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Candlebox will return to the road this fall with the “Can’t Quit You” tour, a 32-date North American headlining run beginning on September 17 at The Pageant in St. Louis, Missouri, and finishing on October 30 in Sayreville, New Jersey. It will be the band’s biggest headlining trek in several years, featuring rotating support from The Mountain Goats, Sponge, The Verve Pipe, Sweet Water, and American Blonde.

The upcoming tour arrives after guitarist Peter Klett rejoined Candlebox following a decade away from the band. According to frontman Kevin Martin, the reunion has injected fresh creative energy into the group as it moves into its next phase. More than 30 years after releasing its four-times-platinum debut, Candlebox, the Seattle outfit continues to take the same drive and intensity to audiences across North America.

Tickets go on sale on Friday, July 17, at 10:00 a.m. local time. Check here for more information.

Kevin Martin commented: “The phrase ‘Can’t Quit You’ really speaks volumes to how important our fans are to us and the music we create. Candlebox has always relied on the energy our fans bring and the atmosphere that live music brings.”

Several of the tour’s special guests also shared their thoughts about joining the run.

Brian Vander Ark of The Verve Pipe said: “Opening for a band that helped shape the alternative landscape is a fucking dream come true.”

Vinnie Dombroski of Sponge added: “It’s always a thrill to share the stage with Candlebox! Our first major tour in the early ’90s was with Candlebox, and we’ve come full circle. Who says you can’t travel back in time?”

John Darnielle of The Mountain Goats remarked: “Two weeks before we were set to release the song “Candlebox”, a song I wrote in the summer of ’25 and which only we in camp had heard, my manager texted me that Candlebox was seeking support for their first headline tour in a good long minute. It was written in the stars! This fated confluence will light up the skies of St. Louis and Florence like a Roman, wait for it, candle. We answer the call of fate! Meet you in St. Louis, fellas!”

Nata and Tinka Morris of American Blonde said: “We are over the moon to be playing on Candlebox‘s fall tour! Getting to share the stage with musicians we’ve grown up listening to and learning from…excited is an understatement. We cannot WAIT for these shows.”

Rich Credo of Sweet Water shared: “Sweet Water is all about keeping rock alive and sharing our music with the people… we love that we get to do that with our friends Candlebox in our hometown. This show is going to be badass.”

Formed during Seattle’s early-’90s rock explosion, Candlebox quickly established itself as one of the city’s standout acts. Led by vocalist, songwriter, and founder Kevin Martin, the band broke through in 1993 with its self-titled debut, Candlebox, which has sold more than four million copies worldwide. The group’s rise included a main-stage appearance at Woodstock ’94 as well as tours alongside Metallica, Rush, and Aerosmith.

After taking a break between 2000 and 2006, Candlebox returned with a series of studio releases, including Into The Sun (2008), Love Stories & Other Musings (2012), Disappearing In Airports (2016), and Wolves (2021). The band marked the 30th anniversary of its debut in 2023 with The Long Goodbye, followed a year later by The Longer Goodbye (Tour Edition). More than three decades into its career, Candlebox continues to bring its catalog to fans through new music and extensive touring.

The post CANDLEBOX Announces 2026 “Can’t Quit You” Fall Tour appeared first on Sonic Perspectives.

The Press Release: Pophouse, the pioneering global entertainment and music investment firm, is proud to formally announce its partnership with British rock band Iron Maiden, acquiring a stake in the … Continue reading Pophouse Unveils Forward-Thinking Partnership with Iron Maiden →

Chris Haskett was a member of Rollins Band from 1987 until 1997, and once again in 2006 for a US reunion tour. During that time, he played guitar on five studio albums and four live collections, as well as Henry Rollins’ two solo releases in 1987 (the full-length Hot Animal Machine and the EP Drive By Shooting).

Since then, he’s released a series of solo albums – check out 2014’s The Courage Born Of Conflicting Terrors as a matter of urgency – and also appears on Pigface’s 1992 album Fook, Tool’s Undertow (1992) David Bowie’s Hours (1999).

Here, then, are his pick of the best 10 songs from that decade-long period.

Burned Beyond Recognition (Life Time, 1987)

“I had the riff for this song in my head for a long time, but sometimes it won’t gel until you’re in the right moment. I remember bringing it to Andrew [Weiss, bass] and Sim [Cain, drums] and they brought it to life. I tend to think of riffs as shapes. It’s not quite synesthesia but it’s in that realm. The aesthetic elegance of a melody presents itself to me as a 3D shape a little. The riff for Burned Beyond Recognition – dada dada da bom – was a nice and angular. Dischord re-released Life Time on vinyl recently and I hadn’t listened to it for ages. I was shocked at how fast it is on the record. The more we’d play, Andrew would play it slower and slower. He was right. There’s a live recording from ’88 or ’89 and it’s much heavier than the album version. Don’t get me wrong, Ian [MacKaye, Life Time producer and Fugazi member] did a fantastic job on that record. But man, if we’d recorded it at the tempo we’d play it live a year later, it would have crushed buildings.”

Disconnect (Weight, 1994)

“Disconnect was one of the best vehicles for the way Rollins’ voice was at that moment and one of the most fun songs to play. Tonally, it was very interesting; I was using a Whammy octave pedal and the guitar’s voicing is very much from high to low. Then there’s that high harmonic in the guitar line, a kind of Indian melody on the chorus and a hard rock riff, like Aerosmith but an octave down. It was the perfect blend of groove and angle – a lot of our riffs were very angular in a King Crimson way. Melvin Gibbs [Rollins Band bassist from 1993-1998] brought a different kind of depth to his instrument and his playing brought a lot of space to the songs we’d write.”

Turned Out (Life Time, 1987)

“Turned Out has to be in there. It was a song that Sim wrote from beginning to end. We were rehearsing in the Netherlands in ’87 in a Dutch classroom. We made huge amounts of noise there. Sim was playing Andrew’s bass one night and came up with this riff. It’s very elegant and stripped down, very similar to Disconnect. Part of it was also in 5/4, which was kind of fun. Everyone in the band always contributed to a song’s final shape, but this song was one Sim had from beginning to end.”

There’s a Man Outside (Hot Animal Machine, 1987)

“It’s not from a Rollins Band record [Hot Animal Machine was released as Henry Rollins] but we played a lot of those songs on tour. It’s crazy. I was hanging out with Rowland Howard from The Birthday Party at the time and I’d been listening to those records a huge amount. At that point, he was doing Crime & The City Solution. That single string attack riff was totally informed by Sonny’s Burning [from The Birthday Party’s 1982 EP, The Bad Seed]. It had a working title of The Road Song until Rollins had words for it – because it sounded like a car careening down the road. I’m constantly writing riffs – I have tapes and tapes and would bring them to rehearsal. I’ve still got them all from around the time of Hot Animal Machine. This riff was one of the better ones.”

A Man and a Woman (Hot Animal Machine, 1986)

“This was one the bass player at the time wrote – Bernie Wandel. It’s a cool song – very Rowland Howard, very Birthday Party-ish.”

Liar (Weight, 1994)

“Liar starts like a Motown song and has a soul groove. That was another riff that was around for ages. The main part was new, but the ride out at the end was old. I called that the ‘Lou Reed’ riff and it was kicking around in my head back when Tool were opening for us. I remember jamming on it for half an hour in a club in Atlanta, but it didn’t catch fire at that point – but it stayed in my head. There’s certain riffs and melodies that won’t go away. This one kept coming back! It wouldn’t leave me alone. When the record company chose to release it as a single, I just groaned. I was like, ‘Oh my God, nobody’s going to like it!’.”

Neon (Come In And Burn, 1997)

“On Come In And Burn, we were in legal limbo for a long time. We were still rehearsing, so we ended up writing a whole batch of material. I think it’s the best sounding record we’d made, but I think some of the songs are overwritten; I’m not saying they’re bad, but every T is crossed and every I is dotted. We couldn’t put any more parts into those songs. I think if we had two months to write a record, it would’ve been great and a little more coherent to me. There’s a lot of music I like on that record and a lot of words I like on that record – but they’re not usually in the same songs! Neon is up there with Burned Beyond Recognition and Disconnect as one of my favourites to play. It’s one of the better mixes of words and music we were writing. There also was a song called Fall Guy and the riff was very Alice In Chains-y. I really liked it, but no-one else in the band really liked it that much.”

Hard (Hard Volume, 1989)

“Hard was always fun to play, but I was playing beyond my means at that point [of recording]. If you listen to that song, it’s got a lot of [Van Halen’s] Hot For Teacher in it. It’s like rock band playing a big band song.”

Tearing (The End Of Silence, 1992)

“I really loved playing that. If you play that on guitar, the riff has a Van Halen shape to it. [US filmmaker] Modi made a fun video for the single, too.”

Joy Riding with Frank (Hard Volume, 1989)

“The title comes from Blue Velvet and was the last track on Hard Volume. We recorded a cover version of [Velvet Underground’s] Move Right In for Hot Animal Machine because I loved the original song but only knew it from bootlegs. But when Andrew joined the band, the song morphed into this enormous encore jam and it was so fun to play. That version isn’t the best, but it’s a good document of how good that band was right then. Most of those changes were not rehearsed. We knew what we were doing next, just we didn’t know when. That’s a tight fucking band, right there, and Andrew and Sim were totally on fire.”

The fruits of this partnership were recently on display at the band’s ‘Edddest’ festival.

The post Iron Maiden Sell Stake In Their Catalog, Masters, Image, Etc. appeared first on Theprp.com.

(written by Islander) The Irish blackened doom band Soothsayer released their debut album Echoes of the Earth in 2021. In the context of premiering a song from it, we described the music as “harrowing in the extreme, and also transportive”, the kind of experience that “makes such a transfixing and mind-bending impact that it’s very […]

The post AN NCS VIDEO PREMIERE: SOOTHSAYER — “SOONER ACCEPTANCE” appeared first on NO CLEAN SINGING.

Static Abyss Announce Third Album ‘The Dying Hunt’

Emerging in the early 2020’s – Static Abyss is a monstrous hybrid of twisted, doom-laden brutal death, comprising of longstanding members of the US metal scene. The band consists primarily of the duo of Deathgrave’s Greg Wilkinson (Guitars/bass) & Chris Reifert (vocals), both also members of legendary American masters of sickness, Autopsy, with Chris also notably starting his career with genre pioneers, Death. The band’s debut, ‘Labyrinth of Veins’ was released in 2022, and their second album ‘Aborted From Reality’ followed in quick succession, surfacing in 2023.

Returning now for Static Abyss’ third studio album, and with the addition of Chad Gailey of fellow death merchants Necrot behind the drumkit for this release, ‘The Dying Hunt’ plummets the listener again into the festering, psychedelic swamps of lunacy, with the spiralling melodies texturing the relentless savage riffs for an effective nightmare-inducing trip through the sonic abyss. Continuously and relentlessly flitting between brutal passages and hypnotic otherworldly craziness, ‘The Dying Hunt’ reflects the ailing world & the unravelling of the psyche of its inhabitants in this darkly dystopian landscape, for a masterful descent into sick Death Metal combined with Crust and Doom elements.

‘The Dying Hunt’ was recorded at Earhammer Studios in Oakland, CA, with engineering, mixing and mastering overseen by Greg Wilkinson himself. Cover art comes courtesy of Jon Santos.

Static Abyss – The Dying Hunt

Skull Blasted – 01:54
Lobotomized at Last – 03:40
The Dying Hunt – 04:04
Wall of Delusion – 01:25
Once a Corpse (Always a Corpse) – 02:54
Bleeding in the Fog – 04:40Sinew Leech – 04:07
Nowhere Forever – 05:02
Defleshed and Forlorn – 01:20
Volcanic Womb – 03:15
Darkness at the End of the Light – 04:32

‘THE DYING HUNT’ WILL BE AVAILABLE ON LIMITED ‘NEKRO FLESH’ VINYL LP, BLACK VINYL LP, CD AND DIGITALLY. PRE-ORDER HERE.

For all the latest news, reviews, interviews across the heavy metal spectrum follow THE RAZORS’S EDGE on facebook, twitter and instagram.

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Pennsylvania hard rock band Defiant returns with one of its most emotionally charged and hard-hitting releases to date, ‘Seen The End‘, a powerful new single that blends soaring melodies, crushing guitars, and deeply personal lyrics into an unforgettable rock anthem. With a sound that bridges the gap between modern hard rock and the timeless energy […]

The post Defiant Returns With New Single ‘Seen The End’ appeared first on ROCKPOSER DOT COM.

In January, Courtney Marie Andrews returned with Valentine, her first album in more than three years. This week, she’s got another new tune for us.

The post Courtney Marie Andrews – “Carolina Caroline” (Jonathan Edwards Cover) appeared first on Stereogum.

FOR IMMEDIATE RELEASE
Bay Area Thrash Force Frolic Unleash Legacies of Cybernetica as Banger TV Spotlights Album in Metal Monthly
Technical melodic thrash outfit Frolic continue to push the evolution of the legendary Bay Area sound with their explosive new album, Legacies of Cybernetica, out now via Hectic Records.
Stream & Purchase: https://frolicbayarea.bandcamp.com/album/legacies-of-cybernetica
California’s rising progressive thrash metal powerhouse Frolic officially released their highly anticipated sophomore album, Legacies of Cybernetica , on July 3, 2026 , delivering one of the year’s most ambitious and technically impressive modern thrash records. Released on vinyl through Hectic Records , the album is also available independently on CD, cassette, digital platforms, and select streaming services.
Blending razor-sharp musicianship with futuristic themes and relentless aggression, Legacies of Cybernetica expands upon the classic Bay Area thrash blueprint while forging a sound that is unmistakably Frolic . Fans of Kreator, Exodus, Revocation, and The Black Dahlia Murder will find plenty to sink their teeth into, from blistering riff work and soaring twin guitar leads to intricate rhythm changes and crushing, high-energy performances.
Adding to the momentum surrounding the release, Legacies of Cybernetica was recently featured on Banger Films’ Metal Monthly , where host Blaine Smith praised the album as one of July’s standout metal releases.
During the segment, Smith highlighted the band’s remarkable artistic growth, calling attention to “a big upgrade to the cover art and a big upgrade to the band.” He also praised Frolic for carving out a unique space within the thrash landscape, describing the group as filling “a hole that isn’t really filled” by blending the intensity of German thrash with the technical precision and sci-fi atmosphere of the Bay Area scene.
The review also applauded the band’s explosive songwriting, emphasizing songs that hit listeners immediately with relentless speed and aggression while showcasing originality rarely heard in today’s thrash movement. Smith concluded that Frolic is “doing something fairly original” and performing well above expectations, further cementing the band’s growing reputation within the global metal community.
Formed in the San Francisco Bay Area, Frolic stands as proof that the birthplace of thrash metal continues to produce innovative new voices. Rather than simply recreating the sounds of the 1980s, the band embraces evolution by combining technical death metal precision, progressive arrangements, blackened vocal intensity, and unforgettable melodic guitar work.
Frontman and guitarist Edgar delivers a fierce vocal performance that recalls the venomous edge of classic European thrash while sharing lead guitar duties with Lenny , whose dynamic twin-guitar attack provides soaring solos and memorable hooks throughout the record. The rhythm section is equally formidable, with Zak bringing highly technical, death metal-inspired bass lines and Elijah combining jazz and funk influences into powerful drumming built for maximum mosh pit destruction.
Produced by Ivan Garcia, Ben Bennett, and Andrew Peacock , Legacies of Cybernetica captures the band’s explosive live energy while showcasing a level of songwriting and musicianship that marks a major step forward in Frolic ‘s evolution.
With critical praise already arriving from respected outlets like Banger TV and an ever-growing reputation throughout the Bay Area underground, Frolic are poised to become one of the most exciting names carrying thrash metal into its next generation.
Watch the Banger TV Metal Monthly feature here:

Check out the band on YouTube and subscribe: 

Album: Legacies of Cybernetica
Artist: Frolic
Release Date: July 3, 2026
Genre: Technical Melodic Thrash Metal
Label: Hectic Records
For Fans Of: Kreator, Exodus, Revocation, The Black Dahlia Murder

Connect: 
https://merch.frolic.band/epk
Contact: edgars336@gmail.com

Noya Sol is an independent Israeli singer-songwriter, guitarist, and producer whose music blends alternative rock, blues, folk, soul, and reggae influences. Inspired by artists such as Sister Rosetta Tharpe, Bessie Smith, Bob Marley, and Gary Clark Jr., she creates deeply personal songs about faith, freedom, resilience, and the search for light in difficult times. Noya‘s […]