Spring time on planet Earth. Flowers are blooming. The weather is heating up. New music is dropping. But what, dear readers, should you be blasting from your 8-tracks this season? Oh, you don’t have an 8-track? Well, never fear, Verdena shall provide you with an 8-track worthy tome in Volegio Magia (Capital Records Italy / Universal Music).
Keefy from Ghost Cult caught up with Layne and Myles Ulrich of Taipei Houston at Aftershock Festival to chat about their debut album “Once Bit Never Bored,” out now on C3 Records. The brothers are the sons of Metallica legend Lars Ulrich, but are dedicated to making it on their own steam. We discussed their approach to music, how they collaborate on songs, opening for Melvins, their Beatles cover of “Eleanor Rigby,” and much more! Continue reading →
With a band name so obscure it’s like they don’t want to be found, a mocking album title and featuring a musical parody of Sergeant Pepper’s Lonely Hearts Club Band, Mr. Phylzzz (pronounced “Mr Flies”) demonstrate on their latest album Cancel Culture Club (Amphetamine Reptile Records), that they aren’t taking anything too seriously.
Having amassed a discography of over twenty albums as the lead vocalist (of which this is the fifth solely under his own name), and nearly two dozen guest appearances across a thirty year professional recording career, you could have forgiven James LaBrie for taking some overdue and well-earned time off when the 2020 Dream Theater world tour was halted. Instead, he and Eden’s Curse (whose Trinity album was adorned by his distinctive a glorious pipes) guitarist Paul Logue began trading the musical ideas that would grow into Beautiful Shade of Gray (InsideOut Music).
One of the great success stories of the last ten years or so, the inexorable rise of occult rockers Ghost has been nothing short of astonishing. From their inception in 2006 and the release of full length debut Opus Eponymous (Rise Above Records) four years later, the act from Linköping have gone on to become one of Sweden’s greatest ever exports.
The early-to-mid 1990s was a wild time for heavy music. With the Seattle bands like Pearl Jam and Nirvana blowing up and killing off a lot of hair metal bands, and Metallica and Pantera dominating, and death and black metal gaining steam and mainstream success, other kinds of rock bands struggled to cut through. King’s X already had four albums out by the time Dogman (Atlantic) landed in shops. Their heavy rock flirted with metal, but really they have always bucked trends and classifications. Interpreting their influences and their bare lyrics full of religious symbolism and metaphors have earned them a legion of fans and lengthy career worthy of respect. Continue reading →
Search online for bands named Trees and the only entries you’ll find are references to the glorious British Folk outfit of the late sixties and early seventies. Deep in the recesses of Finland, however, comes another such incarnation: one that joins the gathering of acts that have revitalised the genre this year.Continue reading →
So here’s me expecting The Mon to be a product of a maniacal Scottish ego. Imagine my surprise to find that it’s an alter-ego of Urlo, bassist and vocalist of Italian heavyweights Ufomammut: and, far from that trio’s cosmic crescendo, Doppelleben (Shadow Kingdom Records) is far more introspective and pared back.Continue reading →
It’s hard to believe that the early 1990s are now a full generation plus in the rearview. One of the definitive albums of that era for any music fan is Nirvana’s Nevermind (DGC). Whether you like the band or the album or not, the impact they made with that album is still sending shockwaves being felt today. What about the band themselves? How do you top a masterpiece and a hit album you never wanted? Well if you were Kurt Cobain, you know the answer is you don’t even try. With their follow-up In Utero (also DGC), Cobain undoubtedly felt like they had made an album closer to what they were originally aiming for in their journey as a group: the vibe of raw punk, but with the sophisticated writing of great classic rock. It was a dichotomy that made the band so special and loved by both fans and critics. Of course not knowing at the time it would be their final studio work, but In Utero gives a pretty fair idea of what was possible for the “biggest band in the world” in 1993. Continue reading →
From the 1:57 opening strains of the first track of Black Rebel Motorcycle Club’s newest release, Wrong Creatures (Abstract Dragon/PIAS), ‘DFF’, I know I’m in for a treat. I’m instantly transported back to a Mad Max Thunderdome setting. Leather. Blood. Fire. This puts a smile on my face. I’m totally pumped for what’s to come next! Continue reading →