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US veteran thrashers Forbidden have announced ‘Chaos By Design US’ tour, to be executed this coming autumn. Heathen and Void will be joining them as support on this trek.
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Ashley Hutchings co-founded three leading groups of Britain’s folk-rock movement – Fairport Convention, Steeleye Span and The Albion Band. In 2022 he released his 100th album, and although health issues forced him off the road in 2025, his achievements remain admired among other artists. In 2016 Hutchings told Prog about the energy that drove him to keep creating.

‘‘If you like, I’m semi‑retired,” Ashley Hutchings tells Prog. He’s gigging with his admirable current record, From Psychedelia To Sonnets, from church halls to festivals; prepares for the Cropredy Convention’s Fringe Festival; continues his catalogue reissue programme. and works on yet another album. Imagine what he was like when he was full-time.

At 71, the man who did more than almost anyone to lay the foundations of modern-day folk music may say he’s slowing down. But his unquenchable instinct to continue exploring the nooks and crannies of real music still fuels him, just as it did when he heard Heartbreak Hotel, released in the week he turned 11.

Or, indeed, when he helped to make perhaps modern folk’s finest hour, Fairport Convention’s 1969 masterpiece Liege & Lief; or when he recorded with his cherished 2004-2010 project the Rainbow Chasers; or won his MBE for services to music in 2015.

In the broadest sense of the word ‘progressive,’ Hutchings is an unassuming overlord, who gets as much pleasure from seeing his son, Blair Dunlop, making great strides in his own career in roots music as he has from any of his own formidable achievements. On his new website – a comprehensive and entertaining companion to his 50-year career – Hutchings is described by his late former Fairport bandmate Sandy Denny as “stern but always kind, strict but generous, wise… a bit like God”.

At Cropredy and subsequent shows, Hutchings will recreate From Psychedelia, a delightful melange of readings and songs, with accompaniment by Becky Mills and Ruth Angell. It’s the live embodiment of his book Words Words Words, and he’s having a great time performing it. “It’s the kind of thing that I love to do now, because it’s not like lugging amplifiers about and organising a band,” he says. “I’ve been a bandleader ever since I was at school. I’ve never not had a band since I was 15. So there’s a spring in my step.

“I did one of these shows a few months ago and Robert Plant walked in, sat at the back, and loved it. My sound man said that you could see his brain ticking away, thinking, ‘I should do this.’ So hey, I’m at the forefront again. That’s what I like.”

The Psychedelia project is also fuelled by Hutchings’ determination to realise some long‑time goals. “Two and a half years ago, I was hit by a series of disturbing illnesses and ailments,” he says. “The worst was that I had to travel to gigs horizontally. I couldn’t sit down properly. But the good thing was that I realised, ‘Uh-oh, I’m now old. What do I want to do before I go?’

“So I made a list. There were about six things on it, and I’ve ticked off five of them. One was the book, which is my selection of my best song lyrics, poetry and album sleeve notes. Then getting [1987 landmark release] Gloucester Docks out again, because I love that album – I think it’s possibly my best, and it had just not been available. So we did, and it got some great reviews.”

Psychedelia and its live counterpart delve back long before psychedelia itself, with recurring autobiographical themes of rock’n’roll. “The first thing that ever made any impression on me was hearing Elvis Presley on Radio Luxembourg – that classic ‘under the bedclothes’ thing,” Hutchings says. “I was very lucky; living in London, I went to loads of shows. Eddie Cochran was one of my favourites, and I saw him at the Astoria, Finsbury Park, in 1960, just before he died.

“I saw the Everly Brothers with just Phil, when Don was ill, and Phil only knew the harmonies, and it was wonderful. And the package gigs, The Ronettes with the Rolling Stones, all that kind of stuff. The Beatles with Brian Matthew on Saturday Club, we heard them and it blew our minds.” Even then, the route towards folk was circuitous. “I got very deeply into the blues, formed a blues band and saw loads of great people like Howlin’ Wolf, Jimmy Reed, Sonny Boy Williamson,” he explains. “Then I got into Bob Dylan and folk.”

The year was 1966. “We settled on starting to think about forming Fairport,” he recalls. “I met Simon Nicol, and really got into American singer-songwriters – met Joni Mitchell, met Leonard Cohen, one-to-one, and was very influenced by them, and then we were up and running.”

Suddenly Sandy Denny’s not the clumsy person of a few seconds ago, but an angel with a voice to match

It took Fairport quite some time to become themselves, as Hutchings freely admits. “When we started in ’67, we were kind of copying the Americans. It’s a wonder we had the success we did. But John Peel got behind us, and a lot of other people, and then by the second album – third album, certainly – we were starting to get folkier. It certainly wasn’t a question of ‘Sandy Denny joined the band and suddenly we were folky.’ or even Dave Swarbrick.

“Richard Thompson, Simon and myself, and initially Judy Dyble, always went to folk clubs – it was part of the DNA. But it dawned on us when we got to ’69 that we couldn’t carry on being American-influenced. By then I’d met The Byrds and talked to Gram Parsons in Rome, when he’d just joined them, and The Band, and then the penny dropped with all of us: ‘We’ve got to do our own version of rocking up the historical music,’ and we never looked back. ’69 was the big year.”

Denny is often painted as a tragic figure, after her demise at the age of just 31, but Hutchings remembers her with humour and affection. “I have very fond memories of Sandy, as do all my Fairport friends. When her name is mentioned, I think of two enduring pictures. One is Sandy trying to tell a joke onstage and getting the punchline wrong, then tripping over a microphone lead. The second is of her steadying herself and starting to sing – and suddenly she’s not the clumsy person of a few seconds ago, but an angel with a voice to match.”

I hope people will say is I was an important cog in the progression of traditional music in this country

Like so many modernisers, Hutchings and his fellows took plenty of flak from the traditionalists. “We were barracked,” he agrees. “Not so much Fairport – Steeleye were barracked more, because there were a lot of people from the folk scene [involved] – Martin Carthy, Maddy Prior. But Fairport did divide people. When we were creating Liege & Lief we thought, ‘This is the greatest thing ever; this is exactly the right thing!’ And incidentally, all these years later, I still think that. But then we started to get reviews for it and they were very mixed. We were shocked.

“Then I left and formed Steeleye, and people were taking us to task: ‘Why are you doing this?’ It was a shock to me, and to everyone else, when I left Fairport; and a shock to many when I left Steeleye, but Steeleye were quite a Celtic band.

We didn’t use the word ‘Celtic’ in those days – we played lots of Irish tunes and Scottish ballads, and I was falling in love with England. I’d got the Morris bug. I was still in Steeleye, but I’d discovered Morris music and loved it – it was so English for me. So I wanted to form The Albion Band.”

By the late 1970s, Hutchings and the Albions were branching into work at the National Theatre and becoming what we would now call ‘multimedia.’ That encouraged his first one-man show, about folk revivalist Cecil Sharp. “I was looking in my diaries a few years ago and I could not comprehend how much work I managed to do,” he muses. “Between the late 70s and late 80s, I didn’t stop.”

When asked if he feels a sense of responsibility for the re-establishment of traditional music, like a torchbearer, he answers softly: “Yes, I do. I don’t talk about it much at all, but I do feel that.”

And as for his legacy? “What I hope people will say is that he was an important cog in the progression of traditional music in this country. And I think I’d like them also to say, ‘My God, he did all these things. Now he’s dead, I realise he wrote poetry, and he made all these fantastic albums that didn’t sell many copies that are now coming out again…’”

Epic doom metal formation Scald have unleashed a brand new single, “Falcon”. The latter serves as the second taste of their upcoming EP, Relics.
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Swedish blackened thrash metal machine Sarcator shared news that Linus Edmarker is their new bass player. He is replacing Felix Lindkvist.
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Bring on the parkas.

The post Quicksand & F*cked Up Announce Fall Canadian Tour appeared first on Theprp.com.

Music producer, multi-instrumentalist, educator, and YouTube creator Rick Beato has announced The Everything Music Experience, a four-day event set to bring musicians, producers, gear enthusiasts, and fans together in Los Angeles.

Taking place from January 14 to 17, 2027, the event will be hosted at the Loews Hollywood Hotel. The program will center on live performances, conversations, and other music-focused events personally curated by Rick Beato.

From artists and producers to people obsessed with instruments and recording gear, the event is designed to put attendees close to the people driving modern music. Rick Beato describes the gathering as a chance to experience music from inside the room rather than simply from the audience.

The event announcement states: “You won’t find this experience anywhere else. Whether you’re a musician, producer, gearhead, or die-hard fan, this is your chance to be in the room with the artists and innovators shaping the sound of today.”

With the Loews Hollywood Hotel serving as the base for the event, The Everything Music Experience will bring together performances and discussions across four days. More details about the lineup and programming are expected as the January 2027 dates approach.

The registration includes:

• Lunches and dinners, beginning with dinner on the evening of the 14th and concluding with dinner on the evening of the 17th
• Four nights of luxurious accommodations at Loews Hollywood Hotel
• Masterclasses and discussions led by Rick and his hand picked Faculty
• Intimate breakout sessions with an all-star artist faculty including Tim Pierce, Gregg Bissonette, Tal Wilkenfeld, Nathaniel Murphy, Aydin Esen, and more
• Exclusive photo opportunity with Rick Beato and the faculty
• Customized Goodie Bag
• A limited-edition signed poster
• Late-night jam sessions with the Dreamcatcher All-Stars

The post RICK BEATO Announces 2027 “The Everything Music Experience” Featuring JOE SATRIANI, NUNO BETTENCOURT, NATHANIEL MURPHY & More appeared first on Sonic Perspectives.

Seventeen selfish dreams

Where liquid stars almost bleed 

The act of taking one’s own life can sometimes be caused by mistaking a passing configuration of feelings and events for the whole of existence. The mind, cornered by pain, declares that because this moment is unbearable, all moments must be so. Yet life is less like a verdict than a river: no state remains fixed long enough to become absolute. To destroy the self in order to escape suffering is to assume the self is a solid thing, when it is always changing, dissolving, becoming. The tragedy is that the decision is permanent while the despair that inspires it is not. One cannot know what new shape life might take after the next bend.

Nearly a decade into Bizou’s existence, the Los Angeles band has acquired the strange advantage of interruption. After 2021’s Tragic Lover, its members dispersed: Josiah Mazzaschi formed Child Seat with Madeleine Matthews; Marisa Prietto wrote with Some Ember’s Dylan Travis; bassist Nicole Fiorentino returned to Garbage for touring. When Mazzaschi and Prietto reconvened at Cave Studio in the summer of 2025, they came back with enough distance to hear what Bizou could become.

That answer begins to surface on Widow, the band’s forthcoming September EP, whose six-sided title conceit — a hexagonal prism, in the group’s description — suggests an appetite for examining a familiar object from peculiar angles. Bizou’s established vocabulary remains recognizable: shoegaze density, post-punk propulsion, synth-pop architecture, industrial pressure, and the narcotic drag of trip-hop… however, Death Mag, the record’s emotional center, makes those ingredients feel unusually exposed.

The song concerns suicide, though its deepest subject may be the dangerous authority granted to a single unbearable moment. Its verses withdraw into near-private space, with the vocals carrying the bruised composure of someone trying to speak without disturbing the room. Then the chorus opens dramatically, almost euphorically, and the scale of the music changes. Despair remains present, but so does the stubborn biological fact of continuing: another breath, another measure, another chance for circumstance to alter its shape.

The arrangement is elegantly devastating. Here, density becomes psychological. Guitars blur at the edges, synthesizers deepen the horizon, and the rhythm section keeps the song from surrendering to weightlessness. Suicide promises an ending to pain by treating that pain as permanent, while Death Mag places emotional certainty inside music that continually changes beneath it. The song expands and contracts, presses forward and recedes, allowing form itself to make the argument. For listeners acquainted with this particular kind of loss, its beauty may feel almost cruel; comfort comes cautiously, without slogans or easy redemption.

With a reunion performance forthcoming and Widow due in September, Bizou sound newly alert to contradiction: pleasure beside grief, enormity beside intimacy, and life continuing while the mind briefly insists that it cannot.

Listen to Death Mag below and pre-order Widow here:

Follow Bizou:

• Instagram
• Facebook
• Spotify
• Bandcamp

The post “It’s Such a Heavy Weight” — Bizou Returns With Devastating Single “Death Mag” appeared first on Post-Punk.com.

Gloryhammer are opening the next stage of their Space Kingdom of Fife saga with “Die With A Sword In My Hand,” the second preview of their upcoming fifth album, Space 1993: Wrath Of Kor-Virliath. Napalm Records will release the album on October 16, 2026.

The new track follows Angus McFife V as he faces another turn in the intergalactic conflict at the heart of the story. What was supposed to be a safe location has been overrun by demons, leaving Angus and his allies facing an uncertain future. Musically, “Die With A Sword In My Hand” keeps the focus on fast-paced power metal, big hooks, and the theatrical approach that has defined Gloryhammer.

The song also arrives with an animated video presented like an episode of a TV series, continuing the band’s ongoing visual storytelling. Its message is straightforward: Angus has a fight ahead of him, and tonight is the night.

The Hootsman about “Die With A Sword In My Hand”: “I don’t always die, but when I do, it’s with a sword in my hand.”

Space 1993: Wrath Of Kor-Virliath follows 2015’s Space 1992: Rise Of The Chaos Wizards and continues the story of the McFife dynasty. Angus McFife V, the Crown Prince of Fife, was last seen in the 2022 single “Fly Away.” The new album sends him across spacetime toward the distant future of 1993, where another chapter of his destiny unfolds.

The record contains 11 tracks and expands Gloryhammer’s musical palette while keeping the songwriting firmly rooted in memorable power metal. Classic power metal, thrash, synth-driven rock, and orchestral arrangements all have a place in the new material. The band produced the album themselves, with Jacob Hansen, known for his work with Volbeat and Amaranthe, handling the mix.

Gloryhammer about the new album: “Mighty warriors, rejoice! The almighty Gloryhammer return triumphantly with a new chapter in the long and tumultuous history of the Intergalactic Empire of Fife. Multidimensional wormholes, abandoned space stations, and EPIC BATTLES await at the final frontier of Space 1993. FOR THE ETERNAL GLORY OF DUNDEE!”

The album opens with “Ultra Portam Astralem,” where dramatic fanfare and heavy drums establish the setting. “Ultimate Sacrifice” then digs into the source of the growing threat, with the Space Kingdom of Fife abandoned and Kor-Virliath looking for another path to power following Zargothrax’s failed ritual.

“On a Quest for Aberdeen,” previously released as a standalone single, returns in a new album context and gives Angus McFife V a more defined place in the wider narrative. The story takes a darker turn with “Die with a Sword in My Hand,” as Aberdeen falls under demonic attack. Its gang-vocal chorus also gives the track obvious potential as a crowd-participation song when Gloryhammer take it to the stage.

“Silver Talon” turns toward the galactic fleet, while “Starfighters of Leuchars” brings Ser Proletius and the Space Knights of Crail into the campaign. The latter track places the characters and their battles inside a broad orchestral arrangement.

“Warriors of Auchtermuchty” explores Zargothrax’s birthplace and gives the album another highly singable chorus. Elsewhere, Angus moves through an abandoned spaceship and finds an unexpected ally, bringing him closer to “Pax Galactica.”

Electronic textures drive “Demonic Devotion,” which follows its protagonist as he confronts the destruction left in his wake. “Hammer of Fate” then builds toward the final stage of the story, leaving the question of what fate actually awaits the heroes hanging in the air.

The closing track, “The Celestial Warhost of the Dundonian Empire Marches to Space Against the Dark Sorcerer: Final Assault on Battlemoon X-22,” runs close to 13 minutes and is divided into four theatrical sections. Voice lines from the saga’s characters further develop the narrative as the final battle for the galaxy gets underway.

Space 1993: Wrath Of Kor-Virliath will be released in several physical and digital configurations, including a limited white-label LP with a 24-page booklet and certificate, a wooden box set containing a Digipak CD, five miniatures, a 7-inch bonus LP and autographed card, plus several gatefold vinyl editions. The album will also be available on black vinyl, Digipak CD, and digitally. It can now be pre-ordered here.

For fans who have followed the Gloryhammer saga from Space 1992 onward, the new record pushes the story into another bizarre corner of the band’s fictional universe. “Die With A Sword In My Hand” offers the first real taste of how that next chapter sounds.

The post GLORYHAMMER Shares Animated Music Video For “Die With A Sword In My Hand” From Upcoming Album “Space 1993: Wrath Of Kor-Virliath” appeared first on Sonic Perspectives.

Event:	Summer Breeze 2026
Date:	12th – 15th August
Location:	Dinkelsbühl, Bavaria

New year, new luck – er, I mean: new Summer Breeze! And once again this year, the Summer Breeze Open Air has some real treats in store. As in previous years, I’ve put together a few personal recommendations of my own, away from the really big names – although, of course, there are bound to be one or two exceptions.

What I find particularly exciting is that the line-up has plenty to offer even in the smaller and less prominent slots. From gritty stoner rock through psychedelic and progressive sounds right through to black metal, deathgrind and crossover thrash, there’s once again plenty on offer that deserves a closer look. Perhaps some of you will even find a band here that hasn’t been on your personal festival radar until now. There is one slight fly in the ointment for me, though: although Amenra are on the road this year as part of their festival tour, their route unfortunately doesn’t take them to Dinkelsbühl. It’s a shame, because for me, the Belgian band in particular would have been an absolute highlight of this year’s festival.

But enough of that – here are my recommendations for Summer Breeze 2026.

Wednesday 12th

16:50 – 17:30 – Neckbreakker (T-Stage)

Two years ago, I recommended these five lads from Denmark; back then, they were still called ‘Nakkeknækker’. The band continues to be known for their edgy yet modern death metal and are making a name for themselves in the scene. Highly recommended for any death metal fan, not least because the atmosphere was brilliant last time.

20:00 – 20:45 – Green Lung (T-Stage)

With The Heathen Land, the psychedelic rockers released a cracking album in 2023 that made it into most of the year’s top 10 metal albums. For me, it’s an absolute must-listen. Their heavy, melodic guitar riffs, set against an occult atmosphere and nature-inspired themes, are a welcome change of pace in the line-up.

20:50 – 21:30 Urne (Tool Rebel Stage)

Urne’s sound lies somewhere between modern and post-metal. I only discovered these lads through a band announcement. Have a listen first to see if it’s your thing, but you’ll definitely find me right at the front of the stage. I’m particularly keen to see whether their complex song structures are just as impressive live as they are on record.

00:30 – 01:10 – Cãn Bardd (Tool Rebel Stage)

Behind the Welsh band name lies a true-blue Swiss musician who plays all the instruments himself in the studio. An interesting blend of atmospheric black metal and folk has really stuck in my mind. This bard is a must-see.

Thursday 13th

11:30 – 12:15 – Fulci (T-Stage)

Max highly recommends these Italians. The death metal band draw inspiration from director Fulci, whom some of you may recognise from old-school zombie films. If you’re already awake and raring to go at this time of night, you should definitely check them out. Above all, Max Transcended can also highly recommend the band.

16:35 – 17:05 – Rectal Smegma (Tool Rebel Stage)

The name says it all. If you’re looking for off-the-wall, extreme grindcore, you’ll find it here – the band has been around for 23 years now. It’s fun and accessible, but not to everyone’s taste. The splatter and toilet humour are hammered home through genre-typical blast beats and guttural vocals.

21:35 – 22:20 – Cryptopsy (Tool Rebel Stage)

Strictly speaking, given how well-known they are, they might not be a typical choice for this list, but I simply have to make an exception for Cryptopsy. One of the most important technical death metal bands of all time is celebrating the 30th anniversary of their groundbreaking album None So Vile this year. As a fan, I’d always recommend Cryptopsy – but with an anniversary like this to mark the occasion, that goes without saying. None So Vile in particular is still regarded today as a milestone in technical and brutal death metal and is sure to make for a very special live experience.

Friday 14th

12:20 – 12:50 – Zerre (Tool Rebel Stage)

Zerre are right at the top of my ‘must-watch’ list. Classic trash rock with a modern twist. In my opinion, these lads are definitely flying under the radar. If you fancy a beer or two in the infield at midday, you should do so in the shade in front of the Tool Stage whilst the lads are rocking out.

14:20 – 15:05 – Misery Index (T-Stage)

Misery Index combine brutal death metal with the speed and aggression of grindcore. Frantic blast beats, deep growls, heavy riffs and groovy breakdowns characterise the sound of this US band, whose lyrics often tackle socially critical and political themes.

22:25 – 23:25 – Der Weg einer Freiheit (T-Stage)

The black metal band from Würzburg were one of my most eagerly anticipated acts this year. Their last two albums weren’t just in my top 10 for their respective years. Modern influences and philosophical lyrics, topped off with frenzied blast beats, provide the perfect musical backdrop for this time of day.

00:20 – 01:20 – Deafheaven (T-Stage)

Another of my highlights for Breeze. They’re regarded as one of the most influential bands in the blackgaze scene, but they’re also not above experimenting with different genres. You can occasionally find them somewhere between shoegaze, post-rock and black metal. It’s their distinctive guitar sounds in particular that have really won me over.

01:25 – 02:10 – Bizarrekult (Tool Rebel Stage)

Bizarrekult are known for their atmospheric black metal, enriched with elements of post-black metal and doom metal. Intense walls of guitar, melancholic passages and the contrast between aggressive and calmer moments characterise the Norwegian band’s emotional and atmospheric sound. So it’s right up my street – I’m really looking forward to it.

02:15 – 03:00 – Wolves in the Throne Room (T-Stage)

If I’m still up for it physically, I’ll finally head over to see Wolves in the Throne Room. Long, hypnotic song structures, powerful guitars and blast beats contrast with extended, quiet passages, creating a sweeping, intense sound. A perfect way to round off the festival day.

Saturday 15th

15:10 – 15:40 – Wucan (Tool Rebel Stage)

Unfortunately, the band from Dresden are playing at the same time as Kadavar, which I really can’t understand because the two bands are so similar. Wucan blend psychedelic and progressive rock with influences from Krautrock and 1970s hard rock. Heavy riffs, extended jams, Hammond organ and distinctive flute passages define Wucans band’s characteristic, retro-inspired sound. So they’re a wonderful alternative, especially for those who’ve already seen Kadavar.

15:35 – 16:30 – Municipal Waste (T-Stage)

Municipal Waste are known for their fast-paced crossover thrash, which combines the aggression of thrash metal with the directness of hardcore punk. And at half past three in the afternoon, that just sounds like a brilliant idea. Fast-paced riffs, short songs, gang shouts and a deliberately humorous, party-oriented attitude characterise the sound of this US band. I’d particularly recommend a visit to those with day tickets.

21:45 – 22:45 Haeresis (Campussite Circus Stage)

Haeresis are known for their dark and atmospheric black metal. Driving drums, raw guitars and dense soundscapes combine to create an intense and sinister sound that shifts between aggressive and more atmospheric passages. I only got to know the band in the run-up to the gig – and I really like them.

23:30 – 00:15 – Slomosa (Tool Rebel Stage)

I first fell in love with them two years ago at the Keep It Low festival, alongside Steven Transcended. The band blends fuzz-laden stoner rock with influences from desert rock, grunge and alternative. Heavy guitar riffs meet catchy melodies and a groovy, driving sound that positions the band somewhere between classic stoner rock and more modern alternative rock. In my view, they’re still far too overlooked – I’m also convinced that the band will be securing much higher spots in the line-up in a few years’ time.

01:25 – 02:10 – Møl (Tool Rebel Stage)

Falls ich nach 4 Tagen Breeze und dem ständigen langen wachbleiben noch genug Kraft habe, geht es zu dieser Band. Møl verbinden Black Metal mit den atmosphärischen und melodischen Klangwelten des Shoegaze. Harsche Vocals, Blastbeats und verzerrte Gitarrenwände treffen auf eingängige Melodien und verträumte Passagen und verleihen dem Sound eine gleichermaßen aggressive wie melancholische Note.

Taylor Hawkins‘ son Shane says that his decision to take his late father’s place in his classic rock covers band Chevy Metal is one way of honouring his father’s memory.

Taylor Hawkins passed away in his in his hotel room at the Four Seasons Casa Medina in Bogata, Colombia on March 25, 2022 ahead of a scheduled Foo Fighters show at the Estereo Picnic festival. He was 50 years old.

Foo Fighters took the decision to carry on after their friend’s passing, initially with Josh Freese (The Vandals/A Perfect Circle/Nine Inch Nails), and currently with Ilan Rubin (Nine Inch Nails/Lostprophets). But Hawkins’ surviving bandmates in Chevy Metal, guitarist Brent Wood and bassist Wiley Hodgden, were adamant that their covers band could not exist without their friend behind the drum kit. Until Hawkins’ teenage son insisted that the show must go on.

“Wiley and I were in agreement, like, it’s done,” Woods tells the Los Angeles Times newspaper. “Shane was the one that said, ‘I want to do Chevy’.”

“It was a part of my childhood and it’s like, my dad was gone and these people that I’ve watched my whole childhood, they’re still there,” says Hawkins, 19. “Why not keep something going? And it’s just honoring my dad, you know?

“I’d sit behind my dad and watch him play and watch people just go crazy. And as a kid, you think that’s the coolest thing in the world, because it is. It’s the best feeling.”

With Hawkins junior powering the trio, Chevy Metal have broadened their classic template to include songs by US hardcore punk legends Bad Brains, Germs (Foo Fighters’ guitarist Pat Smear’s old band), Black Flag and Fear. But the band still practise in Taylor Hawkins home studio / man cave as they always did.

According to the Los Angeles Times, the band hope to release some of their archive recordings with Taylor Hawkins, and to record more with Shane Hawkins.

Watch the group perform BlackFlag’s Nervous Breakdown with Arrow de Wilde from Starcrawler below.

A post shared by moldee’oldees (@chevy_metal)

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