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  • Slaughtercult Album Launch in Sydney

    Barbarically pulpifying death metal gurglers Slaughtercult wrap up a national tour with Psycroptic and Rivers of Nihil and a South East Asia sojourn with the lauch of their new album!

    With guests like Elfi from Kraanium and Devourment’s Marvin Ruiz gracing their disgusting gorefests, the band will be launching Devoured by Perversion on October 4 in Sydney as part of Vicious Instinct Records’ showcase of brutality. Also appearing will be Caution, Accelerated Suffering, Unregistered Firearm and Brute – tickets can be acquired here.

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  • Classic Rock Tracks Of The Week: September 21, 2026

    It was double celebration time for Los Angeles rockers The Bites this week. The band’s second album hit the stores, and new single Dancing With The Devil tore our Tracks Of The Week contest up, blazing through the opposition like a scythe through dairy-free spread. So congratulations to them.

    Steven Wilson and The War On Drugs weren’t too far back, so congratulations to them, too. This week? Listen hard, vote harder, and we’ll see you back here in a week.

    Lightning bolt page divider

    Greta Van Fleet – Tear It Down

    Blending a Heart/Zeppelin-style gallop with urgent acoustic strains that build into something grand and heavy, Tear It Down finds Greta Van Fleet on pensive, commanding form. Another juicy tone-setter for their new album, Palace For The People. “The function of the artist is to provide what the universe cannot,” declares gleefully loquacious frontman Josh Kiszka. “We wanted to make a record that personifies adventure, passion, brutality, beauty, sex, and imagination, so that’s what we did.”

    Villagers Of Ioannina City – Requiem

    We’re big fans of VIC’s new album Venceremos, and Requiem makes a sprawling yet stirring, hooky case for it. Eight hypnotic minutes of old-world atmosphere (think mournful, heady swirls of clarinet and bagpipes, native to their home turf in north-west Greece), its traditional folk heart comes with Maiden-esque heavy metal boots, deft tempo changes and soaring lead guitars. “Requiem is a reflection on endings, where the journey fades, and only truth remains,” singer/guitarist Alex Karametis says. “It’s about facing yourself at the final moment, weighing a life lived.”

    Dirty Honey – Lights Out

    Kicking into life with an anticipation-building, AC/DC-flavoured guitar hook, Dirty Honey’s new single romps biker-jacketed through oomphy classic rock touchstones (‘DC, GN’R, Black Crowes…), settling into a juicy, dancealong chorus. “Lights Out was the first banger,” said guitarist John Notto. “It’s one of those rare times when I got the solo right on the demo! It’s only one flavor of the album though. There’s so much more.”

    Royal Blood – Swallow The Bomb

    Childhood mates turned rockstar duo, Mike Kerr and Ben Thatcher make a deliciously gnarly, groovy racket on this latest taste of their next album, Dead Company. It’s sort of like hearing their first two records, newly ripped and raring to go after a few sessions in the gym, plus a refreshing touch of Supergrass in the higher notes of the chorus and Mike’s vocals in general. Just over three minutes and it goes by in a heartbeat – never a bad sign. More, please!

    The Pineapple Thief – God Knows

    One of our favourite tracks on the contemporary alt/prog rock luminaries’ latest album, Far And Wide, God Knows rocks like 2026’s delicate but fierce answer to Radiohead’s gnarly Bends-era highlight Just. Driving, enigmatic, progressive music ready for big stages. Or, to put it another way, a proper banger with brains. Like the sound of that? Be sure to check out Far And Wide in full when it comes out next month.

    Kit Trigg – Glass Ceiling

    British surfer/DIY dude Kit combines puppyish energy with a winning melody full of sunshine and skatepark-fresh optimism on the tight-but-loose Glass Ceiling. Warm, bittersweet harmonies, Kit’s high lead vocals and an infectious ‘can-do’ quality give this homespun affair healthy sprinkles of fairy dust. “We had a music video organised, but the rain had other plans so we used my iPhone to make this instead!” Trigg says.

    Pieces Of Molly – Skinwalker

    Feisty New Zealanders Pieces Of Molly are heading to the UK in November to support Asomvel on tour, and this should give you a good idea of what to expect: 100mph, turbo-assisted rock’n’roll, powered by a riff that isn’t too far removed from Lenny Kravitz’s classic Are You Gonna Go My Way. The song’s relentless, punched-repeatedly-in-the-face momentum is matched only by a chorus that proves there’s more to the band than solid riffing, and the solo is a Thin Lizzy-meets-NWOBHM doozy.

    Speed Of Light – Inch By Inch

    Speed Of Light are a sibling power trio from Santa Monica whose roots can allegedly be found in a joke gift guitarist Cameron Christiansen received from his grandparents to annoy his parents at the age of seven: an acoustic guitar. Fourteen years on, Cameron has graduated to electric, and – joined by sister Riley on vocals and bass, and brother Tyler on drums – the band are an extremely lively proposition, with a hybrid modern-rock-meets-grunge sound and plenty of attitude. Inch By Inch is a banger.

  • Delusions of September 2026 – Part 4

    Every Monday morning, Still in Rock kicks off the week with an article featuring a bunch of new releases. At the end of each month, I dedicate a playlist to the best of these articles (link). Don’t miss out and join Still in Rock on Facebook (here), and Instagram (here). Cheers.
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    Dom Sensitive – Pop Contest
    LP, Chrüsimüsi Records, 21 July 2026
    [indie pop]
    🇦🇺
    In one sentence: The name captures the whole experience, a sensitive and sensual end of the world that turns out to be brutal.
    ***
    Lack – Lack
    LP, 11 September 2026
    [post-hardcore]
    🇩🇰
    In one sentence: Copenhagen post-hardcore back after eighteen years, recorded live on an old farm in Zealand, and it sounds exactly like that.
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    Wesley & the Boys – Euro Tour Tape ’26
    Live tape, Swimming Faith Records, 18 September 2026
    [rock and roll]
    🇺🇸
    In one sentence: Twelve live tracks of no-frills Nashville rock and roll, and they hit Europe from 8 to 31 October.
    ***
    Anytime Cowboy – Gone By Now
    LP, 28 August 2026
    [post-punk]
    🇺🇸
    In one sentence: Eighteen tracks of jangling, whiskey-soaked post-punk from Reuben Sawyer, who never does anything by halves.
  • Delusions of September 2026 – Part 4

    Every Monday morning, Still in Rock kicks off the week with an article featuring a bunch of new releases. At the end of each month, I dedicate a playlist to the best of these articles (link). Don’t miss out and join Still in Rock on Facebook (here), and Instagram (here). Cheers.
    ***
    Dom Sensitive – Pop Contest
    LP, Chrüsimüsi Records, 21 July 2026
    [indie pop]
    🇦🇺
    In one sentence: The name captures the whole experience, a sensitive and sensual end of the world that turns out to be brutal.
    ***
    Lack – Lack
    LP, 11 September 2026
    [post-hardcore]
    🇩🇰
    In one sentence: Copenhagen post-hardcore back after eighteen years, recorded live on an old farm in Zealand, and it sounds exactly like that.
    ***
    Wesley & the Boys – Euro Tour Tape ’26
    Live tape, Swimming Faith Records, 18 September 2026
    [rock and roll]
    🇺🇸
    In one sentence: Twelve live tracks of no-frills Nashville rock and roll, and they hit Europe from 8 to 31 October.
    ***
    Anytime Cowboy – Gone By Now
    LP, 28 August 2026
    [post-punk]
    🇺🇸
    In one sentence: Eighteen tracks of jangling, whiskey-soaked post-punk from Reuben Sawyer, who never does anything by halves.

    The post Delusions of September 2026 – Part 4 appeared first on Still in Rock.

  • Review AMON AMARTH “The Allfather Awakens”

    The Vikings have set sail once again. For Amon Amarth, it is time to cast off and set course for new adventures. The Allfather Awakens marks album number thirteen for the Swedish metal institution, and while the band stays firmly within familiar territory, there is more going on beneath the surface than first meets the eye. Four… Continue Reading →
  • Lee Ritenour Releases Live Report From Ronnie Scott’s

    Lee Ritenour Releases Live Report From Ronnie Scott’s

    Given the scarcity of Lee Ritenour’s official concert releases, each time the jazz guitar giant issues a stage report, fans have a reason for festivities. So while it would have been great to see an archival recording making its way … Continue reading →

    The post Lee Ritenour Releases Live Report From Ronnie Scott’s appeared first on DMME.net.

  • JERRY A: Another Chance

    “It’s like a dream, it really is,” says Jerry A, former vocalist with American hardcore legends Poison Idea, of finally recording with the Hard-Ons.

    The long-awaited collaboration between them – titled simply Hard-Ons/Jerry A, was finally released in August.

    LOUD: You’ve known the Hard Ons for a very long time of course
    JERRY A: “I’ve been a fan of them since the Waterfront days. You sit around listening to music… Motorhead or whatever, and you think, ‘Fuck, wouldn’t it be cool to sing with Motorhead, or just band a tambourine, or whatever’… Then you hear the Hard Ons, and they’re a three piece and I know they have a singer, but wouldn’t it be cool if I could sing with the Hard Ons? Then, Wow!, here it is.”

    L: I know you recorded with them back in the 90s before they split up the first time, but this is the first time you’ve done a whole album with them. Was that something you’d planned for ages or did it just coalesce after you toured together last year?
    JA: “We played, and Blackie gave me one song, and we did it. Then he presented me with a dozen songs, and I got those and I listened to them for the first time and I was like ‘Wow!’ You know, if you get a song and you can hum along or sing along to it the first time you hear it, you know it’s a good song.” 

    L: Blackie has a strange gift of being able to write songs off the cuff like nobody else. He’s just an incredible songwriter. You know that he wrote 366 songs in a year once?
    JA: “That’s amazing!”

    L: I don’t know where that guy’s gift comes from, but I’m glad he has it.
    JA: “Yeah. It’s like rock, it has an Australian rock flavour with pop sensibilities. It sounds radio, but it sounds underground at the same time. He’s a genius. He really is.”

    L: What was the process of doing the album, because being the Hard Ons, it probably didn’t take that long.
    JA: “Honest to God, I got these songs and I listened to them, and I listened to them all at one time. We still had three or four songs in the can. And I was like, “These are great songs”, and they said, “Well, you need to put vocals on them”. So I said “Sure”, then I waited for, like, two months, and then they said “Listen, we have to mix next week!” So I was like “Shit! I haven’t even started”. But let me take a song every day. So I took about a week and a half… I listened to one song a day, wrote the lyrics, went in the studio that night, came home, and did that for about a week… a week and a half, because we had two songs already. So I did eight songs in eight days. It was pretty easy. I was overwhelmed at first but when I took them song by song, they were pretty easy.”

    L: What’s it like being on stage with them?
    JA: “They’re like a machine. I don’t have to worry. It’s like a dream. It’s amazing. These guys are an absolute machine.” 

    L: It seems like fate that you got together with them because there are quite a lot of similarities between the Hard Ons and Poison Idea – very underground, very do-it-yourself, and the attitudes are pretty similar also.
    JA: “Well that’s what we grooved on. We’re brothers from another mother.” 

    HM: Do you have a particular highlight from the album?
    JA: “Every song is its own thing. I never thought I would be doing these songs that I could hear on a movie soundtrack. There’s a song that makes fun of corporate rock, selling out  like The Sonics doing a song for Mustang… I can see that song being on a commercial for Virgin phones or something. It’s great. It’s riding a Harley Davidson at 120 miles an hour. It just feels great! It’s actually hard to describe.” 

    HM: I actually wish you had done something like this sooner.
    JA: “I had the opportunity to work with these guys years ago. They had their stuff going on, I was out burning bridges, trying to destroy everything around me. It’s rare when you get to do a do-over. In life, they say you fucked it up, you ruined everything, that’s the way it goes. DOn’t let the door hit your ass on the way out. But, you know what? Twenty years later, you wanna give it another shot… thirty years later! What? You’re kidding me! I promise I won’t fuck up too bad this time.” 

    HM: I’m not sure we can give you another thirty years, Jerry, but I’m sure we’d still forgive you at some point.
    JA: “We’re gonna keep doing it. I keep telling Blackie all the time, write me another good song! I don’t want to step on Tim’s toes. They’re a band, and they’re great the way they are. I’m just creeping in the backdoor like Howlin’ Wolf and I’ll take what I can get for now. I’m very happy and very grateful, and I’ll make the most of it.”

    HM: Well I think Tim would be pretty happy too. He’s got his own other band and he’s a Poison Idea fan too, I’m pretty sure.
    JA: “Well I asked him and he’s like, “You gotta be kidding me! I couldn’t give a shit”.” 

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  • “I had a full-on stroke. We thought, ‘Let’s forget it.’ Then I realised, ‘If we don’t release it now I could die. These tracks might never be heard. And I’m of the impression that they’re good’’: Post-rock icons’ 10-year fight for their sixth album

    Blueneck multi-instrumentalist and vocalist Duncan Attwood reflects on long-awaited album Moonlighting, which was created against a backdrop of personal crisis, as well as how it felt to be slapped with the post-rock tag and to play a slot at Glastonbury.

    A key cog in Bristol post-rock outfit Blueneck, Duncan Attwood – alongside musical comrade Richard Sadler – has been among the leading lights of the British underground scene for more than two decades. It’s been 10 years since their last album The Outpost, but it wasn’t meant to be that way.

    The Covid pandemic and serious illnesses put spanners in the works, all brought into sharp focus when Attwood himself suffered a stroke a couple of years ago. The cinematic, introspective left-leaning outfit are back in fine form on a record they felt they just had to release – even if the band’s future looks unclear.

    New album Moonlighting has been 10 years in the making. How does it feel to get to this point?

    If I had to pick one word, it would be ‘relief.’ The process was different this time: we started recording a year after the last album and it was going to be released a couple of years after. Everything was going well, and then the shit started to hit the fan. Mat Sampson, our long-term producer, his wife got really sick; luckily she recovered. But it meant we weren’t able to work as much as we could with him.

    And then obviously there was a little thing called a global pandemic. Unlike other bands we just couldn’t work remotely. Finally, we got it going again, to the point that I was getting all the vocals done. A week later, I had a full-on stroke, and that obviously derailed everything yet again.

    At that point we thought, “Fuck it, let’s just forget the whole thing.” And then I had this realisation that we’ve got basically a nigh-on complete album, and if we don’t release it now I could die and these tracks might never see the light of day, and that would be a shame because I’m of the impression that they’re pretty good.

    The album went through three mixes. I think I pissed everyone off because I was a bit of a perfectionist – I treated it like this was our last.

    Moonlighting has been described as Blueneck’s most honest and emotive album yet. What are some of its themes?

    I write lyrics on two different layers. I write songs so they’re on a personal level, but I try not to make that really obvious. I don’t like songs that tell the listener what to think or what the song is about. Songs mean something personal to me, but then they also have this overall theme, which I hope translates to the listener.

    Blueneck in 2026

    (Image credit: Press)

    I’ve always liked albums that go on a journey: Moonlighting has quite an angry and resentful side one, and then it becomes more reflective as the album progresses. Whether or not the listener thinks of it that way, that’s up to them – I’m ok with people thinking differently.

    Influences for the album include everything from Mogwai and Cult Of Luna to Depeche Mode, Prince and Genesis. Is there a fairly varied melting pot of inspiration in Blueneck?

    I spent a week on tour with Cult Of Luna, playing keys. It was the most terrifying week of my life

    I think people always assume we are post-rock fans ourselves, and nothing is probably further from the truth. I grew up in the 80s; I was discovering all these sounds like Depeche Mode and Soft Cell. As I grew up, so to speak, I then got into rock music and completely fell in love with 90s rock, in particular Smashing Pumpkins. One of my all-time favourite albums is Siamese Dream.

    This album is heavily influenced by that – not by songwriting, but by things like guitar sounds and drum patterns. The influences are always hidden. And then I’m adding in things like Cult Of Luna: I spent a week on tour with them, playing keys.

    That was the most terrifying week of my life – they’re such talented musicians, and I’m far off from a talented musician. That was a week of me just trying to keep up with those guys, but I learned so much from one week with them.

    Do you mind the post-rock tag?

    I think music genres help you. Before we were given that tag, to be completely honest, I’d never even heard of it. It was 2005; we were playing in clubs and stuff. We were in Manchester and someone came said, “You’re a great post-rock band.” I went home and I was like, “What the fuck is post-rock?”

    At that time you had chatrooms and message boards, and that’s how people discovered Blueneck, by saying, “There’s this new post-rock band.” That’s how we became, let’s say, popular. Without being given a genre, no one would have heard of us.

    I’m sure some people would give their right arm to play Glastonbury. It looks good on your CV

    Blueneck played Glastonbury in 2014 – what was that experience like?

    It was alright; it was okay. I grew up going to Glastonbury when it was quite a different festival; Let’s just say people weren’t going there to be seen to be going. It used to be an amazing place and a really exciting festival to go to.

    When we played, I felt there was quite a snobbiness to it. I’d much rather play a small club in eastern Germany where they appreciate the effort that you make to bring your music to them. But that’s just one person’s opinion.

    Glastonbury’s 25 minutes up the road from me; I played it, I came home, I slept in my own bed. I probably sound like a bit of a dick for saying that, and I’m sure there would be people who would give their right arm to play Glastonbury. And it looks good on your CV.

  • 10 Of Our Favorite Songs About Drinking

    10 Best Songs About Drinking

    This is not a “10 Best Songs About Drinking” list, and it is not even a “10 Essential Songs About Drinking” list. These are simply ten of our favorite songs about drinking, including several tracks that are not always associated with alcohol unless you really know the lyrics. We deliberately stayed away from many of the usual choices such as “Whiskey in the Jar,” “One Bourbon, One Scotch, One Beer,” and “I Drink Alone” because those songs already dominate so many drinking-song lists. Instead, we wanted to dig a little deeper and choose songs where drinking becomes part of a

    The post 10 Of Our Favorite Songs About Drinking appeared first on ClassicRockHistory.com.

  • New Found Glory guitarist Chad Gilbert dies

    The band announced that he passed away peacefully in his sleep on September 20 surrounded by family and friends

    Source