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01/08/2026

SURPRISE! The Piano Man returned to the stage last night in Wellington, Florida, with the aptly titled tribute band Turnstiles.

WATCH VIDEO: https://primemusicworld.com/billy-joel-joins-tribute-band-for-first-live-performance-since-brain-disorder-diagnosis/

01/07/2026

Mikael Åkerfeldt, the vocalist and guitarist of Swedish progressive metal veterans Opeth, has drawn attention with a pointed critique of how the term progressive is used in rock and metal circles today. In a recent interview, he suggested that the label no longer carries real artistic weight and has been diluted to the point of meaninglessness.

In conversation with Metal Hammer, Åkerfeldt argued that many contemporary bands wear the “progressive” tag as a badge of complexity rather than creativity. According to him, bands often attach the label to their music simply because they use unconventional time signatures or technical flourishes — but those elements alone do not make music genuinely progressive in spirit.
“You can’t call yourself ‘progressive’ just because you play in odd times or throw in a few technical tricks,” Åkerfeldt said. “If it doesn’t say anything new, if it doesn’t push a boundary of expression, then what’s progressive about it?”

He went on to clarify that his critique wasn’t aimed at any specific band or scene, but rather at a cultural tendency within rock and metal to latch onto buzzwords as a shortcut for artistic identity. For Åkerfeldt, the danger lies in counting complexity as progress — when progress, in his view, should be about artistic evolution, expression, and emotional resonance, not just musical gymnastics.
Åkerfeldt’s own career with Opeth has spanned decades and crossed multiple stylistic borders, from death metal roots to jazz and folk explorations. That breadth, he implied, is what true progression feels like: a willingness to transform one’s musical language over time rather than merely assembling increasingly elaborate technical passages.

In the interview, he also noted how some bands label themselves progressive from the outset, seemingly as a marketing move rather than a description of their creative intent. “When terms become marketing tools, they lose meaning,” he said. “And then you end up with a situation where everyone’s progressive and no one really is.”
Åkerfeldt’s comments have sparked discussion among fans and musicians online, with responses ranging from agreement — that “progressive” should be a descriptor of genuine innovation — to pushback from listeners who feel the term still has utility.

Regardless of where one stands, his remarks highlight an ongoing conversation within rock and metal about how genres are defined, who gets to define them, and whether existing labels still help fans understand the music they love.

01/07/2026

For Bad Omens fans eagerly awaiting news of the band’s next studio album, a recent comment from frontman Noah Sebastian has brought a sharp dose of reality—and plenty of debate.
In a new interview with Kerrang!, Sebastian was challenged to summarize the band’s outlook for the next two years using just three words. His answers were brief, unembellished, and immediately ignited conversation across the fanbase.

Asked about 2025, Sebastian responded simply:
“No new album.”
When pressed about 2026, the reply didn’t change:
“Still no album.”
Whether delivered with dry humor or complete sincerity, the message landed decisively. Fans hoping for an imminent full-length release may need to reset expectations, at least for the foreseeable future.

Bad Omens’ most recent album, The Death of Peace of Mind (2022), marked a defining shift for the band. The record blurred genre boundaries, combining heavy roots with industrial elements, electronic textures, and alternative pop influences—catapulting the group to a new level of mainstream recognition.

Since that release, the band’s schedule has been relentless. They’ve spent years touring globally, headlining festivals, expanding their audience, and riding sustained streaming momentum. The success has been undeniable—but so has the intensity of the pace.
Viewed through that lens, Sebastian’s comments feel less dismissive and more reflective of a band reassessing how and when they move forward.

Sebastian’s understated delivery has long left room for interpretation, and fans are divided on how literally to take his remarks. Some hear playful sarcasm—a knowing jab at the endless pressure artists face to immediately follow a breakthrough release.
Others interpret the statements as refreshingly honest: Bad Omens are not ready to announce the next album, and they are unwilling to rush one into existence.

Notably, Sebastian specified no album—not no music. That distinction has fueled speculation that the band could still explore alternative releases, whether through singles, collaborations, experimental material, or creative projects that don’t conform to the traditional album cycle.

Online reactions have been mixed but passionate. Some fans expressed disappointment after years of anticipation, especially given the band’s creative momentum. Others voiced strong support, arguing that taking time is preferable to forcing a follow-up that doesn’t live up to expectations.

A sizable portion of the fanbase has met the moment with humor—turning Sebastian’s blunt answers into memes while acknowledging that the band has earned the right to move deliberately.

If Sebastian’s words are taken at face value, Bad Omens may be entering a quieter, more intentional phase. That could include stepping back from constant touring, prioritizing rest, allowing ideas to develop organically, and protecting the band’s long-term health rather than chasing immediate demand.
In an industry driven by algorithms and constant output, choosing patience can be a radical move.

As it stands, Bad Omens fans should not expect a new album announcement in either 2025 or 2026. Whether Sebastian’s comments were delivered with a smirk or complete seriousness, the takeaway is clear: the next chapter will arrive on the band’s terms.
When Bad Omens return with a new era, they want it to be intentional, meaningful, and worth the wait—even if that wait feels longer than fans hoped.

01/07/2026

Word of mouth has always played an important role in music. Long before streaming apps and social media, people discovered new artists because someone they trusted recommended them. A friend, a family member, or even a stranger at a gig could change your musical taste with just one suggestion. Even today, personal recommendations still feel more meaningful than algorithms. There is something powerful about hearing, “You should listen to this artist.”
Back in the 1960s, word of mouth was one of the only ways musicians became famous. Records mattered, but live performances mattered even more. If an artist could impress people on stage, those people would talk. They would tell friends, bring others to shows, and slowly build an artist’s reputation. One of the best examples of this is Jimi Hendrix.
When Jimi Hendrix arrived in London in the mid-1960s, he was not widely known. But that changed very quickly. People who saw him live could not stop talking about him. His guitar playing was unlike anything audiences had seen before. He played with speed, emotion, and confidence, and his stage presence made people feel like they were witnessing something special. Soon, his name was being mentioned in clubs, pubs, and music circles all over the city.
What truly separated Hendrix from other musicians was his live performance. His records were great, but his shows were unforgettable. Watching him play guitar felt exciting and unpredictable. He could make the instrument sound aggressive, emotional, and expressive all at once. Even other famous guitarists were stunned by how good he was. His performances helped move the guitarist from the background of a band to the front of the stage.
This power of live music followed Hendrix throughout his career, right until the very end. His final full performance took place in Germany in 1970 at the Isle of Fehmarn Festival. The event itself was badly organised. The weather was terrible, many bands dropped out, and the audience was frustrated. By the time Hendrix came on stage, the crowd was tired and angry.

Despite this, Hendrix did not walk away. Instead, he stood his ground and performed. He faced boos and poor conditions but continued playing with passion and intensity. As he moved through his set, the mood of the crowd began to change. What started as frustration slowly turned into appreciation. By the end of the show, many in the audience were cheering.

Although the concert was far from perfect, it showed exactly why Hendrix was so respected. Even in the worst circumstances, his music had the power to connect with people. He could win over a hostile crowd simply by playing his guitar. That ability is rare, and it explains why people kept talking about him long after his shows ended.

Jimi Hendrix’s legacy is deeply connected to word of mouth. People didn’t just listen to his music; they experienced it live and then shared that experience with others. His reputation grew because people couldn’t stop talking about what they had seen. That is how legends are made.

Even today, decades after his death, Hendrix is still remembered as one of the greatest live performers in music history. His story proves that no matter how much technology changes, the power of live music and personal recommendation will always matter.

01/07/2026

Lineups changed. Eras shifted. Legends were lost and reborn.
Through it all, one thing never moved: Angus Young.
From AC/DC’s raw 1975 debut High Voltage to the band’s thunderous return with Power Up in 2020, Angus Young remains the only musician to appear on every AC/DC studio album. In a career defined by seismic shifts — deaths, departures, reunions, reinventions — Angus is the constant voltage that never dropped.

The Unshakeable Core of AC/DC
AC/DC formed in Sydney in 1973, built around the musical partnership of brothers Angus and Malcolm Young. While Malcolm was the band’s architect and rhythmic backbone, Angus became its visual and sonic lightning bolt — the schoolboy uniform, the duckwalk, the ferocious Gibson SG tone that cut through arenas like a chainsaw.

But AC/DC’s early years were anything but stable. The band cycled through bassists, drummers, and producers as they clawed their way out of Australia and into the global spotlight. Despite the revolving door, Angus never wavered. Every riff, every solo, every album carried his fingerprints.

The band’s defining moment came in 1980 with the death of frontman Bon Scott, just as AC/DC were reaching worldwide dominance. Many bands would have ended there. Angus didn’t.
Instead, AC/DC regrouped with Brian Johnson, releasing Back in Black — one of the best-selling albums in music history. Angus’s playing on tracks like Hells Bells, You Shook Me All Night Long, and Shoot to Thrill proved the band hadn’t lost its soul — it had sharpened it.

Through the decades that followed, AC/DC endured further upheaval: lineup changes, internal fractures, health battles, and long absences. Malcolm’s retirement and eventual death in 2017 was another emotional blow, stripping Angus of both his brother and creative counterpart. Still, he carried on.
Released in 2020, Power Up was more than just another AC/DC album. It was a tribute — built around riffs Malcolm had written before his passing, completed by Angus as a final act of brotherhood. For the first time in the band’s history, Angus stood not just as the surviving founder, but as the living bridge between every era of AC/DC.

That throughline matters. Across High Voltage, Highway to Hell, Back in Black, The Razors Edge, Black Ice, and Power Up, Angus never chased trends, never softened the sound, never rebranded for relevance. His commitment wasn’t to fashion — it was to force.

The Riff as a Lifetime Commitment
Angus Young’s greatness isn’t just longevity. It’s consistency. The tone, the attack, the precision, the instinct — all intact across nearly five decades. While rock music evolved, fragmented, and sometimes collapsed under its own ambition, Angus doubled down on the essentials: riffs, rhythm, volume, and sweat.
He didn’t need to reinvent AC/DC. He refused to.

A Legend Who Never Clocked Out
AC/DC has lost members. Eras have closed. Tours have ended. But as long as Angus Young is standing — guitar slung low, fingers locked into another unstoppable riff — the band’s core remains intact.

Some musicians retire.
Some burn out.
Some fade into history.
Angus Young didn’t.
He just kept playing.
Because some riffs are permanent.
And some legends never clock out.

01/07/2026

Iron Maiden bassist and founding member Steve Harris has revealed which classic track he’d most like to see restored to the band’s live set during their ongoing Run For Your Lives 50th‑anniversary tour, which is scheduled to continue into 2026. The revelation came in a recent interview with Metal Hammer, giving fans a glimpse into what might be on the horizon for the iconic heavy metal group’s live shows.

At 69 years old, Harris has spent more than five decades shaping the sound and direction of Iron Maiden since founding the band in 1975. While the current tour has leaned heavily on fan favorites and deep catalog cuts alike, Harris acknowledged there are still songs the band hasn’t played in years that he believes deserve another moment in the spotlight.

Among the tunes Harris singled out is “The Evil That Men Do,” originally from the band’s 1988 album Seventh Son of a Seventh Son. Although it was a staple of Iron Maiden’s live rotations in earlier eras, the track hasn’t appeared in the band’s setlist since 2019 — long enough that many longtime fans have been eager for its return.

Harris didn’t elaborate on whether “The Evil That Men Do” will definitely appear in 2026 shows, but his enthusiasm suggests it’s high on the list of songs he’d like to revive as Iron Maiden continues this celebratory touring cycle. Given the band’s history of deep cuts and fan‑pleasing surprises during major anniversary runs, his comments have already stirred conversation among the Iron Maiden community.

Iron Maiden’s 50th‑anniversary tour — billed as the Run For Your Lives World Tour — has been expanding globally, with both European and North American legs confirmed for 2026, including festival headline appearances and major amphitheater dates.
Whether Harris gets his wish and brings back “The Evil That Men Do” remains to be seen, but his remarks underscore how the band continues to balance its celebrated legacy with crowd‑pleasing live performances half a century into its career.

01/07/2026

Lou Reed was never one to mince words. As a singer, songwriter, and influential architect of alternative rock, his career was built on defying trends, resisting norms, and speaking truths — even when they made people uncomfortable. But even a giant like Reed had his artistic benchmarks: certain musicians whose talent, innovation, or sheer musical command he felt were beyond his own. In candid remarks over the years, Reed pointed to a pair of artists whose work he respected so deeply that he admitted they were, in his estimation, out of his league.

1. Leonard Cohen — The Poet Laureate of Song
Reed’s first choice wasn’t a flashy virtuoso or arena titan — it was Leonard Cohen, the Canadian singer-poet whose work read like a literary canon set to music. Lou Reed always admired Cohen’s ability to blend complex lyricism, existential introspection, and plainspoken emotion into songs that felt both ancient and acutely modern. For Reed, Cohen represented something rare in rock and folk music: the seriousness of a thinker paired with the accessibility of a singer.

Reed once explained that while he wrestled with ideas and internal contradictions in his own work, Cohen owned them with a quiet authority that Reed recognized as something he could admire, even envy. In Reed’s view, Cohen’s mastery wasn’t about vocal technique — it was about the spiritual weight his words carried, like a songwriter who wrote the world rather than just observed it.

2. Bob Dylan — The Unreachable Vanguard
The second artist Reed placed “out of his league” was Bob Dylan, perhaps the most influential songwriter of the 20th century. If Cohen was poetry at rest, Dylan was poetry in motion: unpredictable, uncanny, and always evolving. Reed’s relationship with Dylan’s work was complex. He understood the magnitude of Dylan’s voice — not just technically, but culturally — and admitted that capturing that same level of breadth and impact was something he personally felt he could never match.

Dylan’s influence on modern music is almost incalculable. From electric reinvention to enigmatic lyrics and singular phrasing, his reach extends across genres and generations. For Reed, who carved his own path far from Dylan’s folk roots, the acknowledgment wasn’t about imitation — it was about respect for a peer whose vision helped redefine what a songwriter could be.

Why These Acknowledgments Matter
For an artist known for his iron will and uncompromising vision, Reed’s willingness to place Cohen and Dylan above himself isn’t a sign of insecurity — it’s a testament to his critical eye and deep sense of musical lineage. He understood that artistry isn’t a flat hierarchy but a constellation of voices, and that some luminaries shine differently, not necessarily “better,” but in ways that expand the language of music itself.

Reed wasn’t dismissing his own achievements — the raw intimacy of Transformer, the fractured realism of Berlin, the deadpan swagger of the Velvet Underground — these remain foundational to countless artists. Instead, by naming Cohen and Dylan as artists “out of his league,” Reed highlighted a humility often absent in rock’s mythology: an understanding that influence and excellence can exist without competition.

And in recognizing that there were voices he couldn’t rival — not out of insecurity, but out of sheer reverence — Lou Reed reaffirmed something essential about creative life: that true greatness is felt as much in acknowledgment of others as in one’s own work.

01/07/2026

John Lydon has never been one to soften his opinions — especially when it comes to other musicians. From the early days of the S*x Pistols through his work with Public Image Ltd (PiL), Lydon’s combative spirit and disdain for convention have defined his career. But beyond his anti-establishment persona, he’s also made no secret of the artists he considers derivative or creatively hollow. In recent conversation, Lydon didn’t hold back when naming two major bands he believes borrowed too heavily from his own work.
Lydon’s ire is rooted in what he sees as a lack of originality and respect for the sources of musical ideas. While PiL always strove to generate “our own ideas,” Lydon suggested that some successful acts instead lifted elements of his work without acknowledgement. “They’ve done several close approximations to us, that’s for sure,” he told Creem, lamenting a band that he felt echoed his approach too closely.
Guns N’ Roses: A Stealing of Riffs?
First on Lydon’s list was Guns N’ Roses. While the band is widely celebrated for its raw energy and classic hits, Lydon argued that one of their tracks bears “an almost identical” guitar line to PiL’s own version of “Stepping Stone.” He bluntly called this resemblance a “rip-off,” urging them to “get your own technique” and accusing them of borrowing rather than innovating. Beyond this accusation, Lydon said he doesn’t fully grasp how the band grew so popular, underscoring his belief that their approach lacked genuine creative depth.
U2: Borrowed Rhythms, Lost Credit
Lydon’s second target was U2, a group whose success has made them one of rock’s most recognizable acts. Despite their commercial achievements, he described the notion of their popularity as “absolutely preposterous.” Lydon didn’t mince words when asserting that several of U2’s guitar rhythms — especially on a track like “Bullet the Blue Sky” — resemble ideas previously explored by PiL. He was equally critical of the band’s self-righteous image, suggesting that they borrow from other influences without giving a “nod or wink” to those origins.

A Broader Critique of Musical Originality
Lydon’s remarks reflect his lifelong skepticism of corporate influence, commercial moderation, and artistic imitation in music. He has argued that the industry’s tendency toward “committee” decision-making stifles genuine expression, and his criticisms often extend beyond individual songs to what he sees as a broader cultural problem. “Record labels are very much a death by committee,” he said, framing his objections as part of a larger disdain for sanitized, market-driven music.

Whether one agrees with his assessments or not, Lydon’s willingness to call out successful acts — even if controversial — is consistent with a career built on challenging norms. For him, artistic integrity means pushing boundaries, owning your influences, and never settling for imitation — a philosophy that has kept him outspoken for decades, even as musical tastes and trends have evolved.

01/06/2026

Billy Corgan singing happy birthday to Marilyn Manson last night!❤️

01/06/2026

Veteran rocker Ted Nugent sparked fresh controversy with a wide-ranging critique of several well-known musicians during a recent video broadcast as part of his Spirit Campfire series on YouTube. While Nugent acknowledged the musical talents of some artists, much of his commentary focused on their political beliefs — drawing sharp criticism and unusually blunt language aimed at names like Tom Morello, Green Day, Jack White and Eminem.

Nugent’s remarks took a notable turn when he addressed guitarist Tom Morello, who is best known for his work with Rage Against the Machine and as a solo artist. In the video, Nugent appeared to stumble over Morello’s name before asserting that Morello and his bands aren’t actually “raging against the machine” at all — a direct inversion of Rage Against the Machine’s core message. Instead, Nugent claimed, “You’re not raging against the machine. You are the machine.”

The barbed comment landed despite a past public friendship between Morello and Nugent. In a 2017 interview, Morello said the two maintained a surprising rapport rooted in mutual respect for freedom of speech, even though they come from very different political perspectives.

Much of Nugent’s commentary drifted from musical appraisal into political criticism. In the same video, he lumped together Jack White and Eminem, calling them “total idiots” while asserting — without evidence — that these artists support extreme positions he opposes, including opposition to secure national borders and controversial social issues.

Nugent also brought Green Day into the conversation, dismissing the band’s political stances yet conceding their musical ability. “Green Day, there’s not a brain amongst them, I don’t think,” Nugent said, “but man, can they play really, really killer stuff.”
Despite the political vitriol, Nugent did offer some begrudging praise for musical talent across his targets. He said fans could appreciate the performances of White and Eminem — notably referencing a halftime show they did together — and he acknowledged Green Day’s capabilities as performers. Reverberating through much of his commentary was a pattern of separating artistic ability from ideological disagreement.

This isn’t the first time Nugent has blended political opinion with musical critique. Over his decades-long career, the guitarist and singer — known for hits like “Cat Scratch Fever” and “Stranglehold” — has consistently used his platform to voice conservative views, often drawing as much attention for his words as his music. Critics and observers note that his recent remarks reflect a familiar pattern of confronting high-profile musicians whose politics don’t align with his own.

However, his willingness to challenge even those he’s once publicly called friends underscores how deeply Nugent’s commentary has shifted from casual music talk to broader cultural critique. In the case of Morello — a peer and occasional ally on free speech issues despite political differences — the sharp rebuke drew particular notice for turning personal acquaintance into public scrutiny.
Whether seen as candid or combative, Nugent’s latest remarks continue to illustrate how — more than five decades into his career — he remains an outspoken and polarizing figure in rock culture.

01/06/2026

Canadian rock guitarist and songwriter Aldo Nova has unveiled plans for a 2026 concert tour that celebrates his enduring catalog and decades-long impact on rock music. Nova — best known for his 1982 hit “Fantasy” and a string of radio staples — will hit stages across the U.S. and Canada next year, bringing both classic favorites and deeper cuts to audiences eager to see him live.
A Long-Awaited Return to the Road.

Aldo Nova’s touring schedule has been intermittent in recent years, with fans often longing for more consistent live appearances. The upcoming 2026 tour marks one of the most expansive runs of his solo career and promises to highlight his contributions to rock’s classic era. Nova’s influence extends beyond his own performance history; he has also worked as a producer and songwriter, collaborating with artists such as Celine Dion, Jon Bon Jovi, and Billy Joel over the years.

For Nova, the tour is both a celebration and a reconnection with fans who have supported him since the early ’80s. His music — a blend of melodic rock, synth-infused hooks, and energetic guitar work — helped define a generation and continues to resonate with audiences today.

Nova’s live shows are known for their mix of high-energy performance and nostalgic appeal. Audiences can expect hits like “Fantasy”, “Monkey on Your Back”, and “Hot Love” alongside deeper tracks that showcase his melodic range and guitar prowess. Longtime fans will no doubt welcome moments that nod to the classic rock era, while newer listeners will enjoy the chance to experience Nova’s signature sound in a live setting.
2026 Tour Dates & Cities

Aldo Nova’s confirmed 2026 tour itinerary includes stops in major North American markets, offering fans on both sides of the Canada–U.S. border a chance to catch the rock veteran live:

April 2026
April 10 — Boston, MA
April 12 — New York, NY
April 14 — Philadelphia, PA
April 16 — Washington, DC
April 18 — Toronto, ON
May 2026
May 2 — Chicago, IL
May 4 — Detroit, MI
May 6 — Cleveland, OH
May 8 — Columbus, OH

Additional dates may be announced as the tour cycle progresses, with Nova’s team indicating more shows could be added throughout the spring and early summer if demand increases.
Tickets for the 2026 shows went on sale in early January, with pre-sale opportunities available to fan club members before the general public release. Standard tickets, VIP packages, and meet-and-greet options were offered, giving fans multiple ways to engage with Nova’s long-awaited return to performing live.

Aldo Nova’s influence on rock extends far beyond his own recordings. As a songwriter and producer, he has helped shape the careers of other major artists while maintaining his own creative voice. The 2026 tour underscores Nova’s relevance decades after his initial breakout, proving that his music — threaded with memorable melodies and guitar hooks — has stood the test of time.

For fans young and old, the tour represents both a celebration of classic rock’s past and a reminder that artists like Nova continue to bring that spirit into the present.

01/06/2026

Megadeth founder Dave Mustaine has put to rest speculation about who will appear on the band’s farewell tour lineup, making it clear that former members will not be rejoining for the band’s final shows. In conversations with media outlets, Mustaine reiterated that the upcoming 2026 tour will showcase the current iteration of Megadeth, and nothing resembling a “puppet show” is planned.

The clarification responds directly to fan curiosity and rumors about whether past members — including notable figures like Dave Ellefson or others connected to the band’s rich history — might return for a final run. Mustaine’s response was unequivocal: the final tour will spotlight the musicians who are actively part of Megadeth today, not retirees or alumni returning for nostalgia or fan service.

“This tour is about closure for Megadeth as it exists now,” Mustaine explained, emphasizing the band’s forward-looking focus even as they prepare to bring their storied career to an end. “I’m not interested in putting on a puppet show with people who aren’t part of this unit.”

Mustaine’s comments underline a clear boundary between celebration and re-creation. While many longtime fans cherish the band’s early albums and rotating lineups, the frontman insists that welcoming back former members for a farewell tour would blur the purpose of the final chapter. This tour, he said, will reflect the chemistry, current roster, and creative voice of the band as it stands — now that Megadeth has decided Megadeth (the upcoming studio album) will be their last full record.

The current lineup for the farewell shows includes Mustaine on guitar and vocals, Kiko Loureiro on guitar, and Dirk Verbeuren on drums — musicians who have defined Megadeth’s sound in recent years. While the absence of early members may surprise some, Mustaine insists the decision honors the band’s evolution rather than downsizing its history.

Fans have speculated for months about what shape the final tour would take, especially following the announcement that Megadeth would be the band’s final studio album. That news, paired with Mustaine’s recent revelation about his painful hand condition, made the context for the farewell tour uniquely personal. By focusing on the current lineup, Mustaine is ensuring that the tour reflects the creative reality of the band’s final era instead of recasting the past for nostalgia’s sake.

Mustaine has historically been protective of Megadeth’s legacy and brand — a mindset that has informed everything from artistic decisions to touring strategy. This latest clarification underscores that approach: fans seeking a commemorative experience will see the band as it exists today, not a retrospective mash-up of past eras.

As Megadeth prepares to hit the road for their final tour — likely to be one of the most emotional cycles in the band’s history — fans are encouraged to appreciate the present lineup’s contributions to the band’s legacy and to recognize Mustaine’s intent to honor that chapter without diluting it with fits of nostalgia.

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