Blog

It's their first full-length studio effort since 2016's 'For All Kings.' Continue reading…

It's their first full-length studio effort since 2016's 'For All Kings.' Continue reading…

Michigan-based Still Remains are pleased to share a brand new single/video “Erase You”. Produced, engineered, mixed, and mastered by Lee Albrecht. The song will appear on the band’s upcoming EP Spirit Breaker, set to hit the streets out on June 12th, 2026. This will be their first music output after more than a decade.
Read more…

All wired to go this October.

The post Basement Announce Fall North American Tour With Momma, High Vis, Big Boy & More appeared first on Theprp.com.

Iron Maiden – Burning Ambition Film Review by: Jack Merry @jacksabbath94 OUT NOW! Check your local showtimes HERE! “If you’re an Iron Maiden fan, you’re […]

The post Iron Maiden – Burning Ambition (Film Review) appeared first on Metal-Rules.com.

Next month, on June 5th, the Swedes Together To The Stars will put out the fourth studio record dubbed Iridescence. Recorded, engineered and mixed by William Zackrisson at Studio Blodbad. Mastered by Sebastian Ryderberg. To taste a first piece of the new music, check out the single called “Mourner”.
Read more…

1-877…

The post Anthrax To Debut New Song “It’s For The Kids” This Week appeared first on Theprp.com.

In an interview with Charlie Kendall‘s Metalshop, Tesla bassist and founding member Brian Wheat delivered a refreshingly candid breakdown of the economics of being a legacy rock band in 2026. No chest-puffing here — just a pragmatic guy who also manages the band and clearly does the math.

On why Tesla rarely puts out full albums of new original material, Wheat said (transcribed by Blabbermouth): “It takes a lot of time to do a record, and that means that’s time that we have to spend off the road. And what people don’t — I don’t think they realize is that Tesla‘s not wealthy guys. But when we play, that’s how we earn our living. We have to go to work. We’re not so wealthy that we could just stop. We were never that big of a band. We weren’t as big as [Def] Leppard or Mötley [Crüe] or Metallica or Guns N’ Roses. We were the next level down. I called them the ‘A bands’, and we were the ‘B band’.”

Warming to the subject of streaming economics — a topic no musician seems to tire of — Wheat continued: “So we still have to go out there and earn our living. And, to be quite honest with you, people don’t buy records like they used to, when we used to put our records. They just don’t. You get paid really shitty rates by this thing, Spotify. Terrestrial radio, you make four cents a play. So when I look at the thing strategically, and I manage Tesla — I have for the last 20 years or so — you go, ‘Okay, what are the priorities?’ It just goes back to the people still wanna see us play live.”

Wheat also explained the calculus behind protecting vocalist Jeff Keith‘s voice: “Do I wanna put two years on his voice in the studio, and then that’s two years he could’ve been singing, because he’s getting older. And when the voice goes, it doesn’t give you a warning — it just goes.”

Wheat had earlier discussed how the band’s shortened sets have helped preserve Keith’s voice over the decades: “We used to play two-and-a-half-hour shows. And now we do 100 minutes. And I think part of that is what contributes to Jeff‘s voice still being in such great shape… I feel so lucky that Jeff, his voice is still in such great shape.”

The band’s next release is Homage, a covers album due July 17 via Frontiers Music Srl, honoring artists that include Elvis Presley, Freddie Mercury, Sam Cooke, and James Brown. Tesla will support the release on “The Return Of The Carnival Of Sins” tour alongside Mötley Crüe and Extreme, running July 17 through Sept. 26 across the United States.

The post BRIAN WHEAT Says TESLA’s Band Members Are Not Wealthy Guys: “When We Play Live, That’s How We Earn Our Living” appeared first on Sonic Perspectives.

There are bands that endure, and then there are bands like The Waterboys, who carry on creating, never tire and never get complacent. The Waterboys are a law unto themselves – restless musical travelers who have spent decades shape-shifting through folk, rock, soul, Celtic mysticism, literary storytelling , poetry and ragged rhythm and blues without ever losing their identity. Their history is long, diverse and gloriously unpredictable, which made the opening night of their Australian tour in Perth feel even more special. Tonight though, there was no ambiguity about the territory being explored and not a hint that we were here for anything other than to here new music along with the old. This was rock and roll territory tonight – loud, electric, cinematic and utterly alive.

At the centre of it all stood Mike Scott, commanding the stage with an easy charm, dry wit and the relaxed confidence of someone who has long since stopped needing to prove anything to anyone. Yet for all Scott’s charisma, it was the band itself that sounded so essential, so complete. Guitar, bass, drums and multiple keyboards somehow locked together into something that felt huge but never cluttered. There was a patina of grit, dirt and authenticity to the performance that simply cannot be manufactured. This was a real band in every sense — musicians listening, reacting and lifting each other in the moment.

Some shows are great. Some edge close to perfection. This was one of the latter. From the opening moments I was transfixed.

After a wonderfully playful set of solo material by Ella Hooper, the main act wasted no time igniting the room. The politically charged ‘Don’t Even Have to Say His Name’ proved a bold and inspired opener — a snarling rocker that hit instantly, even if some in the audience were perhaps still catching up with the weight of its message. Written by Scott as a furious commentary on the current political climate in the United States, the song carries real bite. It was a statement of intent and it roared from the stage with absolute conviction. For me, the perfect opener.

From there, the set flowed into classics like Dylan’s ‘Knocking on Heaven’s Door’ and the universally adored ‘Fisherman’s Blues’, the latter greeted by a crowd already standing for the Dylan classic, singing and already fully invested. Yet what made the evening so compelling was that this was never simply a greatest hits revue. Scott made that clear midway through the set with a grin: “We’re not just here to play those songs — we’re here to play our new stuff too.”

Thankfully, the newer material from ‘Life, Death and Dennis Hopper’ stood beautifully beside the classics.

The middle stretch of the show diving deep into the new album was magnificent — cinematic, rhythmic, strange and immersive. ‘The Tourist’ played like a miniature film unfolding in real time, all rhythm and blues garage rock swagger wrapped around sharp observational lyrics. ‘Transcendental Peruvian Blues’ referencing Hopper’s final film project in Peru carried a psychedelic edge, full of atmosphere and hazy tension.

This is what makes The Waterboys such a fascinating live proposition after all these years. They are not merely playing songs. They are painting pictures.

The arrangements throughout the night were extraordinary. Songs expanded and breathed. Long breakdowns turned hypnotic. Gospel textures emerged from the keyboards before exploding into crescendos that genuinely stirred the soul. During ‘The Pan Within’ and the towering ‘The Whole of the Moon’, and especially ‘This is the Sea’ the interplay between the musicians reached breathtaking heights.

At one point Scott admitted he had caught a cold on the flight over, but if his voice was compromised it certainly didn’t show. If anything, there was an added frantic intensity to moments like “I don’t know how I made it but I’m still here,” delivered with a cracked honesty that made the lyric land even harder.

And then there was the humour.

Scott veered from discussing Dennis Hopper taking up golf — apparently after lessons from Willie Nelson at his Texas ranch, to launching into an extended story about seeing a Dan Armstrong plexiglass guitar as a kid and not being able to afford it (Thanks to e-Bay 40 years later he now has two). “Shut the fuck up, I’m telling a story,” he laughed at one point, mock-scolding a rather talkative member of the crowd before recounting how he eventually found the guitars years later on eBay for thousands of dollars and promptly bought two.

The audience loved every second of it.

Musically, the band were astonishing throughout. The dual and at times triple keyboard attack created wave after wave of texture, with James and Paul especially dazzling during extended duelling passages. Mike Scott would repeatedly sprint across the stage to join in on shared keyboard lines, turning songs into dramatic musical conversations. Bass and drums locked into deep grooves while guitars alternated between ragged garage-rock bite and soaring emotional release.

This is a very electric band in 2026.

The lengthy encore only reinforced it. Loud, passionate and gloriously unhurried, the musicians stretched songs into sprawling celebrations full of piano runs, keytar flourishes, guitar solos and thunderous rhythmic breakdowns. A touching dedication to a school friend named Frank preceded a beautiful performance of ‘The Whole of the Moon’, with one of the keyboard players seated quietly at the piano while the room collectively held its breath.

By the time the final notes rang out and Scott thanked Perth warmly, the crowd knew they had witnessed something genuinely special.

This was not nostalgia.

This was a band still creating, still searching, still pushing forward and still utterly consumed by the joy and power of live music. After decades together and countless reinventions, The Waterboys somehow still sound hungry.

And on this opening night in Australia, they sounded magnificent. Perth gets a second sold out show tomorrow before the sellouts continue around the country thereafter.

If there are tickets left in your city , grab one – this show is unmissable…

The post LIVE REVIEW: The Waterboys – The Astor Theatre Perth, Australia Tour Opener Review 11th May 2026 appeared first on The Rockpit.

That production was first staged in Chicago last fall.

The post Billy Corgan Is Bringing His The Smashing Pumpkins’ “Melon Collie And The Infinite Sadness” Opera To Europe & The UK appeared first on Theprp.com.