Nestor are set to present their thrilling live energy on record for the first time with new album ‘Live at Gothenburg Film Studios‘, out August 14th, 2026, via Napalm Records. Originally formed back in 1989, the band took the international rock scene by storm with its comeback and first music releases in 2021, unleashing the […]
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“Blow My Mind” is an excellent Robyn song with a surprisingly long history. Robyn released the original version of “Blow My Mind” way back in 2002. It was on Don’t Stop The Music, one of the Robyn albums that didn’t even get an American release, before she launched her own label and reinvented herself. Just…
The post Robyn Teams With Ca7riel & Paco Amoroso For “Blow My Mind” Remix appeared first on Stereogum.
Yungblud hit The O2, London, as his 11-date, sold-out UK arena tour was drawing to a close. “Thank you from the bottom of my fucking heart for being here tonight,” Yungblud told the crowd. “I am so proud of what we’ve created. In a world that is so divided, we stand for love. We stand for unity.”
Words: Naomi Hefter
Photography: Tom Pallant
Stars, icons, gods. In the world of rock ‘n’ roll, there are only a few frontmen and women who are true legends. Robert Plant, Freddie Mercury, Stevie Nicks, Mick Jagger, Jim Morrison, and, of course, the late, the great, Mr Ozzy Osbourne.
It was not until Black Sabbath’s Back To The Beginning concert in July 2025 that a relatively well-known 27-year-old nervously walked onto the stage in front of 40,000 rock veterans and sang Ozzy Osbourne’s Changes, which literally changed everything for him and in music. Making his mark in rock history, to his friends and family, he is known as Dominic Harrison, but to his new fans, he is known as Yungblud.
This performance earned Yungblud his first Grammy for Best Rock Performance. With over 4 million people tuning in across the globe, it was, without a doubt, a significant, career-defining moment. It gave him a deep sense of presence and became the catalyst for a much-needed shift in rock music.
One month before the Back To The Beginning concert, Yungblud’s fourth studio album, Idols, was released. This album is a love letter to rock ‘n’ roll. With tracks inspired by Oasis, Led Zep, Billy Idol, The Cure, and Blur, this once pop-punk singer has flourished into a true rock artist.
The album, along with his Idols tour, features more diverse, experimental, and nostalgic British rock sounds, characterised by rebellious, socially conscious lyrics and melodies.
Sold out at The O2, London, Yungblud teased the much-awaited, vibrating crowd with the air sirens from Black Sabbath’s War Pigs. This filled the air with a theatrical anticipation, capturing and impacting new young fans with the sounds of one of the most pioneering and inspirational bands in history.
Wearing the cross Ozzy had gifted Yungblud after his Changes performance at the Aston Villa ground, he bounded onto the large stage with such charisma, raw energy, and authentic excitement. Starting the gig with 2025’s highly anticipated 9-minute song Hello, this three-part song hit the audience with a loving smack.
Wearing tight white leather trousers, swinging his mic and showcasing a dream that had come true, this was the start of a spirited and vivacious event.
In 2022, Yungblud released Funeral, which features the late Ozzy in the music video. When the song broke out at The O2, and with the memory of The Prince Of Darkness, the pioneer of Metal himself, this song hit hard. Ozzy Osbourne will forever have an emotional, loving hold on Yungblud, and just like Changes, sensational emotion was evident in the arena.
However, Funeral is an in-ya-face, loud anthem that brought the entire audience together as one. Jumping and singing in unison, the crowd and Yungblud’s voice filled every corner with an uproarious, positive sound.
Whether you love him or have not quite accepted him yet, there is no doubt that Yungblud’s vocals are on another level. This powerhouse belted out emotionally raw lyrics from the Grammy-nominated ballad Zombie, and Changes, which was gifted by Sharon Osbourne to continue this iconic song.
Yungblud’s vocals are instantly recognisable, with a combination of clear, steady tones, precise pitch control, and powerful, consistent breath support. He holds elements which include confident delivery, efficient belting techniques, with unwavering sound throughout his vocal range.
Yungblud’s emotional connection to his fans is profound, intimate and deeply personal. Listening to his fans’ struggles, experiences, and memories, Yungblud offers a kindred form of support and a source of emotional comfort and validation. His songwriting is vulnerable and inclusive, and it has grown into a community that empowers dedicated rock ‘n’ roll lovers.
Yungblud has not only brought younger, pop-centric audiences towards rock and Metal, but has also given veteran rock fans this new, authentic artist to embrace. Older fans, who have stood the test of time and have lived through the deaths of rock legends, have opened up and warmed to Yungblud and to up-and-coming bands and artists in the rock, punk and Metal genres.
Rock music has its spark back, a transformation, and is once again a force to be reckoned with. This special artist, turning 29 this year, is not just about his music, his lyrics, or his unapologetic and rebellious persona, which represents something incredibly important to the rock genre.
Through Ozzy and Sharon Osbourne, Yungblud has been given the key to the historic door that has opened up the next generation to rock. With the likes of Bludfest, the return of Ozzfest, and collaborations between rock bands and solo artists being released, this expressive, powerful and sometimes misunderstood genre is experiencing a considerable, multifaceted revival.
There is a rebirth of live festival rock culture, where old and young rock ‘n’ roll and Metalhead melomaniacs are ready to return to authenticity and celebration.
And with Yungblud’s sold-out tour, old and new fans from across the globe are inspired, fired up and ignited, as he paves the way for what’s to come in rock music.
This is the future, this is the future of rock ‘n’ roll, this is Yungblud. Yungblud is currently on his world tour. You can grab a ticket here.
(Here’s Wil Cifer’s review of the latest album, released last week via Flatspot Records, by the L.A. hardcore band Terror.) Yeah, I know this is a metal blog, but Terror crosses over enough to give hardcore-leaning headbangers what they are looking for. The focused intention this album (Still Suffer) hits you with is something that […]
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In a startlingly raw and emotional admission, Gene Simmons has opened up about the “dark cloud” that followed the late Ace Frehley for five decades. Appearing on the Inside Of You With Michael Rosenbaum podcast this week, the KISS bassist and mogul didn’t hold back, confessing that the band’s decision to hide Frehley’s addiction from the fans was “stupid and shameful.” Months after the “Spaceman” tragically passed away on October 16, 2025, Simmons is finally speaking his truth—revealing that while the world saw a guitar god, he saw a “disease” that he should have fought harder to stop decades ago.
For 50 years, the friction between Gene Simmons and Ace Frehley was the stuff of rock and roll legend. But according to Simmons, the fans only ever saw half of the story. Comparing the band’s dynamic to a fractured household, Gene noted that while fans “love mom and dad,” they didn’t see the reality of why “dad” (Ace) was repeatedly kicked out of the house.
“It’s been up and down for 50 years with Ace,” Simmons told Rosenbaum. “When he’s straight—lovable, everything’s great. And when the stuff started to take hold, it was Jekyll and Hyde.” Simmons detailed how Ace would frequently fail to show up for recording sessions—even as far back as the Destroyer era—leaving the band to headline massive events like the Eurovision contest as a trio.
Perhaps the most haunting part of the interview was Gene’s admission of personal regret. He revealed that even when Ace was at his most unreliable—once telling Gene, “If I don’t leave the band and if I do another tour, I’m gonna kill myself”—the band chose to keep up appearances for the sake of the brand.
“I should have, decades ago, took him aside—it’s called an intervention—and forced him to understand he’s not just hurting himself… but his family, his child and the fans,” Gene confessed. “It was a stupid and shameful decision on all our parts—I know mine too—to make believe he’s in the band and everything’s okay.”
Despite the internal chaos, Gene was quick to defend Ace’s place in the pantheon of guitar heroes. He noted that guitarists from Eddie Van Halen to Tom Morello “cut their teeth” listening to Ace. Gene even shared a touching memory of how happy Ace was to learn KISS had been honored with the Kennedy Center Honors—a ceremony Frehley was looking forward to attending just before his death.
Even in their darkest moments, the two remained connected. “He’d call and ask for my favor: ‘Can you come up and write some songs with me?’ At the height of me telling him, ‘You’re a moron’… I got in my car, drove out to the desert where he was, and we wrote two new songs.”
Ace Frehley’s death on October 16, 2025, was officially ruled an accident by the Morris County Medical Examiner. The report confirmed that the 74-year-old suffered a stroke followed by a catastrophic fall in his home studio, resulting in blunt-trauma head injuries. He passed away surrounded by family after being removed from life support.
Gene Simmons’s latest comments aren’t just about band drama; they are a stark reminder of the “hidden price” of rock and roll fame. For decades, KISS was a “merchandising machine” that required a united front, but Gene’s admission proves that the machine often ran at the expense of its members’ well-being. As the rock world continues to mourn the first loss among the four founding KISS members, Simmons’s words serve as a final, bittersweet apology to a “surrogate brother” he wishes he had saved.
The post SHAMEFUL AND STUPID: Gene Simmons Admits Failure to Save Late KISS Icon Ace Frehley appeared first on Loaded Radio.
Posted on April 29th 2026, 3:50p.m.
Woodsist, the record label run by upstate New York psych-folk institution Woods, has revealed the lineup for its annual autumn get-together, the Woodsist Festival. This year’s fest will take place Sept. 26 and 27 at Arrowood Farms in Accord, NY, headlined by ultra-mercurial cult favorites Destroyer and Cate Le Bon.
The post Woodsist Festival Announces 2026 Lineup With Destroyer, Cate Le Bon, & More appeared first on Stereogum.
Thinking too much about certain songs misses the forest for the trees. If the forest is on fire, don’t be busy counting how many spirals are on a stump. Shewolff’s latest single “Nails + Burn” is one of those tracks. It comes from the Belgian group’s thought-provokingly titled mini-LP WE’RE ALL GONNA FUKKIN’ DIE, releasing next month through Dying Victims Productions and De Pankraker Records. Though identifiably heavy metal, Shewolff adopt the punk desire to express oneself in the simplest term possible. The riff and structure is so basic you can see why Shewolff brings to mind 80s rough-and-tumble metal acts and why such a framework is strong 40 years later. While there’s a reflex to call Shewolff’s particular punk and heavy metal hybrid thrash metal, that incorrectly asserts that there’s a higher level of cognitive functioning they are accessing. No, “Nails + Burn” deliberately shuts its brain off to focus on raw power. Cavemen created fire with sticks and stones; Shewolff recreated it with bass, drums, and guitar. Listen to the track below.
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WE’RE ALL GONNA FUKKIN’ DIE releases May 22 via Dying Victims Productions and De Pankraker Records.