UK progressive metallers Haken have returned with their first new music in 3 years, in the shape of “In A Fever Dream”. This new track sees the band working with a producer for the very first time, bringing George Lever (Loathe, Sleep Token) on board to help shape the next stage of the band, crafting some of the most emotionally direct material of the band’s career so far.
For this track, the band enlisted renowned bassist Bryan Beller (The Aristocrats, Dethklok, Joe Satriani) to contribute. Watch the visualiser for ‘in a fever dream’ (created by Oli Kember) below.
Haken will return to the stage on September 27th to headline the Euroblast Festival in Germany.
During a rare and exclusive interview with UCR, the guitar legend tells us about how his new band developed with the first two albums they released. Continue reading…
PERTH, WA — Friday June 12 will see the Rosemount Hotel transformed into a powerhouse celebration of hard rock and heavy metal as TITANS OF STEEL delivers an explosive night dedicated to four of the biggest names in rock history — Metallica, Iron Maiden, Whitesnake and AC/DC.
Featuring four of Perth’s premier tribute acts, TITANS OF STEEL promises wall-to-wall anthems, blistering musicianship and arena-sized energy in one unforgettable night of live music.
Leading the charge are SOME KIND OF TRIBUTE performing METALLICA, bringing together some of Perth’s most accomplished musicians to honour one of the greatest metal bands of all time. Covering everything from iconic fan favourites to deep cuts spanning Metallica’s legendary catalogue, the band delivers a performance built on passion, precision and respect for the music that shaped generations of metal fans.
COVIDale
Representing the New Wave of British Heavy Metal are POWERSLAVE performing IRON MAIDEN. Known as Perth’s ultimate Maiden tribute experience, POWERSLAVE recreates the soaring vocals, galloping rhythms and twin guitar attack that made Iron Maiden global icons. Fans can also expect a special appearance from Maiden’s infamous mascot ‘EDDIE’, adding another layer of theatrical spectacle to the night.
Bringing the glamour and swagger of classic 80s hard rock is COVIDale performing WHITESNAKE — an all-star tribute lineup featuring Dom Giorgi (Dark of the Day), Ama Quinsee (Legs Electric), Simon Hallett (Psychonaut), Leon Todd (Ragdoll) and Fremantle Dockers crowd favourite Troy Nababan. Performing massive hits including Here I Go Again and Still of the Night, COVIDale combines powerhouse vocals, huge riffs and pure rock ‘n’ roll energy for a full-scale arena rock experience.
Ballbreaker
Rounding out the line-up are Australia’s electrifying all-female AC/DC tribute act BALLBREAKER. Featuring Scottish-born vocalist Kathryn Lamb alongside guitarists Krissy Sanfead (Parabelum) and Bec Moroney, a brand new bassist (to be announced shortly) and drummer Lauren Reece, BALLBREAKER celebrates the raw energy and cheeky spirit of the Bon Scott era with classics including TNT, Jailbreak, Can I Sit Next To You Girl and She’s Got Balls. Loud, wild and unapologetically fun, BALLBREAKER delivers the ultimate AC/DC party atmosphere.
With four legendary tributes sharing one stage, TITANS OF STEEL is shaping up as one of Perth’s must-see live rock events of the year.
TITANS OF STEEL Friday June 12, 2026 Rosemount Hotel, Perth WA
Featuring tributes to: METALLICA • IRON MAIDEN • WHITESNAKE • AC/DC
Prepare for a night of heavy riffs, soaring vocals, thunderous drums and timeless rock anthems performed by some of WA’s finest live musicians.
UK progressive, alternative metal band HAKEN return with their first new music in 3 years, in the shape of ‘in a fever dream’. This new track sees the band working with a producer for the very first time, bringing George Lever (Loathe, Sleep Token) on board to help shape the next stage of the band, crafting some of the most emotionally direct material of the bands career so far. For this track, the band enlisted renowned bassist Bryan Beller (The Aristocrats, Dethklok, Joe Satriani) to contribute.
Watch the visualiser for ‘in a fever dream’ (created by Oli Kember) here:
Hailing from Detroit, Michigan, the Suicide Machines broke out onto the scene in 1991. Originally named Jack Kevorkian and the Suicide Machines, after the infamous “Doctor Death,” they had streamlined their title by the time their debut album dropped in 1996. After a few lineup changes and a short breakup in 2006, the band reunited in 2009. Throughout their career, they’ve released seven full-length albums along with a collection of singles, splits, and EPs. This year marks the 30th anniversary of their celebrated debut, Destruction by Definition.
Growing up in the Detroit suburbs during the mid-90s punk revival was a riot. Known as the birthplace of legends like Iggy Pop, the Stooges, and the MC5, Detroit has produced its fair share of local punk bands. In the 90s, the Suicide Machines were the most prominent, solidifying their status as the best to emerge from the city in years, and delivering their ska-punk sound to local kids, playing small shows at venues across the state. I remember frequently taking the tunnel bus to catch them live several times a weekend, early in their career.
When Destruction by Definition made its debut, it shot the Suicide Machines into the punk rock spotlight and placed them on a major label—Hollywood Records. Dubbed a quintessential ‘90s punk-ska album for a reason, it perfectly blends the best of both genres while capturing the sound of the era. With its melodic ska hooks and the raw energy of classic punk angst, this album is a flawless debut from beginning to end. Merging these musical elements laid the groundwork for what many refer to as “skacore”, but regardless of what you call it, Destruction by Definition nailed it. While the tracks lean heavily on punk, the ska influence runs strong throughout, with each song averaging just over two minutes – it’s a lot packed into a short runtime. Lyrically, the album remains relevant today, addressing substantial issues like hate, social conflict, and racism, alongside everyday struggles such as broken relationships and mental strain. A little something we can all relate to. Yay!
Destruction by Definition kicks off with an intro that everyone recognizes, thanks to Tony Hawk’s Pro Skater. “New Girl” is the first track, aggressive vocals thrashed together against an upbeat tempo. Next up is “S.O.S,” – more pertinent now than ever. It’s a ‘call-to-action’ against hate and racism, backed by an energetic hardcore punk style. “Break the Glass” has always, in this girl’s opinion, epitomized the energy of their live performances. With a frantic rhythm and upbeat vocals, it stands out on the album and even landed a spot on the American Werewolf in Paris soundtrack.
Songs like “No Face” capture the quick-tempoed skate punk energy with rapid-fire lyrics. Gaining them airplay in the early 90s, and propelling the Suicide Machines onto centre stage. Then there’s “Hey,” which starts as a heavier track before diving into ska bliss, filled with upbeat, powerful horn arrangements—definitely giving off those free-mozzarella-stick vibes. Both of these songs are personal favourites of yours truly.
Whereas songs like “Our Time,” “Too Much,” and “Islands” tackle the intense pressures of social expectations and anxieties, all set to frenzied guitar riffs. Tracks like “The Real You,” “Face Value,” and “Punk Out” explore personal and peer relationships. These punk anthems, with their fast drumbeats and prominent bass lines, feature ska rhythms showcasing their signature energetic sound. While personal struggles come to the forefront in “Insecurities,” “Inside/Outside,” and “Zero”, diving into self-doubt, integrity, and seeking inner peace, all driven by high-energy instrumentals and angsty, melodic vocals.
No review of Destruction by Definition would be complete without acknowledging the “Vans Song.” In my opinion, it’s a classic that will always be a favourite. You can’t go wrong with a song about sneakers, especially ones as iconic as Vans. I’m sure it will go down in some sort of punk rock history. Since Destruction’s release, hearing the track “So Long” always signifies that it’s time to wrap it up. Although I’m sure there’s a deeper meaning, it’s been tied to the end of shows for decades, a bittersweet way to close out the night.
But before the record stops spinning, there’s one more track. The Suicide Machines grace us with a cover of Minor Threat’s “I Don’t Wanna Hear It.” Infusing it with their own skacore style, meshing it perfectly. Not to mention, it helped turn a generation of kids onto Minor Threat – if they weren’t hooked already.
Reflecting on the release of this album, it’s tough to find anyone who didn’t love this record when it first hit the shelves. Through the lens of an impressionable teenager, it had a lasting impact, both musically and culturally. A soundtrack reminiscent of late nights, skate parks and circle pits. Now, listening to this record as an adult, I find it still radiates that confidence, motivating listeners to stay authentic to themselves with an overall positive vibe and attitude.
In celebration of their anniversary, the Suicide Machines have rereleased several vinyl variants of Destruction by Definition. However, I suspect that most styles might already be sold out. They have also announced a North American tour with the Bouncing Souls, along with some headlining shows. Expect to hear Destruction by Definition performed in full at every stop on this tour. With over 30 dates scheduled so far, there’s a good chance they’ll be hitting a city near you soon. Make sure you don’t miss out!
It’s playoff season, baby! Where legends are made! I missed game one of the Western Conference Finals on Monday night because I was on a plane back from Utah, but apparently that was a classic. Last night’s game two was a good game, but it was definitely not a classic. It was a whole lot of Isaiah Hartenstein just grabbing and slapping at Victor Wembanyama, barely ever getting foul calls for it. As someone who loves to see freaky-tall people achieve greatness, I want bad things to happen to Hartenstein now. (Hartenstein is also freaky-tall by most estimations. I mean, he’s taller than me. But I do not want to see him achieve greatness. I want to see him achieve pianos falling on his head.)
Arizona’s Little King, the dynamic, melodic, progressive, heavy‑rock trio helmed by songwriter‑guitarist Ryan Rosoff, will hit the road this July for a string of West Coast U.S. dates in support of their latest album, ‘Lente Viviente‘, released in September 2025. This run marks the band’s second major tour cycle since completing the record, following their […]
NOFX have revealed the details of the soundtrack and score that is set to accompany their career-spanning documentary, which features plenty of special surprises.
’40 Years of Fuckin’ Up: Soundtrack + Score’ will be released on August 28 via Fat Wreck Chords, and feature two distinct parts: an 11-song original score and a 15-song soundtrack. The score was composed by Fat Mike himself and performed alongside a full orchestra, whilst the soundtrack is brimming with previously unheard goodies.
First up, there are two brand new songs, ’40 Years of Fuckin’ Up’ and ‘We Did It Our Way’. The former is out now, whilst the latter is pinned as being the final song that the band created together.
In addition to the new stuff, there are also six rare and unreleased recordings, including ‘Secret Society (demo)’, ‘On The Road (demo)’ and a cover of ‘La Bamba’, as well as live versions of classics ‘Linoleum’ and ‘NOFX’.
Fat Mike had this to say about the release, stating, “When NOFX started to put together this documentary, we decided to release it to the world in the same way we’ve done everything in our career. Our way. We want our fans to congregate in cool movie theaters that have bars and not a lot of rules. We want showings of this film to be a celebration. We want it to feel like you’re going to a NOFX show. We want our fans to have a really good time together like they did when they would see us play live!“
Whilst guitarist El Hefe added, “Look, we’ve never done anything the ‘right’ way and making this film was no different. We went in DIY, the same way we’ve done everything for 40-plus years. No suits, no committee, just us figuring it out. We put everything into it. Blood, sweat, tears, probably some other stuff we won’t mention.We wanted to make something for the diehards who’ve been with us since day one, but also for the people who maybe never got to experience what this whole thing was. A proper send-off. A final stamp. And honestly, the response has floored me. I had no idea how deep our music ran with people all over the world. Seeing all that love come back to us as we close this chapter, it’s been incredible. Really humbling. And I don’t say that lightly.”
Here is the full tracklist:
1. NOFX – 40 Years Of Fuckin’ Up 2. NOFX – Drugs Are Good 3. NOFX – Lazy 4. NOFX – On the Road (recorded in Omaha in 1986) 5. NOFX – We’re Bros 6. NOFX – Separation of Church and Skate 7. NOFX – La Bamba 8. NOFX – Linoleum (live) 9. NOFX – Suits and Ladders 10. NOFX – Secret Society (demo) 11. NOFX – We Called It America 12. Punk Rock Cliché (acoustic) 13. NOFX – Fermented and Flailing 14. NOFX – NOFX (live 10/4/24) 15. NOFX – We Did It Our Way (live 10/6/24) 16. Fat Mike – Type One American Errorist 17. Fat Mike – Medio-Core 18. Fat Mike – Wore Out The Soles Of My Party Boots 19. Fat Mike – Where’s My Slice redux 20. Fat Mike – The Desperation’s Gone 21. Fat Mike – Herojuana in F Major 22. Fat Mike – Fair Leather Friends 23. Fat Mike – Kids Of The K-Hole 24. Fat Mike – Generation Z in Z# Minor 25. Fat Mike – I’m A Rat 26. Fat Mike – And Now We’re Gone
And the artwork:
Here is ’40 Years Of Fuckin’ Up’, too, for your listening pleasure:
Rock Sound chatted to Fat Mike all about the documentary when it was premiered at SXSW earlier this year. Check out the chat below:
