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The post Delusions of September 2026 – Part 1 appeared first on Still in Rock.

Trevor Horn’s career began at a time when music producers’ names were barely recognised. But with a passion for good music and a desire to share, the Buggles co-founder became one of the most celebrated studio stars of the 80s and 90s – and never abandoned his passion for prog. He looked back on his career so far in 2019.

What was it like to work with Genesis on the The Carpet Crawlers 1999, their reworking of the 1975 song with the classic-era line-up including Peter Gabriel?

What fun!

Were they all in the studio for it?

The four of them – not Phil Collins. I had to go to Switzerland to record him. Phil’s the loveliest man. The first time I went over, he played the drums, and then he did his backing vocals. After his first take I said to him, “I don’t suppose you’ve ever thought of going solo?”

It was a pleasure; they had great manners. Peter’s the slightly crazy one while Tony Banks is the core of the group. A Trick Of The Tail is one of my favourite all time albums. I love Los Endos; I crank that up while I’m washing the dishes. And Ripples is my favourite singalong track, when it hits the big high note.

One of the first records you made in LA was Mike Oldfield’s Tubular Bells II.

It was the first time I’d heard of a ‘two’ album. I liked Tubular Bells, although it wasn’t my favourite album of Mike’s – that’s Incantations. I used to play it in the car, especially the Hiawatha section.

Mike was cool. He rented a house in Beverly Hills and we made most of it there. It was when the riots were happening. He was playing everything, so he was totally in control.

There was a section, the bit where the “strolling player” [Alan Rickman] talks. It was 48-track and we’d been working on it for two weeks; I thought we were nearly there. When I came in [one morning] people were looking at me; they told me that Mike, who’d just gone to bed, had changed the bit.

He’d wiped it. It was changed forever – there was no undo button. I was in shock. It was the only time it’s ever happened to me in 40 years.

What did you say when he woke up?

Mike asked what I thought and I told him it would take me a little time as I’d kind of liked the other one!

I was always encouraging him to give the guitar lots of love – he’s an amazing, extraordinary player, the way he comes up with the tunes. He has names for all of the sounds.

Yes will never be the same – it’s different, but it has the same excitement

The way you’ve able to smuggle prog into the charts is great. Probably the absolute zenith was the title track of Frankie Goes To Hollywood’s Welcome To The Pleasuredome.

Oh, it was absolutely prog! I was trying to do a long track for the simple reason that I found tracks like Yes’ Gates Of Delirium and Close To The Edge were just great when you were driving. They were instrumental pieces of music with songs in that seemed to go somewhere. In the 70s, those songs had given me such pleasure. I wanted to see if I could do it.

I think Pleasuredome stands up still; it’s entertaining. What really strikes me when I hear it is what a brilliant engineer Steve Lipson is. I think that’s some of the best mixed stuff I have ever heard – it’s extraordinary.

You’ve kept in with Yes, reworking Fly From Here and aligning yourself with Steve Howe’s version of the group onstage at the London Palladium last year.

I’m very fond of Steve; he’s really worked hard to keep the whole thing going. He’s been doing that for 10, 15 years now, and I have to admire him for it. I think they’re really good. It will never be the same – it’s different, but it has the same excitement.

Are you able rise above factions?

That’s what I always try to do. I was talking with Trevor Rabin just yesterday on the phone and we’re going to get together when I get back to LA. I don’t have beef with anybody.

New episodes of Toyah Willcox and Robert Fripp‘s much-loved series of Sunday Lunch performances are increasingly thin on the ground, so we’re delighted to report that a fresh edition emerged this weekend.

In what we believe to be only the third new performance released in 2026 – most weeks, the couple share a video from their extensive archive – the Fripp-Willcox kitchen is once again filled with joie de vivre as the King Crimson man and his bubbly bride embark on a typically ragged cover of the 1968 Rolling Stones classic Jumpin’ Jack Flash.

“Yes, it’s a toothless, bearded hag!” bellows Fripp at the climax. “With Toyah and Robert’s Sunday Lunch.”

“Who’s the hag?” asks Toyah.

This week, it was announced that Toyah will receive an Honorary Doctorate from the University of Worcester next month.

“I am thrilled to receive an Honorary Doctor of Letters from the University of Worcester,” she says. “I have constantly strived to push boundaries in an unpredictable industry, and if my life can inspire, guide and help those who are about to do the same, then my 50 years in show business mean even more to me today. This honour will be a highlight of my life, and I am grateful to all who have made it possible. I very much look forward to the day I receive it.”

Meanwhile, 11 King Crimson live shows – recorded in 2000 in Japan as the band promoted their 12th album The ConstruKction of Light – have been made available to download via the band’s partnership with streaming platform nugs. The shows were originally available from the band’s DGM Live website in 2016.

Bands like Krokus laid the foundation for the powerful hard rock sound that came out of Switzerland. With Gotthard, another band from the Alpine country put Swiss rock on the map. Shakra have also been among Switzerland’s leading bands for decades, even if they never quite reached the same status as Krokus and Gotthard. That… Continue Reading →

Former Skid Row singer Sebastian Bach has played his first show with Twisted Sister. Bach was announced as Dee Snider’s replacement back in March, when Snider was obliged to retire from live performance on doctor’s orders.

Twisted Sister – billed as Bent Brother – gave Bach his debut at the 2500-capacity Starland Ballroom in Sayreville, New Jersey, on Saturday night, a warm-up for the band’s previously announced appearance at the Borealis Theatre in Palmer, Alaska, on September 4. The show was the band’s first at the Starland since a 2015 performance honouring late Twisted Sister drummer A.J. Pero.

At the climax of a 17-song set that included two Skid Row songs – I Remember You and Youth Gone Wild – the band played the classic We’re Not Gonna Take It. A fan-shot video of the performance is embedded below.

“When I sing Twisted Sister music, I’m like a steamroller,” Bach told Classic Rock earlier this year. “I’m a beast. I’m out of control.”

“The question was not whether Sebastian could do this; I knew that he could,” added guitarist Jay Jay French. “He was phenomenal.”

Since announcing an initial four-show schedule of September dates, the revamped Twisted Sister lineup has confirmed a series of shows in the final quarter of the year. Full dates below.

Twisted Sister – Starland Ballroom setlist

What You Don’t Know (Sure Can Hurt You)
You Can’t Stop Rock ‘n’ Roll
We’re Gonna Make It
Shoot ‘Em Down
Tear It Loose
Destroyer
The Kids Are Back
Like A Knife in the Back
Ride To Live, Live To Ride
Under The Blade
The Beast
Burn In Hell
The Price
I Remember You
I Wanna Rock
Youth Gone Wild
We’re Not Gonna Take It

Twisted Sister feat. Sebastian Bach: Twisted Forever, Forever Twisted tour dates

Sep 04: Palmer Borealis Theatre, AK
Sep 06: Salem L.B. Day Amphitheater, OR
Sep 12: Choctaw Grand Theater Durant, OK
Sep 27: Puyallup Washington State Fair, WA
Oct 02: West Springfield The Big E, MA
Oct 08: Niagara Falls OLG Stage at Fallsview Casino, ON
Oct 10: Windsor The Colosseum at Caesars Windsor, ON
Oct 18: Gary Hard Rock Casino Northern Indiana, IN
Nov 12: Bristol Hard Rock Live Bristol, VA
Nov 14: Charles Town The Event Center at Hollywood Casino, WV
Dec 11: St. Petersburg Fergs Pavilion, FL

Find Twisted Sister tickets.

One of classic rock history’s most extraordinary, innovative, and exciting guitar players of all time is none other than Mr. Jeff Beck. When selecting the greatest guitar players of the classic rock era, historians choose Jimmy Page, Eric Clapton, Stevie Ray Vaughan, Jimi Hendrix, David Gilmour, and Jeff Beck. Many of these greats spent time in legendary bands, in addition to their work as solo artists. Jimmy Page with The Yardbirds and Led Zeppelin, Eric Clapton with Cream and Derek and the Dominos, David Gilmour with Pink Floyd, and of course Jeff Beck with The Yardbirds. Only Jimi Hendrix and

The post Top 10 Jeff Beck Songs appeared first on ClassicRockHistory.com.

Original Slipknot singer Anders Colsefni says he has no regrets over not being the voice that made them one of the biggest bands in the world.

Colsefni was the lead vocalist on Mate. Feed. Kill. Repeat – considered the secret debut album that started Slipknot’s ascent.

But it was when he was replaced by Corey Taylor that the Iowa group exploded onto the scene with their self-titled debut album.

Colsefni has remained friends with Taylor and he has performed the Mate. Feed. Kill. Repeat songs live over the years with Taylor’s support.

Discussing his departure from Slipknot and the rapid rise that followed, Colsenfi tells The Phase Remains The Same: “I’m a death metal singer by heart, and they had the opportunity to go on and do what they’re doing now.

“They were able to do some radio songs. Nothing I would do was gonna get on a radio. I already knew that.

“While it ended up crushing my spirit for a little while, I was able to realise that I’m just one of a long line of original singers that weren’t the ones that actually made the band famous.

“And it took a little while, but I was fine with it. And I’m certainly fine with it now. I don’t have any regrets.

“I only did what I could do based on what was going on at the time. And if it took bringing in a different singer to get a local band that I was part of out and make such an impact on history, I’m totally down with that.”

While he is still performing, Colsefni also works a regular job and is happy doing so.

He adds: “I’m not living the rock and roll lifestyle like all of them. I still have to work 40 to 60 hours a week and do all that normal stuff and try to fit my music afterwards, but that’s what most people do.

“The majority of the musicians out there, that’s what they’re doing. It’s only a select few that actually get the golden cup in their hand.”

Sony's Pro Audio Pedigree

Sony doesn't need much of an introduction, but its professional in-ear monitor lineage is worth a quick mention here. Long before wireless earbuds and noise-cancelling flagships dominated the brand's headphone lineup, Sony built a reputation among musicians and sound engineers with the MDR-EX800ST — a reference-grade stage monitor still name-checked by working audio pros today. The IER-M500 marks Sony's first new professional in-ear monitor for musicians since 2018, and it's a deliberate return to that stage-monitoring roots rather than a repackaged consumer earbud. Instead of chasing the MDR-EX800ST's legacy directly, Sony built the M500 as a fresh take aimed squarely at performers who need dependable, affordable gear they can actually rely on show after show.

What Is the Sony IER-M500?

The IER-M500 is a wired, closed-back in-ear monitor built around a single 5mm dynamic driver, priced at $119.99 and aimed at gigging musicians, vocalists, monitor engineers, and content creators. It comes in three finishes—black, clear, and a red/blue pair that makes left and right instantly obvious on a dark stage and each box includes noise-isolating tips in four sizes, five sizes of fitting supports, a cable clip, and a zippered carrying case. This isn't a lifestyle earbud; it's built specifically for the demands of live performance, right down to its IP54 splash and sweat resistance rating.

Build Quality and Sound Design

The IER-M500 uses a fully sealed acoustic chamber housing a single 5mm dynamic driver, a departure from the vented designs common in many dynamic-driver IEMs. That sealed structure is central to how Sony is positioning this earphone: a smaller driver that can settle and resolve detail quickly, paired with a chamber that doesn't need to move as much air to hit its target response. The shell itself is compact for a single dynamic driver IEM, and the detachable MMCX cable is rated for frequent plugging and unplugging, a small but meaningful detail for musicians who are constantly swapping gear between soundchecks and sets. At 6.9 grams per earpiece without the cable, it's light enough to disappear during long sets, and the 1.6-meter Y-type cable terminates in an L-shaped 3.5mm plug.

Sound Quality

Overall Sound: The IER-M500 leans into a dark, bass-forward signature that's very much in line with Sony's house sound across its headphone lineup. It's not a neutral reference monitor in the audiophile sense, but it is an honest and consistent performer that prioritizes low-end weight and stage-ready clarity over sparkling treble extension. If you're coming from studio-flat monitors, expect an adjustment period; if you're a bassist, drummer, or just someone who likes music with body, this tuning will feel right at home.

Bass: This is where the M500 makes its case. The low end is thick, textured, and forward without collapsing into mud—you get real sub-bass rumble alongside enough detail retrieval that individual bass notes and kick drum hits stay distinct rather than blending into a single low-frequency blob. It's consistent across genres, which matters for musicians who need reliable monitoring regardless of what they're playing.

Mids: Vocals and lead instruments sit slightly behind the bass in the mix, though they retain natural tonal color and enough presence to stay intelligible. Sony's tuning focuses on delivering a balanced presentation suitable for monitoring vocals and instruments accurately, and while the midrange doesn't punch forward aggressively, it doesn't get buried either.

Treble: High frequencies are the most recessed part of the signature. There's enough lift to keep cymbals and harmonics from disappearing, and detail retrieval up top is better than the recessed presentation might suggest, but treble-heads chasing air and sparkle will find this IEM conservative. That said, the tradeoff is a treble response that never turns harsh or fatiguing during long performances—an understandable choice for an IEM meant to be worn for hours under stage lights.

Timbre, Soundstage, and Imaging: Instrument timbre comes across as natural and largely honest rather than artificially colored, which is impressive given the bass emphasis. The soundstage is the real surprise here—it's wide and extends further in depth than you'd expect from a budget single dynamic driver design, giving elements room to breathe rather than collapsing into a narrow, congested image. Imaging is accurate enough that you can place instruments within the mix with confidence, which matters enormously for performers who need to hear exactly what's happening in their monitor feed.

Comfort and Isolation

Comfort is arguably the IER-M500's strongest selling point. Sony's Fitting Supporter system with five interchangeable fin-shaped attachments that lock into the folds of your ear, creates a level of stability that rivals what you'd expect from a custom-molded monitor, all without the custom price tag. Combined with the included foam tips, the seal you get is secure enough to stay locked in place through vigorous head movement, sweaty stage lighting, and long sets. Isolation is similarly strong for a fully passive design; the sealed housing and foam tips block out a meaningful amount of stage and crowd noise, letting performers monitor at safer volumes instead of cranking their in-ears to compete with a loud room. The one caveat worth flagging: because the design is fully sealed rather than vented, switching to silicone tips instead of the included foam may introduce some pressure or occlusion sensation for a some people, though I haven't had a problem with it myself.

How the IER-M500 Compares

Shure SE215: The SE215 has been a stage-monitor staple for over a decade, and it remains the IER-M500's most natural rival at a similar price point. The Shure leans into a warmer, more forgiving midrange and has an enormous aftermarket cable and mod culture behind it. The IER-M500 instead has noticeably better passive isolation and a more secure, adjustable fit thanks to its Fitting Supporter system, plus a slightly more detailed and textured bass response.

Sennheiser IE 100 PRO: Sennheiser's stage-focused entry sits close in price and philosophy, aiming for a more neutral, monitor-accurate tuning than the Sony. If your priority is a flatter response for critical monitoring work, the IE 100 PRO edges ahead. But the IER-M500 offers a more engaging, fuller-bodied listen for musicians who also use their IEMs for everyday music enjoyment off stage, along with what most listeners will find to be a more secure long-session fit.

Sennheiser IE 200: Often cited as a budget reference standard, the IE 200 trades the M500's bass emphasis for a brighter, more treble-forward signature. Its shell also runs smaller, which suits compact ears well but can be trickier to adjust for larger ear shapes using eartips alone. The Sony's adjustable outer supports give it an edge in fit customization, while the Sennheiser wins if you specifically want more high-frequency detail and sparkle in your monitoring.

Final Verdict

The Sony IER-M500 doesn't try to reinvent the stage monitor category, and it doesn't need to. What it delivers is a genuinely dependable, comfortable, well-isolating IEM with enough low-end character and soundstage width to satisfy both working musicians and casual listeners, all for under $120. The bass-forward, treble-shy tuning won't be for everyone—audiophiles chasing a neutral reference sound should look elsewhere—but for performers who need gear that stays put, blocks out stage noise, and sounds honest across a full set, the IER-M500 earns its spot as one of the better budget stage IEMs available right now.

Technical Specifications

• Driver: Single 5mm dynamic driver
• Type: Closed-back, fully sealed housing
• Frequency Response: 10Hz – 40kHz (IEC), Hi-Res Audio certified
• Impedance: 16 Ω at 1kHz
• Sensitivity: 103 dB/mW
• Weight: 6.9g per earpiece (without cable)
• Cable: 1.6m (63 in) detachable Y-type, MMCX connection
• Plug: L-shaped 3.5mm stereo mini plug
• Durability: IP54-rated splash and sweat resistance
• Included Accessories: Noise-isolating ear tips (4 sizes), fitting supporters (5 sizes), cable clip, zippered carrying case
• Colors: Black, clear, red/blue
• Price: $119.99

One may argue the point, yet it was between 1970 and 1974 that SOFT MACHINE became the force everybody associates the ensemble with. This is why there are plenty of concert recordings made between the band’s “Third” and “Seven” albums, … Continue reading →

The post Massive Box Set To Cover SOFT MACHINE’s Classic Period appeared first on DMME.net.

Nonpoint, Spineshank, and Hed PE – The Glass House Pomona – August 28, 2026

It’s a happy surprise to discover that a band you love to listen to is just as exciting on stage – such was the case the first time I saw Nonpoint.  Knowing what was likely in store from having seen them play, I applied to photograph their Friday show at The Glass House in Pomona, California.  In researching the show beforehand, I was surprised and excited to discover that two other bands I knew and had paid to see on their own were also in the lineup – Spineshank, and Hed PE – this was sure to be an amazing night of music! 

Nonpoint

The Glass House doesn’t look like a music venue from the outside, and that’s because it was a Thrifty Drugstore before being converted into an 800-capacity room 30 years ago.  Inside, it consists of a very large and open space painted black, a bar at the back, and a balcony area above the bar.  The stage is positioned diagonally to the room, but the lighting and sound are good, and it’s a solid place to see a show, with the exception that during a California heat wave, the air conditioning system proved to be woefully inadequate.  Despite huge AC tubes in the elevated ceiling blowing cold air upon those lucky enough to be standing directly under them – those that were separated from those spots by a foot or two were sure to be sweating.  Perhaps the heat added to the setting that was about to unfold…

I’d seen Nonpoint perform multiple times before, and the thing that stuck with me about their shows was the constant energy they expended on stage.  In addition to having great songs, they work their asses off to make every show memorable, and Friday night in Pomona was no exception. 

One of the first things you notice is that Robb Rivera’s drum set is facing stage right, so you’re looking at him from the side over his high-hat.  The next thing you notice is vocalist Elias Soriano perched high atop his platform and positioned as close as possible to the fans pushed up against the barricade.  He performs directly to them, frequently extending his microphone into the audience.  Guitarists Rasheed Thomas and Jaysin Zeilstra are a flurry of energy – jumping high into the air, headbanging, and twirling in circles, while Rasheed’s hair flies akimbo in all directions.  Adam Woloszyn on bass frequently approached the audience with one foot up on the center platform, banging his head in time with the music while his long hair desperately played catch-up.  All of this was happening while they played the hell out of their instruments – they sounded much like their records, but with an added edge that only the outpouring of energy from the rabid fans in attendance could solicit.

Nonpoint are on the road supporting their new record The Last Word which comes out September 18^th.  Two new songs from the record (“Red Yeti” and “Is It”) were played back-to-back and went over really well with the crowd.  There are eight more shows remaining on the current Outta Control Tour, which has been rolling down the road with very little rest since late January – these guys have been preaching the word door to door, night after night for months on end.  If you are lucky enough to have them play your town, this show is well worth your hard-earned money – they’re an incredible band live, and the added value play is to show up early enough to see Spineshank and Hed PE.

 Nonpoint is: 

• Elias Soriano – Vocals  
• Robb Rivera – Drums  
• Rasheed Thomas – Guitar  
• Adam Woloszyn – Bass  
• Jaysin Zeilstra – Guitar  

Setlist:

1) Ruthless

2) The Wreckoning

3) Buscándome

4) Is It

5) Red Yeti

6) Chaos and Earthquakes

7) Dodge Your Destiny

8) Breaking Skin

9) Mindtrip

10) What a Day

11) Victim / Endure

12) My Last Dying Breath

13) Bullet With a Name

Spineshank

I became aware of Spineshank 26 years ago when I was hired to be the steadicam operator on their “Synthetic” video.  Despite a really long day circling the band with a heavy camera on my back, I became a fan of the song (which generally doesn’t happen when you hear it 30-50 times in a day) and the band.  I didn’t get to see them live back in the day, but finally saw them last year at Aftershock Festival in Sacramento, and their performance in front of thousands was well worth the wait.  They were just returning from a decade-plus hiatus, had a lot of steam to blow off, and they made a point of taking it out on the massive festival stage and audience.

Friday night was in front a smaller crowd, but Spineshank were no less motivated to provide a killer set for the Pomona crowd.  From the opening notes of “Asthmatic”, all bets were off, and the they proved to be a formidable and energetic live band.  Vocalist Jonny Santos owned the stage, and was a force of nature all night.  Tommy Decker killed it on drums, while his son Tommy Decker Jr., who joined the band in ’25, was equally adept on guitar.  Robert Garcia provided the low-end and backing vocals, as song after song rained down on the crowd.  A wall of death was orchestrated towards the end of the set, and participants had abundant room to gather speed with The Glass House’s ample floorplan.  For those that were already worn out after Hed PE’s set, Spineshank provided just the right amount of rocket fuel needed to replenish the tanks.

Spineshank are:

• Jonny Santos – Lead vocals 
• Robert Garcia – Bass
• Tommy Decker – Drums
• Tommy Decker Jr. – Guitar

Setlist:

1) Asthmatic

2) Synthetic

3) Violent Mood Swings

4) Smothered

5) Beginning of the End

6) New Disease

7) The Height of Callousness

8) Dead to Me

Hed PE:

I’d seen Hed PE play a few years ago while visiting family in Montana, and it was an interesting night in two regards 1) Montana isn’t known for its heavy music scene, and 2) as a result of the lack of rock fans, the 1000 capacity venue had a couple of hundred people at most.  Regardless, Hed PE hit the stage and played as if they were playing a major festival to tens of thousands of diehard fans.  Their show didn’t waver a bit then, and Friday night in front of a venue full of people specifically there to see them, they hit it even harder, feeding off the fan’s enthusiastic reaction.

Hed PE has gone through multiple lineup changes since their formation in 1994, but their brand of genre-defying G-rock hasn’t changed and is just as vital as ever.  Their short but furious set delivered on every level – it was hard to imagine this band being first on the bill, but whatever their placement, they were ready to deliver, and gave the fans exactly what they’d hoped for.  All of the songs in their setlist were from the 2000 album Broke, and despite the short set, Hed PE made the most of it, and delivered a performance few in attendance will soon forget.

Hed PE are: 

• Jared Gomes – Vocals/Melodica  
• Kurt Blankenship – Bass  
• Nathan Javier – Guitar  
• Stephen Arango – Drums  

Setlist:

1) Jesus (of Nazareth)

2) Killing Time

3) Waiting to Die

4) Feel Good

5) I Got You

6) Bartender

Thanks for reading!

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