German hard rock titans MAD MAX celebrate the record release of ‘Stories Of Destiny‘ with a brand-new music video for ‘Dulces Falsos‘. The song marks a special first in the band’s history: it is the first MAD MAX track ever recorded with Spanish lyrics and presents their classic ‘Piece Of Candy‘ in a powerful new […]
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The Liquid Arcade is a powerhouse Aussie rock outfit delivering raw, guitar-driven energy with a sharp modern edge. Their debut EP, Eleven 11, brings together an absolute dream team of Australian rock royalty, featuring Peter Oxley (Sunnyboys), Paul Larsen (Celibate Rifles), Alister Spence (Asteroid Ekosystem), and Shane Purnell on trumpet. To cap it all off, legendary Celibate Rifles guitarist Kent Steedman makes a guest appearance to close out the EP’s final track, “Outro.”
Recorded at Sydney’s Oceanic Studios with engineer Brent Clark and mastered by Steve Smart at Studios 301, Eleven 11 captures the spirit and grit of classic Oz rock while keeping things fiercely modern.
I love the mood and the attitude of their new single “Dirty Rock’n’Roll”, I find it classic but very inspired, love the guitars, the dynamic rhythm section and the energetic and catchy vocals. A very cool song, amazingly performed by the band and with a top notch production as well.
Give it a go by clicking on the Spotify player below and follow The Liquid Arcade if you like what you hear.
A long queue formed outside the legendary Grade II* listed Eventim Apollo. Built in 1932 as a cinema, this Art Deco theatre buzzed with pre-gig energy. The low hum of calm conversation created an electric tension in the air. A sea of people cascaded into the sloping stalls wearing merch and holding plastic pints of cider. With a sold-out crowd, we were all waiting for the Peaches ‘n Kream tour to hit London. We were all as ready as The Black Keys were.
Words: Naomi Hefter
Photography: Manuela Langotsch
No bells or whistles, a simple draped red curtain framed the stage and sat centre stage and in Cabaret-style font lit up with individual bulbs, spelt THE BLACK KEYS.
With only a few stage lights, ’70s oil lamps and one disco ball to light the stage, this gig somehow became even more impactful. Songs like Weight Of Love and Tighten Up, with sharp timing and limited colours, created strong moods.
Track after track, song after song, for long-standing fans and those with fresh ears, felt like a journey down Route 66.
The Black Keys are an American rock duo formed in Akron, Ohio, in 2001. The group consists of Dan Auerbach (guitar, vocals) and Patrick Carney (drums). The Black Keys are currently on their Peaches ‘n Kream World Tour 2026 supporting their 14th studio album, Peaches, released on 1 May 2026.
The Black Keys’ energetic yet intricate music draws heavily on bluegrass, garage rock, electric blues, and rockabilly influences. Lead guitarist Dan played a wide variety of vintage guitars, most notably Harmony and National Phonic. With distorted, driving guitar riffs and solos, Patrick on drums provided thumping, raw, and massive beats.
Their blend offered a backbeat dancehall feel, with an almost rebellious edge for all watching.
The Black Keys clearly prioritise instrumental grooves, blues-rock riffs, and studio textures over complex or deep lyrical storytelling. But all tracks, whether at a slow or fast pace, felt a distinct dynamic build. Songs sometimes started almost fragile, with acoustic folk-rock melodies, before dramatically exploding into a heavy, crashing electric guitar rock ‘n’ roll finale.
With so little dancing to be seen, the energy was intensely high. Everyone moved like a cultivated community of head-nodders, showing intense energy purely through rhythmic nodding. With the chosen slower numbers, these tracks featured atmospheric keyboards and sweeping, emotional guitar solos that drew the crowd in like a magnet.
There was a clear sense that the duo’s music is built on a full musical groove and structure before any words are written. As much as lyrics are vital for inspiration, emotional hooks, and deep connections, The Black Keys almost got away with using fewer words, thanks to their rhythmic, deep melodies, which prioritise instrumental grooves, blues-rock riffs, and studio textures over complex or deep lyrical storytelling.
All tracks, whether slow or fast, felt a distinct dynamic build. Songs sometimes started fragile, with acoustic folk-rock melodies, before dramatically exploding into a heavy, crashing electric guitar rock ‘n’ roll finale.
Of course, like most gigs, an encore was expected. But this was unlike any other. With much anticipation, a surge of energy hit like a tidal wave.
The room’s already euphoric state heightened, its excitement intensifying without anyone even moving. There was a palpable shift in the air, triggered by this continuous array of music, that connected everybody in the room almost spiritually.
With loved hits Little Black Submarine and Lonely Boy, the band stripped back Little Black Submarine and slowed things down. The melody had a similar feel to Led Zeppelin’s Stairway To Heaven and had the entire theatre singing along as one.
Ending the gig, they suddenly ripped into the fast-paced Lonely Boy. With arms in the air, dancing as one, this was a terrific way to end such an incredible gig.
Let The Black Keys continue to return again and again.
James Brute, the solo project of former Brute Chorus frontman James Steel, releases new single T
The post James Brute returns with new single Turn You On (If I Could Still) appeared first on Louder Than War.
Philadelphia blues-rock Kat Rivers and The Second Sight have quickly built a reputation for show-stopping live sets, powerhouse vocals, and razor-sharp musicianship. Fronted by the explosive vocal presence of Kat Rivers alongside lead guitarist Ric Haas, the band channels the raw, classic-rock spirit of Led Zeppelin, Heart, and Grace Potter & the Nocturnals.
Marking their first year together, the band dropped their debut four-track EP, Deception. Across tracks like “Broken Promised Land,” “Smooth Talkin’,” “When You Meet the Devil,” and “Private Showing,” the release anchors their core blues-rock identity while skillfully weaving in elements of funk, jazz, country, and metal. Backed by high-profile supporting slots at the Sellersville Theater alongside Ally Venable, Jax Hollow, and Magnolia Boulevard, Kat Rivers and The Second Sight are proving to be a force on the mid-Atlantic circuit.
I love the pace and the mood of their new song All Night. It’s amazingly written and performed, with infectuous riffs, catchy and energetic vocal lines and with a perfect sound for the genre as well. A quality song from every point of view. Give it a go by clicking on the Spotify player below and follow Kat Rivers and The Second Sight on social media as well, you like what you hear.
The Anchoress: As We Once Were Last Night From Glasgow Records All Formats Out Now Quiet Welsh genius releases another album of heartbreaking splendour, this time with added familial connection. A follow-up to the universally acclaimed The Art […]
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Rick Wakeman and sons, Oliver and Adam, are on the cover of the new issue of Prog, which is on sale now!
In a world first, the Wakeman dynasty feature on the cover of a magazine. That’s Rick, Oliver and Adam Wakeman, gathered around a table, uncensored, in one of the funniest interviews you’ll ever read, as that trademark Wakeman sense of humour runs riot! All three talk about their own projects too, with Rick giving us the lowdown on his new album, Return To The Red Planet!
Elsewhere, Steves Hackett and Rothery tell us all about their long-awaited The Roaring Waves collaboration; we sit down with Derek Shulman, who tells us how Gentle Giant made 1973’s In A Glass House, the band’s first album as a quintet; John Mitchell explains why it’s time to say goodbye to Lonely Robot and Haken talk for the first time since Charlie Griffiths and Conner Green left the band.
On top of that, Can’s Irmin Schmidt, North Sea Echoes, Long Earth, Ozric Tentacles, Tom Penaguin, Protest The Hero, Pete Roth Trio and more bring us up to speed about their latest albums. Plus a great sampler from Pelagic Records and a Wakeman Family art print too.
Also in Prog 173…
Hackett & Rothery – the prog guitar luminaries join forces on their collaborative concept album.
Haken – a new look and a gently evolving sound for the UK prog rockers on latest EP, In A Fever Dream.
Gentle Giant – Derek Shulman casts his mind back to 1973 to bring us the story of the remarkable In A Glass House.
North Sea Echoes – Fates Warning duo Ray Alder and Jim Matheos return with a second release as their moodier alter egos.
Lonely Robot – John Mitchell bids farewell to his outer space creation.
Long Earth – Scottish/Dutch proggers find their feet with new album, Towards The Sky.
Ozric Tentacles – the floativerse continues to expand with the 90s-infused Harmonic Mind.
Tom Penaguin – the young Canterbury-inspired Frenchman discusses his second LP.
Protest The Hero – Canadian prog metallers return with Within, their first album in six years
Pete Roth Trio – Pete discusses being a jazzer in a prog world and bringing Bill Bruford out of retirement.
Irmin Schmidt – the sole surviving Can member Irmin Schmidt on his career exploits and still making music at nearly 90!
Colin Powell – the Riffstone’s manon a prog world full of Genesis, Camel, America (the band) and am dram.
Plus reviews of new releases and reissues by Lonely Robot, Jethro Tull, Quiet Sun, King Crimson, Pure Reason Revolution, Haken, Mastodon, Peter Hammill, The Fierce & The Dead, IQ, Jan Hammer, Hawkwind, Cluster, Roger Hodgson, Solstice, Todd Rundgren and loads more…
And reviews of the Prog Prom, Prog For Peart and Radar Festival, and gigs by Marillion, Voyager and more.
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