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Wolves in the Throne Room return with a new album and make a huge leap through time—at least conceptually. The pioneers of Cascadian black metal have set their new storyline 1,000 years into the future, giving the record an intriguing lyrical twist. Estuary takes place after the collapse of civilization, when nature begins to reclaim the planet,… Continue Reading →

Rock legends The Rolling Stones have released a new single. Who You Callin’ Crazy, a breezy, upbeat affair powered by saxophonist Courtney Pine, comes from Foreign Tongues, Loose Lips, the upcoming expanded deluxe edition of their current album Foreign Tongues.

The deluxe set includes four previously unreleased recordings. In addition to Who You Callin’ Crazy, there’s Where There’s A Will (featuring Steve Winwood on organ), Human Tide, and She Still Comes Around.

A fifth “new” song, Bad Luck Hideaway (a duet by Mick Jagger and Keith Richards featuring drums by the late Charlie Watts), first appeared as a bonus track on the iTunes edition of Foreign Tongues, and then as the B-side to the recent Stones single Mr Charm.

Who You Callin’ Crazy was premiered by BBC Radio 2 DJ Vernon Kay, the lucky recipient of a voice note from Stones’ singer Mick Jagger.

“Hi Vernon, it’s Mick here,” said Jagger. “I’m excited for you to press play for the first time on Who You Calling Crazy on BBC Radio 2. It’s The Rolling Stones’ new single, so I hope you like it. Bye!”

Foreign Tongues, the band’s 25th British studio album, was released in July, and was produced by the in-demand Andrew Watt, who has also worked with Ozzy Osbourne, Iggy Pop, Pearl Jam and Paul McCartney, swiftly developing a reputation as the go-to guy for bands wishing to recapture some of their youthful zest.

Foreign Tongues, Loose Lips will be released on November 27 as a standalone vinyl edition, a deluxe 2CD edition, and across digital formats. The standalone vinyl edition features all five Loose Lips recordings on LP, alongside a CD of the original Foreign Tongues album. The 2CD edition includes the original 14-track Foreign Tongues album on CD1 and the five Loose Lips recordings on CD2.

Everclear, one of the defining alternative rock bands to emerge from the ‘90s – led by vocalist, guitarist and founder Art Alexakis – is coming to Omaha on Saturday, November 7 at The Astro Theater on The Lucky 7 Tour featuring special guests American Hi-Fi. New for this year’s annual fall outing: fans get to vote for their favorite songs from Everclear’s extensive, three decades-long catalog to be included in the setlist. In addition to their beloved hits like “Father of Mine” and “Santa Monica,” the top 7 most requested songs in each city will be played at that night’s show. Vote now at https://everclear.set.fan/. Tickets and VIP packages for The Lucky 7 Tour are on sale now – visit https://www.everclearmusic.com/tour for more info. $1 per ticket for The Lucky 7 Tour will be donated to MusiCares.

Since forming in 1992, Everclear has enjoyed a lengthy career by any measure, spanning 11 studio releases, including four that have been certified Gold or Platinum, selling over 6 million records, and achieving 12 Top 40 Hit Singles on Mainstream Rock, Alternative, and Adult Top 40 radio, including “Santa Monica,” “Father of Mine,” “I Will Buy You A New Life,” “Wonderful” and “Everything To Everyone,” as well as numerous videos, thousands of shows, and various other accolades, including a 1998 GRAMMY nomination. The band’s 1993 debut album, World Of Noise, released on the Portland independent label Tim/Kerr Records, paired with their significant efforts to break into college radio and the buzz they’d created within the Portland music scene, attracted the attention of major labels, including Capitol Records, which signed the group soon after. Beginning with their major label debut, 1995’s platinum-selling album Sparkle and Fade, and its massive chart-topping hit “Santa Monica,” Everclear was soon a household name and catapulted into the masses. To celebrate the band’s 30^th anniversary in 2022, Everclear reissued World Of Noise as a special remastered, deluxe edition, making the album available for the first time on digital streaming platforms with 6 bonus songs in addition to its original 12 tracks. Adding to the celebrations that year, Everclear released a commemorative anniversary video “Everclear – 30 Years Gone: A Retrospective,” hosted by former MTV VJ, current radio host and longtime friend Matt Pinfield – PRESS HERE to watch.

In 2023, Everclear released their first official live album, Live at The Whisky a Go Go (Sunset Blvd Records), showcasing the band’s acclaimed and energetic live performance. The 17-track collection features the live recording of the Los Angeles show on Everclear’s 30^th Anniversary Tour, showcasing the hits and hidden treasures from throughout the band’s extraordinary catalog as well as two new bonus studio tracks: “Sing Away,” a powerful single addressing teen suicide, and their 2022 politically-charged single “Year Of The Tiger.” Continuing to celebrate their acclaimed career and provide the band’s dedicated fanbase with long-awaited content, Everclear released their platinum-selling album Songs From An American Movie Vol. One on vinyl for the first time ever in 2024 via Intervention Records and released the Sparkle and Fade 30^th Anniversary Remastered Deluxe Edition in 2025 on vinyl and streaming platforms via Universal Music Group, an expanded edition featuring bonus content pulled from the vault.

In addition to his thousands of Everclear performances over the band’s lengthy career, Alexakis released his first solo album, Sun Songs, in 2019. That same year, Alexakis revealed his diagnosis with multiple sclerosis (MS) and has since donated one dollar from every ticket purchased for his performances to charities such as Sweet Relief Musicians Fund and National MS Society. The now 64-year-old shows no signs of slowing down and, more than three decades later, Everclear’s enduring legacy and ongoing appeal as a live band continues.

Everclear is: Art Alexakis (vocals, guitar), Davey French (guitar), Freddy Herrera (bass), Brian Nolan (drums).

The post EVERCLEAR comes to Omaha on November 7 appeared first on Go Venue Magazine.

Dirty .

The post Dirty Rock Scars release new EP ‘Dead Beats’ first appeared on Sleaze Roxx.

New Zealand songwriter Stenn Francis-Deare grew up in rural Whatawhata surrounded by musicians and artists, with a range of styles…

Love .

The post Love In Chains’ new album ‘Good Lovin” now available first appeared on Sleaze Roxx.

On, 1 October, 2026 Post-Punk Pioneers Public Image Ltd. (PiL) brought their “This Is Not…The Last PiL Tour” roadshow to a packed house at the 9:30 Club in Washington, DC along with opener Plague Vendor.  My husband (…And We All Die) and I have seen PiL in Dublin and Montreal, so I was excited to see them again in DC, finally seeing them close to home.  It was our first time seeing Plague Vendor and they didn’t disappoint.

The crowd began lining up some time before 2:00 pm eager to guarantee their locations along the railing. The age of the fans skewed towards Baby Boomers and Generation X, with many having seen PiL before. While the show wasn’t sold out, it was packed with folks who appeared to be real fans rather than curious spectators. I was happy that my husband showed up early and secured me a spot up front so I could see the bands, because I’m 5’1”, after I finished photographing the first three songs.

If Plague Vendor are selling anything, it’s a much-needed return to rock that’s dark and dangerous and if that’s a plague, then let’s all get sick.

• Plague Vendor setlist:
• “Anchor to Ankles”
• “Jezebel”
• “Breakdance on Broken Glass”
• “Black Sap Scriptures”
• “New Comedown”
• “Roses”
• “Freight Train”
• “Black Picket Fence”
• “I Only Speak In Friction”
• “Highway Love Letter”
• “Deadened”
• “Unc”

As Lydon and company continued through their set, they did so with purpose. Lydon delivered his poetry, Edmonds his melody, Firth his groove, and Roberts his drive.  PiL ended their show with a combination of “Rise” and “Religion,” with the crowd singing as if there was no other choice.  After birthing punk into the world, Lydon walked away and gifted us post-punk.  And, just as punk has survived half a century, post-punk has also stood the test of time and evolved.  It’s done so because of architects such as Lydon and the craftsmen they enlist to bring their visions to life. If Lydon and PiL are anything, they are vital.

• PiL setlist:
• “Home”
• “Know Now”
• “World Destruction” (Time Zone cover)
• “This Is Not a Love Song”
• “Poptones”
• “Death Disco”
• “Warrior”
• “Shoom”
• “Open Up” (Leftfield cover)
• Encore:
• “Rise / Religion”

A bird at the window can become a peculiar kind of correspondent after someone you love has died, its arrival gathering a meaning no sensible explanation can quite dispel. Grief attunes us to such visitations: a sound in the garden, a small creature returning to the same pane of glass, a persistent interruption in an otherwise ordinary afternoon. Suddenly, the world seems to brim with messages, all awaiting translation.

That uncertainty finds its electronic form on Cross Whisper, a new collaboration between Depeche Mode’s Martin Gore and artist and lyricist Cliff Damavandi, with additional vocals from Gore’s daughter Johnnie Lee. Released on October 20 through Mute as MG x CD + JL =, the single gives an intimate encounter with loss a shared musical language.

The piece began during a conversation among friends about unexplained phenomena. Gore remarked that “he wouldn’t be surprised by anything” before recounting a series of encounters with birds around moments of bereavement. One particularly persistent visitor tapped ferociously at his studio window; two days later, he learned that a close friend had died. The experience left him considering the symbolism long attached to birds, and whether these visitors might be harbingers or messengers. Gore recalls:

“I was out with some friends and we started talking about death so I shared that whenever someone close to me has died, birds start appearing, sometimes arriving every day for a year outside my window. When my mother died, a bird came, and again when my dog passed. When my cat died, a bird came into the house and flew downstairs into the room where it slept!”

Damavandi was so moved by the account that he wrote lyrics, which Gore then set to music. Their exchange gives the song a deeply personal foundation: Gore offers a memory, and Damavandi finds language for the feeling it leaves behind. As Damavandi explains:

“When Martin was sharing his story, he was so alive, and I could feel the story as well as hear it. There was an otherness that compelled me to write the words.”

Whispered voices introduce the track before gradually giving way to Gore’s synthesizers. The murmurs return in waves between melodic passages, accompanied by an insistent hammering that mirrors the bird at his studio window. Read against its origins, that repeated knock becomes an unsettling gesture, an everyday sound carrying the weight of an unanswered question. The arrangement gives physical form to the uncertainty in Gore’s story, allowing a remembered disturbance to keep interrupting the present.

The accompanying visualiser was filmed in Japan and England by Luca Bailey. Watch Cross Whisper below:

The release also brings together five remixers: Brazilian techno DJ and producer ANNA; techno artist, DJ, and label head Regis; Dutch techno artist Vera Grace; boothnavy; and British electronic musician Martin Jenkins, working as Pye Corner Audio. Their versions extend the collaboration across a six-track vinyl edition, with a further Regis remix included in the full digital release.

Cross Whisper is available digitally now. A limited transparent green 12-inch, housed in an embossed sleeve, follows through Mute on December 4, 2026. The full digital edition arrives on January 15, 2027, adding Regis’ Cellular Drift Remix to the six tracks featured on the vinyl.

Listen and pre-order here.

Follow Martin Gore:

• Website
• Bandcamp
• Facebook

The post Martin Gore, His Daughter Johnnie Lee, and Cliff Damavandi Commune With the Departed on “Cross Whisper” appeared first on Post-Punk.com.

Nirvana‘s era-defining 1991 album Nevermind has overtaken AC/DC‘s classic Back In Black to become the sixth best-selling album of all time – and it’s also outperformed Pink Floyd‘s epochal The Dark Side Of The Moon.

The new numbers come from data analysis company Chartmasters, who combine physical sales, digital downloads and streaming to calculate an “Equivalent Album Sales” (EAS) total, which also includes sales of singles and songs from those albums that have also appeared on compilations and greatest hits packages.

Chartmaster’s listing shows that while Back In Black has sold more physical vinyl copies (37m as opposed to 30m), the other calculations (tracks included on other albums, physical singles, digital singles and streams) are enough to push Nevermind above Angus Young & Co. in the all-time chart.

Nevermind has an EAS of 66,832,000, while Back In Black‘s total isn’t far behind at 66,831,000. Meanwhile, Pink Floyd‘s The Dark Side Of The Moon, released 18 years before Nevermind, has an EAS of 63,623,000. Only two rock albums (Eagles‘ Hotel California and Fleetwood Mac‘s Rumours) appear higher in the overall chart than Nevermind. The full Top 10 is below.

Nirvana frontman Kurt Cobain once claimed he’d taken guitar lessons for two days in eighth grade, so he could learn to play Back In Black‘s title track, although band manager Danny Goldberg later claimed that while Cobain liked AC/DC’s music, he was never comfortable with their lyrics.

Meanwhile, in 1992, Classic Rock‘s Mark Blake asked late AC/DC leader Malcolm Young what he thought of Nirvana.

“Singer’s a blond feller,” responded Young. “Bit of a poser.”

The Top 10 Best Selling Albums Of All Time (according to Chartmastrs)

1. Michael Jackson – Thriller (EAS 131,253,000)
2. Eagles – Hotel California (74,695,000)
3. Bee Gees & Various Artists – Saturday Night Fever OST (73,267,000)
4. Fleetwood Mac – Rumours (73,108,000)
5. Michael Jackson- Bad (70,196,000)
6. Nirvana – Nevermind (66,832,000)
7. AC/DC – Back in Black (66,831,000)
8. Pink Floyd – The Dark Side of the Moon (63,623,000)
9. The Beatles – Abbey Road (61,075,000)
10. Led Zeppelin – Led Zeppelin IV (60,696,000)

See the Top 100.

The regency is strong 
Black boots match my skeleton mask
And my instincts are all gone
Now I’m something to fear

The most dangerous idiot in any political movement is the one who has surrendered his ability to think and discovered, with tremendous satisfaction, that obedience provides a wonderful substitute for having a personality. Give him a uniform, a charismatic lunatic to worship, and a few convenient enemies, and suddenly the poor bastard believes himself an instrument of history. Fascism has always depended upon this peculiar species of enthusiastic mediocrity, the ordinary creep who mistakes submission for strength and cruelty for patriotic duty. With NATION NATION, New York City’s six-piece London Plane plunge into the diseased psychology of the true believer, serving up nearly three minutes of manic post-punk absurdity with enough political venom to make a demagogue choke on his own campaign slogans.

Produced by Carlos Dengler, formerly of Interpol, the track hurtles forward on frantic guitars, a muscular rhythmic charge, and feverish vocals that suggest somebody enjoying a spectacular psychological collapse. The hooks are infectious, the momentum almost indecently cheerful, and the whole grotesque enterprise resembles a fascist pep rally conducted by people who have consumed considerably more pharmaceuticals than their doctors would recommend.

“NATION NATION is sung from the perspective of the sycophant, the idiot-turned-weapon,” says frontman David Mosey. “We allowed ourselves to be a bit absurd on this song, and Dengler encouraged and embraced the eccentric, even demented side of the band. The bright, frenetic, blitzkrieg guitars and vocals suggest that our subject is probably high and quite ready to sacrifice himself on behalf of his dear leader. It is a somewhat uncomfortable place to be, but we put ourselves in his jackboots for nearly three minutes every time we perform the song.”

The accompanying video, directed by Zane Rizvi-Riemer and Max Burbey, takes this horrifying little proposition to its logical conclusion. Two ordinary-looking men knock on doors with the bland determination of political canvassers or religious missionaries, their apparent harmlessness gradually giving way to something considerably more sinister. Through Soviet-style expressionist imagery, exaggerated close-ups of leering faces, darting eyes, and hands dispensing pills, the film reveals an authoritarian recruitment operation unfolding beneath the reassuring appearance of everyday civic life. The pharmaceutical imagery recalls the Nazis’ documented use of methamphetamine.

In addition to the nonstop horrors on everyday doomscrolls in the modern era, the video draws upon the dystopian horrors of Aldous Huxley’s Brave New World and George Orwell’s Nineteen Eighty-Four, combining the chemical pacification and willing surrender of individual thought envisioned by Huxley with Orwell’s machinery of surveillance, ideological conformity, and manufactured enemies, through which ordinary citizens become enthusiastic accomplices in their own subjugation. Between the two dystopias lies the terrifying possibility that fascism requires remarkably little encouragement to spread, particularly when its foot soldiers have been convinced that obedience is a virtue and persecution a public service. Evil, apparently, has learned to smile politely before introducing itself.

Watch below:

NATION NATION appears on London Plane’s forthcoming third album, Villains Heroes Ghosts, expected in early 2027 via Declared Goods. Dengler’s first production work for another artist suggests an intriguing creative partnership, particularly for a band whose international membership has already brought considerable character to New York Howl (2018) and Bright Black (2022).

And in an era when political fanaticism increasingly resembles mass entertainment, London Plane have produced a savage reminder of how easily the jackboot finds another willing foot.

Listen to NATION NATION below:

Follow London Plane:

• Website
• Bandcamp
• Facebook
• Instagram
• YouTube
• Apple Music
• Spotify

 

The post NYC Post-Punk Outfit London Plane Skewer the Cult of Obedience in Video for “NATION NATION” appeared first on Post-Punk.com.