Chicago emerged from the city’s thriving late-1960s music scene with an approach that was unlike most rock bands of the era. Formed in 1967 as the Big Thing and later known as Chicago Transit Authority, the group combined rock guitars, keyboards, jazz-influenced horns, and ambitious arrangements. Founding members Robert Lamm, Terry Kath, Peter Cetera, James Pankow, Lee Loughnane, Walter Parazaider, and Danny Seraphine developed a sound that could move from extended improvisations to tightly written pop songs. The band’s debut album, Chicago Transit Authority, arrived in 1969 and introduced ‘Beginnings,’ ‘Does Anybody Really Know What Time It Is?,’ and ‘Questions
Why? Why why why? I wake up this morning to get my daily news fix from totally unbiased sources on Facebook, and I find out Mike Ditka passed away. Goddamnit.
From being a dynamite coach who took us to a Super Bowl during my senior year of high school, to being an outspoken proponent of the GREATEST PRESIDENT in U.S. HISTORY DONALD TRUMP, he was everything us residents of Bloomington, Illinois aspire to be, and he was taken from us way too soon. I guess it’s true that only the good die young.
Anyway, as you can guess, I am not in a good mood. What am I listening to today? Hatesphere? Good. Great. Whatever.
Track 1: Chapter XII
Only two and a half minutes? Skip.
Track 2: Dogma
Ugh, I’m already getting a fucking migraine from this chaotic bullshit. I bet Mike Ditka wouldn’t be a fan of this. He probably loved Bad Company, just like I do. God, we probably would’ve been best friends, if only fate would have been kind enough to have us cross paths at some point.
Track 3: Guillotine
At least this riff is a little catchier. I could almost see myself enjoying it before that growling kicks in. Almost.
Track 4: Morbid
This track is even shorter than the first one, so I’m going to skip it. Don’t like it? Kick rocks. Mustcomplain is calling the shots here.
Track 5: Cleansing
Speaking of cleansing, these fuckrats would certainly benefit from a nice long bath in the Blood of the Lamb. Fucking heathens. I can’t believe I’m still listening to this shit for you freaks. Turn off your Spotify and get your crusty rumps to church before it’s too late.
Track 6: Snake Charmer
What do you think Ditka’s doing in Heaven right now? Probably not listening to Hatesphere, I’d be willing to wager. Anyway, this song is boring me and I’m skipping it, too.
Track 7: Mouth Filled With Barbed Wire
Now my migraine is being replaced by a panic attack. I can’t fucking win today.
Track 8: Bottom Feeder
I’m so distraught that I might not even be able to watch the Bears pound the piss out of the Packers at noon.
Track 9: Human Scum
Eh, who am I kidding? I just remembered I have that sixer of Busch Light in the garage fridge. I’m gonna park my hefty ass in the La-Z-Boy and watch 9 straight hours of 22-year-olds giving each other CTE as soon as this fucking album has grace enough to finish.
Track 10: Heresy
OK, back to this shit. I don’t like this song, either. Is that enough to fulfill my contractual obligation to MetalSucks?
That’s it, thank Christ. 0/5 stars. See you filth-ridden sinners next week.
Blue Öyster Cult will return to the U.K. in April 2027 for two shows that mark 60 years since the band first formed and 55 years since it adopted the Blue Öyster Cult name. The “55 Years On Tour – 1972 To 2027” dates follow the band’s sold-out London Palladium show in 2025 and give British fans another shot at a classic rock institution at full strength.
Few hard rock and metal acts can match the Long Island group’s catalog. “(Don’t Fear) The Reaper,” “Godzilla” and “Burnin’ For You” rank among the most recognizable rock songs ever recorded. They share a setlist with “Cities On Flame With Rock And Roll,” “Veteran Of The Psychic Wars,” “Astronomy,” “Black Blade” and “Shooting Shark.”
The sales figures back it up. “(Don’t Fear) The Reaper” is certified six times platinum in the U.S. and platinum in the U.K. “Burnin’ For You” has gone double platinum, and “Godzilla” has hit platinum. Agents Of Fortune and Spectres are certified platinum and gold, respectively, in the U.S. Blue Öyster Cult is one of the few hard rock and metal acts to pair critical respect with commercial success. It is often named as an influence by artists such as Metallica and landed on VH1’s countdown of the greatest hard rock bands of all time.
Original core duo Eric Bloom (vocals, rhythm guitar) and Donald “Buck Dharma” Roeser (vocals, lead guitar) still lead the band. Richie Castellano (guitar, keyboards), Danny Miranda (bass) and Jules Radino (drums) fill out the lineup.
Blue Öyster Cult also remains an active studio band. The Symbol Remains (2020) was its first album in 19 years, and Ghost Stories followed in 2024.
British melodic hard rock veterans Magnum will open at Royal Albert Hall, while award-winning husband-and-wife blues rock duo When Rivers Meet will support in Glasgow.
Tickets go on sale Friday, Oct. 16 at 10 a.m. through Ticketmaster.
Some music never loses its ability to surprise. Decades after redefining the possibilities of progressive rock, the music of the 1980s remains intricate, unpredictable, and every bit as challenging as when it first appeared. On October 9, BEAT brought that adventurous spirit to the Quarry Amphitheater in Santa Cruz, kicking off its tour with a performance packed with complex arrangements, unexpected turns, and impressive musicianship.
Featuring Adrian Belew, Tony Levin, Steve Vai, and Terry Bozzio, BEAT is a formidable lineup. Belew and Levin helped shape this era’s original sound, while Vai brings his distinctive guitar style to the material. Bozzio, a veteran of Frank Zappa’s band and a boundary-pushing drummer in his own right, adds another dimension to the music, demanding both precision and imagination.
The Quarry Amphitheater was an ideal setting for the occasion. Tucked among the redwoods on the UC Santa Cruz campus, the venue feels a world away from a typical arena show. Against that backdrop, the band’s intricate, sometimes ferocious music offered a striking contrast to the surrounding landscape.
“Neurotica” opened the show with plenty of nervous energy, immediately establishing the evening’s restless character. “Neal and Jack and Me” and “Sartori in Tangier” followed, showcasing the intricate guitar interplay and shifting rhythms that define this material.
Belew remains one of rock’s most distinctive guitarists. His playing moves effortlessly between tightly constructed patterns and strange, almost vocal sounds, giving each song a personality of its own. Rather than relying on conventional guitar heroics, he finds ways to make the instrument snarl, chatter, and occasionally sound as though it has a mind of its own.
“Three of a Perfect Pair” continued the run of familiar favorites, with Vai adding his own voice to the arrangements. His technical ability is never in question, but what makes him such an effective fit is his willingness to work within the music rather than turn every passage into a solo showcase. When the two guitarists lock into the same rhythmic patterns, the results are particularly satisfying.
“Walking on Air,” making its BEAT debut, offered a welcome change of pace. The song’s more reflective character revealed a gentler side of the band’s repertoire, proving that complexity doesn’t always have to come with volume or aggression.
“People” was another BEAT debut and a particularly intriguing choice, having last been performed by King Crimson members in 1996. Its inclusion gave longtime fans something beyond the expected selections and demonstrated that the group was willing to dig deeper into the catalog.
The mood shifted with “Industry,” a darker, more atmospheric piece built around tension and layered rhythmic patterns. The song doesn’t offer easy resolutions; instead, it draws the listener into its unsettling structure. The first set concluded with “Larks’ Tongues in Aspic (Part III),” a powerful, hard-edged finale that brought the musicians’ precision and intensity to the forefront.
Throughout the set, Tony Levin provided a remarkable foundation. His Chapman Stick playing allows bass lines and melodic figures to coexist, adding depth and movement to the arrangements. His contribution goes well beyond keeping time; he is an essential part of the music’s architecture.
Behind the kit, Bozzio brought considerable authority to the proceedings. The material’s constantly shifting meters and accents are demanding even for experienced players, but he approached them with confidence, balancing technical detail with the power needed to keep the music moving.
The second set opened with “Waiting Man,” one of the defining tracks from the Beat album. Its interlocking patterns and rhythmic shifts reminded everyone how carefully constructed these compositions are. In the hands of this lineup, the complicated arrangements felt like a conversation rather than an exercise in technical showmanship.
“Dinosaur,” also making its BEAT debut, brought a different character to the evening, expanding the set beyond the best-known 1980s material. “Dig Me” continued that exploration before “The Sheltering Sky” opened up a more atmospheric stretch of the performance.
“The Sheltering Sky” benefits from patience and restraint. Rather than rushing toward a dramatic payoff, the musicians allowed the piece’s mood and texture to develop. It was an opportunity to appreciate the subtler side of the band’s musical identity.
“Sleepless” brought the energy back up, driven by Levin’s muscular bass work and the guitars weaving around one another. The song’s forward momentum made it one of the set’s more immediate highlights, demonstrating how rhythmic complexity can still deliver a powerful physical punch.
“Matte Kudasai” provided one of the evening’s most delicate moments. Belew’s vocal delivery and the song’s understated arrangement offered a welcome contrast to the heavier material. Amid all the intricate musicianship, it reminded us that a simple melody, handled with care, can be as compelling as the most complicated instrumental passage.
The opening patterns of “Frame by Frame” brought the audience back into familiar territory. Its interlocking guitar figures remain instantly recognizable, and watching Belew and Vai navigate the arrangement was a highlight for anyone who appreciates the mechanics behind great musicianship.
“Elephant Talk” introduced a more playful mood. Belew’s eccentric guitar sounds and the song’s offbeat personality were front and center, giving the performance a sense of humor that can sometimes get lost amid all the technical discussion surrounding progressive rock.
The main set closed with “Indiscipline,” a muscular, unpredictable piece that combined heavy instrumentation with shifting dynamics and a healthy dose of controlled chaos. It was an ideal way to finish the set, bringing together the intensity, humor and adventurous spirit that define the band’s repertoire.
For the encore, BEAT reached outside its core repertoire with Frank Zappa’s “City of Tiny Lites,” another debut for the project. The choice made perfect sense. Zappa and the musicians behind this music share a willingness to challenge conventional rock structures, and the song fit naturally into the evening’s adventurous atmosphere.
“Thela Hun Ginjeet” closed the show with driving rhythms and plenty of attitude. It was a fitting final selection, sending the audience out with one last reminder of the music’s restless energy.
What makes BEAT work is that this isn’t simply a group of accomplished musicians recreating old records. These arrangements are too intricate, too unpredictable, and too dependent on the personalities involved for that approach to be enough. Belew and Levin bring their firsthand connection to the material, Vai adds his own unmistakable guitar voice, and Bozzio brings a rhythmic sensibility that keeps the performances feeling fresh.
The set list struck a good balance between familiar favorites and less frequently heard selections. “Frame by Frame,” “Elephant Talk,” and “Indiscipline” delivered the expected highlights, while “Walking on Air,” “People,” and “Dinosaur” added an element of discovery. The Zappa cover was a welcome surprise, reinforcing the connection between musicians who have always pushed rock beyond its usual boundaries.
The performance set a strong tone for the tour, combining classic material, deeper cuts, and new additions to the BEAT set list. Across two sets, the band showed how much variety this music can offer without losing its distinctive character.
This is music that demands attention. It can be beautiful one moment and abrasive the next, moving from tightly controlled precision to apparent chaos without warning. The trick is making those contrasts feel natural, and this lineup understands how to bring that balance to the stage.
At the Quarry Amphitheater, BEAT offered more than a trip back to the 1980s. The performance celebrated a body of work that still sounds adventurous decades after it was created. Belew, Levin, Vai and Bozzio approached the material with the skill it demands and the freedom it deserves.
For fans of progressive rock, the evening reminded them that great music doesn’t lose its relevance with age. Sometimes, it simply finds another way to surprise you.
Today, Swedish heavy metal goliaths RAM present their video for “Against,” the title track of their latest full-length, out now on Metal Blade Records.
The title track was written in a burst of inspiration, driven by a personal sense of facing overwhelming opposition: a David-and-Goliath scenario. This intense emotional energy fueled a rapid writing process, resulting in one of the album’s most direct and powerful statements.
Comments vocalist Oscar Carlquist: “‘Against’ is a real belter of a track, super old school. This is not your fresh 2026 MacBook metal; this is straight from the gutter. The lyrics are pure defiance, a tale about not backing down.”
While RAM’s previously released The Throne Within full-length was defined by its spiritual and metaphysical themes, Against takes a more grounded approach, focusing on the experience of being pushed beyond reasonable limits and refusing to comply. The album captures that moment of resistance, “that fire of defiance, which ultimately defines its title and message,” as the band collectively states.
Musically, guitarists Harry Granroth and Martin Jonsson continue to favor bridge pickups, maintaining a sharp and aggressive tone. The equipment used on Against reflects a classic approach, contributing to a sound that feels both timeless and direct. Sonically, Against was conceived as a return to classic recording philosophies. Drawing inspiration from the early works of Dio, MSG, and Sweet, the goal was to create an honest and unpolished sound. In a music landscape increasingly divided into countless subgenres, the band positions itself deliberately outside of categorization.
One of the most noticeable aspects of Against is its concise songwriting. Where earlier work may have leaned toward complexity, this album embraces clarity and precision. This evolution reflects a broader maturation, with the Swedes recognizing that restraint and focus can be more impactful than technical display.
Ultimately, Against stands as a statement of intent, a reaffirmation of identity and purpose. Or, as they put it themselves: “Fear the return of the Heavy Metal Tyranny!”
RAM’s Against full-length has been released on CD and digital formats as well as vinyl in the following color variants:
International Progressive Metal Project Delivers a Powerful New Chapter in Its Evolution
International progressive metal project Rage Unfold released its new single, “Dislocated,” on September 18, 2026. Spanning Bulgaria, Germany, and Australia, Rage Unfold brings together musicians and creative minds from across the globe to deliver emotionally charged metal built on powerful instrumentation, soaring vocals, and thought-provoking lyricism.
Formed in 2022, Rage Unfold began as a virtual band with a vision that transcends borders. Driven by the belief that music can capture the raw, real, and remembered experiences of life, the project has developed a distinctive identity that blends traditional heavy metal influences with expansive soundscapes and a modern progressive edge.
“Dislocated” marks another step in that ongoing evolution, showcasing the creative force behind a project that refuses to be confined by conventional boundaries.
At the heart of Rage Unfold is Bulgarian musician Bozhidar Popov, responsible for guitars, bass, drums, composition, and production. His approach combines crushing riffs, melodic precision, and expansive arrangements, drawing inspiration from legendary metal acts including Metallica, Iron Maiden, Manowar, and Dio.
German vocalist Siegfried “Siggi” Schuessler brings commanding vocals and an expressive performance style to the project. Also known for his work with power metal band MessengeR and pagan metal band Skaldhammer, Schuessler contributes a versatile vocal presence that complements the band’s dynamic musical foundation.
Completing the creative team is Australian lyricist and artwork developer Marie-Louise Anastas, whose writing explores emotional depth and challenges conventional approaches to storytelling. Drawing inspiration from artists including Metallica, Led Zeppelin, Fontaines D.C., The Doors, and Joy Division, Anastas brings a diverse perspective to the band’s identity and lyrical direction.
Together, the three musicians create a sound that connects the intensity of classic heavy metal with progressive ambition and cinematic atmosphere.
Rage Unfold has already attracted attention from international publications. Harmony Haven Magazine praised the project’s ability to unite musicianship, lyricism, and performance into a cohesive vision, while UK publication Plastic described the band as an act that breaks away from the modern metal rulebook with an original, cinematic, and powerful sound.
As Rage Unfold continues to evolve, the project is also looking toward a future beyond its virtual origins, with ambitions to bring its music into the physical world.
With “Dislocated,” Rage Unfold continues to build its own identity across borders, bringing together three countries, distinct creative voices, and a shared commitment to metal that resonates on both an emotional and musical level.
The metamorphosis continues. Rage Unfold is just getting started.
Long Live Rage Unfold.
LISTEN TO “DISLOCATED”
Bandcamp: https://rageunfold.bandcamp.com/track/dislocated
Spotify: https://open.spotify.com/artist/11qRs0wspVl6k3tkJi2hjh
Website: https://rageunfold.com/
BAND MEMBERS
Bozhidar Popov (Bulgaria) Guitars, bass, drums, composition, and production
Siegfried “Siggi” Schuessler (Germany) Vocals
Marie-Louise Anastas (Australia) Lyrics and artwork development
FOR FANS OF
Created by Daniel Gimbert, LUMORIA emerged with the symphonic debut album From Ashes to Dawn, establishing a musical world shaped by darkness, struggle, hope and rebirth. At the heart of the band’s identity is a distinctive deep male baritone, combined with music that can move from intimate and fragile to massive and uncompromising. Now, Blood […]
Metal fans may know Harrison Young as the former keyboardist for DoroPesch and UdoDirkschneider‘s U.D.O, or as the singer and bassist of The Cards, his ten-year project with founding Saxon guitarist Paul Quinn. This year, Young picked up two new credits: rock musical composer and actor.
This week, he premieres an ambitious new production called Garage Sale in the Netherlands. He gets backup from fellow keyboardist Laura Scarborough, who has been Ghost‘s main touring keyboardist, and its “Keytar Ghoul,” since 2018. For this show, Scarborough serves as musical and creative director. She plays piano, runs the lights and video, and takes a small acting part.
The original rock score draws on the sounds of Nine Inch Nails, Sleep Token and Ghost. Garage Sale tackles a universal and very human struggle: letting go. It looks at what it costs to part with the physical things we hold onto for security, and at the memories those objects force us to face.
Scarborough said: “This musical is for anyone who has gone through downsizing their own home or their parents’ home. The tagline of the show is ‘everybody’s got their $@#%’ and we all have $@#% that’s gotta get rid of someday, so that’s why garage sales happen, and that’s what this show is about.”
The story is personal for Young. It grew out of what he went through last year after his parents left their home in the United States. The plot is specific, but the themes apply to anyone who has been a child, a parent or a relative facing the same task.
Young said: “I’m a different person than the one I was when I began writing this show. The experiences which led me to write it were traumatic, but being able to put those feelings into words and music in this specific way and to be able to share this story with the world is a beautiful and cathartic experience.
“I especially hope to extend the boundary of musical theater to the rock community I’ve been performing to for decades. I think it’s a valid art form which deserves to be shaken up a bit and shared with a rock and metal crowd. The subject matter of this show is heavier than any metal music I’ve ever made.”
Scarborough admitted she is not usually a musicals person. She said, “I’ve never been a big fan of musicals. But I am crazy about this piece of work that Harrison has written. The music is really powerful, the dialogue is really entertaining… this is something we all need to hear.”
Scarborough has also been working on a solo performance art piece called Dollhouse Toybox, which she debuted at GhostCon UK earlier this year.
Garage Sale makes its world premiere Saturday, Oct. 17 and Sunday, Oct. 18 at Mystery House Valkenburg in Valkenburg, the Netherlands. A U.S. run is planned for next year. The production turns an old, abandoned cinema into an intimate, immersive space, a first for the venue.
(Andy Synn sinks his teeth into the new album from Great Falls, out this Friday) It’s no secret that sludge-slinging noisemongers Great Falls were one of my highlights of this year’s edition of Northwest Terror Fest (FYI – tickets for NWTF 2027 are now on sale). And while I was already at least passingly familiar […]
Created by Daniel Gimbert, LUMORIA emerged with the symphonic debut album From Ashes to Dawn, establishing a musical world shaped by darkness, struggle, hope and rebirth. At the heart of the band’s identity is a distinctive deep male baritone, combined with music that can move from intimate and fragile to massive and uncompromising. Now, Blood […]