George Thorogood and The Destroyers are set to release a new live collection, The Baddest Show on Earth: Greatest Hits Live, arriving June 12 via Craft Recordings. The album captures performances spanning 1978 through 2024 and highlights the band’s reputation as one of blues rock’s most enduring live acts.

The release will be available on LP, CD, and digital formats. The vinyl edition features four previously unreleased tracks, while the expanded CD and digital versions include eight unreleased performances. Physical editions also include new liner notes from GRAMMY Award-winning producer and blues musician Scott Billington.

The collection showcases some of the band’s most recognizable songs, including “Who Do You Love,” “One Bourbon, One Scotch, One Beer,” “Bad to the Bone,” and “Move It on Over.” Among the highlights are previously unreleased performances such as “Ride on Josephine” from 1978 and “One Bourbon, One Scotch, One Beer” recorded in 1980. The album also features a 1982 live version of “Bad to the Bone” recorded in Boston, along with more recent recordings like “Born to Be Bad” from 2024 and blues classics “Howlin’ for My Baby” and “Tail Dragger.”

“When the lights go down, the downbeat hits and the audience erupts; all bets are off. The Destroyers are at their best when we play for the people, and these are some of our favorite—and rarest—performances from the past five decades. You wanted the baddest, you got it,” said George Thorogood.

Formed in 1973 by Thorogood and drummer Jeff Simon, the band built its reputation through relentless touring and high-energy performances. Over the decades, they have played more than 8,000 shows, sold over 15 million albums worldwide, and toured alongside artists such as The Rolling Stones, ZZ Top, and Sammy Hagar. Their live shows have remained central to their identity, dating back to their record-setting “50 States in 50 Dates” tour in 1981.

The current lineup includes Jeff Simon, Bill Blough, Jim Suhler, and Buddy Leach. The band is currently on the road for The Baddest Show on Earth tour, with dates scheduled across North America and Europe throughout 2026.

The Baddest Show on Earth Tour Dates:

March 19 – River Cree Casino & Resort (Enoch, Canada)
March 20 – Grey Eagle Event Centre (South Calgary, Canada)
March 22 – Conexus Arts Centre (Regina, Canada)
March 24 – Burton Cummings Theatre (Winnipeg, Canada)
March 25 – Amsoil Arena (Duluth, MN)
March 27 – FireKeepers Casino (Battle Creek, MI)
March 28 – Brown County Music Center (Nashville, IN)
March 29 – Rialto Square Theatre (Joliet, IL)
March 31 – The Midland Theatre (Newark, OH)
April 2 – FirstOntario Concert Hall (Hamilton, Canada)
April 3 – Casino Rama Resort (Rama, Canada)
April 4 – Hard Rock Hotel & Casino Ottawa (Ottawa, Canada)

May 1 – The Capitol Theatre (Port Chester, NY)
May 2 – The Paramount (Huntington, NY)
May 3 – Penn’s Peak (Jim Thorpe, PA)
May 5 – Capital One Hall (Tysons, VA)
May 6 – The Carolina Opry (Myrtle Beach, SC)
May 7 – St. Augustine Amphitheatre (St. Augustine, FL)
May 9 – Wildflower! Arts & Music Festival (Key West, FL)
May 10 – Seminole Brighton Bay Hotel & Casino (Okeechobee, FL)
May 12 – Macon City Auditorium (Macon, GA)
May 13 – Pensacola Saenger Theatre (Pensacola, FL)
May 15 – Wildflower! Arts & Music Festival (Richardson, TX)
May 16 – Riverwind Casino (Norman, OK)
May 17 – The Astro (La Vista, NE)
May 19 – Vibrant Music Hall (Waukee, IA)
May 21 – The Colosseum at Caesars Windsor (Windsor, Canada)
May 22 – Rose Music Center at The Heights (Huber Heights, OH)
May 23 – Beaver Dam Amphitheater (Beaver Dam, KY)

June 20 – Holland International Blues Festival (Grolloo, Netherlands)
June 23 – Uber Eats Music Hall (Berlin, Germany)
June 26 – Bataclan (Paris, France)
June 29 – The Civic Hall (Wolverhampton, UK)
June 30 – Indigo at The O2 (London, UK)

July 4 – Puistoblues (Järvenpää, Finland)
July 10 – Lakefront Music Fest 2026 (Prior Lake, MN)

September 4 – Champlain Valley Fair (Essex Junction, VT)
September 25 – One805Live! 2026 (Montecito, CA)

The post George Thorogood to release “The Baddest Show on Earth: Greatest Hits Live” appeared first on Blues Rock Review.

Good Day Noir Family,
Today’s review steps slightly outside the usual format. Ellery Twining has joined forces with filmmaker Ben Bostian to create the soundtrack for a short film, and the result feels less like a background score and more like an emotional compass guiding the entire experience.

“Oy!” A Short Film by Ben Bostian with a Soundtrack by Ellery Twining, Out Now

The film itself follows two friends on a snowboarding trip up a quiet mountain.

There are few words. Instead, glances, movement, and landscape carry the narrative. It’s Twining’s music that transforms those simple gestures into something lasting. The compositions float gently beneath the images, adding dimension without overwhelming the visuals.

The tone of the score leans toward the experimental. There’s a suspended quality to the melodies, almost mirage-like, as if time has briefly slowed. The snowy scenery, sometimes blurred by mist, gains additional depth through these subtle harmonic textures. The viewer doesn’t just watch the day unfold. They feel it.

There’s a faint echo of Lynch in the way mood takes precedence over dialogue. The music never dictates emotion directly. It lingers. It invites interpretation. Twining understands restraint, allowing silence and space to carry equal weight alongside the notes.

The most striking aspect lies in how the score captures memory. These are the kinds of days that seem ordinary at first glance. Two friends, fresh air, snow underfoot. Yet, over time, such moments settle deeper into memory. The music underscores that transformation. It suggests that what feels small in the present can become monumental in retrospect.

Furthermore, the closing sequence—where the friends pause to watch the sunset—gains quiet significance. A simple sunset becomes symbolic. Twining’s understated arrangement elevates that stillness, sealing the day with reflection rather than spectacle.

This collaboration proves that music can complete visual storytelling without drawing attention to itself. Twining and Bostian create an experience that feels personal and universal at once.

“Oy!” A Short Film by Ben Bostian with a Soundtrack by Ellery Twining, Out Now!

Reflective!

“Oy!” A Short Film by Ben Bostian with a Soundtrack by Ellery Twining, Out Now

Ben Bostian and Ellery Twining connect through a shared experimental spirit, crossing paths via Savannah College of Art & Design and the music project Delta of Venus. What begins as a personal connection quickly evolves into a creative exchange shaped by coincidence and curiosity.

Their work centers on “indeterminate music,” building each track through improvisation over the last, capturing mood with minimal intervention.

Find Ellery Twining Here:

Bandcamp
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Discover New Bands Click Here

The post “Oy!” A Short Film by Ben Bostian with a Soundtrack by Ellery Twining, Out Now appeared first on Edgar Allan Poets – Noir Rock Band.

A montage of studio footage from the band has newly been shared.

The post Chiodos Teasing Apparent New Studio Sessions appeared first on Theprp.com.

This development also follows the festival being postponed in 2025.

The post 2026 ‘C.Y. Fest’ Canceled After Allegations, Artist Boycotts & Multiple Promoters Stepping Down appeared first on Theprp.com.

Beacon of foul light carry us forth into the great beyond

The veil is lifted, black light spilling

Burning obsidian star 

Athens has always seemed like the sort of city where the old gods might still be loitering behind the clubs, smoking clove cigarettes and waiting for somebody to plug in a guitar loud enough to wake the Kraken.  On Burning Obsidian Star, Greek goth rockers Reflection Black come on like alchemists turning ritual into rhythm, hauling myth, mortality, and a little metal-bred menace.

Too many bands dabble in the occult like they bought the Cliff’s Notes for The Lesser Key of Solomon. Reflection Black sounds like they have actually spent some time in a dungeon with these ideas, letting them stain the walls and seep into the songs. The whole album carries itself with conviction, but not the kind that turns pompous and topples over under its own robes.

Reflection Black have influences all over the place: The Sisters of Mercy, The Damned (particularly in their Phantasmagoria era), The Mission, a little of that newer cemetery-club cool, and yes, some steel in the spine from older metal, but they never sound like record collectors playing dress-up. They sound hungry, focused, and a little dangerous in the way all good gothic rock should.

Dreams Fade to Nothing opens the album with the kind of hook that knows exactly how to plant itself in your head and redecorate. From there, the band move with a cool, deliberate gait, letting the guitars carve sharp lines while the synths mass in the distance like storm fronts over stone ruins. The rhythm section keeps everything taut and driving, never overplaying, never wandering off in search of some grand statement. That discipline gives the songs their force. Nobody is showing off for the mirror; they are too busy building the mood and keeping it alive.

The Architect in Slumber reaches into Lovecraftian dread without turning into costume drama, which is harder than most groups seem to realize. It has scale, it has pressure, and it has a voice at the center that lands with enough gravity to keep the whole thing from floating off into gothic pageantry. The title track is where the album really bares its teeth.

Burning Obsidian Star swings harder, drags in blackened edges, and gives the band room to show how comfortably they can move between post-punk tension and heavier instincts without sounding confused about who they are. It is a hymn for people who’d kiss the apocalypse on the mouth and call it communion. These lyrics turn annihilation into ascension, with fire as sacrament and the black star as cruel saviour. Flesh chars, blood boils, mouths fill with ash, and somehow the whole damned thing still glows with ecstatic purpose.

Alex offers insight into the theme of Wonders of Night: “Nyx…according to Orphic Theogony, is a primordial force from which the universe has spawned. She is considered the mother of several divine beings, but also breeds a number of primordial negative forces like Thanatos, Nemesis and Eris.” In that lineage, the song finds its gravity. It carries the sense of standing before something older than doctrine, older than daylight.

Burning Obsidian Star is a strong, fully formed album by a band that seem to know exactly where they’re headed, even if the destination happens to be a boat ride with  Charon to the underworld.

Listen to Burning Obsidian Star below and order the album here.

Follow Reflection Black:

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The post The Veil is Lifted — Greek Gothic Rockers Reflection Black Ignite the Dark With “Burning Obsidian Star” appeared first on Post-Punk.com.

Debut festival edition expands to three stages as new ticket prices take effect

Szczecin, Poland; 19 March 2026: Hells Bells Festival continues its build-up toward 26-27 June 2026 with a dual band announcement and a major logistical expansion. 

The festival has confirmed Northern Ireland thrashers Gama Bomb and Polish blackened punks Owls Woods Graves, while also revealing that the event will now span three distinct stages at the Plac Gryfitów site.

Gama Bomb are widely known for their speed, technicality, and fun-filled, high-octane live shows. Fans in Szczecin should prepare for a masterclass in headbanging as the band brings their signature “thrash metal bomb” to the Łasztownia waterfront. The band’s latest release is the EP “Necronomicon Automaton”.

The bill is further bolstered by Owls Woods Graves, a project conceived by The Fall  & E.V.T. Their unique sound, self-described as “haunted woods hardcore”, blends black metal with raw punk energy and macabre storytelling inspired by witches and the Devil. The band is currently promoting their third album, “Strix”.

In a significant move for the festival’s scale, organisers have also confirmed that Hells Bells 2026 will now feature three stages. This expansion allows for a more diverse range of sounds and ensures that the performances are more spread out across the schedule, reducing time pressure and providing a better experience for both the artists and the audience.

Gama Bomb and Owls Woods Graves join an already stacked line-up that includes the likes of Dirkschneider, Grave Digger, Cockney Rejects, UK Subs, Vader, Possessed, Discharge, NunSlaughter, Furia, Dead Congregation, Last Resort, Dezerter, The Materia, Belzebong and Słoń. 

As previously announced, the festival has entered its next pricing tier. This pool of tickets will be available only until 31 May 2026 (or until sold out): Full Weekend Pass (PLN 409), Friday Ticket (PLN 199), Saturday Ticket (PLN 229). The festival also continues to offer the discounted Youth Pass (ages 13-18) and Family Pass (adult with child under 13).

Secure your entry now: https://hellsbells.pl/

Hells Bells online 
FB: https://www.facebook.com/hellsbellsfestival

FB Event: https://fb.me/e/7cujCjrCo

IG: https://www.instagram.com/hellsbellsfestival

TikTok: https://www.tiktok.com/@hellsbellsfestival

Official teaser: https://youtu.be/TybhrrUbNF4?si=s5V9NNRZ4t1JV499

Source: 3nation

Born oceans apart and now based in Prague, Kaan and Mindolé have made the sort of record that feels designed for twilight hours and private reveries. Odd Little Thrills work with atmosphere, certainly, but there is also real finesse in Happy Together, a song that enters quietly and settles in with confidence, carried by a steady beat, soft-focus guitars, and an intimate mood.

The duo describes their transcontinental chemistry as sounding “like faded VHS tapes of half-remembered dreams,” and it is one of those rare self-descriptions that actually rings true. The drum pattern keeps everything gently in motion while the guitars wind around it with a subtle eastern inflection, and the vocals arrive in a hushed, reverberating tone that never overwhelms the arrangement. Happy Together unfurls the quiet power of warmth and restraint.

You can hear traces of Boy Harsher in the ominous pop pull of it all, and a touch of Morcheeba in the unhurried, down-tempo sensuality. There are also moments that call to mind Beth Orton, Moby, Cocteau Twins, and Sarah McLachlan, especially in the softness of the vocal presence and the way the song carries emotion without overselling it.

The red-tinged video deepens that feeling, wrapping the track in a muted glamour that fits it beautifully. Split screens pass like fractured memory, dark visions unfold in the club, and a rush of symbols keeps surfacing and slipping away: flashes of nature, hands clutching a rope, a scene by the lake, a guitar held by a tree, tunnels giving way to huge open landscapes. Watching it feels a bit like being dragged along on tour with the band through a beautifully unsteady fever dream, half-documentary, half-delirium, with every image arriving charged and slightly out of reach.

Watch Happy Together below:

The EP, There Was, There Wasn’t, carries that same duality throughout. The press notes describe “simultaneous, layered timelines travelling together yet apart, like parallel trains,” and in this case, the image fits. The music holds contrasting sensations in delicate balance: closeness and distance, comfort and unease, tenderness and tension. The cool throb of the drum machine, the textured percussion, and the dreamlike drift of the guitars give the songs a feeling of movement through memory, as though past and present are brushing against one another in real time.

This is a track equally at home in a Berlin basement party, in a coffee shop sipping a lavender latte, or stretched out on the couch with a beer and a cigarette. Odd Little Thrills are elegant, alluring, and quietly affecting, a debut that moves with grace and leaves a gentle impression.

Listen to There Was, There Wasn’t, out now via Pity Party Records, below:

Follow Odd Little Thrills:

• Instagram
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The post Dreampop Duo Odd Little Thrills Drift Through a Half-Remembered Reverie in Video for “Happy Together” appeared first on Post-Punk.com.