The Haunted North Unleash “Savage Ghost” – Randy V Talks Origins, Heavy Hitters, and What’s Next on Metal Devastation Radio

If you like your heavy with grit, groove, and zero plastic polish, this one hits like a hammer.
On a recent episode of The Zach Moonshine Show on Metal Devastation Radio, The Haunted North stormed in with their crushing new single “Savage Ghost” , and frontman Randy V pulled back the curtain on how this whole thing came together. The result is a band rooted in real history, real connections, and a sound that doesn’t chase trends, it bulldozes through them.


“It’s like a freaking hammer” – The Sound of Savage Ghost

Right out of the gate, the vibe was clear. This isn’t overproduced, copy-paste rock. This is weight.


“It is smash your head… it’s like a freaking hammer, isn’t it?”


That pretty much sums up Savage Ghost . Thick, groove-heavy riffs with a dark, almost cinematic feel. You can hear the DNA of classic heavy hitters, but it never feels like imitation. It feels lived-in.


Heavy Hitters in the Mix: JD DeServio & Jeff Fabb

One of the big talking points was the involvement of some serious players behind the scenes.
Randy V broke it down:


“JD jumped in… Jeff did the last two singles… these guys literally did their tracks and then jumped on a plane to LA to start rehearsing.”


That kind of commitment shows up in the final product. The rhythm section alone gives Savage Ghost that undeniable punch, the kind that hits you in the chest and sticks.


A Wild Origin Story You Can’t Make Up

The Haunted North didn’t form the usual way. No Craigslist ad, no “hey let’s start a band” moment.
This thing is built on what can only be called pure rock and roll fate.
From gym meetups in Canada…
To connections through Black Label Society circles…
To a chance encounter with Layne Staley’s mother…
Yeah, seriously.
Randy V shared one of the most surreal moments:


“I realized… that’s Layne Staley’s mom… and we ended up becoming really good friends.”


That connection eventually led to the creation of music tied to tribute material, which snowballed into something much bigger.


“It wasn’t coincidental… all that had to happen for us to meet.”


You don’t script stuff like that.


From One-Off Track to Full-Blown Band

What started as a single turned into something else entirely.


“He said, ‘What if I could get Jeff and JD to play on it?’ I said… ‘well, then I’d have to reconsider.’”


That reconsideration turned into a full project, and now The Haunted North is building serious momentum.


Influences: From European Metal to Grunge Darkness

Randy V didn’t shy away from talking influences, and it paints a clear picture of where that sound comes from.


“We were more into European metal… Priest, Schenker… then when everything shifted, the two bands that grabbed you… Soundgarden and Alice In Chains.”


That blend explains a lot. You’ve got the precision and power of classic metal mixed with the mood and weight of early 90s darkness.
And it shows.


No Fake Emotion. No Industry BS.

One of the real standout moments was Randy talking about authenticity in music.


“People know when you’re… not real… when you actually felt it, they hear it.”


That’s the difference between something that sounds good and something that sticks with you.
The Haunted North leans hard into that second category.


Gear Talk… Sort Of

For the tone chasers out there, there were a few nuggets dropped, even if Randy laughed off being “the wrong guy” for full gear breakdowns.
What we do know:
Friedman amps are part of the tone equation
Gibson-style guitars in the mix
A serious, dialed-in setup from guitarist Sean


“I know tones very well… if it sounds like shit, I’ll call it instantly.”


Fair enough.


What’s Next: Live Shows and More Releases

The focus now is simple. Take this thing to the stage.


“We’re hyper focused on getting out and playing live this summer.”


Plans are pointing toward shows around Sturgis and beyond, with more content rolling out, including:
The Bleed video gaining traction
A new Savage Ghost lyric video using 30+ year old footage
A growing catalog of heavy tracks like Medusa , 21 Grams , and The Beast


The Haunted North Is Just Getting Started

There’s something refreshing about a band that isn’t trying to fit into whatever the algorithm says is hot this week.
The Haunted North is building this the old-school way:
Real connections
Real players
Real stories
Real heavy music
And it shows in every riff.


Listen Now

The full episode featuring Randy V of The Haunted North , including the interview and a stacked lineup of new underground releases, is now available on Mixcloud via Metal Devastation Radio.
Turn it up loud. This one wasn’t made for background noise.
Track List: 
Battle Of The Bands Top Six Winners:
1 – Antipope – The Maker – (289,749 votes)
2 – Another Demon – Drawn and Quartered feat. James Murphy (Testament, Death, Obituary) – (131,632 votes)
3 – NIKOLA’S CAGE – RASCAL – (27,654 votes)
4 – Severed Sun – Complex – (25,239 votes)
5 – Mistress – Terrified eyes – (9,493 votes)
6 – Heidbekka – Völva – (6,412 votes)
The Zach Moonshine Intro
7 – Ozzy Osbourne – Over The Mountain
8 – Black Label Society – Pedal to the Floor/Lords Of Destruction
The Haunted North – Interview featuring Savage Ghost/The Beast
9 – Dark Chapel – Sign of Life/Hit of Your Love
10 – Zakk Sabbath – Electric Funeral/Lord Of This World
11 – Jeff Fabb – Listen to Hear
12 – Awaiting Abigail – Funhouse
13 – The Funeral Procession – Carrion
14 – SEEING HELL A.D – DISSECTION
15 – Empire of None – You
16 – Broadslab – Keep On Rollin’
17 – LANGUISH IN DESPAIR – Killing Spree
18 – Stygian Mind – Crown of Bullets
19 – Riftpatrol – Parasite (feat. Yuuko Sings, DJ Neon Nights & Amanda Power)
20 – Crystallion – Shell Shock (MANOWAR Cover)
21 – Bjarte K. Helland – The Final Count
22 – HELL-BORN – In Scarlet And Death
23 – Mephisto Odyssey – CRASH Feat. Brad Gillis, Wayne Static
24 – MARTYRED – WHERE THE BODIES LIE
25 – VITHIAL – War of the Gods, the Balance of Darkness and Light


Also check out the interview portion up on YouTube, Spotify, Apple:


Super massive shout out to the 292,325 metal maniacs from around the world that tuned in for the live devastation Friday night!

Follow the band: 
https://www.thehauntednorth.com/

TL;DR

Aerosmith frontman Steven Tyler will face a jury on August 31, 2026, in a child sexual assault lawsuit filed by Julia Misley. While a judge dismissed the majority of the claims due to statutes of limitations in other states, a portion of the case remains active under California’s “lookback” laws. The trial focuses on alleged incidents that occurred when Misley was 16 and Tyler was approximately 26, including claims of coerced guardianship and assault.

LOS ANGELES, CA — Aerosmith legend Steven Tyler is officially headed to trial on August 31, 2026, at Los Angeles County Superior Court to face allegations of child sexual assault. The 78-year-old singer had hoped to have the entire 2022 lawsuit filed by Julia Misley—formerly Julia Holcomb—dismissed, but a judge’s ruling this week has cleared the path for a jury to hear at least part of the case. While Tyler’s legal team is celebrating the dismissal of the majority of the charges, the rock icon remains legally tethered to a three-year relationship that Misley alleges was rooted in coercion and exploitation rather than the “romantic love affair” Tyler has previously described.

Why is Steven Tyler still facing trial if most charges were dismissed?

The judge’s decision to dismiss the majority of Misley’s lawsuit was primarily based on the statute of limitations governing other states. Because Tyler and Misley lived in Massachusetts, Oregon, and Washington during much of their relationship, those specific charges were thrown out as they were not revived by California’s legislation. However, California’s Child Victims Act “lookback window” allowed alleged victims to file sexual assault lawsuits regardless of how much time had passed, provided the conduct occurred within the state.

The trial will focus on alleged incidents that occurred when Tyler reportedly crossed state lines with Misley into California. At the time, Tyler was approximately 26 and Misley was 16; the age of consent in California was, and remains, 18. Tyler’s attorney, David Long-Daniels, characterized the ruling as a “massive win,” stating that 99.9% of the claims were dismissed and only “one night, 50-plus years ago” remains under legal scrutiny.

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What are the core allegations in Julia Misley’s lawsuit?

The lawsuit includes harrowing charges of sexual assault, sexual battery, and intentional infliction of emotional distress. Misley alleges that the relationship, which began in 1973, involved Tyler persuading her parents to sign over custody so he could take her on tour without fear of arrest. Key points of the legal battle include:

• Coerced Relationship: Misley claims Tyler used his rock star status to “groom, manipulate, exploit, and sexually assault” her over a three-year period.
• Guardianship Abuse: The singer allegedly convinced Misley’s mother to grant him legal guardianship by promising to enroll her in school, a promise Misley claims he never intended to keep.
• Abortion Allegations: The suit alleges Misley became pregnant with Tyler’s child in 1975 and was coerced into having an abortion after suffering smoke inhalation in a fire.
• Memoir Evidence: The lawsuit cites Tyler’s 2011 memoir, Does the Noise in My Head Bother You?, where he wrote about his 16-year-old “girlfriend to be” and admitted her parents “signed paper over for me to have custody” so he wouldn’t be arrested while traveling out of state.

Will the Aerosmith “Peace Out” Farewell Tour be affected?

While Aerosmith is currently attempting to navigate their “Peace Out” farewell tour following Tyler’s 2023 vocal cord injuries, this legal shadow looms large over the band’s final bow. Misley has stated that her goal with the lawsuit is to make the music industry safer and expose the “predators” and “enablers” who allow exploitation to occur. Industry insiders suggest the band aims to conclude their North American dates before the trial officially begins in late 2026, though the legal tension has undeniably complicated their retirement.

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The Unfiltered Perspective

Calling a child assault trial a “massive win” because only “one night” remains on the docket is a bold legal strategy that risks a massive backfire in the court of public opinion. While statutes of limitations may protect Tyler from the full weight of the three-year relationship in a strictly legal sense, the details he openly admitted to in his own memoir are now coming back to haunt him in a California courtroom. Misley isn’t just looking for a settlement; she is aiming at the very structure of the music industry that allowed a man in his mid-20s to “adopt” a 16-year-old for the sake of a tour. Come August, a jury will decide if that “one night” in California is enough to rewrite the legacy of one of rock’s biggest icons.

STAY LOUD: Catch the full breakdown of the Steven Tyler legal battle on the Loaded Radio Podcast, or crank the hard rock and metal 24/7 on our digital stream at LoadedRadio.com.

The post STEVEN TYLER TO FACE JURY: Aerosmith Frontman Set For Child Sexual Assault Trial Despite “Massive Win” Claims appeared first on Loaded Radio.

Sugar are back. Last fall, Bob Mould announced that his short-lived post-Hüsker Dü band were gearing up for a big reunion that would include a tour and a couple of new songs. Last night at New York’s Webster Hall, the alt-rock trio played both those new songs live for the first time at their first show in 31 years.

The post Watch Sugar Reunite For First Show In 31 Years appeared first on Stereogum.

The post Baby Cruise Music Label ABUNDANCE Review appeared first on Edgar Allan Poets – Noir Rock Band.

This is my sixth time writing about Rob Moss and Skin-Tight Skin’s split single series. This series is one of the most interesting and enjoyable musical endeavors I’ve had the pleasure of following in recent years. Out today is the latest installment, which finds Moss collaborating with 7 Door Sedan, the Silver Spring, Maryland–based trio featuring singer/guitarist Glenn Kowalski from legendary D.C. punk band White Boy. 

The post The Last Party Now and Now Review appeared first on Edgar Allan Poets – Noir Rock Band.

Can we rightfully call an album that comes out on May 1st a “summer” release? Can we even call it an album if it only has seven songs? I suppose those questions are up for debate. But since I find such debates largely obnoxious, I’m going to say “yes” and “yes” in the case of The Chelsea Curve’s The Rideout, out now on Rum Bar Records. On its second album, the Boston-based trio is giving feelgood vibes all day long. Some recent years were trying for The Chelsea Curve, but the band has endured it all and now finds itself inspired and excited about what’s ahead. 

That ever-dependable institution of Boston garage rock is back with another slab of toe-tapping, hip-shaking goodness! I speak, of course, of Muck and the Mires, a foursome as consistent and notorious as death and taxes combined. Out on Madrid’s stellar Ghost Highway Recordings, the new EP Ghost of Roky Erickson follows the typical Muck recipe. You get two wild, garage-rocking smashers and two power pop gems that sound like they could have been plucked straight from the British Invasion (one of them actually was!). The ripping title track is one of the rockers. The song title is no red herring. The song really does describe an encounter with the ghost of Roky Erickson (on the 13th floor of an elevator, of course!). If you’re going to come face-to-face with a ghost, wouldn’t this be the one you’d want to meet? I always love a tune that tells a story! This song proves to be as inspired as its subject matter — just the latest in a long line of bangers from the Muck hit factory. “Hey Sunshine” is firmly in 1963 Beatles territory, and “It’s Gonna Be Alright” is a killer cover of the Gerry & The Pacemakers classic. Bringing it on home is “Dead To Me,” a stomping kiss-off that combines some good, old-fashioned spurned lover bitterness with deliciously dark humor. And that’s that: four tunes in a little over nine minutes, and it’s all perfect rock ‘n’ roll just as the music gods intended. You always know what you’re getting from Muck and the Mires, and it never stops being thrilling. My friends here in the states can pick this one up from the Rum Bar Records Bandcamp page!

The former Metallica bassist "underwent a procedure for throat cancer" in 2025, and he says that he's now living a more "clear-headed" lifestyle. Continue reading…

Imagine a pair of preeminent contemporary blues rock artists, Tab Benoit and Samantha Fish, shredding together on stage for a raucous version of Benoit’s “I Hear Thunder” on a warm, breezy Sunday evening in a beautiful park next to the calm waters of Tampa Bay. That is how you put the exclamation point on an award-winning blues festival. The 30th Tampa Bay Blues Festival featured a lineup of 15 outstanding artists delivering stellar performances in one of the best festival settings in the country, Vinoy Park in downtown St. Petersburg, Florida. The lineup featured a mix of established blues icons like Taj Mahal, Jimmie Vaughan, Los Lobos, Tommy Castro, and Kenny Wayne Shepherd, along with up-and-comers like Nikki Hill, Jackie Venson, Vanessa Collier, Jontavious Willis, and GA-20. Chicago bluesman Toronzo Cannon, and the aforementioned Tab Benoit and Samantha Fish filled out the lineup, along with Darrell Nulisch and Yates McKendree. Another icon, harmonica master Charlie Musselwhite, performed with GA-20.

The Tampa Bay Blues Festival was founded in 1995 by Charles “Chuck” Ross, who is still the festival’s promoter. Festival proceeds support the Parc Center for Disabilities, aiding those with learning disabilities in the community. The festival is a highly acclaimed event, winning the prestigious Blues Foundation’s Keeping the Blues Alive Award for Best U.S. Blues Festival in 2011.

Festivities kicked off at noon on Friday with multi-instrumentalist Yates McKendree playing alongside his father, Kevin, on keys. McKendree plays traditional blues like it has been his whole life, and it has, having been in the Nashville music scene with his dad since the age of three. A cover of Ramsey Lewis’ “The In Crowd” from his first album was a standout. That album, Buchanan Lane, was nominated for a pair of Blues Music Awards. Jackie Venson was up next. She is a bit of a prodigy, having picked up the guitar relatively late at age 21. Now in her mid-thirties, she has amassed a library of nearly a dozen albums mixing studio and live recordings. She has appeared on Slash’s S.E.R.P.E.N.T. tour and Joe Bonamassa’s Keeping the Blues Alive cruise. Standout songs included “Always Free” for the rock and rollers and “Witchcraft,” which thrilled the psychedelic guitar fans in the growing crowd. However, it was the haunting “Til This Pain Goes Away” that will be a welcome addition to my playlist. Her mix of rock, soul, and blues with exquisite guitar playing makes her a must-see artist.

The night closed out with a magnificent trio of blues torchbearers, beginning with Tommy Castro and The Painkillers, coming fresh off their 2025 release Closer To The Bone, which was rated 9/10 for “Amazing” by Blues Rock Review. The band put on a crisp set highlighted by songs across the Castro catalog, including “Blues Prisoner,” “Can’t Keep a Good Man Down,” and “The Devil You Know.” Bassist Randy McDonald took vocals for a song he penned on the most recent album, “Everywhere I Go.” Castro, ever the bandleader, added local flair by calling up The Florida Horns to supplement his four-piece band for the second half of their 90-minute set. Fellow Californians Los Lobos followed Castro on stage. The band from East L.A.’s set included songs “Evangeline” and Ritchie Valens’ “Come On, Let’s Go.” As the sun set on the first day of the festival, the audience got a special treat as Tommy Castro joined them to close out with classics “I Got Loaded” and their signature Valens cover “La Bamba.” Henry St. Claire Fredericks Jr., better known as Taj Mahal to the music world, closed out the evening with a set that felt like you were sitting in a time machine instead of a bayside park with thousands of musical friends. Along with his Phantom Blues Band, Mahal performed a set mixing originals and classic blues covers. Standouts included “Strut,” “Queen Bee,” “Dust My Broom,” and “Wild About My Lovin’.” The first day showcased a mix of old and new, with Taj Mahal approaching his 84th birthday and the 23-year-old Yates McKendree as bookends to a wonderful evening of music.

Another noon start for Saturday’s second day of the festival brought another visitor bureau day of weather as Jontavious Willis took the stage to get things started. Willis was born a year after the first Tampa Bay Blues Festival and plays old-school delta blues, which was a perfect way to kick off a sunny afternoon. “Make Me a Pallet on Your Floor” by Mississippi John Hurt and “Fannie Mae” by Buster Brown helped ease fans into another day of breezy blues. That sense of ease came to an electrifying halt as Nikki Hill took the stage with her perpetual-motion performance. Featuring acclaimed guitarist Laura Chavez, Hill’s brand of high-energy blues rock featured some unreleased songs along with “Struttin’” and “Heavy Hearts Hard Fists,” but it was a cover of AC/DC’s “Rocker” that left everyone out of breath, even if you somehow never left your camping chair. Next up was a pairing of classic and contemporary that on the surface may strike some as unusual, as GA-20 took the stage with venerable bluesman Charlie Musselwhite. The result was a concoction of classic Chicago blues with a modern gritty edge. The connection lies with GA-20 guitarist and founding member Matthew Stubbs. Stubbs was Musselwhite’s touring guitarist for over a decade. The set featured samples from both libraries, with “Gone Too Long” and “Crazy Love,” a new single from the forthcoming collaboration album Blues Now. It should be a great one.

To usher in the sunset, Jimmie Vaughan and his band took the stage all dressed in dapper black suits that, along with the horn section, provided a big-band atmosphere to his set, which included “Hold It,” “I Ain’t Never,” and an honorary tribute to his late brother with a great rendition of “Texas Flood.” A quick nod here to the sound engineers, who did a great job managing the variety of artists and tonal quirks each performer brought. In a breezy outdoor venue, the acoustics can be tricky, and the sound was just as good, if not better, the farther you got from the stage. There was no wandering away from the stage for the final act of the day, Kenny Wayne Shepherd. Shepherd’s debut album, Ledbetter Heights, was also celebrating its 30th anniversary, and the tour has been centered around this milestone. The setlist focused primarily on the album, to the disappointment of absolutely no one, with the title track, “Deja Voodoo,” and “Blue on Black,” but it was the cover of Peter Green’s “Oh Well” that left jaws agape. A great closing performance on a great night.

Darrell Nulisch opened the final day with an R&B Chicago blues set featuring his electric guitar and harmonica skills. Songs included “I’m Lost Without You” and “Nobody But You.” Nulisch was a founding member of Anson Funderburgh and the Rockets and performed with James Cotton and Ronnie Earl. Sax-slinging powerhouse Vanessa Collier followed as the Sunday crowd began to build. Collier is a 2026 Blues Music Awards triple nominee and four-time winner. Those arriving in time for Collier’s set were treated to a showcase featuring her impressive vocals and phenomenal blues saxophone, taking an extended solo into the crowd and playing such tunes as “I Can’t Stand the Rain” and “Sweatin’ Like a Pig, Singin’ Like an Angel.” One of the best contemporary Chicago blues flag bearers is the former CTA bus driver turned bluesman, Toronzo Cannon. Cannon is known for his real-life, often humorous lyrics with songs like “Midlife Crisis,” “Insurance,” and the hilarious “Walk It Off.” The highlight of the set had to be when Cannon took nearly eight minutes to jam his way through “I Hate Love,” afterwards confessing he got married eight months ago.

The final pair of artists are Tampa Bay Blues Festival veterans. Samantha Fish was making her third appearance in the last five years, and Tab Benoit is practically an annual fixture. The pair is in the midst of their “When Two Tours Collide” mini tour, which has been widely praised. Samantha ushered in the final sunset with a blistering set as the Grammy-nominated artist continues to elevate her stage presence to legendary levels. Her set leaned heavily into last year’s release Paper Doll, opening with “Can Ya Handle The Heat,” adding “Don’t Say It,” and extended solos on “Sweet Southern Sounds” and “Fortune Teller” from the album. She also mixed in “Miles To Go” and “Black Wind Howling” from her growing catalog, as well as a couple of R.L. Burnside covers, “Po Mattie” and the highlight of the set, “Goin’ Down South.” Tab Benoit took the stage to close out the festival as he has done on an almost annual basis. There were few occupied chairs as everyone was standing for the grand finale featuring favorites like “Why, Why,” “Muddy Bottom Blues,” “Medicine,” Buddy Miller’s “Shelter Me,” and Otis Redding’s “These Arms of Mine.” Then festival fans got their taste of the “Two Tours Collide” experience as Samantha Fish joined Tab, trading guitar licks for “Still Gray” and the aforementioned closer “I Hear Thunder.”

As I walked among the crowd as we left the park, I heard a lot of “Wow,” “I’ve never seen anything like that,” and some “Holy (expletive)!” I personally traveled from Colorado and met folks from San Diego, along with some who drove from as far away as Michigan and Pennsylvania. There is a reason the Tampa Bay Blues Festival has been around for 30 years and has become a destination event. It is the coming together of a storybook setting, a collection of rising and legendary artists, and a gathering of like-minded souls with a passion for the blues.

The post Bayside Blues – 30th Tampa Bay Blues Festival Recap appeared first on Blues Rock Review.