“VCTMS has always had a rotating line of members and crew because everyone unfortunately reaches the same conclusion after spending time with us.”
The post Guitarist Mike Joseph Clampitt Quits VCTMS Due To Alleged Abusive Behavior From Drummer Meredith Henderson appeared first on Theprp.com.
Wednesday night, Rosalía was a guest on The Tonight Show With Jimmy Fallon. Within the first couple of minutes in their chat, Fallon brought up that U2’s forthcoming album Carnaval de Luz includes a song about the Spanish pop star, “The Mirror Maker (Rosalía).”
The post Rosalía Says Bono Invented New Spanish Words For U2’s Tribute Song About Her appeared first on Stereogum.
At the end of this month, Elena Tonra who leads the indie-folk trio Daughter, is dropping a new album under another project Ex:Re, titled Save As. She’s already released the lead track “Radio Station,” and earlier this week, she shared the follow-up single “Sleep.”
The post Ex:Re – “Sleep” appeared first on Stereogum.
Rose Carleo Band are getting down and dirty with the release of Dirt Bound (Radio Edit), featuring Pontus Snibb, of Swedish hard rockers Bonafide out today Friday, October 9. Originally recorded by Bonafide, Dirt Bound gets the Rose Carleo Band treatment – a gritty, hard-driving take, loaded with blues-rock swagger, big guitars and Rose Carleo’s […]Members of Run-D.M.C. Red Hot Chili Peppers, Extreme and more will also be taking part.
The post Guns N’ Roses & Members Of Alice In Chains, Rage Against The Machine, Godsmack, Etc. Set For Aerosmith’s Comeback Shows appeared first on Theprp.com.
Though perhaps best known as the hub of the original 90s melodic death metal wave and the hometown of heavy metal revivalists HammerFall, Gothenburg is a city that has come to produce a rich variety of sonic craftsmen. For their part, old school hard rock revivalists Graveyard present a highly unique blend of influences even when matched against the broader music world beyond their aforementioned locale.
Among the most primordial figures to impact their resulting sound are the likes of Muddy Waters and Howlin’ Wolf, as noted by front man and guitarist Joakim Nilsson, laying a vintage auditory foundation upon which sits an eclectic array of rock icons from Cream and Black Sabbath to the earliest studio work of Fleetwood Mac. The result has been an auspicious and prolific career of bringing the old ways to a new generation spanning the better part of 20 years, running from their eponymous 2007 debut up to the present, with their seventh and most recent studio LP Fever striking a consistently rugged yet charming chord.
Hitting the ground running like a power quartet from a bygone era, Graveyard dredges up nine anthems of heavy rocking goodness from the cemetery grounds in a manner highly reminiscent of the heyday of jam bands and analog recordings. The flow that is established is of a free and loose character, betraying this fold’s preference for recording live as a full unit over individually to the beat of a click track and spearheaded by the rustic heavy rocking template set by bassist Truls Morck and drummer Oskar Bergenheim after the spirit of Cream.
Combined with the fuzz-drenched and swamp riff work of Jonatan Ramm and helmsman Joakim Nilsson, this vintage auditory amalgam often veers into a modern stoner rock/metal vibe and comes off heavy enough to trade blows with the likes of Sleep and Electric Wizard. But the lynchpin in truly setting the sound of these songs apart from the pack is Nilsson’s gritty and imposing roar, which splits the difference between the dirtier end of the spectrum of classic blues vocalists and the more poetic swagger of Jim Morrison brilliantly.
While this outfit’s affinity is for the freewheeling days of the late 60s and early 70s when bands would rock out for extended durations, the structure of this harrowing opus is generally accessible and concise. Be it the up-tempo assaults of “Tongue Tied”, “Year Of The Horse” and “Room Tempered” that function as missing links between the swifter side of Deep Purple and the more chaotic displays of Black Sabbath, or more slow to mid-paced fits of bluesy woe like the opening banger “Back From The Grave” and its ironically happy-go-lucky grooving cousin “Don’t Shoot!”, the rule tends to be conventionally structured songwriting that hovers around the four minute mark.
Then again, the frequency of Bill Ward-inspired detailing streaming out of Bergenheim’s kit work and the intermitted fuzz-drenched lead guitar breaks that weave in and out of the mix finds most of these songs bursting at the seams with ideas in spite of their brevity. But when push comes to shove, this is an album that cooks in moderately sized doses save for the jazzy balladry of closing entry “Dead Note”, which takes on a more gradual character, driven by a signature bass performance out of Morck and a far more dynamically rich blend of crooning to complement Nilsson’s usual assortment of gravely growls.
In a time where retro rock is a fairly popular trend and from a place where playing loud and heavy is the norm, Graveyard is a band that still manages to stand apart from the crowd. There are a lot of familiar elements at play that can be accounted for over the past 6 decades of rock’s history, yet the way they come together on Fever’s 38 minute run are a testament to a band that has made it their business to find new ways to perform old tricks.
It functions both as a smorgasbord of immediately tasty sonic treats that impact one’s palate at first listen, as well as a grower with enough details and staying power to remain interesting after the initial novelty has subsided. It’s a tad shy of the same insanely gripping caliber as their 2011 sophomore outing and de facto magnum opus Hisingen Blues, but it hits all the right notes to stand tall among the many LPs already under their proverbial belt, and is definitely among the better old school rock albums of 2026. Whether one has been riding the psychedelic rock train since it first hit the tracks over 5 decades ago or is a more recent passenger, Fever is the sort of sonic affliction that everyone needs to catch.
Release Date: October 9, 2026
Record Label: Nuclear Blast Records
Genre: Hard Rock
Order the album here.
The post GRAVEYARD – Fever (Album Review) appeared first on Sonic Perspectives.
Aerosmith is coming out of live-music hibernation. Live Nation-Hewitt Silva and Blackbird Presents have announced California, Dream On: Aerosmith & Friends, a two-night celebration of the band’s career at Los Angeles’ Hollywood Bowl on Oct. 29 and Nov. 1, 2026.
The group has spent more than five decades shaping American rock and roll, from its Boston beginnings to the Super Bowl stage, and the Bowl shows put the whole catalog on display with a crowd of guests around it. The bill reaches across rock, country, hip-hop and alternative, with The Black Crowes, Run DMC and Heart on the roster alongside Andrew Watt, Billy Idol, Chad Smith of Red Hot Chili Peppers, Duff McKagan of Guns N’ Roses, Eric Church, Jerry Cantrell and Mike Inez of Alice In Chains, Marcus King, Nuno Bettencourt of Extreme, Pat Monahan of Train, Sammy Hagar, Slash, Steve Stevens, Sully Erna of Godsmack, Tom Morello, Adam Wakeman, Audley Freed and Kenny Aronoff. Don Was will serve as music director.
Some of those names have played or recorded with Aerosmith before, while others are younger acts who list the band as a major influence. More guests and surprise appearances are promised in the coming weeks. The lineup will change from night to night, with final lineups confirmed at or near showtime and subject to change.
Citi cardmembers get first crack at tickets through the Citi Entertainment program, with a presale running from 10 a.m. PDT Thursday, Oct. 8, to 10 a.m. PDT Friday, Oct. 9. More details here. More presales will run through the week, and the general on-sale opens at 10 a.m. PDT on Saturday, Oct. 10. Further information can be found here.
VIP upgrades will also be offered, though contents depend on the package. Options include entry to a pre-show Aerosmith VIP lounge, a limited-edition jacket, an exclusive VIP t-shirt and early venue entry.
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