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The post The Alternative Number Ones: Eels’ “Novocaine For The Soul” appeared first on Stereogum.

Johnny Martin has been at it since the ‘90s, when he secured a gig with The Cunninghams and shared the stage with Foo Fighters, Radiohead, Cheap Trick, and more. As for what inspired him in the first place, Martin tells ClassicRockHistory.com, “I just wanted to learn everything, like rock, metal, new wave, punk, post-punk, funk, and disco. Even if I wasn’t a huge fan of a certain genre, I still found something fascinating, and even beautiful, within that genre that resonated with me.” After hooking up with Tracii Guns and later joining a reformed L.A. Guns, Martin’s career kicked into

The post An Interview With Johnny Martin Of L.A. Guns appeared first on ClassicRockHistory.com.

If you paid close attention to what’s happening on the Balkan post-hardcore scene, then you probably noticed that

They may have existed on the periphery of the prog world, but their influence is a fascinating example of cultural cross-fertilisation

FOR IMMEDIATE RELEASE
WORLDWIDE PANIC Featured on BraveWords With Explosive New Video for “The Greatest Villain The World Has Ever Seen”
Hard rock heavyweights Worldwide Panic are making serious noise across the metal world with a major feature on BraveWords , spotlighting their brand new video for the title track, “The Greatest Villain The World Has Ever Seen.”
The feature shines a well-earned light on the band’s latest release, a powerhouse sophomore album that’s already turning heads for its intensity, depth, and unapologetic edge. With this high-profile coverage, Worldwide Panic continue to solidify their place among the rising forces in modern hard rock and metal.
The newly released video delivers a crushing visual and sonic experience, capturing the raw energy and cinematic scope that define the album. The title track stands tall as a centerpiece, hitting hard with relentless riffs, thunderous percussion, and emotionally charged vocals that strike a balance between melody and pure aggression.
Fueled by dark themes and a fearless approach to songwriting, The Greatest Villain The World Has Ever Seen dives deep into concepts of power, corruption, inner conflict, and the blurred lines that define villainy in today’s world. It’s a record that doesn’t pull punches, blending classic hard rock grit with modern production and layered storytelling.
“This album marks an exciting time in Worldwide Panic history,” says vocalist and bassist Lane Steele. “This is a very eclectic, meaningful record. Filled with related themes and undeniable hooks, this record takes the band to new heights.”
With the backing of a respected platform like BraveWords and a release that hits as hard as this one does, Worldwide Panic are kicking the door wide open and daring anyone to step in their path.
Watch the video and read the full feature on BraveWords now: https://bravewords.com/news/worldwide-panic-releases-video-for-the-greatest-villain-the-world-has-ever-seen/

 Connect: 
https://linktr.ee/Worldwidepanic
Contact: Worldwidepanicband@gmail.com

Honesty is a strange thing. It isn’t the same as lying, but it’s not the same as truth either. A song doesn’t need truth to feel honest, just like how honesty isn’t always true. One of the best things about music is that it’s so conflicting, so personal, it’s hard to agree which song is best, let alone what passes for sincere. As an emo band, Free Throw’s career has been built upon truth-telling, on laying themselves bare, and that’s no different on ‘Moments Before The Wind’, a record defined by its consistency and quality.

On what is the band’s sixth album, vocalist/guitarist Cory Castro has written about a time of change; a time when he felt lost. He’s attempted to capture those emotions, and the results speak for themselves. It’s a strong, detailed album underpinned by the sound of a band who are sure of what they’re trying to achieve. To put this into perspective, The Beatles’ sixth album was ‘Rubber Soul’, and Bring Me The Horizon’s was ‘Amo’ – that’s how far six albums can take you. Free Throw haven’t taken that path. They still sound like Free Throw. But time cannot stand still. Even when using the same template, you cannot make the same record twice. Essentially, they’re in a maintenance phase. This is less ostentatious, older, wiser and more mature than 2023’s ‘Lessons That We Swear To Keep’ but it still explores similar terrain. While the album lacks anything mind-blowing or with real teeth, there is a high quality threshold. If nothing else, it’s reassuring that they know exactly what they’re doing.

From the moment each song starts you’ll be able to recognise the band’s approach; a feel, a tone, a warmth. It has a mood. However, they present it in different ways. Where ‘Floaroma Town’ has a jaunty flow, ‘Hero’s Grave’ is built around a plodding drum groove. It means the songs feel individual while sharing an emotional core.

The decision to co-write these songs with longtime producer Brett Romnes implies a sense of trust – an understanding of how each other work and of what the results will be. It’s a safe working relationship too, ideal for this type of record. It also taps into the recent trend toward honesty – with the viral surge of songs like Coldplay’s ‘Sparks’ and Weezer’s ‘Go Away’ appearing to be a straightforward look into someone’s psyche.

Cory Castro’s interesting lead vocals contribute to much of the band’s character. Despite having a somewhat oak-aged intonation, there’s also a youthful, pop-punk edge to the way he sings that is quite distinctive. By leaning on the ‘ay’ and ‘orr’ sounds, then propelling his voice in a different direction altogether, his phrasing often feels emotional or ungainly. It’s a compelling sound, and he uses that edge to create powerful hooks, especially for those who like vocals with a strong flavour. His vocal inflections also fit remarkably well within the scratchy yelling of songs like ‘Mike Nolan’s Long Weekend’, where the contrast adds a bit of lift.

On this record Castro encounters the problem that all elder emos face; time. If the music is based on emotional truth or tales from your diary, you must be very careful how it’s presented. An older man throwing a temper tantrum can sound crass and frightening. Thankfully, however, the tone is neatly balanced to feel hurt, but not angry. That’s an important distinction, making songs like ‘The Need For A Post-Credits Scene’ sore when it could easily have sounded nasty.

Musically, the band make the most out of their three guitarists. Songs like ‘There Will Come Soft Rains’ or ‘Floaroma Town’ intertwine their parts in small, delicate ways. While the drums are toned down in comparison to the band’s earlier records, they are still very much a part of Free Throw’s presentation, and songs like ‘For Those Who Come Home After’ and ‘Deviancy’ are powered by the rhythm section. These louche, swaggering songs have a different sense of momentum and significantly contribute to the album’s flow.

The most striking song – ‘The Need For A Post-Credits Scene’ – is  the album’s centrepiece. As a longer, more in-depth piece of storytelling, it sonically depicts an ending. Beneath an earnest vocal, the different guitar parts weave together the tale of a stable relationship until suddenly the song contorts into a heavy, messy, and surprisingly understated breakdown, as the relationship falls apart. During the first movement, the music audibly shifts as Castro sings: “Grab your keys and leave”. Yet his perspective repeatedly shifts, until he’s whispering: “When does this movie end?’” at the song’s conclusion. It’s a great encapsulation of the song, embodying the heightened realness of the situation.

In many ways, it feels strange for the group to paint an intimate portrait of a person – as is heard in the use of backing counter melodies on the rich, confident opener ‘Missing no.’. Meanwhile the stripped-back, delicately-picked guitars that back ‘This Dollar General Store Ain’t Gonna Rob Itself’ are a chance for Castro’s unconstrained honesty to shine. It’s a raw and beautiful snapshot, illustrating exactly what is going on beneath the more complex arrangements.

The final track ‘The Waters Of Life’ features a layered and interwoven pattern of guitars almost in the post-rock style of bands like TTNG. It’s a mixture of intimate and energetic, and a delightful end to the record.

Evolution isn’t always about big changes, it can also be about wisdom. ‘Moments Before The Wind’ is a great record, honestly.

IAN KENWORTHY

AFI have announced the dates of a tour of the UK to coincide with their appearances at Outbreak Fest x All Points East in London.

It’s the first set of shows that the band have played over here since 2017, when they supported Deftones. It’s their first proper headline tour since as far back as 2010.

The band will make their way through Manchester, Birmingham, Bristol, and Glasgow, and will also visit Cologne, Germany, as they pass through France for Rock En Seine.

Here is the full list of shows.

AUGUST

22 – MANCHESTER Ritz
23 – LONDON All Points East
24 – BIRMINGHAM Institute
26 – GLASGOW SWG3
27 – BRISTOL The Prospect Building
29 – SAINT-CLOUD Rock En Seine
30 – COLOGNE Live Music Hall

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We chatted with vocalist Davey Havok recently about their upcoming appearance at All Points East, touring with their friends Deftones, and so much more.

The post AFI Announce UK Headline Tour appeared first on Rock Sound.

Polevaulter: Descending Dose Recordings  Out now With a subtle change in sound, the Leeds-based noise-punk vehicle of Jon Franz and Dan Wearmouth finds a consistently fascinating, slow and sludgy mix of Death Grips and Primus to be the best version of Polevaulter yet. Between the barnstorming post-punk stompers and murky experimental noise of their debut […]

The post Polevaulter: Descending – EP Review appeared first on Louder Than War.

A warm spring night on St. Patrick’s Day in the heart of Camden. The vibrant streets are bustling with diverse crowds, grasping endless pints of Guinness as venues gear up to host some live music. At The Underworld, which has become the heart of the alternative music scene, it made sense to book Mr Irish Bastard, an awesome Celtic alternative punk rock band.

Mr Irish Bastard

The Underworld, Camden – 17 March 2026

Words And Photography: Naomi Hefter

This iconic space was buzzing as a very special band filled the stage – literally and figuratively. With their seven-piece ensemble and instant likability, tonight was Mr Irish Bastard.

St. Patrick’s Day is widely celebrated in Britain due to close cultural ties with Ireland, commercialism, and the appeal of a high-energy party. Bands from all over the country feature popular, large-scale festivities that draw both locals and those with Irish roots.

Mr Irish Bastard are no different, bringing an inclusive and spirited celebration of Irish heritage. 

This band, with its folk, street-punk, Celtic-rock combination, was formed in 2006 by the lovable lead singer himself, The Irish Bastard. Featuring instruments including drums, bass, banjo, and accordion, you might think this band is set to offer a variety of sounds. However, as soon as the band kicked off, a sprightly female member known as Kat Whistle took to the stage.

Injecting high energy into the crowd, playing the tin whistle, Kat added a ‘certain something’ to the band. Her presence and energy were infectious. Playing what could be considered a modest instrument, she performed with passion, devotion, and soul. Whether bounding around other band members while she played or stepping up onto the speakers that made the crowd roar, she certainly lit up the room.

Musically, Mr Irish Bastard are influenced by bands like The Pogues, Flogging Molly, and Dropkick Murphys, as well as classic punk and ska bands. With songs such as Kingdom Of The Sun, We Are The Drunks, and All My Friends Are C**ts, this band deliver a rowdy Celtic rock style, punk-energy fusion genre that blends traditional Celtic folk music with the aggressive, fast-paced sound of old school punk rock.

These songs incorporated themes of working-class pride, Irish heritage, and rebellion, so it only made sense when Mr Irish Bastard suddenly hit the crowd with the iconic Sex Pistols number, Pretty Vacant. The entire show did not drop energy or allow slower, more reflective moments – with no complaints!

Even with more sombre subjects, with songs like Mike Malloy and Murder In An Irish Pub, the energy, laughter and joy did not stop.

With just one song remaining, the band launched into I Hope They Sell Beer In Hell! Arguably their most famous and popular track, it boasts nearly four million streams on Spotify. With sing-along lyrics, this was a roof-raising anthem that united the room.

Not only did this belter initiate couples and strangers to clasp each other’s elbows and spin around, but there was a sense of community in the air. Everyone felt like they had been invited into the world and right into the homes of this infectious, vivacious and outlandish band.

Mr Irish Bastard are not just for St. Patrick’s Day, they are for life! 

You can still see Mr Irish Bastard live on tour. Grab a ticket now.

The post Mr Irish Bastard Ignite The Underworld on St. Patrick’s Day first appeared on MetalTalk – Heavy Metal News, Reviews and Interviews.

One month prior the release of their A Cry For The Slain full-length, Scotland’s Cnoc An Tursa have debuted the third single in advance titled “Am Fear Liath Mòr”.
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