After 22 years since the last album Out Of The Darkness (2002) and 4 years since the compilation Fur And Claws, Redlynx, fronted by Torino singer Chris Heaven (who has previously collaborated with Tracy G, Mats Olausson, Bernie Marsden, etc.), have released a new EP titled Black Rain on all digital platforms.
The EP contains five vocal tracks and one instrumental. The band is currently rehearsing to begin a series of live performances.
The Black Dahlia Murder recently performed at the 2024 edition of Germany’s Wacken Open Air festival. Professionally-filmed footage of the band performing “What A Horrible Night To Have A Curse”, “Nightbringers”, and “Deathmask Divine” can be viewed below:
“Mammoth’s Hand” is the latest single from The Black Dahlia Murder. The track comes by way of the band’s upcoming tenth studio album, Servitude, set for release on September 27 via Metal Blade Records.
“Mammoth’s Hand” is partly inspired by a scene from Don Coscarelli’s 1982 swords ‘n’ sorcery epic, The Beastmaster. “We usually like to give some idea of what kind of diversity is gonna be on the album with the first two tracks we release,” vocalist Brian Eschbach offers. “[guitarist] Ryan Knight wrote the music for this, and the slow rhythm made me think of these barbaric warriors riding mammoths out in the snow or that scene from The Beastmaster when the Jun horde takes the village.”
Eschbach further elaborates, “‘Mammoth’s Hand’ is a romp through a fictitious frozen tundra in which a clan of nomadic mammoth riding cannibals conquer villages in a time devoid of technology. The slow groove of this song is a vibe not often implemented by the group but immediately inspired a vision in my mind of a slow moving yet gigantic and powerful beast of antagonistic nature.”
Watch The Black Dahlia Murder’s video for “Mammoth’s Hand,” created by Marco Pavone:
The guitars, bass and vocals for Servitude were recorded at guitarist Brandon Ellis’ home studio in New Jersey. The drums were recorded by Mark Lewis in Nashville, Tennessee where the album was also mixed. Servitude was mastered by Ted Jensen.
Servitude will be released on digipak CD, cassette, and digital formats as well as vinyl in the following color variants and special editions:
– Electromagnetic (US) – Rising Smoke (US) – Transcosmic Blue (US) – Endless Tide (US) – Utopian Black (US) – Cursed Creation (US – Exclusive Band Tour Variant) – Limited Edition Box Set *(with Ephemeral vinyl variant and a bonus LP that Includes 3 Live Tracks (US – Ltd. 400 / EU – Ltd. 600) – 180g Black (EU) – Bloody Pulp (EU – Ltd. 1000) – Nature’s Grain (Impericon Exclusive – Ltd. 300) – Blood Spray (EMP Exclusive – Ltd. 200) – Stone Cold (EU – Ltd. 200) – Lost Nobility (UK – Ltd. 300)
Virginia Tech has announced a new merchandise collaboration with Metallica. Anne Kroemer Hoffman reports:
Get ready: A new collection of T-shirts and hats is here to whip Hokie fans into a frenzy of cheers and jumping. A collaboration with Metallica has finally happened.
The initial lineup of merchandise co-branded with Metallica features designs inspired by the band’s logo and original sketches by Virginia Tech doodle artist Steven White.
Regarded among college football’s most powerful entrances, “Enter Sandman” is a tradition that dates to Aug. 27, 2000, when Virginia Tech installed its first video scoreboard in Lane Stadium and needed a new walkout song.
“This partnership makes a dream of nearly 24 years come true,” said Heather Ducote, senior director of marketing and brand management. “We’re excited to formalize our partnership with Metallica, since one of their most popular hits is already embraced at Virginia Tech athletics events as a beloved Hokie tradition. And it’s a partnership that mobilized many university departments; the Virginia Tech Athletics Department, the marketing team, the Office of Licensing and Trademarks, and artist and doodle expert Steven White are all involved in formalizing the partnership and creating the merchandise. I can’t wait to see what else this partnership can achieve.”
Director Tyler Measom’s new documentary, Takin’ Care Of Business, will make its world premier at TIFF (Toronto International Film Festival) on Thursday, September 12 at 5:30 PM at Roy Thomson Hall.
In this brisk, fun ride, Canadian rock legend Randy Bachman tells the stories of how he rose to the top of the charts with The Guess Who and Bachman-Turner Overdrive, married a Mormon, and launched an obsessive quest when his beloved Gretsch guitar disappeared.
Nobody tells stories like Randy Bachman. The Canadian rock legend, who co-founded The Guess Who and Bachman-Turner Overdrive, has a perfectly pitched sense of humour and an ear for the telling detail that makes listeners lean in. In Takin’ Care Of Business, director Tyler Measom crafts a brisk, fun ride through the stories of how Bachman catapulted into the rock star life, married a Mormon, and fell dangerously in love with a vintage Gretsch guitar.
As Bachman tells these tales, Measom illustrates with previously unseen footage from the ’70s and ’80s, and counterpoints from the people who know the man best, including his son Tal Bachman, who had his own pop hit in the late ’90s with “She’s So High”. What emerges is a portrait of a man who balances the wild excesses of chart-topping fame with wry, Prairie humour. He recounts how The Guess Who’s megahit “American Woman” began with trying to tune a broken guitar string. In fact, that orange 1957 Gretsch keeps cropping up as Bachman’s muse and talisman. So when it goes missing on tour, he is shattered.
It’s here that Takin’ Care Of Business becomes a story of mystery and obsession. Bachman buys every similar guitar he can find. He thinks he spots his lost love in a Thompson Twins music video. And then, in the midst of health challenges and COVID lockdowns, he gets a lifeline to the Gretsch, halfway across the world.
Even if you know Bachman’s work well, it makes for a terrific story. You ain’t seen nothing yet.
Randy’s son, Canadian singer-songwriter and guitarist Tal Bachman, has shared the following via social media:
“Growing up, my siblings and I heard my dad talk every day about his long lost magic Gretsch guitar.
That orange 1957 6120 was the guitar he’d saved up for as a kid. It was his best, and oldest, musical friend, and a guitar which seemed to write hit songs on its own. It also turned out to be a good luck charm.
After all, with it, Dad had risen from smalltown obscurity to conquer the world not just once, but twice, with both the Guess Who and Bachman-Turner Overdrive. But since its theft from a hotel room in early 1977, everything started to go wrong – not just professionally, but personally, too. More than anything else in the world, Dad needed that magic guitar back.
And yet, every effort to find it failed – not just for years, but for decades. Almost five decades, in fact.
And then, one day in late 2021, I got one of the most shocking emails of my life. An amateur internet sleuth wrote me, claiming he had a lead on the whereabouts of Dad’s long lost magic guitar. It was just a clue, but it was enough to start a cascade of recovery attempts complicated by Covid travel restrictions, mystery surrounding the owner, and Dad’s recent cancer diagnosis. We began filming every step of this story nearly from the beginning, and pulled in a team to help us turn the story into a documentary. We are now pleased to announce that this documentary, “Takin’ Care of Business”, will be shown this year at the prestigious Toronto International Film Festival.
A big thank you to the documentary team, Dad, my wife Koko, and TIFF for making this all happen!
A major domino has fallen in the rock world with the announcement of Oasis’ 2025 reunion tour. “The guns have fallen silent. The stars have aligned. The great wait is over,” Liam and Noel Gallagher declared in a joint statement. “Come see. It will not be televised.”
What once seemed impossible gradually came to feel inevitable as the Gallagher brothers appeared to publicly soften their stances on a reunion. If one of rock’s most volatile duos can kiss and make up, then reconciliation is definitely, maybe within reach for many more bands, if only they can bring themselves to see the light (or the appropriate amount of dollar signs).
We polled several members of the UCR team to see which rock ’n’ roll holdouts they would most like to see bury the hatchet next.
Matthew Wilkening: To be clear, you should not force people who don’t like working with each other to do so just for your entertainment. But putting that important moral objection aside, if I could commission one reunion, it would be David Lee Roth‘s Eat ‘Em and Smile band, featuring Steve Vai, Billy Sheehan and Gregg Bissonette. The surviving members of Led Zeppelin already bowed out rather spectacularly with the Celebration Day show in 2007, and Pink Floyd‘s classic lineup (unknowingly) did the same two years earlier at Live 8. There’s a ton of official, high-quality audio and video of those groups in action. Sadly, the same can’t be said of Roth’s first solo tour, which looks like a blast based on the amateur bootlegs that are out there. Only a fire marshal stopped them from getting back together for one show back in 2015, so let’s make sure the room is up to code next time, huh?
Watch David Lee Roth Perform Live in 1986
Bryan Rolli: Every day Skid Row doesn’t reunite with Sebastian Bach is a day that’s slightly worse than it could’ve been, for me, personally. We’re talking about one of the only ‘80s/‘90s hard rock bands whose classic-era members are all still alive, reasonably young and in good enough shape to mount a full-scale reunion, and whose classic vocalist can still hit those stratospheric high notes of yesteryear. The creative juices are clearly still flowing as well: Bach and Skid Row both released impressive new albums in the past couple years, both of which hark back to their headbanging glory days. If they could get past their personal grievances, I truly believe they could make a proper, long-overdue follow-up to Slave to the Grind. Both parties can still tear it up onstage too, and they deserve to do so in much larger venues. If Bach rejoined Skid Row, I’m confident they could all graduate from sports bars and state fairs to packing large theaters and amphitheaters. Who knows, maybe Guns N’ Roses will need an opener on their next stadium tour …
Watch Skid Row Play ‘Youth Gone Wild’ in 1991
Allison Rapp: For me, it’s Led Zeppelin. Granted, the band will never be the same without John Bonham behind the drum kit, but three out of four ain’t bad. I’ve seen Robert Plant in concert a few times now in recent years, and each time I’ve been amazed at how he’s gelled with new musicians and found original ways to revisit songs that were written decades ago — I’m talking in terms of his vocal approach, song arrangement, pretty much everything. Why couldn’t that modus operandi also be applied to working with Jimmy Page and John Paul Jones again? I understand that these guys aren’t really interested in rehashing old history or creating a giant nostalgic fuss over themselves, but I think there’s a way for it to be done that’s both exciting for fans and artistically satisfying for them. Perhaps a small-venue tour? Or a limited residency in London? If the three remaining members of Led Zeppelin are reading this right now: Call me, I’ll do everything I can to help make it happen.
Watch Led Zeppelin Play ‘Kashmir’ in 2007
Matt Wardlaw: Yes would be a big one for progressive rock fans. Steve Howe is the only classic-era member still in the current lineup — and, seemingly, a big part of why Jon Anderson isn’t in the band comes back to Howe. While Yes’ last two albums have been really strong, Anderson’s latest solo release, True, could have easily been the best Yes album in decades. Additionally, at 79 years, his voice remains remarkably undiminished, even as he sings some of the longest and most challenging pieces from the Yes catalog in his current live shows. A Yes reunion with Anderson, Rick Wakeman and even Trevor Rabin back in the fold would be a great final victory lap for all involved. They could even borrow a page from the massive ‘90s reunion tour for their Union album and keep all of the present members involved as well.
Watch Yes Play ‘Roundabout’ in 1991
Corey Irwin: I think the answer has to be Talking Heads – and, for the first time in a long time, there may even be momentum toward it happening. In 2023, the group appeared together for a Q&A following a screening of Stop Making Sense at the Toronto Film Festival. It marked the first time in over 20 years that David Byrne, Tina Weymouth, Chris Frantz and Jerry Harrison shared a stage. But what’s most important is they seemed to genuinely enjoy the moment. “It’s so good to be here with my bandmates tonight. It’s been a long time,” remarked Frantz. In a separate interview, Byrne said he was now “cordial” with his former bandmates, a significant improvement from their previously strained relationship. (Byrne also admitted he was at fault for the band’s messy breakup, which may have helped mend some fences.) With the musicians finally on good terms, news leaked about an $80 million offer to reunite at a handful of festivals, which was turned down. Maybe the check needs to be bigger. Maybe the band determined that festivals wouldn’t be the right format for their triumphant return. Perhaps a residency would make more sense for the group – can you imagine Byrne’s imagination running wild at the Sphere? Regardless of the logistics, there’s still abundant demand for Talking Heads, who haven’t played a full concert together since 1984. (They did play the Rock & Roll Hall of Fame in 2002.) One more factor pushing for a reunion is the compilation album Everyone’s Getting Involved that was released earlier this year. It featured a wide array of modern artists reinterpreting the Talking Heads’ material. The eclectic mix, including Miley Cyrus, the National, Paramore and Lorde, exposed a whole new faction of listeners to Talking Heads’ songs. As a result, the band’s cross-generational appeal has never been higher. Time to capitalize.
Watch Talking Heads Play ‘Burning Down the House’ in ‘Stop Making Sense’
Why 40 of Rock’s Biggest Reunions Haven’t Happened
A look at 40 of the biggest potential reunions in rock music, and why they most likely won’t happen.
Gallery Credit: Matthew Wilkening, except as noted below.
Our Top 10 Songs With The Name “James” In The Title looks at the popularity of a name that had its origins in the Hebrew name “Yaʻaqov” (Jacob), which means “supplanter” or “one who follows.”.Over time, “Yaʻaqov” was transformed through Latin into the Late Latin form “Iacomus,” which led to the Old French “James” and eventually became the modern English “James.” This transformation reflected the language changes of medieval Europe, where the name became associated with Christian saints and figures of religious importance, solidifying its popularity across the Christian world.
James gained significant prominence in English-speaking countries due to its royal associations. One of the most notable figures was King James VI of Scotland, who ascended the English throne as James I in 1603, marking the union of the English and Scottish crowns. This period, known as the Jacobean era, was marked by notable cultural and religious changes, including the commissioning of the King James Bible, which further popularized the name throughout the English-speaking world. The name became a symbol of authority and was widely adopted by various royal and noble families, ensuring its continued use across generations.
Beyond its biblical and royal significance, James has made a lasting impact on culture, literature, and the arts. The name has been borne by influential writers such as James Joyce and James Baldwin, as well as legendary musicians like James Brown and James Taylor. Additionally, the fictional character James Bond has become synonymous with elegance and intrigue. In the United States, the name is closely associated with several Founding Fathers, including James Madison. This article will look at how the name has been utilized in the music world.
# 10 – James Bond Theme
Few pieces of music in cinematic history are as instantly recognizable as the “James Bond Theme.” Written by Monty Norman and arranged by John Barry, this iconic track first made its debut in the 1962 film Dr. No, introducing audiences to the suave and dangerous world of the British secret agent. From its opening guitar riff to its brassy, big-band flourishes, the theme has become synonymous with James Bond’s cool, confident demeanor, setting the tone for an entire genre of espionage thrillers. How could you not love this pice of music? And tell me this, after seeing a James Bond film, who didn’t want to be James Bond?
Recorded at CTS Studios in London, the original track was laid down by the John Barry Orchestra under the production guidance of Barry himself. The musicians behind the theme, including Vic Flick on lead guitar, helped craft a sound that would define the franchise for decades. Though it was initially tied to Dr. No, the “James Bond Theme” would become a fixture of every subsequent Bond film, appearing in some form in each of the 007 adventures that followed.
# 9 – James and the Cold Gun – Kate Bush
We can never get enough of Kate Bush here on the site. She is probably one of the most underrated performers of all time, simply because she did not perform often, and so many people have never seen her live. We hope this trade video showcases just how brilliant she was on stage. We already know her musical brilliance.
# 8 – Gordon James – Gov’t Mule
This is one that you probably were not expecting unless you’re a big-time Gov t Mule fan, which was definitely here at the site. Gov’t Mule’s “Gordon James,” from their 2009 album By a Thread, is a haunting meditation on a man burdened by regret, poor decisions, and the weight of a life veering towards damnation. Written by frontman Warren Haynes, the song dives deep into the psyche of its titular character—a man torn between redemption and self-destruction. The lyrics present Gordon James as a figure who has traded his soul, potentially for material gains, and now finds himself grappling with whether it’s too late to make amends. Recorded at Willie Nelson’s Pedernales Studio in Spicewood, Texas, By a Thread showcases Gov’t Mule’s powerful blues-rock sound while allowing room for introspection and storytelling. Haynes, along with drummer Matt Abts, bassist Jorgen Carlsson, and keyboardist Danny Louis, create a musical landscape that is both gritty and deeply emotional.
The narrative in “Gordon James” unfolds through a series of probing questions, as Haynes’ vocals ask, “Why’d your momma give you two last names? Did she have expectations for you? Did you let her down like we knew you would do?” These lyrics set the tone for a story of a man who seems to have lost his moral compass, with his actions leaving scars on both himself and those around him. Musically, the track moves with a slow, deliberate groove, propelled by Carlsson’s bass lines and Abts’ steady drumming. Haynes’ guitar work is both soulful and evocative, his solos echoing the internal struggle of the song’s protagonist. Danny Louis’ organ adds layers of texture, deepening the song’s emotional weight.
By a Thread marked a new era for Gov’t Mule, being their first album with Jorgen Carlsson on bass, and “Gordon James” stands out as one of the album’s most introspective tracks. The record reached number 37 on the Billboard 200 chart
# 7 – Ridin’ With James Dean – Joan Jett And The Blackhearts
This is one of the hardest-rocking “James” songs on this list. How could it not be, it’s Joan Jett! I love the chours on this one. It’s got a bit of a sixties vibe to it. The guitar work on this one is excellent. Joan Jett and the Blackhearts’ “Ridin’ With James Dean,” was released on the 1988 album Up Your Alley. It was oo-written by Joan Jett, Ricky Byrd, and producer Ritchie Cordell. Recorded at The Hit Factory in New York and produced by Kenny Laguna and Cordell.
The song’s lyrics dive into the mythos surrounding James Dean, painting him as a symbol of youthful rebellion, recklessness, and defiance. Jett’s raspy, raw vocals deliver lines like, “You’re going too fast, you’re gonna crash / But you know you’ll survive,” with a sense of conviction and understanding, aligning her own tough-as-nails persona with Dean’s iconic image. Musically, the track is built on a foundation of hard-charging guitar riffs from Ricky Byrd and solid rhythm work from Gary Ryan on bass and Thommy Price on drums. The chorus—“Ridin’ with James Dean, ridin’ with James Dean”—is a mantra for those who embrace living life on their own terms, regardless of the consequences.
Up Your Alley was a commercial success, reaching number 19 on the Billboard 200 chart and producing hits like “I Hate Myself for Loving You.”
St James Infaraly is one of the most-covered blues songs in classic rock history. However, our favorite version of the song, belongs to Joe Cocker. The late Joe Cocker’s powerful rendition of “St. James Infirmary” appears on his 1972 self-titled third studio album Joe Cocker. This deeply emotional and soulful interpretation of the classic American folk and blues standard adds a gritty intensity only Cocker could deliver. Produced by Denny Cordell and recorded at Olympic Studios in London, Joe Cocker brought together a stellar group of musicians, including Chris Stainton on keyboards, Alan Spenner on bass, and Jim Keltner on drums.
# 5 – Frank And Jesse James – Warren Zevon
At the halfway point on our Top 10 Songs With The Name “James” In The Title songs list is Warren Zevon’s “Frank and Jesse James,” from his 1976 self-titled album. This is a vivid retelling of the notorious outlaws’ legacy, wrapped in a country-rock package that showcases Zevon’s knack for blending sharp storytelling with rich, rootsy instrumentation. Released at a time when Zevon was still making his name in the crowded singer-songwriter scene, the song offers a historically charged narrative that captures the myth and the tragedy of Frank and Jesse James. Recorded at The Sound Factory in Hollywood, the album was produced by Jackson Browne, who was instrumental in shaping Zevon’s early career. The song features a stellar lineup of musicians including Waddy Wachtel on guitar, David Lindley on slide guitar, and Leland Sklar on bass, all of whom help to create a lush yet rugged sonic landscape that mirrors the dusty plains and outlaw life the song describes.
This has always been one of our favorite Fiona songs. If you don’t know Fiona, I think after listening to these song, she is a musical artist you will soon be checking out. Fiona, was a force in the 1980s rock scene, blending elements of melodic hard rock with her signature sultry vocals and emotional vulnerability. Her 1985 self-titled debut album introduced the world to a fierce talent who wasn’t afraid to wear her heart on her sleeve. One of the standout tracks from that album is “James,” was a passionate plea wrapped in a hard rock exterior, reflecting the push and pull of unrequited love. Recorded at Power Station Studios in New York and produced by Peppy Castro and Eddie Kramer—best known for his work with Jimi Hendrix and Led Zeppelin—the song features a polished yet raw sound typical of mid-’80s rock, combining big choruses with intimate lyrical moments.
“James” centers around a protagonist deeply entangled in a one-sided relationship, yearning for a man who remains emotionally distant. The lyrics, “Every night, I’m screaming out your name / James,” evoke the frustration and heartache of someone caught in a cycle of hope and despair. Musically, the track is driven by bold, chugging guitar riffs courtesy of Bobby Messano, while Benjy King’s keyboards provide an atmospheric undercurrent that adds both texture and a sense of melancholy. Steve Decker’s drums give the song its propulsive beat, pushing Fiona’s powerful vocals forward as she oscillates between vulnerability and defiance. The track is a classic example of mid-’80s rock, where emotion is laid bare, but always with a sharp edge.
James Taylor’s “Sweet Baby James,” stands as the title track from his 1970 album, is a poignant exploration of solitude, identity, and the fleeting moments of life. It was written as a lullaby for his newborn nephew (also named James), Taylor crafted a song that transcends its simple origins, resonating with deep emotional power. The narrative follows a young cowboy living on the range, his only companions being his horse and cattle, as he contemplates life while tending to the land. The lyrics, beginning with, “There is a young cowboy, he lives on the range / His horse and his cattle are his only companions,” immediately draw the listener into a world of isolation and quiet reflection. Through these vivid images, Taylor paints a picture of a man whose life is defined by the rugged beauty of the natural world and his own longing for connection. Recorded at Sunset Sound in Los Angeles in 1969 under the careful production of Peter Asher, “Sweet Baby James” became a defining moment in Taylor’s career.
Taylor’s lyrical brilliance is evident as he merges the cowboy’s story with his own reflections on life, family, and longing. The chorus, “Goodnight you moonlight ladies / Rockabye sweet baby James,” not only serves as a lullaby for the baby James but also becomes a metaphor for seeking peace and comfort in life’s quiet moments. The imagery of “deep greens and blues” evokes a sense of tranquility, while the line “Won’t you let me go down in my dreams / And rockabye sweet baby James” expresses the desire to escape the hardships of life, if only for a while. Musically, Taylor’s fingerpicked acoustic guitar forms the backbone of the track, with Carole King’s delicate piano contributions adding subtle warmth. Russ Kunkel’s understated drumming adds depth without overpowering the song, allowing Taylor’s soft, reflective vocals to take center stage.
“Sweet Baby James” was a critical and commercial triumph, propelling the album to number three on the Billboard 200 chart and cementing Taylor’s place in the folk-rock pantheon. Although the song was never released as a single, it became a signature piece in Taylor’s catalog, praised for its lyrical beauty and emotional resonance.
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Rotting Christ have released a fan-made lyric video for “Delusions”, lifted from the band’s 1999 album, Sleep Of The Angels. Watch below:
Rotting Christ invite you to partake in a monumental crusade across Europe. Frontman Sakis comments: “Dear Metal brothers & sisters, we can proudly announce that we celebrate our 35 years of existence with the release of our new album Pro Xristou & some special shows on European soils this Autumn. Together with the Scandinavian Pagan Metal Kings Borknagar and French diabolical horde Seth we promise to perform a hell of a show every night! Thanks for your attention and look forward to seeing you all in the battlefield!”
The Greek forebearers will share stages with Norway’s progressive black metal giants Borknagar, whose profound musical narratives have sculpted their undisputed place within the genre. Alongside them, France’s Seth will bring their own brand of fervent intensity and atmospheric ferocity to the mix. Together, they stand as a triad set to invigorate and bewitch audiences across the continent.
Borknagar: “We are honoured and incredibly exited to announce our upcoming co-headline tour across the European lands with our brothers in music, and true legends, Rotting Christ! In 2022, during the aftermath of the Corona pandemic, we teamed up for a highly successful tour across the North Americas as a part of the Devastation On The Nation festival tour. Now, armed and ready with the new respective albums, Fall and Pro Xristou, it’s time to team up once again for a epic European adventure. This one shall be for the books- powerful, passionate and legendary!”
Seth: “Sharing the stage for a whole month with thy mighty Rotting Christ is thrilling! This will be our third European tour in over 25 years and definitely the biggest journey that we’ve ever had! We can’t think of any better band on Season of Mist roster to promote La France des Maudits!”
September 28 – Warsaw, Poland – Proxima 29 – Krakow, Poland – Hyde Park
October 1 – Gdansk, Poland – Drizzly Grizzly 2 – Leipzig, Germany – Hellraiser 3 – Heidelberg, Germany – Halle02 4 – Ostwald, France – Le Point d’Eau 5 – Seyssinet Pariset, France – l’ilyade 6 – Torino, Italy – Audiodrome Live Club 7 – Bologna, Italy – Locomotiv 8 – Nuremburg, Germany – Hirsch 9 – Utrecht, Netherlands – Tivoli Pandora 10 – Bochum, Germaany – Matrix 11 – Wasquehal, France – The Black Lab 12 – Limoges, France – CCM John Lennon 13 – Montpellier, France – @ Rockstore 15 – Villava, Spain – Totem 16 – Ponferrada, Spain – La Vaca 17 – Porto, Portugal – Hard Club 18 – Lisbon, Portugal – Under the Doom Festival 19 – Madrid, Spain – Changó 20 – Seville, Spain – Custom 22 – Murcia, Spain – Gamma 23 – L’Hospitalet, Spain – Salamandra 24 – Toulouse, France – La Cabane 25 – La Mézière, France – Samain Fest (Salle Cassiopée) 26 – Sint Niklaas, Belgium – De Casino 27 – Maastricht, Netherlands – Samhain Festival *without Seth
This year, Rotting Christ are celebrating 35 years of evil excellence with their 14th album. ΠΡΟ ΧΡΙΣΤΟΥ (Pro Xristou) is bound to hold a revered place in the band’s heretical history. Always true to their name, with Pro Xristou (“Before Christ”), the band pay tribute to the last of the Pagan kings by offering up more towering, gothic, melodic black metal.
“This album was inspired by the might of ancient pagan wisdom”, says Sakis. “It’s a tribute to those who resisted the coming of Christianity, which destroyed all the values, traditions and knowledge of the ancient world”.
Tracklisting:
“Pro Xristou (Προ Χριστο?)” “The Apostate” “Like Father, Like Son” “The Sixth Day” “La Lettera Del Diavolo” “The Farewell” “Pix Lax Dax” “Pretty World, Pretty Dies” “Yggdrasil” “Saoirse” “Primal Resurrection” (Bonus Track) “All For One” (Bonus Track)
Lamb Of God have shared another preview of Ashes Of The Wake (20th Anniversary Edition) with today’s release of the official lyric video for “Laid To Rest” (HEALTH Remix). Stream the track here, and watch the clip below.
“When we were discussing ideas for the 20th anniversary of Ashes of the Wake, a HEALTH remix was one of the first things we thought of. Thanks to those guys for being a part of the anniversary release,” Randy Blythe shared about the reimagined track from the L.A.-based industrial rock band.
“Laid To Rest” remains one of Lamb of God’s most popular songs, consistently appearing on multiple outlets’ best-of lists.
HEALTH added: “Before you get angry with us for ruining your favorite song, please try to remember that Lamb Of God asked us to do this remix. Enjoy!”
Roundly regarded as a cornerstone of modern metal, Ashes Of The Wake also features beloved songs such as “Now You’ve Got Something To Die For,” “Omerta,” and the blistering “Hourglass.” Epic Records and Legacy Recordings mark the two-decade anniversary of the pivotal release with Ashes Of The Wake (20th Anniversary Edition), featuring new mixes by Justin K Broadrick (Godflesh/Jesu), HEALTH and Kublai Khan TX and Malevolence, as well as demo and live versions of the album’s classic songs.
Lamb Of God’s webstore features a trio of exclusive items marking the 20th anniversary: Yellow Smoke 2LP vinyl, a 2CD set, and a commemorative Ashes Of The Wake t-shirt. Two additional vinyl variants, a standard black and a Project M exclusive white/black/red swirl offering, as well as 2CD, and digital, are also available now for pre-order.
All formats include the trio of new remixes and live recordings of “Remorse Is For The Dead” and “Now You’ve Got Something To Die For,” while the 2CD and digital versions include demo versions of “Laid To Rest”, “Ashes Of The Wake”, and “Remorse Is For The Dead”.
Ashes Of The Wake (20th Anniversary Edition) tracklist:
“Laid To Rest” “Hourglass” “Now You’ve Got Something To Die For” “The Faded Line” “Omerta” “Blood Of The Scribe” “One Gun” “Break You” “What I’ve Become” “Ashes Of The Wake” “Remorse Is For The Dead” “Laid To Rest” (Pre-Production Demo) * “Ashes Of The Wake” (Pre-Production Demo) * “Remorse Is For The Dead” (Pre-Production Demo) * “Another Nail For Your Coffin” (Feat. Kublai Khan TX & Malevolence) “Laid To Rest” (Health Remix) “Omertá” (Justin K Broadrick Remix) “Remorse Is For The Dead” (Live in Richmond, VA) “Now You’ve Got Something To Die For” (Live from 2007)
* Exclusive to 2CD & Digital
“Another Nail For Your Coffin” (Feat. Kublai Khan TX & Malevolence):
Sweden’s Evergrey released their fourteenth studio album, Theories Of Emptiness, back in June via Napalm Records.
In a new video, album mixer Adam “Nolly” Getgood (ex-Periphery) invites you to take a deep dive into the production of the song “Say” from the record. Watch below:
Theories Of Emptiness stands as the distinguished successor to their worldwide chart-topping release, A Heartless Portrait (The Orphean Testament), and is leaving critics breathless all over the world. With Theories Of Emptiness, Evergrey have crafted an absolute masterpiece and goose-bump generator, solidifying their legacy as they continue to shape metal history after 30 years in the industry.
Theories Of Emptiness was produced by Tom S. Englund and Jonas Ekdahl, and was mixed by Adam “Nolly” Getgood (ex-Periphery), who worked closely with the band from the start – bringing out the vividness of the album’s overall sonic profile. Rounding out the album’s production, mastering was helmed by Thomas “Plec” Johansson (Soilwork, The Night Flight Orchestra, Onslaught, The Gems, Eleine and many more).
“Falling From The Sun” “Misfortune” “To Become Someone Else” “Say” “Ghost Of My Hero” “We Are The North” “One Heart” “The Night Within” “Cold Dreams” “Our Way Through Silence” “A Theory Of Emptiness”
In the video below from AXS TV, Rush frontman, Geddy Lee, shows Dan Rather his incredible collection of baseball memorablia, including balls signed by many of the baseball legends like Babe Ruth and Mickey Mantle.
Motorbooks, an imprint of the Quarto group, has announced the September 17 release of rock journalist and author Daniel Bukszpan’s new book, Rush At 50.
A beautifully produced, photo-packed celebration of the beloved rock trio, Rush At 50 examines the history of the Canadian rockers through the lens of 50 milestone events and an illustrated gatefold timeline.
Formed in Toronto in 1968, Rush became one of the most popular and best-selling bands in rock history, thanks to their tireless effort and imaginative, ever-evolving music. This richly illustrated and entertainingly written book from Rush expert and music journalist Dan Bukszpan pays tribute to the trio on the 50th anniversary of their debut album by curating and examining 50 of the most significant milestones in their career.
Bukszpan covers everything down through the decades:
– The band’s formation by bassist Geddy Lee and guitarist Alex Lifeson in suburban Toronto and their early gigs and tours opening for the likes of KISS – Their breakthrough in the United States thanks to a Cleveland DJ – The role of co-founding drummer John Rutsey – Rush’s early Led Zeppelin–influenced efforts and their breakthrough, 2112 – The band’s ever-evolving musical style through the 1970s and 1980s – The controversial influence of novelist Ayn Rand on Neil Peart’s lyrics – Geddy Lee’s instantly recognizable vocal style – Recording sessions with various producers in Wales, Quebec, and elsewhere
In examining 50 touchstones, Buszpan presents a unique look at Rush’s career arc from Toronto bar band to international mega-platinum stadium fillers. Every page is illustrated with stunning concert and candid offstage photography, including gig posters, 7-inch picture sleeves, ticket stubs, and more.
The result is an epic tribute to one of the most influential and admired bands in rock history—in a milestone year.
