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Motley Crue’s ‘American Idol’ Performance Leaves Fans Divided
They delivered an emphatic performance alongside Carrie Underwood — but some fans weren't impressed. Continue reading… -
“When we go up there on stage I’d almost liken it to a sexual experience.” Ann and Nancy Wilson on love, sobriety, politics and the changing face of Heart
They play soft stuff, hard stuff… and even some in-between stuff. But whatever you do, don’t dismiss Heart as ‘that ballad band’ -
HELLEVATE Share Video for “Killicon Valley (Silicon Dust)”
Watch the video for “Killicon Valley (Silicon Dust)” at this location.
Kansas City thrash masters HELLEVATE have posted the official music video for the title track off their new album, Killicon Valley. This five-minute thrash-fest aims its rage at the use of AI in today’s culture.
“This song is the result of several years of us watching the development of AI and ranting about it with each other. So many songs out there about AI have their hearts in the right place, but they always sing about it like it’s Skynet or SHODAN; some unstoppable robot overlord coming to bring the apocalypse,” comments guitarist Joshua Cole about the song.
“Then you actually use it and it’s a crappy productivity tool that only helps create more noise and BS that we all have to wade through, all because some idiot billionaires decided they liked the idea of a computer that could do all their thinking for them and replace those pesky employees. The lyrics fit the music perfectly, as it’s nasty, aggressive, relentless, and fast! If you like your thrash metal played pissed off and at warp speed, we’ve got you covered with this one!”
Vocalist Robert Browne expands on the song’s lyrical theme, “The so-called “leaders” of the tech industry have made shit more expensive, turned a multitude of careers upside-down, and gotten this moronic presidential administration to give them access to sensitive systems. And for what? It fucks up simple tasks. It fills our news feeds with garbage and lies. It gives mediocre idiots with no skill the delusions that they can make art with no effort, all at the cost of the planet that sustains our lives. Older folks who fear AI think it’ll be like a Terminator 2 thing. It’s much worse; I’d rather be blown up than starve.”
Watch the video for “Killicon Valley (Silicon Dust)” at this location.
Killicon Valley is relentless in execution. Eleven tracks of the bullshit-free, ‘thrash-or-be-thrashed’ attitude the band has cultivated over their nearly 20 years of existence. Today, that fury has escalated beyond the breaking point. The result is an album that true fans of old-school thrash can blast with pride.
Watch the video for the album’s first single, “In the Long Grass,” at youtu.be/4pvJtJcOrvo.
Killicon Valley is set for release on May 22. Pre-order the album at: hellevate.bandcamp.com/album/killicon-valley
Photo credit: Kaitlyn Waggoner Line-Up:
Robert Browne – Vocals
Dan Whitmer – Guitar
Joshua Cole – Guitar
Zack Burke – Bass
Ruben Lopez – DrumsHELLEVATE will mark the release of Killicon Valley with an album release show at Warehouse on Broadway in Kansas City, MO. Support will come from Jackson Country 5, Meat Shank, and Bloodscent. Check the event page for details.
Stream more from HELLEVATE on Spotify, Apple Music, and Amazon Music.
Track-list:
1) D.T.C.
2) In the Long Grass
3) Invoke Apocalypse
4) Demagogue
5) The Rampart
6) Holy Man
7) Jorogumo
8) Part of the Tribe
9) Killicon Valley (Silicon Dust)
10) The Lost Pages
11) Thou Shalt Kill
12) Curse God and Die
www.instagram.com/hellevatekills
www.tiktok.com/@hellevatekills
Source: ClawHammer PR
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Detroit Lions to Make NFL History in Epic Week 2 Matchup
The Detroit Lions are going to make NFL history, not just franchise history, in their Game 2 in the 2026 season.
The post Detroit Lions to Make NFL History in Epic Week 2 Matchup appeared first on Audio Ink Radio.
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“Keep Us Blinded and Starving” — DC Dark Synthpop Duo 2DCAT Take Class Rage to the Factory Floor in Video for “Eat The Rich”
The elite the corrupted
They’ve known for centuries
How to keep us blinded and starving
While they can live fat upon our corpses
Washington, D.C. gives us 2DCAT, a dark synthpop duo with the sort of backstory that turns the usual press-kit credentials into something far stranger, sturdier, and more alive. Johan Hauck builds most of the hardware synthesizers the duo performs with, which means the machinery here is not some rented glow-box blinking politely in the corner, but a homemade electrical animal with wires for veins and bad intentions in its little metal heart. HAEZL, meanwhile, comes from the opera world, having shared stages with Patti LaBelle, Cynthia Erivo, and Renée Fleming, and that gives 2DCAT a vocal caliber dark synthpop rarely gets: lungs, teeth, diction, and gravitas.
Eat the Rich is the moment the velvet curtain gets yanked down and used to start a fire. The song takes class rage out of the op-ed column and puts it in the public square. Its world is divided with the bluntness of a brick through stained glass: the fed and the feeding, the ruined and the ruling, the families scraping by while some distant class of lizards counts the coins and calls it civilization. The repeated title phrase becomes less slogan than appetite: somebody has been dining for centuries, and now the table manners are gone.
The genius of the track is its lack of dainty pleading. There is no petition being passed around, no well-lit panel discussion, no rich man’s child discovering empathy during a semester abroad. 2DCAT goes straight for the old revolutionary theater: guillotine, blood, fire, the grand machinery of consequence. You can feel the song staring at the polite lie that suffering must always remain dignified, then kicking that lie down a flight of stairs. Its violence is rhetorical, theatrical, and deliberately ugly in the way a cracked mirror is ugly when it finally tells the truth.
The black-and-white video, directed by Johan Hauck, puts this fury inside an abandoned factory, which is exactly where it belongs. Those long shots of dead industry feel like a funeral for labour itself: empty halls, cold walls, the skeletal remains of a place where bodies once turned time into profit for somebody else. There is something chilling about seeing the corpse of work stripped of workers, as if the building has outlived the people it consumed. The imagery is simple, severe, and all the better for it.
Watch the video for Eat The Rich below:
2DCAT’s ‘Eat the Rich’ resonates more deeply because of its placement in the overall emotional progression. Conversely, the earlier single ‘Salvation Will Not Come’ leaves us in silence once hope is broken, with prayer becoming just a formality and idols looking back with cold, marble-like indifference.
“Eat the Rich started where Salvation Will Not Come left off,” says Johan Hauck. “That song was the silence after hope runs out. This song is the one that breaks the silence.” That line nails the record’s cruel little engine: hope drains out, anger walks in wearing its coat, and suddenly 2DCAT are no longer mapping despair from a safe distance. They are standing in the wreckage with a homemade synthesizer, an opera-trained voice, and a match.
Listen to Eat The Rich below and order the album here.
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The post “Keep Us Blinded and Starving” — DC Dark Synthpop Duo 2DCAT Take Class Rage to the Factory Floor in Video for “Eat The Rich” appeared first on Post-Punk.com.
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KINDRED – Nightmarish First Novel From Extreme Music/Horror Journalist Chip McCabe, A.K.A. Creed Woodhouse, Out Now + Signing Event Booked
photo by Hawthorne McCabe Kindred is the nightmarish debut horror novel from long-running extreme music and horror journalist Chip McCabe.
Creed Woodhouse is the horror writer alter ego of author/journalist Chip McCabe, who has written extensively about music for publications such as the Chicago Tribune, Hartford Courant, Hartford Advocate, New Haven Advocate, and Metal Insider. He currently pens the blog TheMetalDad.com where he writes about music, horror movies, and parenting, and he hosts the horror movie podcast The Fiendish Five Podcast, available on all major streaming platforms. While McCabe has authored two non-fiction works – 100 Things To Do In Hartford Before You Die and 666 Days of Metal – Kindred is his first fictional horror novel.
In Kindred, it’s June 1987 and Eric Smith, an otherwise average teenager getting ready to graduate high school in rural southern New Jersey, is plagued by nightmares of a strange hallway and a door with a golden knob. When a young girl is found mutilated deep within the nearby Pine Barrens it sets off a string of events that will forever alter the lives of Eric and all those close to him.
As Eric’s terrorizing nightmares grow increasingly realistic, those around him, including friends and family, begin to slowly reveal their true selves and the secrets they have been harboring. As the line between Eric’s dream and reality becomes completely blurred his entire world begins crashing down and pure evil is manifested.
Kindred is available at bookstores including Barnes & Noble HERE.
A signing event for Kindred will take place at Folklore & Fable in Colchester, Connecticut on May 30th from 1-3pm. More info can be found HERE.
You can also enter to win copies of the book by correctly answering horror movie trivia at the Spooky Popcorn outdoor horror movie series McCabe organizes annually in Hartford. Read more HERE.
“…Kindred offers a super fun and slightly freaky yet compelling storyline for all lovers of a good old-fashioned thriller… Kindred deftly balances its horror elements with mystery elements but never forgets to put its characters first.” – Karen Ponzio
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https://www.instagram.com/creedwoodhouse
Source: EARSPLIT PR
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The Black Keys: Peaches Review
On May 1st, 2026, The Black Keys released their 14th studio album, Peaches. Peaches is a cover album, just under 45 minutes long, made up mostly of lesser known songs from legendary blues artists of the 20th century.
Peaches is not the first cover album released by The Black Keys, but it is likely their best. They do justice to the legends they are paying tribute to, and they add their own flair and signature sound to the historic tunes. The album strikes the perfect balance between sounding fundamentally like the recording band while maintaining the soul of the original music they’re playing.
The Black Keys are primarily made up of Dan Auerbach on vocals, guitar, and some organ, and Patrick Carney on drums and miscellaneous percussion. Additional credits on the album include Eric Deaton on bass, Kenny Brown on guitar, Jimbo Mathis on backing vocals and synthesizer, Chris Saint Hilaire on miscellaneous percussion, Cochemea Gastelum on alto sax. Jared Tankel on baritone sax, Ian Hendrickson-Smith on tenor sax, Dave Guy on trumpet, Andy Gabbard on backing vocals. and Kenny Kimborough on additional drums.
For my money, the best track on the record is the third, “Who’s Been Foolin’ You,” originally written by Arthur Crudup. It’s a big and bold number with crooning vocals that feels very 1970s and has a big noteworthy organ part supporting the guitars. A couple of the other tracks stand out as well.
Particularly striking are the second song, “Stop Arguing Over Me,” a rocking fast tune, and “You Got to Lose,” the sixth track originally recorded by George Thorogood (and written by Earl Hooker), it has a big fun riff in the intro and a very appealing 1950s rock and roll feel. The second to last song, “Fireman Ring the Bell,” has big wailing vocals and a matching guitar rhythm, it’s a very tightly produced song.
The remainder of the record is also very high quality! The only real note I had was on track number five, “Tomorrow Night,” where the vocals feel a little buried in the mix. Overall, the song starts big and stays big and the big squealing guitar intro more than makes up for what might be some vocal issues in the mixing.
After 13 previous albums, The Black Keys have their craft and their sound locked in, and here they’re firing on all cylinders. There’s a reason they are among the top most commercially successful blues rock acts performing currently and they show off those chops here very well. Peaches feels more stripped down and bare than some prior Black Keys records, which is befitting the goal of the record to honor blues players of times gone by. The record is entirely successful at delivering the tried-and-tested Black Keys sound while respecting and refreshing history for blues rock fans.
The Review: 9/10
Can’t Miss Tracks
– Stop Arguing Over Me
– You Got to Lose
– Fireman Ring the Bell
– Who’s Been Foolin’ You
The Big Hit– Who’s Been Foolin’ You
The post The Black Keys: Peaches Review appeared first on Blues Rock Review.
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Chicano Goth-Punks The Marcelas Bare Their Fangs With Vampiric Single “Murciélagos”
Spend eternity locked in a dungeon
Decomposing while losing all function
Your existence is burning in fire
As you succumb to your sinful desiresSpawning out of East San Diego with a coffin full of Chicano goth-punk nerve, The Marcelas come fluttering through the crypt door on Murciélagos (Spanish for bats) like they have mistaken a cemetery for a house party and, frankly, improved the guest list. Brothers Hector and Diego Altamirano, joined by Marcos Macabra, understand the grand old truth of deathrock: if you are going to stare into decay, damnation, and bodily ruin, you might as well bring a tasty bassline.
Murciélagos expands their bilingual bite, moving between English and Spanish like a switchblade passed under a church pew. The track has the theatrical stink of horror VHS, basement punk, and suburban doom, but its roots run deeper than costume-shop camp. You can hear Bauhaus and The Birthday Party in the candlelit corners, Misfits in the cartoon corpse grin, Dead Kennedys in the jolt of bad-news momentum, Paralisis Permanente in the Spanish-language death-disco chill, and Caifanes in the way romance seems to have wandered into the morgue wearing eyeliner and bad intentions.
The drums hit with the rude certainty of someone pounding on a locked mausoleum door. The guitars come in sharp and searing, all wail and barbed wire, while the vocals hover between spooky sermon, gutter theatre, and a guy who has absolutely seen something slithering out of an open grave.
Lyrically, Murciélagos is a cursed little carnival of rot, lies, mutilation, imprisonment, spiritual infection, and occult trouble. The body is betrayed, the soul gets dragged into the muck, and damnation arrives with claws, fangs, and what sounds like a serious need for dental insurance. The imagery leans into blood, fire, witchcraft, divine punishment, and monstrous transformation, all while the recurring bat motif gives the song its perfect rubber-winged mascot. It is ridiculous in the best possible way, because goth without a little ridiculousness is just expensive laundry and a vitamin D deficiency.
The Marcelas’ local showcase reputation and theatrical club performances make perfect sense here: Murciélagos feels built for a room where the fog machine is doing union overtime, the crowd is half dancing and half pretending they are too cool to dance, and somebody in the corner has strong opinions about old horror sequels. It is bloody, catchy, campy, and cursed: a night out in the cemetery with a Ouija board, a busted amp, and just enough bad judgement.
Listen to Murciélagos below and order the single here.
Recorded at Clarity Recordings with producer Sean Tolley handling production, mixing, and mastering, the single has enough polish to keep the knives bright without sanding away the grime under its fingernails.
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The post Chicano Goth-Punks The Marcelas Bare Their Fangs With Vampiric Single “Murciélagos” appeared first on Post-Punk.com.
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Deathroll explore psychological collapse on new album ‘A Woman Collapsing on the Glacier’
A freezing new chapter has emerged from the Japanese underground as black metal solo project Deathroll releases his latest album, A Woman Collapsing on the Glacier. Released worldwide via STF Records and distributed by The Orchard, the record pushes deeper into a cold, austere form of melodic black metal where silence and intensity coexist in … Continue reading Deathroll explore psychological collapse on new album ‘A Woman Collapsing on the Glacier’