Dreamless Veil sign to Relapse and announce their debut album, Every Limb Of The Flood, out September 20.
Dreamless Veil, featuring members of Inter Arma, Artificial Brain, and Psycroptic manifest terrifying blackened extreme metal and offer one of the year’s most haunting releases. Listen to the band’s new song “A Generation of Eyes” below.
Pre-order Every Limb Of The Flood on LP/CD/Digital via Relapse.com here.
Dreamless Veil Is an extreme metal band composed of Artificial Brain guitarist Dan Garguilo, Inter Arma / Artificial Brain vocalist Mike Paparo and Psycroptic drummer Dave Haley.
Dreamless Veil’s debut, Every Limb Of The Flood, is a blackened concept album that follows the travails of Grief, a character who awakens from extended debauchery and begins the slow and torturous process of trying to disappear completely.
Through tracks such as “A Generation of Eyes”, “Saturnism”, and “Cyanide Mine” Vocalist Mike Paparo and co. task the listener to consider what it would be like for an individual to fully disappear. Dreamless Veil delves into this murk through eight tracks – dramatic swells, melodic crescendos, and abrasive blast-beat poundings make way to more introspective moments ultimately resulting in pure horror.
Paparo explores the concept of corporeal disintegration with pained shrieks and disembodied bellows, resulting in one of the most unchained performances of his storied career. Lyrics for the record show, but don’t tell. Dreamless Veil’s concept alludes to misery leading to grotesquery – the opener “Dim Golden Rave” throws the listener into an ambiguous time and place: “Grief, spiritless, collapses against the filth-ridden street”. The second track, “A Generation of Eyes” follows this narrative by invoking Neil Young, quoting him to the extent of “rust never sleeps.” What ensues is a grief so powerful it decomposes from within. The end result manifests in the album closer “Dreamless” – the body is now fully discarded, hinting at a possible enlightenment through a horrible, gruesome process.
Sonically, Every Limb Of The Flood is a caustic, corrosive journey. Critically acclaimed drummer David Haley flexes some of his most creative drum work to date, dragging the listener through wild tempo changes, breakneck speeds that come to sudden halts, while guitarist Dan Gargiulo (Artificial Brain) interweaves disorienting guitar madness.
Recorded by Brett Bamberger (Revocation) Every Limb Of The Flood was mixed by Gargiulo and mastered by Colin Marston (Gorguts, Krallice, and more.)
Every Limb Of The Flood tracklisting:
“Dim Golden Rave” “A Generation Of Eyes” “Saturnism” “The Stirring Of Flies” “Cyanide Mine” “Every Limb Of The Flood” “Glossolalia” “Dreamless”
“A Generation Of Eyes”:
Dreamless Veil Is:
Dan Gargiulo – Guitars, Bass, Synth and Vocals Dave Haley – Drums Mike Paparo – Vocals
Puddles Pity Party, the sad clown renowned for his sorrowful covers of classic songs, has launched a video for a version of Black Sabbath‘s already sombre 1972 classic Changes.
“Oh hello,” writes Puddles. “Here’s a Black Sabbath song written by Geezer Butler and Tony Iommi.”
“Ozzy!” he adds, before failing to add the rest of the credits, which include the words “Osbourne” and “Bill Ward”.
Changes was originally released on Black Sabbath’s Vol. 4 album, where it unveiled a depth of emotion not even hinted at by the band’s previous work. This daring vulnerability was compounded further by the release of a version by Ozzy and Kelly Osbourne in 2007. And now Puddles Pity Parth has compounded that vulnerability further still.
Fascinatingly, this is not the first time PPP has covered a song called Changes. In 2021 he released a “re-weirdoed” version of the David Bowie song of the same name. Nor is the first time he’s taken on Sabbath’s catalogue: Last year he released a melancholy take on War Pigs, while two years ago he released a heavy-hearted version of Paranoid smooshed up with The Police’s Driven To Tears.
Despite the many lineup changes, the Steve Miller Band has maintained a consistent presence in the rock music scene. They were inducted into the Rock and Roll Hall of Fame in 2016, a testament to their lasting influence and popularity. The band has toured extensively, bringing their classic hits to new generations of fans while continuing to attract audiences with their musicianship and stage presence. The band’s ability to adapt and evolve over time while staying true to their original sound has been a key component of their longevity.
STEVE MILLER BAND MEMBERS
Steve Miller
Steve Miller has been the backbone of the Steve Miller Band since its inception in 1966. As the lead vocalist, guitarist, and primary songwriter, Miller’s music career began long before the band’s official formation, with his early involvement in the Chicago blues scene and subsequent move to San Francisco. Under his leadership, the band released their debut album, Children of the Future, in 1968, marking the beginning of a prolific period that would span decades. Miller’s work on hit albums like Fly Like an Eagle and Book of Dreams in the mid-1970s catapulted the band to stardom. His knack for crafting catchy melodies and his smooth integration of various musical styles have been integral to the band’s success. Outside of the band, Miller has also enjoyed a solo career, which includes collaborations with other artists and occasional solo performances.
Kenny Lee Lewis
Kenny Lee Lewis first joined the Steve Miller Band in 1982 as a guitarist before transitioning to bass. His versatility as a musician allowed him to contribute significantly to both live performances and studio recordings. Lewis played on albums such as Italian X Rays and has been a stable presence in the band across various stints. His return to the band in 2011 solidified his role, contributing both on bass and backing vocals. Beyond his work with the Steve Miller Band, Lewis has also pursued other projects, including session work and contributions to film and television soundtracks, showcasing his broad musical talents.
Joseph Wooten
Joseph Wooten, the keyboardist and backing vocalist for the Steve Miller Band, joined the group in 1993. Wooten brought a new dimension to the band’s sound with his keyboard skills and vocal abilities. His influence is evident in the band’s live performances, where he adds depth and a dynamic element to their music. Besides his role in the Steve Miller Band, Joseph is also known for his solo work and as a member of the Grammy-nominated Victor Wooten Band, led by his brother, bassist Victor Wooten. Joseph’s career highlights outside the band include multiple album releases and collaborative projects across various genres.
Jacob Petersen
Since 2011, Jacob Petersen has served as the guitarist and backing vocalist for the Steve Miller Band. Petersen brought fresh energy to the band upon his arrival, participating in extensive tours and contributing to the band’s legacy with his musical prowess. His background in blues and rock aligns well with the band’s style, ensuring a seamless integration into their existing framework. Outside the band, Petersen has an accomplished career as a session musician and has collaborated with a range of artists, enriching his versatility and exposure in the music industry.
Ron Wikso
Ron Wikso became the drummer for the Steve Miller Band in 2021, the latest addition to the group. His extensive experience in rock and roll, having played with bands like Foreigner and Cher, prepared him well for the role. Even though his tenure with the band has been short, his contribution to their live performances has already been significant, providing the rhythmic backbone essential for their classic and new tracks alike. Wikso’s career outside the band has been marked by collaborations with numerous well-known artists, enhancing his reputation as a skilled and adaptable drummer in the rock music scene.
Lonnie Turner
Lonnie Turner was a founding member of the Steve Miller Band, playing bass, guitar, and providing backing vocals from 1966 until 1970, and then again from 1975 to 1978. His contributions during these periods were instrumental in shaping the band’s early sound and later successes, particularly during their resurgence in the mid-1970s with albums like Fly Like an Eagle. Turner’s fluid bass playing underpinned the band’s rhythm section and complemented Miller’s guitar work perfectly. After his time with the band, Turner continued to work in the music industry, collaborating with other artists and contributing to various projects until his death in 2013.
Boz Scaggs
Boz Scaggs joined the Steve Miller Band in 1967 as a guitarist and also contributed lead and backing vocals until his departure in 1968. His tenure with the band was short but significant, helping to define the band’s early sound. After leaving the band, Scaggs went on to achieve considerable solo success, known for hits like “Lido Shuffle” and the critically acclaimed album Silk Degrees. His solo career has been marked by a blend of rock, blues, and R&B, showcasing his versatility and distinct vocal style.
Jim Peterman
Jim Peterman was a member of the Steve Miller Band from 1966 to 1968, serving as the band’s keyboardist and providing backing vocals. His keyboard work featured on the band’s first two albums, adding a psychedelic touch to their blues-based rock sound. After leaving the band, Peterman continued his music career, though he maintained a lower profile compared to his former bandmates.
Tim Davis
Tim Davis was the original drummer and backing vocalist for the Steve Miller Band from its inception in 1966 until 1970. Davis’ drumming was crucial in the band’s early works and helped to establish their sound on albums like Children of the Future and Sailor. His ability to blend rock and blues rhythms was a key element of the band’s appeal. After his departure, Davis continued to pursue music but also faced health challenges. He passed away in 1988.
James “Curley” Cooke
James “Curley” Cooke joined the Steve Miller Band in 1967 as a guitarist. Although his time with the band was brief, his contributions during that period were significant. After his stint with the Steve Miller Band, Cooke continued to be an active musician, working with other notable artists and bands, contributing his guitar skills to various projects until his death in 2011.
Ben Sidran
Ben Sidran played keyboards for the Steve Miller Band intermittently across several years—1968, 1969, 1970, 1972, and from 1987 to 1991. His keyboard work is featured on several of the band’s albums, bringing a jazz influence to their rock sound. Outside of the Steve Miller Band, Sidran has had a prolific career as a jazz musician, producer, and music historian. His extensive work includes solo albums and collaborations with other artists, enhancing his reputation as a versatile and skilled musician in the jazz and rock genres.
Nicky Hopkins
Nicky Hopkins joined the Steve Miller Band as a keyboardist during critical recording periods in 1969 and 1970. Known for his session work with major acts like The Rolling Stones and The Beatles, Hopkins brought a distinctive style to the band, contributing significantly to the albums Brave New World and Your Saving Grace. His piano playing added depth and complexity to the band’s sound, enhancing their musical arrangements. Hopkins continued to be a highly sought-after session musician until his death in 1994, leaving behind a legacy as one of rock’s greatest keyboard players.
Bobby Winkelman
Bobby Winkelman was a part of the Steve Miller Band from 1969 to 1970, playing bass, guitar, and providing backing vocals. His versatility helped the band during a transitional phase as they experimented with their sound on albums like Number 5. After his time with the band, Winkelman continued his music career, working with other groups and expanding his repertoire as a musician and producer.
Ross Valory
Ross Valory played bass and provided backing vocals for the Steve Miller Band from 1970 to 1971. Although his period with the band was brief, his contributions to the rhythm section helped during live performances and on tour. Valory is perhaps better known for his role as the original bassist for Journey, contributing to their rise as one of the leading rock bands of the 1970s and 1980s.
Jack King
Jack King served as the drummer for the Steve Miller Band from 1970 to 1972. His drumming was featured on several albums, supporting the band’s ventures into different rock and pop styles. After leaving the Steve Miller Band, King continued to work in the music industry, playing with various artists and contributing to numerous projects.
Gary Mallaber
Gary Mallaber, who was the drummer for the Steve Miller Band from 1972 and then from 1975 to 1987, also played keyboards and provided backing vocals. He was instrumental in the recording of several of the band’s successful albums, including Fly Like an Eagle and Book of Dreams. His versatility and skill as a drummer and keyboardist were vital in shaping the band’s sound during their peak years. Beyond his tenure with Steve Miller, Mallaber has been a prolific session musician, playing with artists like Van Morrison and Bruce Springsteen, which solidified his reputation in the music industry.
Roger Allen Clark
Roger Allen Clark was the drummer for the Steve Miller Band in 1972. Although his time with the band was relatively short, he contributed to the distinct rhythmic foundation that supported the band’s explorations into different musical styles during the early 1970s. Clark continued to have a respected career in music until his passing in 2018, playing for various other music projects and contributing significantly to the rock and blues genres.
Dick Thompson
Dick Thompson played keyboards for the Steve Miller Band from 1972 to 1974, a period during which the band solidified its rock sound and expanded its fan base. His keyboard work can be heard on albums such as Recall the Beginning…A Journey from Eden and The Joker, which marked a significant shift in the band’s musical direction. Thompson’s influence during these formative years helped pave the way for later successes.
Gerald Johnson
Gerald Johnson was a member of the Steve Miller Band from 1972 to 1974 and then again from 1981 to 1983. His role as bassist and backing vocalist contributed to the band’s rhythm section and vocal harmonies. During his tenures, Johnson played on influential albums like Fly Like an Eagle and Abracadabra, contributing to some of the band’s most successful and enduring hits. Outside the Steve Miller Band, Johnson has worked extensively as a session musician, adding his bass expertise to numerous other artists’ recordings.
John King
John King served as the drummer for the Steve Miller Band from 1972 to 1974. His contributions during this period were crucial as the band transitioned into a more mainstream rock sound, notably on albums like The Joker. King’s style provided a solid backbeat that was essential to the band’s musical evolution. Sadly, John King passed away in 2010, but he left behind a legacy of influential drumming in the rock music scene.
Les Dudek
Les Dudek briefly joined the Steve Miller Band as a guitarist in 1975. Though his time with the band was short, Dudek’s guitar work contributed to the recording of the album Fly Like an Eagle, particularly on tracks where his guitar solos complemented Miller’s vocals and harmonies. Beyond his stint with Steve Miller, Dudek has had a successful career collaborating with other major artists and bands, including Boz Scaggs and the Allman Brothers Band.
Doug Clifford
Doug Clifford, best known as the drummer for Creedence Clearwater Revival, played drums for the Steve Miller Band in 1975. His involvement, although brief, was during a critical time as the band was working on the Fly Like an Eagle album. Clifford’s professional and solid drumming style provided a reliable backbone for the band during his tenure. Outside of his time with Steve Miller, Clifford’s influence and contributions to rock music continue to be celebrated, particularly through his extensive work with CCR.
David Denny
David Denny was a guitarist and backing vocalist for the Steve Miller Band from 1975 to 1978. During his tenure, Denny contributed to several albums, including Fly Like an Eagle and Book of Dreams, both of which are pivotal in the band’s history for their commercial and artistic success. Denny’s guitar work, characterized by its melodic lines and rock-solid rhythm, helped define the sound of the band during one of its most prosperous periods. Outside the Steve Miller Band, David Denny has enjoyed a respectable career in music, contributing to various projects and collaborations.
Norton Buffalo
Norton Buffalo served multiple stints with the Steve Miller Band, playing harmonica, guitar, and providing backing vocals from 1975 to 1978, 1982 to 1987, and 1989 until his death in 2009. Buffalo was noted for his exceptional harmonica skills, which added a unique texture to the band’s sound on albums like Fly Like an Eagle and Abracadabra. His work on these albums was integral in crafting some of the band’s most memorable tracks. Norton Buffalo’s musical career outside the band was equally prolific, collaborating with a range of artists and releasing solo albums that showcased his versatile talents.
Greg Douglass
Greg Douglass was a slide guitarist and backing vocalist for the Steve Miller Band from 1976 to 1978. His distinctive slide guitar playing can be heard on the album Book of Dreams, which includes tracks like “Swingtown” and “Jungle Love,” helping to shape the band’s rock-driven sound during this era. After leaving the band, Douglass continued to have a successful career, working with other major acts and contributing to various musical projects, enriching his reputation as a proficient slide guitarist.
Byron Allred
Byron Allred played keyboards for the Steve Miller Band from 1976 to 1987 and briefly in 1990. His keyboard artistry featured prominently on albums like Circle of Love and Abracadabra, where his synthetic textures and atmospheric layers played a key role in the band’s sound. Allred’s contribution extended beyond the Steve Miller Band, having worked on various projects and with other artists throughout his career until his passing in 2021.
John Massaro
John Massaro was a guitarist and backing vocalist with the Steve Miller Band during the early 1980s, specifically from 1982 to 1983. His role in the band was during a transitional period where they were exploring different sounds and styles. Massaro’s guitar work contributed to the band’s performances and recordings during a critical time of artistic exploration. Outside of his tenure with the band, Massaro continued his music career in various capacities, enhancing his skills and expanding his musical reach.
Billy Peterson
Billy Peterson was the bassist and a backing vocalist for the Steve Miller Band from 1987 to 2011. During his long tenure, Peterson played on several albums, including the later works of the band that saw them exploring different musical styles while maintaining their rock roots. His stable bass playing provided the rhythmic backbone for the band over nearly two decades. Peterson’s career outside the Steve Miller Band has been rich and varied, working extensively in the jazz scene and with numerous other artists in various genres.
Bob Mallach
Bob Mallach played saxophone for the Steve Miller Band from 1987 to 1996. During this period, Mallach’s saxophone added a robust and soulful layer to the band’s sound, contributing significantly to live performances and recordings alike. His tenure encompassed albums that experimented with integrating more blues and smooth rock elements. Outside of his time with the Steve Miller Band, Mallach has been involved in various jazz and blues projects, showcasing his versatile playing style and commitment to his craft.
Paul Peterson
Paul Peterson, a talented guitarist, had two separate stints with the Steve Miller Band, initially in 1988 and later from 1991 to 1992. His guitar work helped shape the band’s live performances and studio recordings during a period marked by musical shifts within the band. Outside of these engagements, Peterson has had a notable career, working with other renowned artists and bands, which has allowed him to maintain a presence in the music industry beyond his contributions to the Steve Miller Band.
Ricky Peterson
Ricky Peterson played keyboards for the Steve Miller Band during two brief periods in 1988 and again in 1991. His keyboard playing enriched the band’s sound with a distinctive layer of harmonics, particularly during live performances. Peterson is well-regarded in the music industry, having worked with numerous high-profile artists and on various solo projects, contributing significantly to contemporary jazz and rock music with his refined keyboard skills.
Keith Allen
Keith Allen served as a guitarist and backing vocalist for the Steve Miller Band from 1989 to 1990. Although his time with the band was short, Allen’s contributions during live concerts and studio sessions helped maintain the band’s signature sound. Outside of the Steve Miller Band, Keith Allen has engaged in various musical endeavors, including session work and collaborations with other artists, which have helped him to develop a diverse musical portfolio.
Sonny Charles
Sonny Charles was a backing vocalist for the Steve Miller Band from 2008 to 2011. His rich vocal style added depth to the band’s harmonies and live performances during this period. Charles brought extensive experience to the band, having been a successful soul singer with the Checkmates, Ltd. before joining Steve Miller. His career in music spans several decades, with contributions to numerous projects that highlight his talent as a singer.
Gordy Knudtson
Gordy Knudtson played drums for the Steve Miller Band from 1987 to 2021, marking one of the longest tenures in the band’s history. His drumming was pivotal in defining the rhythmic foundation for the band across numerous albums and countless live performances. Knudtson’s style is noted for its precision and adaptability, qualities that have made him a respected figure in the drumming community. Beyond his work with the band, Knudtson is also recognized for his educational contributions to the field of drumming, including teaching and developing instructional materials for aspiring drummers.
Read More Steve Miller Band articles on ClassicRockHistory.com
Melissa Bonny, vocalist for Swiss / German modern metal frontrunners Ad Infinitum, has released a standalone solo single, “Gravitate”. It is available for streaming and download here. Check out the official video below.
Ad Infinitum redefine their sound as they look to the future with their upcoming album, Abyss, out October 11 via Napalm Records. Since breaking out into the scene in 2020, Ad Infinitum has experienced a remarkable rise, evolving their musical style with each release. While their earlier offerings showcased a symphonic metal approach, Abyss reveals a whole new side of Ad Infinitum, marking their most dynamic, modern and progressive record to date.
Today, the band offers a first taste of what’s to come by unleashing the mesmerizing and catchy opening track, “My Halo”, featuring powerful breakdowns and setting the tone for the album.
Ad Infinitum on “My Halo”: “Our brand-new single, ‘My Halo’, is out, and with it, the announcement of not only our upcoming album, Abyss, but also our next album trilogy. This is our most elaborate, intimate and unapologetic work yet with the Ad Infinitum signature sound, playing with new sounds and swimming in darker waters.”
On the new album Abyss, gripping, rhythmic riffs, infectious choruses, heavy breakdowns and singer Melissa Bonny’s inimitable and increasingly versatile vocal approach present the band at the very top of their game – proving that these hard-working, ever-rising stars never fail in surprising their fans and critics alike. Ad Infinitum is Melissa Bonny (vocals), Adrian Thessenvitz (guitars), Korbinian Benedict (bass) and Niklas Müller (drums).
Ad Infinitum on Abyss: “Welcome to a new page of the Ad Infinitum story, where a new era begins. A journey connecting three albums, starting in the ominous darkness of Abyss, out on October 11th. The journey will continue through the hope and empowerment found at the surface, and end in the freeing and energizing dreamscapes of Elysium. We are extremely impatient to present this new record, as well as not only the beautiful artworks and videos depicting its universe, but the captivating visual storyline connecting each video to the next. This is our most elaborate, intimate and unapologetic work yet.”
Abyss soars as a modern metal masterpiece. After the opener “My Halo”, the intensity continues with “Follow me Down”, driven by entrancing riffs that solidify the band’s technical prowess. “Aftermath” highlights Ad Infinitum’s energetic and experimental side, delivering potent growls and innovative compositions. “Euphoria” transports listeners to ethereal soundscapes, seamlessly blending genres from catchy pop to visceral alt metal, creating a unique and captivating experience. The mystic “The one you’ll hold on to” follows with its powerful guitar riffs and haunting melodies, leading into the infectious “Parasite”. This track spotlights Melissa Bonny’s remarkable vocal abilities while giving ample space for impressive guitar work. The album culminates with “Dead End”, a gripping, catchy finale that leaves a lasting impression. Abyss is an unmatched, skilled tour de force showcasing Ad Infinitum’s vast creativity and variety of inspirations.
With their spellbinding releases, Ad Infinitum have reached millions of fans on streaming and video platforms worldwide, with over 4.2M views for their hit “Unstoppable” alone. Furthermore, frontwoman Melissa Bonny is consistently drawn to exciting musical collaborations, demonstrating her matchless talent as featured guest for bands like Kamelot, Feuerschwanz and dArtagnan. 2024 has been a landmark year for the four-piece, highlighted by their US tour with symphonic metal masters Kamelot and power metal veterans HammerFall. In early 2025, and following the release of Abyss, they are set to embark on a European tour with folk metal pioneers Eluveitie and label-mates Infected Rain. This latest chapter marks a turn in their ascendant journey, with Abyss promising to leave a lasting impression on the modern metal scene.
Abyss will be available in the following formats:
– 1LP Recycled Colored Vinyl (inlc. 12” Booklet, Slipmat) – ltd. to 300 copies worldwide – 1LP Recycled Black Vinyl – 36 page Earbook – ltd. to 300 copies worldwide – 1CD-Digisleeve + Abyss Pendant Bundle – ltd. to 200 copies worldwide – 1CD Digisleeve + T-Shirt Bundle – 1CD Digisleeve – Digital Album – Abyss Pendant – Cover Artwork T-Shirt
“My Halo” “Follow Me Down” “Outer Space” “Aftermath” “Euphoria” “Surrender” “Anthem For The Broken” “The One You’ll Hold On To” “Parasite” “Dead End” “My Halo” (Orchestral Version)*
Bell played his debut solo show on June 13 at 1720 in Los Angeles, California with support from Spirit In The Room and Sordes Dominum. Fan-filmed video from the show can be viewed below.
Bell’s backing band featured guitarist Henrik Linde (The Vitals), bassist Tony Baumeister (Æges), drummer Ryan Junior Kittlitz (All Hail The Yeti), and multi-instrumentalist Stewart Cararas.
The setlist was as follows:
“Anti-Droid” (live debut) “Dog Day Sunrise” (Head Of David) “Technical Exorcism” (live debut) “Drive Boy, Shooting” (G//Z/R) “Descent” (Fear Factory) “Ghost Heart” (Ascension Of The Watchers) “Replica” (Fear Factory) “Du Hast” (Rammstein) “Scapegoat” (Fear Factory)
The voice that defined futuristic anxiety, existential desperation, and steadfast resistance returns.
Extreme music pioneer, multimedia talent, and iconoclastic provocateur, Burton C. Bell, resurrects his legacy and forward-thinking destiny, remade in a career-spanning incarnation as a singular solo artist.
His work continually explores themes of dystopian angst, identity, technology gone wrong, and resilience. “Anti-Droid”, Burton C. Bell’s debut solo single, recently arrived with a potent message. “I severed the machine that no longer served me,” he screams in the moody, synth-heavy, sci-fi metal missive. It’s a defiant statement delivered with a confident bombast. Burton C. Bell is back on the offensive.
Watch the music video below, and stream the track here.
“I’m starting my solo career,” Bell says enthusiastically. “I’m working with different producers and co-songwriters, making music that I love, with full control of the music and creative direction.”
Bell’s discography includes multiple live and recorded collaborations with Black Sabbath icon Geezer Butler and Journey’s Deen Castronovo (as GZR); industrial maverick Al Jourgensen and Ministry; and guest vocal appearances with Pitchshifter, Conflict, Soil, Static-X, Soulfly, and Delain, among others. He’s the vocalist of Ascension Of The Watchers and City Of Fire and, of course, the co-creator of Fear Factory and the only musician to appear on every Fear Factory release from 1992 through 2024.
Fear Factory created a sound that revolutionized extreme metal, defined in no small part by Bell’s innovative scream/sing dichotomy and the influences he brought from post-punk and industrial. Songs like “Replica,” “Linchpin,” “Edgecrusher,” “Fear Campaign,” “Archetype,” “Cyber Waste,” and “Zero Signal” are modern metal anthems. Demanufacture (1995) and the RIAA gold-certified Obsolete (1998) are genre-redefining works heralded by fans and critics as essential albums. Orwell, Bradbury, Blade Runner, and sophisticated sci-fi and fantasy works fed Bell’s lyrics and concepts.
The band toured the world with Metallica, Slipknot, Korn, Megadeth, and Ozzy Osbourne, taking bands like System Of A Down and Static-X out as support acts in their early stages. After years of behind-the-scenes band member turmoil and legal issues, Bell left Fear Factory in the fall of 2020.
In the chorus of “Anti-Droid,” he declares: “I’d rather be dead than a slave to the factory.”
Bell says “Anti-Droid” is “a statement about breaking free. Breaking the bonds of what I felt was a prison in many ways. Not just financially or contractually but creatively, as well. I felt constrained to this format we’d written ourselves into. The ‘factory’ doesn’t have a capital F. It’s the factory of the music industry, a certain form of business, and priorities. Being a slave to an established way of thinking is not really freedom. I am moving forward.”
Like the faithful cover of Rammstein’s “Du Hast” he released in 2023, or the cover of “Enter Sandman” recorded with Danzig’s John Christ and Metallica’s Robert Trujillo more than a decade before, Bell’s solo work embodies the best of hard rock, metal, and industrial’s past, present, and future. “Anti-Droid” is but the opening salvo in a brand-new campaign, which will see Burton C. Bell releasing increasingly innovative yet classic feeling, ever-engaging solo material. It also sets the stage for future live performances, certain to deliver the anthems that have defined his body of work, songs rarely played from City Of Fire and G/Z/R, and diverse deep cuts from the Fear Factory catalog.
“I was absolutely horrified when I saw the box set. I went ballistic! Explain to your readers I didn’t know about that”: Allan Holdsworth’s life in music
(Image credit: Getty Images)
Allan Holdsworth – born on August 6, 1946 – died on April 17, 2017, just 12 days after the release of a career retrospective box set with a title he hated. In his last print interview before his passing, he looked back on a long and creative career with Prog.
Allan Holdsworth was a towering figure in the world of progressive music. With his trademark legato style, he influenced a generation of musicians who would follow in his wake. And like many innovators, he watched as many of his admirers achieved greater commercial success than he would find. But those kinds of considerations were never central to Holdsworth’s approach to music.
The early days of the Bradford, England-born guitarist’s career saw him working in the Canterbury scene, as well as taking part in some work (sadly undocumented) with percussionist Jamie Muir, later a key member of Larks’ Tongues In Aspic-era King Crimson.
Holdsworth stayed busy and honed his craft playing guitar for Pierre Moerlen’s Gong, Tony Williams’ Lifetime, Soft Machine, Jean-Luc Ponty and others who explored the previously uncharted spaces in which jazz and rock intersected. Once his solo career got underway, he left England and settled in California. There he spent less time lending his talents to outside projects, though he found time to play on albums by Stanley Clarke, Chad Wackerman, and take part in nearly a half dozen collaborative album projects. He also wrote three books on guitar technique.
The notoriously fastidious Holdsworth didn’t consider the unauthorised 1976 LP Velvet Darkness part of his catalogue, and preferred not to discuss it with us. But between 1982 and 2002, Holdsworth did record and release 12 solo albums (though 1983’s Road Games is technically an EP) for nearly as many labels. Though he continued to tour, 2001’s Flat Tire: Music For A Non-Existent Movie was his most recent collection of material intended as an album. Los Angeles-based independent label Manifesto Records collected Holdsworth’s entire body of solo work into a box set and presumptuously named it The Man Who Changed Guitar Forever!
As one might expect, Holdsworth hated that title.
Your early influences were the ambitious end of classical music: Stravinsky, Bartok and the like. When you were young, did pop music filter its way into your musical sensibility?
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My dad was a piano player, a really good pianist, in fact. He had lots of records around: they were mostly jazz records. But you don’t wake up one day and sound like Django Reinhardt, so I decided to learn to play some of the pop music that I could play. And once I could, my interest in that music faded away. So pop music was just a starting point, although I still listen to all kinds of music.
Throughout the 1970s, you played with an impressive list of artists, each of whom was quite unique. Did you feel empowered to express your own musical ideas within the context of others’ work?
When I played with Tony Williams, he would never direct as to which way he wanted the music to go; he would kind of leave it up to me. Tony’d just say, “Okay, there’s the music; do your thing.” So it was relatively easy for me to find a way to inject my own personality into some of the music, even though it was composed by someone else. And I found that almost everybody treated me the same way.
Was it your time with Jean-Luc Ponty that sparked your interest in playing the violin?
Oh no, no, it was just curiosity. I messed around with a lot of instruments; I played clarinet for a while. I had borrowed saxophones from bandmates in the past, just to get a feeling of how they work and the challenges of each; and it was like that with the violin. I got a violin, and then after that I did buy a viola. But the viola got lost in the shuffle when I moved; I don’t really know what happened to it.
In the years that you worked with Ponty – because he was essentially the lead instrumentalist – did you have to ease back on some of what you were doing to leave space for him?
Jean-Luc was great to work for: he left me alone pretty much as well. He didn’t give me any instructions. I liked the music, and I totally enjoyed playing with him.
But that wasn’t the case when you played with UK…
Not as much. There was less improvisation than I would have liked. It was more structured, not that there’s anything wrong with that. It was just that Bill [Bruford] and I were on one side of the fence, and Eddie [Jobson] and John [Wetton] were on the other. It wasn’t a personality thing, at least not for me. I liked all those guys. I just found UK a little bit too restrictive; I wasn’t making enough progress. It wasn’t assisting me to make progress in my own playing.
You didn’t make your solo debut I.O.U. until you were in your mid-30s. What spurred you to finally do it?
UK disbanded at that time, and I was still playing in Bill’s band. I’d just met drummer Gary Husband; we played together a little bit, and then I just kind of decided – the switch went on in my mind – “You know what? I’m just going to try this!” I wanted to make the jump to play my own music. I had a reasonable amount of music written.
it was extremely rare to hear anything I’d done… you could turn on a jazz station and listen to music that’s not really jazz
One of the unifying qualities of this new box set collection of 12 albums is the timeless nature of the music. For the most part, there’s nothing about, say I.O.U. that suggests that it was made nearly 20 years before Flat Tire. When you’re making an album, do you seek to to avoid sonic textures or production techniques that might make the record sound dated down the line?
No, it’s not a conscious effort. Some of it comes from the musicians who I played with, and their translation – or their interpretation – of my music. Some of those guys just had that quality; they didn’t necessarily have a sound [associated with] a specific point in time.
But at the same time, generally speaking, the newer the album the more I like it. For me, the box set is just a look back over time. There were bootlegs, and some albums had been discontinued for years, so we decided we wanted to put out my whole back catalogue.
In the past, you’ve made a list of a half dozen or so albums called: “Stuff I recorded but wish I did not.” Why did you characterise them that way?
It would depend on the particular instance, but I remember a couple of them that involved other guitar players. It was just a mixing thing: the other guitars would be three times the volume of mine! Stuff like that.
Allan in his Enigma Records days with his trusty SynthAxe (Image credit: Promoarchive.com/Photofeatures)
Early on in your solo career, you became very closely associated with the SynthAxe. What piqued your initial interest in that instrument?
It went back really far into my childhood, actually. Because I always wanted to play a horn or a violin or something where you could shape a note, as opposed to the guitar which is basically a percussion instrument. And I always tried to get the guitar to sound like it wasn’t a percussion instrument.
When the SynthAxe came along, it opened the door to not only different textures and sounds that were unavailable on the guitar, but with the use of the breath control, I could do all the things that I wanted to do if I had been a horn player of some sort. I learned a lot from just playing that instrument. I still use it a lot in the studio; for the stuff I’m working on now, it has probably ended up on every track.
You’ve explored other technological innovations, and you’re involved with some development yourself. Have you played any newer things, like the Moog guitar?
Briefly, but it was a few years ago. But it was like a step backwards for me; if I have to go from the SynthAxe, the thing is going to have to be absolutely, incredibly remarkable for me to want to make a jump.
In recent years you’ve also been performing and recording with a baritone guitar. From your point of view, what is its appeal?
When I was playing violin, I used to love the sound of the viola. There was just something about that, just having a little bit lower range. That different sound appealed to me. It’s the same as the difference between an oboe and English horn, or an alto clarinet to a regular clarinet; it’s in a different register.
I recorded the same song twice, just so people could hear how much the music changed being played by different people
After a period of real innovation in jazz and progressive music, especially fusion, those genres went into commercial decline in the 1980s. “Smooth jazz” became popular. And with a few notable exceptions, progressive music receded from the mainstream view. Why do you think that happened?
I don’t know why it happened, actually. I really don’t. I suppose it had to do with record companies and radio stations… specifically radio stations. I could never get a radio station to play my music; it was extremely rare to find or to hear anything that I’d done on the radio. Whereas you could turn on a jazz station and listen to music that’s not really jazz. To me it’s muzak.
When you were making solo albums, did you find yourself being subject to lots of commercial pressures?
Sometimes, but that was mainly due to the labels. For example, Warner Brothers [who released Road Games] was a nightmare, and I was glad when that was over. But Bill Hein was the guy who ran the company when I was working with Enigma; he was a very, very clever guy, and he was also very open-minded. He would never say, “We want you to do this,” or “Can’t you do this?” He’d just leave me alone.
I think that the people who were in charge of the label were a key factor, because I didn’t get pressure about anything. Bill would never pressure me because I was late with a record, which I always was. I never did a record on time. But it didn’t worry me if it didn’t worry them, because for me, it’s done when it’s done. If I don’t like it, it doesn’t appear.
To what degree is the music on your studio albums the product of careful composition and arrangement, and to what extent is it the product of improvisation giving way to creation?
When I write a piece of music, I start with just the composition itself. And I don’t worry about how difficult it might be to play solos over, or anything like that. I just let the composition go where I think it should go. And then I leave sections open for the soloist or whomever, to give them some space to play. I never wrote a composition that was just specifically for improvisation alone. Or if I did, I don’t remember what it was! I like the music to be dense harmony-wise, and then transformed. It works for me, anyway.
Some artists will put out an album that’s simply the latest issue of what they’re doing, as opposed to a cohesive work. Generally speaking, when you’re making an album, is there a kind of unifying concept at work?
The way it’s worked out for me is that I tend to write tunes around the personality of the band that I’m working with currently. For example, when I was playing with Dave Carpenter and Gary Novak, that band was considerably softer than, say, Hard Hat Area, which was more aggressive.
But that was intended by the players. On one of the new albums I’m working on now, I recorded the same song twice, just so people could hear how much the music changed being played by different people. I did a tune with Gary Husband and Jimmy Johnson, and then I did the same exact piece of music with Ernest Tibbs and Joel Taylor. And aside from the melody, you wouldn’t even know it was the same tune! It’s quite remarkable how it changes.
They’re free to interpret it in their own way, and that’s always worked for me. Each member of the band can enjoy himself a little bit more, and get a little bit more of what it is that they do into the project. That’s what I learned from Tony Williams: leave people alone, unless it’s something specific in a certain section that you really want to hear.
I’ve decided not to do any touring – or very limited touring – because I’m too old… I like playing, but I don’t like the travelling part
What’s the status of the crowdfunding project for Tales From The Vault?
Tales From The Vault turned into a bit of a disaster, actually. There were some older tracks that I’d done before with Ernest and Joel but I never finished; I was going to finish them for the pledge campaign, but basically the money ran out. Compared to other people I don’t produce albums very quickly. So I ended up not using some of those tunes; it wasn’t financially possible for me to do it.
Tell us about the new album you have in the works.
For the very newest album with Virgil Donati, Jimmy Haslip and Jimmy Johnson, I basically did it on the computer. And I had a hard time with that, because I’m not very savvy with computers. I use the computer in a very limited manner. I use it like an old fashioned tape machine: play, forward, fast-forward and rewind. That’s about as much as I know!
The record is for Steve Vai’s Favored Nations label. It’s been very energetic, and I’ve been inspired to write tunes for the band. It will get finished before the end of this year, because I’ve decided not to do any touring – or very limited touring – because I’m too old. I don’t enjoy it any more. I like playing, but I don’t like the travelling part; I don’t like airplanes, and I don’t like going through security.
Part of the reason it was so long between records is that I’ve moved three or four times in that period. And each time we had to pull the studio apart and rebuild it somewhere else. So I didn’t have anywhere to work, really. Combine that with being on the road, and I never seemed to have the time to do it. That’s why I decided to take some time off to work on these recordings. The downside of that is trying to survive: when I’m working on a record, I’m not making any money.
Other than using computers, how would you say your approach to making albums has changed over the years?
It’s basically changed by default, just by the way people do things. Before – in the old days – people would rent a really nice studio for a few days, and we could play everything more or less together. If we had to overdub something, that was fine. Then we’d spend a few days or a week or so mixing it, and then Bob’s your uncle. But now people just send files over the internet, and more often than not, you’re not in the same room, or at least not at the same time. The technology forced a change; that’s why so many studios went out of business.
Do you think something’s been lost with the demise of the old way of doing things?
Yeah, you always lose something. But you gain things, too. It’s possible to make very high quality digital recordings if you use very high sample frequencies like 96kHz or above.
Still, anybody who’s worked on a really great analogue two-inch tape machine in a studio knows that you can’t do that on a little digital recorder. It’s blatantly obvious, but nobody cares. They’re all playing it over their iPhones!
We have to ask about the box set’s title. It doesn’t sound like something that you would call it.
I was absolutely horrified when I saw the box set. I never saw the actual cover until it was already in production. I went ballistic: “You can’t say that on the front, ‘The Man Who Changed Guitar Forever!’” I was like, “Explain to your readers that I didn’t know about that.”
I was just trying to survive, but survive by doing something I enjoyed as opposed to it turning into a day job
The guys know me; they know my personality. You know, it’s not something I’d say: “Here I come, king of men.” I heard it was just going to be called The Allan Holdsworth Album Collection. It was too late to shake the tree.
Some of the material suffered from the amount of time since the masters were made, and I know that the record company had spent a lot of money on remastering. In the end, I just said, “Well, it’s my own fault; I should have asked them to show me exactly what they were doing.” It was just unexpected.
They did a great job on everything else. It’s a limited edition: the box will go away, and eventually there will just be individual albums.
You’ve been a musician most of your life, and a recording artist for nearly 50 years. Was there a point in your career when you thought: “I’ve made it”?
No, I never thought of it like that. Like a lot of musicians, I was just trying to survive, but survive by doing something I enjoyed as opposed to it turning into a day job. I got the pleasure from that, and I could continue to learn.
And that never stops. I’ll never really know very much about music, no matter how long I live. That’s just how it is: when you get over one milestone, there’s another, bigger one.
Discharge’s Grave New World touring lineup (L to R): Nick Bushell, Cal Morris, Garry Maloney, Stephen “Fish” Brooks(Image credit: Rock Hotel Records)
Sure, you’ve probably screwed a few things up here and there. You might even consider yourself a bit of a bungler. Well, let me tell you something.
No matter how badly you’ve blown it, you still haven’t blown it as badly as Discharge did in 1986. They fucked things up so royally that they disbanded in disgrace a year later. With the possible exception of Celtic Frost’s infamous Cold Lake, Discharge’s ‘86 album Grave New World is the most obvious and audacious career self-sabotage ever committed.
Time has done nothing to lessen the blow, either. Grave New World has not aged into a forgotten cult classic. It’s still fucking horrible, and Discharge should still be ashamed of it. A year prior to its release, Discharge were one of the most vital and influential hardcore punk bands of all time. A year later, their name was mud. To paraphrase junkie poet laureate Jim Carroll, Grave New World is a constant warning to take the other direction.
But let’s back up for a moment. It’s important to know where Discharge stood in the pantheon of punk. The band formed in Stoke on Trent (birthplace of Lemmy!) in 1977, shortly after the first wave of British punk broke. Initially they were Pistols wannabes until their roadie, Cal Morris, took over on vocals, and all hell broke loose. His vocal style – hoarse grunts, basically – and the band’s stripped-down, ultra-distorted wall-of-guitars sound was the blueprint for 80’s hardcore in the UK.
Later on they threw in some metal leads and became one of the architects of the ‘crossover’ sound. Discharge, along with a smattering of other bands (GBH, Misfits, Suicidal Tendencies, DRI, COC) was one of the only punk bands metal kids listened to, and they were highly respected by both camps. Their sound inspired countless bands and still does, to this day.
In fact their signature dirty thump has become its own genre, ’D-beat’, and there are dozens of ‘Dis’ bands in operation today. Their first few records are holy grail items to anybody that loves heavy, primitive music. From 1980 to 1985, Discharge were untouchable. The kings of punk, basically. And then something went drastically wrong.
Grave New World was supposedly created after Cal rediscovered Led Zeppelin, but there’s no Zep to be found. It sounds more like a desperate cash-grab from a bunch of dudes who just heard their first glam metal record and wanted in at any cost.
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Imagine if Guns N’ Roses were the worst band you’ve ever heard. That’s Grave New World. The fact that the lyrics are as grim as ever – most of the songs are about heroin abuse – only makes it more awkward and off-putting. It’s a mind-boggler how terrible it is.
There are hilarious bootleg tapes circulating around to this day of the Grave New World US/Canada tour where the band is subjected to non-stop abuse from the crowd, who pelted them with bottles and garbage and demanded a return to form that they never got. It’s a pretty fantastic example of democracy in action.
The band limped through the tour undaunted, though. Cal never dropped the yelping, even when beer cans were pinging off his head. The best/worst had to be their San Francisco gig, where you can hear disappointed kids comparing them to Ratt and Quiet Riot, and at one point, one of the guys from DRI hurls a full trash can at them. Good times.
Shortly before they threw the towel in, Cal quit and was replaced, briefly, by flamboyant shock rocker Rocky Shades of Wrathchild fame. Of all the rock n’ roll stories I’ve ever heard, I think that might be the fucking craziest. Seriously, man…Rocky Shades?
Discharge were never really able to shake Grave New World off. After the breakup, Cal regrouped with new players and released a couple thrashy metal records in the ensuing decade, but nothing really clicked.
More notably, ‘77 era guitarists Rainy and Bones got the band back together in 2001 and they returned to their hardcore/crossover roots. There’s a great clip of Discharge brawling with the audience in 2014, which is pretty fucking punk, especially for 50 year olds. It’s not enough to make you forgot 1986, but it’s a start.
For most bands, one dip into weird new territory would be fine. But Discharge wasn’t most bands. They held a set of principles that punks and headbangers alike respected and admired. With their ear-grinding guitars, ground-glass grunts and lyrics about police oppression and nuclear war, Discharge was the very definition of hardcore, and they threw it all away for falsetto howls and flash metal solos.
The betrayal still stings, and I’m not even a punk rocker. That being said, I still have a Discharge patch on my denim jacket. I mean, they’re fuck-ups, but have you ever heard 82’s Hear Nothing See Nothing Say Nothing? That’s some heavy shit, dude.
Came from the sky like a 747. Classic Rock’s least-reputable byline-grabber since 2003. Several decades deep into the music industry. Got fired from an early incarnation of Anal C**t after one show. 30 years later, got fired from the New York Times after one week. Likes rock and hates everything else. Still believes in Zodiac Mindwarp and the Love Reaction, against all better judgment.
Ancient Entities, from Milwaukee, WI is not your average death metal band. With a thematic focus on ancient civilizations, folklore, and mythology from across the globe, their music is a journey through time and legend. Combining technical death metal riffing with thunderous rhythm sections, Ancient Entities creates a sound that is both colossal and captivating.
This past June they released their debut album “Echoes Of Annihilation” on Worm Hole Death Records. Today, the band has their new music video for the track “Empire In Ashes” – with added bonus footage from their performance at this year’s Milwaukee Metal Fest.
The band comments on some of their backgrounds:
“We have lots of talented musicians in the band. Alex and Luke learned from the same jazz teacher in the Milwaukee area, Steve Peplin. He’s a very notable name in Milwaukee and the jazz community. On top of that Alex also took some lessons from Paul Ryan (Origin) in his early 20s and also from Cristiano Trionfera (ex-Fleshgod Apocalypse) a couple of times. Knowledge from these musicians helped form Alex’s style of playing especially when it comes to leads. You can hear a lot of what Paul Ryan calls ‘laser sweeps’ in Echoes Of Annihilation.”
Alex Rausa, the primary songwriter, draws inspiration from various cultures and mythologies, infusing each song with authentic vibes and grandiosity. Brian Gulliford, the band’s lyricist, brings Alex’s visions to life with vivid storytelling that delves into war tactics, ancient rituals, and the brutality of historical civilizations.
Ancient Entities is picking up steam with recent festival performances and certainly more to come. Echoes Of Annihilation is recommended for fans of Decapitated, Blood Red Throne, and Nile.
New music video for “Empire In Ashes” is streaming below.
Attention female rockers! Rock ‘n’ Roll Fantasy Camp has announced their third annual Women’s Rock Camp featuring Nancy Wilson (Heart), Sheila E. (Prince), Nita Strauss (Alice Cooper), Lita Ford (The Runaways), Rhonda Smith (Jeff Beck) and many more! This special camp will take place December 5-8, 2024 in Los Angeles, California.
Join a band mentored by one of the Rockstar Counselors and spend four days jamming hits including: “Crazy On You”, “When Doves Cry”, “Kiss Me Deadly”, “Billion Dollar Babies”, “Mustang Sally”, and many more.
To cap off these surreal four days, you’ll perform live in Hollywood on the Sunset Strip at the legendary Viper Room.
Your Rockstar Counselors at this camp will include: Roxy Petrucci (Vixen), Eva Gardner (P!nk), Jennie Vee (Eagles Of Death Metal), Julia Lage (Vixen), Jennifer Oberle (Sarah McLachlan), Britt Lightning (Vixen) and more.
This camp is powered by Billboard, and will feature a panel of music executives led by Melinda Newman, Executive Editor at Billboard.
Prior to camp, you’ll have a call with musical director Britt Lightning (Vixen) to ensure you’re placed in the perfect band. You’ll receive a song list to start rehearsing, and before camp begins, you’ll connect with your rockstar counselor and bandmates to prepare for your epic journey.
During the four days of camp, you’ll experience band rehearsals, jam sessions, masterclasses with rockstar counselors, Q&A sessions, live performances and more.
This camp is open to female instrumentalists and vocalists of all ages and playing levels. The Women’s Rock Camp is exclusive to lady rockers. Sign up here.
What Happens at Rock ‘n’ Roll Fantasy Camp? Find out in the video below.
Roadrunner Records continues its legacy of driving the collision of culture and heavy music with the release of the first original song, “The Last Ballad Of Damrod”, from the upcoming The Lord Of The Rings: The Rings Of Power (Season Two: Amazon Original Series Soundtrack). Composed by Emmy Award winner Bear McCreary and featuring vocals from Meshuggah frontman Jens Kidman, the song will appear in the highly anticipated second season of the Amazon Original series.
“The Last Ballad Of Damrod” (feat. Jens Kidman) will be released on August 8, 2024. The song is available to pre-order and pre-save now via Roadrunner Records here.
A song about a vicious Hill-troll, “The Last Ballad Of Damrod” is brought to terrifying, screaming life by Jens Kidman, the unforgettable lead singer of Grammy-nominated Swedish extreme-metal band Meshuggah.
Says McCreary: “When I first glimpsed Damrod, the murderous troll in The Lord Of The Rings: The Rings Of Power Season Two, I knew immediately I had to call Jens Kidman. The aggressive frontman of Meshuggah, Jens put a searing brand on ‘The Last Ballad Of Damrod’ with his blistering vocal performance. I am exhilarated to team up with Roadrunner Records, home to some of my favorite bands of all time like Gojira and Slipknot, to bring our song to the world. My collaboration with Jens, alongside virtuoso drummer Gene Hoglan, on ‘The Last Ballad Of Damrod,’ offers an introduction to my exploration of the darker recesses of J.R.R. Tolkien’s legendarium and sets the stage for the rest of the sweeping score to come.”
The Lord Of The Rings: The Rings Of Power (Season Two: Amazon Original Series Soundtrack) will be released worldwide on August 23rd, tied to the highly-anticipated return of the series later this month. Available across all music streaming services, the full episodic score for the second season of the Amazon Original series was composed by Emmy Award-winner Bear McCreary (Da Vinci’s Demons). Following each episode, Amazon Music will release a weekly soundtrack album containing the score for that episode, only available on Amazon Music.
For the epic first season of Prime Video’s The Lord Of The Rings: The Rings Of Power, composer Bear McCreary wove a tapestry of symphonic orchestra, bombastic percussion, and folk instruments from across Europe and North Africa, combined with solo vocalists and choirs singing in the iconic languages of J.R.R. Tolkien’s books. For the gripping second season, McCreary has built atop that foundation with dynamic new themes and colors, including Bulgarian women’s choir and gadulka for Rhûn, children’s choir for the pastoral city of Eregion, Hardanger fiddle for new character Estrid, and deathly whispers for the terrifying Barrow-wights.
Season Two of The Lord Of The Rings: The Rings Of Power will debut on Prime Video on August 29, 2024, in more than 240 countries and territories around the world, and in multiple languages.
The Lord Of The Rings: The Rings Of Power brings to screens for the very first time the heroic legends of the fabled Second Age of Middle-earth’s history. This epic drama is set thousands of years before the events of J.R.R. Tolkien’s The Hobbit and The Lord Of The Rings books, and will take viewers back to an era in which great powers were forged, kingdoms rose to glory and fell to ruin, unlikely heroes were tested, hope hung by the finest of threads, and the greatest villain that ever flowed from Tolkien’s pen threatened to cover all the world in darkness.
The first season of The Rings Of Power has been an unprecedented success, viewed by more than 100 million people worldwide, with more than 32 billion minutes streamed. The highly anticipated series attracted more than 25 million global viewers on its first day, marking the biggest premiere in the history of Prime Video, and also debuted as the No. 1 show on Nielsen’s overall streaming chart in its opening weekend. The show has driven more Prime sign-ups worldwide during its launch window than any other previous content to date. The season finale also created a global cultural moment, with multiple series-themed hashtags, including #TheRingsofPower and others, trending in 27 countries across Twitter for over 426 cumulative hours throughout the weekend.
