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This week, the Recording Academy revealed the 2026 inducted recordings into the Grammy Hall of Fame, adding 14 new titles.

The post Radiohead, 2Pac, Janet Jackson Get Big Honor from Grammys appeared first on Audio Ink Radio.

Electronic provocateurs LORDS OF ACID return to the stage on April 25 with their headline U.S. run, the Cheeky Freaky Tour. The tour marks a bold new chapter for the iconic act—one that honors their legacy while delivering a fully realized, uncompromising live experience rooted in the band’s unmistakable aesthetic and provocative spirit.

Spanning 29 cities across the United States, the Cheeky Freaky Tour is a high-voltage, multi-artist spectacle featuring both headline club dates and major festival appearances,

including Sick New World (April 25, Las Vegas) and Ritual Noize Fest (May 2, Denver). Each night is designed as an immersive, visceral experience—intense, confrontational, and unmistakably LORDS OF ACID.

“For the first time in eight years, there is truly new material,” says Praga Khan, founder and creative force behind LORDS OF ACID. “A new album is coming, and the ‘Cheeky

Freaky Tour’ ushers in a new era for the band, with respect for the past, but with a clear focus on the future.”

The “Cheeky Freaky Tour” is not a nostalgia tour. The tour reaffirms everything LORDS OF ACID have stood for over decades: a fearless, idiosyncratic approach to electronic music, a strong and unapologetic identity, and a live show that confronts, seduces, and surprises.

Led by the current Acid Queen Carla Harvey, LORDS OF ACID deliver a set in which iconic tracks such as “Pussy,” “I Sit on Acid,” and “Crablouse” seamlessly merge

with new material. The show focuses on tension, dynamics, and presence, without distancing itself from the band’s roots.

The tour—a blend of pounding electronic beats, glam chaos, club culture, and pure attitude—is supported by a carefully curated line-up, each act contributing to the depth of the evening in its own way:

• Dead On A Sunday brings raw, modern gothic energy.

• Princess Superstar is known for sharp lyrics, and a distinctive, club ready

swagger.

• Tony and the Kiki add alternative, fashion-forward pop flair.

• MZ NEON opens the night with pulsating, underground-inspired electronic sounds.

Audiences will also experience the first live introduction to material from the upcoming LORDS OF ACID album, which features appearances from Princess Superstar and

Tony and the Kiki.

Known for decades of boundary-pushing sound and performance, LORDS OF ACID continue to redefine what a live electronic show can be: loud, visual, playful,

and fearless.

The “Cheeky Freaky Tour” dates are as follows:

4/25 – LAS VEGAS, NV – SICK NEW WORLD

4/26 – FONTANA, CA – STAGE RED

4/29 – GRAND JUNCTION, CO – MESA THEATER

4/30 – ALBUQUERQUE, NM – SUNSHINE THEATER

5/01 – COLORADO SPRINGS, CO – BLACK SHEEP

5/02 – DENVER, CO – RITUAL NOIZE FEST

5/04 – KANSAS CITY, KS – WAREHOUSE

5/05 – MINNEAPOLIS, MN – VARSITY THEATER

5/06 – CHICAGO, IL – BOTTOM LOUNGE

5/07 – DETROIT, MI – MAGIC STICK

5/08 – PITTSBURGH, PA – PRESERVING UNDERGROUND

5/09 – WASHINGTON, DC – UNION

5/11 – CLEVELAND, OH – MERCURY

5/12 – NYC – RACKET

5/14 – ATLANTA, GA – MASQUERADE

5/15 – ORLANDO, FL – THE ABBEY

5/16 – FT LAUDERDALE, FL – CULTURE ROOM

5/17 – TAMPA, FL – ORPHEUM

5/19 – FT WALTON BEACH – DOWNTOWN MUSIC HALL

5/21 – HOUSTON, TX – SCOUT BAR

5/22 – DALLAS, TX – TREES

5/23 – AUSTIN, TX – COME AND TAKE IT LIVE

5/24 – SAN ANTONIO, TX – PAPER TIGER

5/26 – TUCSON, AZ – 191 TOOLE

5/27 – PHOENIX, AZ – NILE

5/28 – LAS VEGAS, NV – SWANDIVE

5/29 – SAN DIEGO, CA – MUSIC BOX

5/30 – LOS ANGELES, CA – ECHOPLEX

5/31 – SAN JOSE, CA – THE RITZ

LOA ONLY

NO DOAS

The post LORDS OF ACID ANNOUNCE A NEW ALBUM. A NEW TOUR. A NEW ERA. THE “CHEEKY FREAKY” U.S. TOUR HITS 29 CITIES THIS SPRING ALONG WITH RELEASE OF THE BAND’S FIRST NEW ALBUM IN 8 YEARS appeared first on Antihero Magazine.

Airbourne have just started their European tour, with a support band called Avalanche joining them for some of the shows. I hadn’t heard of these guys before, but that changed when I received a copy of their debut album. “Armed to the Teeth” is the title of this blistering rock album, which was recorded by… Continue Reading →

A previously unreleased live performance from Freddie King is set to receive a special vinyl release this spring. Feeling Alright: The Complete 1975 Nancy Jazz Pulsation Concerts will arrive exclusively for Record Store Day on April 18, 2026, via Elemental Music, as a limited-edition 3-LP set documenting King’s appearance before more than 50,000 fans in France in October 1975, during the final full year of his life.

Sourced from original ORTF broadcast recordings, the newly restored collection is pressed on 180-gram vinyl and captures King at a late-career peak. Known for his fierce guitar tone, expressive vocals, and ability to bridge traditional blues with rock energy, King helped reshape modern blues and influenced generations of players, including Eric Clapton and Stevie Ray Vaughan.

The release was produced in cooperation with the Freddie King Estate by award-winning archivist Zev Feldman, with mixing and sound restoration by Marc Doutrepont and mastering by Matthew Lutthans at The Mastering Lab. CD and digital editions are scheduled to follow on April 24.

Across six sides of vinyl, the set features sixteen performances that span King’s signature instrumentals, blues standards, and crossover material. Highlights include “Sen-Sa-Shun,” paired with Magic Sam’s “Lookin’ Good,” and a powerful version of “Have You Ever Loved a Woman” segueing into B.B. King’s “Whole Lot of Lovin’.” King also delivers commanding readings of classics such as “Sweet Little Angel,” “Got My Mojo Working,” “The Things I Used to Do,” “Sweet Home Chicago,” “Messin’ with the Kid,” “Danger Zone,” and “Stormy Monday.”

Reflecting his growing connection to rock audiences, King’s set also includes Dave Mason’s “Feelin’ Alright” and Don Nix’s “Goin’ Down,” two staples of his live repertoire by the mid-1970s. Together, these performances confirm his ability to move seamlessly between blues tradition and modern rock sensibilities.

The performance captures what bandmate Lewis Stephens described as a “blistering” period during a five- to six-week European tour. By this point, King had established himself as a major blues-rock attraction on both sides of the Atlantic, blending Texas swing, Chicago blues, and his later rock-influenced work into a powerful, unified sound.

On the Nancy recording, King is joined by Alvin Hemphill (organ), Ed Lively (guitar), Lewis Stephens (piano), Benny Turner (bass), and Calep Emphrey (drums), forming a tight, energetic ensemble that supports his commanding stage presence.

The package includes liner notes by journalist and historian Cary Baker, along with reflections from Feldman, King’s daughter and estate administrator Wanda King, and Billy Gibbons of ZZ Top. In his contribution, Gibbons recalls the intensity of the performance, writing that King “poured it on in a big way” during the show.

In his producer’s statement, Feldman said, “Freddie King is and remains a king indeed — a defining figure in blues and rock guitar. These recordings capture a moment when he was transcending audiences and influencing players around the world. It’s also been deeply meaningful to work with his daughter, Wanda King, as we set out not only to release this music, but to celebrate Freddie’s legacy and the impact he made. These performances present him at his very best — and they’re thrilling to hear.”

Feeling Alright: The Complete 1975 Nancy Jazz Pulsation Concerts offers fans and collectors a rare opportunity to experience one of blues’ most influential figures in full command of his powers, preserved in high-quality archival form more than fifty years after the original performance.

The post Rare Freddie King live recording surfaces after 50 years appeared first on Blues Rock Review.

A trio of Melbourne’s finest progressive acts are uniting for a special show in Brunswick on February 28.

The Progressive Power Alliance will appear at the Bergy Bandroom with Teramaze, Vanishing Point and emerging entity Terrestrials filling out the stage.

Grab tickets now for this one-off special night.

In recent years founding bands which unable to do big tours back when they were revealed as genre-builders, have emerged to undertake the professional tour experience now that they can do so easily.

Beherit’s Prague concert is a part of a broader phenomenon seen lately. A tad belated? Perhaps. Most deserved and welcomed? Definitely. But if any potential critique may apply completely regardless of it, one must consider first if he is questioning the very idea of Beherit concert, the setlist chosen for live setting, or simply the execution and the sound.

As for the first aspect, Nuclear Holocausto Vengeance (NHV) was never really as opposed to the idea of playing live as certain other black metallers famously were. Here it was more of a matter of convenience, resources available at the time and perhaps a bit of sensible self-restrain, ultimately cemented by a slight change of musical interests of the artist himself.

What actually is against this idea is decades of conditioning oneself with the music of Beherit with only the single one rendition available, in which it seemed destined to remain forever, like nostalgia or a funeral oration. As for the second aspect, NHV stated that the setlist will be flexible, depending on many factors and that no gig shall be alike.

Usually, there is also a question of releasing one particular gig over others, perhaps better, but with Beherit the conditions are not of abundance, but of scarcity and with its live performances being more of an exception than a rule there is a good reason for nothing else but just celebration and feasting.

There’s almost a sense of urgency to encapsulate something, anything, from what still yet might turn out to be a very brief window of opportunity, as the band may dissapear from the stages as quickly as it appeared. The set immortalized on Live in Praha seem to take into account the wishes of modern audience the most, and the earliest, proto-war metal side of Beherit appears to be very popular among them.

The band certainly have enough of such songs to avoid entirely any problematic discrepancies, but the record is still cross-sectional enough to suffer some losses along the way, as averaging material that is too broad and varied guarantees that some versions will end up diminished.

What on this occasion was almost completely absent (not counting intros and interludes) however, are the electronic phases (both the mid 90s and the most recent one). Part of the reason why genre that used to be, without much distinction, called black ambient (which besides ambient actually consisted of various synth genres, ritual music, darkwave, neoclassical, medieval, folk, etc., but created by musicians mainly associated with black metal) was accepted like practically in no previous generation of metalheads before is because it was ingrained in the same idea as black metal, merely mirrored in different light.

It is possible that because of this it also was much simpler formally and aesthetically less flourished than the works of the usual artists in that field, as it was ordered (“limited”) by some of the same rigours and focus which are also one of the main draws of metal. And in case of Beherit it wouldn’t be unthinkable to actually get predominately electronic set with large swathes of ambient only sporadically interspersed with metal and with as much of a mindfuck in the chillout room as DJ Gamma-G could possibly unleash.

It’s the performing the songs from Drawing Down the Moon that remains an especially risky task here. With Beherit there is much more at stakes than with other bands playing primitive black metal as Beherit is also the ambiance, the aura, there is this beautiful, mysterious calmnes and sinister, digital vibe in it. With that album Beherit created one of those truly singular entities in the best metal tradition and it is here where there is the most to loose in live setting. Simply having the structure right doesn’t necessary lend itself to sucessful rendition.

As in a carefully prepared ritual where absence of one ostensibly neglible element basically cancels the whole ordeal. Here’s where the riffs simply being in place may prove insufficient to raise this entity as there was also a tone, a current, which on the album sola structura carried but as a vessel. Perhaps “The Gate of Nanna” appears just too soon, before the band was warmed up and already really attuned with the surroundings, But instances of loosing some details happens also later, ones in “Solomon’s Gate” and then the others in “Sodomatic Rites,” where normally there are subtle, yet important dissonances stirred up.

The most optimal material appears to be that taken from 2009’s Engram with its modern digital sound and whose songs could as well occupy the whole set as it’s kind of an album which is unconcivable to listen to in any other way than in its entirety.

Despite lacking a bit of depth by not being punctured harder with electronic buzz, it presents more elegantly than songs from The Oath of Black Blood because of more strict, less chaotic construction and more completely than songs from Drawing Down the Moon simply due to less distance to time and technology in which it was created.

Nonetheles its presence is limited to just two songs at the very end of the album, where slow unfolding of “Demon Advance” would be more preferable choice over lengthy but uneventful “Lord of Shadows and Goldenwood,” especially, that the latter is immediately followed by more bouncy cuts from Engram.

Live in Praha CZ was already declared as one of the best releases of 2025 on a meager, ever-shortening Deathmetal.org annual list. All things considered, what we got is on its own just acceptable live album. Like Entangled In Chaos crossed with Death Comes In 26 Carefully Selected Pieces and similar dilemmas to Graveland’s live albums, it’s a fruit of ungrateful art of settling on some workable compromises. But among those delivered throughout the years by classic bands from death and black metal underground (whose official live releases all too often seem to be unable to compete with humble bootlegs), it shall be counted as one of the more memorable and accomplished.

The only thing that’s left to wish for is now for Summoning to grace us in 2026 with their live performance, ushering us not only into their own creations, but into a completely new era of metal as a whole.

Dave Mustaine Says He’s An Independent: “I Vote For Whoever’s The Least Of Two Evils”

MEGADETH Frontman Clarifies Political Views in 2026 Interview
MEGADETH founder and frontman Dave Mustaine has once again addressed his political beliefs, stating that he does not align with either major U.S. political party and considers himself an independent voter.
In a new interview with Roisin O’Connor’s Good Vibrations, the podcast hosted by The Independent music editor Roisin O’Connor, Mustaine explained why he avoids publicly endorsing political parties and why he believes musicians are better off keeping their personal politics private.
“The world has developed into a place where if you’re somebody offering a product, it’s best for you not to talk about your political persuasion,” Mustaine said. “People never used to say who they voted for. It’s none of your goddamn business. People think I’m a right-winger. I’m not. I’m an independent. I’ve voted for Democrats, I’ve voted for Republicans. I vote for whoever’s the least of two evils, sometimes three.”
Dave Mustaine Responds to Political Labels

Mustaine also addressed the long running narrative that paints him as a right wing political figure. According to the MEGADETH leader, much of that reputation stems from former band members or associates who left the group on bad terms and later spoke negatively about him.
He added that fans who meet him in person often come away with a very different impression.
“When we’re down in South America, we’ll sit out on the steps of the hotel and serenade the fans,” Mustaine said. “That’s how we really are. That’s how we live. We love our fans.”
“I’m Spiritual, Not Religious,” Says Mustaine

In a recent interview with The New York Times, Mustaine further clarified his beliefs, saying that while he identifies as a Christian, he does not view himself as a right wing political figure. He also described himself as spiritual rather than religious, noting that his worldview does not neatly fit into modern political boxes.
Mustaine has repeatedly emphasized that his involvement in political initiatives has historically focused on encouraging civic participation rather than pushing a specific party agenda. He previously took part in the “Rock The Vote” campaign in the early 1990s, aimed at getting young people registered to vote, regardless of party affiliation.
Dave Mustaine on Politics and Heavy Metal

Over the years, Mustaine has drawn both praise and criticism for speaking openly about political and social issues. He has said that heavy metal musicians should not be assumed to be disconnected from civic life and that artists have the right to hold independent views without being forced into partisan categories.
“I don’t try and tell people in my songs what to do,” Mustaine has said in past interviews. “I try to show both sides and let people decide for themselves.”
While some of Mustaine’s past comments have sparked controversy, he has maintained that media outlets have often taken his remarks out of context and amplified narratives that do not reflect his actual political stance.
MEGADETH’s Ongoing Legacy

As one of the founding figures of thrash metal, Dave Mustaine remains a central voice in heavy metal culture more than four decades into his career. MEGADETH continues to tour and release new material, and Mustaine remains outspoken not only about music, but about the cultural space metal occupies in modern society.
Whether fans agree with his views or not, Mustaine’s comments continue to fuel discussion around the intersection of heavy metal, politics, and free expression in 2026.

KISS Co-Founder Talks Hip-Hop, Rock And Roll Hall Of Fame, and the State of Music in 2026
KISS co-founder and bassist Gene Simmons has once again sparked conversation in the rock and metal world after explaining why rap and hip-hop music do not resonate with him the way classic rock and roll does. In a recent interview on the Legends N Leaders podcast with host Ben Weiss, Simmons shared his thoughts on musical relevance, the Rock And Roll Hall Of Fame, modern pop culture, and the future of the music industry.
Gene Simmons on Rap Music vs Rock And Roll

During the interview, Simmons made it clear that while he respects the success and influence of hip-hop artists, the genre does not connect with him personally.
Simmons explained that rap music is largely rooted in spoken-word performance over beats, whereas rock and roll is built around melody, songwriting, and musical arrangement. He added that music speaks differently to people based on background and life experience, and hip-hop simply does not speak his language in the same way rock music does.
The KISS frontman has previously made headlines for questioning whether hip-hop belongs in the Rock And Roll Hall Of Fame, and he revisited that topic during the podcast. Simmons pointed to IRON MAIDEN’s continued exclusion from the Hall despite selling out arenas and stadiums worldwide, while artists from non-rock genres have already been inducted.
Rock And Roll Hall Of Fame Debate Continues

Simmons argued that the name “Rock And Roll Hall Of Fame” should mean exactly that. He questioned why hip-hop artists are honored in an institution built around rock music, while legendary rock bands have yet to be recognized. The long running debate over what qualifies as “rock and roll” remains one of the most controversial topics in modern music culture.
This discussion reflects a wider conversation among rock and metal fans who feel that heavy metal bands such as IRON MAIDEN, JUDAS PRIEST, and others have been historically overlooked by mainstream music institutions.
The Decline of the Music Business and Record Labels

Beyond genre debates, Simmons also spoke about what he sees as the collapse of the traditional music business model. According to Simmons, modern artists face enormous challenges due to streaming platforms, lack of label investment, and the disappearance of artist development.
He argued that future generations are unlikely to produce another band with the cultural impact of THE BEATLES, Elvis Presley, or LED ZEPPELIN because record companies no longer provide financial backing for new artists to grow, tour, and fail before finding their identity.
Simmons also criticized the short lived fame created by reality TV talent shows, noting that many gifted singers and musicians achieve brief exposure without building sustainable careers in the music industry.
Why Classic Rock Still Dominates Live Music

According to Simmons, the reason classic rock continues to dominate live music culture is simple. The songs last. Cover bands still play “Free Bird,” “Satisfaction,” and other timeless rock anthems because those songs are built on strong songwriting, melody, and emotional connection.
While modern pop hits and viral songs generate massive streaming numbers, Simmons believes they lack the long term cultural impact needed to influence new musicians to form bands, pick up instruments, and create original music rooted in tradition.
KISS Legacy, Farewell Tour, and Future Projects

KISS officially ended its touring career with two final shows in full makeup at Madison Square Garden in December 2023. The band’s “End Of The Road” farewell tour began in 2019 and concluded after delays caused by the COVID-19 pandemic.
In early 2024, KISS sold its music catalog, likeness, and brand rights to Swedish entertainment company Pophouse Entertainment. Multiple projects are currently in development, including a KISS biopic, an avatar-based concert experience, and an immersive KISS-themed attraction. Gene Simmons and Paul Stanley remain directly involved in shaping these projects and preserving the band’s legacy for future generations.

Heavy metal and punk rock legend Ross “The Boss” Friedman, founding guitarist of MANOWAR and THE DICTATORS, has revealed that he has been diagnosed with ALS, also known as Lou Gehrig’s Disease.
According to a statement from Friedman’s publicist, the 72 year old musician received the diagnosis after months of unexplained physical symptoms, including weakness in his hands and legs. Doctors initially believed a series of minor strokes may have been responsible, but changes in diet, exercise, and physical therapy did not slow the progression of symptoms, leading to further testing and the eventual ALS diagnosis.
Friedman shared his own words with fans following the news:


“It’s difficult to know what lies ahead, and it crushes me not to be able to play guitar, but the outpouring of love has been so, so strong. I’m absolutely blown away by the love and support from family, friends, and fans. I love you all.”


Amyotrophic Lateral Sclerosis is a progressive and fatal neurodegenerative disease that attacks motor neurons in the brain and spinal cord, leading to muscle weakness, paralysis, and eventual loss of voluntary muscle control. There is currently no cure.
Ross “The Boss” is widely regarded as one of the true architects of classic heavy metal guitar. As a founding member of MANOWAR, he recorded six studio albums with the band, including genre defining releases such as Battle Hymns (1982), Into Glory Ride (1983), Hail To England (1984), and Kings Of Metal (1988). His riff driven, no frills approach helped shape MANOWAR’s signature sound and influence generations of metal guitarists.
Before his time in MANOWAR, Friedman was already a trailblazer in punk rock with THE DICTATORS. The band’s 1975 debut Go Girl Crazy! predates landmark releases by RAMONES, THE CLASH, and the SEX PISTOLS, cementing Ross as a pioneer at the ground floor of the punk movement. Albums like Manifest Destiny (1977) and Bloodbrothers (1978) further solidified the band’s cult status.
Throughout the decades, Friedman continued to bridge the worlds of punk and metal. He reunited with fellow DICTATORS members in MANITOBA’S WILD KINGDOM, collaborated with Albert Bouchard of BLUE ÖYSTER CULT in BRAIN SURGEONS, and later returned fully to heavy metal with projects such as DEATH DEALER and his solo band ROSS THE BOSS. His career stands as a rare example of an artist who helped shape two major underground movements from the inside out.
News of Friedman’s diagnosis has prompted an outpouring of support from fans, musicians, and members of the global metal community. While the road ahead is uncertain, his legacy is carved into the foundations of heavy music itself. Ross “The Boss” is not just a guitarist. He is part of the DNA of metal and punk, and his impact will continue to roar long after the final chord fades.

FOR IMMEDIATE RELEASE
GRAVEMASS UNLEASH NEW SINGLE “THIS IS THE WAY” — OUT FEBRUARY 13, 2026
West Coast Canada — Black metal wrecking crew Gravemass drop their debut album title track “This Is The Way” on Friday, February 13, 2026 at 12:00 AM via End Game Records Inc.
Genre: Black Metal
For Fans Of: Slayer, Venom, Morbid Angel, Watain, Napalm Death
ISRC: QZHN82628805
Emerging from the depths of the West Coast metal scene, Gravemass is a sonic war machine built from the combined fury of veteran players. The lineup reads like a who’s who of West Coast metal, featuring members and alumni of Zimmers Hole, Punch Drunk, 3 Inches of Blood, Revocation, Just Cause, West of Hell, Savannah, Process, and The Golers . This is true Canadian black metal, sharpened by decades in the trenches.
On “This Is The Way,” Gravemass deliver a punishing blend of sinister, heavy riffs and savage vocal power, channeling the raw hostility of black metal with the blunt-force trauma of death metal. The result is a track that hits hard, stays mean, and does not apologize for it. This is the opening salvo from their debut album and it sets the tone loud and clear.
Known for an unrelenting live presence, Gravemass bring that same intensity to the studio. No polish for the sake of polish, no soft edges, just disciplined brutality from musicians who know exactly how to weaponize sound. This is not a hobby band. This is a unit of seasoned operators doing what they do best.
Label: End Game Records Inc.
Production: Produced and Mastered by Tim Creviston
Video Credit: White Wolf Photography

If you like your metal hostile, uncompromising, and forged by players who have already paid their dues, “This Is The Way” is your wake up call. Turn it up and brace for impact.
Check out the premiere and subscribe:


Connect with the band:
https://gravemass.com/gravemass-epk/
Contact: 
ashley@endgamerecords.com 
info@gravemass.com