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Death Lens is always an amazing band to see live and catching their last show of the year was an incredible experience 🤩

Great music, great venue, and great vibes. Hope to be back sooner than later.

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Cold World LP (Black w/ Red Splatter)

Upcoming shows.

• 5.28.2024 Neunkirchen, Germany Death Lens Stummsche Reithalle
• 5.29.2024 Lucerne, Switzerland Death Lens Sedel Club
• 5.30.2024 Lyon, France Death Lens Trokson
• 5.30.2024 Paris, France Death Lens SUPERSONIC
• 5.31.2024 Paris, France Death Lens Block Party 2024

Death Lens Announce New Album Cold World Out May 3 Via Epitaph

Death lens share an anthem of revolution “disturb the peace” from new album cold world out may 3 via epitaph.

Death Lens - "Limousine"

Death Lens - "Vacant"

Death Lens want to be in your ear at all times. They hide their ferocity underneath a thick veneer of style until the energy and …

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Hector martinez, canada label contact, tonni maruyama, eu label contact, australia label contact, dave jiannis.

Death Lens - "Cold World"

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• May 27, 2024 Setlist

Death Lens Setlist at Stummsche Reithalle, Neunkirchen, Germany

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Death Lens Gig Timeline

• May 25 2024 JUZ Burghausen Burghausen, Germany Add time Add time
• May 26 2024 Kiff Aarau, Switzerland Add time Add time
• May 27 2024 Stummsche Reithalle This Setlist Neunkirchen, Germany Add time Add time
• May 29 2024 Sedel Musikzentrum Luzern, Switzerland Add time Add time
• Jul 12 2024 2000 Trees Festival 2024 Cheltenham, England Add time Add time

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Interview: bryan torres and jhon reyes of death lens talk ‘cold world’.

• May 3, 2024

Death Lens have come a long way from an instrumental surf-rock parody trio to becoming a serious post-hardcore quintet with passionate and highly relevant lyrics. On the new Death Lens album, Cold World , out May 3 on Epitaph Records, the band now find themselves committed to social justice and addressing real-world issues, all with a slick post-hardcore sound that’s made unique by the band’s use of synthesizers. It promises that this is a band you haven’t heard the last of, as Death Lens are certainly on the rise and about to accomplish big things.

Death Lens took a moment to sit down with us and discuss their new album and their history as a band.

Your new album Cold World comes out on May 3, and I’ve been listening to it. I love this album. How does this stand out from the from your previous records? What’s different about this one?

Jhon Reyes: Well, this is the first album we actually used a producer. And it’s just been a big jump from our old sound. It’s our first time trying to mature ourselves into a different genre and trying to branch out to more listeners out there, trying to get out of the LA scene.

Bryan Torres: Yeah, 100%. I think the last stuff was a little more DIY. I think with this one, we decided to go a little broader. We just been writing for a wider audience for this new record.

And I saw in your press materials that you weren’t sure about working with a producer at first. How did how did that experience turn out for you?

JR: It was actually a really scary experience to begin with because before we went to New Jersey to meet (producer) Brett (Romnes), we only had like 70% of the songs finished. We never met the guy, so we were not entirely sure of what to expect. But just from the moment we got there in Jersey, The Barber Shop (Studios), he was super, super nice. He told us that he doesn’t want to dictate us; he just wants to inspire us. And just having someone there, sitting down and trying to help us create the song and try to let us know, “Oh, this shouldn’t be here. This should be here.” He was just a really amazing producer. He was really good at helping us create the songs that we wanted to make.

BT: My perspective, I love the guy. But I’m hard headed; he’s hard headed. He was kind of a bully and I fucking loved it. I did. So we would go at it every day. I’d be, “No I don’t like this. No, I don’t like this.” But, at the end of it all, it was just a friendship that made sense to us.I think that’s what made this album so good because we both decided to put our full efforts into what we both wanted for this record. So that’s fun. I had a good time.

JR: It was the best. Yeah, absolutely.

Besides working with the producer, was there anything else that you did different in the way you approached writing and recording this album?

BT: Yes, I think my vocals from the past up (were) a little more staccato. I’ve been trying to work more on being a little more flow when it comes to singing. No more party songs. I’m getting older; we’re getting older. I feel like we’re here to put a positive message into what we write or just talking about what’s going on in life. At the end, that relates to the audience that we play for. And then, the guys have gotten a lot more intricate on their parts, hitting different genres. To be honest, we were listening to different music these past years, and I think we try to keep up with what’s going on but just make it our own. And I think that’s what happened on Cold World .

It’s also your first album on Epitaph Records, which is just absolutely legendary. What has your experience been with them?

BT: Oh, man, they’re family from day one. They come to almost all the shows that we have. At least one or two people from Epitaph come by. We befriended the PR people. We befriended Brett. We befriended everyone that comes by. It’s just good times; they treat us like we’re part of the family. And I think that’s the part we were looking for on a label is to feel connected, to feel like we’re a part of something. And that’s what Epitaph feels like to me, to the whole band. They’ve been doing a great job keeping us promoted, setting us up on playlists, making sure our music’s getting out there.

JR: And just reminding us that they just genuinely like the music.

BT: Yeah, they genuinely liked the band, which is my biggest thing because I never wanted to be on a level where they would make us feel like we’re just there for a money grab.

JR: Yeah, they just believe in the story, the cause, and it just feels good.

I love the videos for the singles you’ve released, especially the one for the title track. Where did the idea for that video come from?

BT: I had a bit of a different idea for that video. But I think what brought it together was (director) James (Baby) made his own version. But the idea for the first “Cold World” video, (I) wanted it to be something where it was what’s going on in the world right now. So it’d be like scenes and flashes of the war in Gaza. But he decided it’d be more meaningful to put it into perspective as in a nightmare. So the whole thing is like, you’re living this nightmare in your life, and then you wake up, but it’s still happening in real life. That was symbolism for what’s going on in this world right now.

JR: It took a little more of an art form. That was a beautiful video. And it was honestly really cold out there. So we were there for how long?

BT: Oh, man. Eight hours?

JR: Yeah, it was all in one day. But yeah, it was just so cold. So that was definitely a “Cold World” themed video.

BT: At the beginning, the assassination of the press, it’s like me trying to put my word out there, and you’re trying your hardest, and sometimes that’s not enough. I guess that was the main meaning that me and James got together and put into perspective. At the end, it’s like, death is watching over you no matter what’s what’s happening.

I noticed in all of the press materials I received, they are always referring to you as being a Latino band. Do you like having that categorization out there and being known that way?

BT: I do. (The) reason why is because, when I first started Death Lens, it was just a predominantly white garage rock scene. (There) wasn’t really (many) of us out there doing what we’re doing. I think what’s beautiful now is that we’re seeing more and more (people of color) start bands because they feel like they have a voice now. So we use this platform to push this forward. It’s a Latino band, multicultural band, because obviously (Jhon’s) Filipino. But it makes sense to me because I grew up as an immigrant not knowing what I was going to do. So when I started playing music, I was watching these bands, but every single band was a white band. And I felt like maybe I could be the first band to be out there doing my thing, pushing the garage scene. I think that’s we push that so much.

JR: It also inspires other minorities trying to express themselves in the same dominant culture. We want to inspire all those who are also going through the same thing who started from the bottom (and) came from nothing. As long as you work hard and hustle, it’s possible. Anything’s possible.

Jumping off what you said about how it was a predominantly white scene, did you have any kind of pushback being a minority band?

BT: I think with surf rock music, when I first started, it was kind of rare to see brown kids watch us play, actually. We started with a lot of bands like The Frights. We went to go see bands like The Osees or Bicycle, and it was the majority white-ruled as far as the audience. So when we started playing, I think we started seeing more and more brown people coming to shows. I thought it was cool. I like seeing my own people watch me; it’s always beautiful to see.

In your materials, you talked about your dedication to social justice issues. Why is that important to you as a band?

BT: Oh man. I personally wasn’t really a political guy for the longest time. And I know this is going to start some debates, but after the whole Trump era back in ’16, I really started jumping into that (after) seeing the way things are going. Obviously, the Black Lives Matter movement became a big deal. All the stuff in between just started making sense to me. Personally, I was like, if we can advocate for minorities, we can advocate for the things that are happening at the moment, and we can advocate for rights groups and all this stuff, why not? We have the platform to use it. That became our thing, using the platform, writing lyrics that lived in that moment. That’s how it happened.

JR: Yeah, it just stems from anger.

BT: Yeah, a lot of anger.

JR: Everyone’s going through their own shit. Also, during that time, being a minority in the scene just makes you angry, seeing all that stuff happened to people. (We) want to stand up for those who are going through it. I feel like it’s good to use our platform for that.

You started out as an instrumental band. Right?

BT: Oh yeah.

What made you want to change that?

BT: We didn’t really start a band to start a band back when we started. The band started just because we were bored. It was just three of us. I played the guitar; my buddy played bass; we had a drummer. We kind of ridiculed surf rock, but our own way, as a joke. But then I had the urge to start singing. My old drummer thought it was a bad idea until we tried it. And then, slowly, we went from a surf rock band that was just instrumental to having some sort of lyrics. Through different eras of Death Lens, we started making different types of music. I think, like, every five years we change our sound.

Probably a good idea, just to keep things fresh. What’s next for the band after the album comes out?

BT: Tour, tour, tour. A lot of lot of dates coming up. We have Europe, we have the U.K. We’re finishing up right now, California, the U.S. We’re about to enter into Canada tomorrow, or today, hopefully. And then we have three months off. We’re going to focus on starting to write new music. We’re going to focus on practicing all the new stuff. We’re going to focus on getting more chemistry with each other because we have a new drummer now. The boys are trying to get him more in tune with each other. And then touring again. We’re back on the road next fall in September to November.

JR: Yeah, we’re doing the Teen Mortgage tour right now. And then, after that, we’re gonna do a Together Pangea tour, and then Europe. Then, after Europe, we have that break. And then a couple of release shows, or just a little mini tour after Europe. And then we go on to with Four Year Strong after that to end the year. That’s it.

That’s all I wanted to cover. Is there anything in particular you want to plug or go over that I didn’t talk about?

BT: Yeah, that’s pretty much everything I can think of right now. Just a new album coming out.

JR: Listen to Chico. That’s our friend’s Tony’s band. So definitely bless them. And listen to Sex Beast. Also a good band.

BT: Yeah, we’re living our life right now. The van life.

JR: Everyone living in a van make sure that you stay hydrated and don’t eat too much crappy food. Try your best to just eat sandwiches and be nice to each other. Keep spirits high. That’s it. If you want to do something, just make sure you just keep on hustling for it.

Cold World by Death Lens is out today, and you can order it from Epitaph Records . Follow Death Lens on  Facebook ,  Instagram ,  Twitter , and  TikTok  for future updates.

Photo courtesy of Robert Nuñez

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• May 29 Sedel Luzern, Switzerland
• Jun 2 Bei Chez Heinz Hannover, Germany
• Jul 1 Dead Wax Birmingham, UK
• Jul 3 New Cross Inn New Cross, UK
• Jul 4 Drummonds Bar Worcester, UK
• Jul 11 The Joiners Southampton, UK
• Jul 12 Upcote Farm, Withington Cheltenham, UK
• Jul 19 Valley Bar Phoenix, AZ
• Jul 20 Voodoo Room at House of Blues San Diego San Diego, CA
• Jul 21 Constellation Room Santa Ana, CA
• Jul 26 Goldfield Trading Post Sacramento, CA
• Aug 2 Teragram Ballroom Los Angeles (LA), CA

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With their 2022 album ‘No Luck’, the band expanded their sound to a new place. Inspired by the turmoil and racial injustice of 2020, Death Lens set out to make an honest album that encapsulates the anxieties and hardships of life, while ultimately conveying a positive message that there is light at the end of the tunnel. They are living proof of this themselves.

Growing up as minorities in a place with constant harassment by police and heavy gang violence, their path could have gone another way, but they’ve chosen positivity and strive to be a light for their communities, their fans and each other. Since releasing the album in early 2022, Death Lens have been continuously reaching new heights. They performed at Treefort Fest, toured around the country with Militarie Gun and Together Pangea, are one of the most played bands on SiriusXM Faction Punk, were added to huge playlists on Spotify and Apple Music, confirmed syncs in MTV’s Ridiculousness and EA’s NHL Video Game, and sold out two headline shows at The Echo in their hometown. 2023 is shaping up to be their biggest year yet with very exciting announcements coming soon. Stay tuned.

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Unless otherwise noted, tickets for shows at Blueberry Hill Duck Room can be purchased in advance on Ticketmaster.com, at The Pageant's Box Office (6161 Delmar Blvd, St Louis, MO, 63112), and Suite 100 at The Pageant. Tickets can also be purchased at the Duck Room door on the night of the show, an hour prior to door time, unless the show is sold out. Tickets are not available at the Blueberry Hill bar.

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ALBUM REVIEW: Cold World – Death Lens

DEATH LENS  have changed their musical style up on their fourth album Cold World . The five-piece started out in 2012 as an instrumental only group before pushing themselves to become the staple punk/indie/Britrock band that they are known as, but after releasing their third album No Luck in 2022, and touring with both MILITARIE GUN  and TOGETHER PANGEA , the band have moved away from the music that they mimicked in the early stages of their existence. Across 11 songs, they showcase the best of their musical abilities and push themselves further than ever.

Opening song Fucked Up is a fast-paced punk song that slaps the listener in the face with its loud verses that are expertly contrasted with the sing-along choruses which are slightly calmer. After the equally in-your-face recent single Disturb The Peace , and the fast-paced rock of Turnout , the album threatens to merge into one incomprehensible blur of punk, although the band are clearly talented at it. But DEATH LENS  are clever enough to switch things up and test the waters of grunge on the next song Limousine , which slows the pacing of the album a lot. Whilst the band do incorporate a bit of a punk sound during the end of the song, it is only for around 30 seconds and fits well into the song as a nice callback to the style of the first three songs.

The rest of the album flirts with rock ( Nothing’s Forever and Vacant ), indie-rock ( Bruised ), and grunge ( Not Enough and the title track ), while the closing song Lo Que Sera is an acoustic track that is a welcome break from faster pace of everything else. But despite all the genre-hopping, Cold World  isn’t cluttered. Perhaps this is because the band are smart enough to dedicate a few songs in a row to a certain genre before moving onto the next one, or because some songs incorporate small parts of previous genres in them to keep the album sounding cohesive.

Overall then, Cold World is a fantastic album. The band have pushed themselves sonically and it never feels gimmicky. The production of the album is particularly special as it could have easily fallen apart with all the genre-hopping, but instead DEATH LENS  have created a slick, listenable and very enjoyable fourth album that pushes their musical boundaries whilst still feeling like a natural progression.

Rating: 8/10

Cold World is out now via Epitaph Records.

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‘the miseducation of lauryn hill’ named no. 1 album of all-time by apple music, breaking news.

Charlie Colin Dies: Founding Bassist For Rock Band Train Was 58

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Charlie Colin , founding bassist of the rock band Train , has died after reportedly slipping in a shower. He was 58.

Colin’s mother reported the death to TMZ. She said her son was housesitting for a friend in Brussels, Belgium, when the bathroom accident occurred. Colin’s body was discovered by the homeowners when they returned from their travel after five days; the date and exact cause of Colin’s death have not been determined.

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Colin was a resident of Brussels, where he worked as a conservatory teacher and was working on various recording projects.

From Singapore he moved to San Francisco and formed a band called the Apostles, which also included future Train guitarist Jimmy Stafford. That band would form an early iteration of what would become Train after vocalist Pat Monahan joined.

Throughout the 1990s and 2000s, Train enjoyed enormous commercial success, scoring its first Top 20 hit in 1999 with “Meet Virginia,” and, in 2001, the triple-platinum album Drops of Jupiter. Train would reach its hit-making peak in 2009 with “Hey, Soul Sister,” but by that time Colin had left the band: He quit in 2003 due to substance abuse issues.

In a 2017 interview with NBC News, Monahan said, “Charlie is one incredible bass player, but he was in a lot of pain, and the way he was dealing with it was very painful for everyone else around him.”

After leaving Train, Colin collaborated with Matchbox Twenty’s Scott Underwood in a band called Food Pill, and played in subsequent bands called Painbirds and The Side Deal.

In addition to his music career, Colin collected art and was an advocate for unhoused artists.

The original version of this report included an incorrect photo.

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Train breaks silence on bassist Charlie Colin’s shocking death at 58: ‘Legend’

Train is honoring one of their own.

The band released a statement Wednesday after news broke that founding member and bassist Charlie Colin died at the age of 58.

“When I met Charlie Colin, front left, I fell in love with him,” began the statement, shared on the band’s X and Instagram accounts.

“He was THE sweetest guy and what a handsome chap. Let’s make a band that’s the only reasonable thing to do,” the group continued. “His unique bass playing a beautiful guitar work helped get folks to notice us in SF and beyond. I’ll always have a warm place for him in my heart. I always tried to pull him closer but he had a vision of his own.”

Train added: “You’re a legend, Charlie. Go charm the pants off those angels.”

The tribute featured a black-and-white photo of the band’s original members: Colin, Pat Monahan, Rob Hotchkiss, Jimmy Stafford and Scott Underwood.

The San Francisco band formed in the ’90s and their breakout album was 1998’s “Train.” 

Train is best known for the hit songs “Drops of Jupiter” and “Hey, Soul Sister.” 

TMZ reported  Wednesday that Colin died after he slipped and fell in the shower while house-sitting for a friend in Brussels, according to the musician’s mother. 

He was found when his friends returned home from their trip, she said. 

Originally from Newport Beach, Calif., Colin was a member of Train from the band’s formation until 2003, after they won two Grammys in 2002. 

He reportedly left due to substance abuse issues.

“There was a lot of things that led to me leaving, but it really escalated into it,” Colin said last year in an interview with  “Delphine’s Circle.”  “We never took a break. We drove our tour bus into the parking lot of the recording studio for our second and third record. In Philadelphia, we made our one-and-a-half record … We just never stopped. It’s kind of one those things where you feel like this is too good to be true. Most bands have a lifespan of a few years.”

As of this year, Train consists of Monahan, Taylor Locke, Hector Maldonado, Jerry Becker and Matt Musty. 

Why 'Band of Brothers' Is Still Harrowing After All These Years

It's a gut-wrenching, immersive WWII experience.

The Big Picture

• Band of Brothers immerses viewers in WWII battles with intense visuals and sound design.
• The miniseries includes interviews with real WWII veterans from Easy Company, adding a credible and grounded perspective.
• Different perspectives on warfare are shown, including focusing on characters of various backgrounds and ranks, enhancing the depiction of war.

It’s rare that a miniseries endures for decades after it initially airs, but Band of Brothers remains as relevant and as devastating as ever. Created by Tom Hanks and Steven Spielberg and based on Stephen E. Ambrose ’s 1992 book of the same name, Band of Brothers was originally broadcast in 2001 on HBO . Over the course of 10 episodes, it tells the story of "Easy Company," a group of paratroopers in the U.S. Army’s 101st Airborne Division, from their training in 1942 to their mission in Europe towards the end of World War II.

In addition to the creative talent behind the scenes, the miniseries features an array of young actors who went on to become rather famous, including Damian Lewis , Ron Livingston , David Schwimmer , Donnie Wahlberg , Dexter Fletcher , Michael Fassbender , James McAvoy , Tom Hardy , and Andrew Scott . The star power behind the miniseries is one case for still talking about it today, but it also resonates for much deeper reasons. It not only changed our expectations of how high the quality bar could be for a miniseries, but it also told a story from WWII in a sophisticated and visceral way.

Band of Brothers

The story of Easy Company of the U.S. Army 101st Airborne Division and their mission in World War II Europe, from Operation Overlord to V-J Day.

'Band of Brothers' Immerses the Viewer in the Battlefield Like Never Before—or After

Coming from co-creator and executive producer Steven Spielberg, Band of Brothers shares many of the same qualities as his 1998 WWII film, Saving Private Ryan , notably, the war visuals and sound design that help to immerse the audience in the epic battles of the war. Visual debris and blood hits the camera and clutters the scenes; the sound design creates a chaotic sense of scale, as if the enemy could be coming from any direction. Band of Brothers portrays the feeling of being in a war, rather than just telling the story of it . The battles in the episodes, “Day of Days,” “Carentan,” and “The Breaking Point”, depict prime examples of the techniques used to create this immersion.

The “Days of Days” battle, where Easy Company attacks a fortified German artillery position, uses cinematic methods to immerse the viewer in the fighting . There are no static shots, and battles are long and drawn out. The camerawork is key, as the use of a handheld camera gives movement to the visuals, allowing the cameraperson easy access to be in the scene with the actors. As Easy Company runs and takes cover, the camera is right there with them, following their every move rather than using edits to cut away to staged shots. The camera shakes with every cannon fire, and sometimes switches to a soldier’s viewpoint as they take cover. Debris of bullets hitting trees or grenades exploding shatter across the screen. Even gun muzzle flashes coming from offscreen shoot out in front of the camera’s field of view, as if the gun is being fired immediately next to the viewer.

From a sound perspective, much of the sound design follows the visual lead but uses emphasis to further the immersion. Every movement of the soldiers can be heard as the Foley design covers minute details from weapons and footsteps to the sound of clothing moving. Bullet whizzes are heard flying past the camera's viewpoint, giving the viewer the perception that it has flown past their ear , even when there is no accompanying visual. “Carentan” uses the same techniques as “Day of Days” to immerse the viewer in the battle, but as the fighting becomes more significant, the chaos is heightened further. Debris flies at the camera, and this time often stays stuck on the lens. The edits are furious and quick, cutting from handheld shot to handheld shot, lending a sense of panic and lack of control. The faster pacing increases the pandemonium for this larger-scale fight, masterfully using sound and visuals .

'Band of Brothers' Highlights Stories of War From Veterans' Experiences

Unlike many other war dramas, Band of Brothers includes interviews with WWII veterans as part of each episode. Adding another level of credibility, these war veterans are the specific surviving characters from Easy Company who are featured in the miniseries. The use of interviews in Band of Brothers adds perspective to the narrative , hammering home that this story is based on truth rather than fiction. This is especially poignant as we now have entered the period when there are almost no WWII veterans left to tell these stories.

Band of Brothers always feels grounded, not sensationalizing the war as much as other films or series have. This is particularly evident in the episode, “Why We Fight,” as Easy Company discovers a German concentration camp and realizes the extent of what this war is really about. The Holocaust has been depicted many times in cinema, and it’s always a harrowing subject , but Band of Brothers takes a different and serious approach when covering this part of the war.

Austin Butler's 'Masters of the Air' Takes 'Band of Brothers' to the Skies in First Trailer

The soldiers—who have no idea what they are about to find—stumble across the camp, and slowly unravel the truth about the horrors of WWII. It’s portrayed almost casually how they happen on the site, relaying their findings to their captain in a confused but matter-of-fact way. It feels realistic and isn't portrayed in an over-exaggerated Hollywood style. The simple acts of the soldiers covering their noses from the smell, the trembling from what they see, and their shocked looks all say what needs to be said.

'Band of Brothers' Explores Fighting From Different Perspectives

Band of Brothers tells the story of fighting in WWII from different perspectives by focusing on a wide variety of characters, some from different socio-economic backgrounds, but mostly soldiers of different ranks. A ton of time is spent with Damian Lewis ’s Richard "Dick" Winters, as throughout the series, he's promoted up through the ranks to Major. Other characters of various ranks also get significant time spent on their experiences, but it's one episode in particular that focuses on a medic that's the real standout.

“Bastogne” shifts the point of view to medic, Eugene Roe ( Shane Taylor ), during the most gruesome, ongoing battle . Seeing the same type of battle events unfold from a totally different perspective, such as the medic’s, gives a well-rounded depiction of what it's really like on the battlefield . While the medic is still a soldier, his role in battle is rather different from firing a gun or stalking the enemy. He scours the battlefield, giving the audience a tour of the wounded and dead. He escorts the wounded to a church that’s being used as a makeshift hospital, where he meets a nurse who he forms a friendship with as they discuss what it’s like to treat the wounded. He later returns to the church to find it in ruins, emphasizing the hopelessness, loneliness, and overwhelming desperation that he and the soldiers are feeling.

Band of Brothers stands the test of time as one of the greatest miniseries ever made , retaining its acclaim for more than two decades following its release. It originally felt like the first time a television series had the same quality of visuals, sound, and storytelling as a Hollywood film . These elements truly immerse the viewer in the battlefield, presenting a grounded and well-rounded story of a group of ordinary men who found themselves in extraordinary circumstances.

Band of Brothers is available to stream on Max in the U.S.

Watch on Max

Charlie Colin, founding member of Train, dies at 58: 'The sweetest guy'

Charlie Colin, one of the founding members of the San Francisco-born pop rock band Train , has died. He was 58.

"When I met Charlie Colin, I fell in love with him. He was THE sweetest guy and what a handsome chap," the band said in a statement shared on social media Wednesday, alongside a photo of the band's five members.

The post continued, "Let's make a band that's the only reasonable thing to do. His unique bass playing (and) beautiful guitar work helped get folks to notice us in SF and beyond. I’ll always have a warm place for him in my heart. I always tried to pull him closer but he had a vision of his own. You're a legend, Charlie. Go charm the pants off those angels."

TMZ first reported the news, citing a statement from Colin's mother. Colin's sister confirmed his death to Variety .

Founded by Pat Monahan, Rob Hotchkiss, Jimmy Stafford, Scott Underwood and Colin in the early 1990s, with Colin recruited as the bassist, Train has produced a number of chart-topping hits including " Drops of Jupiter (Tell Me) ," which won the Grammy for best rock song in 2002; " Hey, Soul Sister "; " Calling All Angels " and " Meet Virginia ."

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After "Hey, Soul Sister" debuted in 2009, it peaked at No. 3 on the Billboard Hot 100, becoming the band's highest-charting track.

Now, Monahan is the last original member still playing in the band, which went on a hiatus from 2006 and 2009 following the release of their fourth album, "For Me, It's You." The band's 2009 LP "Save Me, San Francisco" revived the band with hits "Hey, Soul Sister," "If It's Love" and "Marry Me."

Pat Monahan interview: Founding member celebrates 'Meet Virginia' 25th anniversary

Charlie Colin was also part of bands the Apostles and Painbirds

Colin and Hotchkiss – who both grew up in Newport Beach, California, and separately attended Berklee College of Music in Boston – reconnected as young adults when Hotchkiss formed his band the Apostles, according to the Southern California newspaper The Daily Pilot .

After going their separate ways following the closure of the record label that had signed them, Hotchkiss met Monahan in San Francisco and soon recruited Colin, who brought on Underwood as their drummer.

"We'd play anywhere, even in laundromats," Colin told The Daily Pilot in 2015. "Train became very successful."

He left the group in 2003 as he was dealing with substance abuse issues, with Hotchkiss following not far behind.

"I had a really great run, but it was difficult," Colin told The Daily Pilot.

A decade later, they formed a new band called Painbirds with Underwood and Tom Luce, the lead singer of the band Luce.

Contributing: Ralphie Aversa

Founding member of rock band Train dies after fall in shower

• Updated: May. 22, 2024, 2:44 p.m. |
• Published: May. 22, 2024, 2:35 p.m.

Members of music group Train (L-R) Scott Underwood, Charlie Colin, Pat Monahan, Jimmy Stafford and Rob Hotchkiss attend the "United We Stand" benefit concert October 21, 2001 in Washington, DC. (Photo by Alex Wong/Getty Images) Getty Images

• Geoff Herbert | [email protected]

A founding member of the pop-rock band Train is dead at age 58, according to a new report from TMZ .

Charlie Colin, a bassist for the Grammy-winning music group for a decade, died after slipping and falling in a shower in Brussels, Belgium. Colin’s mother told TMZ that the accident occurred while he was house-sitting for a friend; his body was discovered when his friend returned from a trip five days ago.

Colin’s sister confirmed his death to Variety .

Colin was living in Brussels at the time, teaching a music master class at a conservatory, his mother told TMZ. He was also reportedly working on music for a film and served as musical director for the Newport Beach Film Festival.

Colin formed Train in the ‘90s with singer Pat Monahan and fellow founding members Rob Hotchkiss, Jimmy Stafford and Scott Underwood. Colin played bass on Train’s first three albums, including “Meet Virginia” and the Grammy-winning smash hit “Drops of Jupiter.”

Colin left the group in 2003 due to substance abuse, according to Variety. He later performed with bands like Slipknot and Puddle of Mudd, plus formed the band Painbirds (with Hotchkiss) and Side Deal (with Sugar Ray’s Stan Frazier and the PawnShop Kings’ Joel and Scott Owen).

Train has not yet commented on Colin’s death.

The band, also known for songs like “Hey Soul Sister,” “Marry Me” and “Drive By,” begins its summer tour next month with four concerts scheduled in Upstate New York . Train will perform July 19 at the Artpark in Lewiston and three shows with REO Speedwagon on July 23 at the Broadview Stage at SPAC (Saratoga Performing Arts Center), July 24 at the Bethel Woods Center for the Arts, and July 31 at the Empower FCU Amphitheater in Syracuse.

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Jon Wysocki, founding drummer of Staind, dies at 56

Wysocki played on Staind's biggest albums and later played with Soil, Save the World, and Lydia's Castle.

Jon Wysocki, founding drummer of the rock band Staind, died on May 18. He was 56, according to current Lydia's Castle bandmates, Tonya LeeAnne and Cody Denton, who noted that his age has been reported incorrectly elsewhere.

"Jon passed away surrounded by family and friends that loved him dearly," LeeAnne and Denton told Entertainment Weekly . No cause of death was provided. However, on Saturday, friends posted that he was in the ICU due to issues with his liver. 

Annamaria DiSanto/WireImage

Wysocki co-founded Staind in 1995 along with singer Aaron Lewis, guitarist Mike Mushok, and bassist Johnny April. Their first studio album, Tormented , arrived in 1997. Two years later, they'd find widespread success with the release of their major label debut, Dysfunction , co-produced by Limp Bizkit singer Fred Durst . The singles "Mudshovel" and "Home," which showcased the band's tendency toward metal as well as ballads, catapulted them to the forefront of the scene. On the back of that album, they would headline the massive 1999 Family Values Tour with Limp Bizkit and Filter, as well as dates with Korn, the Crystal Method, Run-DMC, Primus, Sevendust, and Method Man and Redman.

Staind's third studio album, Break the Cycle , debuted at No. 1 on the Billboard 200 on the strength of the single "It's Been Awhile." The album ultimately went five times platinum.

Wysocki continued playing with Staind until 2011 when, after alleged friction with Lewis, he departed the band and was replaced by Sal Giancarelli.

Jason Kempin/Getty

Lewis acknowledged some of that friction while paying tribute to Wysocki on X (formerly Twitter) . "I’m so sad. I lost my friend. A friend I loved like a brother… fought with like a brother," he wrote. "The battles we fought together. The battles we fought against each other. The battles we fought side by side alone with our own demons. The battles we won and the battles we lost. He was my friend. He was our brother. My heart is broken. My world has changed."

Staind's official Instagram account also posted a tribute to the band's former drummer, writing: "We first met Jon through mutual friends in 1994. We came together with Mike, Aaron, and Johnny April in 1995 and founded Staind. The 17 years that followed were some of the best memories of our times together. From practice in Ludlow, Mass to touring around the world, Jon was integral to who we were as a band. Our hearts go out to Jon’s family, and fans around the world who loved him."

After Staind, Wysocki had a short stint with fellow nü-metal stalwarts, Soil. Though, he never recorded an album with the "Halo" band. "Today we lost one of the greats," the band wrote on social media . "Jon Wysocki was not only a great friend, a great drummer, but a great human being. It was an honor to have him in SOiL for the time we did. We had so many laughs, so many good times."

He joined the Nashville group Lydia's Castle in 2021, with which he played until his death. The band also shared a series of photos of Wysocki with the band and fans on their Instagram account.

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News Obituaries | Grayson Murray dies at age 30 a day after…

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News obituaries | girl killed, man injured after being shot at virginia beach’s mount trashmore park, news obituaries, news obituaries | grayson murray dies at age 30 a day after withdrawing from charles schwab cup challenge, pga tour says.

There were no immediate details on the circumstances of his death, only shock and grief from the PGA Tour and his management team.

“I am at a loss for words,” PGA Tour Commissioner Jay Monahan said. “The PGA Tour is a family, and when you lose a member of your family, you are never the same. We mourn Grayson and pray for comfort for his loved ones.”

His management company, GSE Worldwide, confirmed the death and said it was heartbroken.

“We will hold off on commenting until we learn further details, but our heart aches for his family, his friends and all who loved him during this very difficult time,” GSE said in a statement.

Monahan said he spoke with Murray’s parents to offer condolences, and they asked that the tournament in Fort Worth, Texas, continue.

He said grief counselors would be on site at the PGA Tour and Korn Ferry Tour event in Knoxville, Tennessee. Monahan said he was headed to Texas.

Murray, who had dealt with alcohol and mental health issues in the past, made a massive turnaround this year and won the Sony Open, hitting wedge to 3 feet for birdie on the final hole to get into a playoff and winning it with a 40-foot putt.

He also won the Barbasol Championship in 2017.

Murray was No. 58 in the world rankings coming off a tie for 43rd in the PGA Championship last week at Valhalla. He also made the cut in his Masters debut, finishing 51st, and was in the field for the U.S. Open next month at Pinehurst No. 2.

Murray, who grew up in North Carolina, was among the most talented juniors in the country. He won the prestigious Junior World Championship in San Diego three straight years and earned the Arnold Palmer Scholarship at Wake Forest.

He wound up going to three colleges, lastly at Arizona State, and won as a 22-year-old PGA Tour rookie at the Barbasol Championship.

Murray said when he won the Sony Open in January that he had been sober for eight months, was engaged to be married and felt his best golf was ahead of him. He was appointed to the 16-member Player Advisory Council.

“My story is not finished. I think it’s just beginning,” Murray said in Hawaii. “I hope I can inspire a lot of people going forward that have their own issues.”

Murray said he used to drink during tournament weeks as a rookie because he knew he had talent and felt he was invincible. He also brought attention to himself through social media, openly criticizing other players and getting into one social media spat with Kevin Na over Na’s reputation as a slow player.

But he felt like he turned the corner when he sought help — letting others fight for him, is how he explained it this year.

“It took me a long time to get to this point,” Murray said in January. “That was seven years ago, over seven years ago. I’m a different man now. I would not be in this position right now today if I didn’t put that drink down eight months ago.”

This story has been corrected to show that Murray won the Barbasol Championship in 2017, not last year.

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“Disney at the Movies” -The Sioux City Municipal Band to begin concert season on June 2

SIOUX CITY (KTIV) -The Sioux City Municipal Band’s summer season of concerts will return to Grandview Park on Sunday, June 2nd.

The concert will start at 7:30 p.m. at Grandview Park’s Band shell. Led by Conductor Michael Prichard, the show will feature “Disney at the Movies” - a medley of 14 different Disney songs.

The medley will include a Warren Barker arrangement of three popular George Gershwin songs and John Philip Sousa’s “On the Tramp.” Led by band shell host, Dave Madsen, the traditional audience sing-a-long will include “When You Wish Upon A Star” and “I Got Rhythm.”

The summer concert season will continue through July 21st and is presented by the Sioux City Parks and Recreation.

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‘The Jinx: Part Two’ Showed the Impossible Task of Topping a True Crime Classic

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The awkward reality is that, while Jarecki and his team have a legitimate claim to advancing the cause of justice for Durst’s victims, they have also generated a tremendous amount of material for their own potential use. Just as “The Vow’s” back half centered the trial of NXIVM leader Keith Rainere and “Making a Murderer’s” on the appeals processes for defendants Steven Avery and Brendan Dassey, “The Jinx” uses trial testimony, jailhouse phone calls, legal documents and interviews with the defense and prosecution teams to assemble a new arc. It’s an approach with a mixed track record: where a legal proceeding gave the dreamy, elliptical “The Vow” a needed sense of structure and urgency, “Making a Murderer” slowed to a crawl as it traded decades’ worth of exposition for the sloth-like pace of active litigation. Depicting an ongoing process can afford urgency or the lure of exclusive access. It also deprives filmmakers of the distance that allows them to arrange years of events into a legible narrative.

In the end, “The Jinx: Part Two” lacked any major reveals. Audiences are already familiar with Durst’s bizarrely compelling demeanor, a ubiquity demonstrated by montages of “SNL” impressions and other pop culture ephemera. The jailhouse conversations, with Charatan and other loyalists, are amusing — Durst shows off his pushup form! — but all parties involved are aware they’re being surveilled. Some of the most pivotal developments in the trial, like Durst suddenly admitting he wrote a letter even he previously said could only have come from Berman’s killer, happen in the fine print of lengthy filings. The now-iconic hot mic moment hinged on the same letter, which Jarecki linked to Durst through a telltale misspelling of “Beverly Hills.” The contrast between one scene’s jaw-dropping impact and the other’s disappointing shrug is, of course, the presence of Durst himself to provide an audible reaction.

Without major twists, “The Jinx: Part Two” struggled to make a compelling narrative of the trial itself. Given the widely known outcome, suspense over whether prosecutor John Lewin can persuade the jury was largely moot. Nor do Lewin and his aides make for ideal protagonists in a show that is, in large part, about the failure of the justice system to provide accountability for Durst’s victims and their families. The adversarial setting of a courtroom would seem to be a ready-made substitute for Jarecki’s previous sit-downs with Durst, but these scenes are a placebo at best. When Durst does take the stand, emphasizing his vulnerability with a neck brace and accommodations for a hearing impairment, it’s as a pale imitation of the cocky eccentric who once agreed to be interviewed.

This theme is more ambiguous than the black-and-white binary of guilt or innocence, and better suit a true crime sequel than a futile attempt to recapture lightning in a bottle. Even Berman, in Jarecki’s telling, was not a perfect victim, slandering Kathie Durst even after her disappearance — a move oddly similar to how disparaging Charatan is of Berman. An entire network of friends and family looked the other way in the face of Durst’s obvious wrongdoing for their own financial benefit, few of whom will face anything like a real consequence. When Jarecki presses Chavin to explain his longtime denial, it’s the closest he gets to the electricity of interrogating Durst. There’s no satisfaction in catching a criminal red-handed, but at least in this respect, “The Jinx: Part Two” isn’t aiming for catharsis; it wants the audience to sit in the discomfort of collective moral failure. It’s easier to accept a lack of a release when the absence is the point.

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