Music is the universal language
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Trivium Announce New Album Crown in the Grave, Share Video for the Title Track
GRAMMY-nominated heavyweights Trivium—vocalist/guitarist Matthew K. Heafy; guitarist Corey Beaulieu; bassist Paolo Gregoletto; and drummer ALEX RÜDINGER—are thrilled to announce their new album Crown in the Grave. It arrives November 20 through Roadrunner Records. Pre-order it here.
Trivium today share the title track, which builds from a gradual progression of layered riffs into an explosive wall of metal, pairing crushing heaviness with the precision, melody, and technical firepower that have defined the band for more than two decades. The song is vintage Trivium—galloping riffs, robust solos, and battering ram percussion, seamlessly sewn together with three-tiered vocals. But like the rest of the album, it stays true to the band's signature sound, all the while pushing it further into new sonic terrain.
The accompanying, Japanese Noh theater-inspired, post-apocalyptic music video brings the album's artwork and themes into a smoke-filled dojo, where the main characters prepare for an impending showdown through a series of tense, atmospheric sequences. Drawing on the band's longtime passion for classic Japanese theater and martial arts, the visual captures the discipline, drama, and focused physicality at the heart of the song's storytelling.
Watch the video, directed by Pavel Trebukhin, here .
"Crown In The Grave is our eleventh record, and when you get this far into a career, it’s easy to rest on what you've already done—or to reinvent yourself just for the sake of it," says Gregoletto. "With this record, we wanted to find the space between those two things: Take everything we've learned and everything that makes Trivium what it is, but present it in ways we hadn't before."
He continues, "We also wanted the record to exist within its own world. That began with the title track, inspired by Akira Kurosawa's Throne of Blood, and led us deeper into Japanese horror and cinema from the '50s, '60s, and '70s. That influence grew into this darker, ghostly atmosphere that became a set of guardrails for the music, lyrics, artwork, and overall identity of the record."
The bassist finishes, "We built our studio so we could give ourselves the time and space to figure out exactly what an eleventh Trivium record should be, and Crown In The Grave is the answer we arrived at. It honors where we’ve been without living in the past, and pushes into new territory without abandoning what makes us Trivium. I think when you hear it, it'll somehow feel both new and like a return."
After over two decades in the spotlight, Trivium have realized their collective potential like never before. They have absorbed the wisdom gained through writing hundreds of songs, the experience derived from playing thousands of shows, and the fire maintained by never giving up and perfected their signature sound at the highest level. The riffs crunch and crack bones, solos burst into flames upon impact, screams bleed truth without filter, and towering hooks break through the clouds. This is Trivium confidently reborn as the beast they were meant to be.
"Facing yourself is the final quest," Heafy observes. "We had to do it as a band, and I had to do it in my personal life. I freed my mind from the constraints of being worried. I made a decision to just sing."
A perfect storm of mental health struggles, physical injuries, and intense anxiety brought him to a crossroads. Bravely, he chose to embrace therapy, found an appropriate medication regimen, and reframed his mindset. "I cleared the plate," the frontman admits. "I stopped trying to be safe and perfect at every show. Instead, I was actually enjoying the experience and living. If I messed up, it was okay because I'm human. With all of the changes Trivium went through, it's like a brand new band."
For the first time, the group crafted Crown In The Grave in their own creative hub and de facto clubhouse—The Hangar—in Orlando. Plus, they officially welcomed drummer Alex Rüdinger (Rüdi) in the studio. During 2015, the drummer nearly joined Trivium, but opted to focus on other endeavors. A decade later, he heeded the call. "It happened when it was meant to," Heafy declares. "Rüdi didn't just kill it on the drums; his contributions as a writer made a huge difference."
Reteaming with longtime producer Josh Wilbur [Korn, Lamb of God] and working with mixer Jacob Hansen [Volbeat, Amon Amarth] for the first time, the musicians rallied around a shared vision. "We took all of the elements of Trivium, honed in on them, and focused on writing songs with big riffs and big hooks,” notes Beaulieu. "We made the record we'd been dying to make. The late great Shaun Glass [Soil] was a big Trivium fan. He'd always say, "You guys don't cook the same meal.' Even though we use the same ingredients, we always make a new dish."
"Any band who has been around this long starts to ask: Where do we go from here?" says Gregoletto. "We decided to challenge ourselves to top everything we've done. We referenced a lot of '90s albums. If you look at The Black Album by Metallica, Countdown To Extinction by Megadeth, or Superunknown by Soundgarden, the choruses are so important, and the songs are relatable. That's what we strived for."
Thematically, Akira Kurosawa's Throne of Blood served as a north star. Gregoletto brought the film to the group’s attention. "Kurosawa took Macbeth and set it in a feudal Japan," the bassist elaborates. "There's minimal dialogue, yet the storyline is powerful. There are these haunting elements of being tempted by fate and this man's downfall."
Crown in the Grave TRACK LISTING:
- "Jorōgumo"
- "Crown in the Grave"
- "Dead Inside of Me "
- "The Terror"
- "The Haunting Never Ends"
- "Lie Of It All"
- "Blackout The Dawn"
- "Paradise Of Sinners"
- "Death Throes"
- "The Agony"
- "Devour Your Dreams"
- "Serpent in the Flame"
Trivium will hit the road on November 5 in St. Petersburg, Florida and run through December 19 in Charlotte, North Carolina for a North American headline run with In Flames, Orbit Culture, Fit for an Autopsy, and Frozen Soul in tow. It is a truly stacked lineup that cannot and should not be missed. Get tickets here .
"This fall's Trivium tour is a huge one for us," the band declared upon announcing the tour earlier this year. "The lineup is stacked from top to bottom, and we're honored to have special guests In Flames, who not only influenced our early years but continue to prove time and again why they're one of the greatest metal bands of all time. With Orbit Culture, Fit For An Autopsy, and Frozen Soul rounding out the bill, we can't wait to get out there, kick off this next era of Trivium with Rudi behind the kit, and give you a taste of the new music we've been working on. We'll see you soon!"
Trivium ON TOUR: WITH IN FLAMES, ORBIT CULTURE, FIT FOR AN AUTOPSY, AND FROZEN SOUL:
- 11/5 — St. Petersburg, FL — Jannus Live
- 11/6 — Atlanta, GA — The Eastern
- 11/7 — Louisville, KY — Old Forester’s Paristown Hall
- 11/8 — Grand Rapids, MI — GLC Live at 20 Monroe
- 11/10 — Silver Spring, MD — The Fillmore
- 11/11 — New Haven, CT — College Street Music Hall
- 11/12 — New York, NY — Terminal 5
- 11/14 — Philadelphia, PA — Franklin Music Hall
- 11/15 — Worcester, MA — The Palladium
- 11/17 — Laval, QC — Place Bell
- 11/18 — Toronto, ON — GCT Theatre
- 11/20 — Royal Oak, MI — Royal Oak Music Theatre
- 11/21 — Chicago, IL — Aragon Ballroom
- 11/22 — Madison, WI — The Sylvee
- 11/24 — Nashville, TN — The Pinnacle
- 11/25 — Chesterfield, MO — The Factory at The District
- 11/27 — San Antonio, TX — Boeing Center at Tech Port
- 11/28 — Houston, TX — Bayou Music Center
- 11/29 — Dallas, TX — South Side Ballroom
- 12/2 — Phoenix, AZ — Arizona Financial Theatre
- 12/3 — Las Vegas, NV — The Pearl
- 12/4 — Inglewood, CA — YouTube Theater
- 12/5 — San Francisco, CA — The Masonic
- 12/7 — Penticton, BC — Penticton Trade & Convention Centre
- 12/8 — Vancouver, BC — Doug Mitchell Thunderbird Sports Centre
- 12/9 — Seattle, WA — Paramount Theatre
- 12/11 — Reno, NV — Grand Sierra Resort — Grand Theatre
- 12/13 — Denver, CO — Mission Ballroom
- 12/15 — Tulsa, OK — Tulsa Theatre
- 12/16 — Omaha, NE — Steelhouse
- 12/18 — Pittsburgh, PA — Citizen's Live at The Wylie
- 12/19 — Charlotte, NC — The Fillmore
California, Dream On: Aerosmith & Friends Shows Announced for Hollywood Bowl
Live Nation-Hewitt Silva and Blackbird Presents today announce California, Dream On: Aerosmith & Friends, a monumental concert celebration honoring the unmatched history, explosive live performance and enduring legacy of America’s Greatest Rock Band. This historic event will take over the Hollywood Bowl in Los Angeles, California for two unforgettable high-octane nights on October 29 and November 1, 2026.
For more than five decades, Aerosmith has defined the sound, raw spirit, and rebellious attitude of American rock & roll. From their Boston breakout to the Super Bowl, the band epitomizes the rock ‘n roll dream come true. Now, in a triumphant and highly anticipated return, the legendary rock titans will command the stage together again. This monumental event will celebrate the band’s extraordinary career, timeless catalog, and unparalleled global influence alongside a staggering lineup of fellow legendary artists.
This epic celebration has the star power that only Aerosmith can deliver, bringing together an electrifying, cross-genre lineup of superstars, each a defining force in their field. Spanning rock, country, hip-hop, and alternative music, the lineup features The Black Crowes, RUN DMC, Heart, Andrew Watt, Billy Idol, Chad Smith (RHCP), Duff McKagan (GN’R), Eric Church, Jerry Cantrell (Alice in Chains), Marcus King, Mike Inez (Alice In Chains), Nuno Bettencourt (Extreme), Pat Monahan (Train), Sammy Hagar, Slash (GN’R), Steve Stevens, Sully Erna (Godsmack), Tom Morello, Adam Wakeman, Audley Freed, Kenny Aronoff and more, all anchored by the legendary Don Was serving as Music Director. This stellar roster brings together iconic artists who have previously performed or recorded with Aerosmith and a new wave of stars who cite the band among their ultimate musical influences. Even more artists, special guests, and surprise appearances will be announced in the weeks ahead, promising unforgettable collaborations and unexpected moments across both nights. The lineup will vary each night. Final nightly lineups will be announced at or near showtime and are subject to change.
From “Dream On,” “Sweet Emotion,” and “Walk This Way” to “Janie’s Got a Gun,” “Crazy,” “Cryin’,” and “I Don’t Want to Miss a Thing,” Aerosmith’s catalog has become a defining element of modern music culture, with an influence that extends across rock, pop, hip-hop, and blues. These highly anticipated performances will mark a return to the stage for Aerosmith, giving fans a rare opportunity to experience the band together once again and the unmistakable chemistry and stage presence that have defined their live shows for more than five decades.
Aerosmith are four-time Grammy Award winners, Rock and Roll Hall of Fame inductees, and MusiCares Person of the Year honorees, but those accolades tell only part of the story. Their enduring relevance is reflected in the milestones they continue to shatter, with the band among the only groups to score Top 10 Billboard 200 albums across six consecutive decades, while helping shape new generations of boundary-pushing artists who cite Aerosmith as their musical inspiration. This historic event will honor the extraordinary journey and lasting impact that have made Aerosmith one of the most important, defining, and enduring bands in music history.
Citi cardmembers will have access to presale tickets beginning Thursday October 8th at 10am PDT until Friday October 9th at 10am PDT through the Citi Entertainment program. For complete presale details visit www.citientertainment.com. Additional presales will run throughout the week ahead of the general on-sale beginning on Saturday October 10th at 10am PDT. Visit www.aerosmith.com for more information.
The shows will also offer a variety of different VIP upgrades and experiences for fans to take their concert experience to the next level. Upgrades vary but include access to the pre-show Aerosmith VIP Lounge, a limited-edition Aerosmith jacket, a specially designed VIP-exclusive T-shirt, early entry into the venue & more. VIP upgrade contents vary based on the offer selected. For more information, visit vipnation.com !
Kardinal Guitars Introduces the Kardinal Bass
Kardinal Guitars has introduced the Kardinal Bass: a four-string electric bass designed to offer professional-grade tone at a very accessible price. Available for pre-order through November 20, 2026, the Kardinal Bass ships with a spec sheet that punches well above its $549 pre-order price.
The Kardinal Bass features a neck-through mahogany body design, delivering superior resonance and sustain compared to bolt-on alternatives, and its quilted maple top provides eye-grabbing appeal. It features a rosewood fretboard with a 12" radius and stainless steel frets.
At the heart of the Kardinal Bass are a pair of custom-wound dual-coil soapbar pickups loaded with Alnico V magnets, which deliver a warmer, fuller character than ceramic alternatives, with greater dynamic sensitivity and reduced string pull for improved sustain. The result is a passive bass that responds to how hard you dig in, cleans up when you back off, and sits in a mix without fighting for space. Full-size pots and a simple Vol/Tone/Blend layout keep everything player-focused and intuitive.
The Kardinal Bass is available in three launch colors: Cardinal Red, Sapphire Blue, and Midnight Black.
Kardinal Bass Key Features:
- Neck-through mahogany body construction for enhanced resonance and sustain
- Quilted maple top with flame maple binding
- Rosewood fretboard, 12” radius, 22 stainless steel frets
- Dual-coil soapbar pickups, custom wound with Alnico V magnets
- Passive electronics: Volume, Tone, Blend with full-size pots
- 34" scale length, 40mm nut width, Graph Tech nut, brass saddle bridge
The Kardinal Bass is available exclusively through kardinalguitars.com for $549. Pre-orders are open now through November 20, 2026.
Kardinal Bass
Kardinal Guitars has introduced the Kardinal Bass: a four-string electric bass designed to offer professional-grade tone at a very accessible price. Available for pre-order through November 20, 2026, the Kardinal Bass ships with a spec sheet that punches well above its $549 pre-order price.
Rig Rundown: GA-20
PG’s John Bohlinger met up with Cody Nilsen and Matt Stubbs of GA-20 at the Vinyl Tap in Nashville. The band takes its name from the Gibson GA-20, which they’ve now retired from the road—what’s left is two guitarists, no bassist, and a stack of amps that never get switched off. Have a look at some quick highlights below, and tune into the new Rig Rundown for all the details.
Brought to you by D’Addario.
Shark Attack
Nilsen’s Teisco ET-460 “Shark Fin” was rebuilt by Nate Lord of Lord Guitars — Rickenbacker-style pickguard, a gold foil in the neck, Lord’s own wiring, TK Smith Bakelite knobs, plus the two original Teisco pickups, wired to run as one enormous humbucker with a push-pull that drops it to a single coil. It’s in open C, and it’s big enough and low enough, Nilsen says, to shake the speakers.
Rat Rod
The Shark Fin’s predecessor is the pawn-shop special that got Nilsen into these guitars in the first place—held together with tape and, in his words, a wild ride. The rotary switch came out early on, since Lord warned him he wouldn’t like it, and now all four pickups work in any combination. He’s usually on the bridge, but he likes the back two together, which is probably what led to the humbucker idea on the newer one.
The Lawsuit
A 1977 Ibanez Les Paul copy off Craigslist, bought because Nilsen loves black beauties with P-90s and couldn’t afford a real one. It’s a bolt-on, which worried him at first. He says the neck pickup’s thump is what he judges every other guitar against, and he’s had it open exactly once, to check a cap, which was enough.
Cody Nilsen’s Pedalboard
From left to right: A Catalinbread Topanga for reverb; an Xotic RC Booster that’s been on every board Nilsen’s ever had, mostly for salvaging backline amps; a J. Rockett Archer that comes out once or twice a night when Nilsen wants to upset the sound guy; and a Jackson Audio 1484 Twin Twelve, that mostly lives as a borderline fuzz for his slide tone.
Signature Slide
Stubbs’ number one is his Waterslide signature T-style, built by Patrick Matera in Los Angeles. He’d asked for a Telecaster with DeArmond-style gold foils, the biggest neck available, and a Bigsby he could actually lean on; after he called back to order a second, Matera suggested making it a signature model instead.
Green Machine
The Sherwood Green one is the same guitar in every respect, just slightly lighter. It’s tuned down to C with .012s, and it comes out when Nilsen picks up the slide and goes to open C—Stubbs isn’t soloing much on it, just covering low end.
Shell Pink Prototype
Stubbs’ newest Waterslide is an offset prototype in shell pink with the same neck and the same Mojo pickups under different covers. It’s just under eight pounds, and it’s on a Descendant bridge, which is new to him.
Tweed Twin
This West Side combo is modeled on Stubbs’ 1960 Tweed Deluxe, an amp he says he couldn’t afford at today’s prices. Diego at West Side took the values off the original and built the band a pair. They’re what all the torn-up high end comes out of.
Dad’s Amp
The Fender Bassman is the ‘68 Stubbs borrowed from his father when an amp blew up on tour and never gave back; of the five or six he owns, this one has something the others don’t. Below it is a West Side Bluesman that Diego built from its values—both sides the same circuit, one tweaked for extra low end, in phase so they can be jumped. Nilsen and Stubbs each run one.
Matt Stubbs’ Pedalboard
A Boss TU-2, then a first-generation Seymour Duncan SFX-01 Pickup Booster he’s had since he was 18. A Ryra Klone stays on the board for fly dates, when he’s stuck with a limp backline amp. His Catalinbread Topanga handles reverb; he went through about 40 reverb pedals before it and stopped looking. Not on the board yet but used on the new record: a prototype from a company called Super, with a Fuzz-Rite-ish fuzz on one side and a clean boost on the other, built in because the maker knew what Stubbs liked.
D'Addario Introduces XS Nickel Bronze Acoustic Strings
D’Addario introduces XS Nickel Bronze, featuring both the clear, transparent tone of Nickel Bronze and the extended lifespan, smooth feel, and tuning stability of XS. XS Nickel Bronze strings give acoustic guitar players a fresh tonal option within the XS lineup.
The Nickel Bronze alloy creates a clear, harmonically focused sound with distinctive note definition, which allows the natural character of the instrument to shine through. Meanwhile, ultra-thin XS film coating protects the wound strings from corrosion and contaminants, maximizing the lifespan of the string while delivering the smooth feel XS is known for.
The Best of Both Worlds
“Players have long loved Nickel Bronze for its clear, transparent tone and its ability to reveal the unique character of their instrument, while XS has earned a following for keeping strings sounding, feeling, and performing their best for longer,” said Founder Jim D’Addario. “With XS Nickel Bronze, we’ve brought those two innovations together, delivering the true Nickel Bronze voice players love with the extended life, tuning stability, and smooth feel that define XS.”
With the addition of Nickel Bronze, players can now choose from three distinct tonal options across the XS Acoustic lineup: Nickel Bronze, Phosphor Bronze, and 80/20 Bronze.
- Maximum String Life: Ultra-thin XS film coating protects the string against corrosion and prevents contaminants from building up in the string windings, greatly lengthening the life of the string
- Clear Nickel Bronze Tone: XS Nickel Bronze strings have distinctive note definition and a transparent sound that highlights the natural character of the instrument
- Smooth Feel: XS coating is durable enough to protect the string, but thin enough to create a smooth feel
- Enhanced Strength: High-Carbon NY Steel wire produces enhanced break strength
- Improved Tuning Stability: Fusion Twist technology helps keep plain steel strings securely in tune
- Made by D’Addario: Wire drawing, string winding, and coating are controlled in- house for consistent performance
D’Addario XS Nickel Bronze strings are available in popular acoustic guitar gauges and a mandolin gauge at daddario.com and authorized retailers. Sets start at $19.99.
XS Nickel Bronze
D’Addario introduces XS Nickel Bronze, featuring both the clear, transparent tone of Nickel Bronze and the extended lifespan, smooth feel, and tuning stability of XS. XS Nickel Bronze strings give acoustic guitar players a fresh tonal option within the XS lineup.
Dawner Prince Eclipsa Review
For all of digital modeling’s advances, there are thrills that it struggles to replicate, and one of the most ecstatic of these is the sensation of standing next to a rotary speaker, cranked to the gills as it roars and spins and threatens to transmogrify into a living, heaving beast. It’s a sensation that’s rarer than ever with Hammond B-3 bars and big touring budgets going the way of the dodo. If you’ve never had the pleasure, I recommend finding a way to get close to one.
So, no, digital can’t capture the multisensory experience of moving air and whirring cables that one experiences sitting next to a shaking Leslie any more than it can imitate the feel of sitting next to an idling Ferrari. But what it can do is emulate how that rotary speaker will sound to a microphone, which for most purposes does just fine. And you’d have to search far and wide to find a designer that works harder at capturing the nuances of rotary speakers than Croatia’s Dawner Prince.
There’s a good reason—apart from copious engineering chops—that Dawner Prince excels at recreating rotary sounds: company founder Zoran Kraljevic is a certifiable Pink Floyd freak. With Gilmour plainly on his brain, he’s produced a first-rate Echorec-style pedal in the form of the Boonar and the Pulse, an homage to the obscure Doppola rotary speaker (which was modeled on the Maestro Rover). Like the Doppola-derived Pulse, the new Eclipsa takes inspiration from a rotary system that might have been relegated to total obscurity were it not for the patronage of Mr. Gilmour—the Yamaha RA-200.
Just as the Doppola and Maestro Rover’s designs differed significantly from the rotating drum and horn concept behind the Leslie, the Yamaha took a novel approach to generating rotary sounds—using three speakers of identical size oriented to create a phasing effect as they spun. The sonic product—a focused, midrange-heavy whoosh—starting dotting, and at times dominating, Gilmour’s live sound in between the Animals and The Wall tours. But you need not be a Pink Floyd obsessive to appreciate the Eclipsa’s super-rich, enveloping version of the RA-200 sound. Like a touch of butter and salt, it’s good on just about everything.
[It] feels simultaneously physical and phantasmal—like there’s the ghost of a real-deal RA-200 in the room.
Motion Potion
It’s hard to avoid closing your eyes when you play the Eclipsa. For one thing, its modulations have a near-narcotic effect. But there is something very authentic in the energy of those modulations—and the picture that energy paints—that feels simultaneously physical and phantasmal, like there’s the ghost of a real-deal RA-200 in the room. It’s a strange and very satisfying sensation.
At most settings, the Eclipsa creates decidedly richer sounds than those produced by an analog vibrato pedal or a Uni-Vibe (though it does a superb job of emulating the latter on a fat dose of vitamins). Before I plugged in, I guessed that the midrange emphasis might have a bossy flattening effect in some situations. I was very wrong. As it turns out, the midrange lends a compelling tautness to the modulations—not enough to diminish the bubble-gum elasticity in them, but enough to add a perceptibly springy quality.
The Eclipsa provides a number of ways to reshape that springiness. The most critical, perhaps, is the distance control, which emulates the effect of moving a microphone closer or further away to a RA-200’s rotary array. Obviously, virtual proximity makes the modulations more pronounced and detailed, but it also highlights the high-midrange that elevates a guitar’s profile in a mix. More distant settings have a slight darkening effect that also bleeds a bit of perceived kinetic force, making guitar and modulations alike a lot more low-key. The Eclipsa’s mix control can radically reshape the modulation response too. It imitates a shift in emphasis between the dry signal from a real RA-200’s 4x12 speaker cabinet and the rotary array, with many blends in between. Then there’s the onboard Alembic F2-B preamp emulation, which features its own bass, middle, and treble knobs as well as a volume and bright switch. The interactions between these controls can yield a lot of subtle shading and bits of EQ emphasis that lend intricacy and precision to the modulations, and they are very satisfying to explore.
Pedal To The Metal, Slam On the Brakes
Much of the fun related to rotary speakers is related to the sensation of acceleration and deceleration that come from switching between high- and low-speed modes. It’s one of the best bits of the Eclipsa’s design. There is ample range in the two controls that determine the slowest and fastest speeds, and the ramp speed can be altered via the inertia control, which, like the Eclipsa as a whole, has an eerily authentic mechanical feel. You can also bring the modulations to a complete stop by pressing and holding the fast/slow footswitch. It can be a slightly awkward process at first, but mastering this simple touch can prompt dramatic shifts between the very immersive modulations and a dry signal. It puts a cool arrangement tool at your feet, not to mention the potential for a little sound theater worthy of Pink Floyd.
The Verdict
Though the interactivity of its controls suggests complexity, at its core the Eclipsa is a very straightforward, easy-to-master affair. It’s fantastically realistic, and positively addictive. It’s completely at home with distortion and drive ranging from mellow boosts to gnarly fuzzes to tweed Deluxe-style saturation (which became my favorite recipe). Dang, it’s expensive. But you need only play the Eclipsa for two minutes to know why. It’s a lovingly built thing and a deep sonic experience. And if rotary-style modulation is at the heart of what you do, I’d consider parting with a few effects to justify the expense. It’s a calculation I’m probably doing as you read this, because you can consider me hooked on the Eclipsa.
Keeley Electronics Introduces Compressor Plus Germanium
Keeley Electronics has launched the Compressor Plus Germanium pedal, the newest addition to Keeley’s line of iconic compressors. Built around the familiar Level, Tone, Compression, and Blend controls, this new design brings a fresh voice to a pedal that has been evolving for a quarter century.
At the heart of the Compressor Plus Germanium is a crucial germanium transistor. Keeley incorporates germanium into both the audio output section and the compressor’s side-chain feedback, bringing a new character and response to one of the company’s most enduring designs.
The pedal also includes a 2-position switch for adjusting the recovery time when using single coil or humbucking pickups. Recovery time is slower in the Single Coil setting, and faster in the Humbucker setting, allowing ideal feel and responsiveness for any guitar in your arsenal.
Built from start to finish at Keeley Electronics in Oklahoma City, the Compressor Plus Germanium also includes selectable true-bypass or Keeley silent buffered switching, rugged construction, and the classic compressor sound that has made Keeley the go-to choice for guitarists and bassists for a quarter century.
Compressor Plus Germanium features include:
- A Germanium Transistor at the heart of the new compressor circuit
- Germanium-enhanced audio output section for added character and musical response
- Germanium incorporated into the side-chain feedback circuit
- Classic Compressor Plus knobs: Level, Tone, Compression, and Blend control for mixing compressed and dry signals for greater control over feel and dynamics
- 2-position switch to optimize responsiveness and recovery time for single coil or humbucking pickups
- Switchable on the fly between true bypass and buffered bypass
- Operates at 9–18V DC for flexible pedalboard integration
- Designed and manufactured by Keeley Electronics in Oklahoma, USA
The Compressor Plus Germanium arrives as Keeley Electronics celebrates 25 years of building pedals for players who care deeply about sound. It all began in 2001 with Robert Keeley, a workbench, and a humble compressor pedal. What started as a pursuit of better compression became one of the defining products in Keeley’s history and helped establish the company during the early days of the boutique pedal movement.
Over the years, the Keeley Compressor continued to evolve. The original two-knob design gave way to the expanded four-knob Compressor, followed by the Compressor Plus, which brought Tone and Blend controls into the circuit and gave players greater control over sustain, attack, and the natural character of their instrument. By the time the Compressor Plus arrived in 2017, Keeley had built more than 50,000 compressors, making compression not simply part of the company’s history, but a fundamental part of its identity.
It feels only fitting to mark the company’s 25-year milestone by returning to where it all started. The Compressor Plus Germanium honors that beginning while carrying the Keeley Compressor forward for a new generation. Like every Keeley pedal, the Compressor Plus Germanium is designed and manufactured in Oklahoma, USA.
Keeley’s Compressor Plus Germanium carries a street price of $189. For more information visit robertkeeley.com.
Compressor Plus Germanium
Keeley Electronics has launched the Compressor Plus Germanium pedal, the newest addition to Keeley’s line of iconic compressors. Built around the familiar Level, Tone, Compression, and Blend controls, this new design brings a fresh voice to a pedal that has been evolving for a quarter century.
Louder Than Life 2026: A Heavy Metal Celebration in Derby City
USA's largest festival celebrating rock, metal & punk hosted over 250,00 fans to see Iron Maiden, TOOL, Limp Bizkit, Megadeth, Pantera, and dozens more. Here's our selection honoring the headbanging heroes that rocked Derby City.
Louder Than Life brought the heavy heat to Louisville with one of the most stacked lineups in the festival’s 12-year history. Straight out of the gate the tandem main stages scorched with back-to-back performances from Mac Sabbath, Gwar, Metal Church, Suicidal Tendencies, Machine Head, Sabaton, Alice Cooper, and the mighty Danzig.
There were a lot of special moments at this year's festival including Megadeth providing one of their final performances on the tail-end of their farewell tour, Pantera whiplashed the audience with one of their few North America shows, and untouchable Iron Maiden torched the Bluegrass State for the first time in 40+ years. LTL welcomed Danny Elfman’s first show in the Eastern half of the U.S. in nearly a decade (with a set featuring Oingo Boingo hits, his well-known film themes and new songs). Plus, the fest featured of the most prominent all-female-fronted stage lineups assembled at a major U.S. rock festival, with Halestorm, In This Moment, Lindsey Stirling, Orianthi, Icon For Hire, Kami Kehoe, and Diamante
Danny Wimmer has completely dialed our nation’s premier rock and metal festival since overhauling the layout in 2025. You can get cold beers, go to clean restrooms, and quickly get back to the decibel decimation. They also added dust-busting astroturf that blanketed the grounds. Shade, water, and reasonably-priced food also bolstered the experience. And The Kentucky Kingdom rollercoaster backdrop provided a most picturesque landscape at sunset.
Megadeth
Mustaine looked like a million bucks melting faces throughout his multi-platinum stacked set. His Gibson Custom V led a symphony of destruction with Teemu’s Explorer before he dedicated and detonated the opening riff to "Holy Wars" on an enthusiastic crowd. It was Louder than Life farewell to one of the all time greats.
Alice Cooper
Mr. Nice Guy’s head was bang’n as it rolled off the guillotine to his three-guitar army of Ryan Roxie, Tommy Henriksen, and Anna Cara. School was in session with Ryan and Tommy shredding away on their Rock N Roll Relics and B.C. Rich lowriders. Anna’s matte black Ibanez absorbed the heat and scorched the crowd.
Pantera
Louder Than Life was treated to an explosive Pantera set. (One of two shows schedule in the U.S. for the Cowboys from Hell.) Zakk wielded his Wylde Audio guitar with confidence and power paying the perfect tribute to his late-friend Dime. Rex brought the thunder to ZW's lightning ripping through his bands catalog to a Fucking Hostile crowd co-headlining the night with Iron Maiden closing the Thursday festitives.
Pantera
Iron Maiden
Ed Force One landed in Louisville to celebrate 50 years of their hall-of-fame career by returning to Kentucky for the first time in four decades. The show could be described as Louder Than Live After Death as the band looked and sounded no different than their acclaimed 1985 live album. Murray, Smith and Gers were kept on rhythm with Harris’s signature Fender thump. They were troopers in the heat wave showing no sign of slowing before closing with Wasted Years.
Iron Maiden
Orianthi
The 6-stringer from Down Under drew a crowd at the Decibel stage Saturday afternoon showing beautiful precision on her signature PRS. Fellow guitarist Neil Swanson, bass Dylan Wilson and drummer Jack Ivins tore through staples including ZZ Top’s classic “Sharp Dressed Man” before a quick turnaround to Greece.
In a backstage interview with drummer Jack Ivins he explained the band did not have a setlist. "We just went onstage. Orianthi we'll start with 'Light It Up' and roll straight into 'Contagious' then we'll feel it out. No click, no digital rigs, all live amps pushing air, no in-ears since everyone is using wedges (except for me), hell - no setlist!"
"The closer was 'Voodoo Child' and right before that was her song 'First Time Blues.' We are normally a power trio but the second guitarist Neil was already playing that stage earlier in the day with Diamanté and he'd previously played for Orianthi, so she decided to add him last minute."
Tom Morello
The riffmeister general Tom Morello took the main stage with the fury you would expect from the Rage Against The Machine and Audioslave innovator.
This time accompanied by his son Roman, who Tom describes as the much more technical player of the Morellos. The band launched into the late Prince of Darkness’s “Mr. Crowley” before going hot and heavy with “The Ghost of Tom Joad”, “Like a Stone,” and “Killing In The Name.”
Halestorm
Lzzy Hale & Joe Hottinger of Halestorm brought an exceptionally visual show to a capacity Decimal stage crowd Saturday evening. Lzzy’s piercingly unrivaled rock vocals and Explorer chops were accompanied perfectly by Joe’s green V on lead duties. (Possibly earning the prize for most stunning guitar at the festival.) The show reached a fever pitch when violinist Lindsey Stirling joined band to play “Shatter Me.”
Limp Bizkit
It only took a couple of Borland riffs to realize why Limp Bizkit was the closer. Wes’ all-in wardrobe was only rivaled by the hooks the band furiously dropped on an enthusiastic crowd. Durst was quick to stop the set for safety, slowing things down with a cover the The Who's “Behind Blue Eyes” featured LB's fourth album, Results May Vary. Gaige Rivers joined the band during Pete Townshend-penned classic, paying tribute to her late father and founding bassist Sam Rivers. Touring low ender Richie Buxton has now stepped in to lock down the mountainous groove. The show climaxed with two performances of their epic anthem “Break Stuff!”
Limp Bizkit
Ministry
Ministry’s "Goddamn White Trash" throwdown rocked Louder’s main stage on the final day. Cesar Soto (Jackson) and Patrick Houston (Gibson Black Beauty) were thick as thieves shredding through the classics before ending with "Just One Fix." Paul D’Amor’s P bass provided the thunder just as it previously had in the early days of festival closer, TOOL.
Mastodon
The clan of Cysquatch kept Sunday humming with a stunner set of fresh fovrites classics including Snakes for Dinner, Barbarians Blood and ended with "Blood and Thunder" for the old heads. Bill Kelliher ripped his silverburst Banker alongside new guitar player Nick Johnston who was on signature Schecters all set. Band co-founder Troy Sanders boasted a megalodonic bass tone.
Danny Elfman
Danny Elfman animated the crowd with his buoyant setlist that included songs from Oingo Boingo, his compositions for film (Spider-Man, Batman, Beetlejuice & Weird Science), and playful TV theme songs (The Simpsons). The prodigy composer was accompanied by Nili Brosh on her signature Ibanez and Matt McJunkins on his Fender Precision. Robin Finck filled out the sonic front with his semi-hollow body Ibanez. Daylight was fading during this show as Gojira was about to be unleashed.
Gojira
The gargantuan wall of sound and fury could've awoken their namesake Godzilla all the way in the Pacific. They opened with "Born For One Thing" and closed with "The Gift of Guilt." Joe and Christian traded heavy harmonies while bassist Jean-Michel Labadie laid the rhythmic floor. The flames blasted high as their confetti cannons shot over the crowd in what was a spectacular lead into the all-powerful TOOL.
TOOL
The capacity Louder Than Life crowd stood witness to another picture-perfect TOOL set. “The Grudge” and “Jambi” uniquely spearhead a soundscape that only Adam and Justin can achieve. Adam’s always eerie electric shape exploded into the deep cut “Crawl Away” for those looking for an Undertow emergence. Maynard proved to be Invincible taking the stage less than a month after hip-replacement surgery. He stood strong next to one of the greatest drummers in rock history Danny Carey and closed the festival with a vicious “Vicarious.”
TOOL
Fender Introduces Three New John 5 Signature Telecaster Models
Fender and the Fender Custom Shop have unveiled three new John 5 signature Telecaster models: the Fender John 5 Phantom Telecaster, Fender John 5 Ghost Telecaster and Fender Custom Shop John 5 “Phantom” Telecaster. Each of these Telecaster models captures a different facet of his unmistakable style and musical range, bringing his signature sound and design to more players across a range of price points.
“I don’t know if the Telecaster picked me or I picked it. I was so drawn to that shape,” said John 5. “Ever since I was little, Fender was always just the pinnacle, the greatest, and I just wanted nothing more to have the best guitar for me and have the people enjoy it as well.”
John 5’s approach to the Telecaster showcases the instrument’s versatility: equally at home with distortion-drenched shredding and country chicken-picking, John 5 has spent his career proving there’s no genre, style or vibe off limits. A lifelong Telecaster devotee, his technically demanding, theatrical playing has made him one of rock’s most distinctive guitarists.
The three signature models translate John 5’s sound and visual style into distinct instruments, from the Fender lineup to the Fender Custom Shop:
- John 5 Phantom Telecaster (MSRP: $1,299.99 USD, £1,149 GBP, €1,349 EUR, $2,149 AUD, ¥198,000 JPY) Finished in black with a matching headcap, the Phantom pairs its unmistakable Telecaster silhouette with a decidedly modern performance setup. DiMarzio D’Activator pickups in the neck and bridge deliver the high-output response John 5 is known for, with tight low end and clear articulation through high-gain settings. A Floyd Rose FRTS2000 Special Series tremolo brings another dimension to the instrument, allowing for dramatic pitch bends, dive bombs and other extreme techniques while maintaining tuning stability. The streamlined control layout features a single volume knob and killswitch, leaving plenty of room for the player to shape the performance in real time.
- John 5 Ghost Telecaster (MSRP: $1,299.99 USD, £1,099 GBP, €1,299 EUR, $2,149 AUD, ¥198,000 JPY) Finished in Arctic White with a matching headcap, the Ghost Telecaster makes a statement before it’s even plugged in. DiMarzio D’Activator pickups in the neck and bridge give it the high-output response John 5 is known for, with tight low-end response and searing clarity that can cut through any mix. With a stripped-down control layout, a single volume knob and killswitch, this guitar keeps the focus where it belongs: on the music and the moment.
- Fender Custom Shop John 5 "Phantom" Telecaster (MSRP: $6,000.00 USD, £5,599 GBP, €6,599 EUR, $9,799 AUD, ¥1,056,000 JPY) Few players have pushed the Telecaster into darker, heavier territory than John 5, and the John 5 “Phantom” Telecaster is built to match his relentless approach to the instrument. Crafted by the Fender Custom Shop, this is a Telecaster reimagined for the modern virtuoso: aggressive, precise, and ready for anything from chicken pickin’ to metal.
- At its core, a two-piece select alder body with Ultra Contours finished in gloss black urethane provides the resonant foundation, while a maple neck with a smooth Modern “C” profile and 10" to 14" compound-radius, flat-laminated ebony fingerboard invites effortless chording down low and clean, choke-free bending up high. Twenty-two medium jumbo frets, a 25.5" scale, and satin urethane finish give the neck the fast, articulate feel of John 5’s playing demands, while Luminlay luminescent side dots keep fret positions visible on the darkest stages.
- A pair of DiMarzio D Activator humbuckers gives the “Phantom” its voice, from tight, cutting bridge attack to a warm, vocal neck tone, selected via a 3-position toggle switch and controlled by a single master volume for zero distraction. Anchoring it all is a recessed Floyd Rose Original double-locking tremolo paired with an R7 locking nut and modern locking tuners, keeping the guitar dead-on in tune through the most extreme dives. Other premium features include a Bi-Flex truss rod, 3-position toggle switch, Mother of Pearl dot inlays, 4-bolt contoured neck plate with Custom Shop "V" logo, Floyd Rose retainer bar string tree, black hardware, .009-.042 nickel-plated steel strings, deluxe hardshell case, strap and certificate of authenticity.
Born John William Lowery, he picked up guitar after being inspired by a Telecaster, the banjo and guitar virtuosos before heavy metal propelled him toward a professional career. He began session work in Los Angeles at 17 and went on to perform with artists including David Lee Roth, Mötley Crüe and Rob Zombie. With 11 studio albums and a career defined by his genre-defying approach, John 5 continues to push the Telecaster, and guitar playing itself, beyond convention.
"John 5 is one of the most distinctive players in modern guitar, pushing the Telecaster across genres and beyond convention, and these three instruments reflect that versatility,” said Justin Norvell, Fender Chief Product Officer, Guitars. “Bringing the Ghost back into the Fender lineup puts his signature design within reach of more players. Together, this collection gives fans at every level a way to plug into his sound."
"John 5 has always pushed the Custom Shop to think beyond the traditional Telecaster blueprint,” said Chase Paul, Fender Custom Shop Director. “From the single-bound body with Ultra Contours to the single volume control and killswitch, this guitar is a true reflection of his playing style. It’s a great example of what's possible when the Custom Shop works directly with an artist to bring their vision to life."
Together, the three new signature Telecaster models celebrate John 5’s longstanding relationship with Fender and his ability to push the instrument across musical boundaries. From the Phantom’s aggressive performance features to the Ghost’s striking design and the Custom Shop’s premium craftsmanship, the collection offers players new ways to explore his distinctive approach to the Telecaster.
For technical specs, additional information on new Fender products and to find a retail partner near you, visit www.fendercustomshop.com. Join the conversation on social media by following @Fender and @FenderCustomShop.
I’ve Used a Keeley Compressor for 20 Years!
For 25 years, Keeley Electronics has been building pedals for players who care deeply about sound. It all began in 2001 with Robert Keeley, a workbench, and a humble compressor pedal. What started as a pursuit of better compression became one of the defining products in Keeley’s history and helped establish the company during the early days of the boutique pedal movement.
Over the years, the Keeley Compressor continued to evolve. The original two-knob design gave way to the expanded four-knob Compressor, followed by the Compressor Plus, which brought Tone and Blend controls into the circuit and gave players greater control over sustain, attack, and the natural character of their instrument. By the time the Compressor Plus arrived in 2017, Keeley had built more than 50,000 compressors, making compression not simply part of the company’s history, but a fundamental part of its identity.
It feels only fitting to celebrate this milestone by returning to where it started. The Compressor Plus Germanium honors that beginning while carrying the Keeley Compressor forward for a new generation. Built around the familiar Level, Tone, Compression, and essential Blend controls, this new design brings a fresh voice to a pedal that has been evolving for a quarter century.
At the heart of the Compressor Plus Germanium is a crucial germanium transistor. Keeley incorporates germanium into both the audio output section and the compressor’s side-chain feedback, bringing a new character and response to one of the company’s most enduring designs.
Built from start to finish at Keeley Electronics in Oklahoma City, the Compressor Plus Germanium also includes selectable true-bypass or Keeley silent buffered switching, rugged construction, and the classic Compressor sound that made Keeley a household name amongst Guitar and Bass players. Like every Keeley pedal, the Compressor Plus Germanium is designed and manufactured in Oklahoma, USA. Engineered for the working musician, and voiced for inspiration.
Compressor Plus Germanium Features:
- A Germanium Transistor at the heart of the new compressor circuit
- Germanium-enhanced audio output section for added character and musical response
- Germanium incorporated into the side-chain feedback circuit
- Classic Compressor Plus controls: Level, Tone, Compression, and Blend
- Blend control mixes the compressed and dry signals for greater control over feel and dynamics
- Switchable on the fly between true bypass and buffered bypass
- Operates at 9–18V DC for flexible pedalboard integration
- Low 25mA current draw, Standard center-negative power
- Designed and manufactured by Keeley Electronics in Oklahoma, USA
$189 US Street Price
Compressor Plus Germanium
Compressor Guitar Pedal with Level, Tone, Blend, and Comp Controls and Single-coil/Humbucker Switch
Gator Releases Foldable Travel Guitar Stands and a Rechargeable Clip-On Tuner
Gator has released three new accessories for gigging and traveling players. The G-SCALE-CLIP is a USB-C rechargeable clip-on tuner for guitar, bass, ukulele, violin, and other instruments. Two new guitar stands from Gator Frameworks fold down small enough to fit in a gig bag pocket: the Boomerang Foldable Wood Travel Guitar Stand and the Foldable Travel Electric Guitar Stand.
The G-SCALE-CLIP has five tuning presets (chromatic, guitar, bass, ukulele, and violin) and calibration adjustable from 430 to 450 Hz. It uses a vibration-based sensor with tuning accuracy up to ±0.5 cents, which helps players tune in loud environments where microphone-based tuners struggle. A bright display shows pitch deviation in cents. Four points of articulation, including 360-degree dual-axis rotation, let players angle the screen for clear viewing while it's attached to an instrument. The tuner has a silicone-padded grip and can sit behind some headstocks so it's less visible onstage. A full charge provides up to 5.5 hours of continuous use, and a USB-C cable is included.
The Boomerang Foldable Wood Travel Guitar Stand has all-wood construction, a natural walnut-stained finish, EVA foam padding at instrument contact points, and a fold-down size of less than 12 inches. That's small enough for the large exterior pocket of most guitar gig bags. It supports acoustic and electric guitars and basses, among other stringed instruments, and its wood build makes it a natural match for acoustics.
The Foldable Travel Electric Guitar Stand is designed for electric guitars and basses. It features aluminum construction, a tripod base, EVA foam padding, a 30-pound weight capacity, and a fold-down size of less than 10 inches. Both stands also work as space-saving options for studios and rehearsal spaces and on stage.
Street pricing is as follows:
G-SCALE-CLIP Rechargeable Clip-On Tuner: $19.99
Boomerang Foldable Wood Travel Guitar Stand: $49.99
Foldable Travel Electric Guitar Stand: $39.99
G-SCALE-CLIP
Gator has released three new accessories for gigging and traveling players. The G-SCALE-CLIP is a USB-C rechargeable clip-on tuner for guitar, bass, ukulele, violin, and other instruments. Two new guitar stands from Gator Frameworks fold down small enough to fit in a gig bag pocket: the Boomerang Foldable Wood Travel Guitar Stand and the Foldable Travel Electric Guitar Stand.
Fender Debuts Hum-Canceling Silent System in Two New Guitar Models
Fender has launched two new guitar models featuring the debut of the Fender Silent System, which is designed to eliminate unwanted electrical hum from single-coil pickups.
Fender’s Limited Edition American Professional Classic Stratocaster and Telecaster are the first new models to feature the Silent System, delivering classic, unadulterated single-coil tone with virtually no 60-cycle hum.
More details on those instruments are included below. But first, the burning question: What is this hum-cancelling system all about?
Offering a solution to the 80-year-old problem of pickup hum, the Fender Silent System isn’t simply another “noiseless” pickup. Rather, it’s a passive, battery-free system built into the instrument itself. Designed to nix single-coil hum from almost any installed pickup, it gives players more control over their guitar sound without compromising on tone.
The system employs a “dummy coil” nestled snugly in a special rout carved into the guitar body’s cavity. The coil is connected to the guitar’s internal circuitry—the pickup selector, volume/tone pots, and the pickups themselves. The system is invisible once covered by the pickguard; even when viewing the guitar up close, there’s no sign of the hum-canceling technology working inside.
Fender’s Silent System is certainly not the first dummy-coil system designed to eliminate 60-cycle hum. This type of technology traces its origins back to the 1950s. But it’s Fender’s most ambitious—and heavily researched—foray into creating a single-coil-equipped guitar that delivers classic tone without the hum.
Premier Guitar asked Steven Casado, Senior Design Engineer at Fender, for more details about the development of the Silent System. Casado’s career stretches back to high school, when he began building pickups in his parents’ garage at 16 years old. During his tenure at Seymour Duncan, prior to joining Fender, he worked on pickups, pedals, and the company’s PowerStage amp designs. Since coming to Fender in 2018, Casado has been a key contributor to the company’s Panorama tremolo system and Quadra Tap humbucker, as well as custom signature pickups for artists like Jimmy Page, Eric Johnson, Michael Landau, Kingfish, Susan Tedeschi, and Mike Campbell.
The following Q&A with Casado provides a peek into the Silent System’s developmental story.
Premier Guitar: How does the Silent System differ from previous hum-canceling systems that rely on dummy-coil technology?
Steven Casado: The operating principle of the Fender Silent System is the same as most other dummy-coil-based noise-cancelling systems. Whether it’s humbuckers, stacks, rails, or dummy coils, they all use the same basic method to cancel the noise: a second coil wired and wound a specific way in relation to the primary coil. Clearly, there are a number of ways to approach the challenge—and the form our system takes is unique from all the others. While the Fender Silent System does fit in the dummy-coil category, it’s been optimized well beyond just throwing a plastic Strat bobbin inside the guitar, like in the old days. This coil is wider than any pickup we make, and deeper than any of the noise reducing pickguard/backplate solutions. The extra width and depth allow for the use of a larger gauge magnet wire, which is key to preserving high-end response. Protecting the natural frequency response of Fender pickups was at the heart of this project, and the Fender Silent System does it better than all the others we tested.
It’s not just the total size, but the shape that’s different as well. The shape of the final coil is as wide as can fit under all our standard pickguards. A wider coil is more efficient at sensing noise. Think of it as a bucket in the rain; the wider the bucket, the more rain you can catch at one time.
How long was it in development?
The research for this project started back in 2021. The thought was, since we make the whole guitar, why would we limit the size of our noiseless pickups to just the traditional pickup route? That started us down a path of exploring the possibilities of a noise cancelling system freed from those space constraints. In addition, we had all the existing noise reduction systems in the lab to carefully test and compare noise reduction limits and high-end loss.
Does Fender have a term they prefer to use for the dummy coil?
"Dummy coil" is technically correct but doesn't tell the whole story. Fender has used dummy coils in guitars before—for decades we used Strat pickups for hum reduction in Custom Shop and even some Corona factory-built instruments. We’ve looked at all the systems. A recycled Stratocaster pickup wasn’t the answer. We started from scratch, looked at everything that was known, researched what wasn’t, and evolved the form. We tested different shapes, sizes, and winds rigorously, on the bench and in the sound-room, to make it smaller, lighter, and more transparent. In the end, the R&D and Product teams held hands and committed to preserving as much of high end of the pickups as possible with the least amount of hum, whatever form it takes. And the Fender Silent System does just that.
Does the coil need to be specifically “tuned” to the pickups? Will it work effectively with other aftermarket pickups?
The Silent System will work effectively with all Fender and aftermarket single-coil pickups, and does not need to be tuned. The only extra step to take when swapping pickups is to make sure the system is in phase with your new set. Essentially, if you’re hearing excess noise after a pickup swap, then you should remove the silent coil, flip it over, and re-install it. No soldering required.
Does Fender plan on implementing the Silent System in more instruments in the future?
Yes, we’re discussing future possibilities.
See the demo video here: youtube.com/watch
The Silent System debuts in Fender’s American Professional Classic range, which blends a vintage vibe with the capabilities of a modern instrument—making it a favorite among working players. For this reason, the Limited Edition American Professional Classic Stratocaster and Telecaster models are well-suited for introducing the tech refresh offered by the Silent System. Even though the system requires special routing, it’s invisible when covered by standard Strat and Tele pickguards, retaining a traditional look while offering advanced electronics under the hood.
- Fender’s new Limited Edition American Professional Classic Stratocaster brandishes vintage-inspired Coastline ’57 Stratocaster pickups that deliver depth, punch, and sparkle, and the all-new Fender Silent System eliminates 60-cycle hum. It features a sleek Modern “C” neck and Fender staggered ClassicGear tuners for traditional looks and precise tuning stability. It’s available in Candy Apple Red and Olympic White with a maple fingerboard, and 3-Color Sunburst and Daphne Blue with a rosewood fingerboard. All necks feature 22 medium jumbo frets and a 9.5” fretboard radius.
- The Limited Edition American Professional Classic Telecaster features vintage-inspired Coastline ’63 Telecaster pickups along with the new Silent System. It also boasts a Modern “C” neck and Fender staggered ClassicGear tuners, and is available in Sonic Blue and Candy Apple Red with a rosewood fingerboard, and Vintage Blonde and 3-Color Sunburst with a maple fingerboard. All necks featuring 22 medium jumbo frets and 9.5” fretboard radius.
The Limited Edition American Professional Classic Stratocaster is street priced at $1,599.99 USD, £1,649 GBP, €1,949 EUR, $2799.00 AUD, and ¥258,500 JPY.
The Limited Edition American Professional Classic Telecaster is street priced at $1,599.99 USD, £1,649 GBP, €1,949 EUR, $2799.00 AUD, and ¥258,500 JPY.
Limited Edition American Professional Classic Stratocaster and Telecaster
Fender has launched two new guitar models featuring the debut of the Fender Silent System, which is designed to eliminate unwanted electrical hum from single-coil pickups.
Cort Guitars Announces KX500 Baritone for Precision Low-Tuning Performance
Cort Guitars officially unveils the KX500 Baritone, a specialized addition to the coveted KX Series. Engineered specifically for players who use low tunings, the instrument addresses the familiar challenges of string tension and note definition associated with dropped registers. By combining a long-scale architecture with premium electronics and hardware, Cort provides a focused solution for heavy music performance that keeps responsiveness and control.
The foundation of the KX500 Baritone is an okoume body, selected for its lightweight properties and ability to deliver a warm, resonant tone with a clear low-end response that keeps heavy sounds tight. The body is topped with an English Walnut veneer, providing a striking grain pattern and a distinctive visual character. To complement the tonal properties of the wood, the instrument is finished in a Matte Natural Black Burst (NBB), using an open-pore application that keeps the organic feel of the materials.
Playability is made easy by a 28.03-inch (712mm) scale length, positioned to provide best string tension for drop tunings while staying transparent to the player. The bolt-on neck features a 5-piece construction of roasted maple and walnut, offering enhanced durability and resonance alongside a comfortable "D" shape profile. A Macassar Ebony fingerboard with a 15.75-inch radius houses 24 jumbo stainless-steel frets, chosen for their smooth feel and long-lasting performance under heavy use. Fretboard navigation is aided by Teardrop position inlays and luminous side dots for visibility in dark stage environments.
The instrument is equipped with a matched Seymour Duncan Sentient and Nazgûl humbucker set, specifically voiced for modern high-gain performance ranging from clean passages to full output. This HH configuration is managed by a streamlined control layout consisting of a single volume knob, a 3-way toggle switch, and tone pot (push/pull for coil-split). These electronics allow for diverse tonal shaping while ensuring the clarity required for complex, low-tuned arrangements.
Reliability and sustain are further supported by a hardware package featuring a new Cort hardtail bridge. This bridge uses a string-thru-body construction to improve resonance across the instrument. At the headstock, Cort Locking Tuners provide tuning stability and ease efficient string changes, while a Graph Tech Black TUSQ nut ensures consistent string vibration. The guitar comes factory-equipped with D'Addario EXL157 strings (.014-.068) and features all-black hardware to match its aggressive aesthetic.
The KX500 Baritone is a commitment to purposeful design for the modern metal and progressive guitarist. For more information on specifications and global availability, please visit the official Cort Guitars website at www.cortguitars.com.
Street Price: $929.99 USD
Question of the Month: What's the first—or hardest—guitar solo you ever learned?
Question: What's the first—or hardest—guitar solo you ever learned?
Pete Evick, guitarist, the Bret Michaels Band; producer
A: I started playing at such an early age, and tackling some crazy stuff for a 13-year-old with a phonograph, not YouTube. So the hardest solo would have been Randy Rhoads’ lead on “Over the Mountain,” from Ozzy Osbourne’s Diary of a Madman. But it’s relative to the time and tools—as an adult I’ve gone back and learned all my favorite Steve Vai licks, but I did it with the help of modern technology and over 40 years of experience, so it didn’t seem nearly as hard or frustrating. Saying all of that, I still think the hardest thing to execute is Jake E. Lee’s outro solo on Ozzy’s “Bark at the Moon.” Getting that clean and at the right speed is an exercise every guitar player, from any genre, should force themselves to do. It's a full workout for both hands.
Obsession: I’ve been producing music for an awesome guy that goes by the name Timules. It’s this really different, amazing spoken-word-type stuff. Reb Beach (Winger, Whitesnake), who’s a mind-blowing player, Eric Brittingham from Cinderella, and I have all been making this music with him, and it’s just super different and unique.
Tony Houston, reader; guitarist, the Primetime Blues Band
A: In 1971, when I was 21 years old and just starting to learn guitar, I struggled with finding the key of songs and understanding how solos were constructed, despite knowing some basic theory, string names, and scales. That year, I read a lesson in Guitar Player magazine where the author tabbed out George Harrison's solo on “Let It Be.” He explained how he found the key and detailed his process of recording the song from vinyl to a cassette deck so he could rewind it and practice.That single lesson completely transformed my approach to the instrument. Within a week, I began learning songs on my own, and I am still learning them today.
Obsession: I have two current obsessions: I’m back to learning to play better slide guitar. I recently found a Maestro resonator guitar at a yard sale for $25 and am currently perfecting my touch. Back in ’70, I was very fortunate to see the Allman Brothers Band perform in a very small venue, Pappaliski's, here in Dayton, Ohio. I knew about Duane Allman from “Layla,” and wondered how he achieved that guitar sound. I had just started learning guitar, too, and was captivated by his tone. I was gobsmacked to see him live using a small bottle, sliding it up and down his guitar neck.
My other obsession is perfecting the art of making focaccia.
John Bohlinger, columnist; host, Rig Rundown
A: My dad bought Dire Straits’ debut album for me in 1979, shortly after it came out. The “Sultans of Swing” solo became my Mount Everest. Something happens to your brain, spirit, and personality when you put a lot of effort into something that seems impossible at first. The exercise trained my ears, taught me that melodies lie in the chords more than the scales, and gave me confidence that I could actually be a guitar player. Forty-seven years later, I still don’t sound nearly as good as a 28-year-old Mark Knopfler did the day he recorded it.
Obsession: I’m still way into chord voicings. The way Wes Montgomery could pull such amazing melodies out of those color tones in his chords blows my mind.
MONO x Teisco Reunite for New Vertigo Electric Guitar Cases
MONO has announced the company’s newest collaboration with Teisco, introducing fresh limited-edition colors on the Vertigo Electric Guitar Case.
Inspired by the subtle beauty of Japanese design, the latest MONO x Teisco collection introduces three new colorways that pair muted pastel tones with geometric and flowing patterns.
The company describes the three eye-grabbing options: Orange is bold, energetic, and impossible to overlook. Inspired by the warmth of autumn, its interlocking pattern creates rhythm and structure, giving the impression of constant movement. Sage draws from the calmness of the natural world. Understated yet expressive, its flowing pattern evokes a sense of continuity, making it equally at home on the road, backstage, or in the studio. Lavender takes a softer, more contemplative approach, inspired by the quiet colors of the evening sky with an evocative cloud-like pattern.
To launch the new collection, MONO and Teisco have partnered with three artists whose creativity extends beyond their music into their personal style: LAYYI, Marco of Bellied Star, and Marian Carmel. Their creative identities make them the perfect artists to showcase the next evolution of the MONO x Teisco collaboration.
Built on MONO's award-winning Vertigo platform, the cases combine bold aesthetics with the premium protection trusted by musicians worldwide. Key features include:
- ● Available in Orange, Sage, and Lavender, each featuring a unique Japanese-inspired pattern.
- ● Patented Headlock Neck Suspension System securely supports the guitar neck and headstock, providing superior protection against drops and impacts.
- ● The Boot combines a custom-molded rubber outsole with an EVA insole to absorb unwanted impacts during transport.
- ● Top-loading design provides fast and convenient access, making it easy to take your instrument in and out.
- ● Smart Storage System features triple D-rings for seamless attachment of the Classic Tick Accessory Case 2.0 (sold separately), expanding storage capacity.
- ● Constructed to military specifications, with highly abrasion-resistant and weather-resistant materials. A water-resistant Sharkskin shell protects against the elements, while the plush interior lining safeguards delicate custom finishes.
The MONO x Teisco Vertigo Electric Guitar Cases carry a street price of $299.99. For more information, visit monocreators.com.
Vertigo Electric Guitar Case
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Wizard of Odd: Tending to Guitars Like Gardens
Alas, ’tis my favorite time of the year. As summer turns into fall, my hoodies come out, football season starts, and I harvest my little vegetable garden. I don’t take it too seriously, and mostly I just like to see what will grow. Basically, at its core, I enjoy taking care of things in general. Tending to a little garden is good therapy—if you know, you know. Now, I do get more serious with my tomatoes. See, one of my favorite routines is making a huge pot of spaghetti sauce (or gravy, depending on where you’re from). Man, we eat nothing but Italian dishes for about a month! I boil the tomatoes and grind them up with an awesome little tool and then let the juices reduce. Personally I like a little red cooking wine in my sauce, but all you have to do is season it to your taste. Simple, easy, and fresh!
I enjoy the whole process of choosing ingredients that I grow and simply letting the house soak with aromas from the simmering pot. I actually get happy when I see a “nice” tomato or a fine-lookin’ onion! Having everything at home and within reach contributes to my overall feeling of zen, and it’s one of my happy places.
Normally I also have one or two guitar projects going every summer, too. This past summer I really struggled to build a few guitars (see last month’s article and my new puppies), but I was able to source some old parts and scrounge up what I have in my basement shop to basically restore this old Inter-Mark Cipher Valor. I like sourcing original parts to complete “husks,” which are like donors for parts. But I always feel kinda sad for these sacrificial guitars and have a need to make them whole again. Again, I enjoy tending to my guitars just like my garden—keeping everything happy and complete and content.
So as summer winds down, I want to write about my garden and my latest “project” guitar—more specifically, about gathering all the ingredients to make a guitar whole again. If you want to build a Fender- or Gibson-style guitar, there are all sorts of places to source parts, vintage or otherwise. But when you’re trying to rebuild a vintage oddball, you are gonna encounter some problems. It’s like with old car, motorcycle, or bicycle parts. So many obscure makers with proprietary parts—jeez, it can take a while to source those “ingredients.”
Take this 1960s Inter-Mark, for example. In Japan, these were made by a company called Shinko Gakki, which spent the post-war years making pianos and organs before eventually getting into acoustic—and then, in the mid-’60s, electric—guitars. They wound up going bankrupt shortly after. Shinko pickups? Copies of Italy’s Eko and Burns from the UK. Shinko used aluminum spun knobs. The truss rod cover also held the string guide. The pickup switching system was mostly based on Italian designs with push buttons and spring-loaded mechanisms. The tremolo units were also rough copies of Eko guitars. So how does one find parts?
For a while I was buying every Shinko-made guitar I could find, and I was able to finish off several guitars with original factory parts. See, all the above idiosyncrasies are primarily found on Shinko guitars, and you simply can’t buy an old Eko and part it out. Looks similar but not the same. This is why I cringe when I get questions about guitar parts. I have knobs that were only found on Shinko guitars, and they’re different from the Fujigen knobs. Even though both companies used spun aluminum, Shinko often used gold-plated knobs and Fujigen didn’t.
So now, at the end of the summer, I have my tomato sauce and another completed guitar. If you want to just jam on a guitar (which is what I mostly do), then go nuts. Or you can get into the weeds and try to make something whole again. Dig? It’s all about the sauce, brothers and sisters!
D’Addario Partners with Jacob Collier to Launch Specialty XS Strings and Vegan Strap
D’Addario, in collaboration with Taylor Guitars, announces the launch of the Jacob Collier Specialty XS Phosphor Bronze String Set, engineered specifically to support Collier’s custom 5-string acoustic guitars and signature symmetrical D-A-E-A-D tuning. Arriving alongside the new Jacob Collier Signature Vegan Strap, the release expands the ongoing partnership between D’Addario, Taylor Guitars, and one of modern music's most inventive multi instrumentalists.
To celebrate the launch, D’Addario has released an exclusive video interview exploring Collier’s creative process, his approach to reinterpreting traditional instruments, and the technical collaboration behind his custom gear.
“Instruments Are to Be Forever Reinterpreted”
Raised in a musical family in North London, Collier developed an early fascination with sound through experimentation across piano, drums, vocals, and guitar. Seeking a distinct creative voice, he routinely detuned and removed strings from traditional six string guitars, a process that eventually led to his signature five-string acoustic setup.
“An artist’s voice isn’t something you find; it’s already there, like the Michelangelo quote: 'Remove what's not the sculpture, and the sculpture was there all along,'" says Collier. “Trying to find my voice led me to fall in love with the five-string guitar. For me, it’s important that a string has a lot of life to it. D’Addario strings embody that—they are made with incredible care and attention to detail.”
“There is a miraculous tone and sublime feel to these D'Addario strings,” Collier adds. “This set was handpicked by Taylor's own Andy Powers to balance the tension, feel, and pitch accuracy of this symmetric 5-string tuning that forms the backbone of my custom Taylor guitar models.”
Product Specs & Availability
Jacob Collier Specialty XS Phosphor Bronze 5-String Set (12–53)
• Designed For: Taylor Jacob Collier GS Mini 5-String, Taylor Jacob Collier Academy 22e 5-String, and Taylor JCSM-5 Jacob Collier Signature 5-String • Gauges: Custom .012–.053 5-string configuration optimized for D-A-E-A-D tuning
• Technology: Ultra-thin XS film coating on wound strings with a unique polymer treatment on plain steel strings for maximum corrosion resistance and extended tone life
• Availability: Available globally via D’Addario authorized dealers and daddario.com
Jacob Collier Signature Vegan Strap
• Design: 2.5-inch printed vinyl featuring custom, vibrant geometric artwork reflecting Collier's colorful aesthetic
• Construction: Eco-conscious vegan strap designed for durability, comfort, and security
• Availability: Available globally via D’Addario authorized dealers and daddario.com
Explore the Launch
• Watch the Artist Spotlight Interview: https://ddar.io/collierinterview • Explore the Specialty XS 5-String Set: https://ddar.io/collier-xs • Explore the Signature Vegan Strap: https://ddar.io/collier-strap
What’s Next: Upcoming Giveaway & Educational Mini-Series
• Taylor x D’Addario Giveaway (Launching Soon): D’Addario will launch an exclusive sweepstakes featuring a massive prize bundle highlighted by the actual Taylor JCSM-5 5-String Acoustic played by Jacob Collier, along with specialty strings, the signature strap, and premium D’Addario accessories. Fans can bookmark daddario.com/pages/jacob-collier-taylor-giveaway to enter around the end of September.
• "Sounding It Out with Jacob Collier" Mini-Series (Launching Oct. 7): D’Addario will premiere a five-part video series on YouTube exploring the mechanics of the 5-string guitar, harmonic theory, rubato timing, and translating
piano concepts to guitar. Subscribe to D’Addario’s YouTube Channel to catch each weekly installment.
Slash Ft. Myles Kennedy and the Conspirators Release New Single “Flying Blind”
Fifteen years and five albums into one of modern rock’s most enduring collaborations, Slash Ft Myles Kennedy and the Conspirators, also known as SMKC, return today with the new single and official music video, “Flying Blind.” The anthemic track is the first taste of a powerful new chapter for the band and serves as the title track from its highly anticipated fifth studio album, Flying Blind, arriving worldwide Feb. 26, 2027, via Gibson Records.
Recorded largely live with longtime producer Michael “Elvis” Baskette at Studio Barbarosa in Florida, the 12-track album captures Slash on guitar and pedal steel, Myles Kennedy on vocals, Todd Kerns on bass, Brent Fitz on drums, and Frank Sidoris on rhythm guitar at their most immediate, instinctive, and tightly connected. The band completed the bulk of the record in approximately one week, often recording two songs a day with the musicians performing together in the same room.
“It’s a really fun, kind of spontaneous rock ’n’ roll record,” says Slash of Flying Blind. “It’s very straightforward and down-to-earth and raw.”
Listen to “Flying Blind,” out today across all digital platforms, and watch the music video, shot on location at The Viper Room in Los Angeles and directed by John Harvatine IV HERE. Pre-save, add and order the album Flying Blind HERE.
Created spontaneously during pre-production, “Flying Blind” began when Slash introduced a riff as the musicians were preparing to rehearse. The song developed quickly, combining SMKC’s unmistakable hard-rock drive with a soaring melody and immediate hook that ultimately made it the natural choice to introduce the album.
Slash explains, “Created in the studio while we were standing there in pre-production, a riff came to me and started developing. I had nothing of that song prior to those guys coming in, and then we started up a night of rehearsal and played that riff. It came together really quickly. As for it being the first single, you never know what the first single is going to be until you’ve recorded it. When I started thinking about it, ‘Flying Blind’ just seemed to have the right kind of melodic sensibilities and a hook to make it single material.”
For Myles Kennedy, the title track’s lyric examines the shortcuts people sometimes pursue in their search for fulfillment. “I really enjoyed putting a melody to this song,” Kennedy adds. “The way the chord progression starts in the beginning had a nice flow to it. The lyric is about how sometimes people try to take shortcuts and try to find the easy way to achieve happiness or enlightenment.”
SMKC have also announced the Flying Blind WORLD TOUR 2027, an extensive international run launching in Latin America in April before reaching North America on April 23 and continuing through the United Kingdom and Europe. The North American tour includes two nights at The Wiltern in Los Angeles, as well as performances at New York City’s Beacon Theatre, Nashville’s Ryman Auditorium, Boston’s Citizens House of Blues, Denver’s Fillmore Auditorium, and other landmark venues. Fans can sign up now for early access to tickets at laylo.com/slash/m/flyingblindworldtour2027. Tickets go on sale to the general public Oct. 9 at slashonline.com/tour.
In celebration of the release of Flying Blind, SMKC have partnered with Fandiem to launch a special charitable sweepstakes giving fans the chance to win a once-in-a-lifetime trip to Wales to meet Slash backstage at Cardiff Castle. Benefiting the American Foundation for Suicide Prevention (AFSP) and the National Alliance on Mental Illness (NAMI), the campaign offers one winner and a guest round-trip travel to Cardiff, a three-night hotel stay, tickets on Slash’s guestlist for his performance at Cardiff Castle, backstage access to meet Slash, front-of-house viewing, access to pre- show soundcheck, a Slash merch pack, a South Wales sightseeing tour, and a pre-show dinner.
Fans can donate now and enter for a chance to win at www.fandiem.com/slash and take part in this exclusive experience while helping raise funds for two organizations dedicated to mental health and suicide prevention.
SMKC continue to work the same way they did at the beginning: get into a room, play, and see what happens. That philosophy drives Flying Blind, the band’s first full-length studio album since 2022’s acclaimed 4. Some of its songs developed from Slash’s demos and musical fragments, while others were created spontaneously with the musicians playing together in a room.
Slash brought the initial material to Kennedy, who added vocal melodies and lyrics before the songs were developed into full-band arrangements with bassist Todd Kerns, drummer Brent Fitz, and rhythm guitarist Frank Sidoris.
“He’s an incredible riff writer,” Kennedy says of Slash. “He also comes up with simple chord progressions that are very compelling for melodies. It works, and it’s timeless.”
Unlike previous SMKC albums, whose riffs and arrangements sometimes evolved through nightly soundchecks and extended touring, much of Flying Blind came together in concentrated bursts between the members’ other projects. Slash developed the material while touring with Guns N’ Roses, recording his acclaimed blues album Orgy of the Damned, and launching the S.E.R.P.E.N.T. Festival. Kennedy began working on the songs during a break from Alter Bridge and while creating his third solo album. “Our schedule is tight, and you have to abide by it or everything else starts to get affected,” he says. “Now it’s just a given that you’re always creating. It’s a muscle thing. The creative part of your brain doesn’t have time to atrophy, and you just keep going.”
The band reconvened with Baskette, who previously produced SMKC’s World on Fire in 2014 and Living the Dream in 2018, at his Studio Barbarosa in Florida. Staying together throughout the sessions allowed the musical and personal chemistry at the center of the band to become an essential part of the recording.
Going into the sessions, Slash gave Baskette two clear instructions: keep the recording as live as possible, and do not overwork the performances afterward. “He really adhered to that,” Slash says. “It worked out great.” The arrangements were largely in place before recording began, but remained open enough to accommodate spontaneous ideas in the studio. With the musicians performing simultaneously, the band retained as much of the natural interplay and energy of each complete performance as possible. Kennedy recorded his vocals several months later and describes the finished album as a high point in SMKC’s recording history. “Out of all the records, the sounds and performances on Flying Blind are my favorite. It’s very present. It’s right there,” he says.
Across its 12 tracks, Flying Blind explores a broad range of sounds without abandoning the band’s direct, hard-rock foundation. “Good Time Girl” combines a talk box hook with a pronounced country twang influenced by pioneering guitarist Jimmy Bryant and steel guitarist Speedy West, while “Sweet Kill” delivers brash, riff-driven rock that Slash calls “probably the most ’80s thing I’ve done in a while.”
“One of Your Kind” moves with a down-tuned churn, while sharp, punk-influenced chords drive “Here in Babylon.” “Thrill Seeker” is built around a dizzying descending riff that remains deep in the pocket, and “Rev My Heart” is a classic rock ’n’ roll rave-up anchored by an unforgettable progression and a lyric inspired by the night Kennedy first met his future wife. The instrumental “Living the Dream” continues an SMKC tradition, giving Slash room to improvise and placing his unmistakable guitar playing at the forefront. “I’ve done one of these instrumentals on every Conspirators record except Apocalyptic Love,” Slash says. “It’s fun to have something that I can open up and improvise on, where I don’t have any specific guidelines or guardrails. It’s nice to do a new one every record, so that live you don’t have to do the same one all the time.”
One of the album’s most significant departures is “Looking for a Miracle,” the first song Slash has written on pedal steel and the first to feature a recorded pedal steel solo from the guitarist. Slash developed the original musical idea on pedal steel before adapting it for guitar, so the full band could rehearse the song. He then returned to the pedal steel during the recording sessions and worked out the solo at Studio Barbarosa. “I love pedal steel,” Slash says. “It’s one of these instruments that is so unbelievable in what you can do with it. So it’s become a thing for me. But it is a commitment. It’s a pretty complex instrument.”
Kennedy and the rest of the band have watched Slash’s relationship with the instrument develop over time. “For a long time, we would go and rehearse for tours or do pre-production, and then we’d leave, and Slash would stay at his studio and practice to all hours on mastering pedal steel.”
The album concludes with “Stem the Flow,” a sweeping final statement centered on disillusionment with institutions and systems once believed to be unbreakable. Hard-hitting, spontaneous, and wide- ranging, Flying Blind captures SMKC sounding as loose, raw, and locked-in as ever.
The roots of SMKC stretch back to Slash’s star-studded, self-titled 2010 solo album, on which Kennedy appeared as one of several guest vocalists. The musical and personal connection that followed quickly developed into a permanent band. “I got into working with the Conspirators as a happy accident from doing that first solo album,” Slash says. “I established a relationship with these guys on a musical and personal level that I wasn’t about to give up when Guns restarted.”
What began without a long-term plan has grown into a 15-year partnership, five studio albums, and numerous world tours. “It blows my mind that 15 years has moved this fast,” Kennedy says. “It’s been the blink of an eye. But as they say, time flies when you’re having fun, and we have a lot of fun. It’s a pinch-me kind of thing.”
Fifteen years after forming, Slash Ft. Myles Kennedy and the Conspirators continue to refine their sound while carrying the torch for immediate, unvarnished rock ’n’ roll. For Slash, the force behind Flying Blind and SMKC remains the pure pleasure of playing music. “When we started, we didn’t have anything,” Slash says. “We weren’t setting out to conquer the world. It was just for the pure pleasure of it. So now, we get together and play, we have a really good time, and then we go out and tour and do it again the next time.” Slash laughs. “As long as there’s electricity, we’ll keep plugging in.”
Following is the track listing for Flying Blind:
- 1. “Avarice and Greed”
- 2. “Good Time Girl”
- 3. “Thrill Seeker”
- 4. “One of Your Kind”
- 5. “Flying Blind”
- 6. “Looking for a Miracle”
- 7. “Sweet Kill”
- 8. “Won’t Be Long”
- 9. “Living the Dream”
- 10. “(Don’t) Thread the Needle”
- 11. “Rev My Heart”
- 12. “Stem the Flow”
Slash Ft. Myles Kennedy and the Conspirators are:
- Slash guitar and pedal steel Myles Kennedy vocals Todd Kerns bass and vocals Brent Fitz drums Frank Sidoris rhythm guitar
Catch SMKC on the Flying Blind WORLD TOUR 2027:
- DATE CITY VENUE LATIN AMERICAN DATES Fri April 2 Santiago, Chile Teatro Caupolican Sun April 4 Mendoza, Argentina Arena Maipú Tue April 6 Córdoba, Argentina Plaza de la Música +Wed April 7 Buenos Aires, Argentina Movistar Arena Sat April 10 Florianópolis, Brazil Arena Opus Sun April 11 Curitiba, Brazil Live Curitiba Tue April 13 Rio de Janeiro, Brazil Fundição Progresso Wed April 14 São Paulo, Brazil Espaço Unimed NORTH AMERICAN DATES Fri April 23 Reno, NV Grand Theatre at The Grand Sierra Resort Sat April 24 Rohnert Park, CA Graton Resort & Casino Mon April 26 Los Angeles, CA The Wiltern Tue April 27 Los Angeles, CA The Wiltern Thu April 29 Del Mar, CA The Sound Sat May 1 Albuquerque, NM Route 66 Casino Sun May 2 Denver, CO Fillmore Auditorium Tue May 4 Kansas City, MO The Midland Theatre Wed May 5 Des Moines, IA Val Air Ballroom Fri May 7 Windsor, ON Caesars Windsor Sat May 8 Niagara Falls, ON OLG Stage at Fallsview Casino Mon May 10 Boston, MA Citizens House of Blues Wed May 12 New York, NY Beacon Theatre Mon May 17 Nashville, TN Ryman Auditorium Wed May 19 St. Louis, MO The Factory +Fri May 21 Norman, OK Riverwind Casino +Sat May 22 Tulsa, OK Hard Rock Hotel & Casino UK AND EUROPEAN DATES Mon June 7 Munich, Germany Zenith Wed June 9 Warsaw, Poland Letnia Scena Progresji
- Thu June 10 Nickelsdorf, Austria Nova Rock Festival Sat June 12 Milan, Italy Carroponte Sun June 13 Rome, Italy Rock In Roma Thu June 17 Vitoria-Gasteiz, Spain Azkena Rock Festival +Wed June 23 Stockholm, Sweden Grona Lund Mon June 28 Dusseldorf, Germany Mitsubishi Electric Halle Wed June 30 Cardiff, UK Cardiff Castle Thu July 1 Scarborough, UK Scarborough Open Air Theatre Sat July 3 Dublin, Ireland Trinity College Sun July 4 Belfast, UK Custom House Square Tue July 6 Halifax, UK Piece Hall Wed July 7 London, UK Eventim Apollo Fri July 9 Weert, Netherlands Bospop Sun July 11 Vizovice, Czech Republic Masters of Rock Mon July 12 Zagreb, Croatia SRC Salata Wed July 14 Budapest, Hungary Budapest Park Fri July 16 Belgrade, Serbia Luka Beograd Sun July 18 Athens, Greece Lycabettus Theatre Thu July 22 Istanbul, Turkey Bonus Parkorman Sun July 25 Plovdiv, Bulgaria Hills Of Rock Mon July 26 Ghimbav, Romania Rockstadt Extreme Festival
- Festival date +On-sale TBD
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Polyphia Releases Hypnotic New Single “With Eyes to See”
Today, the genre-defying instrumental rock innovators Polyphia release the hypnotic new track “With Eyes To See” with an accompanying music video. This is the third single off their highly anticipated fifth full-length studio album Be Not Afraid out October 23rd with Rise Records.
The accompanying music video mirrors the track's hypnotic pull, layering mesmerizing visuals with flashes of a world turned inside out. It’s interwoven with glimpses of redacted Epstein files and world destruction, grounding the video's dreamlike unraveling in something unsettlingly real.
Earlier this year, Polyphia teased their new chapter with the release of their first single in over four years, “Can You Feel It” pushing boundaries in ways the band never has before with a hybrid of metal and dance music. Following, they released “Power In The Blood” with a music video filmed at the São Francisco da Penitência Church in Rio de Janeiro, Brazil. The powerful visuals from each release lay the foundation for what’s to come off the new record.
Throughout 2024 and 2025, Polyphia worked together in various locations in Miami, Los Angeles and Dallas alongside co-producer RJ Pasin and guitar phenom Spiro Dussias. Guitarist Tim Henson took a different approach to composition, initially singing lines aloud and then translating them onto guitar, creating a process that encouraged the entire band to build on each other’s ideas in real time. More than anything, the sessions were defined by how much fun they were having creating music together. By the time the album was finished, they had reached a point where they could let go of any expectations about what would happen next and simply enjoy what they had created together.
The collective thread together a three-dimensional offering of otherworldly metal, future-facing prog, and pulsating house sealed tightly with carefully curated samples, inventive beat-craft, and the guitar eloquence that Tim and Scott remain renowned for. This time around, the instrumental push-and-pull invokes the polarity of the ultimate extremes: good and evil.
When speaking on the album Henson adds, “The album takes you through the extremes of two different worlds / moods: one being very uplifting and triumphant, the other being spine-chilling and terrifying. There are moments on the record that legitimately scare me when I listen to them.”
Polyphia will be on tour this fall in the UK and Europe, before heading out on the North American leg of their World Tour in early 2027.RJ Pasin will still support every date worldwide. North American shows will feature Ladrones, with select dates including Intervals. Perturbator will join all UK and European dates, which remain unchanged for Nov/Dec 2026.
A full list of show dates can be found below. For more information and to purchase tickets visit Polyphia.com .
- North America Tour Dates 2027 w/ Ladrones & RJ Pasin:
- w/ Intervals
- # No Ladrones
- February 5 - Phoenix, AZ - Arizona Financial Theatre
- February 6 - Las Vegas, NV - House of Blues
- February 9 - Los Angeles, CA - Hollywood Palladium
- February 10 - San Diego, CA – SOMA #
- February 11 - Anaheim, CA - House of Blues
- February 14 - San Francisco, CA - The Masonic
- February 17 - Seattle, WA - Paramount Theatre
- February 19 - Salt Lake City, UT - The Depot
- February 20 - Denver, CO - The Fillmore Auditorium
- February 23 - Minneapolis, MN - Uptown Theater
- February 24 - Milwaukee, WI - Landmark Credit Union Live
- February 25 - Chicago, IL - Aragon Ballroom
- February 26 - Indianapolis, IN - Egyptian Room at Old National Centre
- February 27 - Detroit, MI - The Fillmore Detroit
- March 2 - Toronto, ON - Great Canadian Toronto *
- March 3 - Montreal, QC – L’Olympia *
- March 5 - Philadelphia, PA - The Fillmore Philadelphia
- March 6 - Brooklyn, NY - Brooklyn Paramount
- March 7 - Boston, MA - MGM Music Hall at Fenway
- March 9 - Washington, DC - Echostage
- March 10- Raleigh, NC - The Ritz
- March 12 - Charlotte, NC - The Fillmore Charlotte
- March 13- Orlando, FL - Hard Rock Live
- March 14 - St. Petersburg, FL - Jannus Live
- March 16 - Atlanta, GA - Coca-Cola Roxy
- March 17- Birmingham, AL - Avondale Brewing Company
- March 18 - Nashville, TN - The Truth
- March 20 - Dallas, TX - South Side Ballroom
- Europe/UK Tour Dates w/ Perturbator & RJ Pasin:
- Nov 18 – Zurich, CH – Halle 622
- Nov 19 – Lyon, FR – Le Radiant
- Nov 20 – Toulouse, FR – Interference
- Nov 22 – Barcelona, ES – Razzmatazz
- Nov 23 – Madrid, ES – Sala La Riviera
- Nov 25 – Milan, IT – Alcatraz
- Nov 27 – Munich, DE – Zenith
- Nov 28 – Prague, CZ – SaSaZu
- Nov 29 – Warsaw, PL – Progresja
- Nov 30 – Leipzig, DE – Haus Auensee
- Dec 2 – Hamburg, DE – Docks
- Dec 4 – Copenhagen, DK – Amager Bio
- Dec 5 – Berlin, DE – Tempodrom
- Dec 6 – Oberhausen, DE – Turbinenhalle
- Dec 7 – Brussels, BE – Ancienne Belgique
- Dec 8 – Amsterdam, NL – AFAS Live
- Dec 9 – Paris, FR – Zenith Paris
- Dec 11 – Birmingham, UK – 02 Academy Birmingham
- Dec 12 – Manchester, UK – Manchester Academy
- Dec 15 – Leeds, UK – O2 Academy Leeds
- Dec 16 – London, UK – O2 Academy Brixton