a vibrant, highly original sound that seamlessly blends retro ’80s flair with razor-sharp modern production. Lyrically exploring the claustrophobic struggle to break free from a manipulative, deceptive reality, the song hits with an eerie, cinematic pace and mood that feels tailor-made for a dark thriller or thriller soundtrack. Driven by top-notch musicianship, brilliant arrangements, and a gripping atmosphere, give “Ether Veil” a go by clicking on the Spotify player below and follow the band if you like what you hear.
Salt Lake City collective NOISEVEIN merges heavy riffs, genre-bending experimentation, and uninhibited nerd culture into an expansive sound for fans of Deftones, Sleep Token, and Bring Me the Horizon. Their debut concept album, PLANEWALKER, takes listeners on a D&D-inspired journey across elemental planes to explore deeply human struggles with grief, anxiety, and personal growth.
Lead track “OOZE” tackles the crushing weight of stagnation and self-sabotage. Anchored by a gritty bassline, the track steadily builds into a chaotic, oppressive atmosphere that mirrors bottled-up rage. Driven by a standout groove, incredible band performance, and top-tier production, “OOZE” delivers a powerful, claustrophobic anthem about pushing through when you feel completely trapped.
Give it a go by clicking on the Spotify player below and follow NOISEVEIN if you like what you hear.
https://www.instagram.com/noisevein.band/
Gabriella Michelle Henderson, known professionally as Ella Henderson, emerged from the ninth series of The X Factor UK in 2012 and quickly proved that finishing outside the final did not stop her from building a major pop career. Born in Grimsby, England, she had been playing piano and writing songs from a young age. Her voice, combining pop power with soul and R&B phrasing, became the foundation of a catalog that has moved comfortably between solo ballads, dance records, acoustic performances, and collaborations. Her debut album, Chapter One, arrived in 2014 and reached number one on the UK Albums Chart.
The post Complete List Of Ella Henderson Songs From A to Z appeared first on ClassicRockHistory.com.
September is done! We’re closing in on spooky season now (and damn if we can’t hear the faint rustle of bells in the distance) but before we hit the end of the year there’s still plenty of great new releases to explore, meaning its important as ever for us to cut through the clutter and bring you some excellent new metal songs.
First, the results of last week’s vote! Belgian speed metallers Evil Invaders charged into third place, while Waterlines took a very healthy second with Giant Killers. But the overall winners for the week were Ukraine’s Ignea, whose collab with Combichrist Prefab proved too good to resist.
This week we’ve got the first glimpse of an Alissa White-Gluz fronted Dragonforce as well as new music from Bullet For My Valentine, Crypta, Enslaved, Clutch, Apocalyptica and more. As ever – and with the end of year rapidly approaching – we need you to tell us which songs excite you most, so don’t forget to cast your votes in the poll below – and have an excellent weekend.
Partnered up with nordic folk star Kalandra, Apocalyptica’s Uppherhand makes great use of the Finns’ ability to create a sense of scope and drama. It’s a slow building track, Katrine Stenbekk’s voice soaring over brooding melodies before the song really leans in on its symphonic metal elements at the 2:30 mark. Gorgeous.
Recruiting Alissa White-Gluz was always going to have a big impact on Dragonforce’s sound, but we’d wager few people were expecting this. It feels like a full mash-up of the powerful melodeath that Alissa has been belting out for over 15 years now, colliding head-on with Dragonforce’s brand of full-tilt power metal. With a self-titled record set for March 17 next year, we reckon this is just the start of exciting new realms for the power metal vets.
It’s been three years since Crypta’s last record, but we’re finally getting a glimpse of what comes next. With guitarist Victoria Villarreal joining their ranks, the Brazilian death metal group have offered up something grandiose and sweeping on A Portrait Of Decay, a six-minute monolith with some gorgeous proggy guitars creeping in before the end.
Picking up from the more metallic edge they reintroduced on 2021’s self-titled album, Bullet For My Valentine are going big on Social Apocalypse. Far from going back to The Poison playbook after celebrating that album, the Welsh band have picked up where they left off and crafted something that would fit comfortably in the modern metalcore bracket alongside the likes of Parkway Drive or Bring Me The Horizon. They’re certainly writing for the arenas they’ve eyed up for the UK tour next year.
Tom Morello has never shied away from making political statements. The fact he appears in this video wearing a Bob Vylan shirt, with Kneecap guesting is a pretty clear line in the sand. Musically, Unconquered feels like that all-too-often unexplored realm of rave-rock energy, not quite using EDM but bringing to mind acts like the KLF or The Prodigy with a tight, dancy riff. Tom’s new album Everyone Gets Everything They Want is out today.
Keeping those danceable riff vibes going strong, Polyphia’s With Eyes To See also delivers some tight, stomping beats. In truth, if you heard this on radio – or a club, which seems like a much more fitting setting for it – you could be mistaken into thinking this is some Glastonbury-friendly dance group, such is the track’s infectious energy (with the looping vocal definitely helping cement the sense). New album Be Not Afraid is expected October 23.
If you were worried that rock’n’roll had all but given up on its street walkin’ cheetahs with hearts full of napalm, and fellas who make love to mountain lions and sleep on beds of red-hot branding irons, rest assured: Clutch have you covered. The band’s latest single – and the title-track of their next album, due January 22 – Wasted Lands is exactly that kind of dick-swinging, chest-beating bravado that made rock so damn brilliant in the first place: “What’s it’s name? This creature of malice? No one knows for sure, but the locals call him Neil Patrick Fallon.”
It’s been a hot minute since Suicide Silence sounded this feral. There’s been no shortage of heft on the last couple records, but Make Your Exit is genuinely abrasive and punishing in the most satisfying ways, spelling good things for new album Graceless, due November 20.
If the d-beat and barked vocals weren’t a dead giveaway, Wolfbrigade love them some crusty punk. Doomrunner is a rampaging, slobbering beast, simple yet effective as the band kick it out fast and hard like Discharge and Napalm Death did before them. New album Howl From Underground is out October 9.
Wait, is that another d-beat we hear? For the briefest moment, yes, but Leng T’che aren’t exactly the kind of band to stick in one lane, Hammered Into Collapse managing to sprint its way through a extreme metal’s diverse land-scape in under two-and-a-half minutes as they go from squealing deathcore, grind and death metal to sludgy filth. Its been almost a decade since their last record, but they’re making up for lost time.
“We built this city on rot ‘n’ mold.” Its hard to say exactly where you’d place Sweden’s Haerdsmaelta, the gaskmask-festooned group pogoing on skronky, off-kilter riffs that bring to mind Voivod’s X-Stream with their weird punk-metal weirdness. Taken from the band’s upcoming self-titled album – due October 23 – it’s a delightfully weird and fizzy track well worth your time.
Fancy some gore? Brat are going full Cannibal Corpse with the lyrical content to Speculum Bleed, while adding a subversive twist that is really highlighted in the splat-happy video. With some big, thrashy riffs, it’s proof that they’re pushing their brand of bimboviolence into new directions on new album Manslayer, out today.
Prog be damned, Enslaved are back in the realms of frosty nastiness. Alright, not entirely, but you’ll forgive our excitement after shanties and folk tunes (which were great, we’ll concede) just having the Norwegians go absolutely barmy with raspy black metal scratches the itch nicely. Taken from upcoming album Mið, Tale Of Trees suggests the album will be anything but.
