Author: fgt

Members of Yello, Daft Punk and New Order all guest on Times, the upcoming new album from former Kraftwerk member Wolfgang Flür, which is released through Cherry Red Records on March 28.

As with Flür’s 2022 album Magazine 1, he has again worked with former New Order bassist Peter Hook and DJ Juan Atkins who are joined on the new album by Yello’s Boris Blank, Thomas Vangarde (ex-Daft Punk), Anthony Rother, Kraftwerk collaborator Emil Schult.

“Times reflects both the rapid acceleration of change in our world and the enduring power of human creativity,” says Flür. “I wanted this album to connect with listeners on both a musical and emotional level, blending nostalgia with a vision for the future.”

Musically the new album again finds Flür mixing classic Kraftwerk-inspired sounds with contemporary electronic sounds.

Times will be available on CD, vinyl, and digital platforms. You can see the new artwork and tracklisting below.

Pre-order Times.

Wolfgang Flür: Times
1. Posh (ft. Juan Atkins)
2. Planet On Fever (ft. U96 & Emil Schult)
3. Cinema ft. Fabrice Lig)
4. Far Aways.
5. Future One (ft. NEWMEN)
6. Über_All (ft. Peter Hook & Thomas Vangarde)
7. Magazine (Imppu Rework)
8. Property (ft. Anthony Rother)
9. Times
10. Global Youth (ft. Boris Blank & Emil Schult)
11. Sexer]sizer (ft. U96)
12. Hildebrandlied (ft. U96)
13. Monday To The Moon (ft. Peter Hook & Thomas Vangarde)

Killswitch Engage have announced four US shows with New Wave Of American Heavy Metal scenemates Shadows Fall, and the nostalgia is real.

The two bands, who concurrently rose up the ranks of the New England scene in the early 2000s, will be supported by Fit For A King and Boundaries when they play together in May.

The list of dates is available below and tickets go on general sale on January 10 at 10am local time.

The announcement follows both Killswitch Engage and Shadows Fall putting out new music after lengthy dry spells. Late last year, Killswitch announced that their first album in six years, This Consequence, will come out on February 21 via Metal Blade. The news was accompanied by the release of the album’s lead single, Forever Aligned.

Meanwhile, Shadows Fall recently unveiled their first song in 12 years, In The Grey. It was the band’s first piece of new music since returning from a lengthy hiatus in 2021, and they implied in a statement that more is to come.

“When Shadows Fall first got back in the practice space to prepare for our reunion shows [in 2021], we did not know if it would lead to new music, but the excitement of jamming together and all of the riffs that Jon [Donais, guitars] had floating around in his head led us in the direction almost immediately,” they wrote.

“The idea began flowing, the energy started building and new songs began taking form out of the chaos.”

The newly announced shows will follow Killswitch’s spring 2025 North American tour, which will run from March to April. Support on those dates will come from Kublai Khan TX, Fit For A King and Frozen Soul. See dates and details here.

Outside of Killswitch, guitarist Adam Dutkiewicz is busy with a side-project featuring ex-Killswitch singer Howard Jones. The pair recently revealed the band’s name as Burn Eternal and say their debut album has been mixed.

Killswitch Engage x Shadows Fall US tour:

May 10: Indianapolis Egyptian Room @ Old National Centre, IN
May 11: Memphis Minglewood Hall, TN
May 13: New Orleans The Fillmore, LA
May 14: Birmingham Avondale Brewing Company, AL

From tales of yearning and heartbreak to biting critiques of fame and fortune, these ten songs each weave the concept of “million” into their narratives in strikingly different ways. Whether it’s used as a metaphor for love, wealth, or distance, the word takes on a life of its own in these tracks, capturing emotions and ambitions that resonate deeply with listeners. Each song not only stands as a testament to the creative possibilities of its title but also highlights the versatility and depth of the artists who bring these stories to life.

Bob Dylan brought his signature wit and surrealism to “Million Dollar Bash,” blending absurd humor with undeniable charm. Porcupine Tree’s “Four Chords That Made a Million” critiques the formulaic nature of pop success with biting satire. Christine McVie delivered poignant romantic wisdom in “One in a Million,” embodying the warmth and depth she brought to Fleetwood Mac. Larry Graham’s “One in a Million You” remains a heartfelt anthem of love and gratitude, showcasing his amazing voice.

Bobby Darin added a swing-era charm to “I Found a Million Dollar Baby (In a Five and Ten Cent Store),” proving his versatility beyond the pop hits of his era. AC/DC’s “Ain’t No Fun (Waiting ‘Round to Be a Millionaire)” is a gritty rock tale of ambition, full of raw energy and humor. Captain Beefheart’s “Her Eyes Are a Blue Million Miles” combines bluesy grooves with poetic surrealism, offering a unique take on love and longing.

Guns N’ Roses ignited controversy and reflection with the provocative “One in a Million,” a song that remains fiercely debated. The Grass Roots embodied devotion in “(I’d) Wait a Million Years,” pairing heartfelt lyrics with catchy pop-rock melodies. Finally, Rory Gallagher’s “A Million Miles Away” captures isolation and introspection with haunting lyrics and masterful guitar work.

Through these ten songs, the concept of “million” transforms into a kaleidoscope of ideas, emotions, and musical styles, proving once again the depth and diversity that rock and roll can offer. Each artist and band found their own way to take this simple word and craft something enduring, leaving listeners with a sense of wonder, connection, or even provocation. It’s a testament to the enduring power of a single word when placed in the hands of the world’s most creative minds.

# 10 – Million Dollar Bash – Bob Dylan

Bob Dylan’s “Million Dollar Bash” is a playful, surreal masterpiece recorded during the legendary The Basement Tapes sessions with The Band in 1967. The song captures the spirit of creative liberation and camaraderie that defined this period, as Dylan and The Band retreated to the Big Pink house in West Saugerties, New York, to create a trove of genre-defying music. Produced informally, these sessions eschewed the constraints of studio perfection, allowing spontaneity and collaboration to flourish. The lineup for this track included Dylan on vocals and guitar, with members of The Band—Robbie Robertson, Rick Danko, Richard Manuel, Garth Hudson, and Levon Helm—bringing their dynamic musicianship to the table.

Lyrically, “Million Dollar Bash” unfolds as a whimsical narrative populated by eccentric characters and absurd scenarios, echoing Dylan’s knack for blending humor and cryptic imagery. Lines like “Turtle, that friend of theirs / With his checks all forged” and “I took my potatoes down to be mashed” highlight Dylan’s playful wordplay and surrealist tendencies. The recurring chorus, with its infectious “Ooh, baby, ooh-ee,” invites listeners into the joyous, chaotic revelry the song evokes. The lyrics reflect a sense of community and shared escapism, making it a thematic cousin to other songs on this list that explore rain as both literal and metaphorical relief.

Critically, “Million Dollar Bash” is celebrated for its carefree approach, marking a departure from the weightier social commentary of Dylan’s earlier work. While The Basement Tapes were not officially released until 1975, their influence on the burgeoning Americana genre and the mythos of Dylan’s career is undeniable. The album charted well globally, with the song itself standing as a testament to the creative freedom that can emerge from a spontaneous environment.

The enduring appeal of “Million Dollar Bash” lies in its ability to juxtapose the mundane with the fantastical, all set to an upbeat, rollicking melody. Its inclusion in this list underscores how songs with “million” in the title often exude an expansive, celebratory tone, turning simple phrases into invitations to imagine something larger than life. Dylan’s track remains a shining example of how music can transform even the most nonsensical imagery into something profoundly enjoyable.

Read More: Best Bob Dylan Songs Of The 1970s

# 9 – Four Chords That Made a Million – Porcupine Tree

Porcupine Tree’s “Four Chords That Made a Million,” from their 2000 album Lightbulb Sun, takes a sharp and satirical aim at the music industry, critiquing its commodification of art. Written and produced by Steven Wilson, this track was recorded at Foel Studio in Llanfair Caereinion, Wales, and features the band’s signature blend of progressive rock and alternative influences. The lineup for this album included Wilson on vocals and guitar, Colin Edwin on bass, Richard Barbieri on keyboards, and Chris Maitland on drums. The song showcases a deliberate tension between its biting lyrics and its polished production, a dichotomy emblematic of Wilson’s nuanced songwriting.

Lyrically, the track delves into the shallow nature of commercial success, with the refrain “Four chords that made a million” acting as a biting critique of formulaic songwriting aimed solely at profitability. The verses juxtapose the façade of fame with the emptiness it often conceals, as seen in lines like “You belong there on the cover / You are the emperor in new clothes.” The song paints a picture of an industry that inflates egos and then discards artists, a sentiment encapsulated in the verse, “A moron with a cheque book / Will take you out to lunch who knows? / He will tell you you’re a saviour / And then he’ll drop you like a stone.” This sharp commentary underscores the track’s thematic depth, making it a potent addition to this list of songs featuring the word “million.”

Musically, “Four Chords That Made a Million” is driven by a powerful rhythm section and layered guitar work, creating an almost ironic sheen of commercial appeal while critiquing that very concept. The track’s structure and Wilson’s vocal delivery evoke a tension that parallels the frustration of the song’s lyrical narrative. Its presence on Lightbulb Sun complements the album’s introspective tone, which blends personal reflection with broader societal commentary. In the context of this list, the song’s exploration of commodification and superficial success adds a layer of critical perspective, contrasting with tracks that celebrate ambition or personal triumph. “Four Chords That Made a Million” stands as both a condemnation and a reflection of the challenges within the music world.

Read More: Top 10 Porcupine Tree Songs

# 8 – One in a Million – Christine McVie

Christine McVie’s “One in a Million,” featured on her self-titled solo album released in January 1984, encapsulates the sophisticated yet heartfelt style that defined her career. Recorded at The Villa Studio in Montreux, Switzerland, and produced by McVie herself alongside Russ Titelman, the song features contributions from an exceptional group of musicians. This lineup includes Todd Sharp on guitar, George Hawkins on bass, and Steve Ferrone on drums, with McVie providing her signature keyboards and distinctive vocals. The track is a prime example of McVie’s ability to marry introspective lyrics with a polished pop-rock sound, making it a highlight of the album.

The lyrics of “One in a Million” offer poignant advice to someone at risk of losing a rare and valuable love, underscored by the refrain, “That kind of loving ain’t easily found / If he tells you he loves you, don’t turn him down.” McVie’s emotive delivery imbues the song with an urgency and sincerity that resonates deeply. The narrative voice, wistful and empathetic, serves as both an observer and a participant, hinting at unspoken longing. This complexity adds a layer of universality to the song’s message about cherishing love before it slips away.

Musically, “One in a Million” stands out for its smooth yet dynamic arrangement, with Sharp’s understated guitar lines weaving seamlessly with McVie’s warm keyboards. The rhythm section, driven by Ferrone’s impeccable drumming, provides a steady foundation that enhances the song’s reflective tone. In the context of this list, McVie’s composition adds an element of romantic contemplation, contrasting with more satirical or introspective tracks. “One in a Million” remains a testament to McVie’s unparalleled ability to craft songs that balance emotional depth with an accessible melodic charm.

Read More: Top 10 Fleetwood Mac Songs Sung By Christine McVie

# 7 – One In A Million You – Larry Graham

Larry Graham’s “One in a Million You,” released in 1980, is an enduring ballad that celebrates the discovery of a love so profound it feels divinely bestowed. This timeless track was featured on Graham’s debut solo album, One in a Million You, marking his transition from the innovative bassist of Sly and the Family Stone and Graham Central Station to a soulful crooner. Produced by Larry Graham and Roger Hawkins, the song was recorded at Muscle Shoals Sound Studio in Alabama, renowned for its legendary contributions to R&B and soul music. The album also benefited from a lineup of top-tier session musicians, including Barry Beckett on keyboards, David Hood on bass, and Jimmy Johnson on guitar, creating a polished and emotive backdrop for Graham’s powerful voice.

Lyrically, “One in a Million You” captures the transformative power of love, likening it to a “stroke of love” and a “chance of a lifetime.” Graham’s delivery conveys both vulnerability and gratitude, turning the song into a deeply personal narrative that resonates universally. Lines such as “The rain had stopped, and the skies were blue” evoke a sense of renewal, framing love as a force that redeems and revitalizes. This emotional depth is enhanced by the delicate interplay of the piano and strings, which underscores the song’s themes of intimacy and reverence.

Commercially, the song achieved significant success, reaching No. 9 on the Billboard Hot 100 and No. 1 on the R&B chart, solidifying Graham’s status as a solo artist. Within this article’s focus on songs featuring “Million” in the title, “One in a Million You” stands out as a testament to the transformative and elevating nature of love. Its heartfelt lyrics and soulful performance place it alongside other introspective and evocative tracks in this collection, adding a layer of romanticism and sincerity to the narrative.

Read More: Top 10 Graham Central Station Songs

# 6 – I Found a Million Dollar Baby (In a Five and Ten Cent Store) – Bobby Darin

Bobby Darin’s interpretation of “I Found a Million Dollar Baby (In a Five and Ten Cent Store)” encapsulates the charm and whimsy that marked his musical versatility. Originally written by Harry Warren, Billy Rose, and Mort Dixon in 1931, this song found a new life through Darin’s rendition on his self-titled album Bobby Darin, released in 1958. Recorded at Atlantic Studios under the production of Ahmet Ertegun and Jerry Wexler, the album displayed Darin’s ability to transition seamlessly from rock and roll hits to the smooth, jazzy stylings of the Great American Songbook. The inclusion of top-tier session musicians added depth and polish to Darin’s reimagining of this Tin Pan Alley classic.

Lyrically, the song tells a lighthearted story of a chance romantic encounter during an April rain shower, where love blossoms in the unlikeliest of places—a five-and-dime store. Darin’s vocal delivery imbues the narrative with a playful sophistication, emphasizing the serendipity of love. Lines like “I bought so much candy, till I was twice my size” underscore the humor and innocence of the moment, while the reference to the rain evokes a recurring motif of renewal and unexpected joy, tying it seamlessly into the thematic thread of this article.

Critics lauded Darin’s ability to bring a fresh energy to timeless standards, with this track exemplifying his knack for reinvention. While his crooning style in “I Found a Million Dollar Baby” contrasts sharply with more introspective tracks on this list, such as Larry Graham’s soulful “One in a Million You,” it highlights the breadth of emotion and storytelling that songs with “Million” in their titles can convey. Darin’s version remains a delightful nod to both the romance of the past and his own enduring artistry, blending nostalgia with a contemporary flair that continues to resonate.

Read More: Top 10 Bobby Darin Songs

# 5 – Ain’t No Fun (Waiting ‘Round to be a Millionaire) – AC/DC

AC/DC’s “Ain’t No Fun (Waiting ‘Round to Be a Millionaire)” offers a gritty and humorous glimpse into the aspirations and frustrations of a working-class dreamer striving for rock-and-roll success. The song, released on the 1976 Dirty Deeds Done Dirt Cheap album, was recorded in Sydney, Australia, with production helmed by the band’s frequent collaborators Harry Vanda and George Young. Featuring Bon Scott’s irreverent lyrics and the Young brothers’ signature guitar riffs, this track epitomizes the band’s early, raw energy and their knack for capturing universal struggles with a sardonic twist.

The lyrics chart a tongue-in-cheek narrative of a broke musician envisioning his rise to millionaire status, filled with vivid imagery like “holes in my shoes” and “patches on the patches on my old blue jeans.” Scott’s delivery adds an air of defiant humor, while the steady rock groove underscores the song’s working-class ethos. The refrain, “No, it ain’t no fun waiting ’round to be a millionaire,” highlights the frustration and drive that permeate the rock-and-roll grind. This theme of striving for success aligns lyrically with other songs on this list, such as Larry Graham’s “One in a Million You,” which contrasts AC/DC’s gritty take with its smooth, heartfelt reflection on love and fortune.

Critically, Dirty Deeds Done Dirt Cheap showcased the band’s evolution, blending humor and hard-hitting rock to create songs that resonate with listeners worldwide. “Ain’t No Fun” stands out for its autobiographical elements, reflecting the band’s early struggles before their meteoric rise. The song’s length, nearly seven minutes, gives the band room to expand their storytelling, adding layers of sly commentary on fame and fortune. With its rough-and-ready charm, this track captures both the humor and grit of chasing dreams, securing its place as a cornerstone of AC/DC’s enduring legacy.

Read More: Chris Slade: The ClassicRockHistory.com Interview

# 4 – Her Eyes Are a Blue Million Miles – Captain Beefheart And The Magic Band

Captain Beefheart’s “Her Eyes Are a Blue Million Miles” is a hypnotic ode to love and admiration, showcasing the more tender and introspective side of the avant-garde icon. Released in 1972 on the Clear Spot album, the song was recorded at Sunset Sound Recorders in Los Angeles under the production of Ted Templeman. Departing from the experimental chaos of earlier works, the track exemplifies Beefheart’s ability to infuse his signature surrealism with accessible blues-rock elements, highlighting the flexibility of both the artist and his Magic Band.

The lyrics, marked by their poetic simplicity, celebrate an otherworldly connection through the recurring imagery of the sea in the line “Her eyes are a blue million miles.” This metaphor not only underscores the depth of the narrator’s admiration but also creates an ethereal quality, drawing listeners into a dreamlike narrative. The music complements the lyrics with a subdued groove led by Zoot Horn Rollo’s bluesy guitar and Rockette Morton’s steady bass, offering a lush yet restrained soundscape. Compared to the biting wit of AC/DC’s “Ain’t No Fun (Waiting ‘Round to Be a Millionaire),” this track conveys emotional vulnerability rather than sharp commentary, broadening the thematic scope of this list.

Critically, Clear Spot was noted for its balance between experimental tendencies and mainstream appeal, with “Her Eyes Are a Blue Million Miles” standing out as one of the album’s more emotionally resonant moments. Its warm tone and evocative lyrics earned it enduring acclaim, including a spot on the soundtrack of The Big Lebowski, where its timelessness found new audiences. The song encapsulates the enigmatic charm of Captain Beefheart, offering a glimpse of heartfelt emotion amidst his often cryptic musical world.

Read More: 30 Essential Captain Beefheart And His Magic Band Songs

# 3 – One In A Million – Guns N’ Roses

Guns N’ Roses’ “One in a Million,” from the 1988 EP G N’ R Lies, stands as one of the band’s most controversial tracks, sparking intense debate and backlash upon its release. Written by Axl Rose, the song recounts his experience as a small-town outsider arriving in Los Angeles, struggling to navigate the city’s cultural complexity and urban challenges. Produced by Mike Clink, the track was recorded at Rumbo Recorders in Canoga Park, California, and showcases a stripped-down acoustic arrangement that contrasts with the heavier, electrified sound of the band’s debut album, Appetite for Destruction.

Lyrically, “One in a Million” captures Rose’s frustration, anger, and alienation with unflinching honesty. The refrain, “You’re one in a million,” carries a duality—celebrating individuality while lamenting the perceived distance between people in a complex, fractured world. Musically, the acoustic guitar provides a stark, haunting backdrop that enhances the rawness of the song’s message.

Critically, the song is often dissected for its provocative lyrics and how they align with the band’s reputation for rebellion and boundary-pushing artistry. Despite—or perhaps because of—the controversy, “One in a Million” remains a complex piece that reflects the harsh realities and contradictions of its time. While it diverges sharply in tone and intent from more tender tracks like Larry Graham’s “One in a Million You,” the song offers a visceral, unfiltered perspective that is both unsettling and uniquely reflective of Axl Rose’s worldview during the band’s early years.

Read More: Slash: The ClassicRockHistory.com Interview

# 2 – (I’d) Wait a Million Years – The Grass Roots

The Grass Roots’ “(I’d) Wait a Million Years,” released in 1969 as part of their Leaving It All Behind album, combines the yearning of unrequited love with the infectious energy of late ’60s pop-rock. Produced by Steve Barri and arranged by Jimmie Haskell, the song was recorded in Los Angeles and featured Rob Grill on lead vocals, with the band’s tight instrumental arrangements supporting the impassioned lyrics. Its polished production and sweeping orchestral touches helped elevate it to No. 15 on the Billboard Hot 100, marking it as one of the band’s enduring hits.

Lyrically, the song conveys the devotion and longing of the narrator, who vows to wait “a million years” and endure endless trials for love. The imagery is grand and evocative, with lines like “swim the deepest sea” and “climb the highest hill” illustrating the depth of commitment. The repetition of these themes mirrors the persistence and emotional intensity of the narrator, creating a relatable anthem for listeners who have experienced similar emotions. The track’s upbeat tempo and orchestral flourishes lend it an anthemic quality, making the message both poignant and celebratory.

Critics and fans alike have noted how the song’s dynamic instrumentation and heartfelt lyrics reflect the band’s ability to merge catchy melodies with emotional depth. Its timeless theme of longing aligns well with other songs on this list, capturing the universal appeal of romantic devotion through vivid and compelling storytelling. “(I’d) Wait a Million Years” remains a quintessential example of The Grass Roots’ knack for crafting memorable, emotionally resonant pop-rock.

Read More: 10 Essential Grass Roots Songs

# 1 – A Million Miles Away – Rory Gallagher

Rory Gallagher’s “A Million Miles Away,” from his 1973 album Tattoo, encapsulates the aching solitude and escapism that defined much of his work. Recorded at Polydor Studios in London and produced by Gallagher himself, the song features the iconic Irish blues-rock artist delivering a poignant performance on guitar and vocals, supported by Gerry McAvoy on bass, Lou Martin on keyboards, and Rod de’Ath on drums. The synergy of these musicians creates a richly layered soundscape, balancing introspective blues with the raw energy of rock.

Lyrically, the song paints the picture of a man adrift, both emotionally and physically. Phrases like “sailing like a driftwood on a windy bay” evoke a sense of isolation, while the imagery of a deserted hotel bar reflects a deep yearning for connection amidst personal turmoil. Gallagher’s soulful guitar solos serve as a narrative voice of their own, amplifying the song’s themes of distance and longing. The interplay between his expressive playing and the somber lyrics gives the track a timeless, universal appeal.

Critically, “A Million Miles Away” has been celebrated for its lyrical depth and musical craftsmanship. The track holds its own among other songs on this list, particularly in its ability to evoke vivid emotional landscapes. Unlike the romantic devotion found in “(I’d) Wait a Million Years” by The Grass Roots, Gallagher’s piece is a meditation on loneliness and introspection, offering a striking contrast. This poignant blend of lyrical storytelling and instrumental mastery ensures that “A Million Miles Away” remains one of Gallagher’s most enduring works.

Read More: Gerry McAvoy of The Rory Gallagher Band: 10 Albums That Changed My Life

Read More: Artists’ Interviews Directory At ClassicRockHistory.com

Read More: Classic Rock Bands List And Directory

10 Best Songs With The Word ‘Million’ In The Title article published on Classic RockHistory.com© 2025

Geddy Lee has reached out to British and European fans to explain why Rush’s final tour, 2015’s R40 Live: 40th Anniversary trek, was limited to just 35 dates in the US and Canada.

Speaking exclusively in the new issue of Classic Rock, Lee reveals that he initially hoped the band could schedule a more extensive run of dates, but that late drummer Neil Peart insisted that the tour be kept short.

“I’d pushed really hard to get more gigs so that we could do those extra shows and I was unsuccessful,” says Lee. “I really felt like I let our British and European fans down. It felt to me incorrect that we didn’t do it, but Neil was adamant that he would only do thirty shows and that was it. That to him was a huge compromise because he didn’t want to do any shows. He didn’t want to do one show.

“So, in his mind, he’d compromised already. He said, I’ll do thirty gigs, don’t ask me for any more. So that was that. “I just kind of felt I owed an explanation to them, the audience. It’s part of why I went into the detail I did about Neil’s passing in the book [Lee’s memoir, My Effin’ Life], was to let fans in on what went down. That it wasn’t a straight line.

“This is how complicated the whole world of Rush became since August 1 of 2015 until January 7th of 2020 when Neil passed. Those were very unusual, complicated, emotional times. Fans invested their whole being into our band and I thought they deserved a somewhat straight answer about what happened and how their favourite band came to end.”

“Ged and I were disappointed that Neil demanded playing only a limited number of dates which precluded a UK and European run,” says Alex Lifeson. “I think a dozen or so more dates would have made us a bit more accepting.

“And there was a point where I think Neil was open to maybe extending the run and adding in a few more shows, but then he got this painful infection in one of his feet. I mean, he could barely walk to the stage at one point. They got him a golf cart to drive him to the stage. And he played a three-hour show, at the intensity he played every single show.

“That was amazing, but I think that was the point where he decided that the tour was only going to go on until that final show in LA.“

Read the full interview with Geddy Lee and Alex Lifeson in the new issue of Classic Rock.

Jane’s Addiction bass player Eric Avery says he is working with the band’s drummer Stephen Perkins and guitarist Dave Navarro on new music – but his announcement made no mention of singer Perry Farrell.

The band are officially on hiatus following a public falling out in which Farrell appeared to charge and attempt to punch a visibly shocked Navarro on stage in Boston in September 2024.

They announced the hiatus a few days later, cancelling a string of dates that remained on their North American tour.

In the wake of Farrell’s outburst, he was described by his wife Etty as a “crazed beast” who was dealing with growing frustrations on the tour.

Avery, Navarro and Perkins released a statement saying they were heartbroken to have to cancel the tour, a decision they put down to a “continuing pattern of behaviour and the mental health difficulties of our singer Perry Farrell.”

Now, less than four months later, it seems the three musicians are planning to continue working together – although whether that’s under the Jane’s Addiction banner or not is unclear. And it’s also unclear what, if anything, Farrell’s involvement will be.

The singer is the only member of the band not named in Avery’s Instagram post.

In the post, Avery is seen recording bass parts in a studio video. It is posted alongside the message: “Writing some more new lines to some of Stephen’s drumming. Look forward to getting some Mr Navarro on them. 2025!”

Just weeks before the onstage incident and resulting hiatus, Jane’s Addiciton shared the song Imminent Redemption – the first single from the original line-up in 34 years.

Action metal war machine, Hyperstrike, has released the aptly named debut single, “Warning Shot,” on all digital platforms.

“Warning Shot” is an electrifying showcase of the band’s collective power. Chop Daddy lays down thunderous slap bass lines, driving the track’s explosive groove, while The Claw shreds through with razor-sharp, incendiary guitar riffs. Goblin commands the rhythm with machine-like precision and relentless intensity on drums, setting the stage for Brain Lord’s fierce, dynamic vocals to unleash the song’s raw energy. Together, the band delivers a high-octane anthem about a man pushed to his limits, crafting a powerful narrative of tension and resolve that hits as hard as their sound.

Hyperstrike is Seattle’s action metal war machine. Founded in 2024 by bass-slapping juggernaut Ben “Chop Daddy” Bennett, this band doesn’t play music; they drop sonic bombs. With a shadowy past tearing through thrash titans Warbringer and Bonded by Blood, and reigning as the “Lord of the Low End” in sci-fi shredders Xoth, Bennett knew exactly what kind of beast he was building. First, he wrangled in Ilya, the shredder known as “The Claw,” an assassin with riffs sharper than steel. Then came Adon, the “Brain Lord”—a maniacal force spitting venomous truths, carrying the fire from his days in Ghost Ship Octavius and the twisted depths of Spiritual Suicide. Together, they built a soundtrack for the end of the world: songs about nuclear meltdowns, cage fighters, and kings of the slain.

The final weapon in their arsenal? Josh, a drum-detonating powerhouse known as “Goblin Hammer,” whose percussive assault forged their chaos into a relentless onslaught. Hyperstrike is a raw, unfiltered force with hearts of steel and a taste for mania. No apologies. No survivors. Just unrelenting aggression. Brace for impact—because once the trigger drops, nothing will ever be the same.

Lineup:
Ben (Chop Daddy) Bennett – Speed Chopper Bass
Adon (Brain Lord) Fanion – Maniacal Pyro Vocals
Ilya (Siberian Claw) Ignatov – Elite Assassin Shred Guitar
Josh (Goblin Hammer) Hoffman – Master Drum Blaster

(Photo: Vance Bratcher)

Sacramento, California’s progressive metal outfit, Lunar, have released a lyric video for “Spring In My Step” to offer listeners another captivating glimpse into their upcoming concept album, Tempora Mutantur, slated for release at the end of January. The new release continues the band’s exploration of seasonal metaphors and personal transformation, promising a musical journey that blends intricate progressive metal with deeply introspective storytelling.

Drummer Alex Bosson comments on the single: “One of my personal favorite songs on the album. This song is more upbeat and about the good times we feel revitalized. When you’ve made it through a rough patch in your life and realize you’ve come out the other side. This song has some really fun moments musically and, I think, is one of the more “proggy” songs on this record.”

One of the more upbeat songs on the album, “Spring In My Step” delivers an awesome main riff and continues with positive melodies throughout. The track embodies the band’s approach to songwriting – creating music that is both technically complex and emotionally accessible, inviting listeners to find their own meanings within the layers of sound and lyrical metaphor.

The lyric video, along with the rest of the album, offers an emotional listening experience. Lots of ups and downs musically and lyrically dealing with the passing of time and the effects it has on us physically and mentally. Lunar is recommended for fans of Opeth, Caligula’s Horse, and Haken.

Founded by drummer Alex Bosson (Helion Prime, Planeswalker) and Ryan Erwin who passed away in 2018, Lunar continues in his memory. This fourth full-length, Tempora Mutantur, follows 2023’s The Illusionist and features a fresh lineup with the addition of guitarists Carlos Alvarez and Connor McCray (Vis Mystica) along with keyboardist Anthony Stahl plus album guests Wayne Ingram (Wildrun), Joe Gullace (Thank You Scientist) and Sam Vallen (Caligula’s Horse).

A collaboration of musical minds, and with anything Lunar does; Tempora Mutantur is an emotional thematic listening experience with ups and downs musically and lyrically dealing with the passing of time and the effects it has on us physically and mentally.

“This album deals with something everyone can relate to and no one can escape: the passing of time. We get older, our perspective changes, and we gain some things, and lose others… sometimes the things and ones we love. And we struggle and fight along the way. This album deals with some of the highs and lows we deal with along this journey we all share. Hopefully, the fans will be able to resonate with it and find some solace and aid in their own experiences of time passing. I believe the songwriting has gotten stronger over the years. I think the songs are a bit more well-structured. But I think the overall sound of the band has remained pretty consistent over the years. The music is very “prog,” so it’s been diverse I think from day 1. Probably even more so now than it was at first,” adds Bosson.

Lunar’s Tempora Mutantur is due out January 31 via Saibot Reigns Records. Pre-order here.

Tracklisting:

“A Summer To Forget”
“Fall Back Into Old Habits” ft. guest guitar solo by Wayne Ingram (Wilderun)
“Seasonal Interlude”
“Weakening Winter Touch”
“Spring In My Step”
“Tempora Mutantur: Part I – Passage of Time” ft. guest guitar solo by Sam Vallen (Caligula’s Horse)
“Tempora Mutantur: Part II – Broken Pendulum”
“Tempora Mutantur: Part III – Watch The Weather Change”

Melodic death metal outfit, Nephylim, releases their first new single and music video, “Inner Paradigm”.

“Inner Paradigm” is a 6-minute song elaborating, metaphorically, the (un)subconscious inner duality of one’s character: “What kind of person do I want to be?”. Based upon life experiences, self-(un)consciousness and person’s character this life-defining choice will be made. The song will appear as the closing track of the brand-new Circuition album, which is set to be released on March 7.

The album is recorded by Jos Driessen at Sandlane Recording Facilities and Yarne Heylen at Project Zero Studio. Mixed by Joost van den Broek at Sandlane Recording Facilities (Ayreon, Blind Guardian, Epica, Powerwolf, Sabaton), and mastered by Darius van Helfteren at Amsterdam Mastering (Epica, Floor Jansen, Blackbriar).

Their brand new track is accompanied by a music video, shot by Vic Bomers (Viccnzz) and edited by Tijn Bosters and Vic Bomers. The artwork was created by Giannis Nakos (Remedy Art Design).

Listen to the single on all streaming services here, and watch the video below.

Kevin comments: “‘Inner Paradigm’ reflects on the journey and progression we have made as a band. It contains a new sound while maintaining the old Nephylim style. I think this track combines everything we love: heaviness, groove, melodic and melancholic. We are beyond excited to show the world what Nephylim is all about!”

Ralph adds: “A first release is always an exciting and scary experience, hence you will finally show the world the work you have done over the last year! For me personally, I’m more than assured and confident that this track, but also all the other songs of the upcoming album, will be very-well received by the people! I couldn’t be more excited and proud of the final product!”

Lineup:

Tijn Bosters – Lead vocals
Kevin van Geffen – Guitar & Backing/Clean vocals
Ralph Lentink – Guitar
Rens van de Ven – Bass
Martijn Paauwe – Drums

(Photo – Vic Bomers – Viccnzz)

January 3, 2025, 6 hours ago

news riff notes john 5 motley crue

Guitar guru John 5 (Mötley Crüe) has shared the video below, stating, “I usually don’t post just me improvising and especially jazz, but I love all types of music and here’s me doing a little serenade to churro and wait till the very end. My click dies out. Hope everyone’s having a great New Year’s.”

Mötley Crüe are returning to the Las Vegas strip for the “Las Vegas Residency”, a limited run of shows at Park MGM between March 28 – April 19, 2025.

A portion of ticket proceeds for “Las Vegas Residency” will be donated to Nevada Partnership For Homeless Youth through Mötley Crüe’s Giveback Initiative and Live Nation.

Tickets are on sale now. For travel packages, hotel, and ticket info, head here. Watch a video trailer below:

The metal community is mourning the sad news of drummer, composer, and storyteller Joshua Nassaru Ward (age 37) who passed away on New Year’s Eve night December 31st after his car with him, his fiance Amanda Lynn Leroux, and two friends, Audrey Ross and Jade Burton were struck by a drunk driver on Cooley Bridge Road in Belton, South Carolina. Ward leaves behind a young son Kai. A GoFundMe has been created to aid in funeral costs, please donate here.

Ward was a pinnacle force in the Carolina metal scene known for his musical adventures in Enthean, Rapheumets Well, Xael, Olkoth, and Voraath (Exitus Stratagem Records) along with being a drum tech for bands Nile and Terrorizer, plus being endorsed by Los Cabos Drumsticks and Saluda Cymbals. He had a strong passion for drumming, sci-fi lore, directing videos, martial arts, and giving back to the community with his recent humanitarian efforts delivering aid during recent floods. His memory will be forever cherished by his family and extended metal family across the United States and beyond. He was a beloved friend to all. His genuine generosity and to lead with kindness to all were one of his most beloved characteristics. Rest In Power m/m/ Drum Eternally On The Other Side!

Jason Fisher of Exitus Stratagem Records comments: “It is with a heavy heart that the ExSR family reports that we have lost one of our own. Joshua Ward, the drummer and creative genius behind the band, Voraath passed away in an automobile accident on December 31st. This news comes as a harsh blow to everyone who knew him professionally and personally. Besides his stellar work with Voraath, he had also been spending time with us, putting in extra work at the label. We will miss Joshua for many reasons, from his inexhaustible imagination and passion for Voraath and its universe to his kindness and his infectious laugh. Voraath was in the process of recording new music and was about to unleash an entirely new webpage of lore for their universe. We will work with the band as they decide their next steps. A friend of Joshua’s has set up a GoFundMe page to help defray the expenses of Joshua’s funeral. We at ExSR will miss our friend and colleague.”

Transporting you through a portal of sci-fi storytelling and extreme music, Voraath unleashed their first full-length, Vol 1: The Hymn of the Hunters, in June 2024 on Exitus Stratagem Records (EXSR). Brutal yet epic metal, the level of detail that Voraath has emphasized on this record exposes a grand story of interdimensional worlds and cosmic entities warring while paying homage to their culture in the Appalachian Mountains of the Carolinas.

“This album is an investment of thought and emotion. We want to immerse the listener in another world. It’s heavy yet sad, brutal yet immersive, so we hope to take everyone on a journey. That journey is scored with metal! We think this album will be something unique, a whirlwind of emotions and an auditory odyssey. We capsulated real events in our lives and laced them through our complex musical universe. We want the fans to feel the music, and ride along with us on this musical journey through our dystopian planet.” adds the band.

An odyssey of hardship, betrayal, survival, and cosmic tales, Vol 1: The Hymn of the Hunters is recommended for fans of Septic Flesh, Gojira, and Fleshgod Apocalypse, and is available at the following links:

– Digital
– CD