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Rock ‘n’ roll has always been about excitement and danger, the ability to subvert the norm and turn it into something visceral. As time goes by, it seems like more and more is pushed to reach that new high, the old shocks becoming jaded due to repetition and expectation, familiarity breeding contempt.

President

Nick Rayns LCR, UEA, Norwich – 20 April 2026

Words: Paul Monkhouse

Photography: @zakpinchinfilms

In the 1970’s, bands like KISS and Alice Cooper pushed the theatrical side of rock, bringing genuine drama and a sense of otherworldliness to the scene, the latter having some great songs to boot.

Nowadays, it’s down to Slipknot, Lordi, Ghost and Sleep Token to bring that air of mystery, the former of course having been readily exposed without their masks, but there remains a frisson of curiosity as to real identities as each lets the music do the talking.

It has been written that President were years in development, a top-secret project that brought all of Download to a standstill when they made their debut onsite at an absolutely rammed Dogtooth Stage last year.

Their brief but impactful set was the talk of the weekend, a truly viral event with hundreds claiming they were there when in actuality they were far from the tent.

With quite a few more dates under their belts, this debut UK tour was the chance for people to really get a chance to see the band up close, every date selling out in record time.

When the travelling campaign trail hit Norwich, fifteen hundred squeezed into the venue for the rally, ready to hang on every word.

Things had reached fever pitch by the time vocalist President, guitarist Heist, bass player Protest, and drummer Vice strolled onto stage and tore into the soaring yet crushing Fearless in front of a crowd in a state of near hysteria, as they chanted its title with arms raised.

With their heady blend of Metalcore and electronica, the outfit can build skyscraping anthems like Dionysus that float along with an almost pop melody yet wind up with a blistering breakdown that sees the vocalist at his rawest.

Pacing the stage as his masked compatriots pour everything into their instruments, President sees every eye glued to him, the tall anonymous figure blending circus ringmaster and siren.

A gorgeous RAGE is transfixing, the punch of the heavy section in such stark contrast to the electronic burbling that leads to it like being suddenly doused with a bucket of icy water.

Throwing in a cover of Deftones number Change (In The House of Flies) worked well, the song a natural fit into the set and moved wordlessly into set closer Conclave as an extended finish brought out the angular muscle of its last notes.

A swift return for three more numbers finishing with a delightfully unhinged mix of light and shade, with In The Name of the Father, the quartet left the stage, the rally complete and the committed dazed.

With a total running time of just over forty minutes, it seems like President have a lot of work ahead of them to justify headlining a tour with such a brief set, and at times the evening seemed unnecessarily stretched to compensate for this seeming lack of material.

With the ever-growing use of AI in music and effects slathered live shows, the experience of going to a gig is changing rapidly to fit with the TikTok generation, the medium having to work ever harder to gain and keep attention.

President tread a fine line at the moment, capturing their own zeitgeist with some great songs but are in danger of becoming a novelty when the world is starting to look for something with a more human touch.

Only time will tell.

The post President Ignite Norwich With Hype, Hysteria, And A Hint Of Uncertainty first appeared on MetalTalk – Heavy Metal News, Reviews and Interviews.

The singer looks back on writing Piece Of Mind, Powerslave and Somewhere In Time in a hotel on the Channel Islands

– April 23rd, 2026 –

On Friday, April 24th, The Punk Rock Museum will host an opening for Fast As Hell. Louder Than Both. This is a new exhibition by photographer Alison Braun. It is a visual record of a cultural turning point when underground music scenes overlapped and redefined one another.

Braun‘s early body of work includes striking images of Black Flag and Bad Brains, captured at a time when the hardcore movement was volatile, physical, and defiantly DIY. As hardcore accelerated and metal grew more technical and aggressive, Braun‘s lens tracked the shift.

Bands such as D.R.I., Suicidal Tendencies, and Corrosion of Conformity represent the cultural transformation Braun documented in real time. These artists rejected genre purity, fusing skate culture, hardcore urgency, and metal musicianship into something raw, confrontational, and entirely new.

Many of the photographs featured also appear in Braun‘s book, Shot in the Dark: Metal Volume, available for purchase in the museum’s gift store.

This photo exhibition will open alongside the museum’s debut of Crossover Corner, offering visitors a deeper look into the powerful intersection between punk and metal music.

Crossover Corner highlights influential metal bands that emerged from punk roots and punk bands that evolved toward metal. The exhibition captures the raw energy, style, and cultural impact that shaped the crossover movement between the two genres.

By pairing photography with historical artifacts, the museum offers a vivid look at the artists and communities that helped forge the crossover sound, celebrating a moment in music history when punk and metal collided to create something entirely new.

https://www.thepunkrockmuseum.com

Back in 2023, the composer Nomi Abadi sued veteran film scorer Danny Elfman for failing to pay several installments in a sexual harassment settlement. A few months later, a Jane Doe also accused Elfman of sexual misconduct. Elfman denied Abadi’s allegations in a statement to Rolling Stone, leading her to sue him again for defamation in 2024; that’s ongoing after a Superior Court judge rejected Elfman’s anti-SLAPP motion. The Jane Doe’s case was dismissed on technical grounds, and Elfman has also sued her for malicious prosecution.

The post Waterparks Apologize For Featuring Danny Elfman On New Album appeared first on Stereogum.

(written by Islander) If you heard the Bringers of Disease debut EP Gospel Of Pestilence it’s unlikely you’ve easily forgotten the experience, even though it was released 15 years ago. But maybe you never came across it. In that case, what should quickly seize your attention for the band’s debut album Sulphur are the people […]

The post AN NCS ALBUM PREMIERE (AND A REVIEW): BRINGERS OF DISEASE — “SULPHUR” appeared first on NO CLEAN SINGING.

Wayne Moss, the legendary and prolific Nashville session guitarist who played on classic records like Roy Orbison’s “Oh, Pretty Woman” and Dolly Parton’s “Jolene,” has passed away. Moss died on Monday, and Roy Orbison’s Instagram page broke the news. (Incidentally, Orbison would’ve turned 90 today.) No cause of death has been reported. Moss was 88.

The post Wayne Moss, “Pretty Woman” & “Jolene” Guitarist, Dead At 88 appeared first on Stereogum.

Thirty-three years ago in 1993, Porcupine Tree performed their debut gig at The Nag’s Head in High Wycombe. A year prior, Steven Wilson’s experimental double album On the Sunday of Life laid the groundwork for the band’s sound. Now, in 2026, Voyage 35, led by former Porcupine Tree members Colin Edwin and John Wesley, invites fans on a nostalgia trip back to those heady days. On this podcast, Colin and John discuss the origins of the project, what Steven Wilson thinks, and what else is in store.

Check out the podcast on these services:
Apple • Spotify • Amazon • PodBean • YouTube

“There is so much love for the early Porcupine Tree material, and many people have expressed a desire to hear it again,” Colin Edwin told Louder Sound. “As the band evolved, much of this music fell by the wayside. It feels right to revisit it now with a fresh approach and new musical talent.”

John, who joined the band’s touring lineup in later years, shares that enthusiasm: “I’ve always been intrigued by the band’s early period. I’m really looking forward to playing these songs live and seeing where we can take them.”

While Porcupine Tree famously spearheaded a progressive rock revival with 2002’s In Absentia, the decade of incredible music that preceded it remains a fan favourite—much of which was never performed live. Those lucky enough to witness the band’s formative years remember a sense of languid experimentalism and spaced-out improvisation, all enhanced by the immersive projections of the Fruit Salad Lightshow.

Reunited with that original visual magic, Voyage 35 will head out on a short tour of Italy, Germany, the Netherlands, and the UK in September 2026. Fans can also look forward to some very special guests at the London show.

Tour Dates:

Fri 4 Sep Revislate, Italy Campo Sportivo
Tue 8 Sep Aschaffenburg, Germany Colos-Saal
Thu 10 Sep Utrecht, Netherlands TivoliVredenburg
Fri 11 Sep Uden, Netherlands De Pul
Sat 12 Sep Zoetermeer, Netherlands Boerderij
Tue 15 Sep Bristol, UK O2 Academy Bristol
Wed 16 Sep London, UK O2 Shepherd’s Bush Empire
Thu 17 Sep Manchester, UK O2 Ritz
Fri 18 Sep Newcastle, UK The Grove
Sat 19 Sep Glasgow, UK The Classic Grand

The post Colin Edwin & John Wesley (Voyage 35) Interview appeared first on The Prog Report.

Airborne have announced their new self-titled album in a truly original manner. See below the band’s heartfelt letter to Lemmy, sharing their journey through the making of this album and paying homage to their mentor and friend.

The announcement is accompanied by the album’s first single, “Alive After Death (Last Plane Out).” The track’s new music video is also out now. Check it out below.

Pre-order the album here.

Dear Lemmy,

Well, mate, it’s been a long time since we’ve said “g’day” or shared a stage together. We’ve never forgotten one of the things you said to us, which was: “No matter what, stay true to yourselves. Don’t worry about all the other bullshit in the music industry. Make music that your roadies will like. Because they’ve heard your shit more than anyone else, if they like it, everyone will love it.”

Mate, we did it.

Six years ago, we shut the roller doors to everyone and got to work writing songs for this record, spending many, many hours, many, many days, weeks, months, and years writing and writing, throwing things out, starting again, and always sifting for gold. After about five years of this, we felt that we had a solid bunch of Rock’ n’Roll songs happening. Then, Mutt Lange and Bryan Adams brought in their big guns, and a couple of those songs we wrote with them have made the record. We wrote a lot with Bryan, and he was incredibly inspiring, and we learned a lot from him – a true rock ‘n’ roll gentleman. At that point, a long-time mate of ours, Vick Wright, flew out to Australia, and we wrote and wrote and wrote some more with him. He’s a rock ‘n’ roll street poet, and he taught us a lot as well. We ended up with some really good rockers with him.

We sent everything to Brian Howes, and he said we have a solid record now, and he was pumped to work his magic. Dante from Spinefarm, who has been a real champion all along the way on this record, gave us the green light to make Airbourne.

We shipped out a ton of gear from our Manchester compound and from all over the world, loaded it into a semi-tonne truck, and drove it up the Eastern guts of Australia from Melbourne to Music Farm Studios, hidden in a jungle on the surf coast of Australia. This place is surrounded by snakes, Sydney funnel-web spiders, rats, and cane toads—plenty of stuff that can kill ya. We know you would have loved it there because that which doesn’t kill you only makes you louder!

We coped with hurricane weather, flash flooding rains, and palm trees that were torn out of the ground. One of them almost killed Streety, our bass player. That was a very near miss. The tape machine was a fucker. It wouldn’t stop blowing up, but she sounded great, so she was worth dealing with and waiting on.

Every day we would wake up, jump over a brown snake or python, feed the pigs, say “g’day” to the goats, watch the one male rooster with a harem of hens swooning around him whilst he’s strutting around the place like he was King Dick. Who knew that fowl could be so inspiring?

We’d make our way down the hill to the studio, jumping over “old mate,” the resident snake that lived at the front doors of the studio. When we entered the studio, we’d make some heart-starting coffees, put some pies in the pie warmer, VB’s on ice, then Brian Howes, Mike Fraser, and Karl Dicaire would show up. A few cigarettes, laughs, and caffeine later, we’d talk some bullshit, and then we’d get rocking. For about 12-16 hours, we would go. Time ceased to exist for us, and it was the best fun we’ve ever had making an album.

The last batch of songs we wrote with Brian around the Studio Kitchen table, often whilst hurricanes had killed the power. While they were smashing the Studio together, we brought this album home. The main console was the original Neve desk from Albert Studios 1 here in Australia (AC/DC, Rose Tattoo, The Angels, Billy Thorpe, and more). There’s an unmistakable raw Oz rock tone in this desk, and you’d love it.

We didn’t finish the record in time, as we had to go back out on tour, which actually worked out really well because lyrics that weren’t written in that studio needed to come from being on the road, and that’s exactly what happened with the song “Alive After Death.” We came back after the tour to our Melbourne studio home, down in St Kilda, the famous Hothouse Studios, where we recorded our first EP. We’ve always had a love affair with Hothouse—it has the Neve console from Albert’s Studio 2, so it was gutsy to go back there and finish this record off.

Craig Harnath, who we’ve been mates with forever, joined the team, and after another tour, another few months, and trips down to Hothouse, we finally finished the record. Zakk Cervini joined the team and mixed up a Rock’ n’ Roll storm of a record. He’s a real weapon! Ted Jensen—aka “the great one”— gave Zakk’s atomic mixes a real supercharged spit and polish and brought it all home with his classic trademark Sterling master print that only he can do.

So, we finally ripped off the Band-Aid and mustered up the balls to play it to the roadies…. And guess what? They love this one! Thank fuck! Only took us 20 years! Thanks again for all of your words back then, mate. We’ve never forgotten them, and we wouldn’t be here without ya. We’ll always keep you “Alive After Death.”

Rock on, Lem.

Much Love,

Joel O’Keeffe

The post Hard Rockers AIRBOURNE Announce New Self Titled Album, Stream First Single “Alive After Death (Last Plane Out)” appeared first on Sonic Perspectives.

Deftones guitarist Stephen Carpenter has long been the high-priest of alternative metal’s heavy-handed riffs and even heavier cannabis consumption. To celebrate 4/20 this year, Kiesel Guitars has officially unveiled “The Dope Guitar”—a custom, one-of-a-kind instrument designed specifically for Carpenter that literally puts the green in the gear.

This isn’t just a paint job; the guitar features actual, master-grade cannabis buds and leaves suspended in resin within the body and knobs. Combining eight strings of destruction with a custom-app-controlled LED lighting system, Carpenter’s latest headless Vader is a vivid fusion of his signature tone and his most legendary lifestyle habit.

Higher Specs: The “Dope” Guitar Breakdown

The “Dope” guitar is a masterwork from the Kiesel Custom Shop, built on the Vader headless template that Carpenter has favored in recent years. The instrument’s body is crafted from Roasted Swamp Ash with a Mastergrade Buckeye Burl top, but the centerpiece is a custom route filled with purple holographic metal flake and genuine, freshly cut cannabis buds and leaves.

Check This Out – Best Deftones Deep Cuts Ranked: 13 Hidden Songs Fans Swear By

Beyond the aesthetics, the guitar is a technical powerhouse featuring:

• 8-String Multiscale Design: For the gut-punching low end essential to the Deftones sound.
• App-Controlled RGB LEDs: A first for Kiesel, allowing Carpenter to sync the guitar’s internal glow to his desired vibe.
• Custom Control Knobs: Each knob contains a real nug suspended in clear resin.
• Signature Electronics: Powered by a Stef Carpenter Signature Fishman Fluence bridge pickup, ensuring the tone is as high-grade as the contents.

We Also Recommend – ‘PRIVATE MUSIC’ & THE CORE: 13 Essential Deftones Tracks to Transform Your 2026 Playlist

Carpenter’s Cannabis Legacy and The Smokebox

Stephen Carpenter’s affinity for the plant is no secret to the metal community. The guitarist has famously survived multiple rounds in B-Real’s “The Smokebox,” the legendary series where the Cypress Hill rapper attempts to “smoke out” guests inside a sealed, hazy vehicle. While many guests struggle to keep up, Carpenter has consistently held his own, cementing his reputation as one of rock’s most dedicated enthusiasts.

“Stef’s new Vader takes dope to a whole new level,” Kiesel stated during the reveal. The project joins the ranks of Kiesel’s other experimental themed instruments, like the “Sushi” guitar, proving that if Carpenter can dream it—or smoke it—Kiesel can build it.

Deftones 2026 World Tour and Beyond

While the “Dope” guitar is currently a custom piece, fans can catch Carpenter wielding his 7 and 8-string Kiesel and ESP models as Deftones continue their 2026 global takeover. The band is set to hit Australia and New Zealand this May, with massive headline shows at the Qudos Bank Arena in Sydney and the Rod Laver Arena in Melbourne, before heading to Japan and Europe later this summer.

Get your tickets here.

Make sure to tune in to the Loaded Radio 24-hour heavy metal stream and catch the Loaded Radio Podcast every week for unfiltered, high-octane interviews with the biggest names in hard rock and metal.

Check This Out – Deftones Albums Ranked Worst To Best (2026 Definitive Ranking)

TL;DR:

Deftones guitarist Stephen Carpenter celebrated 4/20 with the unveiling of a custom Kiesel “Dope” guitar featuring real cannabis buds and leaves inlaid in the body. The 8-string headless Vader also boasts app-controlled LEDs and custom “nug” knobs, marking a wild collaboration between the alternative metal icon and Kiesel’s custom shop.

The post “The Only Guitar That Can Fail a Drug Test”: Deftones’ Stephen Carpenter Unveils Custom 4/20 Kiesel “Dope” Guitar appeared first on Loaded Radio.

The post Foo Fights – Your Favorite Toy appeared first on The Razor's Edge.