#ledzeppelin — Public Fediverse posts

Crown Lands – Apocalypse Review

Rush is my all-time favorite band, so their 2015 hiatus, brought on by Neil Peart’s declining health hit…
#NewsBeep #News #Music #2026 #3.0 #apocalypse #CA #Canada #CanadianMetal #CrownLands #Entertainment #GretaVanFleet #InsideOutMusic #LedZeppelin #May26 #PinkFloyd #ProgressiveRock #review #reviews #Rock #rush
https://www.newsbeep.com/ca/668995/

Rush is my all-time favorite band, so their 2015 hiatus, brought on by Neil Peart’s declining health hit me hard. Peart’s passing in 2020 made it permanent, slamming the door on the Rush I grew up loving. That’s why stumbling across Crown Lands’ 2023 sophomore album Fearless—courtesy of this very blog—felt like a hemispherian void had been filled. The dynamic duo from Oshawa, Ontario, tapped into the essence of prime ’70s Rush better than anyone I’ve heard, much like Greta Van Fleet’s revival of the mighty Led Zeppelin. Naturally, when I learned their third LP, Apocalypse, was on the way, I rushed to the promo sump to claim dibs faster than you can say 2112.

Apocalypse expands the Fearless Chronology that began with “The Oracle” from 2022’s White Buffalo with the same sonic and aesthetic bombast longtime fans expect, while stretching Crown Lands’ sound into territory occupied by other classic rock titans. Taking place a century before the events of Fearless and once again rooted in the spirit of Rush’s “Cygnus X-1” series, Apocalypse often feels like a natural progression of its predecessor even if it doesn’t quite reach the same heights. Through straightforward, radio-friendly anthems, as well as the mammoth self-titled closer, the album’s narrative charts a manipulative, oppressive force that weaponizes fear (“Foot Soldiers of the Syndicate”), then spirals outward into dragons, warriors and interstellar tyrants plunging the world into chaos (“Blackstar”). Amid the destruction, more intimate threads of loss and longing surface in crestfallen ballads (“The Revenant,” “Through the Looking Glass”). Where Fearless opened with its longest track, Apocalypse flips the script, saving its epic for the finale. The 19-minute cut matches the ambition and scope of “The Oracle” and “Starlifter: Fearless Pt. II,” though the record’s bottom-heavy makeup leaves less to uncover in the tracks leading up to it.

It’s unusual to devote an entire paragraph to a single track, but “Apocalypse” earns the word count as its reach accounts for nearly half of the record’s runtime. The piece opens in classic Rush fashion as celestial synths, cascading tom rolls, and shifting syncopation give way to shimmering arpeggios and warm, fluid vocal lines. At first, the track feels poised to deliver on its promise, and as it unfolds, Crown Lands weaves in a myriad of compelling touches, including Pink Floyd’s patented stoner-rock solos and a gorgeous arpeggiated, space-drifting movement with a flute-laden motif that nods to the duo’s Indigenous roots. But the track’s momentum falters at several points, and the songwriting begins to feel choppy as the track progresses. The choral bridge at the six-minute mark is a great idea, yet it’s followed by an overly hectic section where Crown Lands’ instrumental prowess shines but the vocals grate, undercutting what could have become a more transcendent phase. Similarly, the astral section at eleven minutes, with its galactic, vocal harmonies and tribal tom flourishes, is another moment that is abrasive. Although it ends on a high note, “Apocalypse” feels like it needed more time to bake to fully come together.

The unevenness of the self-titled epic would be forgivable if Apocalypse’s remaining tracks consistently picked up the slack. But they don’t. Stronger songs like “Through the Looking Glass” and “The Revenant” rely on Led Zeppelin-esque refrains to cohere into some of their best material to date, while Bowles’ vocal approach primarily hampers “Foot Soldiers of the Syndicate”, “Blackstar,” and “The Fall.” Bowles’ high-register singing—which will no doubt remain as divisive as Geddy Lee’s—can feel forced or strained at times, pulling me out of the otherwise strong songwriting rather than deepening the immersion. Across several key moments, Bowles doesn’t feel fully locked in, leaning instead on playful, almost taunting huffs and puffs (“The Fall”) or siren-like shrills (“Apocalypse”) that never quite find their place. Still, while Crown Lands’ execution isn’t as consistently sharp as Fearless, Apocalypse still offers plenty of quality material for fans to latch onto.

I’ve enjoyed my time with Apocalypse, yet I can’t help but feel somewhat disappointed. Maybe it speaks to the consistency and appeal of Fearless, but this record simply doesn’t resonate in the same way its predecessor did. To their credit, Crown Lands takes risks and pushes into some new territory here, and some of those choices pay off. Nevertheless, Apocalypse lacks the cohesion to keep me coming back, outside of a couple tracks that have burrowed their way into my psyche. It’s a letdown, but one I’m inclined to chalk up to growing pains for now.

Rating: Good
DR: 7 | Format Reviewed: 320 kb/s mp3
Label: InsideOut Music
Websites: crownlands.bandcamp.com | crownlandsmusic.com | facebook.com/crownlandsmusic
Releases Worldwide: May 15th, 2026

Rush is my all-time favorite band, so their 2015 hiatus, brought on by Neil Peart’s declining health hit me hard. Peart’s passing in 2020 made it permanent, slamming the door on the Rush I grew up loving. That’s why stumbling across Crown Lands’ 2023 sophomore album Fearless—courtesy of this very blog—felt like a hemispherian void had been filled. The dynamic duo from Oshawa, Ontario, tapped into the essence of prime ’70s Rush better than anyone I’ve heard, much like Greta Van Fleet’s revival of the mighty Led Zeppelin. Naturally, when I learned their third LP, Apocalypse, was on the way, I rushed to the promo sump to claim dibs faster than you can say 2112.

Apocalypse expands the Fearless Chronology that began with “The Oracle” from 2022’s White Buffalo with the same sonic and aesthetic bombast longtime fans expect, while stretching Crown Lands’ sound into territory occupied by other classic rock titans. Taking place a century before the events of Fearless and once again rooted in the spirit of Rush’s “Cygnus X-1” series, Apocalypse often feels like a natural progression of its predecessor even if it doesn’t quite reach the same heights. Through straightforward, radio-friendly anthems, as well as the mammoth self-titled closer, the album’s narrative charts a manipulative, oppressive force that weaponizes fear (“Foot Soldiers of the Syndicate”), then spirals outward into dragons, warriors and interstellar tyrants plunging the world into chaos (“Blackstar”). Amid the destruction, more intimate threads of loss and longing surface in crestfallen ballads (“The Revenant,” “Through the Looking Glass”). Where Fearless opened with its longest track, Apocalypse flips the script, saving its epic for the finale. The 19-minute cut matches the ambition and scope of “The Oracle” and “Starlifter: Fearless Pt. II,” though the record’s bottom-heavy makeup leaves less to uncover in the tracks leading up to it.

It’s unusual to devote an entire paragraph to a single track, but “Apocalypse” earns the word count as its reach accounts for nearly half of the record’s runtime. The piece opens in classic Rush fashion as celestial synths, cascading tom rolls, and shifting syncopation give way to shimmering arpeggios and warm, fluid vocal lines. At first, the track feels poised to deliver on its promise, and as it unfolds, Crown Lands weaves in a myriad of compelling touches, including Pink Floyd’s patented stoner-rock solos and a gorgeous arpeggiated, space-drifting movement with a flute-laden motif that nods to the duo’s Indigenous roots. But the track’s momentum falters at several points, and the songwriting begins to feel choppy as the track progresses. The choral bridge at the six-minute mark is a great idea, yet it’s followed by an overly hectic section where Crown Lands’ instrumental prowess shines but the vocals grate, undercutting what could have become a more transcendent phase. Similarly, the astral section at eleven minutes, with its galactic, vocal harmonies and tribal tom flourishes, is another moment that is abrasive. Although it ends on a high note, “Apocalypse” feels like it needed more time to bake to fully come together.

The unevenness of the self-titled epic would be forgivable if Apocalypse’s remaining tracks consistently picked up the slack. But they don’t. Stronger songs like “Through the Looking Glass” and “The Revenant” rely on Led Zeppelin-esque refrains to cohere into some of their best material to date, while Bowles’ vocal approach primarily hampers “Foot Soldiers of the Syndicate”, “Blackstar,” and “The Fall.” Bowles’ high-register singing—which will no doubt remain as divisive as Geddy Lee’s—can feel forced or strained at times, pulling me out of the otherwise strong songwriting rather than deepening the immersion. Across several key moments, Bowles doesn’t feel fully locked in, leaning instead on playful, almost taunting huffs and puffs (“The Fall”) or siren-like shrills (“Apocalypse”) that never quite find their place. Still, while Crown Lands’ execution isn’t as consistently sharp as Fearless, Apocalypse still offers plenty of quality material for fans to latch onto.

I’ve enjoyed my time with Apocalypse, yet I can’t help but feel somewhat disappointed. Maybe it speaks to the consistency and appeal of Fearless, but this record simply doesn’t resonate in the same way its predecessor did. To their credit, Crown Lands takes risks and pushes into some new territory here, and some of those choices pay off. Nevertheless, Apocalypse lacks the cohesion to keep me coming back, outside of a couple tracks that have burrowed their way into my psyche. It’s a letdown, but one I’m inclined to chalk up to growing pains for now.

Rating: Good
DR: 7 | Format Reviewed: 320 kb/s mp3
Label: InsideOut Music
Websites: crownlands.bandcamp.com | crownlandsmusic.com | facebook.com/crownlandsmusic
Releases Worldwide: May 15th, 2026

Rush is my all-time favorite band, so their 2015 hiatus, brought on by Neil Peart’s declining health hit me hard. Peart’s passing in 2020 made it permanent, slamming the door on the Rush I grew up loving. That’s why stumbling across Crown Lands’ 2023 sophomore album Fearless—courtesy of this very blog—felt like a hemispherian void had been filled. The dynamic duo from Oshawa, Ontario, tapped into the essence of prime ’70s Rush better than anyone I’ve heard, much like Greta Van Fleet’s revival of the mighty Led Zeppelin. Naturally, when I learned their third LP, Apocalypse, was on the way, I rushed to the promo sump to claim dibs faster than you can say 2112.

Apocalypse expands the Fearless Chronology that began with “The Oracle” from 2022’s White Buffalo with the same sonic and aesthetic bombast longtime fans expect, while stretching Crown Lands’ sound into territory occupied by other classic rock titans. Taking place a century before the events of Fearless and once again rooted in the spirit of Rush’s “Cygnus X-1” series, Apocalypse often feels like a natural progression of its predecessor even if it doesn’t quite reach the same heights. Through straightforward, radio-friendly anthems, as well as the mammoth self-titled closer, the album’s narrative charts a manipulative, oppressive force that weaponizes fear (“Foot Soldiers of the Syndicate”), then spirals outward into dragons, warriors and interstellar tyrants plunging the world into chaos (“Blackstar”). Amid the destruction, more intimate threads of loss and longing surface in crestfallen ballads (“The Revenant,” “Through the Looking Glass”). Where Fearless opened with its longest track, Apocalypse flips the script, saving its epic for the finale. The 19-minute cut matches the ambition and scope of “The Oracle” and “Starlifter: Fearless Pt. II,” though the record’s bottom-heavy makeup leaves less to uncover in the tracks leading up to it.

It’s unusual to devote an entire paragraph to a single track, but “Apocalypse” earns the word count as its reach accounts for nearly half of the record’s runtime. The piece opens in classic Rush fashion as celestial synths, cascading tom rolls, and shifting syncopation give way to shimmering arpeggios and warm, fluid vocal lines. At first, the track feels poised to deliver on its promise, and as it unfolds, Crown Lands weaves in a myriad of compelling touches, including Pink Floyd’s patented stoner-rock solos and a gorgeous arpeggiated, space-drifting movement with a flute-laden motif that nods to the duo’s Indigenous roots. But the track’s momentum falters at several points, and the songwriting begins to feel choppy as the track progresses. The choral bridge at the six-minute mark is a great idea, yet it’s followed by an overly hectic section where Crown Lands’ instrumental prowess shines but the vocals grate, undercutting what could have become a more transcendent phase. Similarly, the astral section at eleven minutes, with its galactic, vocal harmonies and tribal tom flourishes, is another moment that is abrasive. Although it ends on a high note, “Apocalypse” feels like it needed more time to bake to fully come together.

The unevenness of the self-titled epic would be forgivable if Apocalypse’s remaining tracks consistently picked up the slack. But they don’t. Stronger songs like “Through the Looking Glass” and “The Revenant” rely on Led Zeppelin-esque refrains to cohere into some of their best material to date, while Bowles’ vocal approach primarily hampers “Foot Soldiers of the Syndicate”, “Blackstar,” and “The Fall.” Bowles’ high-register singing—which will no doubt remain as divisive as Geddy Lee’s—can feel forced or strained at times, pulling me out of the otherwise strong songwriting rather than deepening the immersion. Across several key moments, Bowles doesn’t feel fully locked in, leaning instead on playful, almost taunting huffs and puffs (“The Fall”) or siren-like shrills (“Apocalypse”) that never quite find their place. Still, while Crown Lands’ execution isn’t as consistently sharp as Fearless, Apocalypse still offers plenty of quality material for fans to latch onto.

I’ve enjoyed my time with Apocalypse, yet I can’t help but feel somewhat disappointed. Maybe it speaks to the consistency and appeal of Fearless, but this record simply doesn’t resonate in the same way its predecessor did. To their credit, Crown Lands takes risks and pushes into some new territory here, and some of those choices pay off. Nevertheless, Apocalypse lacks the cohesion to keep me coming back, outside of a couple tracks that have burrowed their way into my psyche. It’s a letdown, but one I’m inclined to chalk up to growing pains for now.

Rating: Good
DR: 7 | Format Reviewed: 320 kb/s mp3
Label: InsideOut Music
Websites: crownlands.bandcamp.com | crownlandsmusic.com | facebook.com/crownlandsmusic
Releases Worldwide: May 15th, 2026

Rush is my all-time favorite band, so their 2015 hiatus, brought on by Neil Peart’s declining health hit me hard. Peart’s passing in 2020 made it permanent, slamming the door on the Rush I grew up loving. That’s why stumbling across Crown Lands’ 2023 sophomore album Fearless—courtesy of this very blog—felt like a hemispherian void had been filled. The dynamic duo from Oshawa, Ontario, tapped into the essence of prime ’70s Rush better than anyone I’ve heard, much like Greta Van Fleet’s revival of the mighty Led Zeppelin. Naturally, when I learned their third LP, Apocalypse, was on the way, I rushed to the promo sump to claim dibs faster than you can say 2112.

Apocalypse expands the Fearless Chronology that began with “The Oracle” from 2022’s White Buffalo with the same sonic and aesthetic bombast longtime fans expect, while stretching Crown Lands’ sound into territory occupied by other classic rock titans. Taking place a century before the events of Fearless and once again rooted in the spirit of Rush’s “Cygnus X-1” series, Apocalypse often feels like a natural progression of its predecessor even if it doesn’t quite reach the same heights. Through straightforward, radio-friendly anthems, as well as the mammoth self-titled closer, the album’s narrative charts a manipulative, oppressive force that weaponizes fear (“Foot Soldiers of the Syndicate”), then spirals outward into dragons, warriors and interstellar tyrants plunging the world into chaos (“Blackstar”). Amid the destruction, more intimate threads of loss and longing surface in crestfallen ballads (“The Revenant,” “Through the Looking Glass”). Where Fearless opened with its longest track, Apocalypse flips the script, saving its epic for the finale. The 19-minute cut matches the ambition and scope of “The Oracle” and “Starlifter: Fearless Pt. II,” though the record’s bottom-heavy makeup leaves less to uncover in the tracks leading up to it.

It’s unusual to devote an entire paragraph to a single track, but “Apocalypse” earns the word count as its reach accounts for nearly half of the record’s runtime. The piece opens in classic Rush fashion as celestial synths, cascading tom rolls, and shifting syncopation give way to shimmering arpeggios and warm, fluid vocal lines. At first, the track feels poised to deliver on its promise, and as it unfolds, Crown Lands weaves in a myriad of compelling touches, including Pink Floyd’s patented stoner-rock solos and a gorgeous arpeggiated, space-drifting movement with a flute-laden motif that nods to the duo’s Indigenous roots. But the track’s momentum falters at several points, and the songwriting begins to feel choppy as the track progresses. The choral bridge at the six-minute mark is a great idea, yet it’s followed by an overly hectic section where Crown Lands’ instrumental prowess shines but the vocals grate, undercutting what could have become a more transcendent phase. Similarly, the astral section at eleven minutes, with its galactic, vocal harmonies and tribal tom flourishes, is another moment that is abrasive. Although it ends on a high note, “Apocalypse” feels like it needed more time to bake to fully come together.

The unevenness of the self-titled epic would be forgivable if Apocalypse’s remaining tracks consistently picked up the slack. But they don’t. Stronger songs like “Through the Looking Glass” and “The Revenant” rely on Led Zeppelin-esque refrains to cohere into some of their best material to date, while Bowles’ vocal approach primarily hampers “Foot Soldiers of the Syndicate”, “Blackstar,” and “The Fall.” Bowles’ high-register singing—which will no doubt remain as divisive as Geddy Lee’s—can feel forced or strained at times, pulling me out of the otherwise strong songwriting rather than deepening the immersion. Across several key moments, Bowles doesn’t feel fully locked in, leaning instead on playful, almost taunting huffs and puffs (“The Fall”) or siren-like shrills (“Apocalypse”) that never quite find their place. Still, while Crown Lands’ execution isn’t as consistently sharp as Fearless, Apocalypse still offers plenty of quality material for fans to latch onto.

I’ve enjoyed my time with Apocalypse, yet I can’t help but feel somewhat disappointed. Maybe it speaks to the consistency and appeal of Fearless, but this record simply doesn’t resonate in the same way its predecessor did. To their credit, Crown Lands takes risks and pushes into some new territory here, and some of those choices pay off. Nevertheless, Apocalypse lacks the cohesion to keep me coming back, outside of a couple tracks that have burrowed their way into my psyche. It’s a letdown, but one I’m inclined to chalk up to growing pains for now.

Rating: Good
DR: 7 | Format Reviewed: 320 kb/s mp3
Label: InsideOut Music
Websites: crownlands.bandcamp.com | crownlandsmusic.com | facebook.com/crownlandsmusic
Releases Worldwide: May 15th, 2026

Rush is my all-time favorite band, so their 2015 hiatus, brought on by Neil Peart’s declining health hit me hard. Peart’s passing in 2020 made it permanent, slamming the door on the Rush I grew up loving. That’s why stumbling across Crown Lands’ 2023 sophomore album Fearless—courtesy of this very blog—felt like a hemispherian void had been filled. The dynamic duo from Oshawa, Ontario, tapped into the essence of prime ’70s Rush better than anyone I’ve heard, much like Greta Van Fleet’s revival of the mighty Led Zeppelin. Naturally, when I learned their third LP, Apocalypse, was on the way, I rushed to the promo sump to claim dibs faster than you can say 2112.

Apocalypse expands the Fearless Chronology that began with “The Oracle” from 2022’s White Buffalo with the same sonic and aesthetic bombast longtime fans expect, while stretching Crown Lands’ sound into territory occupied by other classic rock titans. Taking place a century before the events of Fearless and once again rooted in the spirit of Rush’s “Cygnus X-1” series, Apocalypse often feels like a natural progression of its predecessor even if it doesn’t quite reach the same heights. Through straightforward, radio-friendly anthems, as well as the mammoth self-titled closer, the album’s narrative charts a manipulative, oppressive force that weaponizes fear (“Foot Soldiers of the Syndicate”), then spirals outward into dragons, warriors and interstellar tyrants plunging the world into chaos (“Blackstar”). Amid the destruction, more intimate threads of loss and longing surface in crestfallen ballads (“The Revenant,” “Through the Looking Glass”). Where Fearless opened with its longest track, Apocalypse flips the script, saving its epic for the finale. The 19-minute cut matches the ambition and scope of “The Oracle” and “Starlifter: Fearless Pt. II,” though the record’s bottom-heavy makeup leaves less to uncover in the tracks leading up to it.

It’s unusual to devote an entire paragraph to a single track, but “Apocalypse” earns the word count as its reach accounts for nearly half of the record’s runtime. The piece opens in classic Rush fashion as celestial synths, cascading tom rolls, and shifting syncopation give way to shimmering arpeggios and warm, fluid vocal lines. At first, the track feels poised to deliver on its promise, and as it unfolds, Crown Lands weaves in a myriad of compelling touches, including Pink Floyd’s patented stoner-rock solos and a gorgeous arpeggiated, space-drifting movement with a flute-laden motif that nods to the duo’s Indigenous roots. But the track’s momentum falters at several points, and the songwriting begins to feel choppy as the track progresses. The choral bridge at the six-minute mark is a great idea, yet it’s followed by an overly hectic section where Crown Lands’ instrumental prowess shines but the vocals grate, undercutting what could have become a more transcendent phase. Similarly, the astral section at eleven minutes, with its galactic, vocal harmonies and tribal tom flourishes, is another moment that is abrasive. Although it ends on a high note, “Apocalypse” feels like it needed more time to bake to fully come together.

The unevenness of the self-titled epic would be forgivable if Apocalypse’s remaining tracks consistently picked up the slack. But they don’t. Stronger songs like “Through the Looking Glass” and “The Revenant” rely on Led Zeppelin-esque refrains to cohere into some of their best material to date, while Bowles’ vocal approach primarily hampers “Foot Soldiers of the Syndicate”, “Blackstar,” and “The Fall.” Bowles’ high-register singing—which will no doubt remain as divisive as Geddy Lee’s—can feel forced or strained at times, pulling me out of the otherwise strong songwriting rather than deepening the immersion. Across several key moments, Bowles doesn’t feel fully locked in, leaning instead on playful, almost taunting huffs and puffs (“The Fall”) or siren-like shrills (“Apocalypse”) that never quite find their place. Still, while Crown Lands’ execution isn’t as consistently sharp as Fearless, Apocalypse still offers plenty of quality material for fans to latch onto.

I’ve enjoyed my time with Apocalypse, yet I can’t help but feel somewhat disappointed. Maybe it speaks to the consistency and appeal of Fearless, but this record simply doesn’t resonate in the same way its predecessor did. To their credit, Crown Lands takes risks and pushes into some new territory here, and some of those choices pay off. Nevertheless, Apocalypse lacks the cohesion to keep me coming back, outside of a couple tracks that have burrowed their way into my psyche. It’s a letdown, but one I’m inclined to chalk up to growing pains for now.

Rating: Good
DR: 7 | Format Reviewed: 320 kb/s mp3
Label: InsideOut Music
Websites: crownlands.bandcamp.com | crownlandsmusic.com | facebook.com/crownlandsmusic
Releases Worldwide: May 15th, 2026

#Music
#MusicAndre
#LedZeppelin

Led Zeppelin - Good Times Bad Times

https://www.youtube.com/watch?v=TA9Rec1qAFQ

The Violent End of the U.S.S. Macon, Tom Lovell, 193?

What do we do now? Nothing left but to watch it sink. Get rescued or make it to land.

Obviously it's a tragedy but I think he caught a cool moment or imagined a cool moment where they made it to life rafts, they're alive and probably relieved to have that, at least. Alive and safe. This is before everyone is looking at each other wondering what comes next.

I read that all but two were rescued.

#art #illustration #tragedy #history #rescue #lifeRafts #sinkingShip #lighterThanAir #ledZeppelin #smokeOnTheWater #storm #weather #life

Pete Townshend’s opinion on Jimmy Page

https://rockandrollgarage.com/pete-townshend-opinion-on-jimmy-page/

#petetownshend #thewho #rock #jimmypage #ledzeppelin #music

🇺🇦 #NowPlaying on #KEXP's #DriveTime

Led Zeppelin:
🎵 Ramble On

#LedZeppelin

https://open.spotify.com/track/1oCOp1kVAgNlXX9Tx9mvzq

Happy 75th Birthday to the Fender Telecaster: the guitar that stars in hit songs by The Beatles, Led Zeppelin, the Stones, Blur and more

There’s be few guitarists who haven’t heard of the Fender Telecaster – in fact it’s a guitar that is probably on most rockers’ wish lists.

Created in 1950 but first introduced on the commercial market in 1951, this year marks the Fender Telecaster’s 75th anniversary. In celebration, Fender are releasing a series of ‘tribute’ designs in new colours including the American Ultra II Telecaster and the Classic Cabronita Telecaster, available now at au.fender.com.

The Classic Cabronita Telecaster in new red.

The Telecaster was the first mass-produced solid-body electric guitar, designed by its namesake Leo Fender. Originally called the Broadcaster, it quickly evolved into the Telecaster and became a cornerstone of modern music. I has a simple, rugged design but the sounds it makes are as indelible as the artists and bands’ names themselves.

Many legendary musicians have embraced the Telecaster, including Keith Richards, Bruce Springsteen, Jimmy Page, and Graham Coxon. Indeed, the Telecaster’s versatility has seen it span genres as broad as rock and country to jazz and punk.

There’s a bright, cutting tone to the Telecaster, as a result of its dual single-coil pickups and bolt-on neck construction. This clarity allows it to slice through a song mix effortlessly, making it a favourite for both rhythm and lead playing across decades of music history.

Iconic songs that feature the Fender Telecaster include Led Zeppelin’s “Stairway to Heaven,” The Rolling Stones’ “Start Me Up,” and Bruce Springsteen’s “Born to Run.” Known for its versatile “twang,” it was used on The Beatles’ Let It Be sessions and on the song “Killing In The Name” by Rage Against The Machine.

Other classics on which you’ll hear its twangy strings are The Police’s “Message in a Bottle”, Johnny Cash’s “I Walk the Line”, Pink Floyd’s “Off the Wall”, Red Hot Chili Peppers “Dani California”, Blur’s “Song 2”, and PJ Harvey’s “Missed”.

So, happy birthday to a guitar that has seen more studio sessions, live music gigs, and chart hits than most. And lived to tell the story.

Antonino Tati

‘The Vinyl Factory: Reverb’ is a multi-sensory experience delving into vinyl culture across music, fashion, art and the social realms

Dedication to Dedication: Another great live tribute to the music of David Bowie

The Shift Toward Effortless Style in Modern Fashion

Why fast fashion practices need to seriously be looked at by our governments

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You were not expecting a mashup of Led Zeppelin and Herbie Hancock:

https://youtu.be/e9Qtrm_4SpU?list=RDe9Qtrm_4SpU&t=3799

#Music #Rock #Jazz #LedZeppelin #HerbieHancock #Mashup #Creativity #Art #Glee

If there's an epic cover version of #StairwayToHeaven, this one is probably my go to:

Heart - Stairway to Heaven (Live at Kennedy Center Honors)
https://www.youtube.com/watch?v=LFxOaDeJmXk

#LedZeppelin

Phil Collins’ opinion on Led Zeppelin

https://rockandrollgarage.com/phil-collins-opinion-on-led-zeppelin/

#philcollins #ledzeppelin #rock #music #genesis

"Stairway to Heaven" is a song written by Neil Sedaka and #HowardGreenfield. It was released as a 45 rpm single and appeared on Sedaka's 1961 album #NeilSedakaSingsLittleDevilAndHisOtherHits. Sedaka's "#StairwayToHeaven" predates by 11 years #LedZeppelin's song of the same name, which was released in 1971 and written by #JimmyPage and #RobertPlant. Sedaka remarked in 2021: "#YouCantCopyrightATitle, so Led Zeppelin, I forgive you!"
https://www.youtube.com/watch?v=3hYsiS01fpI

Robert Plant's opinion on Mick Jagger

https://rockandrollgarage.com/robert-plant-opinion-on-mick-jagger/

#robertplant #ledzeppelin #zeppelin #rock #music #rollingstones #mickjagger

Keith Richards' opinion on John Bonham

https://rockandrollgarage.com/keith-richards-opinion-on-john-bonham/

#keithrichards #johnbonham #ledzeppelin #Rollingstones #rock #Music

The only band Brian May will never tire of hearing

Credit: Far Out / Denis Pellerin Sat 18 April 2026 13:30, UK While some might prefer to have…
#NewsBeep #News #Music #BrianMay #Entertainment #JimmyPage #LedZeppelin #Queen #UK #UnitedKingdom
https://www.newsbeep.com/uk/537872/

https://www.europesays.com/uk/902906/ The only band Brian May will never tire of hearing #BrianMay #Entertainment #JimmyPage #LedZeppelin #music #Queen #UK #UnitedKingdom

Led Zeppelin's "Presence" released in April 1976.
#LedZeppelin #Presence #VintageVinyl

2 bands Robert Plant considered to be Led Zeppelin copies

https://rockandrollgarage.com/2-bands-robert-plant-considered-to-be-led-zeppelin-copies/

#ledzeppelin #robertplant #rock #hardrock #music

If you are a Led Zeppelin fan, or even if you are not, you owe it to yourself to watch Robert Plant and his magnificent band perform live on the Late Show this past week.
#ledzeppelin
#RobertPlantWithSavingGrace
#robertplant
“Ramble On” - Robert Plant with Saving Grace (LIVE on The Late Show)
https://youtube.com/watch?v=Ca3VI4aGDjc&si=5Esfy6QVgMnF7RpR

RE: https://mas.to/@dnanian/116374838042727185

His Saving Grace band is a really great band. I love this reinterpreted version of the Led Zep classic.

Stephen Colbert must've been really enjoying this one. :blobwizard:

#Music #RobertPlant #SavingGrace #Rock #LedZeppelin #StephenColbert #LordOfTheRings #Mordor

Ramble On

I love this song so much, and this version in particular is so good.

https://www.youtube.com/watch?v=Ca3VI4aGDjc

https://www.europesays.com/at/86115/ Die Doku „It’s Never Over, Jeff Buckley“ ist ergreifend #ArneWillander #AT #Austria #Cinema #Entertainment #It’sNeverOver #JeffBuckley #JoanAsPoliceWoman #Kino #LedZeppelin #Movie #Österreich #Unterhaltung #WillandersWelt

Robert Plant’s opinion on The Cure and Robert Smith

https://rockandrollgarage.com/robert-plants-opinion-on-the-cure-and-robert-smith/

#robertplant #ledzeppelin #rock #hardrock #music

Look what turns 50 today …

The 7th from Led Zeppelin ~ released on March 31, 1976. It's an album created at a difficult time -- during Robert Plant's convalescence from a serious auto accident. Critics weren't too excited about it and it's the lowest selling Zepp album in the catalog. But its genius has become apparent over time. #ledzeppelin #rock #bluesrock #presence #robertplant #jimmypage #johnpauljones #johnbonham #rockmusic #music #musicsky #musiciansky #70srock

https://robinbannks.com/2026/03/31/presence/

https://www.europesays.com/uk/858403/ The bands that Brian May wishes he had been in #BrianMay #Entertainment #LedZeppelin #music #Queen #UK #UnitedKingdom

Has anybody seen the bridge?

March 28, 1973 ~ Led Zeppelin release Houses Of The Holy ... a classic.  Lyrically, the title refers to the arenas and auditoriums where the band performed, which they viewed as "holy" places for their fans. That's about right. The album is ranked at number 278 on Rolling Stone's 500 Greatest Albums of All Time. #ledzeppelin #housesoftheholy #70srock #rock #rockmusic #classicrock #music #musicsky #musiciansky #robertplant #jimmypage…

https://robinbannks.com/2026/03/28/has-anybody-seen-the-bridge/

https://www.europesays.com/at/68968/ Review: Queen – QUEEN II COLLECTOR’S EDITION #AT #Austria #BrianMay #DavidBowie #DeepPurple #Entertainment #FreddieMercury #LedZeppelin #MottTheHoople #Music #Musik #Österreich #Queen #QueenIICollector’sEdition #Reissue #Review #Rock #Unterhaltung

Jimmy Page's opinion on Keith Richards

https://rockandrollgarage.com/jimmy-page-opinion-on-keith-richards/

#jimmypage #keithrichards #ledzeppelin #rollingstones #rock #Music

“Back To The Clubs”

March 21, 1971 ~ Led Zeppelin made a stop at the Boat Club in Nottingham, England during their "Back To The Clubs" tour. It was -- and still is -- a rowing club and intimate music venue. One can only imagine The Zepp in their prime in that setting. #ledzeppelin #70srock #rock #rockmusic #robertplant #jimmypage #johnpauljones #johnbonham #music #musicsky #musiciansky

https://robinbannks.com/2026/03/21/back-to-the-clubs/

James Hetfield’s opinion on Robert Plant

https://rockandrollgarage.com/james-hetfield-opinion-on-robert-plant/

#jameshetfield #metallica #robertplant #Rock #ledzeppelin #music

Mega Colossus – Watch Out! Review

Let me start by disclosing something. I probably have the least metaphorical chest hair out of the entire…
#NewsBeep #News #US #USA #UnitedStates #UnitedStatesOfAmerica #Music #2026 #3.5 #4.0 #AmericanMetal #CruzDelSurMusic #DreamTröll #Entertainment #HardRock #HeavyMetal #IronMaiden #Judicator #Kansas #LedZeppelin #Mar26 #MegaColossus #review #reviews #UriahHeep #WatchOut!
https://www.newsbeep.com/us/505952/

Let me start by disclosing something. I probably have the least metaphorical chest hair out of the entire AMG staff, meaning I often struggle to appreciate the more virile metal subgenres, including the “trad and true” heavy metal. But there are exceptions to every rule, and a big one is Mega Colossus.1 These North Carolinians have thus far been received warmly in these halls by the venerable Eldritch Elitist, and for good reason. Their euphoric cocktail of ultra-catchy tunes and clever lyrics—frequently paying homage to fantasy stories on the fringes of popular culture—is served with an infectious, fun-loving attitude. When Showdown appeared in 2024, it felt like things couldn’t get much better than that. Now, Mega Colossus is back to answer their self-imposed gauntlet with Watch Out! and continue to spread boundless cheer throughout the metalverse.

Mega Colossus’s philosophy for making music seems to be “if it ain’t broke, don’t fix it.” What this specifically means for them is a triumphant return of their hybrid of traditional heavy metal and classic rock, with pinches of thrash and power metal. Similar to Iron Maiden, Judicator, or Dream Tröll, Mega Colossus eschews the darker and harsher aspects of metal, choosing instead to build upon an unassailable melodic foundation. In that regard, it feels like Mega Colossus is operating at a godlike level. They have an exceptional knack for unearthing juicy earworms and threading them onto more hooks than can be found in a master angler’s tacklebox. Just like with Riptime and Showdown, to call Watch Out! fun would be a massive understatement.

Watch Out! by MEGA COLOSSUS

As ever, an unadulterated spirit of camaraderie shines through in the way the members of Mega Colossus play together. I’ve already established how catchy Watch Out! is, but it’s the way that the melodic components synergize that makes it special. While twin guitar harmonizations may be standard in this genre, the skill with which Chris Millard and Bill Fischer craft them is anything but. The vocal harmonies, though more sparing, are no less sweet, with up to three other band members melding their voices with lead singer Sean Buchanan’s during key lines (“Good Hunting”). Every time they shout during the chorus of “Battlefront,” I can’t help but dream of shouting along with them in the crowd at a show. Fittingly, “Tag in Your Friend” is the greatest all-around example of coordination between the vocal and guitar melodies. Anthony Micale’s bass lines are no less important to this melody delivery system than are Doza Mendoza’s high-octane drum rhythms.

While Mega Colossus largely functions the same, they refuse to stagnate in songwriting. Others in this genre may struggle to keep songs relevant past the 5-minute mark, but Mega Colossus expertly stretches song lengths without the listener noticing. Chief among them is “Good Hunting,” which has the highest hooks per minute and a stellar bridge. If this isn’t my Song o’ the Year in December, something must have gone very right in 2026. Elsewhere, Mega Colossus proves that they can still write engaging music with the speed dial turned down. The dreamy guitars in “Here Lies You” echo Led Zeppelin, while “Bloodless” goes full bard-mode, telling the tale of Kvothe (The Kingkiller Chronicle). I would have preferred that these two slower tracks weren’t placed back-to-back at the end of Watch Out!, which might be why “Bloodless” feels a bit too long. Minor pacing quibbles aside, it’s great to hear Mega Colossus continue to branch out compositionally.

Showdown was a tough act to follow, but Mega Colossus knocked another album out of the park with seeming ease. Each member’s individual performances have leveled up, with faster, more technical fretwork and an impressive array of drum tempos. Buchanan’s vocal range has expanded, the rich timbre of his voice drawing me into the stories he spins and making the poetic lyrics even easier to appreciate. The sheer quality and quantity of hooks radiate enthusiasm with every note. I hope that Watch Out! will be the record to ignite the explosion in popularity that Mega Colossus deserves. These lovable ruffians have once again brought a smile to my face and joy to my heart.

Rating: 4.0/5.0
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Cruz del Sur Music
Websites: colossusmetal.bandcamp.com | meltedfaces.com | facebook.com/colossusmetal
Releases Worldwide: March 6th, 2026

Kutemouse (aka Mrs. Killjoy)

Watch Out! Mega Colossus has done it yet again. And by “it,” I mean they captured the heart and soul of traditional metal in the most entertaining way possible. So entertaining, in fact, that they have managed to grab my attention and pulled me from the depths of stale pop music to a world of rich lyrics, incredible guitar riffs, and extraordinary vocals. This down-to-earth band of unapologetic nerds hails from North Carolina, with Watch Out! being their fifth full-length album since their debut in 2008. Their music continues to be the bridge between pop culture and metal that the world never asked for but desperately needs, leading to me, an avid pop and K-pop listener, feeling a critical desire to share this review.

This seven-track album carries on the trend of combining sharp hooks with entertaining lyrics that its preceding album Showdown set, yet once again, this band has evolved their sound. Several tracks feature eerie interludes and dark lyrics, providing contrast to the high-energy compositions we’ve heard from Mega Colossus previously. That’s not to say that each track doesn’t make me want to get up and dance, grab a sword, jump in a Chevy Impala, and go on an adventure (yes, in that order), but the album as a whole deals with heavier themes that are followed through within the instrumentals. Mega Colossus has cited rock band Uriah Heep as inspiration for this album, accounting for the lean into the contrasting style this album presents. In fact, thanks to the darker tones pervading this record, Watch Out! swerves more into traditional metal territory over the band’s previous Kansas-esque classic rock sound.

Most tracks begin gradually, with the two guitarists, Chris Millard and Bill Fischer, leading the build-up into the familiar quick-tempo, high-energy sections as lead vocalist Sean Buchanan begins singing. More contrast is introduced with a subdued interlude or two, only to get thrown right back into the frenzied fray that gets your heart racing. One of the tracks that doesn’t follow this pattern is “Battlefront,” the first single to drop from Watch Out!. This is likely not a coincidence, as the song best mirrors the warmer sound and hopeful call-to-action lyrics found in previous hits. It’s a full dance party throughout the entirety of the track, with no breaks in tempo to be found and guitar riffs that ascend and descend like hills on a roller coaster. Yet the fact that the song is in a minor key and contains lyrics concerning fighting ‘til death gives the track more edginess over its mellow counterparts like “Wicked Road” (Showdown).

As one who comes from a background of listening strictly to pop music, I greatly appreciate Mega Colossus’s elaborate storytelling ability that breathes life into each song’s lyrics. “Here Lies You” provides a reprieve from nimble tremolo picks and a breather from all that adventuring and dancing. The song swells into a gorgeous duet between the two guitarists, accompanied by Sean Buchanan’s husky vibrato, that tells the story of a fallen soldier haunting the battleground where he passed rather than moving onto an afterlife reminiscent of Valhalla. The tragic, poetic lyrics are what bring this album to life and are what help shape its doomful sound that still appeals to pop culture enthusiasts like myself.

While I wasn’t as intrigued by this album as I was by Showdown, this album will hopefully broaden Mega Colossus’s listener base by adding edgy tempo contrasts and imaginative, somber lyrics to their overall sound. Between the incredible vocals that have only improved with time, the easter eggs in their lyrics that point to fictitious worlds created by others, and the dueting guitarists that bring powerful energy to each track, Watch Out! deserves a listen or twelve from music listeners of any genre.



Rating: 3.5/5.02

Let me start by disclosing something. I probably have the least metaphorical chest hair out of the entire AMG staff, meaning I often struggle to appreciate the more virile metal subgenres, including the “trad and true” heavy metal. But there are exceptions to every rule, and a big one is Mega Colossus.1 These North Carolinians have thus far been received warmly in these halls by the venerable Eldritch Elitist, and for good reason. Their euphoric cocktail of ultra-catchy tunes and clever lyrics—frequently paying homage to fantasy stories on the fringes of popular culture—is served with an infectious, fun-loving attitude. When Showdown appeared in 2024, it felt like things couldn’t get much better than that. Now, Mega Colossus is back to answer their self-imposed gauntlet with Watch Out! and continue to spread boundless cheer throughout the metalverse.

Mega Colossus’s philosophy for making music seems to be “if it ain’t broke, don’t fix it.” What this specifically means for them is a triumphant return of their hybrid of traditional heavy metal and classic rock, with pinches of thrash and power metal. Similar to Iron Maiden, Judicator, or Dream Tröll, Mega Colossus eschews the darker and harsher aspects of metal, choosing instead to build upon an unassailable melodic foundation. In that regard, it feels like Mega Colossus is operating at a godlike level. They have an exceptional knack for unearthing juicy earworms and threading them onto more hooks than can be found in a master angler’s tacklebox. Just like with Riptime and Showdown, to call Watch Out! fun would be a massive understatement.

Watch Out! by MEGA COLOSSUS

As ever, an unadulterated spirit of camaraderie shines through in the way the members of Mega Colossus play together. I’ve already established how catchy Watch Out! is, but it’s the way that the melodic components synergize that makes it special. While twin guitar harmonizations may be standard in this genre, the skill with which Chris Millard and Bill Fischer craft them is anything but. The vocal harmonies, though more sparing, are no less sweet, with up to three other band members melding their voices with lead singer Sean Buchanan’s during key lines (“Good Hunting”). Every time they shout during the chorus of “Battlefront,” I can’t help but dream of shouting along with them in the crowd at a show. Fittingly, “Tag in Your Friend” is the greatest all-around example of coordination between the vocal and guitar melodies. Anthony Micale’s bass lines are no less important to this melody delivery system than are Doza Mendoza’s high-octane drum rhythms.

While Mega Colossus largely functions the same, they refuse to stagnate in songwriting. Others in this genre may struggle to keep songs relevant past the 5-minute mark, but Mega Colossus expertly stretches song lengths without the listener noticing. Chief among them is “Good Hunting,” which has the highest hooks per minute and a stellar bridge. If this isn’t my Song o’ the Year in December, something must have gone very right in 2026. Elsewhere, Mega Colossus proves that they can still write engaging music with the speed dial turned down. The dreamy guitars in “Here Lies You” echo Led Zeppelin, while “Bloodless” goes full bard-mode, telling the tale of Kvothe (The Kingkiller Chronicle). I would have preferred that these two slower tracks weren’t placed back-to-back at the end of Watch Out!, which might be why “Bloodless” feels a bit too long. Minor pacing quibbles aside, it’s great to hear Mega Colossus continue to branch out compositionally.

Showdown was a tough act to follow, but Mega Colossus knocked another album out of the park with seeming ease. Each member’s individual performances have leveled up, with faster, more technical fretwork and an impressive array of drum tempos. Buchanan’s vocal range has expanded, the rich timbre of his voice drawing me into the stories he spins and making the poetic lyrics even easier to appreciate. The sheer quality and quantity of hooks radiate enthusiasm with every note. I hope that Watch Out! will be the record to ignite the explosion in popularity that Mega Colossus deserves. These lovable ruffians have once again brought a smile to my face and joy to my heart.

Rating: 4.0/5.0
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Cruz del Sur Music
Websites: colossusmetal.bandcamp.com | meltedfaces.com | facebook.com/colossusmetal
Releases Worldwide: March 6th, 2026

Kutemouse (aka Mrs. Killjoy)

Watch Out! Mega Colossus has done it yet again. And by “it,” I mean they captured the heart and soul of traditional metal in the most entertaining way possible. So entertaining, in fact, that they have managed to grab my attention and pulled me from the depths of stale pop music to a world of rich lyrics, incredible guitar riffs, and extraordinary vocals. This down-to-earth band of unapologetic nerds hails from North Carolina, with Watch Out! being their fifth full-length album since their debut in 2008. Their music continues to be the bridge between pop culture and metal that the world never asked for but desperately needs, leading to me, an avid pop and K-pop listener, feeling a critical desire to share this review.

This seven-track album carries on the trend of combining sharp hooks with entertaining lyrics that its preceding album Showdown set, yet once again, this band has evolved their sound. Several tracks feature eerie interludes and dark lyrics, providing contrast to the high-energy compositions we’ve heard from Mega Colossus previously. That’s not to say that each track doesn’t make me want to get up and dance, grab a sword, jump in a Chevy Impala, and go on an adventure (yes, in that order), but the album as a whole deals with heavier themes that are followed through within the instrumentals. Mega Colossus has cited rock band Uriah Heep as inspiration for this album, accounting for the lean into the contrasting style this album presents. In fact, thanks to the darker tones pervading this record, Watch Out! swerves more into traditional metal territory over the band’s previous Kansas-esque classic rock sound.

Most tracks begin gradually, with the two guitarists, Chris Millard and Bill Fischer, leading the build-up into the familiar quick-tempo, high-energy sections as lead vocalist Sean Buchanan begins singing. More contrast is introduced with a subdued interlude or two, only to get thrown right back into the frenzied fray that gets your heart racing. One of the tracks that doesn’t follow this pattern is “Battlefront,” the first single to drop from Watch Out!. This is likely not a coincidence, as the song best mirrors the warmer sound and hopeful call-to-action lyrics found in previous hits. It’s a full dance party throughout the entirety of the track, with no breaks in tempo to be found and guitar riffs that ascend and descend like hills on a roller coaster. Yet the fact that the song is in a minor key and contains lyrics concerning fighting ‘til death gives the track more edginess over its mellow counterparts like “Wicked Road” (Showdown).

As one who comes from a background of listening strictly to pop music, I greatly appreciate Mega Colossus’s elaborate storytelling ability that breathes life into each song’s lyrics. “Here Lies You” provides a reprieve from nimble tremolo picks and a breather from all that adventuring and dancing. The song swells into a gorgeous duet between the two guitarists, accompanied by Sean Buchanan’s husky vibrato, that tells the story of a fallen soldier haunting the battleground where he passed rather than moving onto an afterlife reminiscent of Valhalla. The tragic, poetic lyrics are what bring this album to life and are what help shape its doomful sound that still appeals to pop culture enthusiasts like myself.

While I wasn’t as intrigued by this album as I was by Showdown, this album will hopefully broaden Mega Colossus’s listener base by adding edgy tempo contrasts and imaginative, somber lyrics to their overall sound. Between the incredible vocals that have only improved with time, the easter eggs in their lyrics that point to fictitious worlds created by others, and the dueting guitarists that bring powerful energy to each track, Watch Out! deserves a listen or twelve from music listeners of any genre.



Rating: 3.5/5.02

Let me start by disclosing something. I probably have the least metaphorical chest hair out of the entire AMG staff, meaning I often struggle to appreciate the more virile metal subgenres, including the “trad and true” heavy metal. But there are exceptions to every rule, and a big one is Mega Colossus.1 These North Carolinians have thus far been received warmly in these halls by the venerable Eldritch Elitist, and for good reason. Their euphoric cocktail of ultra-catchy tunes and clever lyrics—frequently paying homage to fantasy stories on the fringes of popular culture—is served with an infectious, fun-loving attitude. When Showdown appeared in 2024, it felt like things couldn’t get much better than that. Now, Mega Colossus is back to answer their self-imposed gauntlet with Watch Out! and continue to spread boundless cheer throughout the metalverse.

Mega Colossus’s philosophy for making music seems to be “if it ain’t broke, don’t fix it.” What this specifically means for them is a triumphant return of their hybrid of traditional heavy metal and classic rock, with pinches of thrash and power metal. Similar to Iron Maiden, Judicator, or Dream Tröll, Mega Colossus eschews the darker and harsher aspects of metal, choosing instead to build upon an unassailable melodic foundation. In that regard, it feels like Mega Colossus is operating at a godlike level. They have an exceptional knack for unearthing juicy earworms and threading them onto more hooks than can be found in a master angler’s tacklebox. Just like with Riptime and Showdown, to call Watch Out! fun would be a massive understatement.

Watch Out! by MEGA COLOSSUS

As ever, an unadulterated spirit of camaraderie shines through in the way the members of Mega Colossus play together. I’ve already established how catchy Watch Out! is, but it’s the way that the melodic components synergize that makes it special. While twin guitar harmonizations may be standard in this genre, the skill with which Chris Millard and Bill Fischer craft them is anything but. The vocal harmonies, though more sparing, are no less sweet, with up to three other band members melding their voices with lead singer Sean Buchanan’s during key lines (“Good Hunting”). Every time they shout during the chorus of “Battlefront,” I can’t help but dream of shouting along with them in the crowd at a show. Fittingly, “Tag in Your Friend” is the greatest all-around example of coordination between the vocal and guitar melodies. Anthony Micale’s bass lines are no less important to this melody delivery system than are Doza Mendoza’s high-octane drum rhythms.

While Mega Colossus largely functions the same, they refuse to stagnate in songwriting. Others in this genre may struggle to keep songs relevant past the 5-minute mark, but Mega Colossus expertly stretches song lengths without the listener noticing. Chief among them is “Good Hunting,” which has the highest hooks per minute and a stellar bridge. If this isn’t my Song o’ the Year in December, something must have gone very right in 2026. Elsewhere, Mega Colossus proves that they can still write engaging music with the speed dial turned down. The dreamy guitars in “Here Lies You” echo Led Zeppelin, while “Bloodless” goes full bard-mode, telling the tale of Kvothe (The Kingkiller Chronicle). I would have preferred that these two slower tracks weren’t placed back-to-back at the end of Watch Out!, which might be why “Bloodless” feels a bit too long. Minor pacing quibbles aside, it’s great to hear Mega Colossus continue to branch out compositionally.

Showdown was a tough act to follow, but Mega Colossus knocked another album out of the park with seeming ease. Each member’s individual performances have leveled up, with faster, more technical fretwork and an impressive array of drum tempos. Buchanan’s vocal range has expanded, the rich timbre of his voice drawing me into the stories he spins and making the poetic lyrics even easier to appreciate. The sheer quality and quantity of hooks radiate enthusiasm with every note. I hope that Watch Out! will be the record to ignite the explosion in popularity that Mega Colossus deserves. These lovable ruffians have once again brought a smile to my face and joy to my heart.

Rating: 4.0/5.0
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Cruz del Sur Music
Websites: colossusmetal.bandcamp.com | meltedfaces.com | facebook.com/colossusmetal
Releases Worldwide: March 6th, 2026

Kutemouse (aka Mrs. Killjoy)

Watch Out! Mega Colossus has done it yet again. And by “it,” I mean they captured the heart and soul of traditional metal in the most entertaining way possible. So entertaining, in fact, that they have managed to grab my attention and pulled me from the depths of stale pop music to a world of rich lyrics, incredible guitar riffs, and extraordinary vocals. This down-to-earth band of unapologetic nerds hails from North Carolina, with Watch Out! being their fifth full-length album since their debut in 2008. Their music continues to be the bridge between pop culture and metal that the world never asked for but desperately needs, leading to me, an avid pop and K-pop listener, feeling a critical desire to share this review.

This seven-track album carries on the trend of combining sharp hooks with entertaining lyrics that its preceding album Showdown set, yet once again, this band has evolved their sound. Several tracks feature eerie interludes and dark lyrics, providing contrast to the high-energy compositions we’ve heard from Mega Colossus previously. That’s not to say that each track doesn’t make me want to get up and dance, grab a sword, jump in a Chevy Impala, and go on an adventure (yes, in that order), but the album as a whole deals with heavier themes that are followed through within the instrumentals. Mega Colossus has cited rock band Uriah Heep as inspiration for this album, accounting for the lean into the contrasting style this album presents. In fact, thanks to the darker tones pervading this record, Watch Out! swerves more into traditional metal territory over the band’s previous Kansas-esque classic rock sound.

Most tracks begin gradually, with the two guitarists, Chris Millard and Bill Fischer, leading the build-up into the familiar quick-tempo, high-energy sections as lead vocalist Sean Buchanan begins singing. More contrast is introduced with a subdued interlude or two, only to get thrown right back into the frenzied fray that gets your heart racing. One of the tracks that doesn’t follow this pattern is “Battlefront,” the first single to drop from Watch Out!. This is likely not a coincidence, as the song best mirrors the warmer sound and hopeful call-to-action lyrics found in previous hits. It’s a full dance party throughout the entirety of the track, with no breaks in tempo to be found and guitar riffs that ascend and descend like hills on a roller coaster. Yet the fact that the song is in a minor key and contains lyrics concerning fighting ‘til death gives the track more edginess over its mellow counterparts like “Wicked Road” (Showdown).

As one who comes from a background of listening strictly to pop music, I greatly appreciate Mega Colossus’s elaborate storytelling ability that breathes life into each song’s lyrics. “Here Lies You” provides a reprieve from nimble tremolo picks and a breather from all that adventuring and dancing. The song swells into a gorgeous duet between the two guitarists, accompanied by Sean Buchanan’s husky vibrato, that tells the story of a fallen soldier haunting the battleground where he passed rather than moving onto an afterlife reminiscent of Valhalla. The tragic, poetic lyrics are what bring this album to life and are what help shape its doomful sound that still appeals to pop culture enthusiasts like myself.

While I wasn’t as intrigued by this album as I was by Showdown, this album will hopefully broaden Mega Colossus’s listener base by adding edgy tempo contrasts and imaginative, somber lyrics to their overall sound. Between the incredible vocals that have only improved with time, the easter eggs in their lyrics that point to fictitious worlds created by others, and the dueting guitarists that bring powerful energy to each track, Watch Out! deserves a listen or twelve from music listeners of any genre.



Rating: 3.5/5.02

Let me start by disclosing something. I probably have the least metaphorical chest hair out of the entire AMG staff, meaning I often struggle to appreciate the more virile metal subgenres, including the “trad and true” heavy metal. But there are exceptions to every rule, and a big one is Mega Colossus.1 These North Carolinians have thus far been received warmly in these halls by the venerable Eldritch Elitist, and for good reason. Their euphoric cocktail of ultra-catchy tunes and clever lyrics—frequently paying homage to fantasy stories on the fringes of popular culture—is served with an infectious, fun-loving attitude. When Showdown appeared in 2024, it felt like things couldn’t get much better than that. Now, Mega Colossus is back to answer their self-imposed gauntlet with Watch Out! and continue to spread boundless cheer throughout the metalverse.

Mega Colossus’s philosophy for making music seems to be “if it ain’t broke, don’t fix it.” What this specifically means for them is a triumphant return of their hybrid of traditional heavy metal and classic rock, with pinches of thrash and power metal. Similar to Iron Maiden, Judicator, or Dream Tröll, Mega Colossus eschews the darker and harsher aspects of metal, choosing instead to build upon an unassailable melodic foundation. In that regard, it feels like Mega Colossus is operating at a godlike level. They have an exceptional knack for unearthing juicy earworms and threading them onto more hooks than can be found in a master angler’s tacklebox. Just like with Riptime and Showdown, to call Watch Out! fun would be a massive understatement.

Watch Out! by MEGA COLOSSUS

As ever, an unadulterated spirit of camaraderie shines through in the way the members of Mega Colossus play together. I’ve already established how catchy Watch Out! is, but it’s the way that the melodic components synergize that makes it special. While twin guitar harmonizations may be standard in this genre, the skill with which Chris Millard and Bill Fischer craft them is anything but. The vocal harmonies, though more sparing, are no less sweet, with up to three other band members melding their voices with lead singer Sean Buchanan’s during key lines (“Good Hunting”). Every time they shout during the chorus of “Battlefront,” I can’t help but dream of shouting along with them in the crowd at a show. Fittingly, “Tag in Your Friend” is the greatest all-around example of coordination between the vocal and guitar melodies. Anthony Micale’s bass lines are no less important to this melody delivery system than are Doza Mendoza’s high-octane drum rhythms.

While Mega Colossus largely functions the same, they refuse to stagnate in songwriting. Others in this genre may struggle to keep songs relevant past the 5-minute mark, but Mega Colossus expertly stretches song lengths without the listener noticing. Chief among them is “Good Hunting,” which has the highest hooks per minute and a stellar bridge. If this isn’t my Song o’ the Year in December, something must have gone very right in 2026. Elsewhere, Mega Colossus proves that they can still write engaging music with the speed dial turned down. The dreamy guitars in “Here Lies You” echo Led Zeppelin, while “Bloodless” goes full bard-mode, telling the tale of Kvothe (The Kingkiller Chronicle). I would have preferred that these two slower tracks weren’t placed back-to-back at the end of Watch Out!, which might be why “Bloodless” feels a bit too long. Minor pacing quibbles aside, it’s great to hear Mega Colossus continue to branch out compositionally.

Showdown was a tough act to follow, but Mega Colossus knocked another album out of the park with seeming ease. Each member’s individual performances have leveled up, with faster, more technical fretwork and an impressive array of drum tempos. Buchanan’s vocal range has expanded, the rich timbre of his voice drawing me into the stories he spins and making the poetic lyrics even easier to appreciate. The sheer quality and quantity of hooks radiate enthusiasm with every note. I hope that Watch Out! will be the record to ignite the explosion in popularity that Mega Colossus deserves. These lovable ruffians have once again brought a smile to my face and joy to my heart.

Rating: 4.0/5.0
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Cruz del Sur Music
Websites: colossusmetal.bandcamp.com | meltedfaces.com | facebook.com/colossusmetal
Releases Worldwide: March 6th, 2026

Kutemouse (aka Mrs. Killjoy)

Watch Out! Mega Colossus has done it yet again. And by “it,” I mean they captured the heart and soul of traditional metal in the most entertaining way possible. So entertaining, in fact, that they have managed to grab my attention and pulled me from the depths of stale pop music to a world of rich lyrics, incredible guitar riffs, and extraordinary vocals. This down-to-earth band of unapologetic nerds hails from North Carolina, with Watch Out! being their fifth full-length album since their debut in 2008. Their music continues to be the bridge between pop culture and metal that the world never asked for but desperately needs, leading to me, an avid pop and K-pop listener, feeling a critical desire to share this review.

This seven-track album carries on the trend of combining sharp hooks with entertaining lyrics that its preceding album Showdown set, yet once again, this band has evolved their sound. Several tracks feature eerie interludes and dark lyrics, providing contrast to the high-energy compositions we’ve heard from Mega Colossus previously. That’s not to say that each track doesn’t make me want to get up and dance, grab a sword, jump in a Chevy Impala, and go on an adventure (yes, in that order), but the album as a whole deals with heavier themes that are followed through within the instrumentals. Mega Colossus has cited rock band Uriah Heep as inspiration for this album, accounting for the lean into the contrasting style this album presents. In fact, thanks to the darker tones pervading this record, Watch Out! swerves more into traditional metal territory over the band’s previous Kansas-esque classic rock sound.

Most tracks begin gradually, with the two guitarists, Chris Millard and Bill Fischer, leading the build-up into the familiar quick-tempo, high-energy sections as lead vocalist Sean Buchanan begins singing. More contrast is introduced with a subdued interlude or two, only to get thrown right back into the frenzied fray that gets your heart racing. One of the tracks that doesn’t follow this pattern is “Battlefront,” the first single to drop from Watch Out!. This is likely not a coincidence, as the song best mirrors the warmer sound and hopeful call-to-action lyrics found in previous hits. It’s a full dance party throughout the entirety of the track, with no breaks in tempo to be found and guitar riffs that ascend and descend like hills on a roller coaster. Yet the fact that the song is in a minor key and contains lyrics concerning fighting ‘til death gives the track more edginess over its mellow counterparts like “Wicked Road” (Showdown).

As one who comes from a background of listening strictly to pop music, I greatly appreciate Mega Colossus’s elaborate storytelling ability that breathes life into each song’s lyrics. “Here Lies You” provides a reprieve from nimble tremolo picks and a breather from all that adventuring and dancing. The song swells into a gorgeous duet between the two guitarists, accompanied by Sean Buchanan’s husky vibrato, that tells the story of a fallen soldier haunting the battleground where he passed rather than moving onto an afterlife reminiscent of Valhalla. The tragic, poetic lyrics are what bring this album to life and are what help shape its doomful sound that still appeals to pop culture enthusiasts like myself.

While I wasn’t as intrigued by this album as I was by Showdown, this album will hopefully broaden Mega Colossus’s listener base by adding edgy tempo contrasts and imaginative, somber lyrics to their overall sound. Between the incredible vocals that have only improved with time, the easter eggs in their lyrics that point to fictitious worlds created by others, and the dueting guitarists that bring powerful energy to each track, Watch Out! deserves a listen or twelve from music listeners of any genre.



Rating: 3.5/5.02

Robert Plant's opinion on Radiohead

https://rockandrollgarage.com/robert-plant-opinion-on-radiohead/

#radiohead #robertplant #rock #ledzeppelin #zeppelin #music

Pour remuer du cul ce soir. 2 #black #dog #led #zeppelin #ledzeppelin !! #Funk de #Deodato : https://www.youtube.com/watch?v=dXj9GDt16Cw #Jazz de #Coryell https://www.youtube.com/watch?v=dFl1kpjnVLk (pas trouvé album "electric" sur yt). cc @claudeaubry

My wife got me this box set for my birthday last week. I am very happy to finally have it on vinyl!

Artist: Led Zeppelin
Album: Mothership (2007)
Release: 2015 remaster on 4xLP
Region: Europe
Label: Swan Song – 081227954109

#nowspinning #LedZeppelin #cd #vinyl #boxset #compilation

JIMMY PAGE
Death Wish II (The Original Soundtrack)
1982 Canada pressing

A quick early morning spin before my brood and I head out for a day trip down to Vic.

Death Wish II (and the 437 other sequels that followed) is one of the most unnecessary sequels in movie history. The first film is great, and that’s where it should have ended.

Perhaps the only remotely good thing that came from ANY of the subsequent (ahem) “films” is Jimmy Page’s music for the second one.

I’ve always loved this soundtrack, but I’m not sure how diehard Zep/Page fans feel about it, because I’ve never actually heard any of them talk about it.

Whether that’s a good sign or bad sign I’m not sure. 😂
But it’s definitely for me.
Always dug it.

#vinyl #vinylrecords #vinylcommunity #vinylcollection #retro #vintage #art #music #1980s #80s #80sMusic #jimmypage #ledzeppelin #deathwish #film #films #movies #80smovies #cinema

"Stairway to Heaven" is a song written by Neil Sedaka and #HowardGreenfield. It was released as a 45 rpm single and appeared on Sedaka's 1961 album #NeilSedakaSingsLittleDevilAndHisOtherHits. Sedaka's "#StairwayToHeaven" predates by 11 years #LedZeppelin's song of the same name, which was released in 1971 and written by #JimmyPage and #RobertPlant. Sedaka remarked in 2021: "#YouCantCopyrightATitle, so Led Zeppelin, I forgive you!"
https://www.youtube.com/watch?v=FEtt-BInKXk

This compilation is part of a large CD collection that was gifted to me by a dear friend. I made a replacement of the front cover art, the rest is in near mint condition!

Artist: Led Zeppelin
Album: Led Zeppelin [Box Set] (1990)
Release: Original box set release, Club Edition
Region: US
Label: Atlantic - 7 82144-2

#nowspinning #CD #LedZeppelin #boxset #compilation

From a recent trip to a record fair, a near-mint CD copy of "How The West Was Won".

Weekend theme: #LiveAlbumFever

Artist: Led Zeppelin
Album: How The West Was Won (2003)
Release: Original 3xCD pressing
Region: US
Label: Atlantic – 83587-2

#nowspinning #LedZeppelin #cd #vinyl #boxset

Jimmy Page's opinion on Soundgarden

https://rockandrollgarage.com/jimmy-page-opinion-on-soundgarden/

#jimmypage #soundgarden #ledzeppelin #zeppelin #Rock #music

Meanwhile...

https://x.com/historyrock_/status/2023804637653201340?s=20

77-year-old Robert Plant singing Led Zeppelin’s Black Dog

#music #musica #musique #musik #RobertPlant #LedZeppelin #ClassicRock

Robert Plant’s opinion on Queen

https://rockandrollgarage.com/robert-plant-opinion-on-queen/

#robertplant #queen #ledzeppelin #Rock #Music #freddie

Michael Jordan signs with White Sox https://www.rawchili.com/mlb/559441/ #Baseball #Chicago #ChicagoHistory #ChicagoWhiteSox #ChicagoWhiteSox #February7 #FieldMuseum #LedZeppelin #MichaelJordan #MickelberryFire #MLB #NBA #panda #RuthHarkness #SlamDunk #SuLin #WhiteSox #WhiteSox

Michael Jordan signs with White Sox https://www.rawchili.com/mlb/559441/ #Baseball #Chicago #ChicagoHistory #ChicagoWhiteSox #ChicagoWhiteSox #February7 #FieldMuseum #LedZeppelin #MichaelJordan #MickelberryFire #MLB #NBA #panda #RuthHarkness #SlamDunk #SuLin #WhiteSox #WhiteSox