Soundgarden reunited onstage earlier this month, though networks carrying the NFL game cutaway for their own programming during the group’s set.
The post Soundgarden Share Official Footage From Their Recent Halftime Show With Taylor Momsen & Mike McCready appeared first on Theprp.com.
Carmine Appice was there at the beginning of hard rock. “I saw the whole thing grow,” says the man whose granite-heavy drumming in proto-metal pioneers Vanilla Fudge helped define the sound of an entire genre, influencing everyone from John Bonham down. “Now all the drummers from back then are gone, but I’m still here.”
The once jet-black hair may be an elegant, swept-back silver-grey, and the heroic bullhorn moustache he once sported is a little more dapper these days, but the 79-year-old New Yorker is as garrulous as ever. He’s talking to Classic Rock in the Big Apple, where he’s playing a show later with the current incarnation of Vanilla Fudge.
He juggles that band with the resurrected version of his 70s blues-rock trio Cactus, whose new album, Temple Of The Blues II, features an all-star cast of musicians including Dee Snider, Ted Nugent, Pat Travers, Ron ‘Bumblefoot’ Thal and many others. “You gotta keep busy,” Appice says, not unreasonably.
Vanilla Fudge and Cactus are just two of the names on a resumé that includes 70s supergroup BBA (alongside Jeff Beck and Tim Bogert), Rod Stewart’s band (Appice co-wrote Rod’s monster disco-rock hit Do Ya Think I’m Sexy?), Ozzy Osbourne (briefly), 80s hard rockers King Kobra and Blue Murder, and a head-spinning list of collaborations.
There’s just one thing to clear up: how to pronounce his surname. “It’s ‘A-piece’,” he says. “I was Carmine ‘A-piece’ for years, everything was good. Then my brother Vinny [ex-Black Sabbath/Dio drummer] came out, and he was Vinny ‘A-pice-y’. So I’ve spent the last forty years explaining it to people. Thanks, Vinny.”
What was the scene like in New York when you were starting out in the sixties?
I played a lot of clubs. I played opposite Jimi Hendrix when he was Jimmy James. He’d say: “I wanna make it.” Me, I didn’t really want to make it. I just wanted to make a living. My drum teacher made a good living. He had a house, he had a drum room, he had a Cadillac. That was a good life in those days in Brooklyn.
How good was Hendrix back then?
He was great. When I saw pictures of this new guy Jimi Hendrix, with the big hair, playing with his teeth, I said: “That’s Jimmy James. Finally, he’s got his wish.”
How did you come to be in Vanilla Fudge?
I was playing in a club one time and these two guys walk in. It was [Vanilla Fudge keyboard player/vocalist] Mark Stein and [bassist] Tim Bogert. They said: “We’re doing this new kind of music and we’re looking for a drummer who can sing, who’s got a right foot, who’s technically good.” They said: “We got this guy who’ll pay us a hundred dollars a week just to record and make it.” I said: “I dunno. I’m making two-fifty to three hundred a weekend.” But I went to hear them and they were great. So I started working with them, and that was a life-changing decision.
Where did you get the idea to play drums so hard and loud?
No PAs. That simple. I beat the hell out of the drums so I could be heard. The bass drum was so small, so I figured if I got a bigger bass drum it would be louder, and it was. So I made everything bigger, which was much louder. But you really had to hit them hard to get the sound out. When I met Bonzo [John Bonham], he was on a little Ringo Starr kit. When he saw my drum set he went fuckin’ crazy. He said: “I want a set like that.” I called up [drum company] Ludwig and said: “There’s this new band, Led Zeppelin, with a great drummer, John Bonham, and he wants a kit just like mine.”
Which other bands were Vanilla Fudge hanging out with back then?
There was The Vagrants, which was Leslie West’s band. Billy Joel was in The Hassles. But our manager owned a club. He was a Mafia kind of guy, so we were hanging out with mob-types.
Can you remember any of the mob guys?
Yeah, Henry Hill was one of them, the guy from the Goodfellas movie. He used to come to my house: “Hey, Carmine, I got this stuff, it just fell off a truck.” Fur coats, little colour TVs, jewellery. I bought two Revox machines [tape recorders] off him. On the market they were seven hundred dollars. I bought two of them for two hundred bucks.
Led Zeppelin’s first ever US gig was opening for Vanilla Fudge in Denver, Colorado. What did you make of them?
We knew Jimmy Page from The Yardbirds, and we had the same attorney. They sent us an acetate of the first album and we listened to it and went: “Whoah…” I heard Bonzo on Good Times, Bad Times and went: “This guy’s really good.” So we were ready for them. We became great friends. I do remember walking down the street and telling Robert Plant he should move around more.
What was John Bonham really like?
I liked John. He was a nice guy until he started drinking. The drinking made him an animal. I saw him drag a guy out of a room we were recording in. The guy was putting down Simon Kirke of Bad Company, and Bonzo said to me: “Tell your friend to be quiet or I’m gonna pull him out by his hair.” The guy just kept going, so Bonzo came over and grabbed him by the hair and dragged him out of the room and slammed the door.
Is there any truth in the rumour that you were in line to replace him in Led Zeppelin when he died?
I heard that rumour. But I never got a call. Matter of fact I was with Rod [Stewart] at the time. He said: “Are you joining Led Zeppelin?” I said: “That’s what the rumours are, I haven’t heard nothing.” He said: “There’s rumours I’m going to retire. Keep the rumours going, we’ll sell more tickets that way.”
Vanilla Fudge have never got the proper credit for being one of the first heavy rock bands. True?
Without a doubt. We influenced so many bands. We’ve never got in the Rock And Roll Hall Of Fame. Come on! I thought it was about influence. But now it’s just about bullshit. They should change their name to the Music Hall Of Fame, cos it’s not rock’n’roll any more.
Why did Vanilla Fudge split, in 1970?
We’d had some disagreements, the usual stuff. Then we did a gig with Ten Years After, the Jeff Beck Group and the Edwin Hawkins Singers. Zeppelin went up and jammed with Beck – Bonzo played the drums, and he ended up taking off all his clothes. My mother and father were there. They said: “Why would he do that?”
Anyway, that night, Bonzo said: “Jeff Beck wants to play with you and Tim.” Cactus was originally gonna be Jeff Beck, Tim Bogert, Carmine Appice and Rod Stewart, but Rod Stewart decided he didn’t want to work with Jeff any more.
Jeff was coming over to meet our managers and lawyers and put a deal together, and he got in a car wreck. It took him eighteen months to recover. We said: “We broke up Vanilla Fudge to do this; now we gotta wait eighteen months. Let’s just find some other guys.” We got [guitarist] Jim McCarty, who was a motherfucker of a player, and he brought in [singer] Rusty Day.
How was Cactus different from Vanilla Fudge?
Vanilla Fudge was like a symphonic rock band, real serious dynamics. Cactus was a party, groove, druggy band. Rusty Day was a fuckin’ druggy, crazy motherfucker. He carried knives, he carried guns, he dealt drugs, he did cocaine all the time. But his vocals and his lyrics and his songs were fantastic: Restrictions, Token Chokin’…
You eventually ended up playing with Jeff Beck in BBA. What was he like to work with?
About 1972 we got a call: “Jeff still wants to work with you and Tim.” So we gave Cactus to [keyboard player] Duane Hitchings, and me and Tim went with Jeff Beck. Most of the time it was fun, and he was an amazing guitar player, but there were some weird things. I remember BBA were on tour one time, everything’s going great, selling out everywhere, then one day we wake up and the tour manager goes: “Jeff’s gone home. He had a fight with his girlfriend.” That left a bad taste in our mouth. But we carried on.
How come BBA made only one studio album?
We tried to do a second album, but Jeff didn’t like it. I listened to some of the songs, I wouldn’t have liked it either. We continued to do gigs, but it ended when we played the Rainbow in London. We were playing like motherfuckers. But the second show, Tim was sick. Jeff said something derogatory to him, and Tim punched him in the face. That was the end of it. But if I’d never played with Jeff I would have never ended up with Rod Stewart. Playing with Rod kicked my career way up.
How much fun was it being in Rod’s band?
That was the best. I’d become really good friends with Rod when Cactus went on the road with the Faces. That’s when they were crazy – they had a bar on stage. After Cactus, I had a band called KGB with [guitarist] Mike Bloomfield, which didn’t happen. And I was asked to join Rainbow, but I couldn’t do it cos they were signed to someone else.
Then I hear that Rod’s looking for a drummer. I get a message from Rod via his tour manager, saying: “Tell Carmine to come up to the house, see if he likes the band.” Rod wasn’t there, but I knew those guys, [guitarist] Jim Cregan, [bassist] Phil Chen. Rod came back a couple of days later and says: “You got the job if you want it. Just one thing: how do you say your fuckin’ name? You’re like five different people.”
What do you remember about writing Do Ya Think I’m Sexy?, which was a big hit for Rod?
Rod would say: “I want a song like Miss You by the Stones.” I wrote it on a keyboard with a drum machine, I went to my buddy Duane Hitchings’ house, I played him the chords, we put a groove together, he wrote a bridge. So when we presented it to Rod it sounded like a finished song. He said: “Great, let’s do it.”
We did it a few different ways – great big drums, big guitars, it sounded freakin’ great. Then [producer] Tom Dowd came in and put so much other junk on it – orchestra, percussion, Linda Lewis singing the high line. We were like: “Is that gonna work?” Then it went to Number One in fifteen countries. I guess he knew what he was doing. The song made millions of dollars, I got a good lifestyle, even though I had to give half of Sexy to my freakin’ ex-wife that didn’t deserve anything.
What was Rod like back then?
He was the best rock singer and performer. His voice, his look… and he was a badass onstage. He’d get the whole audience singing. I’ve never seen anyone do that. He’d run up on the stage and jump up on the piano. I mean, come on!
And then he fired you in 1982. Why?
I don’t know, and neither does he. When I did my autobiography, he said in the intro: “I fired Carmine. Fuck knows why.” There you go. Too much drinking, too much drugging, somebody didn’t like the fact that I was the second-most popular person in the band. I don’t remember how we made up. I went to one of his weddings. By eighty-three or eighty-four we were friends again.
You joined Ozzy Osbourne’s band for the Bark At The Moon tour. Did you get on with Ozzy?
Yeah, I did. She [Sharon Osbourne] fired me. I was pissed off. I really wanted to stay in there and do what I do, which is give him a great drum sound, help write songs. After she fired me, she said my name was too big for that band; I needed to start my own band.
So that’s what I did [with King Kobra]. I bought a motorhome, a truck and a van to tour in. Funny enough, we were painting the motorhome white in this rehearsal place where Ozzy was rehearsing for drummers. Ozzy came up and said: “I know you and my missus have a problem, but I know we can be friends.” I’m up on this little scaffold, taping up the windows so they wouldn’t get sprayed on. He gets up there, and we’re both taping up these windows. He was a nice guy.
You’re still recording and playing today. What keeps you doing it?
It’s boring just sitting around doing nothing. I like doing stuff. I like creating music. I just got asked to do the drums for Captain Kirk’s spoken-word album, William Shatner. I’m gonna do Crazy Train. I know how to do that cos I played with Ozzy for nine months.
Rank these rock drummers in order of greatness: John Bonham, Keith Moon, Ginger Baker, Carmine Appice.
Oh god, that’s hard. We’re all so different. Bonzo was great cos the band was great – they kept him up there. If he was in another band, I don’t know if he’d have stayed up there. Ginger Baker was there at the beginning of rock with that double bass drum. Keith Moon was just so unusual. I took what I did and made it really powerful. And I’d add Dino Danelli from The Rascals. He started everything in rock drumming – the playing, the showmanship, the twirling. He was a monster player and never got credit.
If you were starting out now, what advice would you give the younger version of yourself?
Get a regular job. I really don’t know what it takes to make it today. I’m really lucky, I’m still here, I’m still doing it in my eightieth year. I got muscle pains, some of my speed has gone, but I still do it.
The new album from Cactus, Temple Of Blues II, is out now via Cleopatra.
Following the acclaimed success of their 2024 debut No Hill For A Climber, Neal Morse & The Resonance return with their highly anticipated second studio album, River of Light, a powerful and deeply personal progressive rock journey, set for release on November 27th, 2026. To mark the announcement, the band are launching the video for the first single “Walk On Water”.
When Neal Morse first announced Neal Morse & The Resonance in 2024, fans and critics were surprised to see the celebrated prog rock visionary collaborating with a group of exceptionally talented yet relatively unknown musicians. The resulting album, No Hill For A Climber, was met with overwhelming praise, showcasing a fresh creative chemistry that resonated strongly with audiences worldwide.
Now, just two years later, the band continues that journey with River of Light, an album that expands upon the musical and spiritual foundations established by its predecessor.
Reflecting on the project, Morse explains: “Following the success of No Hill For A Climber and some really great live shows in the summer of 2025, we knew that we wanted to make more music together. We started kicking around ideas in October 2025 and ended up spending much more time on this record. At one point it looked like it might become a double album because we had so many ideas. Eventually, we trimmed it down to a single album, and I think it works great.”
At its core, River of Light is a concept album centered on a spiritual journey, a theme familiar to Morse’s longtime fans. This time, however, the inspiration comes from the often-overlooked biblical figure Terah, the father of Abraham.
“Terah signifies someone who begins a journey with God but gets tired and allows sadness and resignation to keep them from going all the way,” says Morse. “However, his son completes the journey.”
Musically, River of Light represents a true collaborative effort. While Morse remains the band’s creative anchor, the album highlights the significant contributions of guitarist Andre Madatian and vocalist Jonny Bisaha, whose influences bring a fresh energy and perspective to the material.
“On this album, you can really hear what these guys have brought to the table,” Morse says. “Partly because of their ages, they’re influenced by bands like Rush and 90s rock, which I think is really cool. We had so many ideas that simply fitting everything together and creating the right flow became a challenge in itself.”
River of Light will be available as a Limited 2CD Digipak (featuring a second disc of instrumentals), Standard CD Jewelcase & Digital Album, and is available to pre-order now here.
The post NEAL MORSE & THE RESONANCE Continue The Journey With “River of Light” & Shares New Single “Walk On Water” appeared first on Sonic Perspectives.
Greetings, Decibel readers!
Really excited to present the five albums below. If you’re looking for great black metal, high-quality speed metal, industrial metal royalty, or something to just vibe to in a dark cavern (the first one on the list), we’ve got your weekend covered.
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Ominous, foreboding, and cinematic all at once — Death.Void.Terror embody everything we mean when talking about “atmosphere” in extreme metal. Their presence in the Swiss Jünger Tumilon provides a contrast to more immediate work of bands like Ungfell, Ateiggär and Kvelgeyst, one that makes them an essential, expansive and exploratory voice in modern black metal.
Stream: Apple Music
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And thus the long story of one of industrial metal’s titans comes to a close. Although Justin Broderick has plans to “move on creatively with heavy/ugly music to new ground,” it will be a loss to no longer look forward to new noise under the Godflesh banner. On the other hand, there’s a definite dignity in Broderick closing the book: “it has to reach a point where enough is enough. Creatively, there has to be self-discipline. One has to end it.”
Stream: Apple Music
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Straightforward Norwegian black metal in the modern, well-produced 2000s style. Definitely check out Iskald if you’re in the mood for something that blends Kampfar, Blodhemn-era Enslaved, and Windir with the folk elements dialed back.
Stream: Apple Music
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We at Decibel have been hot on the trail of Slovakia’s Krolok for a long time now, and so it’s gratifying to witness their path leading to still greater heights! The band’s mastery comes in how they put songs together, creating a story with every riff, every groove, and every beat. Oh, speaking of beats, they remember to use two-step beats, like on the excellent Súľov, mixing it up with single- and double-kick techniques. It’s easy to win me over with that.
Stream: Apple Music
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The past is alive, specifically the mid-1980s. Skumstrike first struck their deadly blade into the scene in 2022 with Deadly Intrusions, and this new album sharpens the blade ever more into a finely-honed instrument of deathy speed-metal extremity. When it comes to this style, we don’t need innovation or ground-breaking exploration — we need to keep the eternal fires burning!
Stream: Apple Music
The post Five For Friday: September 25, 2026 appeared first on Decibel Magazine.
A shadow flickers across a wall. Footsteps echo through an empty corridor. A voice seems to emerge from a place where no one stands. Ghost stories have haunted human imagination for centuries, yet their enduring appeal raises an intriguing question. Why are people so fascinated by tales designed to frighten them?
The answer lies deeper than simple entertainment. Ghost stories transform invisible anxieties into visible forms, allowing audiences to confront fear, loss, memory, and uncertainty through narrative. Whether encountered around a campfire, inside a Gothic novel, or on a cinema screen, they continue revealing something important about the human mind.
Stories about spirits existed long before Gothic literature emerged. Ancient cultures throughout the world developed legends involving restless dead, supernatural visitations, and encounters with the unknown.
The Gothic tradition transformed these tales into something more psychologically complex. Beginning in the late eighteenth century, writers such as Horace Walpole, Ann Radcliffe, and later Mary Shelley created fictional worlds filled with hidden secrets, mysterious settings, and emotional tension. Supernatural possibilities became tools for exploring fears that could not easily be discussed directly.
This literary shift occurred during a period when traditional beliefs increasingly collided with scientific progress and rational thinking. As society changed, ghost stories evolved as well. Rather than functioning solely as supernatural warnings, they became vehicles for exploring guilt, memory, repression, and uncertainty.
In many Gothic works, the haunting itself matters less than what it represents. Ghosts frequently appear where secrets have been buried, crimes concealed, or emotional wounds left unresolved. The supernatural becomes a visible expression of something hidden beneath the surface of ordinary life.
This psychological dimension would become one of the defining characteristics of the modern ghost story.
One of the most influential explanations for the appeal of ghost stories comes from Sigmund Freud’s concept of the uncanny.
Freud described the uncanny as the unsettling sensation that occurs when something familiar suddenly becomes strange. A house appears ordinary until an unexplained sound echoes from an empty room. A reflection seems slightly wrong. A familiar face appears where it should not exist.
“The uncanny is that class of the terrifying which leads back to something long known to us, once very familiar.”
— Sigmund Freud, The Uncanny
Ghost stories thrive within this psychological territory. They rarely transport audiences to completely alien worlds. Instead, they introduce disturbances into familiar environments, making the impossible feel disturbingly plausible.
Carl Jung approached the subject from a different perspective. He believed stories often express hidden aspects of the psyche through symbolic figures and archetypes. Ghosts can function as manifestations of the Shadow, representing emotions, regrets, fears, and desires that individuals struggle to acknowledge consciously.
Viewed through this lens, ghost stories become more than supernatural entertainment. They become explorations of the hidden self, revealing psychological tensions that continue influencing behavior long after they have been suppressed.
Although ghost stories appear throughout the world, different cultures shape them according to their own values, fears, and beliefs.
In Japanese folklore, spirits often remain connected to unfinished emotional obligations. Traditional ghost stories frequently emphasize memory, duty, and the consequences of unresolved actions. The supernatural becomes closely tied to social responsibility and emotional balance.
Mexican folklore offers the enduring legend of La Llorona, the Weeping Woman. Her endless search for lost children transforms grief and regret into a haunting presence that continues across generations.
Irish traditions include stories of the Banshee, whose mournful cry announces approaching death. Rather than focusing solely on fear, these tales often reflect cultural attitudes toward mortality and loss.
Despite their differences, these stories perform a remarkably similar function. They transform difficult emotions and unanswered questions into narratives that communities can understand, share, and preserve.
The universality of ghost stories suggests that the fascination with haunting may be rooted in fundamental aspects of human psychology rather than any single cultural tradition.
Few ghost stories demonstrate the psychological power of ambiguity more effectively than Henry James’s The Turn of the Screw.
The novella follows a governess who becomes convinced that malevolent spirits are influencing the children in her care. Yet James never provides definitive proof that the ghosts actually exist.
This uncertainty is precisely what makes the story so unsettling.
Readers are forced to confront two equally disturbing possibilities. Either supernatural forces are genuinely present, or the narrator’s perceptions cannot be trusted. Neither explanation provides complete certainty.
James understood that fear often emerges not from what is known but from what remains unresolved. By refusing to answer the story’s central question, he forces readers to participate in the haunting themselves.
The novella remains one of the most influential ghost stories ever written because it reveals a psychological truth that continues shaping supernatural fiction today: uncertainty is often more frightening than certainty.
If ghost stories are designed to frighten us, why do so many people actively seek them out?
Part of the answer lies in the way fiction allows audiences to experience fear safely. Readers and viewers can confront unsettling situations without facing real danger. This creates a unique emotional experience in which anxiety becomes engaging rather than overwhelming.
Ghost stories are particularly effective because they focus on psychological fear rather than physical threat alone. A ghost may never attack anyone directly, yet its presence can transform an ordinary environment into something deeply unsettling.
A dark hallway, an empty room, or an abandoned house suddenly acquires new meaning. The familiar becomes uncertain. The mind begins searching for explanations, often creating fears more powerful than anything explicitly shown.
This process helps explain why ghost stories remain effective even when very little actually happens. Their power often comes from anticipation rather than action, from suggestion rather than revelation.
The audience becomes an active participant in the haunting, filling empty spaces with personal anxieties and imagined possibilities.
The transition from literature to cinema expanded the reach of ghost stories while preserving many of their psychological foundations.
Classic literary works such as Charles Dickens’s A Christmas Carol, M. R. James’s supernatural tales, and Shirley Jackson’s The Haunting of Hill House demonstrated that ghosts could serve purposes far beyond simple scares. They became vehicles for exploring guilt, memory, isolation, and emotional conflict.
Film introduced new methods for creating similar effects. Directors could use shadows, silence, framing, and sound design to generate uncertainty in ways unique to the visual medium.
Jack Clayton’s The Innocents, adapted from The Turn of the Screw, remains one of the finest examples. Much like James’s novella, the film refuses to provide clear answers. Viewers are left questioning whether supernatural forces truly exist or whether the horror originates within the characters themselves.
Alejandro Amenábar’s The Others uses isolation, darkness, and restricted perspective to create a similar effect. The film’s power comes not from constant apparitions but from uncertainty and emotional tension, allowing the audience to experience the same confusion as its protagonists.
M. Night Shyamalan’s The Sixth Sense transformed ghost stories for modern audiences by shifting attention away from spectacle and toward emotional resolution. Its spirits are frightening, but they are also deeply connected to grief, regret, and unfinished relationships.
These works demonstrate that the most effective ghost stories often use the supernatural as a framework for exploring human psychology rather than as an end in itself.
Far from disappearing, ghost stories have experienced a remarkable revival in recent decades.
Contemporary creators continue adapting traditional supernatural themes to address modern anxieties. Isolation, grief, trauma, fractured identities, and the lingering effects of the past frequently appear within today’s ghost narratives.
Series such as The Haunting of Hill House and The Haunting of Bly Manor demonstrate how supernatural stories can function simultaneously as ghost tales and psychological dramas. The apparitions remain important, but the emotional experiences of the characters often prove even more significant.
This evolution reflects a broader shift within modern horror. Rather than focusing exclusively on external threats, many contemporary ghost stories explore internal struggles and emotional wounds.
The ghost becomes a symbol of something unresolved, transforming supernatural fiction into a powerful vehicle for exploring memory, trauma, and loss.
In this sense, modern ghost stories remain surprisingly close to their Gothic ancestors. Both use haunting as a way of revealing truths that characters would prefer to keep hidden.
Ghost stories have survived for centuries because they speak to fears and questions that never fully disappear.
They explore mortality, memory, guilt, grief, and the unknown. They transform abstract anxieties into narratives that audiences can experience, examine, and understand.
Unlike many forms of horror, ghost stories rarely depend on violence alone. Their power comes from uncertainty. A ghost is unsettling because it exists between categories: life and death, presence and absence, memory and reality.
This ambiguity allows ghost stories to adapt across generations. Victorian readers found reflections of their fears within haunted houses and mysterious apparitions. Modern audiences encounter ghosts connected to trauma, isolation, and unresolved emotional experiences.
The settings may change, but the psychological foundations remain remarkably similar. Ghost stories continue haunting the imagination because they confront mysteries that resist easy answers while revealing truths about the human condition.
As long as people continue wondering about death, memory, loss, and the unknown, ghost stories will always find new audiences.
If you are fascinated by Gothic literature, haunted histories, supernatural folklore, and the psychology behind ghost stories, explore the Edgar Allan Poets store for apparel inspired by mystery, darkness, and classic Gothic culture.
Ghost stories allow people to explore fear, mortality, memory, and the unknown in a safe environment while confronting emotions that often remain difficult to discuss directly.
Many psychologists believe ghost stories help people process uncertainty, grief, guilt, and hidden fears by transforming them into symbolic narratives.
Freud’s concept of the uncanny explains how ghost stories create fear by making familiar environments suddenly feel strange, unsettling, and psychologically uncertain.
Although details differ, ghost stories often address universal concerns such as death, memory, loss, morality, and the fear of the unknown.
Modern ghost stories continue adapting to contemporary fears while preserving the psychological themes that have fascinated audiences for centuries.
The post The Psychology of Ghost Stories appeared first on Edgar Allan Poets – Noir Rock Band.
In 1976, four kids at Dublin’s Mount Temple Comprehensive School got together to start a band. The 14-year-old Larry Mullen., Jr. posted that he was looking for musicians on the school’s notice board, and he and some of his classmates had their first practice in his kitchen on Sep. 25. The young band called themselves Feedback and then the Hype before changing their name to U2. Within about a decade, they became one of the biggest acts on the planet. Yesterday, U2 marked their 50th anniversary as a band by announcing their new album Carnaval de Luz. Today, they played a secret gig at the school where it all started.
The post U2 Play Their Old High School On 50th Anniversary Of Their Formation appeared first on Stereogum.
Landing in January.
The post Clutch Unveil Their New Album “Wasted Lands” And A Music Video For Its Title Track appeared first on Theprp.com.