Carl Westholm – best known for his work in the doom metal and occult rock worlds, notably as a former member of Candlemass and Avatarium – rejected Van der Graaf Generator on first listen. But as he told Prog in 2016, he later came to regard the band as one of his favourites.
“When I was a kid I listened to Genesis, Yes, King Crimson and Pink Floyd, but it’s only been within the last few years that I’ve discovered Van der Graaf Generator.
It was through my friend Leif Edling, who writes all the music for Avatarium – he and Mikael Åkerfeldt from Opeth can spend hours discussing weird albums. VdGG came up when Leif showed me a photo of Mikael with Peter Hammill. We discussed their old albums and he ended up lending me live DVDs from the Godbluff tour in 1975. It just blew me away – their music has an intensity I don’t often hear.
The first album of theirs I heard was H To He, Who Am The Only One from 1970, but my favourite is Godbluff. It’s not over-complicated, and Peter Hammill’s vocals are like a more intense David Bowie. I love the organs and choruses and everything.
The Undercover Man (2005 Digital Remaster) – YouTube
Their most famous song, A Plague Of Lighthouse Keepers from Pawn Hearts, is a bit too weird and too demanding for my tastes, so that’s why H To He… and Godbluff are a bit easier to digest.
I hadn’t thought of creating textures with so few instruments before
It’s funny; someone had told me about Van der Graaf in the 80s and I remember watching some short clips on compilation videos with friends. When David Jackson started playing saxophone, we laughed and skipped to the next band.
I didn’t get it at all – but now I actually prefer the saxophone line-up, rather than the one with Graham Smith’s violin. The very reason I dismissed them all those years ago is exactly why I like them now!
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The Sleepwalkers (2005 Digital Remaster) – YouTube
For many years I was the king of digital keyboards, and just stacked everything on top of itself. When we recorded Avatarium’s The Girl With The Raven Mask, I focused almost entirely on organ and my electric Fender Rhodes piano to create a bigger sound. That was something I learned from listening to Godbluff.
Peter Hammill plays the clavinet almost throughout the whole thing – and nothing else. I hadn’t thought of creating textures with so few instruments before so that inspired me.”
Def Leppard have announced their touring schedule for the spring and summer.
The Sheffield hard rock veterans will play shows in Puerto Rico, the US, and Canada, kicking off their itinerary at the Coliseo de Puerto Rico in San Juan, Puerto Rico on May 15.
Announcing the new dates, the band posted “The Summer is heatin’ up” on their social media channels.
Def Leppard spring/summer 2025 tour
May 15: San Juan Coliseo de Puerto Rico, Puerto Rico May 17: Ocean City Boardwalk Rock 2025, MD
Jun 19: Milwaukee Summerfest, WI Jun 21: Thackerville Lucas Oil Live at WinStar World Casino and Resort, OK Jun 23: Rogers Walmart AMP, AR Jun 25: Birmingham Coca-Cola Amphitheater, AL Jun 28: Atlantic City Borgata Event Center, NJ
Jul 01: Bangor Maine Savings Amphitheater, ME Jul 03: Uncasville Mohegan Sun Arena, CT Jul 06: – Québec FEQ 2025, Canada Jul 09: Winnipeg Princess Auto Stadium, Canada Jul 10-13: Craven Country Thunder, Canada Jul 11: Edmonton Rockin’ Thunder, Canada Jul 16: Ottawa Blues Festival, Canada Jul 18: Mount Pleasant Soaring Eagle Casino & Resort, MI Jul 20: Bethel Woods Center for the Arts, NY Jul 22: Saratoga Springs Performing Arts Center, NY
Aug 12: Albuquerque Isleta Amphitheater, NM Aug 14: Des Moines lowa State Fair Grandstand, IA Aug 16: Springfield Illinois State Fair, IL Aug 20: Highland Yaamava’ Theater, CA Aug 26: St Paul Minnesota State Fair MN Aug 29: Hollywood Seminole Hard Rock Hotel & Casino, FL Aug 31: Virginia Beach Veterans United Home Loans Amphitheater, VA
Def Leppard’s most recentalbum, Diamond Star Halos, was released in May 2022, and was voted Classic Rock magazine’s best album of that year.
Last year, the band released Just Like ’73, a new song featuring Rage Against The Machine guitarist Tom Morello, which Leppard guitarist Phil Collen said “is the seed for a new album.”
“We’re actively writing and recording, under the radar,” Joe Elliott added.
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A music writer since 1993, formerly Editor of Kerrang! and Planet Rock magazine (RIP), Paul Brannigan is a Contributing Editor to Louder. Having previously written books on Lemmy, Dave Grohl (the Sunday Times best-seller This Is A Call) and Metallica (Birth School Metallica Death, co-authored with Ian Winwood), his Eddie Van Halen biography (Eruption in the UK, Unchained in the US) emerged in 2021. He has written for Rolling Stone, Mojo and Q, hung out with Fugazi at Dischord House, flown on Ozzy Osbourne’s private jet, played Angus Young’s Gibson SG, and interviewed everyone from Aerosmith and Beastie Boys to Young Gods and ZZ Top. Born in the North of Ireland, Brannigan lives in North London and supports The Arsenal.
“We’d love for you to join us for these intimate performances in beautiful iconic theaters to celebrate 25 years of Yeah Yeah Yeahs.” Yeah Yeah Yeahs announce special shows in the UK, US and Mexico
(Image credit: Barnaby Clay)
Yeah Yeah Yeahs have announced plans to celebrate their 25th anniversary as a band with a tour intended to reimagine their catalogue “in a captivating new light”.
The Hidden In Pieces tour will feature the New York trio accompanied by strings and piano for “intimate performances” in the UK, US and Mexico.
In a statement announcing the tour, the band say: “Hi, we’ve missed you, they don’t miss you like we miss you. Out of a deep desire to reconnect with our band family and you our lovely fans, YYY’s are embarking on a series of very special shows this summer. The dearly departed David Lynch would say: ’all you need to do is turn on the light and the darkness goes.’
“To let our love light shine we will be digging deep into our back catalogue. We’ll be playing songs that are rarely (if ever) performed, alongside all time favorites with new arrangements to delight… and yes there will be acoustic guitars and strings too. We’d love for you to join us for these intimate performances in beautiful iconic theaters to celebrate 25 years of Yeah Yeah Yeahs, not a bad seat in the house!”
Jun 16: Manchester O2 Apollo, UK Jun 18: London Royal Albert Hall, UK Jun 19: London Royal Albert Hall, UK Jun 30: Mexico City Teatro Metrópolitan, Mexico
July 01: Mexico City Teatro Metrópolitan, Mexico Jul 09: Los Angeles Orpheum Theatre, CA Jul 10: Los Angeles Orpheum Theatre, CA Jul 11: Los Angeles Orpheum Theatre, CA Jul 14: San Francisco Davies Symphony Hall, CA Jul 15: San Francisco Davies Symphony Hall, CA Jul 18: Nashville Ryman Auditorium, TN Jul 19: Nashville Ryman Auditorium, TN Ju 22: Chicago Chicago Theatre, IL Jul 23: Chicago Chicago Theatre, IL Jul 29: New York Beacon Theatre, NY Jul 30: New York Beacon Theatre, NY
Pre-sales for the tour begin on March 19 at 10am local time, with the general on-sale beginning on March 21, at 10am local time.
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A music writer since 1993, formerly Editor of Kerrang! and Planet Rock magazine (RIP), Paul Brannigan is a Contributing Editor to Louder. Having previously written books on Lemmy, Dave Grohl (the Sunday Times best-seller This Is A Call) and Metallica (Birth School Metallica Death, co-authored with Ian Winwood), his Eddie Van Halen biography (Eruption in the UK, Unchained in the US) emerged in 2021. He has written for Rolling Stone, Mojo and Q, hung out with Fugazi at Dischord House, flown on Ozzy Osbourne’s private jet, played Angus Young’s Gibson SG, and interviewed everyone from Aerosmith and Beastie Boys to Young Gods and ZZ Top. Born in the North of Ireland, Brannigan lives in North London and supports The Arsenal.
Those acts will take turns opening for the British hard rockers on the newly announced dates. You can see the full Def Leppard 2025 summer tour itinerary below. Their plans include over a dozen previously announced headlining and festival appearances.
Def Leppard 2025 Tour Dates (newly announced in bold)
May 15: San Juan, Puetro Rico – Coliseo de Puerto Rico May 17: Ocean City, MD – Boardwalk Rock 2025 June 19: Milwaukee, WI – Summerfest June 21: Thackerville, OK – WinStar World Casino June 23: Rogers, AR – Walmart AMP (w / Bret Michaels) June 25: Birmingham, AL – Coca-Cola Amphitheater (w/ Bret Michaels) June 28: Atlantic City, NJ – Borgata Event Center July 1: Bangor, ME – Maine Savings Amphitheater (w / the Struts) July 3: Uncasville, CT – Mohegan Sun Arena July 6: Quebec, Canada – FEQ 2025 July 9: Winnipeg, Canada – Princes Auto Stadium July 10-13: Craven, Canada – Country Thunder Craven 2024 July 11: Edmonton, Canada – Rockin’ Thunder July 16: Ottawa, Canada – Ottawa Blues Festival 2025 July 18: Mount Pleasant, MI – Soaring Eagle Casino & Resort July 20: Bethel, NY – Bethel Woods Center for the arts (w / the Struts) July 22: Saratoga Springs, NY – SPAC (w / Bret Michaels) Aug. 12: Albuequerque, NM – Isleta Amphiteatre (w/ Bret Michaels) Aug. 14: Des Moines, IA – Iowa State Fair Grandstand Aug. 16: Springfield, IL – Illinois State Fair 2025 Aug. 20: Highland, CA – Yaamava Theater Aug. 26: St. Paul, MN – Minnesota State Fair Aug. 29: Hollywood, FL – Seminole Hard Rock Hotel & Casino Aug. 31: Virgina Beach, VA – Veterans United Home Loans (w / Extreme)
The Best Hair Metal Album of Every Year From 1981-1991
Following internet rumors regarding his involvement in a Van Halen-related project, Toto guitarist Steve Lukather has set the record straight.
“Ever since Alex Van Halen dropped some [quotes saying] we were gonna work together I think there is a huge misunderstanding,” Lukather wrote on Instagram. “I will NOT EVER play a guitar note on a VH song ever!”
Online gossip recently spread like wildfire after Dutch newspaper De Telegraf said Alex Van Halen personally recruited Lukather to help complete unreleased Van Halen material. “Ed and Steve Lukather were very good friends and they often worked together. There is no one who can do this process with me as well as he can,” the newspaper quoted Alex as saying.
In his post to social media, Lukather made it clear he has helped the Van Halen drummer go through unheard material, but his involvement has not included any new playing or recording. Instead, the guitarist – who said he was “honored” to even be asked to help – described his role as more like “a co-producer or something.”
“Al asked me to help him go thru a ton of unfinished recordings of Al and Ed writing and recording that never saw the light of day,” Lukather explained. “As of now that’s all I got. The fact that ANYONE would think for even a second that I would play anything on this is ridiculous. I have too much love and respect for that and I play nothing like Ed.”
Steve Lukather and Eddie Van Halen’s Mutual Respect
Lukather and Eddie Van Halen shared a mutual respect for one another, and worked on several projects together during the late guitarist’s career. Their collaborations included Michael Jackson’s chart-topping hit “Beat It” and Lukather’s debut solo album (which featured Eddie on bass).
Following Eddie’s death in 2020, Lukather shared a heartfelt tribute to his friend, honoring him as “one of the greatest of all fucking time” who “created a whole orchestra on the instrument.”
Jessica Ellen Cornish, known professionally as Jessie J, grew up in London and attended the BRIT School for Performing Arts and Technology, where she honed her skills in songwriting and performance. Early in her career, she found work behind the scenes, penning tracks for artists like Chris Brown and Miley Cyrus, including Cyrus’s hit “Party in the U.S.A.” However, Jessie J’s ambitions went far beyond writing for others. She signed with Gut Records but found her breakthrough when she later secured a deal with Lava Records, which would set her on the path to global stardom.
In 2011, Jessie J released her debut studio album Who You Are, which immediately propelled her to fame. The album peaked at No. 2 on the UK Albums Chart and was certified quadruple platinum in the UK. Its success was driven by hit singles such as “Price Tag,” which reached No. 1 in the UK and became an international hit, and “Domino,” which climbed to No. 6 on the US Billboard Hot 100, marking her entry into the American pop market. “Do It Like a Dude,” her debut single, showcased her edgy, genre-blending style and also reached the UK Top 5. Her vocal ability, combined with anthemic, empowering lyrics, resonated with a global audience, earning her a BRIT Award for Critics’ Choice in 2011.
Following her initial breakthrough, Jessie J released her second studio album Alive in 2013. While it didn’t achieve the same commercial heights as Who You Are, it still debuted at No. 3 on the UK Albums Chart and featured the singles “Wild” and “It’s My Party.” Her ability to mix pop, soul, and R&B elements was evident throughout the record. However, it was her third album Sweet Talker, released in 2014, that saw her return to international prominence. The album included “Bang Bang,” a powerhouse collaboration with Ariana Grande and Nicki Minaj, which soared to No. 1 in the UK and No. 3 on the Billboard Hot 100 in the United States. “Bang Bang” became one of the biggest hits of her career and showcased her remarkable vocal prowess alongside two of pop’s biggest stars.
In 2018, Jessie J released her fourth studio album, R.O.S.E., which was issued in four parts — Realisations, Obsessions, Sex, and Empowerment. This album was deeply personal, touching on themes such as love, heartbreak, and self-empowerment. Unlike her earlier mainstream pop efforts, R.O.S.E. leaned more heavily into soul and R&B, reflecting her desire to focus on artistic expression over commercial considerations. Although it didn’t achieve the same chart success as her previous records, it was praised for its raw honesty and vulnerability, signaling her growth as an artist willing to evolve and take risks.
Throughout her career, Jessie J has been honored with numerous awards, including a BRIT Award, BBC’s Sound of 2011 recognition, and multiple MOBO Awards. Beyond her commercial success, she has garnered respect for her dynamic vocal range and songwriting abilities, as well as her fearless embrace of personal subjects in her music. Her appearances on television, including as a coach on The Voice UK and The Voice Australia, further cemented her status as a beloved figure in contemporary pop, admired for her mentorship and advocacy of young talent.
Jessie J’s influence extends beyond music. She has been an outspoken advocate for body positivity, mental health awareness, and LGBTQ+ rights, frequently using her platform to address critical social issues. Her candor about living with a heart condition, Wolff-Parkinson-White syndrome, has also inspired many fans facing health challenges. Additionally, she’s participated in numerous charity concerts and campaigns, including Children in Need and Comic Relief, highlighting her dedication to using her fame for good causes.
With a career marked by chart-topping hits, global recognition, and a commitment to authenticity, Jessie J has firmly established herself as a versatile and influential figure in modern pop music. Her willingness to evolve creatively while remaining deeply personal in her songwriting continues to endear her to fans worldwide. Whether belting out radio anthems or crafting introspective ballads, Jessie J remains a force in the music industry and a voice for empowerment and resilience.
Complete List Of Jessie J Songs From A to Z
Abracadabra – Who You Are – 2011
Ain’t Been Done – Sweet Talker – 2014
Alive – Alive – 2013
Bang Bang (with Ariana Grande & Nicki Minaj) – Sweet Talker – 2014
Big White Room (Live) – Who You Are – 2011
Breathe – Alive – 2013
Burnin’ Up (featuring 2 Chainz) – Sweet Talker – 2014
Casualty of Love – Who You Are – 2011
Conquer the World (featuring Brandy) – Alive – 2013
Dangerous – R.O.S.E. (Sex) – 2018
Daydreamin’ – Alive – 2013
Do It Like a Dude – Who You Are – 2011
Do It Like a Dude (Acoustic Version) – Who You Are (Japanese Edition) – 2011
Domino – Who You Are (US Digital Reissue) – 2011
Domino (Myon and Shane 54 Radio Edit Remix) – Who You Are (Japanese Platinum Edition) – 2011
Dopamine – R.O.S.E. (Realisations) – 2018
Easy on Me – R.O.S.E. (Realisations) – 2018
Excuse My Rude (featuring Becky G) – Alive – 2013
Fire – Sweet Talker – 2014
Four Letter Word – R.O.S.E. (Obsessions) – 2018
Get Away – Sweet Talker – 2014
Glory – R.O.S.E. (Empowerment) – 2018
Gold – Alive – 2013
Harder We Fall – Alive – 2013
Hero – Alive (Deluxe Edition) – 2013
I Believe in Love – R.O.S.E. (Empowerment) – 2018
I Miss Her – Alive – 2013
I Need This – Who You Are – 2011
It’s My Party – Alive – 2013
It’s My Party (All About She UKG Remix) – Alive (Deluxe Edition) – 2013
Jingle Bell Rock – This Christmas Day – 2018
Keep Us Together – Sweet Talker – 2014
L.O.V.E. – Who You Are – 2011
Laserlight (featuring David Guetta) – Who You Are (Platinum Edition) – 2011
Winter Wonderland (featuring Boyz II Men) – This Christmas Day – 2018
You Don’t Really Know Me – Sweet Talker (Deluxe Edition) – 2014
Your Loss I’m Found – Sweet Talker (Deluxe Edition) – 2014
Songs per album:
Who You Are (2011): 20 songs
Alive (2013): 18 songs
Sweet Talker (2014): 15 songs
R.O.S.E. (2018): 16 songs
This Christmas Day (2018): 11 songs
Total: 80 songs
Check out our fantastic and entertaining Jessie J articles, detailing in-depth the band’s albums, songs, band members, and more…all on ClassicRockHistory.com
“Music is viewed as one of the highest art forms, if not the highest artform, because it is able to be spiritual and sacred”: How Sunn 0))) conjured good vibrations and dark magic with drone masterpiece Monoliths & Dimensions
(Image credit: Press)
Sunn 0))) are the kings of avant garde drone. Their 2009 album Monoliths & Dimensions found them pushing back the boundaries even further, with help from members of Mayhem and Earth.
“Not necessarily in a new age way, but maybe every musician is channelling something outside of them- selves,” muses Sunn O)))’s Stephen O’Malley, sitting in an Old Street studio. “Someone once said that the overtones – like all the extra sounds you get when you hit a chord and let it resonate – are the sound of the big bang, the resonance of the big bang. That’s an interesting way of thinking about that type of thing. It’s the result of the environ- ment. We’re channelling literally electricity through devices to create sound, and it’s the result of focusing energy into sound. Transmutation is perhaps a better word.”
Anyone listening to Sunn O)))’s 2005 album, Black One – a harrowing work that came across like the river Styx reduced down to radioactive sediment – could be forgiven for wondering where the core duo, Stephen O’Malley and Greg Anderson, could go next. After all, many of their predecessors in low- end-driven, body-crushing noise had found themselves at a sonic impasse and in need of reassessment.
Swans, once the holy grail of heavy, went acoustic, Godflesh imploded and gave birth to the indie-tinged reveries of Jesu, and even Earth – the guitar drone outfit Sunn O))) were formed in homage to – changed tack, as mainman Dylan Carlson found redemption from his previous heroin addiction in country and gospel-tinged cadences. Sunn O))), however, have never been tied into such human dynamics; for all the near-unendurable gravity of their sound, their driving impulse has never been about testing personal limits, waging internal psychological battles or giving vent to existential woe.
Rather, their music sounds like the gateway to a vast, ageless continuum. Over the course of seven studio albums and various collaborations, offshoots and live documents, they’ve drilled down through the crust of any received notion of rock’n’ roll, and tapped into convulsive, brooding, fathomless realms below, at once alien in its amorphous, primordial ooze, and body-shockingly immediate in the way it hijacks and squirms its way throughout your nervous system, resonates at frequencies our modern, compartmentalised minds have lost the means to contain.
Sunn 0)))’s Stepen O’Malley and Greg Anderson in 2009 (Image credit: Press)
Even if Sunn O)))’s signature tone – all layers of distorted, frayed-edged, glacially rumbling guitar – is instantly recognisable, their forthcoming new opus, Monoliths & Dimensions, proves beyond doubt that their capacity for revelation is limitless. Their most ambitious outing to date, it marries long-time collaborator, Mayhem frontman and possessor of a voice so deep it could be a carrier signal for the dead, Attila Cshihar, with, amongst others, a Viennese choir, a former member of the cosmically conscious free jazz ensemble Sun Ra Arkestra, Julian Priester, the aforementioned Dylan Carlson of Earth alongside his keyboard player Steve Moore, and wide-ranging composer, Eyvind Kang.
This feature was originally published in Metal Hammer magazine issue 192 (August 2009) (Image credit: Future)
The result is a work of mind-bogglingly immersive range and detail, so orchestral in its intricately emerging dynamics and gradual osmosis of mood that one writer at the album’s playback felt it wouldn’t be inappropriate to pitch it to Gramaphone magazine. Where Black One, for all its power, was Sunn O))) at their most withdrawn, Monoliths… feels like the crossing over of a new threshold for the band.
“It’s definitely that,” agrees Stephen, “but it’s a threshold even deeper into the guitar sound. All the arrangements are inspired by the sounds of guitars, and it’s arranged to the detail of the guitar. Eyvind Kang, who arranged a lot of the acoustic instruments, did the arrangements based on our original tracking of our guitars and bass. Besides being an arranger, he’s a translator in a way.”
“It started,” offers Greg, “as with all the Sunn O))) albums, with Steve and me in a recording studio, exchanging ideas and bouncing riffs off of each other, creating the foundation for the songs. Eyvind listened to that and composed arrangements based on that. There was constant conversation about instrumentation, where to focus on, mood, reference points, like how to approach it as far as the arrangements, so it was integrated in a way we were searching for. And it was really important to integrate it too. Like yesterday, we saw a video of a rock band with string players, which is cool, but we wanted to expand the sound to include more timbre, more detail and focus, and as a whole, not as additional elements stuck on. We didn’t want it to be Sunn O))) with strings – that’s happened before with rock or metal bands. Nothing against those bands, but that’s not what we were going for.”
“We’re creating pieces of music, not elements of music,” says Stephen. “It’s kind of a result of all the rest of the stuff we’ve done, and it’s all come to this point in terms of developing the concepts and ideas at the foundational level over 10 years, to doing enough work and background stuff to just to be physically able, and have the capacity and resources to try something like this.”
Although Sunn O)))’s gargantuan trawls were first claimed by the doom community, a classification Stephen and Greg have never been comfortable with (“That’s more a product of… marketing,” reckons Greg. “For me, that’s restrictive, but I understand why people use those terms. They’re just trying to understand the music better. I’m fine with that”), they’ve managed to soak up and distil a range of disciplines. From sludge, to black metal, jazz and now modern classical, all have been pulled across their event horizon – in the process seeping out over the rim of cult status to be embraced by an unlikely audience.
Amidst this swirling, ever-increasing stew, followers are starting to discover and appreciate other forms of music outside their own boundaries, whether it’s hipsters gawking at the corpse- painted Xasthur mainman Malefic screeching the last rites or the deformed-mystic figure of Attila Cshihar, highbrow types enveloped in the sheer visceral power of the music or extreme fans rocking out to the sharp, veil-piercing power of choral arrangements.
“Yeah, what an honour,” beams Greg. “It’s like a gateway drug. To me, that’s a huge part of who I am. I’m really into turning people onto music, that’s why I’m running my record label, Southern Lord. I love turning people on to music that I like, and I like being turned on to music. So if Sunn O))) can be that for people who are very interested in following trends, that’s fine. Maybe they’ll reconsider Black Sabbath or Celtic Frost. That’s a great honour.”
“We were talking about this before,” adds Stephen, “because we touched on this thing, like ‘fusion music’. It’s cool when some of our favourite kinds of music are a collision of different styles. It produces a lot of really interesting results, and it’s also the way the music develops; it’s assimilated into new forms based on elements of history, the legacy of inspiration that comes to those particular musicians or groups.”
“The first thing people think of when you talk about fusion is jazz,” admits Greg, “but I think thrash metal is a fusion music as well. It’s punk and metal colliding. The Melvins basically brought together Black Sabbath and Black Flag, and there’s fusion there too. I just made this realisation that we’re really into fusion, and that’s a huge part of what Sunn O))) is – a fusion of different styles and elements of different genres of music. It’s music that’s been important to us and our history of playing and listening, stuff that’s inspired us too.”
Sunn 0))) with Mayhem’s Attila Csihar in 2009 (Image credit: Press)
As much as Sunn O))) manage to make a totality of their musical sources, so their sense of presentation builds up into a whole. Each album finds its truest form on heavy, semi-abstract, talismanically packaged vinyl, the cowls worn onstage and elaborate gestures of Stephen and Greg giving the impression of an arcane order invoking ancient, Chthulhu-esque entities, cloaked even more amidst eye-watering volumes of dry ice, and, of course, the ear-canal flooding, chest cavity-commandeering intoxicating VOLUME are all transmitters for a unified aesthetic of aura.
Sunn O))) have even started to create performances uniquely catered to the venue, such as Bergen, Norway’s Dømkirke cathedral – a masterpiece of gothic architecture. A 2007 performance was released on vinyl only a year later. How did the custodians feel about having the singer for one of the country’s most notorious black metal bands, once implicated in the early 90s church-burning, performing in their house of God?
“Some of them were really cool about it,” says Stephen, surprisingly, “and some of them were hesitant about going forward with the project. But ultimately we wanted to do it for the right reasons, and the guy who invited us to do it, he articulated that very well to them. And in the end, everyone was happy because we filled the church, which is what they wanted.”
“They said there hadn’t been that many young people in church for 40 years,” laughs Greg. “They were really pleased about that.”
“It’s funny that they had an angle of ‘they’re back in the fold’,” Stephen continues, “but they came for the same reason the band did, which is the building, the organ, and the experience of getting to be in this sacred place – and maybe bringing that element that’s in our music out, by putting them in that space.”
The ‘sacred’ is perhaps the core concern of the Sunn O))) experience, their mediation of other dimensions as though they belong to a bloodline of devout, diabolic midwives. But what do Sunn O))) believe in?
“We believe in the music,” Greg states bluntly. “That’s what’s sacred to us: the music, not any ideology.”
“Each player that’s been involved,” says Stephen, “has a tremendous breadth of personality. It’d be detrimental to single out a certain thing or way of thinking to put as a requirement to participate. Music’s bigger than that, it’s bigger than any of those personalities. Some of the people have really strong views, but the music exists above that, or encompasses all of it in a way, but it’s its own thing as well. It’s an assimilation of our influences, but Sunn O))) is not about the individual.
“Music is viewed by a lot of artists and writers and philosophers as one of the highest art forms, if not the highest artform because it is able to be spiritual and sacred, and it’s possible for all sorts of people to be able to reach that. Whether it’s in a church with a choir or the baker or the fishmonger, or guys who are just day to day, living in this town, singing in this choir in Sunday mass and having this spiritual experience. I hold music to be sacred, and an opportunity to have that connection with the universe in some way. It’s the closest thing I’ve ever had to a spiritual experience.”
Does Attila bring some perspective on that?
“He kinda embodies it in a certain way, for sure,” Stephen concludes. “He focuses on it as one of his core topics, too. I respect that a lot. His angle, of course, is kind of peculiar and unique, and sometimes a little bizarre. That’s great, though. That angle helps you realise that just because it’s sacred, doesn’t mean it has to be cherished as this object that needs to be preserved and fawned upon. Music’s pretty rough and ugly sometimes too.”
Originally published in Metal Hammer issue 192, August 2009
Having freelanced regularly for the Melody Maker and Kerrang!, and edited the extreme metal monthly, Terrorizer, for seven years, Jonathan is now the overseer of all the album and live reviews in Metal Hammer. Bemoans his obsolete superpower of being invisible to Routemaster bus conductors, finds men without sideburns slightly circumspect, and thinks songs that aren’t about Satan, swords or witches are a bit silly.
You can trust Louder Our experienced team has worked for some of the biggest brands in music. From testing headphones to reviewing albums, our experts aim to create reviews you can trust. Find out more about how we review.
Autobahn occupies a strange place in the Kraftwerk canon. The German electronic music pioneers’ best-seller, it has by far the greatest name recognition and influenced everybody from David Bowie to Arthur Baker. For ‘proper’ Kraftwerk fans, though, it’s nowhere near their best album: Trans-Europe Express explored similar routes with more intensity.
Yet to listen to Autobahn now is to once again be dazzled by just how many of its ideas were embraced and expanded by key artists: once the underdog outsider, its ripples today dominate modern music. Its “weird” has become the norm.
Its 50th anniversary – it was originally released in November 1974, but gained more interest the following February when the single edit of side one surprised charts – is celebrated with a new Dolby Atmos mix by sole remaining original member Ralf Hutter on Blu-ray.
It’s accompanied with a vinyl picture disc featuring the 2009 remix. It was panned by some critics back then, but it’s hard to see why. It’s crystal clear, and that’s no bad thing: Kraftwerk didn’t exactly aspire to muddy, gritty authenticity.
The pristine new Hutter polish likewise, wisely, doesn’t fix anything that ain’t broke. It’s headphones heaven. It may be the case that, just by existing, it causes the listener to exercise increased levels of attention.
The 22-minute title track still glides along, its numbness a virtue, although the little moments of interruption leap out with the shock impact of a body lurching in front of a windscreen.
The hisses and shuffles remain faintly spooky; the human voices are still disengaged, wilfully cold
The hisses and shuffles remain faintly spooky; the human voices – even in the famous cheeky “Beach Boys bit” – are still disengaged, wilfully cold. It’s often forgotten that the last few minutes noodle aimlessly as if to pad out time, on the very brink of illusion-shattering improvisation.
But then a sequence of moments will bring to mind side two of Bowie’s Low and it’s lucid again. What a creative gold rush this undemonstrative journey was. What a (road) trip.
The 50th anniversary edition of Autobahn is on sale now via Parlophone.
Chris Roberts has written about music, films, and art for innumerable outlets. His new book The Velvet Underground is out April 4. He has also published books on Lou Reed, Elton John, the Gothic arts, Talk Talk, Kate Moss, Scarlett Johansson, Abba, Tom Jones and others. Among his interviewees over the years have been David Bowie, Iggy Pop, Patti Smith, Debbie Harry, Bryan Ferry, Al Green, Tom Waits & Lou Reed. Born in North Wales, he lives in London.
Evanescence’s journey from local obscurity to international acclaim began with the independent release of EPs and demo recordings, which they distributed at local venues and through grassroots efforts. These early works garnered a dedicated local following and caught the attention of Wind-up Records, leading to a pivotal recording contract. In 2003, the band released their debut studio album, Fallen, a project that would catapult them into the global spotlight. The album’s lead single, “Bring Me to Life,” featuring guest vocals from Paul McCoy of 12 Stones, achieved massive commercial success, reaching number five on the Billboard Hot 100 and earning the band two Grammy Awards in 2004: Best New Artist and Best Hard Rock Performance. Fallen itself received critical acclaim and commercial success, selling over 10 million copies in the United States and over 17 million copies worldwide.
Following the success of Fallen, Evanescence faced internal changes, with co-founder Ben Moody departing the band in late 2003. Undeterred, Amy Lee continued to lead the group, and in 2006, they released their sophomore album, The Open Door. This album showcased a maturation in their sound, blending symphonic elements with their established gothic rock style. The Open Door debuted at number one on the Billboard 200 chart, selling over 447,000 copies in its first week. The album’s lead single, “Call Me When You’re Sober,” achieved significant chart success, further solidifying the band’s presence in the rock music scene.
Over the years, Evanescence has released a total of five studio albums. Their self-titled third album, Evanescence, was released in 2011 and marked a return after a brief hiatus. This album continued their tradition of blending rock with orchestral elements and debuted at number one on the Billboard 200. In 2017, they released Synthesis, an album featuring reimagined versions of their previous songs with orchestral arrangements and electronic elements, showcasing their versatility and willingness to experiment with their sound. Their most recent album, The Bitter Truth, released in 2021, marked a return to their rock roots and addressed contemporary themes, resonating with both longtime fans and new listeners.
Throughout their career, Evanescence has been recognized with numerous awards and nominations. In addition to their Grammy wins, they have received accolades such as the Kerrang! Award for Best International Newcomer in 2003 and the MTV Australia Award for Album of the Year in 2007 for The Open Door. Lead vocalist Amy Lee has also been individually honored, winning the Revolver Golden Gods Award for Best Vocalist in 2012. The band’s consistent recognition across various award platforms underscores their impact and influence within the music industry.
Evanescence’s enduring appeal can be attributed to their unique fusion of genres, combining elements of gothic rock, alternative metal, and symphonic music. Amy Lee’s powerful and emotive vocals, combined with the band’s intricate musical compositions, have created a sound that is both distinctive and evocative. Their willingness to evolve artistically while maintaining their core identity has allowed them to remain relevant in a constantly changing musical landscape. This adaptability, coupled with their authentic and heartfelt approach to music, has cultivated a loyal and passionate fan base worldwide.
Beyond their musical endeavors, members of Evanescence have engaged in various philanthropic activities and advocacy efforts. Amy Lee, in particular, has been involved in supporting epilepsy awareness, inspired by her brother’s experiences with the condition. She has collaborated with organizations to raise funds and awareness, utilizing her platform to effect positive change. Additionally, the band has participated in benefit concerts and charitable events, demonstrating a commitment to leveraging their success for the betterment of others.
Heart’s journey into rock history began in Seattle, Washington, where sisters Ann and Nancy Wilson transformed the male-dominated world of hard rock with their powerhouse vocals and dynamic musicianship. Formed in the early 1970s, Heart first took shape when Ann joined a local band called White Heart, which later evolved into Hocus Pocus and eventually became Heart. Nancy Wilson joined her sister in 1974, adding intricate guitar work and backing vocals that would become essential to the band’s signature sound. Drawing from a mix of hard rock, folk, and pop, Heart quickly gained a following in Canada before breaking through in the United States.
Their debut album, Dreamboat Annie, released in 1975, propelled Heart to international fame, driven by hits like “Magic Man” and “Crazy on You.” The album showcased Ann Wilson’s soaring vocals and Nancy Wilson’s acoustic and electric guitar brilliance, establishing a new standard for female-fronted rock bands. Dreamboat Annie went platinum and laid the foundation for a career that would span decades. Heart continued their early success with albums like Little Queen (1977), which featured the iconic anthem “Barracuda,” and Dog & Butterfly (1978), further proving their ability to blend acoustic ballads with aggressive rock.
Over the years, Heart released sixteen studio albums, including Magazine (1977), Bébé le Strange (1980), Private Audition (1982), Passionworks (1983), and their massive commercial comeback with Heart (1985). The self-titled album delivered three Top 10 hits, including “What About Love,” “Never,” and the No. 1 smash “These Dreams,” signaling a successful shift into pop-rock during the MTV era. Their next albums, Bad Animals (1987) and Brigade (1990), continued that momentum with hits like “Alone,” which topped the Billboard Hot 100, and “All I Wanna Do Is Make Love to You.” By the early 1990s, Heart had become one of the most successful rock acts of all time, blending multiple genres while maintaining a strong identity led by the Wilson sisters.
Throughout their career, Heart has accumulated numerous awards and honors recognizing their contributions to music. They received four Grammy nominations and won a Juno Award for Group of the Year in 1977. In 2013, the band was inducted into the Rock and Roll Hall of Fame, a milestone that acknowledged their influence not only as a pioneering rock band but also as trailblazers for women in rock. Their induction performance, where they reunited with the surviving members of the original lineup, was one of the most talked-about moments of that year’s ceremony, highlighting the band’s enduring legacy and musical excellence.
Beyond their impressive discography and awards, Heart has remained beloved for their commitment to authenticity and musical diversity. Ann and Nancy Wilson have been celebrated for breaking barriers for women in rock, challenging gender norms through both their music and their commanding stage presence. Their ability to deliver hard-hitting rock songs alongside delicate acoustic ballads has earned them respect from fans and fellow musicians alike. Heart’s work reflects a depth and emotional range that has kept their songs relevant across generations.
Outside of their music, both Ann and Nancy Wilson have pursued individual projects that showcase their broader artistic interests. Ann launched a solo career with albums like Hope & Glory (2007), featuring collaborations with artists such as Elton John and k.d. lang. Nancy also explored film scoring and released solo material, including You and Me (2021), reflecting her songwriting range beyond Heart. Together, they have participated in charity concerts, music education initiatives, and causes supporting women’s empowerment, further cementing their roles as influential figures beyond the concert stage.
Heart’s influence is heard in the work of countless artists who cite them as an inspiration, and their songs continue to receive radio airplay, proving their lasting appeal. From the fiery riff of “Barracuda” to the emotive balladry of “Alone,” their catalog spans some of rock’s most memorable moments. Ann’s powerhouse vocals and Nancy’s sharp guitar work remain a defining combination that has stood the test of time. Their ability to connect emotionally with audiences through both lyrical content and musical intensity has made Heart a beloved fixture in rock music history.
Even as they navigate solo endeavors and reunions, Heart’s music continues to resonate with audiences worldwide. Whether through their classic hits or deeper cuts, their songs reflect themes of love, resilience, and empowerment that have kept fans coming back for nearly five decades. With over 35 million records sold worldwide, a long list of awards, and a reputation for electrifying live performances, Heart’s story is one of perseverance, groundbreaking artistry, and a profound impact on the evolution of rock music.
Complete List Of Heart Songs From A to Z
A Little Bit – Dog and Butterfly – 1978 (2004 reissue bonus track)
A Million Miles – Fanatic – 2012
All Eyes – Heart – 1985
All I Wanna Do Is Make Love to You – Brigade – 1990
Allies – Passionworks – 1983
Alone – Bad Animals – 1987
Ambush – Passionworks – 1983
America – Private Audition – 1982
Angels – Private Audition – 1982
Any Woman’s Blues (demo) – Strange Euphoria – 2012
Anything Is Possible – Desire Walks On – 1993
Avalon (Reprise) – Desire Walks On – 1993
Ave Maria – Heart Presents a Lovemongers’ Christmas – 2001
Back to Avalon – Desire Walks On – 1993
Bad Animals – Bad Animals – 1987
Balulalow – Heart Presents a Lovemongers’ Christmas – 2001
Barracuda (live) – Strange Euphoria – 2012
Barracuda – Little Queen – 1977
Beautiful Broken – Fanatic – 2012 (Bonus track)
Beautiful Broken – Beautiful Broken – 2016
Bébé le Strange – Bébé le Strange – 1980
(Beat by) Jealousy – Passionworks – 1983
Black on Black II – Desire Walks On – 1993
Blues Medley: Mother Earth / You Shook Me Babe – Magazine – 1977
Blue Guitar – Passionworks – 1983
Boppy’s Back (demo) – Strange Euphoria – 2012
Bootful of Beer – Red Velvet Car – 2010 (Bonus track)
Check out our fantastic and entertaining Heart articles, detailing in-depth the band’s albums, songs, band members, and more…all on ClassicRockHistory.com
