The Tesla and Fuel concert at Thunder Valley Casino on November 9th was an electrifying night of rock 'n' roll that left fans of all ages buzzing with excitement. Both bands brought their fiery energy to the stage, delivering passionate performances that showcased their enduring appeal and musical prowess. From start to finish, the night was a celebration of timeless hits, new material, and the sheer power of live music.
Fuel opened the show with "Last Time" and set the tone with their typical high-octane performance. Their abbreviated setlist delivered fan favorites along with some newer tracks, keeping the crowd completely captivated throughout their 45 minutes on stage. The band’s chemistry, led by vocalist Aaron Scott, was simply infectious, and the interactions with fans—whether through heartfelt shout-outs or powerful sing-along moments—created a sense of unity in the room. My favorite from the set was their final track of the evening, "Hemorrhage (in My Hands)". The power of that song was amazing and a great one to transition to the mighty Tesla.
Tesla, veterans of the rock scene, lit up the night with their signature sound. As hometown heroes in this area, they brought a seamless blend of classic hits and fresh tracks to their Thunder Valley faithful, giving fans a perfect mix of nostalgia and excitement. Favorites from the evening included "Modern Day Cowboy", "Heaven's Train (No Way Out)", and the Five Man Acoustical Jam Version of "Paradise". The band’s connection with the audience was incredible, with Brian Wheat's lead vocals soaring through the crowd while Frank Hannon's guitar solos that brought bursts of energy to every corner of the venue. Their stage presence proved that they’re still as fiery and engaging as they were in their heyday.
Thunder Valley itself was the perfect backdrop for the show, offering great sound quality and a welcoming atmosphere that amplified the experience. The crowd’s energy never faded; fans were on their feet, cheering, clapping, and soaking in every second of the performances. From grooving to iconic anthems to discovering new favorites, it was a night that truly celebrated rock music. The show ended in a high-octane fashion with another Five Man Acoustical Jam Version of "Signs". Just wow! It was overall a stellar performance packed with passion and talent—a night fans won’t forget anytime soon, and the perfect exclamation point on a show that proved to all in attendance that rock' and roll' is alive in well in Northern California.
November 21st was the most alive I’ve ever seen El Cid. After all, a legendary band known for putting on a show was headlining that night. This band, known as Qbomb, filled up El Cid, and you could tell how excited fans were just by looking at the merch table.
Qbomb had the crowd hooked from the very beginning of their set. There were smiles everywhere you looked and an audience constantly in motion. The kind of cheers you’d expect at the end of a set were already present at the start. Multiple times, Qbomb's lead singer, Gene, jumped into the crowd, getting everyone moving and dialing up the energy.
Their setlist included "Ignition", "Exhaustion Engine", "Afterburn", "Everything Is Fine", "Soften the Grave", "LWYMMD" (a Taylor Swift cover), "1,000,000AD", "Fall Apart", and "Terminal Patience". Their music blends various genres like punk, rap, and pop, while also weaving in pop culture influences such as anime and video games. If you grew up alt, watched cartoons, and are self-aware about today’s societal problems, you’ll love Qbomb.
I thought it was really cool that one of the band members dressed as Mothman, and another played a keyboard guitar. Everyone on stage looked like they were having so much fun. During "Look What You Made Me Do", they brought out a special guest who played the accordion, even giving them a casual shoutout by swapping a lyric in the song—a fun detail to catch. It was one of the best Taylor Swift covers I’ve ever seen.
Qbomb also has a great sense of humor, making them a band that will have you laughing too. One moment that stuck with me was when Gene spoke about being outraged by the current state of the world—a sentiment many of us can relate to—but also reminded us that there’s still a lot of hope out there. That moment filled me with strength and the resolve to keep fighting, a feeling I’m sure others in the crowd shared.
Every Qbomb song paints a vivid story. The lyrics are powerful and hit hard. We even got to hear music from Qbomb that they hadn’t ever performed yet until that moment. "Soften the Grave" and their unreleased music resonated with me the most. It’s also cool that multiple band members sing; their sound wouldn’t be the same without each member’s contribution. You never know what to expect from a Qbomb set, which is why it’s impossible not to have a good time. Even when El Cid had to cut the set short, the crowd cheered for an encore and stayed long after the venue tried to usher everyone out.
It was one of those unforgettable nights, surrounded by one of the friendliest communities I’ve seen in the music scene. I’m sure the fanbase would have stayed even if the set had lasted two hours. It’s also a great place to meet people who love animation—some of us even struck JoJo poses outside! If you haven’t checked out Qbomb yet, there’s no better time than now. I’m excited to see them rise to greater heights and the impact they’ll continue to have on their community.
YES . . . they can Still Rock in America and they rock harder and with more passion than any band from their era! Night Ranger performed to a capacity crowd at City National Grove in Anaheim, CA on Thursday night November 21 with no opening act – an evening with Night Ranger as they played a full set of nothing but hits and fan favorites.
At 8:00 the lights went down and although there were seats setup on this night at The Grove – most did not stay seated for long as the band hit the stage and took the crowd through a ROCKIN journey of their hit filled catalogue of songs. The band wasted no time in getting this party started as they opened with the high energy ROCKER “(You Can Still) Rock in America” which was the perfect song to kick off what was to be a memorable night of rock n roll. The first thing you notice when you see Night Ranger live aside from how great they sound is how much fun these guys are having onstage together. Lots of smiles, band interactions, and choreographed stage moves coupled with the music results in the ultimate performance.
Vocalist/bassist Jack Blades has the same onstage flair he demonstrated in the late 80’s but more impressive is his voice remains totally on point as he belts out the lyrics. This band is just so full of talent and energy . . . It goes without saying how great of a guitar player Brad Gillis is but seeing and hearing him play live just takes it to another level – one of the best guitarists to come out of the eighties without a doubt – he is a whammy bar master and makes that red Fender Stratocaster scream!
Somewhat of a hometown show for guitarist Keri Kelli (originally from Orange County) he has quite a pedigree himself having played with Alice Cooper and Slash just to name a few, Kelli and Gillis shredded up the stage all night long trading riffs. And then there is Kelly Keagy, drummer extraordinaire and lead vocals on many songs and like Blades, Keagy’s voice remains strong and powerful as ever. Rounding out the band but no less important is the killer keyboards from “E”, Eric Levy.
Damn Yankees was a “supergroup” Blades played in with Ted Nugent, Tommy Shaw and Michael Cartellone back in the early 90’s and Night Ranger treated Anaheim to a couple Damn Yankees smash hits – “Coming of Age” and “High Enough” which was just incredible to hear since Damn Yankees is no longer active. It was banger after banger, hit after hit – all killer, no filler with “Sing Me Away”, “Sentimental Street” and “When You Close Your Eyes”. For the rocking song “Night Ranger” during Keagy’s drum solo the entire band grabbed some drumsticks and joined in on pounding the drums and symbols – again another example of these guys having genuine fun onstage.
The night ended with two of Night Ranger’s biggest hits, first the sensational “Don't Tell Me You Love Me“, then one of the greatest power ballads of the 80s/90s, “Sister Christian” with Keagy on vocals WOW, just a really incredible performance that had the band sounding absolutely fantastic all night long.
Night Ranger remains one of - if not THE - premier live acts from the 80’s era and their music stands the test of time and rocks as hard today as it did 35 yrs ago.
Set List:
(You Can Still) Rock in America) | Four In the Morning | Seven Wishes | Sing Me Away | Coming of Age (Damn Yankees) | Sentimental Street | Rumors in the Air | Eddie’s Coming Out Tonight | High Road | Night Ranger (Drum Solo) | High Enough | (Damn Yankees) | Goodbye | When You Close Your Eyes | Don’t Tell Me You Love Me | Sister Christian
The 55-year-old O’Shea Jackson, better known as Ice Cube, is an accomplished rapper, songwriter, actor, film producer, and founder of BIG3 basketball league and CubeVision. He first hit the scene in 1986 with the rap trio C.I.A. but soon after hooked up with Easy-E and Dr. Dre to join N.W.A. And from that point on, there was no stopping Cube. He had the talent, smarts, energy and drive to not only make him one of the top rappers of all-time, but also a movie star, and much more. While growing up in the 80’s in white suburbia I gravitated towards hip hop. Such an amazing sound, and the message was so real, so raw, so true. When I first heard N.W.A. and Straight Outta Compton, I was pulled into this amazing music. The stories, no truths, they told in their music was so eye opening.
While Dre was my favorite in the group, Cube had that raw, rough, angry flow, his lyrics just stayed with you. So, when he left N.W.A., and not being in a time of social media, I didn’t understand and Cube became Benedict Arnold to me. I didn’t listen to AmeriKKKa’s Most Wanted and Death Certificate when they were first released. I was all about N.W.A. and Dre and Snoop and Warren G. But when The Predator came out, I heard a couple songs and had to listen. It was dope, it was raw, it was angry, it was amazing. With Dre creating and popularizing the G-Funk era, Cube’s next album, Lethal Injection, was amazing. It was an almost perfect album to me and by this point I had no choice but to admit I was a huge Cube fan. So, when I heard Cube was releasing this latest album, six years after his last release, and honestly after a handful of just Ok albums, I was intrigued but also wondering why? How will this sound?
During the late 80’s and early 90’s my go to was West Coast hip hop, to this day The Chronic is my #1 album ever. My 25-year-old son, Janak, takes after me in those days, in 2024 pretty much all he listens to is Dre, N.W.A., Tupac, Cube, Easy, Warren G, Snoop, etc. All that West Coast gangsta music. We were in the car Friday, and I asked if he listened to the new Ice Cube album yet, he said no, so I put it on. His first reaction was “he sounds old, he just doesn’t sound like that angry Ice Cube with that strong message, strong lyrics and that same flow.” It made me think, I had already listened to the album twice and I thought he sounded good. I thought, for the most part, his flow was solid, and the lyrical flow was good. But was I wrong? Because to me, what had always made Cube so great was the lyrics, his deliverance, and his beats.
The album starts off really strong with “Rollin’ At Twighlight” a nice chill beat and rhythm with that solid flow from Cube we are so used to. Followed up with a G-Funk flow with “It’s My Ego,” another chill rhythm and flow. He keeps up with that funk groove with another solid song in “So Sensitive.” Three really good solid songs to start this off. Snoop Dogg, E-40, Too $hort & October London join Cube on “She’s Sanctified.’ This funk, pop song has a nice beat and the hook by October London is sweet, but it kind of falls a little short, considering the star power on this joint. It’s not bad, I would have expected more from this crew. He stays with that old school funky feel with “Not Like Them’ but this is one of those tracks that I get what my son said about his sound and lyrics, just sounding kind of old and just a little flat. But he comes back strong on “5150” with some hard beats and Cube sounds crisp and intense and you have a sense of purpose behind his delivery. One of the better tracks on the album. K-Major delivers on “No Cap” but it’s another one of the songs that falls a little short for Cube and his lyrics. IshaDon doesn’t add much to the song, with a limited appearance, could have been more involved and not sure why Mike Epps was on this.
“3 Lil Piggies” is next up, while the beat isn’t bad, not getting into this one. It almost feels forced; the lyrics, the flow, the style. When you feel let down by a track or two, he comes back with a strong one, and “Ghetto Story” is just that, another lyrically strong song. It’s stripped down with no drums, just a nice groove with Cube flowing over like we love to hear. Cube has J-Dee of the Lynch Mob join him on “Facts.” These two reunite to give us a rundown on their lives, diving into their shared experiences, painting that graphic picture of their friendship and life of street drama over a shifty, infectious beat. We get a nice soul sample featuring Kurupt on “Fighting for My Life in Paradise.” This is a celebration to the life they are living, a good life. “Let’s Get Money Together” has Cube and B-Real going back and forth on this dope jam, a solid song with these two working well together after all these years. “I’mma Burn Rubber” gives us Cube with some hard and tough lyrics over a hard beat. Not a bad song, but doesn’t really fit as well on the album.
“Especially You” takes us back to his days of working with Dre and the World Class Weckin’ Cru with a major dance flow with the synthesizer taking us to the dance floor. Not sure many Cube fans will like this one, but I actually really like it. Such a different vibe, it just works. We get a true West Coast beat and feel with “Break the Mirror” featuring Xzibit. This hits hard, gives us that rawness from Cube we love so much. Zxibit comes in just as hard as Cube and has that raw flow. Great song. Cube takes a hit at these whack ass MCs on “Talkin’ Bout These Rappers” another hard beat and raw flow from Cube. Cube changing up his cadence which works so well. After a couple of strong songs we get “Scary Movie” another one that just falls a little short. Beat is nothing special and repetitive and the lyrics are not as strong. “Take Me To Your Leader” has a good vibe and feel to it, but there is something holding it back from being a really good tune. We finish off with track number 19, a song featuring Busta Rhymes and Killer Mike, “Ego Maniacs.” Great song to finish this album off with, great beat and G-Funk flow. Ice Cube has some nice lyrics, a great flow and he let’s us know, he’s the man. I have never been a huge Killer Mike fan, but he really hits nicely on this one and when Busta comes in, BOOM, he just gives us that strong Busta flow.
Man Down is really split into two groups, that old-school West Coast flow and G-Funk era stylin’ but the other half that just falls a little flat, weather it’s the production and beats or the lyrics. Maybe this should have been a shorter album. The good old-school grooves are going to really hit with the old-school Ice Cube fans. The early 90’s Cube fan, but probably not hit with the new, younger hip hop crowd. Which is fine. With 50 years of hip hop, you are going to have all types of styles and all types of fans. Is this on the level of The Predator or Lethal Injection (my two favorite Cube albums)? No, but it is a solid album, an album I will keep listening to, while skipping over a few of the songs. It is a little frustrating, the lyrics and energy is so good on some songs, but then really drops on others. Cube, at times brings us that rawness, attitude and emotion we love, but other times it is a letdown, you are left waiting for more. Overall, it is a solid album, for a guy that has been doing music for close to 40 years, he still has it. For a guy that doesn’t need to prove anything it’s nice to see him still wanting to put out music, and good music at that. He still brings those strong lyrics, that angry and strong flow.
Oh, and one final shout here - to our brother Steven Lashbrook. Lash is one amazing photographer and the genius behind the epic album art on Man Down. His shots are killer and bring to life Cube's stories throughout this amazing album - well done!
One Love – Todd Judd
Hunnypot has been long time fans of Mystical Joyride and Sean the Star Emperor, both having met as a part of the line up for our Hunnypot Live Showcase. The two have collaborated on many occasions since, culminating with this feminine anthem "GODDESS".
L.A. psychedelic and genre-fluid duo Mystical Joyride, along with queer space pop artist Sean the Star Emperor have shared a dance track on the exploration of the cosmic and the divine. The pulsating synths, dynamic bass lines, and spacey melodies make "GODDESS" an inclusive and empowering cosmic experience.
Mystical Joyride is the cosmic duo and genre-fluid Psychedelic World Pop band hailing from Los Angeles. This married couple Leah and Joel fly their musical spaceship in between the ratchet and the spiritual. Their live sets are an energetic and immersive experience of meditation and straight up shaking that ass with electronics and live instrumentation as well guest vocalist, Bengali sensation, Arzeen Kamal. Get ready to dance and let your soul play as Mystical Joyride delivers a unique and unforgettable experience mixed with a few very special surprise guests.
If you’ve been roaming the dancehall desert searching for the next wave of underground sonic planeteers, look no further than Sean the Star Emperor. Sean the Star brings his voguing, Minogueing bounce in his new single, sending Earth a message of contentment in “Paradise”. Best enjoyed under bright beams, “Paradise” is a light and hip-poppy earworm perfect for a kiki, a party, a drive and pretty much any situation that could stand for an extra dose of sunshine.
Hunnypot is proud to be Mystical Joyride and Sean the Star Emperor's official sync representative Masters & Publishing, ask us about LICENSING!
Over the years your music tastes may change and evolve, but you can always find fondness in the music you grew up listening to in high school. Whether you “grew out” of that phase, or you still rock out to it on a daily basis, hearing it can take you right back to the easier times of teenage years when the crushing weight of the world wasn’t weighing on your consciousness. This can only be a semi-escape sometimes but getting to see the band live and live in their world for a few hours truly takes you back. Rise Against has been a band I’ve been listening to for about 20 years now, and when they announced their latest North American tour I was ready to fall back into the mindset of my teenage self. The penultimate stop of the tour was at the House of Blues in Anaheim, CA with support from L.S. Dunes and Cloud Nothings. Fans packed the lines early wanting to get a spot as close to the barricade as they could.
Opening the night was indie rockers Cloud Nothings from Cleveland, OH. Lead singer and guitarist Dylan Baldi was channeling his Kurt Cobain energy with his hair obscuring his face and droning into the mic with a half hazard aesthetic. But when he stepped off to the side to solo you could see his true frontman energy shine. Bassist Chris Brown was lost in the groove of his bassline as he picked away at his axe. Drummer Jayson Gerycz kept the tempo in the pocket and was the rock behind Cloud Nothings music. When Baldi or Brown let their instruments go wild, they could always rely on finding the beat again from Gerycz. Though this trio was the opening band for this tour, they decided to make the show a bit more special by making it their 10 year anniversary tour for their album Here and Nowhere Else. Performing songs from that album like “Giving Into Seeing,” “Now Hear In,” and “Pattern Walks.” We also got songs like “Mouse Policy,” “I’d Get Along,” “Enter Entirely,” and “Stay Useless.” Cloud Nothings was the perfect band to get the crowd rocking and energized for what else was to come.
Up next was a supergroup known as L.S. Dunes. This group consists of vocalist Anthony Green (Circa Survive), guitarist Frank Iero (My Chemical Romance), guitarist Travis Stever (Coheed and Cambria), bassist Tim Payne (Thursday), and drummer Tucker Rule (Thursday). Green is a ball of never ending chaotic energy constantly exploding all over the stage. From swinging the mic around, throwing the mic stand into the air, and flailing across the whole stage. Guitarists Iero and Stever pass the lead lines back and forth, while playing with passion in their respective spots on stage. Bassist Payne is trying his best to keep up with Green’s energy, working the whole stage and putting his all into his playing. While drummer Rule was the perfect time keeper for the band, holding this all together. L.S. Dunes played mostly songs from their debut album Past Lives including “2022,” “Bombsquad,” “Grey Veins,” “Past Lives,” and “Permanent Rebellion.” We also got a few songs from their upcoming new album Violet, that comes out January of next year, that included “Machines,” “Benadryl Subreddit,” and ending with “Fatal Deluxe.” L.S. Dunes has only been around for a couple years, and though the members are in bands that are frequently touring, this is a supergroup that I feel could have a long lasting career coming back every few years when the members have down time.
Finally, it was time for our headliner, and to enjoy the blissful ignorance of life while getting lost in Rise Against music. Opening their set with “Satellite,” the band blasted us with a burst of energy sending the crowd into a frenzy. Shortly into their opening song, the crowd surfers already started coming over the barricade. Vocalist and rhythm guitarist Tim McIlrath has a voice that carries so much weight with it. Rise Against sings a lot about political issues and the state of the world, and McIlrath’s voice makes these issues seem like the most important thing while still being a joy to rock out to. Lead Guitarist Zach Blair had to be the most animated person on stage, frequently standing right up against the edge of the stage, shredding right in front of the screaming fans. While bassist Joe Principe and drummer Brandon Barnes were a double team of rhythm and groove. Rise Against even graced us with a short acoustic interlude of songs that featured “Hero of War,” “Forfeit” (Making its tour debut), “Swing Life Away,” “Behind Closed Doors,” and “Prayer of the Refugee.” Hearing the acoustic strings ring out for these songs just helped add more weight to the lyric content that Rise Against often writes about. The rest of the set was an electrified thrill ride of songs like “Injection,” “Worth Dying For,” “Re-Education (Through Labor),” “The Black Market,” “Whereabouts Unknown,” “Paper Wings,” “Dancing For Rain,” “I Don’t Want to Be Here Anymore,” and a three song encore of “Nowhere Generation,” “Six Ways ‘Til Sunday,” and “Savior.”
Walking into the House of Blues for a few hours this night, all the worlds’ problems were gone. I, along with everyone else in the sold out crowd, was able to let all of our worries slip away and just get lost in the music of the night. Cloud Nothings, L.S. Dunes, and Rise Against put on a massive rock show whose energy was bigger than the House of Blues could hold, and this show should have been held at a bigger arena. Though the tour has ended, Rise Against has already announced their next tour supporting Papa Roach happening in the beginning of 2025. I know where I will be when that tour comes back to Southern California, and I recommend you buy your tickets now.
Who the fuck is Kyle Smith? He’s probably the hardest working musician out there today! The guy is constantly touring, working social media, getting his name out there, getting his music out there…..the guy goes non-stop. And it doesn’t affect his music in a negative way, in fact it probably helps being so involved. His second full-length album Bad for Business brings everything together for his fans, his fans is what keeps him going and keeps him motivated. This album is flat-out DOPE! I will be 100% honest here, I first heard of Kyle Smith at Cali Vibes in 2022, I liked what I saw and heard, but didn’t really listen much after that. I’ve always been a reggae fan, but most my reggae love is that Jamaican roots reggae. While I do like some American reggae groups, I tend to not dive into much unless it really catches my ear and mind. So, I do miss out on some solid reggae music and usually end up regretting it. And this is another one of those situations. My buddy Matt told me to check it out, and wow it is freakin’ dope.
It's hard to pin-point his style, it’s reggae but so much more, you get ska, punk, rock, hip-hop; just a whole lot of styles going on. The album starts off with “Shady” featuring hip-hop artist and well-known activist Equipto. I always feel that first song of an album just completely sets up the entire album, if it’s a dope track, with great lyrics and meaning, you know the album will hit! Well, I can say “Shady” let me know this album was going to be dope. That guitar to start the song off gets you going, the beat and rhythm gets you flowing and then the lyrics and rap flow hit. A sweet chorus and then when Equipto comes in, DAMN….so good! “Can’t Remember” brings us this beautiful Cali reggae vibe. You get that Sublime groove; Kyle sounds great on this track. My head just doesn’t stop bobbin’ up and down while listening to this. We get a “Line Check (Skit)” to bring us into an awesome song featuring G. Love & Special Sauce, “Soundcheck.” Kyle and G. Love work so well together, would be cool hearing the two of them do some more songs together in the future. They really have this similar vibe going on which makes their styles work so well together. The harmonica and guitar pour over each other for an amazing sound.
The title track, “Bad For Business” is next with such an awesome flow from Kyle! Great beat in this, got to keep the head bobbin’ again! Kyle giving the middle finger to the business; “Think you run this shit but you just profit from the game/We just do it for the love, give a fuck about the pay/You see my peoples as numbers, these are my brothers and sisters/Keep on protecting the scene from all you fucking A-Listers/I thought this was rebel music baby/But damn it’s feelin pretty corporate lately/Keep on portraying’ the love but you’re forgettin’ the roots/All you care about is money man fuck them suits.” A really cool chill vibe is next with “Standin’ By Your Side.” Top down driving the Cali coast groove with this, hair blowing in the wind without a care in the world. You get a nice feel for how great Kyle’s voice is. What I am loving so far is how different each song sounds, they each have their own style and flow, but they all come together perfectly. “Forgive Me” gives us this changing tempo and great guitar work (the solo is sweet). The mixing up of vocals, both singing and a little rap flow works perfectly. This may be my favorite track on the album. Another dope track is next, “Show No Signs” featuring the nu metal band Hed PE. LOVE that Kyle worked with them, this track is so good, when Jared Gomes comes in with his flow it takes this to another level! BOOM!
“Wither” with Joey Harkum is up next up with this up-tempo groove. Kyle and Joey complement each so much, just makes this song hit so well. Chorus just plays through your head! “The ball and chain I carry never withers/ The ball and chain I carry never withers.” Kyle keeps flowing with “On My Way,” another sweet chill rhythm, the guitar once again just hits and pulls you in. Another one of my favorites, can’t stop grooving and bobbin’ my head to this one. “By Myself” is coming in next, a fun ska-ish song. Good fun vibe flowing through, makes you wanna get up and dance, even if you are all by yourself. The album is finished off with “Still Got Tonight” another one that really showcases Kyle’s voice, a fresh slower vibe. The song is perfect for bringing this journey to an end. “Cause girl it was nice having you down for a while/I wish we could go another two thousand miles/I wish we stay without a care in the world/And I think we just might, no matter what we decide/We still got tonight/We still got tonight/We still got tonight.”
This album is just plain old DOPE! The mixing of styles and genres is done so well, it has that constant reggae vibe throughout, but you feel so much more. Ska, hip-hop, rock, you name it, it all comes together perfectly. The album just flows from song to song, it’s so easy to listen to, to fall into and let you mind go free. I love how Kyle shares so much of himself with his fans and you get so much of that in his music and his lyrics. I may not have been a big Kyle Smith fan before, but I am a huge fan now. The future is so bright for Kyle and by this point we all should know who the fuck Kyle Smith is!
One Love – Todd Judd
Storace’s Crossfire, dropping November 22, 2024, is a triumphant homage, and refreshing venture back to the era of vintage metal delivered with a contemporary edge. Fronted by Swiss rock legend Marc Storace, best known as the powerhouse vocalist of Krokus, the album blends raw energy, nostalgic flair, and expert craftsmanship that immediately transports you back to the 1980’s. Think Guns N Roses “Appetite for Destruction,” Iron Maiden’s “Piece of Mind,” or more specifically Alice Cooper’s “Trash” which seems even more fitting when you realize the powerhouses on the backend of the album - Production by Tommy Henriksen (Alice Cooper, Hollywood Vampires) and mixing by renowned engineer Olle Romo. Don’t get it twisted though, while the sound and feel of Crossfire resides within the sound synonymous with these legendary names, Storace and team create a 12-track album that stands on its own two legs as a refreshing, and energetic sonic juggernaut.
The album kicks off with “Screaming Demon,” a no-holds-barred rocker that immediately showcases Storace’s signature high-pitched, gritty vocals. This energy carries into “Rock This City,” a raucous celebration of rock-and-roll life, and “Let’s Get Nuts,” a track brimming with infectious, carefree rebellion. These songs feel like they were tailor-made for a packed arena, drenched in sweat and electric energy.
Yet, Crossfire isn’t all about high-octane thrills. The introspective “Sirens” and the sultry “Love Thing Stealer” provide moments of depth, where the band slows things down to explore more melodic and emotional territory. Storace’s voice shines with a richness that comes only from decades of experience, while the tight rhythm section, helmed by bassist Emi Meyer and drummer Patrick Aeby, provides a dynamic backbone.
The lead single, “We All Need the Money,” strikes a perfect balance between tongue-in-cheek humor and hard rock swagger. Its anthemic chorus makes it an instant earworm. The production’s polish elevates every element of the song, ensuring it fits seamlessly alongside both classic and contemporary rock hits. Meanwhile, tracks like “Adrenaline” and “Hell Yeah” are straightforward rockers designed to get your heart racing and your fist pumping.
Storace’s lineup of veteran musicians delivers on every front, and Henriksen’s production ensures the album’s vintage aesthetic doesn’t feel dated. Whether you’re a diehard Krokus fan or just discovering Marc Storace’s electrifying talent, Crossfire is a must-listen—a hard rock masterclass that bridges past and present in spectacular fashion. At 12 tracks, the album is as satisfying as it is timeless. Play it loud and let the crossfire ignite!
Out everywhere November 22nd!
One of the best things you can do at any concert is show up for the openers. I have been introduced and discovered so much great music by getting to a show early and checking out every band on the bill. One artist that I was thankful to discover was industrial pop artist Nyxx, as she was the opener on the Industrial Pop tour back in 2017. I have been following her since and eagerly waiting for her to come back to California. Sadly, I missed a couple one night appearances she’s made here, but when she finally announced her first headlining tour across North America dubbed the Hot Goth Tour, I knew I had to make it out to this one. The hot goths included artists Danny Blu and Die Sexual on the bill. I arrived at the Echo in Los Angeles with a big smile on my face seeing Nyxx’s name across the marquee, as did every fan attending this night who were dressed in the hottest goth attire they had.
Opening the night was electric body musique duo Die Sexual. They got the night started by taking us all to a goth club to start dancing. Mixing and programming the music was Anton Floriano whose heavy beats were infectious to the crowd. Not a sole in the crowd could be held back from dancing. While Anton was driving the beat that we were all dancing to, it was vocalist Rosselinni Floriano that added an extra layer of sexual tension to the songs. Dressed in a skintight latex body suit, with her breasts exposed except for some pasties, Rosselinni helped transform the Echo into a BDSM-esque dungeon. As she sang, she would constantly be wrapping the mic cord around her, almost encapsulating herself in shibari. A lot of Die Sexual’s songs are about giving into the body’s raw natural pleasures, and looking around the crowd, many dancing fans were feeling the lyrics along with the beat. Since Die Sexual are local to Los Angeles, I hope to see them performing again soon, but I know what songs I will be requesting at my local goth club in the future if they don’t already play them.
Up next was solo artist Danny Blu whose flamboyancy and energy overtook the crowd. Danny amped up the sexual tension in the room with knee high boots, leather garters, a giant codpiece, and a sleeve only leather top. Danny Blu knew how to work the crowd and feel like he was performing directly to each person individually, as well as to the masses. Constantly dancing and grinding across the stage. He was his own go-go dancer to his own show. In between certain songs he would also play a video interlude on the screen behind him. Including an iconic moment from drag superstars Trixie Mattel and Katya Zamolodchikova talking about the world needing more gay goths. Whether you were familiar with Danny Blu’s music, he played a cover of Janet Jackson’s “Rhythm Nation” that got the whole crowd singing with him. One of the most real and heart touching moments came when Danny sang his new song “Stranger.” The song is written about his connection with dad, but really can be applied to any relationship that was lost due to someone not willing to accept who your true self is and becoming a stranger. You could tell how personal this song is to Danny as he shed a few tears during it. Though Danny kept the music upbeat and lively with his other songs like “American Dream,” “Give Me Your Love,” “Bubble,” “Violence,” “Tidal Wave,” “Predator,” “Finish Him,” and ending with “Bad One.” Danny Blu left an immeasurable impression on the crowd who fed their energy right back to him.
Finally, it was time for our headliner. Someone I have been waiting seven years to see again and couldn’t be happier that it was for her own headlining tour. Nyxx hit the stage kicking things off with “Voodoo.” She first hit the stage with a long trench coat and glasses, giving off Trinity from the Matrix vibes, before ditching both to reveal a tattered gothic apocalyptic-esque attire. The fans went wild when she revealed this outfit as screams of “QUEEN!” could be heard by many fans. One of the biggest things I noticed about Nyxx’s performance compared to seeing her seven years ago was her confidence on stage and her ability to command the space. Locking eyes with multiple fans in the crowd, and dancing from side to side working the entire space. Fans were drawn into her, inching closer and closer to the stage. She was enticing them like a spider looking to capture her prey in her musical web. We also got to see her perform some of her new songs that have not been released yet. This showed the evolution of Nyxx from her older songs, which were more industrial pop and still great, but the new music felt more aggressive and in your face with songs like “FERAL,” “Gun,” and “PL.” She even took her vocals to a new level with these songs, adding more harshness to her singing, as well as modulating her voice. These treats were an exciting addition to her show, and we could not get enough of this transformation. With Nyxx working hard on creating her new music, this concert was a special treat as we got a mix of older songs, singles, and new music like “Diabolical,” “Noose,” “Nightmare,” “Hearse,” “Salt,” “Crown,” and ending with another unreleased track “Body Count.” With the final song Danny Blu joined Nyxx on stage. The two of them combined was more sexual energy than the Echo could handle, and the fans were drooling over every second we got of this final song.
Though I mainly came to see Nyxx, I am so glad I followed through with my ideology to show up for the openers. Die Sexual and Danny Blu are two artists I probably would have never discovered if it wasn’t for showing up for the entire bill. Die Sexual crafted beats that will let me dance in my room, and on my next trip to a goth club. While Danny Blu created music that just oozes sexuality and living for yourself. No matter how hard that may be sometimes. But it was Nyxx that brought the whole show home as she not only showed off her evolution as a musician, but as a performer. The Hot Goth Tour lived up to its name with everyone on stage embodying the freedom of sexuality. There are not too many stops left on the tour but do yourself a favor. Put on a good pair of headphones, check out their music on Spotify, and just get sucked into their music world. You won’t regret it.
When the name Peter Murphy is mentioned, immediately images of bats, spirits and the blackest of gloom comes to mind, but in the most fascinating way. The Goth Godfather of the youth who didn’t confirm, who made them feel right at home in their long black skirts, army jacket, black jeans and combat boots. Joy Division, The Cure, Siousxie and the Banshees and of course, The Bauhaus helped usher in the world of Goth Music, with Peter Murphy at the helm.
Peter Murphy has always surrounded himself with some of the most interesting and pioneering musicians in the genre from the likes of Mark Gemini Thwaite (The Mission U.K.), Justin Bennett (Skinny Puppy), Tricky (Massive Attack), Mick Karn (Japan) all the way to Trent Reznor (NIN). However, Murphy’s latest collaboration is with none other than Boy George on “Let the Flowers Grow”.
I was excited to see what these two had come up with. If you aren’t familiar with any of Murphy’s previous work, you should immediately go pick up anything from the early days. What will be unearthed there is edgy, complicated, making you wonder if you should be listening and loving what you’re hearing. The lyrics are raw, dark and sometimes chaotic. “I will scream in vain, Oh please miss Lane, Leave me with some pain.” - From their 1980 release, In The Flat Field, "Dark Entries".
Unfortunately, this collaboration with Boy George leaves nothing to the imagination and nothing that makes us feel even slightly uneasy. There are no highs and lows, just one plane of music. The song seems to be something neither artist is: epic, sweeping, movie-montage and conquering. It feels lazy, and that pains me to say. I respect and love both artists for everything they have stood for and contributed to music and am certain they will stand out in the history of music giants. However, this song needed some edge and the unexpected, and sadly for me had neither.
At the end of the day, I think there will be many fans of Peter Murphy and Boy George that will enjoy "Let the Flowers Grow". My opinions aside, some die-hard fans have raved about the track and some have even compared it to the eclectic Bowie sound of the 70's. I'd suggest you give the track a few spins on your own and come up with your own conclusions. Music is in the eye of the beholder, so I'd love to hear what you think of the Murphy/George collaboration after your initial test drive.
- Alli Richards