At long last, Ray Volpe has unleashed his long-awaited EP, VOLPETRON ASCENDS. The third installment of the EP series—following Rise Of The Volpetron in 2021 and Legend Of The Volpetron in 2022—Volpe adds an extra three EP pieces on Monstercat following both “HAPPY SONG” and “EAT SLEEP RAGE,” which each built an ample amount of excitement in the months leading up to the EP’s full arrival.
Blending together bass house, melodic bass, dubstep, trap and more, VOLPETRON ASCENDS is a testament to Volpe’s versatility and talent as he reconfirms that no genre is safe from his production grasp. And on top of the EP’s two singles, Volpe tacks on “ASCENSION,” “IT ISN’T ME” with Dancing Astronaut Supernova RUNN, and lastly, “DROP EM.” Still building off the momentum that “Laserbeam” had throughout 2022 and beyond, VOLPETRON ASCENDS solidifies Volpe as a producer that’s more than capable of crafting countless hard-hitting, genre-blurring tracks. With each subsequent release in the wake of “Laserbeam,” Volpe has shown that it was simply a titanic win in a string of many. Speaking on his VOLPETRON ASCENDS EP, Volpe dove into the success of “Laserbeam” and overcoming the mental barriers of following it up, explaining,
“This EP means a lot to me. After the last year of explosive growth, I felt an immense amount of pressure to “follow it up” and keep the momentum going. It caused me to hit a brick wall for a bit, but eventually I broke through and made a collection of what feels like my best work to date. It’s an incredibly exciting and creatively fulfilling feeling.”
Neil Peart’s sister Nancy Peart Burkholder has opened up about the passing of the Rush drummer more than three and a half years ago.
The drummer passed on January 7, 2020, after a three-year battle with an aggressive form of brain cancer called glioblastoma. He died in Santa Monica, California at the age of 67. The band announced Peart’s passing three days later.
Speaking with Kelly Barrett on her show Etcetera With Kelly Barrett, Burkholder reflected on the passing of her brother. “We had three and a half years to prepare, so we knew it was coming,” she said. “And then once it happened, we had that week of radio silence where we couldn’t tell anybody. And then we got — I think we had 10 minutes’ notice before it was going live to the world. So we had 10 minutes to tell everyone that we hadn’t told in three and a half years that, ‘Sorry, we lied. Everything’s not okay.’ So, yeah, it was a really hard — that week was the hardest week that we went through because we knew and couldn’t share it.”
After being asked if fans and other people were respectful of the family’s privacy at that time, Burkholder responded: “Oh, our messages were blowing up. My daughter finally turned her phone off. She’s also a musician. She’s in the [music] world. And she actually wrote a song that week called ‘Radio Silence’ because we were under radio silence.”
She continued: “It played at ‘A Night For Neil’ [memorial event which was held in October 2022 at Meridian Centre in St. Catharines, Ontario, Canada]. It was incredible. So, yeah, it was a very surreal week. But that 10 minutes was, like… I can’t even remember who I called in that 10 minutes. Everybody I knew, well, I had to message them all at once, ’cause we knew we had 10 minutes. And then just as one of my best friends got my message, it was on the radio. And then all of them, of course, were getting called because their families all know the connection and that — the same thing — had 45 years with him, technically. So, yeah, it was a shock that went around the world, that’s for sure.”
It was revealed last year that the Rush drummer wanted to keep his cancer diagnosis a secret prior to his death. Appearing on the Canadian talk show House Of Strombo Peart’s bandmate, Geddy Lee shared: “[Peart] didn’t want anyone to know [about his illness]. He just didn’t. He wanted to keep it in the house. And we did. And that was hard. I can’t tell you it was easy, ’cause it was not easy. And it was ongoing. His diagnosis was… he was given 18 months at the most, and it went on three and a half years. And so that was a constant flow of us going to see him, giving him support.”
He continued by saying that both he and Rush guitarist Alex Lifeson had to be “dishonest” to fans in order to protect Peart’s privacy.
It’s been just a few months shy of four years since Machinedrum and Holly released Berry Patch, their breakthrough collab EP on Vision, and punters and DJs alike have been wistfully wondering if the duo would release another such crossover epic. Both artists have released loads of killer tracks on their own since January of 2020, as they’re each so talented in their own right, but there’s no denying these are two great tastes that taste great together. Now, finally, this peanut butter cup of a new collab EP is almost upon us. Get ready for River of Heaven.
What’s really cool about the long-awaited River of Heaven from the Portugese-American duo isn’t just that it picks up where Berry Patch left off. This is truly a coming together of the evolution of two artists over the last three years. Fans shouldn’t go in expecting similarities; this EP is really only a follow-up in terms of chronology. It’s made clear from the opening title track, written in Japanese script as 天の川. With this track, the duo announce they’re firmly in crossover territory and they will be thus for most of the EP, with only two tracks at or around 174. That’s not too surprising, as much of Berry Patch had loads of tempo changes and other crossover elements, but genre aside, there’s also a lot of difference stylistically.
With three of the tracks, “Novaform,” “Blueshift” and “Hide Sun” already out, fans will likely already see a lot of differences in style, especially in “Blueshift.” While the experimental dubstep-tempoed “Novaform” has a lot of the heavy, grimy bass of Berry Patch, it’s also much more polished with loads of atmospheric work. “Blueshift” and “Hide Sun” are stronger indicators of what’s to come on River of Heaven: funky, liquid in nature and full of clean, crisp sounds. Machinedrum and Holly also experiment quite a lot in this EP with both tempo and general sound. Where Berry Patch was somewhat easily classed as neuro-leaning, it appears as if the guys have made it a point to challenge anyone to classify River of Heaven. The mashup vibes never end here, and it’s clearly deliberate.
The main example of this purposeful fusion of styles, sounds and genres is also our YEDM premiere, the illustrious “Luminae.” Slotted as the penultimate track on the EP, it’s also an apotheosis of the sound Machinedrum and Holly set out to create this time around. Starting off as a bit of a trickster track, listeners will likely think the intro is a slow yet complex build into a D&B drop. Instead, the audience is met with a slower (160?), unclassifiable beat that’s so broken, one could call it fractured. This gives loads of space for the artists to build up a huge track around the beat, but they keep it minimal, drawing a surprisingly funky structure with impeccably clean snares by the time the track gets to the break. Ambient sine wave synths swirl in and out of that open space before said break, which is another trick as a lone amen pulls the pitch up before dropping into the mindfuck that is that broken beat once again.
There’s so much going on with the beat and sound design in “Luminae” that fans may not even notice that there is a substantial crunchy bass drone a’la Berry Patch underlining most of the track and giving it depth. Even among all this experimentation and new, mind-boggling sounds, the boys still like their bass. Updated as it may be after nearly four years, there’s no mistaking this classic combo the collab between Machinedrum and Holly creates. River of Heaven, in that sense, is less of a follow-up and more of an evolution; another stamp in time for these two innovative artists.
River of Heaven drops on Vision Recordings this Thursday, August 31. Pre-save or pre-order here.
Disco Lines has joined forces with ayokay to unveil “I Got You,” a sublime and uplifting house anthem out now under the former’s very own Good Good Records.
An emotive vocal croons over a hypnotic house beat while dreamlike synths and groovy basslines meld to cultivate a colorful sound. For the final drop, the song erupts into a frenzy of stuttering synths, a sound that has taken the dance music scene by storm over the past year.
Seamlessly lacing the signature sounds of each, the euphoric tune stands as the collaboration we didn’t know we needed. It’s “the perfect little bop to help you hang on to summer,” ayokay said.
After his meteoric rise to fame last year, Disco Lines, who is now preparing to embark on his Good Good tour, continues to make waves. Over the past year, he has had the opportunity to play major festivals like EDC Las Vegas, Electric Forest, Lollapalooza and more. Meanwhile, ayokay continues to enchants his global fanbase with his heady brand of dance music, like July’s intoxicating Surrender To The Feeling EP.
Listen to “I Got You” below and find the new track on streaming platforms here.
Police have been searching for British-Nigerian writer and poet Gboyega Odubanjo, who was last seen at Shambala festival.
Odubanjo was last seen in the early hours of Saturday morning (August 26) at the festival which took place in Northamptonshire. His friends and family have asked if anyone who may have seen him or have any information about his whereabouts to come forward.
According to a statement by Northamptonshire Police, Odubanjo was last seen in the county’s Kelmarsh area — he is 5ft 6in with short black dreadlocks and a full-face beard. He usually wears glasses and was last seen wearing a beige/cream bucket hat, a red and white striped gilet with black long-sleeve clothing underneath, black trousers and dark-coloured shoes.
* This post has been updated with Gboyega’s full clothing description along with a further picture of him *Police…
Odubanjo is an editor at bath magg – “a magazine of new poetry,” as well as a Roundhouse Resident Artist, and a recipient of the 2021 Eric Gregory Award for his New Poets Prize Pamphlet Aunty Uncle Poems.
One of his pamphlets titled While I Yet Live, was published by Bad Betty Press in 2019. His 2021 poem Oil Music was featured as poem of the month on The Guardian.
There have currently been no updates since Odubanjo was first reported missing. His friends, who have shared he also goes by “Yega”, are urging anyone who may have seen him in London during the bank holiday weekend to reach out to the police.
Police have urged him to contact friends or family if he sees this appeal.
Anyone with any information should contact the Northamptonshire Police department on 101, quoting the reference MPD1/2619/23.
Noel Gallagher has reflected on his friendship with Bono, and recalled the time that he and Bruce Springsteen jokingly aggravated him by sending him a selfie.
The former Oasis member made the comments during a new interview with Shuffle (via Sunday World), ahead of his performance with High Flying Birds in Dublin on Saturday (August 26).
Leading onto the discussion about his friendship with the U2 singer, Gallagher began by reflecting upon his time meeting with another rock legend, Bruce Springsteen.
According to the musician, he met The Boss by chance while the two were both in Ibiza and ended up spending the afternoon together. “Bruce is an amazing dude and I was lucky enough to meet him a few years ago,” he told the outlet.
“I had lunch with him and his wife. There were a few of us, we were all out in Ibiza and we randomly bumped into each other and we all ended up spending the afternoon together…and he was an amazing, amazing guy,” he added. “I won’t say I was a huge Bruce Springsteen fan, but I’ve definitely got the utmost respect for him. He was great, just like a kid into music.”
Bruce Springsteen performs at UBS Arena on April 11, 2023 in Elmont, New York. CREDIT: Kevin Mazur/Getty Images
He continued, going on to say that they eventually decided to poke fun at Bono’s fear of missing out by sending him a photo of the moment.
“We were sat at this long table, we’d had a few bottles of wine and there’s food everywhere and we took a selfie with each other and [Springsteen] said, ‘Should we ruin Bono’s day?’ And we sent him the selfie,” Gallagher recalled.
“And, of course, Bono – you might not know this – has got a crippling fear of missing out. And his wife called me and said, ‘When you sent him that photograph he couldn’t handle the fact that you two were in Spain having the time of your life and he wasn’t there.
“Then Bono was asking, ‘What were you talking about? [So] I said, ‘We were fucking slagging you off!’”
Gallagher also described Bono as “one of his dearest friends”, and explained what it was like to go on tour with U2.
Noel Gallagher and Bono at The Brit Awards in 2001. CREDIT: Dave Hogan/Getty Images
“He gets a lot of flack, but I fucking love him,” he said. “I’ve been on tour with him and, do you know what is amazing about U2? When a band gets to that level, usually your entire operation is run by Americans. U2’s operation is entirely run by Irish people, all of it. It’s like a mass exodus when they go on tour. It’s like there was a bigger exodus than there was during the Famine.”
“There’s fucking hundreds of them,” he added. “There’s about 300 Irish people on tour, it’s unbelievable.
“I’ll tell you what, I was on tour with them for the best part of a year and I have only just recovered. It was really great fun, they are really great people and I love them dearly.”
Gallagher’s next show with High Flying Birds will take place tomorrow (August 30), with a show in Hull. From there, the band will headline the Rock N Roll Circus in Sheffield on September 1, before continuing more UK shows later in the year. Find all remaining dates and any remaining tickets here.
In other Noel Gallagher news, last week the singer-songwriter and guitarist shared who he thinks would play in an Oasis reunion line-up if that day is to ever come.
Porcupine Tree singer and multi-instrumentalist Steven Wilson has announced his new solo album, ‘The Harmony Codex’. Check out new single ‘Economies Of Scale’ below, along with our interview with the artist.
Released on September 29, a deluxe three-disc edition of ‘The Harmony Codex’ will includs remixes of its songs by the likes of Manic Street Preachers, Interpol, Roland Orzabal of Tears For Fears, Opeth’s Mikael Akerfeldt and electronica pioneers Radiophonic Workshop.
‘The Harmony Codex’ has been previewed with listening sessions for fans in cities including London, New York, Berlin, LA and Amsterdam. “So much of this album was conceived in terms of how it’d feel in a completely immersive context,” explained Wilson. “I wanted as many immersive previews as possible of ‘The Harmony Codex,’ because people rarely get to site down and listen to an album in the dark without any distractions. They’ve really enjoyed that feeling of: ‘Oh yeah, this is how we used to listen to music!’”
The first single, ‘Economies Of Scale’, is out now along with a video by Charlie Di Patino, who has directed for Jungle and Everything But The Girl.
‘The Harmony Codex’ follows Porcupine Tree’s first album for 12 years, ‘Closure/Continuation’, which reached Number 2 in the UK in 2022 – only kept from the top spot by Harry Styles’ ‘Harry’s House’. The trio, also comprising Richard Barbieri and Gavin Harrison, headlined Wembley Arena on the album’s tour, which finished on August 5 at German festival Rock Im Park.
Wilson’s eighth solo album, ‘The Harmony Codex’ follows 2021’s ‘The Future Bites’, which featured Elton John, Mystery Jets, Enter Shikari and The Cure drummer Jason Cooper, and reached reached Number 4 in the UK.
Other guests on ‘The Harmony Codex’ include Interpol drummer Sam Fogarino, Jack Dangers of dance/hip-hop veterans Meat Beat Manifesto, Kneebody drummer Nate Wood plus longtime Wilson associates Ninet Tayeb, Craig Blundell and Adam Holzman.
Alongside his own music, Wilson has become known for his spatial audio mixes for other artists’ classic albums, including for Roxy Music, Suede, Chic, ABC and Guns N’ Roses. “As someone who’s known as part of that scene, I felt I should try to make an album of my own that would raise the bar for what’s possible in spatial audio,” Wilson told NME.
Live shows have yet to be announced, with Wilson planning a series of residencies in intimate venues, rather than a traditional tour. “I’d like to take the immersive aspect into the live situation and play smaller rooms, maybe 600-capacity,” said Wilson. “I’d install an amazing spatial audio system, then somehow have the audience be inside the band, with light installations and projections. I’d like to create an environment for a performance to take place in.”
To launch the new album, Wilson also told NME of his amazement at persuading Manic Street Preachers to do a remix, why he’s finally comfortable at doing what he wants and whether Porcupine Tree still have a future…
NME: Hi, Steven. What was the starting point for your new album?
Wilson: “I had a book out last year, ‘Limited Edition Of One’. Some chapters were about my relationship with fans, some were just lists of books, movies and songs that inspired me. I finished the book with a short story, The Harmony Codex. It was dystopian sci-fi and, like a lot of my music, it had a very dreamlike quality.
“As I was writing the story, I was beginning to develop the initial ideas for this record. It felt logical to have a narrative feel to the songs, to match the cinematic quality of the music. It made sense to write an imaginary soundtrack for that short story, writing music based on its characters and ideas.”
‘The Harmony Codex’ is very eclectic, with acoustic songs like ‘Time Is Running Out’ alongside the lengthy and largely instrumental title track. Was that variety intended from the outset?
“I didn’t want any sense of agenda for the album. I didn’t want it sound like any particular type of record. I wanted to go with what felt right. The title track being a 10 minute ambient piece in the middle of the album, on previous records I’d probably have said to myself: ‘You can’t do that. People aren’t going to go with it.’
“Maybe due to lockdown’s enforced isolation, I had a very different mindset on this record. I wanted a record that would wrongfoot you, almost confuse you by keeping you guessing. I hope it keeps people surprised.”
It must help that your fanbase are probably used to you surprising them by now…
“Absolutely. Part of this record is confidence from having done this for a long time now, which means I can think: ‘No, fuck it, I can put a 10-minute ambient piece on the same record as an acoustic song and an electronic pop song.’ It’s good to embrace that.
“I don’t underestimate how lucky and privileged I am to be able to do this, basically doing what the fuck I want. I don’t think many musicians can say that these days. I still confront the expectations of my audience. I rarely give them what they want or expect, yet somehow I take a lot of them with me. I’m grateful that it’s how my career has panned out.”
Why was the spatial audio aspect of the album important for you?
“Dolby Atmos has become significant in the industry in the last three years, since Apple and Amazon adopted it. That aspect was how I approached recording and mixing, not the writing of the record. I think I’m pretty good at not getting caught up in the technical issues of spatial audio: I still have a very visceral emotional approach to the music I’m making.”
That emotional aspect is especially present in the impassioned ‘Beautiful Scarecrow’. What inspired it?
“One of the album’s main metaphors is of MC Esher’s never-ending staircase. I love that image as a metaphor for existence.
“As you get older, you understand that life is about the journey, not the destination. It’s about savouring those unplanned moments that aren’t part of your strategy. As a teenager, you have dreams, but they very rarely manifest themselves how you’d imagine. ‘Beautiful Scarecrow’ is about finding the beauty in the negative, in misfortune and fate.”
How did you persuade Manic Street Preachers to remix the first single, ‘Economies Of Scale’?
“Even though I’m far from a household name and I think I’m very much under the radar, I think most musicians have a respect for me. When I approached Elton John on ‘The Future Bites’, I was absolutely stunned that he’s a fan of mine. I’ve since found out Elton owns basically every record ever made, but still, that’s amazing.”
“The Manics took my lead vocal and created a whole different piece of music to go under it. It was like nothing I’d expected and it blew me away. I’ve just done a remix for them in return. I wanted to do away with the notion of remixes. I approached people like Roland Orzabal who aren’t known for doing remixes, to say instead: ‘Reimagine the song how you want’.”
Porcupine Tree. Credit: Press
What was it like touring with Porcupine Tree after over a decade apart?
“I really enjoyed it. It was fun and joyous to get back with the guys without the pressure of feeling like it was my day-job. ‘The Harmony Codex’ was already in the can and I knew this was my main focus going forward.
“I didn’t want to just go out and play old material, so one condition of the tour was that we finished ‘Closure/Continuation,’ which we’d largely made a decade earlier. At the same time, I was allowing myself to do something nostalgic for the first time in my life. I normally have an aversion to that, but I went with it and I really enjoyed it. It was a one-off, which allowed us all to enjoy it. Maybe never again, but it was fun.”
Have you ever tried to play the industry game?
“I’ve tried, but I just can’t do it. Early on in Porcupine Tree, we were signed to Atlantic in America. We were pressured to try to write a grunge radio anthem. I did it, but I felt so dirty. The audience saw through it too.
“It’s one thing to be able to do it, it’s another to convince your audience. I’ve never gone back there, but I’m happy to do whatever I need to promote an album: talk about it, do in-stores, edit songs down for radio.
“I’m in the enviable position of having a fanbase who almost expect me to do the unexpected. If they feel I’m trying to make concessions to the music industry, they spot it a mile off and rightly pick me up on it.”
With this album’s cinematic feel, would you be up for doing a film soundtrack?
“People keep calling my music ‘cinematic’, but so far I’ve not been invited to do a film soundtrack. That’s something on my bucket list…”
‘The Harmony Codex’ is released on September 29 via Virgin. The tracklist is:
‘Inclination’ ‘What Life Brings’ ‘Economies Of Scale’ ‘Impossible Tightrope’ ‘Rock Bottom’ ‘Beautiful Scarecrow’ ‘The Harmony Codex’ ‘Time Is Running Out’ ‘Actual Brutal Facts’ ‘Staircase’
The tracklist of bonus disc ‘Harmonic Distortion’ is
‘Codex Theme #7’ ‘Economies Of Scale (Manic Street Preachers Remix)’ ‘Codex Theme #9’ ‘Inclination (Faultline Remix)’ ‘Impossible Tightrope (Alternate Version)’ ‘Codex Theme #6’ ‘Beautiful Scarecrow (Meat Beat Manifesto Excursion 1)’ ‘Codex Theme #8’ ‘Time Is Running Out (Mikael Akerfeldt Version)’ ‘Staircase (Interpol Remix)’ ‘Codex Theme #3’ ‘What Life Brings (Aug 22 Mix By Roland Orzabal)’ ‘The Harmony Codex (Long Take)’ ‘Staircase (Radiophonic Workshop Remix)’
Stray Kids member Bang Chan has revealed that he is no longer allowed to continue his popular livestream series, Chan’s Room.
Bang Chan has been known to host weekly livestreams on YouTube, and formerly on VLIVE, where he would chat with fans and talk on various topics. The musician launched the series in early 2019, with the latest episode being held on May 14 this year.
Notably, the May 14 episode of Chan’s Room drew controversy over remarks Bang Chan had made about generational differences in greeting etiquette, following his experience at the Music Bank in Paris event in April.
Bang Chan later apologised for this comments in a post on the official Stray Kids Instagram. “I thought about the impact my words and behaviour can have on others, and have deeply reflected on myself,” he wrote at the time.
In a fan-captured video on Twitter, during what appears to be a fanmeeting event, Bang Chan reveals that he “can’t do Chan’s Room anymore”. He added: “I want to actually, but the company says no.”
didn’t wanna drop this info on you guys like this…but pls don’t expect channies room anymore.. like i always said from the beginning it is the COMPANYS!! doing i’m tired of everyone thinking its his choice when its not.. heres the proof for u jyp boot lickers.. now leave us… pic.twitter.com/BQwIT8hjG9
In other news, Stray Kids will perform at the 2023 MTV Video Music Awards, which takes place at the Prudential Center in New Jersey on Tuesday, September 12. Other performers include Måneskin, Demi Lovato, Karol G and more.
Meanwhile, two members of the boyband recently became ambassadors for luxury fashion houses. Australian member Felix Lee will represent French brand Louis Vuitton, while Hyunjin will work with Italy’s Versace.
Eminem has formally requested that US Republican presidential hopeful Vivek Ramaswamy stop using the rapper’s music during presidential campaigns and rallies.
READ MORE: The roots of… Eminem
The request comes after Ramaswamy, who is looking to enter 2024’s US presidential elections, rapped along to Eminem’s hit ‘Lose Yourself’ at the Iowa state fair earlier this month. Ramaswamy has also since started using the track as his walkout song.
Now, per an exclusive letter obtained by Daily Mail, music licenser Broadcast Music Inc (BMI) has issued a letter dated August 23 to Ramaswamy stating it received an official request from Eminem demanding that the 38-year-old candidate no longer be allowed use his music.
Lawyers for rapper Eminem have sent Vivek Ramaswamy a cease and desist letter demanding the candidate stop using his music on the campaign trail.
BMI’s letter to Ramaswamy adds that it “letter serves as notice that the Eminem Works are excluded from the Agreement effective immediately.”
“BMI will consider any performance of the Eminem Works by the Vivek 2024 campaign from this date forward to be a material breach of the Agreement for which BMI reserves all rights and remedies with respect thereto,” the letter read.
A spokesperson for Ramaswamy said to the Daily Mail in response to the cease and desist: “Vivek just got on the stage and cut loose. To the American people’s chagrin, we will have to leave the rapping to the real Slim Shady”.
Ramaswamy’s love for Eminem’s music and rap in general has widely reported per The Guardian, with the politician revealing to his alma mater Harvard’s campus newspaper The Crimson that he used to rap under the name Da Vek. He also told them that Eminem’s ‘Lose Yourself’ was his favourite song.
Pantera supported Metallica at a California stadium gig at the weekend, and hung out with John Travolta afterwards.
Metallica were playing a huge gig at the SoFi Stadium in Inglewood on Friday (August 25), with Pantera in support.
As shown in backstage photos shared by the band on Instagram, Travolta was among the revellers hanging out in the dressing room.
Others getting involved in the festivities included Mötley Crüe members Tommy Lee and John 5 as well as Game Of Thrones star Jason Momoa.
See what unfolded below.
Last week ahead of the California gig, Pantera paid tribute to late guitarist Dimebag Darrell on what would have been his 57th birthday. The tribute took place during the band’s recent stop in Austin, Texas – the same state in which the late guitarist was born in 1966.
Taking to the stage on Sunday (August 20), the new line-up told the crowd that the day would have been his 57th birthday towards the start of the show. They also launched into a rendition of ‘Happy Birthday’, while encouraging the audience to sing along.
Later in the show, the members also took a brief break during the set to have a drink in honour of the musician – who was killed in 2004. Here, Randy Blythe, the frontman of opening act Lamb Of God, rolled out a beverage cart and passed out a round of Dimebag’s favourite drink, a “black-tooth grin” (whiskey with a splash of Coca-Cola).
Pantera announced plans to reunite with a revamped line-up back in July 2022 – this saw Zakk Wylde (Black Label Society, Ozzy Osbourne) on guitar and Charlie Benante (Anthrax) on drums joining frontman Phil Anselmo and bassist Rex Brown.
The heavy metal veterans current string of live shows marks their first headline tour in 22 years. It kicked off earlier this month with a opening show in Pennsylvania. They are also playing multiple shows as support for Metallica on their ‘M72’ tour.
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