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Father Son Duo RIX Jano and Luther Rix Announce Debut Album ‘Legacy Vol 1’ with First Single “Blow Wind Blow” Out Now

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Jano Rix, best known as one-third of Grammy Award-nominated trio The Wood Brothers, and his father, veteran drummer Luther Rix, whose career includes work with Bob Dylan’s Rolling Thunder Revue, Leonard Cohen, and Ten Wheel Drive among numerous others, have joined forces on record for the first time. Simply calling themselves RIX, the father/son duo will release their debut album, Legacy, Vol. 1, a collaboration more than 12 years in the making, on November 7 via RPF Records/Royal Potato Family. The collection’s first single, “Blow Wind Blow,” a rendition of the classic Huey “Piano” Smith song, adapted from the arrangement recorded by Dr. John on his 1972 recording, Gumbo, is out now.

This album celebrates the legacy, the shared feel, groove, songs and love of music that he passed down to me,” says Jano. “We have everything from songs my dad wrote in the ‘70s, to songs we wrote together, to songs he passed down to me when I was little that I played on my Fisher Price record player like ‘Blow Wind Blow.’ It’s just the two of us, singin’ and playin’ everything. There’s a certain feel we share. We’re excited to capture that and finally share it on record.”

RIX initially began recording in Nashville at Southern Ground Studios, shortly after it reopened under Zac Brown’s ownership. From there, sessions unfolded slowly and organically. Whenever touring and gigging schedules aligned, the two would meet to track another song, add a vocal, or capture a live performance. This approach resulted in an album that is both loose and deeply locked-in, reflecting their easy musical rapport.

Legacy, Vol. 1 features a mix of Luther’s vintage compositions—some dating back to the ’70s, like the instrumental “Strangely Blue,” written during his time in Ten Wheel Drive—alongside inspired covers. Highlights include first single “Blow Wind Blow,” a Dr. John classic that traces back to Jano’s childhood listening to his dad’s copy of Gumbo, and “All Kinds,” a deep cut penned by singer-songwriter Dan Wilson, which Jano discovered during his years playing with the Gabe Dixon Band.

Throughout, the duo’s feel and organic compatibility are front-and-center, whether on the humid funk ballad “Lovin’ You Is Easy” or the melancholic island groove of “I Ain’t Dancin’.” Another standout, “Down And Nylon,” is a stripped-down live performance captured at Brooklyn’s since shuttered Southpaw club with the duo slimmed down to just drums and keys. Across five-and-a-half minutes, the track sways from a rollicking New Orleans-style stomp to Band-like country funk. “Oop,” a peppy three-minute soul-funk instrumental, saunters along amidst a stack of keyboards and piano that dart and race around the bedrock of Luther’s percussion. “Sci-Fi Finale” wraps the proceedings with dubbed-out drumming and an ominous piano counterpoint, welcoming the weird as the record spins to a close.

Between them, Jano and Luther bring decades of musical experience. Luther’s career has taken him from work with rock ‘n’ roll legends such as Dylan and Cohen to symphonies, Broadway pits, and Schoolhouse Rock! sessions. Jano’s multi-instrumental work has been central to The Wood Brothers’ acclaimed Americana sound, while he has produced records for artists such as Seth Walker, Steve Poltz, Oliver Wood, Upstate, and Chris Kasper. Yet Legacy, Vol. 1 is their most personal statement, made not to chase trends or charts but to capture their shared love of music, document a unique family bond, and embrace the spirit of their shared groove.

From the first note, we realized we feel time and groove in nearly the exact same way,” says Jano. “I never have to think about how we’ll connect—it just happens. That’s rare, and it comes from a lifetime of hearing him play, sitting behind his drums at gigs, and sharing the same musical language. This was about honoring what we share.”

“I always enjoyed playing with Jano, and I think he enjoyed playing with me,” concludes Luther, laughing. “We always played well together, so it was natural to want to record it and put it out for people to hear.”

RIX – Legacy, Vol. 1​
​Track Listing

1. Blow Wind Blow
2. I Ain’t Dancin’
3. Down And Nylon (Live at Southpaw)
4. All Kinds
5. Lovin’ You Is Easy
6. Melodica
7. Oop
8. Lazy Love
9. Strangely Blue
10. Folk Song
11. Sci-Fi Finale​

Legacy, Vol. 1 is out November 7 on 180-gram vinyl and digital formats. Pre-order / Pre-save available here.

Riot Fest 20th Anniversary Returns to Metro with Naked Raygun Alkaline Trio and Screeching Weasel in Three Historic Nights

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In three consecutive nights, Riot Fest returns to the club where it all started. With three of the most important bands to the festival’s history – Naked Raygun, Alkaline Trio, and Screeching Weasel.

Riot Mike chose Metro for the 20th anniversary shows because of the long history between him and Joe Shanahan, who Mike considers one of his biggest mentors. There would be no better way to cap off Riot Fest’s 20th anniversary than with a Naked Raygun show at the Metro, because Joe and Mike’s love for the band is matched by few others. Their joint history criss-crosses the years before the fest moved outdoors, when it was staged in Chicago clubs, and each man has been involved with the band in myriad ways over the years.

Naked Raygun will perform a limited smattering of songs proving their truly legendary status. “We will be playing a short set of limited songs. It will be a curated compendium of scant canticles, a smattering of sing-alongs, a fleeting few of your favorite feats……about as long as Jeff’s attention span. Seriously – go pee before we go on stage or you’ll miss the whole thing,” teased drummer Eric Spicer.

While Screeching Weasel are joined by The Effigies on Friday, 9/19 (Riot Fest reunited Screeching Weasel in 2009, and The Effigies played the first year). Militarie Gun will support Alkaline Trio (who played the 5th fest) on Saturday, 9/20. Capping off the festival Sunday, 9/21, Naked Raygun and Marky Ramone and Buzzcocks will perform. This will be an extremely rare appearance of Naked Raygun, the first in 6 years.

The band are also launching a Dark Matter Coffee collaboration (available at the festival and stores) and plans are underway to re-issue all their albums on remastered color vinyl via Touch & Go Records on October 24th.
They are currently working on a book, tentatively titled I Remember: The Story of Naked Raygun (A Chicago Punk Rock Tale) on PM Press in 2027.

Naked Raygun were an extraordinary staple in the Chicago music scene – beginning in the early 80’s and continuing until their quiet demise in the early 90’s. Their music showed the world that punk rockers could play and be really good at it. Founded in Chicago in 1980, by Marco Pezzati, Jeff Pezzati and Santiago Durango, Naked Raygun released six albums during their eleven year career that would change the sound of punk rock indefinitely. The band is widely recognized as being one of the most influential punk bands of the 80’s.

Their anthemic style incorporated politics in a uniquely accessible way, melding pop and hardcore into one cohesive sound, that would later be dubbed, “The Chicago Sound”.

Dave Grohl, of Nirvana and Foo Fighters, has frequently discussed seeing Naked Raygun as his first concert in 1982 (when he was 13) at Chicago’s Cubby Bear. During their October 17, 2014, show at the Cubby Bear, Jeff Pezatti joined the band for a Naked Raygun cover. Naked Raygun themselves later opened for Foo Fighters on select dates during the Sonic Highways World Tour.

Industrial Metal Duo Black Satellite Drop “Kill For You” Video Ahead of New Album ‘Aftermath’ Out September 5

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Black Satellite have released a music video for their new track “Kill For You”, which comes from their self-released second full-length album AFTERMATH, due tomorrow, September 5.

Coming off their 2025 U.S. tour as support for Marilyn Manson, NYC-based Black Satellite artfully fuse industrial and metal influences to create a sound that’s dark, edgy, and distinctly their own.

“The song explores the lengths someone will go to for those they love, and at what point that starts to border on obsession,” says Larissa Vale about “Kill For You.” “I like to conquer my fears in my music videos. ‘Kill For You’ was no exception, and in this case it was a bit more literal. The last thing I’d ever want to do is let a tarantula crawl all over my face…so I thought why not just do it?!”

AFTERMATH was self-produced along with Kane Churko (Papa Roach, In This Moment), and with mixes by veteran producer Ben Grosse (Marilyn Manson, Breaking Benjamin, Filter).

“The album explores a lot of darker themes,” says Vale about the new music. “Each song is a snapshot into various personal experiences in my life and my mindset at the time. There’s definitely a good mix of sonic components on the record ranging from heavier songs to more melodic ones as well.”

AFTERMATH is the follow-up to the band’s debut album ENDLESS, hailed by Alternative Press as one of their “12 Bands You Need To Know.” AP cited “provocative sound and captivating alt-rock essence,” while Billboard described the title track noted that “The sound of ‘Endless’ s absolutely huge…Syrupy vocal hooks abound, drizzled over whole mountain ranges of studio-shined guitar tapestries.” The video for the title track has spawned over 196k views on their official YouTube page.

Since their debut, BLACK SATELLITE has toured with the likes of the aforementioned Marilyn Manson, John 5, Nita Strauss, Drowning Pool, Wednesday 13, Cradle of Filth, and Devil Driver. They’ve also made appearances at Metal In The Mountains Fest and Blue Ridge Rock Fest.

Grammy and Oscar Winner Tiara Thomas Returns with “A Hug”

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Tiara Thomas, the Grammy and Oscar-winning singer-songwriter, returns with “A Hug,” a raw, emotionally charged R&B track that captures the duality of her artistry. Known for co-writing modern classics like H.E.R.’s “Damage” and “Intimidated,” Tiara continues carving out her own lane with music that is equal parts vulnerable and unapologetically bold.

“A Hug” blends smooth, soulful vocals with sharp, rhythmic flows as Tiara pivots seamlessly between singing and rapping, showcasing the full scope of her talent. A moody counterpoint to the sweetness of her previous single “Kiss Me,” the track channels anger, vulnerability, and emotional exhaustion, offering a darker glimpse into the rollercoaster of feelings that will shape her upcoming album.

“This song came from a real place of frustration,” Tiara says. “It’s about when you’re tired of love being complicated, when all you really want is something as simple as a hug, but the emotions underneath are messy, raw, and sometimes petty. I wanted that duality to come through in both the lyrics and delivery.”

Following her 2023 single “Hit You Right Back” featuring Tone Stith and 2024’s lighthearted “Kiss Me,” “A Hug” signals a striking new chapter in Tiara’s evolution, one where honesty and emotional complexity take center stage.

Bass Music Visionaries Planet Zyha Join Forces with Bass Temple and REN3GADE on “Name of the Game”

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Montreal-based audiovisual duo Planet Zyha return with their second single on Grand Alliance Music, “Name of the Game,” a cinematic bass anthem created in collaboration with Denver, CO producer/DJ Bass Temple and Las Vegas, NV conscious lyricist REN3GADE. Out September 5th via next-wave bass music imprint Grand Alliance Music, the track blends space bass, leftfield dubstep, and electrifying verses into a powerful celebration of creativity as a divine force.

The roots of this release trace back years. Planet Zyha first connected with Bass Temple through her track “Power Shift” nearly four years ago, a moment that planted the seed for this collaboration. Meeting REN3GADE at Manafest Festival in Costa Rica later sparked the lyrical fire that completes the track. The result is pure alchemy: cinematic basslines, spiritual energy, and a message that resonates with both festival crowds and seekers of deeper meaning.

Running at 145 BPM, “Name of the Game” is a soaring, inspiring cut described as powerful, uplifting, spiritual, cinematic, and inspiring. Drawing comparisons to CloZeeLSDreamLiquid StrangerApashe, and Zen Selekta, the track bridges genres while standing firmly in its own lane.

Lyrics like “Through dark tunnels I see a light / And I find hope when I grip the mic” highlight REN3GADE’s conscious flow, woven seamlessly into Planet Zyha’s interstellar production and Bass Temple’s high-vibrational sound design.

Industrial Electronic Powerhouse Staytus Unleashes “Heart Attack” in a Haunting Storm of Sound and Emotion

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Industrial-electronic artist Staytus unveils her latest single, “Heart Attack,” now available on all major digital streaming platforms. Produced by acclaimed music producer Sean Beavan (Nine Inch Nails8mm), “Heart Attack” surges with raw vulnerability and biting defiance, blending bruising industrial textures with haunting melodic layers.

Driven by sharp lyrical imagery—“nothing will heal that gaping hole in my chest” and “goodbye my idol”—the track confronts betrayal, disillusionment, and the painful collapse of once-revered ideals. Staytus delivers an unflinching narrative of loss and severance, wrapped in a cinematic storm of sound.

This release continues Staytus’ signature fusion of industrial, electronic, and nu-metal influences, crafting immersive soundscapes that resonate with themes of personal reckoning and resilience.

Staytus is an emerging force in the industrial-electronic scene, recognized for her emotionally charged compositions and boundary-pushing productions. Working with legendary producers like Sean Beavan and Matt McJunkins, she fuses elements of horror, gaming, and lived experience into powerful soundscapes that resonate with fans of dark, alternative music.

20 Legendary Songs That Another Artist Made Famous

A great song can travel: from one legend’s pen to another’s voice, taking on new life. These 20 all-time tracks prove that the right pairing of writer and interpreter can etch a song into history.

“A World Without Love” — Written by Paul McCartney; made iconic by Peter & Gordon.
A Beatles tune handed off, it became a British Invasion #1 for the duo.

“All Along the Watchtower” — Written by Bob Dylan; made iconic by Jimi Hendrix.
Dylan’s stark ballad turned into a psychedelic storm with Hendrix at the helm.

“All the Young Dudes” — Written by David Bowie; made iconic by Mott the Hoople.
Bowie gifted them a glam-rock anthem that saved the band from breakup.

“Because the Night” — Written by Bruce Springsteen; made iconic by Patti Smith.
Springsteen’s unfinished draft became a blazing love song through Smith’s rewrite.

“Black Magic Woman” — Written by Peter Green; made iconic by Santana.
Fleetwood Mac’s blues roots became Latin-rock fire in Santana’s hands.

“Both Sides Now” — Written by Joni Mitchell; made iconic by Judy Collins.
Collins gave Mitchell’s reflection on clouds and life its first hit wings.

“City of New Orleans” — Written by Steve Goodman; made iconic by Arlo Guthrie.
Goodman’s rail ode became a folk classic in Guthrie’s warm delivery.

“Crazy” — Written by Willie Nelson; made iconic by Patsy Cline.
Heartbreak immortalized in Cline’s velvet phrasing.

“Girls Just Want to Have Fun” — Written by Robert Hazard; made iconic by Cyndi Lauper.
Hazard’s rough demo became Lauper’s neon-bright feminist anthem.

“Hallelujah” — Written by Leonard Cohen; made iconic by Jeff Buckley.
Cohen’s hymn of doubt soared into eternity with Buckley’s fragile voice.

“I Will Always Love You” — Written by Dolly Parton; made iconic by Whitney Houston.
Parton’s tender farewell became Houston’s blockbuster torch song.

“I’m a Believer” — Written by Neil Diamond; made iconic by The Monkees.
Diamond’s knack for melody exploded into Monkeemania.

“Killing Me Softly with His Song” — Written by Charles Fox & Norman Gimbel; made iconic by Roberta Flack.
A delicate ballad reborn with Flack’s soulful intimacy.

“Mama Told Me Not to Come” — Written by Randy Newman; made iconic by Three Dog Night.
Newman’s wry party satire became a funky hit machine.

“Me and Bobby McGee” — Written by Kris Kristofferson; made iconic by Janis Joplin.
Kristofferson’s road ballad became Joplin’s posthumous anthem.

“Nothing Compares 2 U” — Written by Prince; made iconic by Sinéad O’Connor.
Prince’s words of loss reached raw perfection through O’Connor’s delivery.

“Respect” — Written by Otis Redding; made iconic by Aretha Franklin.
Aretha turned a plea into a demand and an anthem of empowerment.

“Take It Easy” — Written by Jackson Browne & Glenn Frey; made iconic by Eagles.
A breezy collaboration that opened the Eagles’ career and defined SoCal rock.

“The First Cut Is the Deepest” — Written by Cat Stevens; made iconic by Rod Stewart.
Stevens’ melancholy melody became Stewart’s soulful lament.

“Without You” — Written by Pete Ham & Tom Evans (Badfinger); made iconic by Harry Nilsson.
A power ballad perfected with Nilsson’s aching vocal.

Balancing Art and Business: Lessons in Music Management

Every artist faces the tension between creative vision and business realities. Managers who’ve worked across genres agree: the artists who last are the ones who protect their art while still playing the long game. Here are five lessons drawn from those conversations and experiences.

1. Protect the Core Vision

Managers often stress that an artist’s identity is non-negotiable. Labels, agents, and even fans may push for changes, but a career is built on authenticity. Protecting the vision first ensures everything else falls into place.

2. Translate Creativity Into Strategy

A brilliant demo means little if no one hears it. Good managers find the right producer, time the rollout, and create opportunities like sync placements to amplify the vision. Creativity drives the work, but strategy gets it heard.

3. Build Momentum Without Oversaturation

The industry loves quick returns, but constant releases can dilute impact. Managers often recommend pacing: tour smartly, drop EPs between albums, and give songs room to breathe. Careers built slowly tend to last longest.

4. Use Data, But Trust Instinct

Streams, likes, and algorithmic trends provide useful signals, but they aren’t the whole story. Some of the biggest hits ignored conventional wisdom. Managers remind artists that instinct, not spreadsheets, often produces timeless work.

5. Let Business Serve the Art

When money and exposure come with strings attached, authenticity can get lost. The best managers know when to say no — declining deals that compromise lyrics, image, or values. Fans connect with honesty more than sponsorships.

The message from veteran managers is clear: art comes first, but business matters too. The real craft lies in keeping them balanced, so that vision leads the way and strategy builds a career that lasts.

Freddie Mercury’s Isolated Vocals For Queen’s “I Want It All”

“I Want It All” was released in 1989 as the lead single from Queen’s album The Miracle, written by Brian May and produced by David Richards. The song became a global hit, reaching top 10 in multiple countries and serving as an anti-apartheid anthem in South Africa. Freddie Mercury never performed it live, but Queen revived it at the 1992 Freddie Mercury Tribute Concert with Roger Daltrey on vocals and Tony Iommi on guitar.



OK Go Unveils Groundbreaking Blender-Made Video for “Impulse Purchase”

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OK Go has teamed up with Blender Studio, BAFTA-winning filmmaker and animator Will Anderson, and acclaimed designer and artist Lucas Zanotto to bring their track “Impulse Purchase” to life in a spectacular new visual.

Crafted entirely in Blender, a free, open-source software for creating 3D art, the “Impulse Purchase” visual combines Will Anderson’s signature fun and quirky animation style with Lucas Zanotto’s iconic design language. OK Go frontman Damian Kulash controlled the main character in real time via face-capture; unlike the careful determinism of traditional animation, this system captures a live performance.

“It began with my love of Lucas Zanatto’s short animated loops – they’re so inventive, so full of joy, always delivering little doses of the kind of wonder we’re always searching for in our own videos. So I thought the universe flowing from his brain might be the perfect setting for a lyric video, but when I reached out to him, he had a more ambitious project to propose: a ‘live performance’ with me AS one of his characters. Suddenly it was a much weirder, more wonderful project than what I’d envisioned,” shares OK Go frontman and video director, Damian Kulash.

The pair teamed up with Will Anderson to design a dynamic procedural system in Blender for puppeting a digital character via face-capture software that anyone can use. The clip released today features a performance tracking Damian’s face, but, like all Blender Studio projects, the source files for “Impulse Purchase” are free for all to use and adapt, and the Blenderheads have already started going wild with them.

All of the necessary files, tools, and documentation, are available for download here. The project aims to share both the file and the process behind it, so users can not only interact with the main character from the video, but also learn how to create their own interactive animations.

“Blender Studio is all about exploring technical and artistic solutions for creative challenges, and this project is a perfect example. We are proud to support and partner with these talented artists, who share Blender’s values of creating and sharing knowledge with the world,” adds Blender COO, Francesco Siddi.

“Impulse Purchase” appears on OK Go’s latest studio album And the Adjacent Possible which was released earlier this year. Produced by OK Go and longtime collaborator Dave Fridmann (The Flaming Lips, Spoon, Tame Impala, MGMT)