By: Sean McKenna

​Etiquette (/ˈɛtikɛt, -kɪt/) can be defined as a set of norms of personal behavior in polite society, usually occurring in the form of an ethical code of the expected and accepted social behaviors that accord with the conventions and norms observed and practiced by a society, a social class, or a social group. 

“Etiquette”. Why are some amazing at it? Why are some terrible? Why is it important in the music business? 

Can’t believe we are talking about this, but here we are. A friend in Toronto, Ontario asked someone to a fill in show for them a while ago. He had to get a dental procedure and was not going to be able to do the shows. He asked a friend to fill in.  The new person rehearsed with the band, and the band told him the fill in player spent the entire weekend lobbying for the position. “Get rid of him, I’m better”. “I am going places” etc. 3/4 band guys told him in no uncertain terms this was extremely off putting. One of the band members said “Well, something to think about”. The guy even had a family member lobbying during the show.

Why don’t you do this?
-probably the lowest thing one can do
-the person should never be asked back
-the band member should be replaced 
- you are a guest, that is not the place
- you show people at a gig that isn’t your’s, you are not a team player 

It’s not your gig, you are being asked because someone thought enough of you to ask. And believe it when it’s said anyone who does that will make a name for themselves. Not in a good way. Be smart. Don’t be desperate, don’t be greasy. The music business, for what appears to be very vast, is actually the opposite. It is very small. When you do something well, it’s discussed. When you don’t, it circulates like wildfire. Showing up, being prepared, doing a great job, not being a problem. These are what get you invited back and invited to other shows. You have to play the long game. Sometimes, it’s not that long. 

I’ve had the opportunity to get to know Leland Sklar, Rich Redmond (Jason Aldean), Francis Ruiz (Buckcherry) Pete Evick (Bret Michel’s Band), amping others. This information is straight from them. You want gigs, practice this proper ediquette. You will be thankful you did.

Sean P McKenna is the host of the podcast “Barstools and Bandtalk”, as seen in Canadian TV, and hearts on the “Rock Rage Radio” network. He is a career live and audio drummer and “Mapex Drums artist”. He works with Canadian independent artist Michelle Ryder, who, in a short period of time, has amassed a global following with her music. Sean is available for info sessions, recording and artist interviews at [email protected]

BY: EVAN J. THOMAS

Every summer, legions of rock fans descend on open fields, stadiums, and fairgrounds for what’s become a rite of passage: the summer rock music festival. From legendary events like Louder Than Life, Welcome To Rockville, Riot Fest to newer niche gatherings, these festivals are a heady mix of music, heat, and community. But for all their thrills, summer rock festivals come with their share of downsides. Here's a look at the good, the bad, and the ugly of these seasonal sonic pilgrimages.

THE GOOD
1. The Lineups Are Epic
There’s no better way to catch dozens of your favorite bands in one weekend. Whether you're into classic rock, metal, punk, or grunge, the best festivals pack in massive headliners and introduce fans to emerging talent. The communal energy of thousands of fans singing along to the same riffs? Unbeatable.

2. The Atmosphere Is Electric
There’s something primal about live rock in the open air. Add to that pyrotechnics, crowd surfing, beer gardens, and midnight acoustic sessions around campfires, and you've got an unforgettable experience. For many, it’s more than music — it’s a temporary lifestyle of freedom, rebellion, and raw joy.

3. It’s a Community
Even if you're flying solo, you’ll never feel alone. Rock festivals are a meeting point for like-minded people from around the globe. Strangers bond over band tees, mosh pits, and shared sunscreen. It’s not uncommon to leave with lifelong friends — or at least a solid new playlist.

THE BAD
1. Logistics Can Be a Nightmare
Between long entrance lines, confusing parking setups, and overpriced concessions, the logistics of getting into and surviving a festival can be frustrating. Missed sets because of shuttle delays or traffic jams are all too common, and that’s before dealing with sketchy cellphone reception.

2. The Cost Adds Up
A general admission ticket might seem affordable — until you factor in travel, accommodations, meals, merch, and drinks. VIP upgrades and camping passes can quickly inflate a weekend into a four-figure investment. And while some festivals offer payment plans, the price of fandom can still sting.

3. Sound Quality Isn’t Always Great
Depending on the size and layout of the venue, sound bleed between stages, poor acoustics, or bad weather can kill the vibe. The front row might sound heavenly, but fans in the back may struggle to hear over the echo and chatter. Not all stages are created equal.

THE UGLY
1. Weather Can Ruin Everything
Sunburns, dehydration, and torrential rain can turn a dream weekend into a survival scenario. Mud pits, flooded tents, and heatstroke are real risks. While some fans revel in the chaos, others leave early — or not at all, stuck in the muck with a broken poncho and soggy boots.

2. Overcrowding and Safety Issues
With the surge in popularity, some festivals sell beyond capacity, leading to dangerously packed crowds, overwhelmed facilities, and sanitation nightmares. Bathrooms become biohazards. Emergency services can be slow. In worst-case scenarios, crowd surges have led to injuries or worse.

3. Substance Misuse and Burnout
While partying is part of the appeal, excessive drinking or drug use can spiral out of control. Add in heat and exhaustion, and you’ve got a recipe for medical emergencies. The “go hard or go home” attitude isn’t for everyone, and sometimes the toll on mind and body is too steep.

FINAL RIFF:
Summer rock festivals are a blast — when they’re done right. They offer a high-octane, immersive escape into the heart of rock ‘n’ roll culture, but they're not without hazards. Go prepared, pace yourself, and choose your events wisely. With the right mindset and some earplugs, they can be one of the best experiences of your life — just be ready for the chaos that comes with the chorus.

BY: Tracy Heck and Cheryl Frishman

Finnish rock band The Rasmus just wrapped up their first North American tour in 16 years.
The United States and Canadian dates included some dates opening up for label mates The
Funeral Portrait as Ylönen well as some club headlining dates along the way. The Rasmus are touring behind new singles “Break These Chains” and “Creatures of Chaos,” which will be on their upcoming eleventh studio album Weirdo, which will be released on September 12.
Vocalist Lauri spoke with Sound Fury Magazine before one of their headlining dates at The
Loving Touch in Ferndale, Michigan on May 9. Ylönen said that it’s ironic that the band was finally back in the U.S. after having lived in the States himself for the last 11 years, but has now returned to Finland to be closer to his eldest child and other family members. The band recently signed with U.S. record label Better Noise Music and have secured management in the States as well, which facilitated their chance to finally get back to playing here. Moving forward, they plan to come here more often and are currently eyeing coming back in the new year after a European tour and some Latin America and Mexico dates later this year. “It’s good to be back. On this tour, 50% of the shows are with The Funeral Portrait supporting them and then we have our own headlining shows like tonight in these tiny intimate venues. It’s been really great and we’re really having fun playing so close to the audience. There’s something raw and primal about it, it’s good,” stated Ylönen.

The Rasmus hooked up with The Funeral Portrait because of their label connection “I was
actually looking at the label roster and all the bands they have and their was just something about
their music and their appearance that kind of clicked with ours,” Ylönen shared.
Ylönen started the band back in 1994 with bassist Eero Heinonen when the guys were still in
their early teen years so it’s been what he calls a “lifetime.” Over the years, they’ve had a couple of member changes, “Our original drummer left and Aki Hakala has been the “new guy” for the last 20 years! Now we’ve had Emppu Suhonen on guitar for the last few years. I’m so happy about the chemistry that we have now in the band. It means everything to me because that’s how the best ideas are born,” Ylönen explained. He says that being able to get out on the tour and visit new places has served as a source of inspiration for him and his songwriting.

When asked what inspired the new album, he said, “I’ve been listening to a lot of harder music
myself. I’ve sort of rediscovered this harder metal music again that I listened to when I was
younger. When we put this band together we were into mini ramps and skating and we’d have
Slayer in the background playing. It was kind of hidden in there, but now it’s kind of like we’re
bringing back those harder elements to our music. It feels really nice.” In closing, Ylönen had this to say to The Rasmus; fans in the U.S.,”I'm sorry we haven’t comehere more often. We’re trying to make it up to you guys. I know a lot of you had been waiting, but so were we. We have plans to come here more often. That will make me super happy!”

BY: Tracy Heck

​Powerhouse rock band Close Enemies are gearing up for some June headlining dates as well as
some August dates supporting L.A. Guns, Tom Keifer and Winger. Featuring legendary musicians, bassist Tom Hamilton (Aerosmith) and drummer Tony Brock (The Babys, Rod Stewart) and touring veterans, guitarists Peter Stroud (Sheryl Crow, Don Henley) and Trace Foster (AC/DC, The Rolling Stones) alongside vocalist Chasen Hampton, Close Enemies have been creating a buzz with their fiery live sets and popular singles “Sweet Baby Jesus” and “Sound of A Train.”
Recently, Sound Fury Magazine got a chance to speak with Foster who was out on tour with
AC/DC. He spoke about forming the band, the upcoming shows and what’s next on the horizon.

Q: You’ve got some shows coming up in June after you wrap up this leg of the AC/DC tour.
Are you excited to get out there as a unit and play?
A: Yeah, I’m really looking forward to that. I just love playing clubs. I’m doing stadiums right
now with AC/DC and it’s weird because it’s great to sell that many tickets, but there’s just
something nice about playing for a couple hundred dirty, sweaty people too.

Q: Something about having that interaction up close?
A: Yeah, you can actually feel the energy.

Q: You’ve gotten the chance to work with so many different people over the years as a tech
and player and you’ve seen all sides of the music business. What is the biggest lesson that
you were able to bring to forming Close Enemies and what was the catalyst for the
formation?
A: You know, it’s amazing because I’ve done things like spending a dozen years being Melissa
Etheridge's guitar tech and also playing keyboards and guitar during her shows. So I’ve been on both ends for a long time. I’ve been the guy that nobody sees playing for awhile, but I just woke
up one day and as one of my friends always says, we’re screaming down the hill now in life. I
woke up and said I’m not done yet, I really want to do one more musical thing! I’ve been very blessed in life to have the time and the ability to do it. When I decided to do it, I said that I was going to get all the best people that I knew. I mean, I’ve been doing this for forty years so I know a lot of people and it was amazing that everybody I asked said yes right away. Tom even said, why didn’t we do this 25 years ago? I laughed because I didn’t even know him then! It’s just been amazing and so much fun. As for what I brought to this project, I just brought my knowledge of seeing things on so many levels, the good and the bad. I can see things and tell the boys what’s going to happen if we don’t do this or that. We’re all very involved because we’ve all seen horror stories.

Q: What is it about this particular lineup that is working so well?
A: Well originally we had the drummer from Cheap Trick Daxx Nielsen, but his schedule did
not allow him to be able to do this because those guys work all the time. So when Daxx
couldn’t do it, Tom had some songs to work on so I said I’d come up to Boston and bring
a drummer. Peter was the one who said that he and Tony Brock had been looking for
something to do together. Once Tom and Tony played together, that’s when I realized
that if we had a rhythm section like that then everything else would come together.
Those guys just immediately locked in. To answer your question, it’s just the high quality that was there right away. Peter and I are two exact different guitar players. People that come see us say man, you have two completely different sounds, but it fits together like a puzzle. That’s the secret. That’s from listening to Ronnie Woods and Keith Richards all my life and before that Aerosmith
with Joe Perry and Brad Whitford. Brad is actually my neighbor.

Q: You can definitely hear those influences on your current single “Sweet Baby
Jesus.” Is that something you considered when putting it together?
A: That was a conscious decision just to not say ok, we’re going to write a certain kind
of song. We said we’ve got five guys in the band and we’ve got Gary Stier, who I’ve been
playing with since the eighties. He was in a band called Buffalo Nickel, which branched off into
Blackberry Smoke. We’ve known each other for a long time and he’s the first person I thought of
when I said I wanted to do this again because he’s a great songwriter and I said let’s start writing..
That’s when I called Peter and said I wanted him to hear this stuff. That was “Sound of A Train” and he called right back and said he didn’t need to hear anymore. That’s how it started and we said we’re going to write from the heart as five guys in a band and a songwriter like Gary. Everyone gets to add their little bit here and there in every song.

Q: And what’s the plan for the rest of the year?
A: We’re releasing another single on June 2 called “ Rain, “ which everyone has been looking forward to. It’s the single we always open up with. Then we start the next part of our tour in August. We’ll be adding more dates and plan to tour until December. Somewhere hopefully in the beginning of all that the record will come out, which will be ten singles. We’re just going to hit it really hard. We’re actually playing The Whisky on November 14 in Los Angeles and we’re going to record it live. We’re going to release it in 2026 for Record Store Day. We’re only going to release it on vinyl. That’s pretty cool and exciting.

By Kevin Diamond
To begin to understand Black Flash, you need to know one crucial fact: this isn’t a band—it’s a solo project, with occasional vocal collaborations. Without that context, you might think there are more people involved than in Slipknot. So far, the artist has only released singles—four in total, all dropped within the past year—but even within this short catalog, Black Flash is already making a powerful statement.
From the moment I hit play, I was floored. Genre-blending is a tricky art. It often sounds more like a chaotic mash-up than a cohesive sound. But Black Flash defies that expectation. With seamless transitions between hardcore, metal, slam, rock, and hip-hop, each track moves fluidly without ever feeling disjointed or forced. The project is clearly crafted with meticulous attention to detail, proving that genre fusion, when done right, can be not just innovative—but transformative.
The first track I heard was “People Like You,” which immediately does something many heavy acts overlook: it opens with a hook. A screamed hook, no less. The moment the song drops, the line “can’t fuck with me” gets lodged in your head—and stays there. When the hip-hop-infused verse hits, it becomes obvious that Black Flash has far more to offer than aggressive vocals. The transitions are organic, and by the end of the track, you realize you’ve been through multiple chant-along moments—each one destined to become a screaming earworm. That’s no small feat in a genre where hooks are often sacrificed for heaviness.
Across the four singles, one thing is clear: Black Flash isn’t short on ideas. Every track features a different guest vocalist, and it feels intentional—as if each song was either built to highlight that guest’s strengths or that the perfect collaborator was found to match the song’s energy. Either way, the formula works.
What excites me most about Black Flash isn’t just what’s been released so far—it’s what could come next. Austin, the creative force behind the project, has the versatility to steer this in virtually any direction—and make it work. Personally, I’d love to see a full EP or album. A cohesive body of work would allow Black Flash to pull listeners deeper into his world, and keep them there—engaged, surprised, and completely immersed.
Black Flash isn't just blending genres—he's redefining them. Keep your eyes (and ears) on this project.
www.linktree/blackflashband


(i know the photo looks like pixel bullshit, but its his artwork)

BY: PHILIP SAYBLACK

In just a handful of weeks, 2025 will officially be halfway over and we’ll all start counting the days to the year’s end.  Yes, it’s true.  It’s already that time once again.  With the year already almost halfway gone, Sound & Fury magazine is offering a look at some of the top new hard rock and metal albums released so far this year.  This year’s field has been stacked pretty heavily (no pun intended) too.  New music from the likes of Machine Head, Bleed From Within, and Dream Theater have joined new albums from the likes of Tremonti, Grave Digger, Arch Enemy, Killswitch Engage and so many others.  There are also anticipated new albums on the way from the likes of Deadly Apples and Dirkschneider and the Old Gang before the year lets out.
Keeping all of this in mind, Sound & Fury magazine is taking a look at the year’s Top 10 new hard rock and metal albums so far in 2025.  That list will likely change by year’s end, too. This list itself was not easy to develop considering how much great hard rock and metal has been released already this year.  Keep that fully in mind, as no disrespect was meant to any band on this list with its placement.  So without any further ado, here are Sound & Fury magazine’s Top 10 New Hard Rock and Metal Albums
Sound Fury Magazine Top 10 New Hard Rock and Metal Albums Of 2025 So Far
1.      Dream Theater – Parasomnia
2.      Machine Head – Unatoned
3.      Arch Enemy – Blood Dynasty
4.      Whitechapel – Hymns in Dissonance
5.      Grave Digger – Bone Collector
6.      Tremonti – The End Will Show Us How
7.      Pop Evil – What’s Next
8.      Killswitch Engage – This Consequence
9.      Bleed From Within – Zenith
10.    Bloodywood – Nu Delhi
As honorable mentions, one cannot ignore Warbringer’s new album, Wrath and Ruin and also Alien Weaponry’s new album, Tu, as well as Memphis May Fire’s new album, Shapeshifter.    Again by year’s end the list is likely to look quite different.  This is just the list so far.  Sound and Fury will have as many reviews of the latest hard rock and metal albums as possible as the year progresses, so stay tuned for all of that coverage!

BY: TYLER TRAVIS

In a world of introverts, the idea of networking and talking to other people appears daunting. To a musician, it could mean many things including a show or job opportunity. It seems like a simple idea; however, I’m not sure if everyone takes full advantage. Any given show could yield you dozens of connections to people. Future band mates, artists for shows, sound techs. The list goes on. This is an incredibly valuable tool as you progress through any music scene.

There are many ways to open up a conversation. Talk about what gear you use and why. Discuss whom you’re listening to right now. Be present to actively engage with the show your fellow band is putting on. As cliché as it sounds, the possibilities are endless.

The last thing you want to do is alienate yourself. Other bands will take notice if you roll up 10 minutes before sound check and leave right after your set. Subsequently prohibiting yourself from any type of interaction with your fellow people. While life will sometimes prevent such things from happening, it’s important not to make a habit of it.

I’m lucky to be part of a strong music scene in Central Pennsylvania for the past 15 years. My current musical endeavor features two members from a previous project, and two members from a project I’ve played shows with multiple times over the years. Even had an audition lined
up with them in the mid 2010’s. We were recently invited back to headline a venue after a ten- minute conversation with the owner concluded with me wanting to hear his opinion of my band’s performance. Suddenly, we have a connection to a venue in our local area that we can continue to grow with.

Never pass up an opportunity to further yourself in your career. Networking can ensure that doesn’t happen.