Punk legend Iggy Pop has championed one of death metal’s nastiest bands.
On his BBC Radio 6 show on November 3, the former Stooges frontman played To See Death Just Once by New Zealand’s most dissonant trio Ulcerate: a song so long and crushing that he had to split it into two parts and put some post-punk in between.
“Ulcerate have always been underdogs on account of their sheer extremity and, let’s be honest, Cutting… isn’t going to hoist them to the top of the charts,” Mills wrote. “But, as a statement of these aggressors’ ongoing uniqueness and a meticulous opus of death metal, it deserves to put everyone in heavy music on high alert. This inventive, infectious and nauseating experience is what every brutal band should be gunning to outdo in 2024.”
Discordant death metal notwithstanding, Pop’s Radio 6 show was populated with a host of punk and classic rock artists. The Smiths, Little Richard, Keith Richards and prog veterans Goblin were also heard, although the host delved into the metal underground once more when he played a track from sludge favourites Thou.
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Pop, 77, is still very much active as a musician. He released latest album Every Loser in 2023. Produced by Pearl Jam and Ozzy Osbourne collaborator Andrew Watt, it featured Guns N’ Roses Duff Mckagan and Red Hot Chili Peppers drummer Chad Smith.
Manchester hardcore festival Outbreak has announced a London offshoot for 2025, with Turnstile headlining.
Outbreak London will take place in Victoria Park on June 13, with Knocked Loose, Alex G, Sunny Day Real Estate and others also on the lineup. See the poster below for the full list of announced acts.
The news comes one day after Outbreak announced the lineup for its long-running Manchester edition. This two-day version will return to the B.E.C. Arena on June 14 and 15, with Knocked Loose, Alex G and Slowdive headlining. Drug Church, Gouge Away, Jesus Piece, Militarie Gun, Speed, Momma and Model/Actriz are also scheduled to play. See further details here.
Though the album came out more than three years ago, news of a follow-up is thin on the ground. In a 2022 NME interview, frontman Brendan Yates said that Turnstile’s creative process is “always a very fluid thing”.
“We’re always writing; there’s always ideas and trying things,” he explained. “Whatever we end up doing is a culmination of years of thinking about things and taking opportunities – sometimes spontaneously, sometimes having planned for years.
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“I think that there’s never really a plan set in place that has the potential to be disrupted if we wake up one morning and want to try something else. We try to never really apply too much structure to it, so it feels as boundless as it possibly can.”
The Outbreak London booking adds to Turnstile’s expanding festival summer schedule. The band will also perform at Primavera Sound Spain in Barcelona on June 7, then at the Portuguese edition in Porto on June 14. They’re also set to appear at Jera On Air in Ysselsteyn, Netherlands, on June 28.
Hardcore upstarts Knocked Loose brought some crash, bang, wallop to Jimmy Kimmel Live! last night (November 26), performing Grammy-nominated track Suffocate with genre-splicer Poppy.
The band played the song in the pouring rain during the ABC talk show and brought a full-scale production along, including video screens and fireballs. The audience in front of them proceeded to go apeshit as well. Watch video of the performance below.
The Jimmy Kimmel slot closes what’s been a monumental 2024 for Knocked Loose. After finding Tiktok fame and playing Coachella in 2023, the band opened this year with a UK and European tour supported by blackgaze icons Deafheaven, then played across North America with Show Me The Body and Loathe supporting.
Their album You Won’t Go When You’re Supposed To was released via aptly named label Pure Noise on May 10 and found critical acclaim. Metal Hammer’s Stephen Hill awarded it 4.5 stars in his review, writing, “Knocked Loose have made the heaviest, most punishing and destructive album of their career.”
In August and September, the band supported Slipknot across North America as the nu metal idols celebrated 25 years of their self-titled debut album.
News of Suffocate being nominated for the 2025 Grammy Award For Best Metal Performance broke earlier this month. Knocked Loose face some stiff competition – with Metallica, Judas Priest, Gojira and Spiritbox also nominated – and the winner will be named at the Los Angeles ceremony on February 2.
In March 2025, Knocked Loose will tour Europe and the UK, supported by special guests Basement, Harm’s Way and Pest Control. See below for dates and details.
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Mar 17: London O2 Academy Brixton, UK Mar 18: Manchester O2 Victoria Warehouse, UK
Mar 20: Tilburg 013 Poppodium, Netherlands Mar 21: Paris Le Bataclan, France Mar 22: Lille L’Aéronef, France Mar 24: Brussels Ancienne Belgique, Belgium Mar 25: Cologne Palladium, germany Mar 27: Berlin Columbiahalle, Germany Mar 28: Leipzig Hause Auensee, Germany Mar 29: Munich TonHalle, Germany
Wolves have long captured the imagination of storytellers, musicians, and filmmakers, symbolizing everything from primal instincts to mystery and danger. In pop culture, wolves have been a metaphor for wildness and transformation, appearing in folklore, classic literature, and modern media as enigmatic and often fearsome figures. From the cautionary tales of werewolves to their portrayal as misunderstood creatures in contemporary works, wolves have remained a potent symbol of human fascination with nature and the untamed. Music, too, has embraced this powerful imagery, with countless artists weaving wolves into their lyrics and themes.
In Warren Zevon’s “Werewolves of London,” the wolf becomes a tongue-in-cheek symbol of urban chaos and eccentricity, blending humor with macabre charm. The Grateful Dead’s “Dire Wolf” takes a more narrative approach, evoking folklore and exploring themes of fate and mortality. Duran Duran’s “Hungry Like the Wolf” uses the wolf as a metaphor for desire and relentless pursuit, set against the backdrop of their new wave sound. Heart’s “The Wolf” delivers a gritty rock tale of deception and primal instincts, underscored by powerful instrumentation. In “Cry Wolf,” Stevie Nicks examines betrayal and resilience, using wolf imagery to underscore emotional intensity. Todd Rundgren’s “You Cried Wolf” takes a playful yet cautionary approach, drawing on the fable of crying wolf to explore trust and consequences. Uriah Heep’s “Night of the Wolf” builds a haunting, atmospheric narrative of danger and desperation.
Steppenwolf’s “Chicken Wolf” combines satire with hard rock to critique hypocrisy, using the wolf as a symbol of duplicity. Rainbow’s “Run With the Wolf” weaves mystical imagery with powerful guitar work, reflecting themes of transformation and survival. Finally, Nita Strauss’s “The Wolf You Feed” uses the wolf as a metaphor for internal conflict, delivering a message of empowerment and self-determination. Together, these songs demonstrate the enduring allure of wolves in music, each offering a unique perspective on this captivating creature.
# 10 – The Wolf You Feed (feat. Alissa White-Gluz) – Nita Strauss
“The Wolf You Feed,” featured on Nita Strauss’s 2022 album The Call of the Void, is a commanding track that blends Strauss’s virtuosic guitar work with the dynamic vocal prowess of Alissa White-Gluz from Arch Enemy. The song was produced by Kile Odell and recorded during 2021 and early 2022, with Strauss laying down her guitar parts during the extended downtime of the COVID-19 pandemic. Drummer Josh Villalta also contributed to the track, creating a rhythmic backbone that complements Strauss’s intricate riffs and White-Gluz’s dual clean and growled vocals. The song’s themes of internal conflict and personal transformation are rooted in the parable of the two wolves, emphasizing how the choices we make shape the person we become.
Lyrically, the track draws from the metaphor of two wolves battling within each person, a legend that has resonated across cultures. Lines such as “Tell me everything you need to kill the numb / And find the strength to become / A storm that never loses speed” emphasize the internal tug-of-war between light and darkness. Alissa White-Gluz’s delivery captures this duality, shifting seamlessly between melodic clarity and guttural growls, embodying the battle within. The composition underscores this tension, alternating between powerful, chugging guitar riffs and melodic interludes that mirror the lyrical themes.
The production, helmed by Odell, ensures that every instrument serves the song’s larger theme, allowing Strauss’s guitar to lead without overshadowing White-Gluz’s performance. While not a major charting hit, the track has solidified Strauss’s position as a boundary-pushing guitarist who refuses to be confined to instrumental work alone. The music video adds another layer of depth, visually representing the struggle between opposing forces with dramatic imagery, further aligning the song’s message with its artistry.
“Run With the Wolf,” the second track on Rainbow’s Rising album, is a dark and evocative exploration of mythology and mortality. Recorded in February 1976 at Musicland Studios in Munich, Germany, the song was produced by Martin Birch, a master of capturing the expansive soundscapes of hard rock and metal. The lineup featured Ritchie Blackmore on guitar, Ronnie James Dio on vocals, Tony Carey on keyboards, Jimmy Bain on bass, and Cozy Powell on drums. Together, this newly formed group of virtuosos created a track that balances dynamic instrumentation with vivid, metaphorical storytelling.
The lyrics of “Run With the Wolf” paint a picture of a world steeped in foreboding, where ominous phenomena—“a hole in the sky” and “something evil’s passing by”—set the stage for a tale of surrender to primal instincts. Dio’s soaring vocals capture both the dread and allure of the unknown, echoing themes explored elsewhere on the album. Blackmore’s guitar work is deliberate and restrained, complementing the song’s atmospheric tone, while Powell’s thunderous drumming underscores the urgency of the refrain, “When the siren calls, you go to run with the wolf.” This dynamic interplay elevates the song beyond a typical rock anthem into something more cinematic and evocative.
Comparatively, “Run With the Wolf” shares a thematic kinship with other songs on this list, such as [placeholder for completed songs]. Both tracks delve into the idea of transformation through internal struggle, though Rainbow leans heavily on mystical imagery while others may adopt a more contemporary lens. Critically, “Run With the Wolf” showcases Rainbow’s ability to blend virtuosity with narrative depth, a hallmark of the Rising album. Though not released as a single, it remains a cornerstone of the album, contributing to its legacy as one of heavy metal’s most influential works.
We can’t compose a list of “Wolf” songs without including at least one Steppenwolf song. “Chicken Wolf,” from Steppenwolf’s third album, At Your Birthday Party, released in March 1969 by ABC Dunhill Records, stands out as a biting commentary wrapped in the band’s signature hard rock sound. Recorded at American Recording Company in California, the album marked a transitional period for the band, with Nick St. Nicholas replacing bassist Rushton Moreve and Michael Monarch nearing the end of his tenure as guitarist. Produced by Gabriel Mekler, the track reflects Steppenwolf’s ability to fuse sharp lyrical wit with raw musical energy, a hallmark of their earlier successes like “Born to Be Wild.”
Musically, “Chicken Wolf” thrives on John Kay’s gritty vocals and rhythm guitar, paired with Monarch’s driving lead guitar work. The rhythm section, anchored by St. Nicholas’s bass and Jerry Edmonton’s drumming, provides a robust foundation, while Goldy McJohn’s organ adds a subtle texture to the arrangement. The song’s riff-driven structure is a precursor to the heavier rock sound the band would explore in their subsequent albums, showcasing their evolution from psychedelic influences to a more hard-edged approach.
Lyrically, the song takes aim at hypocrisy and false bravado, encapsulated in lines like “Help us clean our own backyard / Before you go to preach abroad.” Kay’s sharp delivery underscores the pointed social critique, making “Chicken Wolf” a thematic companion to other tracks on this list that explore self-awareness and personal accountability. Compared to “Run With the Wolf” by Rainbow, “Chicken Wolf” offers a more grounded, satirical take, eschewing the mystical imagery of Rainbow for a direct, barnyard-inspired metaphor. While not a charting single, the song is emblematic of Steppenwolf’s knack for blending thought-provoking lyrics with hard-hitting rock, ensuring its place in the pantheon of late 1960s rock anthems.
“You Cried Wolf,” from Todd Rundgren’s Hermit of Mink Hollow album, released in May 1978, is a brisk and satirical track that blends sharp lyricism with Rundgren’s mastery of pop-rock arrangements. Recorded entirely at his home studio on Mink Hollow Road in Lake Hill, New York, Rundgren performed all the vocals and instruments himself, a hallmark of his solo work. The album’s production showcases Rundgren’s meticulous attention to detail, with Mike Young providing additional engineering support. This track appears on the album’s “Difficult Side,” reflecting its biting tone and brisk energy.
Lyrically, “You Cried Wolf” plays on the classic fable of false alarms, delivering a wry critique of trust and deceit. Rundgren’s vocal delivery is playful yet pointed, underscoring lines such as “You cried wolf / And now there’s no one left to hear your call.” The song’s tight, two-minute runtime is packed with energy, driven by a fast-paced rhythm and an infectious melody. Compared to other tracks on this list, such as Steppenwolf’s “Chicken Wolf,” which explores broader social critiques, “You Cried Wolf” remains focused on personal accountability, using its metaphorical narrative to deliver its message with humor and precision.
Musically, the track is a standout example of Rundgren’s ability to layer complex instrumentation while maintaining a sense of immediacy. The song’s upbeat tempo contrasts with the darker, introspective themes found in Hermit of Mink Hollow, exemplifying Rundgren’s versatility as both a composer and performer. While not a charting single, “You Cried Wolf” has been celebrated for its punchy arrangement and clever lyricism, serving as a sharp counterpoint to the more introspective ballads on the album, such as “Can We Still Be Friends.” It highlights Rundgren’s skill at weaving universal themes into concise, memorable compositions that resonate beyond their modest runtime.
“Night of the Wolf,” the closing track on Uriah Heep’s Equator album, released in 1985, is a dramatic and atmospheric piece that showcases the band’s ability to weave storytelling with their signature rock sound. Recorded at the Roundhouse Studios in London, the track was produced by Tony Platt, known for his work with AC/DC and Iron Maiden. The lineup featured Mick Box on guitar, Peter Goalby on lead vocals, Trevor Bolder on bass, Lee Kerslake on drums, and John Sinclair on keyboards. This lineup, though short-lived, delivered a performance that underscored the haunting narrative of the song.
Lyrically, “Night of the Wolf” tells the tale of a mother wolf searching desperately for her young, blending mythological overtones with a visceral sense of loss and betrayal. Lines such as “Returning to the twilight / Betrayed by the night” capture a raw emotional depth, while the chorus, “It’s the Night of the Wolf / Hear the cry of the Wolf,” punctuates the story with an almost primal urgency. Goalby’s vocal delivery adds weight to the somber tone, while Box’s guitar work provides a sense of foreboding. The rhythm section, with Kerslake’s powerful drumming and Bolder’s steady bass, adds a dynamic undercurrent that drives the song forward.
Comparatively, “Night of the Wolf” shares thematic ties with songs like Rainbow’s “Run With the Wolf,” as both tracks delve into the mystical and animalistic symbolism of wolves. However, Uriah Heep’s approach leans more into a narrative-driven structure, with the lyrics painting vivid scenes of stormy streets and relentless searching. While Equator did not chart as highly as earlier albums, this track remains a standout for its compelling combination of vivid imagery and musical precision, cementing it as a memorable entry in Uriah Heep’s extensive catalog.
“Cry Wolf,” from Stevie Nicks’s 1989 album The Other Side of the Mirror, showcases her signature blend of poetic lyricism and layered production. The album, released on May 30, 1989, was recorded in various locations, including California, New York, and Buckinghamshire, England, under the guidance of producer Rupert Hine. This track stands out for its biting narrative, underscored by Nicks’s unmistakable voice and the intricate instrumentation provided by a stellar lineup that includes Jamie West-Oram on guitars, Tony Levin on bass, and Jerry Marotta on drums.
Lyrically, “Cry Wolf” draws on the age-old fable of crying wolf, presenting a tale of trust eroded by repeated betrayal. Nicks’s delivery is both assertive and mournful, with lines like “You cry wolf / No, I won’t come knockin’” resonating as a firm declaration of self-preservation. The song’s brisk tempo and percussive arrangement complement its defiant tone, reflecting a sharp departure from the dreamy introspection of other tracks on the album, such as “Ooh My Love.” In this way, “Cry Wolf” adds a dynamic, hard-edged moment to The Other Side of the Mirror, highlighting Nicks’s range as both a performer and storyteller.
Comparatively, “Cry Wolf” shares thematic elements with Todd Rundgren’s “You Cried Wolf,” as both tracks explore the consequences of deceit and the boundaries of forgiveness. However, while Rundgren’s approach leans into playful satire, Nicks’s rendition is deeply emotional, emphasizing personal empowerment over lighter commentary. The Other Side of the Mirror reached No. 10 on the US Billboard 200, and although “Cry Wolf” was not released as a single, it remains a compelling deep cut that reflects the album’s overarching themes of introspection and resilience.
Duran Duran’s “Hungry Like the Wolf” is one of the definitive tracks of the early 1980s, encapsulating the band’s knack for blending new wave aesthetics with pop sensibility. Recorded in 1982 at AIR Studios in London and produced by Colin Thurston, the song features Simon Le Bon on vocals, John Taylor on bass, Nick Rhodes on keyboards, Andy Taylor on guitar, and Roger Taylor on drums. It appears on their Rio album, a release that helped propel Duran Duran to international stardom. The track is driven by a pulsating synth riff, infectious rhythm, and an anthemic chorus, solidifying its place as one of the band’s most enduring hits.
Lyrically, “Hungry Like the Wolf” evokes a primal sense of pursuit and desire, underscored by lines like “I’m on the hunt, I’m after you.” The lyrics are complemented by the song’s vibrant and layered production, which includes jungle-inspired sound effects and a dynamic interplay between instruments. The video, filmed in Sri Lanka, mirrors the song’s themes with its adventurous, Indiana Jones-inspired narrative, contributing significantly to the track’s success on MTV. This synergy between music and visuals was a hallmark of Duran Duran’s artistry, making them pioneers in the use of music videos as a medium for storytelling.
In comparison to other songs on this list, such as Stevie Nicks’s “Cry Wolf,” “Hungry Like the Wolf” leans heavily into metaphor and theatricality, focusing less on personal relationships and more on the raw, universal themes of pursuit and instinct. Chart-wise, the song peaked at No. 3 on the Billboard Hot 100 in the United States and reached No. 5 in the UK, cementing Duran Duran’s status as icons of the 1980s. Its combination of infectious melody, evocative lyrics, and groundbreaking visual accompaniment ensures its legacy as a classic of its era.
“The Wolf,” from Heart’s self-titled 1985 album, is a fiery and visceral track that underscores the band’s foray into mainstream rock while retaining their edge. Recorded in Los Angeles and released on Capitol Records, Heart was produced by Ron Nevison, a producer known for his polished work with rock acts like Led Zeppelin and The Who. This lineup featured Ann Wilson on lead vocals, Nancy Wilson on guitar and backing vocals, Howard Leese on guitar and keyboards, Mark Andes on bass, and Denny Carmassi on drums. Written by the Wilson sisters alongside Leese, Andes, Carmassi, and longtime collaborator Sue Ennis, “The Wolf” represents the album’s darker and more biting thematic moments.
Lyrically, the song takes aim at manipulative and deceitful individuals, captured in lines like, “Just another wolf at the door” and “The daylight burns your eyes.” Ann Wilson’s commanding vocal performance gives life to the lyrics, painting a vivid picture of a prowling, predatory figure who hides their true nature behind a facade of charm. The driving rhythm section, led by Carmassi’s thunderous drumming, and the dual guitars of Nancy Wilson and Leese, deliver an aggressive energy that aligns perfectly with the song’s theme of predation and survival. Compared to tracks like “Cry Wolf” by Stevie Nicks, which centers on personal betrayal, “The Wolf” feels more confrontational and accusatory, embodying an external conflict.
Musically, “The Wolf” fits seamlessly into the Heart album’s soundscape, which combined the band’s established rock identity with the synth-heavy production trends of the mid-1980s. While it wasn’t released as a single, the track adds depth to an album that yielded major hits like “These Dreams” and “What About Love.” Its raw energy and lyrical ferocity make it a standout album cut, contrasting with the more polished, chart-focused singles. In comparison to “Hungry Like the Wolf” by Duran Duran, “The Wolf” takes a grittier, rock-oriented approach to exploring similar predatory imagery, showcasing Heart’s ability to craft songs that are both powerful and thematically rich.
“Dire Wolf,” featured on The Grateful Dead’s seminal 1970 album Workingman’s Dead, merges folklore, vivid imagery, and country-inspired melodies to create one of the band’s most enduring tracks. Written by Robert Hunter and Jerry Garcia, the song was recorded in early 1970 at Pacific High Recording Studio in San Francisco and produced by Bob Matthews, Betty Cantor, and the band itself. The song’s blend of acoustic guitar, pedal steel, and Garcia’s gentle, evocative vocals exemplifies the Americana influences that defined the album.
The lyrics weave a haunting tale of a man’s fateful encounter with a mythical dire wolf, set in the fictional town of Fennario. Lines like “The Dire Wolf, six hundred pounds of sin, was grinning at my window” evoke a mix of dread and dark humor, underscored by the refrain “Don’t murder me, I beg of you.” This macabre narrative is interpreted as a metaphor for fate, mortality, or the consequences of one’s choices, themes that recur in The Grateful Dead’s catalog. The chorus’s plea, coupled with Garcia’s heartfelt delivery, lends the song an emotional resonance that balances its whimsical storytelling.
In comparison to tracks such as Heart’s “The Wolf,” which also explores themes of danger and deception, “Dire Wolf” takes a subtler, more folk-infused approach. The Dead’s use of pastoral settings and allegorical imagery contrasts with Heart’s gritty rock energy, showcasing the band’s ability to craft compelling narratives through understated arrangements. Though “Dire Wolf” was not released as a single, it became a staple of the band’s live performances, played over 200 times between 1969 and 1995. Its enduring popularity speaks to its unique ability to blend narrative depth, musical craftsmanship, and the timeless appeal of a good story.
“Werewolves of London,” one of Warren Zevon’s most iconic tracks, first appeared on his 1978 album Excitable Boy. Written by Zevon, LeRoy Marinell, and Waddy Wachtel, the song is a tongue-in-cheek exploration of urban legend and pop culture, delivered with Zevon’s characteristic wit and dark humor. Recorded at Elektra Sound Recorders in Los Angeles, the track features an impressive lineup, including Mick Fleetwood on drums and John McVie on bass—both of Fleetwood Mac fame. The song was produced by Jackson Browne and Waddy Wachtel, with the final version chosen from a grueling 59 takes.
Musically, the song’s driving piano riff, played by Zevon, sets a playful yet ominous tone that contrasts with the macabre humor of its lyrics. Lines such as “I saw a werewolf drinkin’ a piña colada at Trader Vic’s / And his hair was perfect” blend surreal imagery with biting social satire. The references to specific locations, like Lee Ho Fook’s restaurant in London, ground the song in a real-world setting while maintaining its fantastical edge. Zevon’s droll delivery of the repeated howl, “Ah-hoo, werewolves of London,” adds to the track’s irreverent charm, ensuring its place as a standout in his catalog.
Compared to other songs on this list, such as “Dire Wolf” by The Grateful Dead, “Werewolves of London” trades in suspense and allegory for humor and absurdity, offering a lighter, more sardonic take on wolf imagery. Despite Zevon’s initial objections, the song was chosen as the album’s lead single, reaching No. 21 on the Billboard Hot 100. Its enduring popularity, bolstered by its use in films and commercials, speaks to its unique combination of sharp lyricism, memorable melody, and Zevon’s inimitable storytelling. “Werewolves of London” remains a testament to his ability to craft songs that are as entertaining as they are eccentric.
South Carolina hell bringers, Demiser, will join Nunslaughter for a two-week US tour this winter. The Pestis Infernum Tour runs from January 31 in Washington, DC through February 15th in Atlanta, Georgia. Additional support will be provided by Desolus.
The band comments, “Demiser is fuckin’ stoked to hit the road! After a year in wait, we return to the East Coast with our brothers in blasphemy – the mighty Nunslaughter – with speed demons Desolus in tow! This time, in support of our latest offering Slave To The Scythe, bangers like ‘Hell Is Full Of Fire’ and ‘Phallomancer The Phallomancer’ will be conjured to satisfy your need for speed along with all your favorite booze-soaked classics. Surrender To Sin!”
Demiser will be touring in support of their Slave To The Scythe full-length, released in August via Black Light Media/Metal Blade Records.
The Demiser collective features Demiser The Demiser (occult liturgic blasphemy), Gravepisser (six-stringed Satanic fukklord), Phallomancer (abysmal rhythm of death), Defiler (dismal baritone curator), and Infestor (purveyor of percussive bile). The nine-track Slave To The Scythe is a devastatingly intense slab of work; an aural harbinger of hellish intent that sees the band blend ‘80s thrash, first-wave black metal, death metal, and a healthy dose of NWOBHM.
Dates:
January 31 – Washington, DC – Atlas Brew Works
February 1 – Cambridge, MA – Middle East Upstairs 2 – Brooklyn, NY – TV Eye 4 – Philadelphia, PA – Milk Boy 5 – Cleveland, OH – No Class 6 – Detroit, MI – Sanctuary 7 – Chicago, IL – Reggies Music Joint 8 – Indianapolis, IN – Black Circle 9 – St. Louis, MO – The Sinkhole 10 – Tulsa, OK – Whittier Bar 11 – Dallas, TX – Double Wide 12 – Austin, TX – Valhalla 13 – Houston, TX – Black Magic Social Club 14 – New Orleans, LA – Siberia 15 – Atlanta, GA – Boggs Social & Supply
Great American Ghost have shared the arrival of “Kerosene,” the fourth single from the band’s upcoming album Tragedy Of The Commons out January 31 on SharpTone Records. The track opens the record with a buzzsaw riff and pummeling industrial-style beat. Taking inspiration from bands like Nine Inch Nails and HEALTH as much as Slayer and Meshuggah, “Kerosene” signals Great American Ghost’s ability to write killer songs that transcend genre. The video for the track, directed and edited by Anthony Altamura, evokes a spine-chilling and anxious blend of horror.
Vocalist Ethan Harrison comments on the song: “Kerosene is a song about absolute nihilism. If the world is truly hopeless, forlorn, irredeemable, then this is its anthem.”
Upholding an uncompromising vision with clear intention, Great American Ghost know exactly what they want to say about their community, the greater world around them, and humanity as a species. Tragedy Of The Commons offers a powerful statement on exploitation, oppression, and scarcity. On the Will Putney produced record, Great American Ghost transmit their message without filter delivered through a combination of basement-born hardcore spirit, staggering metallic precision, polemic lyrical provocations, and unexpectedly arresting melodies.
Tragedy Of The Commons is available for preorder through Sharptone Records.
Great American Ghost have a hometown headline show in Manchester, New Hampshire on December 14 at Jewel Music Venue. The band will join Bleed From Within and After The Burial on a European tour next fall.
Great American Ghost is Ethan Harrison (vocals), Grayson Stewart (guitar), Anthony Laur (bass) and Niko Gasparrini (guitar).
Tracklisting:
“Kerosene” “Echoes Of War” “Lost In The Outline” “Forsaken” “Ghost In Flesh” “Writhe” “Genocide” “Hymn Of Decay” “Chapel Paralysis” “Reality//Relapse” “God Is A Loaded Gun”
Gràb have unveiled the lyric video “Kerkermoasta” (English ‘dungeon keeper’) as the first single taken from their forthcoming new album Kremess (English: ‘funeral feast’, German “Leichenschmaus”). The sophomore full-length of the Bavarian black metal duo has been scheduled for release on February 21, 2025.
“Our first advance single ‘Kerkermoasta’ is probably the most in-your-face track of the album”, vocalist and lyricist Grànt states. “It also shows a wide range of basically everything that makes our sound unique. Some parts remind me of the best days of such bands as the Norwegians Gehenna. There is also a dulcimer that introduces the melody, mid-tempo, blast beats, groove, and a slow ending. On the lyrical side the Bavarian word ‘Kerkermoasta’ literally translates to ‘Dungeon Master’. The dungeon keeper in question is the Grim Reaper himself. In other words: Life creates the doorway, death holds the key.”
Gràb offer both, continuity and change, on their sophomore full-length Kremess. The Bavarian black metal project founded by vocalist Grànt continues to revolve lyrically around tales and traditions narrated in the local dialect of Germany’s southernmost Alpine state: Bavaria. “Kremess” means ‘funeral feast’ in that language and death plays a leading role on this album.
Musically, Gràb still feature a prominent traditional instrument of their region, the hammered dulcimer. This gets combined with particularly Norwegian strands of black metal such as early Gehenna, Ulver, and Darkthrone as well as taking inspiration from German pioneers of the genre namely Nagelfar and Lunar Aurora. Adding to the local sonic colours are many fresh ideas and sounds that came with English guitarist Gnàst, who has replaced previous main songwriter Grain in the meantime. A host of guest musicians including members of Empyrium, Triptykon, and Dark Fortress among others has further enhanced the musical spectrum.
Gràb were conceived by former Dark Fortress frontman Grànt (a.k.a. Azathoth) who wanted to bring a particularly Bavarian expression to black metal. The use of vernacular elements in this harsh style of music emerged early in its formation in Scandinavia when such bands as Enslaved and Borknagar took inspiration from local history, language, legends, and sounds. This soon evolved into a global phenomenon in black metal with examples ranging from Romania’s Negură Bunget to Cascadian USBM pioneers Wolves In The Throne Room.
Tracklisting:
“Waidler” “Kremess” “Kerkermoasta” “Im Hexnhoiz” “Vom Gråb im Moos” “Deifeszeig” “Waldeinsamkeit” “Dà letzte Winter” “Waidler (gschmeidig)”* “Schaug’ de Himmesdechta” (Burzum cover)* “Leere” (Burzum cover)*
Speaking to Nikki Blakk from San Francisco’s 107.7 The Bone, Zakk Wylde was asked about the continued touring with the reformed Pantera and the possibility of a live release or new music.
“Well, it’s all up to Phillip [Anselmo, vocalist] and Rex [Brown, bassist],” answered the guitarist about new music and the continuing touring of Pantera. “We just hang around, and if Rex is just, like, ‘Hey, fellas, let’s just put this [song] in the set,’ or whatever, or Phil’s, like, ‘Yo, let’s try this,’ or whatever, then me and Charlie learn it and then we’ll put it in the set. So, that’s where it’s at. But it’s a great hang, because everybody in the crew and everybody out there, we’ve all known each other for years. Even with the crew people, it’s just, like, whether they’ve been out with Ozzy [Osbourne] when I was rolling on the No More Tears tour, everybody knows everybody. So, it really is like a huge family vibe out on the thing. It’s a great time, for sure.”
Pantera recently announced Child Bite and King Parrot as the openers for their upcoming EU/UK tour with special guests, Power Trip.
Get your tickets and VIP packages here, and find a list of dates below.
Tour dates:
January 21 – Helsinki, Finland – Ice Hall (Sold Out)+ 23 – Stockholm, Sweden – Hovet+ 24 – Oslo, Norway – Spektrum (Sold Out)+ 26 – Copenhagen, Denmark – Royal Arena+ 28 – Amsterdam, Netherlands – AFAS Live+ 31 – Ljubljana, Slovenia – Arena Stožice+
February 1 – Ostrava, Czech Republic – Ostravar Aréna+ 3 – Budapest, Hungary – Budapest Arena+ 4 – Kraków, Poland – Tauron Arena+ 6 – Hamburg, Germany – Sporthalle+ 7 – Berlin, Germany – Max-Schmeling-Halle* 9 – Düsseldorf, Germany – Mitsubishi Electric Halle* 10 – Brussels, Belgium – Forest National* 12 – Bologna, Italy – Unipol Arena* 13 – Zürich, Switzerland – Hallenstadion* 15 – Paris, France – Adidas Arena* 18 – Glasgow, UK – OVO Hydro* 19 – Leeds, UK – First Direct Arena* 21 – Dublin, Ireland – 3Arena* 23 – Birmingham, UK – Resorts World Arena* 25 – London, UK – OVO Arena Wembley*
Building on the haunting beauty of his 2020 debut album Chants From Another Place, Swedish songwriter Jonathan Hultén returns with the follow up Eyes Of The Living Night, set for release on January 31, 2025 via Kscope.
Recorded at Stockholm’s Chanting Studios and co-produced with Ola Ersfjord (Lady Blackbird/Tribulation/Monolord), the new album Eyes Of The Living Night is a remarkable showcase of Hultén’s distinctive blend of folk, rock and pop, drawing influence from the likes of Bert Jansch, John Martyn and Nick Drake as well as contemporaries such as Anna Ternheim, Chelsea Wolfe and Hexvessel.
Eyes Of The Living Night delves deep into the human spirit. Merging the raw emotion of his earlier work with a more expansive, otherworldly sound, Jonathan Hultén has created an album that shimmers, taking listeners through the decades of rock, synth-pop, blues and folk on a journey best described as “Ambient Dream-grunge”.
Jonathan has announced a run of shows supporting riotous UK metal band Uncle Acid & the Deadbeats in the USA. These will be his first North American tour as a solo artist.
Tracklisting:
“The Saga And The Storm” “Afterlife” “Falling Mirages” “Riverflame” “The Dream Was The Cure” “Song Of Transience” “Through The Fog, Into The Sky” “Dawn” “Vast Tapestry” “The Ocean’s Arms” “A Path Is Found” “Starbather”
Rockpages.gr has issued a new interview with guitarist Ed Archer and bassist John Macko of legendary metal stalwarts, Fifth Angel. A couple of excerpts from the chat follows…
Rockpages.gr: Was the arrival of grunge such an abrupt end for heavy metal in America?
John Macko: “Absolutely. It practically killed our career. You know we had just released Time Will Tell and things were going really well. We had several songs on the charts and then ‘Smells Like Teen Spirit’ came along and all of a sudden everybody forgot about the classic metal sound. The record companies turned their attention to this new sound. Of course, this didn’t happen only to us. A lot of the bands in the 90s, even bands much bigger than us really struggled to survive.
Rockpages.gr: Iron Maiden or Black Sabbath?
John Macko: “I grew up with Black Sabbath. They were the first heavy metal band I listened to besides Led Zeppelin. Iron Maiden I listened to years later. So I’m going to say Black Sabbath. We also had met Ozzy in Los Angeles. I cornered Ozzy and we talked for 5-10 minutes. That’s when he had hired Zakk on guitars and back then Zakk was a skinny teenager (laughs). It was an epic party back then.”
Read the complete interview at Rockpages.gr, and watch the video below:
