Buoyed by an ecstatic reaction to their recent reunion, Beardfish celebrate the 15th anniversary of their breakthrough fifth album by releasing it on vinyl for the first time.
Destined Solitaire proclaimed the Swedes’ greatness like never before, outstripping even the preceding twin-album concept colossus Sleeping In Traffic: Part One and Part Two. By far the best-sounding and most richly detailed album Beardfish had released up until that point, it remains the perfect doorway into a musical world that brims with energy, invention, badass musicianship and great songwriting.
For all their melodic ingenuity, they’re also a hard-hitting band with virtuoso chops to spare. The opening Awaken The Sleeping wallops that point home: a delirious, multi-dimensional instrumental eruption that sounds like some baroque overture reimagined for the Canterbury scene, it is six minutes of pure joy.
The album’s only legitimate radio-friendly banger confirms they can be succinct if they want to be
After that, an embarrassment of riches are offered. The title track – which was included in the setlist for the two shows Beardfish played in May – is a perfect encapsulation of their malleable but organic sound.
The even more epic and convoluted Until You Comply/Entropy, which unfolds over 15 kaleidoscopic minutes, showcases the quartet’s preposterous levels of chemistry and intuition, while also repeatedly highlighting frontman Rikard Sjöblom’s gently peculiar and fiercely original way with a tune.
The album’s only legitimate radio-friendly banger, In Real Life There Is No Algebra, confirms that Beardfish can be succinct if they want to be, with a pristine blend of Steely Dan-like art-pop and deceptively grimy, not-quite-rock’n’roll.
In contrast, Coup De Grace and uproarious finale The Stuff That Dreams Are Made Of embrace the notion that symphonic prog needed a robust upgrade. A modern classic, and an excellent way to reintroduce the world to one of the 21st century’s most undervalued bands.
Destined Solitaire (15th Anniversary) double vinyl edition is on sale now.
Ian Hunter’s first brush with celebrity came in the early 1960s when he met Freddie Fingers Lee, formerly the keyboard player with Screaming Lord Sutch And The Savages.
“Sutch wasn’t employing him, cos he’d fallen off stage in Liverpool with a piano,” Hunter says now. “He was back doing steel erecting, and I just happened to meet him in the pub. He wasn’t famous in the eyes of the rest of the world, but to me he was really famous.”
That fateful meeting led to Hunter and Lee starting a band. Since then the singer’s journey – first with Mott The Hoople and subsequently as a solo artist – has seen him cross paths with pretty much any rock star worthy of the epithet.
“It’s funny,” says the 83-year-old Hunter, “every time I meet someone who’s supposed to be crazy, they’re not.” And he’s met a lot of people, including…
Mick Ronson
I met Mick when he replaced a mate of mine, a great guitarist named Miller Anderson, in this religious thing called The Voice. I met him again on the All The Young Dudes record. He came in and did a Randy Newman-style arrangement on the last track, Sea Diver. He wrote it out on a cigarette packet, which impressed me.
He was a sweet guy, very modest. If you wanted to get him involved, arrangement-wise, you had to ask him. But there was another side to him. He knew how good he was: “I can handle anything.”
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We shared a room for god-knows how many tours. He’d wake up in the morning and drink last night’s wine and start arguing with stuff on the TV. Apparently I used to leave water on the bathroom floor. He hated that, so he’d moan at me for that.
We worked on and off for seventeen years. People say: “How was it with Mick?” It was complex. He’d go off and do whatever he wanted to do, then he’d get fed up with that, so he’d ring me and go: “I want to do something.” That’s how we did it.
David Bowie
We’d made the decision to split Mott, and Pete [Overend Watts, Mott bassist] had asked him for a gig. That’s when he did his thing: “You shouldn’t split.” He’d send flowers to every show. Our label were going: “What the fuck’s going on here?”
We played the Guildford Civic, and he turned up. They were down one end of the dressing room and we were at the other, with Pete trying to be the middle man. He was different to us. He was definitely a star, he was working at it twenty-four hours a day. We weren’t, we were just having a good time, that was our version of rock’n’roll. He was on a different level. But he was lovely. You couldn’t have met a nicer guy.
(Image credit: Michael Putland via Getty Images)
Freddie Mercury
Out of all of Mott’s support bands, we got on with Queen the best. They became part of us, we became part of them. It was just like being in a nine-piece band. Fred was a character right off the bat. He was hilarious. He would say things that were extremely funny but he didn’t realise they were funny. And he was impatient. Everything had to be immediate – he had to be a huge star right now.
I remember him walking up and down in my room in Las Vegas, going: “When are these silly bastards going to get it?” I told him America was a big place, and they’d have to go round a couple of times. That’s what they did, and of course he did become that huge star.
Keith Moon and Frank Zappa
Keith had seen Mott at the [Hollywood] Palladium, and he rang me the following morning and said: “Do you want to go out tonight?” He met me in this little Volkswagen – Keith and this lady in the front, me and a rabbit hutch in the back, for some reason. We were going to someone else’s house, but they weren’t in, so he said: “We’ll go to Frank Zappa’s.”
So we wound up at Zappa’s house. Zappa was an absolute gentleman. He said: “I’ve got this stuff on two-inch tape downstairs, do you want to hear it?” Apparently once you got trapped by Frank you could be there for hours listening to stuff with no vocals, no melody. But I didn’t know this.
So I’m sitting there listening to people jamming. After forty-five minutes, Zappa said: “What do you think?” I said: [politely] “Great.” So he put another one on. Keith knew what was going on – he’d made himself scarce in another part of the house. Keith and Zappa both had reputations as being mad, but they were both gentlemen.
Bob Dylan
I remember one time, me and Mick Ronson had gone to something Bowie and [Bowie’s manager] Tony Defries were having in this club in Downtown New York. There was a restaurant, with a tunnel through to the club at the back. I said: “I don’t want to go through there, let’s stay in the restaurant.”
So we’re sitting there, and in walks Bob Dylan and [folk singer] Bobby Neuwirth. They sit down about two tables from us, and Bob takes out his guitar and plays the whole of [his 1976 album] Desire, and he’s overacting certain bits for fun. People are flying in to see what’s happening, and we’re just sitting there. We ended up going through to the club part, and all these people got up and started jamming. That was the night the Rolling Thunder Revue was born.
I met Dylan a couple of other times. One time, we were walking down the street and he had one foot on the pavement and one on the street going: “Mott The Hoople! Mott The Hoople!” There’d been a review in Rolling Stone where they said we were better than him. I thought he hated us, but it turned out he dug us.
And I met him after a Stones gig at Madison Square Garden in 1975. They weren’t on top form that night. He asked me what I thought of them, and I said: “It wasn’t their best evening.” And he went: “Nah, apathy for the devil.” I thought: “I’m having that for a title.” So I went off an wrote a song called Apathy For The Devil [which appeared on 1976’s All American Alien Boy].
Ian Hunter (rear, in shades) with (L-R): film director Martin Scorsese, Lou Reed, Judy Collins, Bob Dylan, and American DJ and record producer Arthur Baker at party to celebrate the release of Biograph, Dylan’s career retrospective box set, held at the Whitney Museum of American Art, in New York City, New York, November 13 1985. (Image credit: Vinnie Zuffante via Getty Images)
Jaco Pastorius
He was wonderful. He was on All American Alien Boy. I met him through Bobby Colomby from Blood, Sweat And Tears. Bobby had brought him up from Florida and was inviting all these jazz guys to come round and watch him play. Jaco was like: “I don’t like this, I feel like a performing monkey.” So I said: “I’m making a record, do you want to come and live with me?”
He had a huge ego, but it was a positive one. He wanted to be the best bass player in the world, and he’d practise for eight hours a day at my house, which was amazing but annoying. He used to go to the top of a nearby hill and think a lot. Later on I think he replaced that with a lot of stuff that he shouldn’t have done. [Metallica bassist] Rob Trujillo played on the first Defiance record. He said: “Oh, by the way, I used Jaco’s bass.” That was a nice little story.
Mick Jones (The Clash)
He used to follow Mott when he was a kid. He was always well dressed, he stood out. In the mid-seventies I remember someone from [Hunter’s label] CBS taking me to the studio to listen to this band they wanted me to hear. It was The Clash before anyone knew who they were. I go in, and they’re there. I’m standing there thinking: “What am I doing here?”
So they play me this track. They asked me what I think and I say: “It’s great.” And then one them says: “It’s the blessing.” That’s when I realised it was the same guy who followed Mott. For some reason the punks loved Mott. I remember going to a club in London with Mick [Ronson], and they chased him out of there. I was alright, I got away with it.
John Lydon
I was on a plane once and I got a tap on the shoulder. It was John Lydon. The guy next to me swapped seats, and John sat down and we spent the next three hours talking. He’d taken over Number 1 Gunter Grove, which is where Bowie and Defries had their offices. He didn’t know. It was when Mick Ronson was unwell [with cancer]. Mick was a big PiL fan, so I said to John: “Come and see Mick.” He said: “I can’t do that. I’ll just end up saying something fucking stupid.”
John Cale & Lou Reed
I met John through [Mountain drummer] Corky Laing. John had some studio time, but whatever he was doing fell through. The next thing, me, Corky and Mick Ronson are sitting in the studio with John, just jamming for two or three days. He was great, but he wouldn’t play anything he was good at; he wouldn’t play the cello or piano.
I met [Cale’s former Velvet Underground bandmate] Lou Reed once. David [Bowie] wanted Mott to do Sweet Jane on the Dudes album. I had no idea what the song was about – I wasn’t from Long Island, I wasn’t hanging out with the Warhol crowd. So David brought Lou round to sing it. I still didn’t know what it was about. He wasn’t exactly the most exciting person in the world to hang out with at that time.
Joe Elliott
Joe’s a force of nature. In Mott, we used to let people in the back of the venue if they had no money. That’s what happened with Joe. He told me it was in Doncaster. I don’t know whether he’d paid or not, but he’d basically barged his way into the dressing room.
Years later, my manager got a call from their label indicating they wanted to meet me. I’d met someone like that before, I forget who it was, and I hadn’t liked it, so I didn’t want to do it. But when I did eventually meet Joe he was fantastic. He knows more about Mott than I do. You just have to sit back and listen to him.
(Image credit: Kevin Mazur via Getty Images)
Barry Manilow
He covered [Hunter’s 1979 song] Ships. That was down to [music mogul] Clive Davis. When musicians came to see him who didn’t write all their own songs, he had a habit of playing songs that they might like while they were having a meeting, to see if they picked up on it. That’s what happened with Ships. Apparently Manilow’s father had passed away not long before, so he asked Clive Davis what it was.
I never met Manilow, but we talked on the phone. He wanted me to change the song’s middle eight. He said: “My audience is composed entirely of idiots, they will not get it.” I gave it a go, but I couldn’t do it. Once a song is done, it’s finished. Then his management came for a piece of it. My management said no way. And it still went Top 10.
Ian Hunter’s album Defiance Part 2: Fiction is out now via Sun.
Dave Everley has been writing about and occasionally humming along to music since the early 90s. During that time, he has been Deputy Editor on Kerrang! and Classic Rock, Associate Editor on Q magazine and staff writer/tea boy on Raw, not necessarily in that order. He has written for Metal Hammer, Louder, Prog, the Observer, Select, Mojo, the Evening Standard and the totally legendary Ultrakill. He is still waiting for Billy Gibbons to send him a bottle of hot sauce he was promised several years ago.
It’s hard to know where best to place Black Smoke Trigger. A UK tour supporting Bruce Dickinson suggests an inclination towards the heavier side of life, which is certainly reinforced by chunky, fist-pumping riffs, but flirtations with post-grunge radio vapidity open them up to the type of accusations levelled against Nickelback or Creed.
Therein lies the sonic conflict at the heart of this debut album.
Black Smoke Trigger – The Way Down (Official Music Video) – YouTube
The band avail themselves of a range of contemporary influences, sometimes losing their own identity as a result. When they do hit, they hit hard – The Way Down is a titanic headbanger, Proof Of Life has a stomp Godzilla could be proud of.
But tracks like Psycho and One More Chance (Don’t Let It Sleep Away) feel disappointingly rote and cliché, stalling any sense of momentum and gain made by the album’s far superior tracks.
We open up our top 10 covers of Elvis Costello songs list with the fabulous song “Stranger in the House” by Rachel Sweet. This cover was released on her debut album Fool Around. The album first came out in the United Kingdom on October 13, 1978, via Stiff Records, and later in the United States in July 1979, with a revised track listing.
The original version of “Stranger in the House” by Elvis Costello was recorded in 1977 and included as a bonus track on the 1979 U.S. version of his debut album My Aim Is True. The song is characterized by its country-rock influence and poignant lyrics about a deteriorating relationship.
Rachel Sweet’s lineup for the cover included Rachel Sweet on vocals, Charley Charles on drums, Mickey Gallagher on piano, Brinsley Schwarz on rhythm guitar, and Norman Watt-Roy on bass guitar.
# 9 – Radio Radio – Sum-41
Continuing with our top 10 covers of Elvis Costello songs list, we take a listen to “Radio Radio” by Sum 41. This cover was released as a B-side to their single “Still Waiting” in 2002. Sum 41’s high-energy punk rock style brings a fresh and vibrant feel to the track.
The original version of “Radio Radio” by Elvis Costello was released as a single in 1978 and later included on the U.S. version of his album This Year’s Model. The song reached number 29 on the UK Singles Chart. It is known for its sharp critique of the music industry’s control over radio playlists, catchy melody, and rebellious lyrics. The original features Elvis Costello on vocals and guitar, Steve Nieve on keyboards, Bruce Thomas on bass, and Pete Thomas on drums. Sum 41’s lineup for the cover featured Deryck Whibley on vocals and guitar.
# 8 – Oliver’s Army – Blur
In the number eight position on our top 10 covers of Elvis Costello songs list is “Oliver’s Army” by Blur. This cover was released as a B-side to their single “Sunday Sunday” in 1993. Blur’s rendition of “Oliver’s Army” brings a Britpop twist to the song, highlighting the band’s distinctive style. The original version of “Oliver’s Army” by Elvis Costello appeared on his 1979 album Armed Forces. The song is known for its catchy piano riff and politically charged lyrics, making it one of Costello’s most successful singles. The original features Elvis Costello on vocals and guitar, Steve Nieve on keyboards, Bruce Thomas on bass, and Pete Thomas on drums. Blur’s lineup for the cover included Damon Albarn on vocals, Graham Coxon on guitar, Alex James on bass, and Dave Rowntree on drums.
# 7 – Busy Bodies – Fastball
In the number seven position on our top 10 covers of Elvis Costello songs list is a great cover by our friends Fastball. is “Busy Bodies” was released on the 2010 tribute album Unexpected Guests. Fastball brings their unique alternative rock style to the track, adding a fresh and energetic interpretation.
The original version of “Busy Bodies” by Elvis Costello appeared on his 1979 album Armed Forces. The song is characterized by its witty lyrics and catchy melody, typical of Costello’s work during this period. The original features Elvis Costello on vocals and guitar, Steve Nieve on keyboards, Bruce Thomas on bass, and Pete Thomas on drums.
Fastball’s lineup for the cover included Tony Scalzo on vocals and bass, Miles Zuniga on guitar, and Joey Shuffield on drums.
At the number six spot on our top 10 covers of Elvis Costello songs list, we present the song “Watching the Detectives” by Duran Duran. This cover was released on their 1995 album Thank You. Duran Duran’s version stays true to the original while adding their signature new wave flair.
The original version of “Watching the Detectives” by Elvis Costello was released as a single in 1977 and later included on the U.S. version of his debut album My Aim Is True. The song is known for its reggae-influenced rhythm and dark, cinematic lyrics. The original features Costello on vocals and guitar, Steve Nieve on keyboards, Bruce Thomas on bass, and Pete Thomas on drums. This track helped establish Costello as a formidable new voice in the punk and new wave scenes.
Duran Duran’s lineup for the cover included Simon Le Bon on vocals, Nick Rhodes on keyboards, John Taylor on bass, and a pair of ex-Frank Zappa band musicians, Warren Cuccurullo on guitar and Terry Bozzio on drums. Their rendition of “Watching the Detectives” brings a polished, modern twist to Costello’s classic, highlighting the band’s tight instrumentation and Le Bon’s distinctive vocal delivery.
# 5 – High Fidelity Q-Tips featuring Paul Young
At the halfway point on our top 10 covers of Elvis Costello songs list, we present the song “High Fidelity” by Q-Tips featuring Paul Young. This cover was released as a single in 1982 and features Paul Young’s distinctive vocals.
The original version of “High Fidelity” by Elvis Costello appeared on his 1980 album Get Happy!!. The album is known for its Motown and soul influences, with “High Fidelity” standing out as a high-energy track characterized by its punchy rhythm and sharp lyrics. The song features Elvis Costello on vocals and guitar, Steve Nieve on keyboards, Bruce Thomas on bass, and Pete Thomas on drums. The lineup for Q-Tips at the time of their cover included Paul Young on vocals, John Gifford on guitar, Dave Lathwell on bass, Baz Watts on drums, and a brass section featuring Brian Maurice, Tony Hughes, and Steve Farr.
# 4 – Pump It Up – Sammy Hagar & Circle
Moving along on our top 10 covers of Elvis Costello songs list, we present the song “Pump It Up” by Sammy Hagar & The Circle. This energetic and rocking rendition brings a new level of excitement to the classic track, with Sammy Hagar’s powerful vocals and The Circle’s tight musicianship making it a memorable cover.
Sammy Hagar & The Circle’s version of “Pump It Up” was released on their 2021 album Lockdown 2020. The lineup for The Circle at the time included Sammy Hagar on vocals, Michael Anthony on bass, Vic Johnson on guitar, and Jason Bonham on drums. Their rendition stands out for its high-energy performance and modern rock twist, providing a dynamic and spirited tribute to the original.
The original version of “Pump It Up” by Elvis Costello appeared on his 1978 album This Year’s Model. The lineup for Elvis Costello & The Attractions included Elvis Costello on vocals and guitar, Steve Nieve on keyboards, Bruce Thomas on bass, and Pete Thomas on drums. Costello’s version is known for its punk-influenced rock sound and catchy rhythm, making it a classic track in his discography.
# 3 – God Give Me Strength – Audra McDonald
Moving along on our top 10 covers of Elvis Costello songs list, we present the song “God Give Me Strength” by Audra McDonald. This one is simply breathtaking. Audra McDonald’s rendition of the song showcases her incredible vocal range and dramatic interpretation, making it a standout version that captures the song’s emotional depth.
Audra McDonald’s cover of “God Give Me Strength” was released on her 2013 album Go Back Home. The original version of “God Give Me Strength” was co-written by Elvis Costello and Burt Bacharach and appeared on their 1998 album Painted from Memory. Audra McDonald’s cover stands out for its powerful delivery and nuanced performance, providing a heartfelt and captivating tribute to this beautiful composition.
# 2 – Almost Blue – Diana Krall
Just off the top spot on our top 10 covers of Elvis Costello songs list, we celebrate the song “Almost Blue” by Diana Krall, who is also Elvis Costello’s wife. This cover was released on her 2004 album The Girl in the Other Room. Diana Krall’s rendition of “Almost Blue” is a beautifully melancholic and jazz-infused interpretation that highlights her smooth and breathtaking vocal style, along with her exceptional piano skills.
The original version of “Almost Blue” by Elvis Costello appeared on his 1982 album Imperial Bedroom. Diana Krall’s version stands out for its intimate and heartfelt delivery, providing a poignant and soulful tribute to her husband’s classic song.
In preparation for the release of his new collection, 8314 Boxed, celebrated solo artist and Jethro Tull frontman Ian Anderson has shared an exclusive unboxing video. Now available for viewing, the video offers fans a glimpse into the beautifully presented and meticulously curated 10LP box set that will officially be released on August 23 through reissue specialist label Madfish.
A comprehensive anthology that spans Anderson’s illustrious solo career, 8314 Boxed features multiple first-time vinyl releases of classic Ian Anderson solo albums and showcases the depth and diversity of Anderson’s musical journey beyond his tenure with Jethro Tull.
The package, set for release for August 23, will include:
– Exclusive first-time vinyl releases of Divinities: Twelve Dances With God, The Secret Language Of Birds (2LP), and Rupi’s Dance (2LP) – Walk Into Light, Divinities: Twelve Dances With God and Homo Erraticus remastered at half speed by Air Studio – Roaming In The Gloaming LP offers previously unreleased live recordings from 1995-2007 – Beautiful side D etchings on 3 of the 10 records – 96-page book with foreword by Ian Anderson, extensive liner notes by Paul Sexton and exclusive pictures
Ian Anderson’s solo albums explore different sonic landscapes and instrumental line-ups, each record in this box set standing as a testament to his versatility. From the electronic experimentation in Walk Into Light and the profound narratives of Homo Erraticus, to the acoustic serenity of The Secret Language Of Birds, these albums are a reflection of Anderson’s unending creativity and his ability to seamlessly blend diverse musical styles into cohesive, captivating works.
8314 Boxed 10LP breakdown:
Walk Into Light (1983) – half-speed remaster Divinities: Twelve Dances With God (1995) – first time on vinyl, half-speed remaster The Secret Language Of Birds (2LP) (2000), etching on side D – first time on vinyl Rupi’s Dance (2LP) (2003), etching on side D – first time on vinyl Thick As A Brick 2 (2LP) (2012), etching on side D Homo Erraticus (2014) – half-speed remaster Roaming In The Gloaming (previously unreleased live shows from 1995-2007)
“Hey, but someone has to try oddball things, don’t they? Might as well be me…” – Ian Anderson
Ian Anderson’s mind as a listener, which would mature into a lifetime of format-blurring creative ingenuity, was opened when he was a mere six-year-old. By then, already relocated with his family from his birthplace in Dunfermline to Edinburgh, he heard an old family 78 rpm disc of Glenn Miller and his Orchestra’s irresistible gem of 1939, In The Mood.
“My father had a few treasured wartime records, mostly big-band stuff,” he told Prog magazine. “I remember having an epiphany, because ‘In The Mood’ introduces you to the elements of blues, effectively. That was my first moment of thinking: ‘Hmm, this music is something special.’”
A word from Ian Anderson on 8314 Boxed:
“Since 1983, I have made a few solo albums, not as dissatisfaction with fellow musicians or the group identity but usually just to try something a bit different, whether sonically, stylistically or in terms of instrumental line-up. These records all stand out for me as being quite different from each other and in some ways demonstrate a broader depth of my songwriting. The flute instrumental Divinities record is one of my favourites to this day.”
British guitar sensation, Sophie Lloyd, has released the new vlog below, in which she talks about touring life with American rapper and singer-songwriter, Machine Gun Kelly (aka MGK).
Sophie’s debut album, Imposter Syndrome, is available via her own Autumn Records. The album is available as a digipack CD, Black Gatefold Vinyl and Limited Edition Gatefold Purple Splatter Vinyl. Orders can be placed here.
Tracklisting:
“Do Or Die” (feat. Nathan James) “Pressure” (feat. Brandon Saller) “Imposter Syndrome” (feat. Lzzy Hale) “Let It Hurt” (feat. Chris Robertson) “Runaway” (feat. Michael Starr) “Fall Of Man” (feat. Matthew K. Heafy) “Lost” (feat. Cole Rolland) “Hanging On” (feat. Lauren Babic) “Avalanche” (feat. Trevor McNevan) “Won’t You Come” (feat. Marisa Rodriguez) “Judge And Jury” (feat. Tyler Connolly)
“Judge And Jury” video:
“Runaway” featuring Michael Starr of Steel Panther:
“Lost” featuring Cole Rolland:
“Hanging On” featuring Lauren Babic:
“Fall Of Man” featuring Matthew K. Heafy of Trivium:
KLOS presents the Helpful Honda Rock Room, an exclusive concert series featuring private interviews and performances. The new episode features legendary Ratt frontman, Stephen Pearcy.
Matt Pinfield sat down with Stephen for an exclusive in-depth interview. They discuss Stephen’s love of rock & roll growing up, the Sunset Strip in the ‘80s, the early days of Ratt, the 40th anniversary of Out Of The Cellar, and a whole lot more.
Following his interview with Matt Pinfield, Pearcy took to the KLOS Helpful Honda Rock Room stage with his incredible band. Watch the footage below:
Bloomberg Law is reporting that longtime Journey keyboardist, Jonathan Cain, sued the iconic rock band’s sole remaining co-founder, guitarist Neal Schon, saying his lavish spending on tour has sown toxic divisions within the band.
Schon has blown past a $1,500-per-night hotel fee cap, maxed out an American Express card with a $1 million limit, unilaterally chartered private jets, hired a close friend as unnecessary extra security, and blocked efforts to pay the band’s debts, according to the court filing made public Monday.
The dispute “is a very much public battle between petitioner and respondent and is impacting the band’s reputation throughout the music industry,” the lawsuit says. “The band’s actual onstage performance is, at the moment, one of the only aspects of the business that has not suffered.”
Attorneys who represented Schon in previous litigation between the two band members – a 2022 case over the AmEx card – didn’t immediately respond to a request for comment.
Journey are currently out on a co-headlining North American tour with Def Leppard. Tickets for all remaining dates on The Summer Stadium Tour 2024 are on sale here. Dates are listed below.
August 2 – Toronto, ON – Rogers Centre ^ 5 – Boston, MA – Fenway Park * 7 – Flushing, NY – Citi Field * 12 – Arlington, TX – Globe Life Field * 14 – Houston, TX – Minute Maid Park * 16 – San Antonio, TX – Alamodome * 19 – Minneapolis, MN – Target Field * 23 – Phoenix, AZ – Chase Field * 25 – Los Angeles, CA – SoFi Stadium * 28 – San Francisco, CA – Oracle Park * 30 – San Diego, CA – Petco Park *
September 4 – Seattle, WA – T-Mobile Park ^ 8 – Denver, CO – Coors Field ^
Metallica have shared the official live video below, featuring their performance of “The Unforgiven” at at Estadio Cívitas Metropolitano in Madrid, Spain on July 14.
Metallica previously released footage from their concert at Estadio Cívitas Metropolitano in Madrid, Spain on July 12. Watch the band perform “Orion” and “Cyanide” below:
Metallica perform next on August 2 & 4 at Gillette Stadium in Foxborough, Massachusetts. Find the band’s complete live itinerary here.
Rap metal sensation Sicksense – featuring vocalists Vicky Psarakis (ex-The Agonist) and Robby J. Fonts (Stuck Mojo) – have released their new single, “On Repeat”. Check out the official video below.
The band’s Earache Records debut, Cross Me Twice, will be released on February 14, 2025. It is now available for pre-order:
“We are pleased to welcome Phillip ‘Agent Phil’ Lykostratis and ‘The Gothfather’ Rich Regier into the Sicksense family.
In addition to being an exceptional guitar player, Phil has brought his incredible film and graphic design talents to the table. He’s helped bring our song concepts to life and take our visuals to the next level.
Rich joined us two weeks before our scheduled film dates for our first music video. He was a complete professional, learning our songs and stepping up to the plate on bass on such short notice.
Having all these extremely talented individuals coming together to round up this Sicksense lineup, we are ecstatic, pleased and proud to announce our signing to Earache Records.
Earache has gone above and beyond to collaborate with and support our creative vision. We hope to create plenty of memorable moments and meaningful art alongside them for many years to come.
