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Lzzy Hale discusses a brand-new exhibit at the Rock and Roll Hall of Fame, opens up about covering Soundgarden and reflects on Back to the Beginning. Continue reading…

TEG Live announced today that Arizona rock icons Jimmy Eat World will tour Australia this December, celebrating the 25th anniversary of their seminal album Bleed American. The tour will visit Sydney, Melbourne, Adelaide and Brisbane this December, marking the band’s first Australian headline tour since 2017 and the final performances anywhere in the world celebrating […]

MOUTH BREAKER’s new EP “MoshUp” will be out in September.

The post MOUTH BREAKER Welcome Nathan James For “2FACED” Music Video appeared first on Theprp.com.

Ramones Productions, Inc. and Hollywood Forever have announced the official Ramones 50th-anniversary tribute, taking place on the evening of August 30, 2026, at Hollywood Forever Cemetery in Los Angeles. The event will serve as the first milestone celebration commemorating 50 years since the release of the Ramones’ self-titled debut album and will be hosted by screen icon John Travolta.

The centerpiece of the evening is the inaugural live performance from Cretin Family — a supergroup comprising Tim Armstrong (Rancid), Billie Joe Armstrong (Green Day), Travis Barker (Blink-182) and CJ Ramone (Ramones), along with special surprise guests — playing a set of Ramones songs. The night will also feature a double-feature screening of the 50th-anniversary deluxe edition of Carrie and Travolta’s new film Propeller One-Way Night Coach, a guest DJ set from Shepard Fairey, and proceeds benefiting David Agus MD Cancer Research at Ellison Institute.

Linda Ramone said: “I’m excited to celebrate the best band ever with Ramones fans from all over the world, and to welcome our new generation of fans. See you at Hollywood Forever. Hey Ho, Let’s Go! Gabba Gabba Hey!”

John Travolta added: “Two years ago, I had the pleasure of experiencing the Hollywood Forever Johnny Ramone tribute for the first time. It was a blast, and I want to return again for the Ramones tribute! With showing something new, my directorial debut, ‘Propeller One-Way Night Coach.’ And something old, the 50th anniversary of original ‘Carrie.’ It is going to be a fun night. See you there!”

Tim Armstrong said: “From the moment I first heard the Ramones, music was never the same. They are my favorite band of all time! I can’t wait to play those great and perfect Ramones songs with my friends CJ, Travis and Billie. It’s gonna be wild!”

Billie Joe Armstrong said: “The spirit of the Ramones is alive in every backyard punk show, punk club and festival. Generation after generation of cretins and weirdos become Ramones lovers. Kids are influenced by the Ramones and they don’t even know it yet. ¡Viva Ramones!”

Travis Barker said: “The Ramones are the blueprint. Punk rock wouldn’t be what it is today without them. I’m honored to celebrate 50 years of one of the greatest bands ever!!!”

CJ Ramone said: “This is gonna be the biggest celebration of the Ramones anyone has seen for a long time!!!”

With the release of Ramones in 1976, the Ramones ignited the punk rock revolution. Fast, loud and relentless, Joey Ramone (vocals), Johnny Ramone (guitar), Dee Dee Ramone (bass) and Tommy Ramone (drums) cut through the era’s excess with a brash attitude and a set of songs — “Blitzkrieg Bop,” “Judy Is A Punk” and a dozen other short, combustible, groundbreaking blasts — that were like nothing else at the time. Rolling Stone named Ramones the No. 1 greatest punk album of all time this year, writing: “Punk rock started in 1976 in New York, when four cretins from Queens came up with a mutant strain of blitzkrieg bubblegum. The revolution they inspired split the history of rock & roll in half.”

Ahead of the tribute, Rhino will release a limited-edition first-time picture disc pressing of Ramones on July 17 and a 2LP colored edition of Ramones Live At The Roxy, 8/12/76 on July 31 as part of its Spirit Of ’76 campaign. Tickets for the official Ramones 50th-anniversary tribute are available now here.

The post BILLIE JOE ARMSTRONG, TRAVIS BARKER, TIM ARMSTRONG & CJ RAMONE Form CRETIN FAMILY Supergroup for Official RAMONES 50th-Anniversary Tribute appeared first on Sonic Perspectives.

Trent Reznor has built a career on making people feel uneasy — first with Nine Inch Nails, then as one of Hollywood’s most decorated composers alongside Atticus Ross — but in a conversation with Rick Rubin on the latter’s Tetragrammaton podcast, Reznor got candid about the two records that rewired his brain before any of that started: a taboo Kiss album that felt like it could get a 13-year-old grounded, and a Frank Zappa record so strange he didn’t understand what he was hearing. Between the two of them — and a Billy Joel album he didn’t even ask for — you can hear the entire blueprint for how Reznor thinks about music today.

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Scott breaks down the latest up to the minute hard rock and metal news on the Metal Breakdown Daily, which drops every weekday morning. Download the free Loaded Radio App on Apple iOS and Google Play to stream it live.

Kiss, Not Concert Piano, Set the Course

Long before Nine Inch Nails, Reznor was a gifted piano student. He told Rubin his teacher had floated the idea of a concert-pianist career — a path built on, in Reznor’s words, endless practice and hard work that “didn’t sound like it was any fun.” What did sound fun was Kiss.

Kiss has come up plenty on Loaded Radio before, including in our breakdown of the most influential metal bands that actually built the genre, where the band’s outsized theatricality and brand-building get their due.

As a 13-year-old, Reznor found the band’s world irresistible precisely because it felt dangerous. “It was exciting, it was taboo, it felt larger than life,” he said, recalling that even owning 1974’s Hotter Than Hell felt like it “might get you in trouble.” That combination — spectacle, danger, and a sense that this was somehow forbidden — was enough to settle the question for him. “It just clicked that I want to be in a band,” he told Rubin. “I want to do that.”

Check Out – 13 Perfect Metal Albums With Zero Skips

The Zappa Record He Didn’t Understand — And Couldn’t Stop Thinking About

The real hinge point in the story, though, is Frank Zappa. Reznor described walking into National Record Mart, the mall record store 15 minutes from where he grew up, and hearing something playing over the store speakers that stopped him cold. It was Zappa’s 1979 album ‘Sheik Yerbouti’ — a record dense with profanity, which the store displayed on the counter as a kind of warning label while it played. “I don’t understand what I’m hearing, but wow, man,” Reznor remembered thinking.

It’s a small detail, but it tracks with everything we’ve covered about where Reznor’s head is at these days, including his recent on-record uncertainty about whether Nine Inch Nails will keep touring at all.

It’s a small detail, but it maps directly onto how Reznor still operates: Nine Inch Nails has never been a band interested in immediate, easy comprehension. The confusion was the hook.

Also – Judas Priest’s Enduring Legacy: 13 Fascinating Facts About The Heavy Metal Gods

The Billy Joel Album He Didn’t Choose

Reznor’s musical education got a third, unlikelier contributor: the Columbia Record Club, the mail-order subscription service that lured customers in with a cheap introductory deal, then started shipping full-price albums it decided they’d probably like. One of those was Billy Joel’s ’52nd Street’, which Reznor said he didn’t even want. “I listened to the shit out of it because I’d paid full price for it,” he told Rubin, adding that repetition made him actually absorb the record — “there’s some Barry Manilow in there along the way,” he joked about the ripple effects.

Rubin suggested the forced repeat-listening probably made Reznor a better songwriter, and Reznor agreed, drawing a direct line to how differently people consume music now. “In today’s era of hitting skip, or shuffle, you miss that learning curve,” he said. “A lot of my favorite albums I didn’t understand at first.”

A More Recent Influence: Cronenberg’s Dead Ringers

Reznor’s list of formative influences isn’t frozen in the 1980s. Earlier this year, he pointed to David Cronenberg’s psychological thriller Dead Ringers as a major touchstone for the atmosphere he chases in his own music, praising “the incredible sense of dread from the first frame to the end.” He described the feeling in blunt terms: “You’re not sure what’s going to happen, but it’s going to be bad. Love it. It’s been a big inspiration for what I try to do with Nine Inch Nails. Make you feel bad. The whole time.”

That instinct for dread shows up all over the Reznor/Ross scoring catalog too — see our coverage of their score for David Fincher’s ‘The Killer’ for another example of the duo chasing that same unsettled feeling on screen.

Taken together — a forbidden Kiss record, a baffling Zappa album, an unwanted Billy Joel record played into the ground, and a decades-later Cronenberg film — it’s a strange but coherent set of ingredients. It’s also a reminder that Reznor’s entire catalog, from Pretty Hate Machine to his and Atticus Ross’s Oscar-winning score work, was built by someone who was trained to sit with confusion rather than skip past it.

We Recommend – Grunge’s Grunge-iest: 13 Bands That Defined the Genre

TL;DR

• Reznor’s piano teacher suggested a career as a concert pianist — he chose Kiss instead
• Kiss’s ‘Hotter Than Hell’ felt “taboo” and “larger than life” to a 13-year-old Reznor
• A single spin of Frank Zappa’s ‘Sheik Yerbouti’ at a record store confused and hooked him
• The Columbia Record Club accidentally forced Billy Joel’s ’52nd Street’ into his rotation — and into his songwriting
• Reznor recently cited David Cronenberg’s Dead Ringers as a direct influence on the “dread” in his music

FAQ

What’s the album that rewired your brain as a teenager — Kiss-level danger, or something you didn’t understand until the tenth listen? Drop it in the comments. Follow Loaded Radio for daily rock and metal news.

The post Nine Inch Nails’ Trent Reznor: Kiss Made Him Rebel, Frank Zappa Rewired His Brain appeared first on Loaded Radio.

That new track is expected out next week.

The post Bury Tomorrow Launch Their Own Label DEA†H RECORDS, Tease Impending New Single “Sx” appeared first on Theprp.com.

“Lyrically, it’s about being pushed into a personal war with someone who thinks they know who you are.”

The post Lifesick’s “At War With You” Music Video Arrives Online appeared first on Theprp.com.

Metalheads,

es ist soweit! Die letzten Resttickets für das W:O:A 2026 sind im Verkauf! 

Wir nähern uns nicht nur mit großen Schritten dem Festival, sondern auch dem Sold Out. 

Wer jetzt noch beim Jubiläum dabei sein möchte, der sollte sich beeilen.

Die letzten Tickets gibt es hier!

Wir halten euch ab jetzt regelmäßig zum Status auf dem Laufenden.

Euer
W:O:A Team 

Der Beitrag Endspurt – Die letzten Tickets für das W:O:A 2026 sind im Verkauf! erschien zuerst auf Live, laut, legendär!.

Album Review: Undertakers – Global Dominion

Reviewed by Eric Clifford

“For the Ugly and Unwanted, this is Grindcore”. So far as album titles go, Brutal Truth essentially nailed the perfect one when they gifted a live album with that one. It encapsulates and underscores what the genre is about, a white-hot supernova of rage and resentment aimed at an unforgiving society that strangles each breath you try to take. Every time I listen to a grind album, that title and the standard it implies springs into mind like an obligation: how much does this album feel like it would disassemble civilisation overnight if it could? How much does it take the boiling negativity that splays throughout you like an ache and free-fire it back at the world? If there is any pain to you, any fear, any unavenged injuries gnawing at your mind, can this album howl out that unspoken need for retribution with crashing waves of speed and distortion? If the world itself feels to have done you wrong, can this album speak to that yearning need to be – if not healed – then at least made even?

Can Undertakers do that for you?

There’s a therapeutic comfort I can find within grind; the havoc of it validating every traumatic moment, every angry thought, every painful memory that I beg to be anything other than what it is. And periodically, I can find that blessed relief within Undertakers too; at their prime they shoulder the weight of my burdens, and somehow within this banquet of enraged rampage fuel I can find what passes for peace. The reaping thrust of “Collapse Control” with it’s harmonized tremolo lines slashing away over a tidal surge of blasts, threshing flesh before the floor collapses from below and we plunge into a nasty, bone-splintering breakdown. Other times are unfortunately less successful, and an occasional surfeit of basic riffs and middling tempos smothers the rage a little like sedatives (“United Front” has a few of these moments, notably from around 1.27 to about 2.06 where the momentum feels to stall a bit).

This isn’t the pure-breed grind; it’s heavily spliced with death and thrash, and the moments that the latter leaps forth to slit your throat to the spine are amongst the album’s best. “Rise of Resistance” seethes with them, latter-day Exodus riffs the likes of which would have Gary Holt smiling from an ocean away. Sinuous, full of slides and hammer on / pull off intricacies to keep the blood flowing. Similar sentiments apply to”Global Dominion” – at least in the introduction; I’m not wild about the chorus it has. It feels a bit placeholder – a simple strummed pattern with a relatively commonplace chord sequence that isn’t wildly offensive, but nonetheless feels as though more could have been done. It’s frustrating in the sense that through the release I’ll feel that connection that good grind gives me, the irrepressible urge to roll up the sleeves and begin taking heads, but then the album will every now and then dip into more lacklustre territory that takes the energy down a notch or two, and the will to kill slips away and the dull realisation that I have not yet completed the ironing crawls mundanely back into focus.

Taken in full the album is an uneven but largely satisfying ride. I think that if the band were to combat their instincts to slow down and instead speed all the way up, it would only be for the better. I love the mercenary stalk to the thrash riffs they’ve injected, and I cannot fault the evident passion behind the project – the vocalist also runs Time To Kill records, in case his love of the music should ever be held in dispute. Even so, there are just a few frustrating aspects scuffing the shine on the album as a whole. Still – lets not pretend that those irretrievably doom matters. If you like death metal, and you like grind, I can imagine you having a good time with much of Undertaker’s efforts here.

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

The post Album Review: Undertakers – Global Dominion appeared first on The Razor's Edge.

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