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⇒ Check our chat with the band here.

The four-piece, featuring Marie Gutierrez on vocals, David Ballon on guitar, Joan Torres on bass, and José Linares on drums (collaborating remotely from Puerto Rico), has great chemistry here, playing to each other’s sonic strengths, and the production is also aware of this. The mix gives everyone room to breathe without anything getting buried. The track has a real spacey quality to it – there’s weight in the riffs but also this expansive, almost atmospheric pull that keeps it from feeling like straight-up hard rock. Gutierrez is the centerpiece, though, and her high notes on “Starfire” are where the song really opens up. The production leans into that, letting those moments hit with the kind of clarity that makes them land.

With two more singles already scheduled, 6 Speed Supernova is clearly playing a longer game here. If the arc holds the same quality as “Starfire,” this comeback run is worth following through to the end.

• After the pandemic halted your 2019 momentum and prompted deep reflection during the creation of Galactic Boogaloo, what internal realizations about your role as a refuge for outcasts and misfits ultimately reignited the band’s drive to chase the next groove?

Well, the pandemic was a global event that impacted all of us. It was a time filled with uncertainty, but it was also a time that demonstrated just just how interconnected we all are. Perhaps this led each of us to reevaluate what we found meaningful. While we started Galactic Boogaloo prior to that, our desire to finish it was fueled by a need to bring people something that could unite us, something that we could talk about and enjoy as a community. However, during that time we all experienced some changes. Our needs and wants impacted our musical expression, and that’s where this new string of songs comes along. Galactic Boogaloo was perhaps a snapshot of a time where more excitement and celebration fueled the music, whereas Starfire, Lonely Godzilla, and Begin Again were fueled by a need to hold each up so that we can rebuild with synergy and continue inspire each other to do the same.

• The single Starfire draws listeners into the furthest reaches of the universal mind through its electrified riffage and tight rhythms. How did the collective songwriting process transform personal contemplations on isolation and humanity into this expansive, mind-expanding sonic landscape?

As a band we always strive to serve the song in a way that feels natural and hits us the right places. There are always some early iterations where we don’t quite know the song just yet, but as we keep playing it, recording ourselves (even if just with our phones) and listen back to the output, we begin to understand more what it is that we mean to say with each song. This in turn helps inform our next iteration of the song. Perhaps we extend verses, choruses, or shorten them. We tend to be fairly open to trying things out and then discussing how we feel about it. Thankfully because of all the years we have worked together, and the love we put into our craft, it has almost become second nature for us to respond to a musical seed with the right amount of nutrients to help it grow into full-fledged song that we feel ready to share with the world.

• Your sound has always fused jazz and progressive influences with classic rock swagger. In what specific ways did the recording sessions for Starfire allow you to push those boundaries further while preserving the raw, groove-driven energy that defines 6 Speed Supernova?

A key area where we grew during these years was on improving our workflow for recording high quality demos week to week, month to month. We recorded a lot of these parts multiple times at home, or at our rehearsal studio. This allowed us to virtually be “in the studio” for months before we actually physically went to a recording studio to make the release-ready versions of the songs. We were able to push ideas in one direction, given them a listen, and then fine-tune as needed to get them to where they truly fit and served the songs. This workflow also made it easier for us to communicate with José Linares the drummer who collaborated with us all the way in Puerto Rico to lay down those heavy beats for our songs.

• With “Lonely Godzilla” scheduled for May 4 and “Begin Again” for June 1, these sequential releases appear to signal a deliberate new era. What narrative or sonic arc connects the three tracks, and how do they collectively represent your “Renaissance” following global turmoil?

We certainly feel like it’s a new era. We more deliberately worked on cementing our storytelling and almost theatrical approach to our music while working through these songs and the narrative arc pretty much revealed itself naturally. We didn’t want to take the songs where they didn’t want to go to fit a story so we were fortunate when it all lined up the way it did.

Pre-order “Starfire” on Bandcamp.

The story itself feels like it’s one about rebirth. In fact, we debated started with Begin Again because of how strongly that topic feels for this era of 6 Speed Supernova. One that’s about accepting the past, lighting a flame in your creative engine, and rebuilding the things that we love and make us feel whole.  In that sense it made more sense musically and story-wise to start with “Starfire“. That songs sets the stage for us facing our fears and standing up for ourselves, our dreams and visions. “Lonely Godzilla” explores more how that path can be a long and isolating one filled with doubt and misunderstandings from others. When it really comes down to it, we are artists who long to be creative. Those emotions might delay us, but we were always going to “Begin Again.”

This arc represents our shared concerns that with so many terrible things going on with the world, why would people care about art? when would they even have time for it? We know one simple thing. We care about art, not just ours, but those from our favorite artists. We know their art helps us deal with adversity and we figure we could do the same for ourselves and others.

• The band’s ethos emphasizes providing an oasis for those who feel invisible. How do you envision the themes in Starfire and the forthcoming tracks resonating with audiences in live settings, particularly as venues reopen and communities seek connection once more?

I think we envision Starfire becoming anthemic. This is the kind of song with a big chorus that a large crowd could sing in unison and feel connected to its lyrics. Then again, even if you don’t feel comfortable doing that and you prefer to air-drum or air-guitar the parts, there’s probably something in there for you to let lose and join in on the fun. There’s something freeing about being at a concert and feeling yourself wanting to mime a part of the song you find iconic and realizing some of people around are doing the exact same thing. It’s not weird. It’s encouraged! There’s no need to feel self-conscious. We are all here to enjoy ourselves however we want! The upcoming songs have many of those same qualities, but touching on different layers and different moods.

• Looking beyond these initial 2026 releases, what larger projects or collaborative explorations are you developing-whether a full album, expanded touring, or new sonic territories-to continue serving as a voice in the silence and a light in times of apathy?

We may or may not have a full narrative for a concept album that may or may not include these releases. We’ll just have to wait and see. That might feel like a tease, but we do also want to be genuine with these choices and not do it because we committed to it even though it might not feel right anymore. We do hope these release will help us find new audiences that we can go perform for in cities we haven’t been to. We know there are people out there who don’t yet know they’d love to see us live.

Come what may, as bandmembers we continue being part of each other’s support group. A lot of our song ideas have come from “obscure sorrows” that we shared with each other unaware that it was a common issue we shared, but perhaps had no name or word for. For example, the feeling of being in the middle of a great meal, dinner party, movie, song, book and realizing that you’re really enjoying it all the while being well-aware that it’ll end. What do we even call that feeling? It’s a very human experience, but not one we seem to like acknowledging very often. We constantly dive deeper into those kinds of sorrows in order to create a score of what this emotion could be and gain more empathy, understanding, and mental wellbeing in the process. We believe music is able to do that, and what better vehicle than heavily-infused Jazzy-Prog Rock music that falls from the cosmos as if ignited by a supernova of the collective unconscious? That is how we serve each other in our band microcosm and by doing so serve all of those who feel similarly but don’t have the outlet we do.

Legendary producers and engineers Stuart Epps, who worked with Elton John, and Chris Omartian handled production, with writing contributions from Brian Kelleher. The song deals with a couple hitting a rough patch and trying to find their way back to each other. Woods says it’s being looked at for a major motion picture, and it’s the first single from his upcoming album, which spans contemporary country, country gospel, and country rock.

Lyrically, it’s very simple and honest and straightforward, staying true to the genre’s lyrical style. Delivering a powerful and transparent message about growth and the heartache we endure on the growth journey. But where the track really shines is in its musicality. Melodically, Stevie Lee Woods floats over this gutwrenching harmony like a butterfly. It’s that kind of music that’s made to be chanted by a hundred thousand people in a giant venue as they sing their hearts out.

The chord progression is tailor-fit for this lyrical theme, and the artistry behind it is very apparent. Including that brief key change towards the end of the song to add to the catharsis and finality of that last chorus. It’s a bit rare to see that kind of musical movement nowadays, but that’s what differentiates a seasoned artist like Stevie Lee Woods from his peers.

Woods has been around long enough to know what works in country music, and “Don’t Let Heartache Turn to Heartbreak” plays to his strengths. The track drops January 23rd, 2026, so keep an eye out for it. If the rest of the album follows through on what this single promises, it should be worth checking out. Woods is also launching a weekly radio show starting March 1st, 2026, that’ll air Sunday nights at 8 PM, so he’s clearly not slowing down anytime soon.

Born John Michael “Ozzy” Osbourne on December 3, 1948, in the industrial grit of Birmingham, England’s Aston neighborhood, Ozzy grew up in a working-class family of six siblings. His father, John Thomas, was a toolmaker, and his mother, Lillian, a homemaker, instilled values of perseverance amid post-war poverty. School was a nightmare for the dyslexic and ADHD-afflicted boy, who endured bullying, sexual abuse at age 11, and multiple suicide attempts as a teen. Expelled for truancy, Ozzy left education at 15, cycling through dead-end jobs: laborer, car horn tuner, slaughterhouse worker, and even a brief prison stint for burglary in 1965.

Music became his escape. Inspired by The Beatles’ “She Loves You” at 14, Ozzy declared, “I’m going to be a rock star the rest of my life.” He bought a guitar on hire-purchase, forming his first band, Rare Breed, in 1967 with future Sabbath bassist Geezer Butler. After it fizzled, they recruited guitarist Tony Iommi and drummer Bill Ward, initially as Polka Tulk Blues Band, then Earth—renamed Black Sabbath after a horror film marathon sparked Ozzy’s dark lyrical vision.

Black Sabbath’s self-titled 1970 debut, recorded for £500, unleashed down-tuned riffs, occult imagery, and Ozzy’s haunting wail on tracks like the title song and “The Wizard.” Paranoid (1970) followed, topping UK charts with anthems “War Pigs” (a Vietnam protest), “Iron Man,” and the title track—written in 25 minutes about anxiety. Albums like Master of Reality (1971) and Vol. 4 (1972) delved deeper into doom and drug-fueled introspection, with “Snowblind” a cocaine ode.

Tours were grueling, amplifying Ozzy’s substance abuse—alcohol, cocaine, and pills—as the “Madman of Rock” persona emerged. By Never Say Die! (1978), internal tensions peaked; Ozzy was fired in 1979 for unreliability, replaced by Ronnie James Dio. Devastated, he attempted suicide, but Sharon Arden—daughter of his manager Don Arden—saw potential, becoming his wife in 1982 and steering his solo path.

Reunions followed: 1997 Ozzfest co-headlines, 2012’s 13 album (Grammy for “God Is Dead?”), and a 2017 farewell tour. Sabbath’s influence birthed metal, inspiring Metallica, Slayer, and beyond.

Ozzy’s 1980 solo debut Blizzard of Ozz, with guitar virtuoso Randy Rhoads, exploded with “Crazy Train” and “Mr. Crowley,” selling 5 million in the US alone. Tragedy struck in 1982 when Rhoads died in a plane crash; Ozzy mourned by dedicating Diary of a Madman (1981) to him. Hits like “Bark at the Moon” (1983) and “Mama, I’m Coming Home” (1991, with Zakk Wylde) followed, alongside albums No More Tears (1991) and Ozzmosis (1995).

His stage antics—snorting ants, biting a bat’s head (thinking it fake, requiring rabies shots), and urinating on the Alamo—fueled tabloids and lawsuits, including from parents blaming “Suicide Solution” for teen deaths. Ozzfest (1996–2018), co-founded with Sharon, launched stars like Slipknot and launched Ozzy’s empire. By 2022’s Patient Number 9, his 13th solo album, he’d outsold Sabbath’s post-Ozzy output.

Ozzy’s personal life mirrored his music’s turmoil. Married to Thelma Riley from 1971–1982, he adopted son Elliot and had Jessica and Louis; drugs strained the union. With Sharon, he welcomed Aimee (1983), Kelly (1984), and Jack (1985), adopting Elliot later. Infidelity led to a 2016 separation, but they reconciled; Sharon’s 2021 cancer battle and Ozzy’s 2023 home invasion added trials.

Addiction ravaged him—decades of excess culminated in 2019 rehab and a 2020 Parkinson’s diagnosis (known since 2003). A 2019 quad bike accident fused vertebrae; by 2025, he couldn’t walk unaided, yet quipped, “I’ve got more f—ing metal in me than a scrap merchant.” Sober by May 2025, he embraced homebody life.

The Osbournes (2002–2005) humanized him, earning an Emmy and introducing his bumbling dad charm to millions. Memoirs I Am Ozzy (2009) and posthumous Last Rites (2025) chronicled his nine lives.

Ozzy’s swan song was the July 5, 2025, “Back to the Beginning” benefit at Birmingham’s Villa Park—a 10-hour spectacle with Metallica, Guns N’ Roses, Slayer, Tool, and Pantera. Delayed from 2024 by health woes, it reunited Sabbath’s original lineup (Iommi, Butler, Ward) for the first time since 2005. Rising on a throne, Ozzy delivered solo hits “I Don’t Know,” “Crazy Train,” and “Mama, I’m Coming Home,” his voice defying frailty amid rigorous therapy.

The Sabbath finale—”War Pigs,” “N.I.B.,” “Iron Man,” “Paranoid“—drew 40,000 fans and global livestream tears. “This is my full stop,” Sharon said, as murals, a museum exhibit, and Freeman honors celebrated his roots. Seventeen days later, Ozzy died peacefully at home, surrounded by family.

Ozzy’s shadow looms eternal. With Black Sabbath, he co-invented heavy metal—tritone riffs, minor keys, and apocalyptic lyrics birthing a genre that spawned Metallica, Pantera, and Slipknot. Solo, his power ballads and shock rock redefined the “Madman” archetype, outselling Sabbath’s later eras and earning dual Rock Hall inductions (2006 with band, 2007 solo).

Ranked among Rolling Stone‘s greatest singers, Ozzy’s wail—melancholy yet defiant—influenced five decades, from grunge to nu-metal. Ozzfest launched icons; The Osbournes bridged metal to pop culture. Amid controversies—Satanism accusations, PMRC censorship—his authenticity empowered outcasts.

Posthumous tributes flood in: exhibitions extended to 2026, a BBC documentary, and murals immortalize him. As Lars Ulrich said, Ozzy gave “permission to five decades of miscreants” to rage loudly. Grammy winner, icon, survivor—his nine lives reshaped music’s dark heart.

Rest in power, Ozzy.

The darkness you chased burns brighter for it.

If you’re a rock fan, games based on your favorite rock stars and featuring the sounds of your youth (or more modern tracks) are going to take your iGaming to a whole new level. We’ve seen superhero themes, Greek Gods, pirates and every other type of theme imaginable but rock music themed slots will have you singing while you’re winning, with a little air-guitar celebration thrown into the mix.

Whether you’re a big 80s soft rock fan or you like something a bit heavier, you’ll have plenty of great rock music themed slots to choose from.

Here are some of our favorites:

Guns N Roses

Welcome to the jungle! Or in this case, welcome to the online casino ultimate rock experience with the Guns N Roses slot featuring band members, the iconic logo and fonts that any fan will recognize and of course a soundtrack that can be beaten. 

The game design takes you through a concert-inspired journey, with a bonus game named “The Crowd-Pleaser” and the euphoria of the “Encore” feature where players are awarded 10 free spins.

Another great bonus is that you can select the set list or you can have it randomized. You’ll hear classic tracks like Paradise City, Sweet Child O’Mine and November Rain – the perfect combination of listening to your favorite music while trying to drop some big winnings so you can live your own rockstar lifestyle.

Jimi Hendrix

The legacy of the legend of rock, Jimi Hendrix, has withstood the test of time. Even more than half a century later, his tracks like Purple Haze are rightfully acclaimed to be some of the most genre-defining songs ever to be released.

If you love slots and you love listening to Hendrix, you’ll find yourself immersed in this wonderful slot game dedicated to him. It is a low volatility slot with an RTP rate of 96.9% developed by iGaming leaders NetEnt.

The game design transports you back to the free-loving 70s, with peace signs, vinyl discs and flowers amongst the reel symbols. Of course, the bonus features are all inspired by Jimi too, with the Purple Haze feature bringing Hendrix onto center stage while changing lower card symbols into the wilds to give you some electrifying wins.

If you land at least 4 of his red guitars on the reels, get ready to be entertained – you’ll get re-spins that could potentially grab  you some big wins.

Ozzy Osborne

It has been a dark time for Prince of Darkness fans, saying goodbye to this inimitable rock legend recently as he passed away not long after his last performance, which was fittingly in his home town of Birmingham, UK. Anyone who had the chance to see Black Sabbath perform will tell you that Ozzy knew how to bring the entertainment, from his crazy antics to spine-chilling renditions of hits like Iron Man and Crazy Train.

Playing the Ozzy Osborne themed slot will remind you of everything that made Ozzy so unique. NetEnt couldn’t miss the opportunity to include the famous bat-biting incident. Landing the symbol of Ozzy biting a bat will unlock a payout of 50 times your bet.

You’ll also take a trip down memory lane with symbols like skulls, crucifixes and black roses. There is an extra feature activated by the Bonus Bet button, which doubles your stake but opens up some exciting features including free spins and multipliers. 

Where to Play Online Slots in Canada

Ready to play real money slots based on rock iconics with amazing graphics and even better soundtracks? Players in Canada can find a huge range of slots to play with over 80 licensed casinos in Ontario. 

Since the Ontario iGaming industry introduced a new regulatory framework in 2022, licensed online casinos have offered players a safe and legal way to play their favorite casino games. If you are new to online slots, it might be a bit overwhelming seeing all the different online casinos that you can choose from.

We recommend looking for the casinos that offer the best welcome bonuses – but always check whether there are wagering requirements that could make it hard to claim the bonuses that are offered. You’ll find that most Canadian online casinos offer free spins in the welcome bonus, as well as offering regular free spins so that you can get started with playing before deciding whether you want to deposit your own money to play.

The good thing about this song, they know how to make it catchy from the beginning until the end other than many bands these days they may do like a catchy verse or a chorus, instead, these dudes provided a 4:20 rock anthem. When you check the track you won’t have a doubt for a second for their experience and ability to master such a rock spirit. SuperMonkey is a high-profile artist, guitarist, singer, producer, and record label owner from Pittsburgh, PA.

After releasing the 7th successful album he settled on this trio p[erforming originals and covers for icons like The Beatles, Prince, and Led Zeppelin. In addition, while listening to such a solo and tight rhythm, I was very curious and I didn’t get surprised when I got the answer when he shared the stage with many acts like members of Guns N’ Roses, Samantha Fish, White Denim, Quiet Riot, Fuel, Ace Frehley, The Fixx, The Biters, and Robin Trower, so what we can say this is an incredible experience of many years to create such an epic rock anthem in 2021. Feel ‘Elisa Bonita’ below! 😉

The heavy riffs at the beginning of the track were enough to catch my ears and later the powerful vocals were also a great addition to the song structure.

I loved the lead elements very much especially when they following the vocal sentences creating a perfect hard rock hit. We are talking about four rockin’ machines from New York which actually taking their passion to the next level by releasing later this year their debut EP “Upper East Uppercut”. Thomas O’Hagan (bass), Jesse Anholt (vocals), Alex Buttler (guitars), and Nick Romagnuolo (drums) were able through their first single ‘Bandaids on a Bullet Wound’ to give me the rock thrill blended with an EARgasm. Keep rockin’ guys! m/

The band performances started relatively late, as to what had been announced previously on the Facebook Event page, nevertheless the crowd enjoyed the gig. EYE was first to play, with an acoustic set for the first time. Unfortunately, there were technical problems and sound issues, but apart from that their performance was – as we know it by now – pretty awesome.

The set list included tracks from both albums, their self-titled first release, and Kallisti, their most recent release. The band opened with the track ‘Poet’, which is a great piece to begin with, but being acoustic, it was given another nuance. Among the songs played were, ‘Untitled’, ‘The Blue Eyes of a Dog’, and ‘God Has His Reasons’, the latter to be my personal favorite of the evening. Another nice twist was added by the drummer using the Middle Eastern traditional drum –also known as Dirbakkeh- every now and then. Not only did it sound good with the music, but it also linked back to the narrative nicely.

The second band on the bill was Two Wooden Stones, who had come in from Germany to play their set of Folk Rock. As this was the first time I was hearing this band, and not being an ardent listener of folk rock as a genre, I was overwhelmed to an extent by the performance. The 3 member band, had something of their own signature to song writing, which was pretty evident in the songs they performed that night.

The last band for the night was Jay Wud. Now the last time I had seen these guys play was at the Du Arena in Abu Dhabi opening for Guns N Roses. That being the first time I had witnessed these guys live, they had me waiting for a year to see them again, which was tonight. Jay Wud got the whole venue right up front of stage and moving. They definitely were the highlight of the night. Their set consisted primarily of originals. The one cover they did perform was from one of my all-time favorite bands, Check My Brain by Alice in Chains, and my word they nailed it. The backing vocals of Bojan complementing Jay throughout the set was a joy to hear.

The show ended with Jay Wud and the Two Wooden Stones coming together on stage for a jam for one final track. With that the night ended, and it indeed was a blissful night of Rock music.

Jamie & Adrian.

However, it bombed majorly. The cheesy satire of the club owner Alec Baldwin falling in love, appearing as a Macho rock star is done poorly. The mechanical setup of how Juliane Hough’s clichéd character named Sherrie Christian coming from the south and being a proper Christian girl and suddenly getting mugged as soon as she arrives in Hollywood. Then a hot bartender Drew Boley played by Diego Boneta comes to try to save the day. See not a total cliché because he could not get her bag. But wait for it? She came with only seven dollars to her name and wants fame. So, at some point waitressing and stripping were the only ways to try to achieve that and for Drew it’s rock and rap… Hmm. 

Had this movie been done right all the clichés would have been overlooked and foolishly enjoyed by movie aficionados. The 80s music and call for nostalgia could not save it with all due respect the cast ruined a lot of good songs such as Harden my Heart, Waiting for a Girl Like You and Hit me with your Best Shot among numerous others. Some dance numbers were done poorly; the shy reporter that suddenly becomes a sex maniac is totally unrealistic. The comedy can be easily foretold in every single scene and it was all done for cheap laughs and done half-assed. Disrespecting the audience musical knowledge and intelligence. When I heard of this movie being made I knew it was going to be a bore and the funny Catherine Zeta Jones stripping days dance skills won’t save the movie. Not even Tom Cruise’s portrayal of rock God and getting super fit for the role. Total disappointment a mediocre movie at best.

Reviewed by: Randa Ashraf