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My history with Brisbane legends Dreamkillers goes back to the very beginning of the band, when I was attending Lowood State High School with the bands original drummer Paul McAllum. I remember sitting in his lounge room listening to him play pieces of music that would later appear on Poison In The Soup and Dreamkillers […]

Staying silent…

The post Heartsick’s “Pyramid Head” Music Video Debuts appeared first on Theprp.com.

Mo’s Desert Clubhouse is about to hit full throttle on Thursday, February 26, with one of the biggest shows the Gold Coast will see this year. Psych-rock legend Ty Segall (US) rolls into Mo’s with his incendiary live band for a high-octane, sweat-drenched set built to blow the roof off the Warehouse. Touring his 16th […]

Rage Against The Machine guitarist Tom Morello has upended his spring touring plans to once again head back out on the road with The Boss, Bruce Springsteen. While the politically outspoken pair are long-time friends, this latest round of touring follows their time spent together during an anti-ICE protest show Morello put on in Minneapolis,…

The post Tom Morello Postpones His Spring Solo Tour To Head Out On The Road With Bruce Springsteen appeared first on Theprp.com.

Rob Zombie made a loud, ugly, joyous record and called it The Great Satan.

Four years after The Lunar Injection Kool Aid Eclipse Conspiracy, he walks back in with old friends. Guitarist Mike Riggs and bassist Blasko, both fixtures from the late 90s run, lock in beside Ginger Fish. The chemistry is immediate. You hear it in the first seconds of F.T.W. 84, all serrated riff and piston-kick drums. No cinematic overture. Just impact.

Zombie has always understood momentum. These songs rarely cross the four-minute mark and most don’t need to. Tarantula lunges forward on a tight, chugging figure built for arenas, all elbows and shouted hooks. Black Rat Coffin swaggers with a greasy groove, guitars grinding low while Zombie barks lines about the naked and the damned like a carnival preacher who lost his conscience. It’s dumb in the best way. Purpose-built.

The singles didn’t lie. Punks & Demons snaps with a mechanical thud that nods toward industrial without drowning in it. Heathen Days rides a locomotive riff that refuses subtlety. Then I’m a Rock ‘N’ Roller kicks the doors open and grins. It’s self-mythologizing, a little ridiculous, and totally aware of that fact. When he slips in a James Bond reference, it lands because the whole song is already winking. Zombie knows that shock works best when it feels like theatre.

Riggs’ return matters. The guitar tone is thicker, less polished, more willing to scrape. There’s a grime here that recalls Hellbilly Deluxe without trying to re-stage 1998. The riffs feel hand-forged rather than digitally buffed. You notice the edges. You want the edges.

This isn’t a one-speed record. Sir Lord Acid Wolfman slinks instead of stomps, leaning into a loose, psychedelic sway. It almost drifts. Almost. Then the chorus drags it back to earth. Out of Sight flirts with a retro pulse, something close to demon disco, but keeps its boots on. Even the brief, strange interludes work as pressure valves. Quick breaths before the next hit.

Then there’s The Black Scorpion. Ninety-three seconds. Organ stabs. Punk velocity. It tears past before you can settle in. The kind of track that makes you rewind immediately, not because you missed something complex but because you want to feel it again.

Zombie’s voice remains a blunt instrument. Gravel, sneer, cadence. He stretches syllables until they fray, then snaps them back into rhythm. On Revolution Motherfuckers, he leans into repetition so hard it becomes hypnotic. On The Devilman, he tightens the phrasing, regimented and menacing. He knows what his voice does and doesn’t pretend otherwise.

Not everything sticks. Unclean Animals drifts into a hazy, slower groove that loses focus, and the closing instrumental Grave Discontent fades rather than detonates. The first half burns hotter than the second. Still, even the lulls are concise. Nothing sprawls. The discipline is refreshing.

Lyrically, he remains gloriously berserk. Occult references, pulp horror imagery, sleaze, bravado. Familiar territory. But the energy is different here. The lines sound shouted from the chest, not assembled from a notebook. You get the sense the band was in the same room, amps humming, someone counting off too fast.

For listeners who felt the last album lacked a true centre, this one has one. The riffs are the centre. The groove is the centre. The joy of making loud, ugly music with old collaborators is the centre. He’s not reinventing anything. He’s sharpening what already worked.

Play F.T.W. 84 loud and you’ll see the design. Play Tarantula in a car and watch your foot press harder on the gas. Throw on Heathen Days and try not to shout the chorus. It’s not subtle music. It was never trying to be.

He’s made heavier records. Weirder records. More elaborate records. This one feels direct. Punch in, punch out.

Old blood. New snarl.

The Great Satan will be released on 27 February 2026 via Nuclear Blast Records.

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The post Album Review: Rob Zombie – The Great Satan appeared first on Montreal Rocks.

Playing three shows ahead of the Incineration Festival.

The post Fuming Mouth To Tour The UK In April appeared first on Theprp.com.

“I won’t bore anyone with the details, but I am getting good care and I feel fine.”

The post Paradise Lost’s Gregor Mackintosh Comments On His Weight Loss And His “Ongoing Health Issues” appeared first on Theprp.com.

Story Of The Year are back bigger and better with A.R.S.O.N., marking the next evolution of the band’s signature sound and raw, personal lyricism – elements that have earned the band a dedicated global following. An acronym for All Rage, Still Only Numb, the album channels their trademark energy into a powerful exploration of anxiety, […]

The National Aboriginal and Torres Strait Islander Music Office (NATSIMO), with funding from Music Australia and support from APRA AMCOS, has announced the return of LIFECYCLE Grants for 2026. The three grant streams are for marketing, recording and touring, and are open to all Aboriginal and Torres Strait Islander music creators including songwriters, composers and […]

Pix by Marky Photography