Lamb Of God and Sixthman, the leader in festivals and music cruises for more than a decade, recently announced Lamb Of God Presents Headbangers Boat 2025, sailing October 31-November 4, 2025 from Miami, FL to Cozumel, Mexico aboard the glittering Norwegian Jewel.
The full Headbangers Boat 2025 lineup has been revealed. Welcome to the boat Power Trip, The Exploited, Nekrogoblikon, Gideon, Walls Of Jericho, and Category 7.
Acts confirmed now include: Lamb Of God (two sets), Clutch, Kublai Khan TX, Power Trip, Obituary, DevilDriver, Fear Factory, The Black Dahlia Murder, The Exploited, Crowbar, Nekrogoblikon, Eighteen Visions, Gideon, Walls of Jericho, Category 7, BRAT, Josh Potter (Comic), Saul Trujillo (Comic), Jose Mangin, Riki Rachtman, Liberty Tattoo.
Testimony Records are proud to announce that international death metal act, Leper Colony, have inked a deal with the label.
Says the label, “Welcome to our burgeoning roster! Leper Colony will release their sophomore full-length via Testimony Records in 2025. Leper Colony were founded by former Morgoth frontman Marc Grewe (Asinhell, Insidious Disease) and Paganizer guitarist Rogga Johansson (Ribspreader, Revolting et al.). Stay tuned for more news.”
Says Marc Grewe: “Hey! Here is some Great News for you OSDM Maniacs!! Leper Colony signed a deal with one of my favourite Labels!!! I am following Testimony Records for the last couple of years with huge respect for their dedicated work for their bands! And its with greatest joy and honor to let you all that we are now bonded by blood for the next releases with them! More news soon.”🤘
Following its acclaimed debut, the award-winning documentary, The History Of Metal And Horror, is now available in an exclusive Deluxe Edition, offering fans an even deeper look into the intertwined evolution of heavy metal music and horror films.
Directed by Mike Schiff, this compelling documentary uncovers fresh insights into the origins of heavy metal, its deep-rooted connections to classic horror films, and its lasting cultural significance. Featuring over sixty interviews with icons from both worlds, The History Of Metal And Horror dives into the powerful ways these two cultural forces have influenced and shaped each other over decades. Adding to its unique narrative, each chapter is introduced by segments of a post-apocalyptic short film hosted by horror legend Michael Berryman.
The film includes interviews with some of the biggest names in metal and horror, including: Alice Cooper, Rob Zombie, John Carpenter, John 5, Tom Savini, Kirk Hammett, Dave Mustaine, Corey Taylor, Kane Hodder, Jonathan Davis, Scott Ian, Doug Bradley, Sid Haig, Bill Moseley, Chris Jericho, and many more.
Since 2021, The History Of Metal And Horror has earned over 30 award wins and 20 nominations at respected festivals including San Francisco Another Hole in the Head Film Festival, Big Apple Film Festival and Screenplay Competition, The Rondo Awards, Popcorn Frights, and was notably nominated for Best Documentary Feature at SITGES – International Fantastic Film Festival of Catalonia.
The History Of Metal And Horror – Deluxe Edition includes the original film on Blu-ray, two bonus discs featuring over 20 hours of unseen interviews, a soundtrack disc, and an 8-page collectable booklet. Additionally, Each limited edition box set is individually numbered, signed, and housed in a premium magnetic Blu-ray case, making this the perfect collector’s item for genre enthusiasts.
Official Synopsis: The History Of Metal And Horror is a documentary that explores the history of heavy metal music and horror, and how the two genres ultimately crossed paths. Various metal artists share their first introduction to horror, their favorite horror films, their influences, and more. Horror film icons also discuss how their films have influenced the horror genre, their connections to metal artists, and why metal and horror work well together.
The History Of Metal And Horror – Deluxe Edition is available now for purchase at metalhorror.com. Quantities are limited, so fans are encouraged to act quickly to secure this collector’s item. Don’t miss your chance to own this ultimate celebration of heavy metal and horror!
“It’s really great. When you introduce a new song, even though it’s an old song, like ‘Now and Then,'” McCartney explained during a recent conversation with the Mirror. “The first reaction is, people aren’t quite sure what it is or what you’re doing.”
“But during the run of the concerts, they get the idea. The word gets out on the internet,” the legendary rocker continued, noting how fans have since gravitated towards the song. “So now the reaction is really strong, and for us it’s great to play because it’s a nice song to play, and for me, it’s particularly great because it’s a John song. And so it’s very emotional for me. I love it. I love doing it, and the audience seem to love it too.”
Regarded as the Beatles’ final song, “Now and Then” was created from demo tapes recorded by John Lennon prior to his death. The band’s surviving members originally tried to salvage the track around the time of the Anthology project, but Lennon’s vocals were deemed unusable. Modern AI technology allowed the track to finally be completed. “Now and Then” was released last November and has since been nominated for both Record of the Year and Best Rock Performance at the 67th Grammy Awards.
Emotions seemed to get the best of McCartney during a recent performance in Manchester, England. After playing “Now and Then” at the Dec. 15 show, the 82-year-old rocker could be seen tearing up and gesturing in appreciation to the crowd (video below).
Is Paul McCartney on Tour?
McCartney is set to wrap his 2024 touring with a pair of performances at the O2 in London on Dec. 18 and 19.
“We finish it up around Christmas time,” the Beatles confirmed to the Mirror. “So that’s exciting. We’re looking forward to London, and then that will finish this tour, and we’ll all be very glad to have a nice Christmas holiday.”
Beatles Albums Ranked
From the cheery ‘Please Please Me’ to the kinda dreary ‘Let It Be,’ we rank all of the group’s studio LPs.
Houses aren’t just where we live—they’re where stories unfold, where memories are built, and where emotions linger long after the door has closed. In rock and roll, the idea of a “house” has been a canvas for countless songs, capturing everything from familial warmth to unrelenting heartbreak. This list of songs with “house” in the title showcases the eclectic ways musicians have drawn from this simple yet resonant concept to create unforgettable tracks.
From the haunting allure of The Animals’ “The House of the Rising Sun” to the nostalgic charm of Crosby, Stills, Nash & Young’s “Our House,” each artist on this list has used “house” to explore themes that hit close to home. Madness captured the chaos and warmth of family life in “Our House,” while Talking Heads took a surreal approach with “Burning Down the House,” blending enigmatic lyrics with driving energy. Frank Zappa turned the “Little House I Used to Live In” into a sprawling masterpiece, while Faster Pussycat delivered raw vulnerability in “House of Pain.”
# 10 – Our House / House Of Fun – Madness
The beauty of pop music is its ability to capture snapshots of life, and “Our House” by Madness achieves this with remarkable charm. Released in 1982 as part of the album The Rise & Fall, this song reflects the everyday dynamics of family life with both warmth and wit. Written by the band members Chris Foreman and Carl Smyth, the track was produced by Clive Langer and Alan Winstanley, who helped refine Madness’ signature blend of ska and pop. Recorded at AIR Studios in London, “Our House” showcases the band’s knack for blending buoyant melodies with reflective storytelling, a combination that earned it widespread acclaim. Chart-wise, the song achieved significant success, reaching number 5 on the UK Singles Chart and climbing to number 7 on the Billboard Hot 100 in the United States—a rare feat for a ska-pop song of its era.
The lyrics paint a vivid picture of domestic life in a working-class British family, with lines like “Father wears his Sunday best / Mother’s tired, she needs a rest” resonating with audiences through their relatability. This contrast between the mundane and the affectionate creates a timeless quality that sets “Our House” apart. The accompanying music video, filmed in a quintessential British neighborhood, further emphasizes the song’s nostalgic and lighthearted spirit, offering visual anecdotes that bring the lyrics to life. Compared to other songs on this list, “Our House” stands out for its ability to find beauty in the ordinary, making it a poignant celebration of home.
On the flip side of this tie, “House of Fun” takes a completely different angle on the theme of houses. Released as a stand-alone single in 1982, “House of Fun” is an energetic and quirky tale about a boy’s awkward attempt to buy condoms, humorously masked as a visit to a “funhouse.” Also produced by Clive Langer and Alan Winstanley, the track features Madness’ signature lively instrumentation, with driving saxophones and playful piano lines. The song topped the UK Singles Chart, becoming the band’s only number 1 hit in their home country.
Lyrically, “House of Fun” is a humorous coming-of-age story brimming with double entendres and clever wordplay. Its spirited delivery and frenetic pace highlight Madness’ theatrical approach to storytelling, a hallmark that distinguishes them from their peers. Together, “Our House” and “House of Fun” showcase the versatility of Madness, from heartwarming reflections on family life to witty explorations of youthful misadventures. Positioned as the opening entry of this list, these songs serve as a dynamic introduction, demonstrating how the concept of “house” can be both deeply personal and riotously fun.
“White House,” a track from Ian Hunter’s 2016 album Fingers Crossed, showcases the legendary singer-songwriter’s ability to craft vivid, wry narratives grounded in relatable experiences. Accompanied by the Rant Band, Hunter delivers a playful yet reflective exploration of escape and simplicity. The album, recorded with his longtime collaborators, captures a raw, organic sound that complements the wit and charm of the song’s lyrics.
“White House” centers around the idea of leaving the hustle and bustle of city life for the tranquility of the countryside. Hunter paints a lively picture of this rural paradise, complete with birds, bees, and even a touch of humor about the downsides of nature, such as allergies and pesky fleas. With its folksy charm and Hunter’s seasoned vocal delivery, the song transforms a seemingly mundane topic into a whimsical meditation on finding peace. The repeated refrain, “You are the only one for me,” underscores a deeper emotional resonance, grounding the narrative in a love story that transcends its rural setting.
Musically, “White House” leans on Hunter’s signature blend of rock and folk influences, with a touch of country flair. The instrumentation, marked by warm acoustic guitars and a steady rhythm, mirrors the song’s themes of stability and simplicity. The clever lyricism, such as references to “eager beavers” and a tongue-in-cheek wish for a gun to handle multiplying rabbits, highlights Hunter’s knack for humor and vivid imagery. Positioned within this list, “White House” brings a refreshing, lighthearted perspective, offering a counterpoint to more somber explorations of “house” themes while reaffirming Ian Hunter’s enduring creativity and relevance in modern music.
# 7 – Little House I Used to Live In – Frank Zappa
“Little House I Used to Live In” is a cornerstone of Burnt Weeny Sandwich, a 1970 release by Frank Zappa and the Mothers of Invention. This album is a masterclass in Zappa’s genius for blending rock, classical, jazz, and avant-garde influences into a cohesive whole. The track, an instrumental opus clocking in at over eighteen minutes, showcases the extraordinary talents of Zappa and his ensemble while exemplifying his innovative approach to composition and improvisation.
The album was recorded in various sessions from 1967 to 1969, featuring a lineup of highly skilled musicians. The Mothers of Invention included Ian Underwood on keyboards and woodwinds, Don “Sugarcane” Harris on violin, and the versatile percussion work of Art Tripp III. Roy Estrada contributed bass and backing vocals, while Jimmy Carl Black and Billy Mundi handled drums on various tracks. The album also features Zappa’s unmistakable guitar work, which anchors “Little House I Used to Live In” with his signature combination of technical mastery and emotional depth. The piece highlights Harris’s virtuosic violin playing, which brings a fiery energy to the extended improvisations.
Burnt Weeny Sandwich is notable for its structure, with “Little House I Used to Live In” serving as its centerpiece. The track begins with a complex piano introduction by Underwood, transitioning into an intricate arrangement that seamlessly blends composed sections and improvisation. Zappa’s ability to orchestrate dynamic shifts and interplay between the musicians is on full display, demonstrating his brilliance as a bandleader and composer. The piece’s length and ambition cement it as one of Zappa’s most accomplished works, reflecting his commitment to pushing the boundaries of rock and blending it with high art.
Critically, Burnt Weeny Sandwich is celebrated for its experimental nature and technical prowess, with “Little House I Used to Live In” often singled out as a standout achievement. It embodies Zappa’s ethos of challenging musical conventions and showcases the exceptional musicianship of the Mothers of Invention. This track is not only a testament to Zappa’s creative vision but also a compelling demonstration of the profound synergy between the band members. Through its complexity and innovation, “Little House I Used to Live In” remains a defining piece in Frank Zappa’s catalog and a landmark in experimental rock.
“House in the Country” is a track from Child Is Father to the Man, the 1968 debut album by Blood, Sweat & Tears. Written by the group’s founder and primary songwriter, Al Kooper, the song reflects his innovative blending of rock, jazz, and classical elements, which defined the band’s early sound. This album laid the groundwork for the jazz-rock movement and is widely regarded as one of the most influential records of the era.
The track features the original lineup of Blood, Sweat & Tears, which included Al Kooper on keyboards and vocals, Steve Katz on guitar, Jim Fielder on bass, Bobby Colomby on drums, Randy Brecker and Jerry Weiss on trumpets, Fred Lipsius on alto saxophone, and Dick Halligan on trombone. This ensemble brought an eclectic mix of musical backgrounds, resulting in a sound that was both adventurous and cohesive. The album was produced by John Simon, who played a crucial role in capturing the experimental and orchestral feel of the band’s arrangements.
“House in the Country” is a satirical critique of privilege and self-righteousness, delivered with Kooper’s biting wit and dynamic vocal performance. Musically, the song incorporates driving rhythms and bold brass sections, which were hallmarks of the band’s sound. The instrumental interplay underscores the track’s biting lyrics, creating a sharp and engaging commentary on societal divides. Kooper’s use of the band’s horn section as a melodic and rhythmic force was groundbreaking at the time, adding depth and sophistication to the track.
Child Is Father to the Man is celebrated as a pivotal release in the history of rock music. While subsequent iterations of Blood, Sweat & Tears leaned more heavily into commercial territory, this debut remains a bold and uncompromising artistic statement. “House in the Country” stands as an example of the album’s balance between sharp social critique and innovative musicianship, ensuring its enduring legacy as a cornerstone of late-1960s rock experimentation.
“Our House” is one of Crosby, Stills, Nash & Young’s most cherished tracks, featured on their seminal 1970 album Déjà Vu. Written by Graham Nash, the song captures a moment of domestic bliss inspired by his relationship with Joni Mitchell. According to Nash, the lyrics were born out of a simple yet meaningful experience when he and Mitchell bought a vase of flowers together, leading to the warm reflection of home life expressed in the song.
Recorded at Wally Heider Studios in San Francisco and Los Angeles, Déjà Vu showcases the collective talents of David Crosby, Stephen Stills, Graham Nash, and Neil Young. The track prominently features Nash’s gentle vocal lead, supported by rich harmonies from the group, a hallmark of their sound. The instrumental arrangement, including a delicate piano line played by Nash and acoustic guitars, creates a soothing and intimate atmosphere that aligns perfectly with the song’s theme.
The song was produced by the band along with Bill Halverson, who helped capture the intricacies of their vocal harmonies and instrumental subtleties. The album, Déjà Vu, was a massive success, reaching number one on the Billboard 200 and earning multi-platinum certification. While “Our House” wasn’t released as a single, it remains one of the most beloved tracks in their catalog, often cited as an anthem of idyllic love and domestic tranquility.
Lyrically, “Our House” paints a vivid picture of contentment, with lines like “a very, very, very fine house” becoming synonymous with the peace and simplicity of a shared home. The song’s timeless appeal lies in its universality, resonating with anyone who cherishes the comfort of a loving, shared space. In the context of Déjà Vu, “Our House” provides a moment of warmth and reflection, balancing the album’s broader explorations of societal and personal themes.
# 3 – This House Is Empty Now – Burt Bacharach & Elvis Costello
“This House Is Empty Now” is simply a mesmerizing song from Painted from Memory, the 1998 collaboration between Burt Bacharach and Elvis Costello, it is an emotionally devastating ballad that epitomizes the album’s sophisticated exploration of heartbreak and longing. Painted from Memory marked a remarkable partnership between Bacharach, a master of timeless pop melodies, and Costello, known for his incisive lyrical wit. The album, produced by Bacharach, Costello, and Patrick Leonard, blends orchestral arrangements with Costello’s evocative vocals, offering a collection of songs that feel both cinematic and deeply personal.
Recorded in Los Angeles, Painted from Memory featured some of the finest session musicians of the era, including drummer Jim Keltner and bassist David Stone. “This House Is Empty Now” stands out for its haunting arrangement, which weaves together a delicate piano motif, lush strings, and subdued brass that create a sense of emptiness and despair. Bacharach’s characteristic use of complex chord progressions and unusual time signatures enhances the song’s emotional weight, while Costello’s soulful, aching delivery breathes life into the poignant lyrics.
Lyrically, “This House Is Empty Now” portrays the desolation of a love that has withered, leaving behind only memories and regret. Lines like “These rooms play tricks upon you / Remember when they were always filled with laughter?” capture the tension between the nostalgia for happier times and the harsh reality of a relationship’s end. The metaphor of an empty house underscores the song’s theme of abandonment, with Costello’s voice conveying both vulnerability and resignation. Bacharach’s melodic genius amplifies this sorrow, particularly in the swelling crescendos that mirror the lyrical heartbreak.
“This House Is Empty Now” is a testament to the power of collaboration between two legendary artists. It stands as one of the most affecting tracks on Painted from Memory, cementing the album as a landmark in the careers of both Bacharach and Costello. Its intricate arrangement, deeply introspective lyrics, and stunning vocal performance make it a fitting inclusion in this list of songs with “house” in the title, demonstrating how physical spaces can become vessels for emotional narratives.
“Burning Down the House,” released as the lead single from Talking Heads’ fifth studio album, Speaking in Tongues (1983), marked a pivotal moment for the band, propelling them into mainstream success. Written collaboratively by the band members—David Byrne, Chris Frantz, Tina Weymouth, and Jerry Harrison—the song stands as one of their most enduring and recognizable tracks. Its infectious energy and enigmatic lyrics highlight the band’s unique approach to blending new wave, funk, and art rock.
The song originated from a jam session inspired by the crowd chant “Burn down the house!” during a Parliament-Funkadelic concert attended by Frantz. The track’s creation showcases the band’s experimental spirit, with Frantz’s explosive drumbeat and Weymouth’s driving bassline forming the backbone of the song. Harrison added textural depth with layered keyboards and rhythm guitar, while Byrne’s unconventional vocal delivery and cryptic lyrics added a surreal edge. Producer-engineer Mark Weiss helped craft the final mix, balancing the band’s intricate layers to create a polished yet vibrant sound.
“Burning Down the House” became the band’s highest-charting single in the United States, reaching number nine on the Billboard Hot 100. The accompanying music video, directed by David Byrne and co-conceived by the band, utilized a playful mix of performance footage and surreal imagery, capturing the eccentric energy of the track. This visual innovation helped the song gain heavy rotation on MTV, further cementing its cultural impact.
Lyrically, the song resists straightforward interpretation, with Byrne’s fragmented phrases leaving room for various meanings. Lines like “Watch out, you might get what you’re after” evoke a sense of urgency and unpredictability, while the titular refrain serves as a cathartic release. The song’s dynamic structure and relentless rhythm mirror its themes of chaos and reinvention, making it a fitting addition to this list of tracks with “house” in the title. “Burning Down the House” remains a landmark in Talking Heads’ career, emblematic of their ability to fuse complex artistry with broad appeal.
The Animals’ version of “The House of the Rising Sun,” released in 1964, remains one of the most iconic renditions of this traditional folk song. The track was recorded in one take at De Lane Lea Studios in London and produced by Mickie Most, who played a pivotal role in capturing the raw, brooding energy of the band. With its haunting organ riff, moody guitar lines, and Eric Burdon’s powerful, anguished vocals, this version transformed the song from its folk roots into a monumental rock ballad.
The song tells the tale of despair and regret, set against the backdrop of a house in New Orleans. The precise origins of the song are unknown, but its narrative of a life led astray resonates universally. The Animals’ arrangement featured Alan Price’s unforgettable Vox Continental organ solo, Hilton Valentine’s arpeggiated guitar intro, and Chas Chandler’s bassline, all contributing to a dark, atmospheric sound that distinguished their version from earlier folk interpretations. The lineup also included drummer John Steel, whose steady rhythm added to the song’s ominous intensity.
Released as a single, “The House of the Rising Sun” became a commercial and critical triumph, reaching number one on the charts in both the United Kingdom and the United States. This success marked The Animals as one of the leading bands of the British Invasion. The track’s impact was so profound that Bob Dylan, who had previously recorded his version of the song in 1962, switched to playing electric guitar after being inspired by The Animals’ electrified interpretation.
Lyrically, the song conveys a deep sense of sorrow, with lines like “It’s been the ruin of many a poor boy” serving as a timeless warning against a life of vice and regret. The Animals’ rendition amplifies this sentiment, turning it into an anthem of soulful anguish. As the most famous version of “The House of the Rising Sun,” this track not only solidified The Animals’ place in rock history but also set a benchmark for how traditional songs could be reimagined in contemporary music.
Speaking with Guitar World, Billy Idol’s longtime guitarist Steve Stevens looked back on working with Michael Jackson on the singer’s 1988 single, “Dirty Diana”. The song is taken from Jackson’s fifth album, Bad, released in 1987.
Following is an excerpt from the interview:
Guitar World: How did Quincy Jones (producer) and Michael Jackson handle you as a guitar player?
Stevens: “Quincy was one of the absolute monolithic record producers in the world. With any great producer, the number one job is to put the musician at ease and get the best possible performance. There were a lot of jokes and it was just a really chill vibe.”
Guitar World: This was your proper session outside of Billy Idol, right?
Stevens: “I had never done a session outside of Billy Idol. With Billy, it was always myself, Billy, a producer, and an engineer. It was a very small group of people. When I flew to LA to do the Michael Jackson thing I was thinking, ‘There’s going to be this huge entourage, the fucking monkey is going to be there, and all this crazy shit!'”
Guitar World: What did you actually find?
Stevens: “I opened the studio door and it was exactly like doing an Idol session. It was Michael, Quincy and the engineer – no big egos, no entourage, none of that stuff. And what was cool is we got what they had in mind, the melody and the rhythm stuff, and then Quincy said, ‘You go in there and do what you want.'”
Guitar World: You weren’t given specific directions?
Stevens: “He said, ‘Without us directing you, what would you do?’ That’s what ended up being most of the solo for ‘Dirty Diana’, and the outro and all that.”
Billy Idol and Steve Stevens performed “Dancing With Myself” live from the secret balcony on the 103rd Floor of the Empire State Building to commemorate the 40th anniversary of the iconic Rebel Yell album. Watch the official video below:
On November 1st, 1986, David Lee Roth brought his Eat ‘Em And Smile Tour to the Forum in Montreal, Quebec. Fan-filmed video of the entire show, courtesy of the Shits And Giggles YouTube channel, can be viewed below.
Guitar legend Steve Vai has shared the following message via social media:
“November 25th marked the nine year anniversary of our failed attempt to reunite the Eat ‘Em And Smile band for a few songs at the Lucky Strike bowling alley in Hollywood.
Billy Sheehan and Gregg Bissonette were invited to perform ‘Yankee Rose’ and ‘Shy Boy’ at the Lucky Strike bowling alley, located in downtown Hollywood where every Wednesday night there was a jam with some great career accomplished artists. I’ve joined a few of these jams in the past and they were always a hoot. Billy and Gregg were to perform these songs with Michael Starr (aka Ralph Saenz) from Steel Panther to sing.
Billy gave me a call to see if I would be interested in joining and I thought it would be great. I suggested I would call Dave Roth to see if he would be interested in doing this, though I thought it was a long shot. But surprisingly, Dave was very into it.
Nobody knew Dave was going to be there. They thought it was myself, Billy, Gregg and our most wonderful keyboard player in the DLR band, Brett Tuggle (God rest his beautiful soul). And Ralph belting out Roth, which he does very well. When Dave and I arrived, the line was four people wide and stretched all the way around the building to Hollywood Blvd and beyond. There were thousands of people waiting in that line and they had already crammed 2,000 people into this little venue that held 350 people. The tiny stage had a curtain in front of it. We were all ready to go and the only thing I needed to do was play the first chord of ‘Yankee Rose’ and the curtain would open, Dave would come out, and we would be off.
Right when I was about to hit the chord, the club manager came to me and said the fire marshal had shown up and was shutting down the gig, and they were evacuating the building. The urge to just hit the chord was overwhelming in me but I asked, ‘What happens if I play?’ He said, ‘You’ll be fined.’ I said, ‘Fine, I’ll pay the fine, how much is it?’ He ran away for a minute and came back and said, ‘The fine would be $5k.’ I said, ‘Great, I’ll pay it.’ And then he said, ‘No Steve, they also said if you play, the venue would be shut down, lose their license, and you, the band and the club owners can be arrested.’
Although this only fueled my fire to hit the chord because I thought, ‘Ah, getting arrested over something like this would be pretty cool.’ But then I had to think of the club owner, and also the fire marshal who was walking towards me, so I mustered up all the strength I had in me and put my pick down. I felt gutted.
These photos. were snapped by Michael Mesker while I was telling everyone that we couldn’t play. Then I went off stage to where Dave was waiting and explained everything to him. In true Roth fashion, he said… ‘Perfect!!! Now we will get more press out of it than if we actually played.’ And you know what? He was right. The situation was all over the news including TV news and even front page on many papers around the world. I wonder what would have happened if I hit the chord. Do you think I should have?”
Former Iron Maiden singer Blaze Bayley has paid tribute to the band’s late, previous singer Paul Di’Anno.
Di’Anno, who sang for Maiden from 1978 to 1981, died in October at the age of 66. In the new issue of Metal Hammer, the metal legends’ frontman from 1994 to 1999 commends his singing ability, live performances and impact on the heavy music community at large.
“In our heavy metal world, he’s almost as important as Elvis Presley,” Bayley says of Di’Anno. He goes on to add: “That voice will always touch you, he had some kind of edge there. His attitude came over so well in his delivery, and his voice and melody matched the music so powerfully.”
(Image credit: Future)
Later, Bayley talks about Di’Anno’s recent performances on the live stage. “There were some nights, close your eyes and it was better than anything he’d ever recorded,” he says. “If he did a few nights in a row then he started to suffer a bit. But if you caught him after a couple of days off, oh man… he was incredible, just awesome.”
The same Hammer feature, written by journalist Chris Chantler, also includes tributes from former Maiden guitarist Dennis Stratton and Lemmy director Wes Orshoski, who’s set to release a documentary about Di’Anno next year.
Stratton remembers, “He seemed a bit lost for words, he wasn’t coming forward [during live performances]. Then when we did the Judas Priest tour [in spring 1980], I saw him watching Rob Halford and picking things up, and he became more confident in his stage work. By the Kiss tour [the following autumn] he’d started to come out of himself and give it more bravado.”
Di’Anno sang on Maiden’s first two albums: their 1980 self-titled debut and followup Killers (1981). In November, his sisters Cheryl and Michelle revealed he died because of “a tear in the sac around the heart”, which caused his heart to stop.
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Bruce Dickinson, who joined Maiden after Di’Anno’s dismissal, offered heartfelt words about the singer during an October concert in St Paul, Minnesota. He called Di’Anno “instrumental” in the band’s development and a “groundbreaking” figure. “[He had] an amazing voice,” he added. “Devoted to rock’n’roll right up till the last minute of his life.”
As well as the Di’Anno tribute, the new issue of Metal Hammer offers the essential breakdown of the year in metal. The magazine ranks the best metal albums of 2024, revisits Lzzy Hale’s stint fronting glam metal stars Skid Row, gets the inside story of Gojira’s show-stealing Olympic Games performance, and so much more. Order now and get your copy delivered directly to your doorstep.
Since forming in 1996, Nightwish have transformed from unpolished dreamers with big ideas into the most successful symphonic metal band in the world. Incredibly, they’ve done that with not one, not two, but three separate vocalists fronting them over their near-thirty year career, each one involved in at least one legitimate symphonic metal masterpiece. To help navigate your journey through their epic discography, we’ve ranked all ten Nightwish records from worst to best.
10. Angels Fall First (1997)
Nightwish’s rough and ready debut has not aged well. Composer, songwriter and mastermind. Tuomas Holopainen is many things, but a singer isn’t one of them – this album is the only time he would take on co-vocal duties – and let’s not get started on the awkward lust of Nymphomaniac Fantasia. Grand designs are evident even at this early stage and the operatic vocals of original singer Tarja Turunen are ever striking, but these simple tracks show little of the pomp and splendour further down the road.
Closing the door on the band’s early power metal chapter, third LP Wishmaster saw Nightwish growing in confidence even if it is their most forgettable collection of songs. Continuing the magical, Narnia-like atmospherics the band began building on their second album, Oceanborn, on the track, Dead Boy’s Poem, Wishmaster is notable as the moment Tuomas began to explore the Peter Pan-esque concept of lost childhood and innocence, themes he would return to again and again in Nightwish’s later work.
The fact Nightwish gave us Oceanborn a little more than a year after their undercooked debut is remarkable. Sure, it’s still the sound of a band finding their feet, but everything here is a huge step forward. Rooted in galloping power metal – the symphonic opulence of later years wouldn’t arrive for a few albums yet – tracks like Stargazers and Gethsemane start to deliver on Tuomas’ big ideas, while Sleeping Sun remained their best album closer until a certain 25-minute epic would come along 17 years later. More on that in a bit.
Adouble album, the second disc of which is almost completely instrumental, Human ://: Nature makes you work hard to uncover its charms. Current singer Floor Jansen is given more licence on her second outing with the band to let her formidable range run rampant, while the melodies and compositions of tracks like Shoemaker, Pan and Tribal are their proggiest and most complex yet.
Nightwish’s tenth and most recent album, Yesterwyndeis every bit as dense and perplexing as its predecessor, Human://:Nature, but is a far easier album to love. From the moment the fantastical An Ocean Of Strange Islands kicks off at full pelt, these songs are drenched in the magic and sparkle that Human://:Nature often surrendered to experimentation. During its 71-minute running length, there are choirs, colossal walls of sound and an intriguing foray into 80s-inspired, echoing drums and instrumentation on The Day Of…; it’s the most Nightwish the band have sounded in ages. While the absence of ex-bassist Marko Hietala, who left the band in 2021, is palpable in the album’s more thunderous moments – tracks like The Antikythera Mechanism and Spider Silk would have been perfect for his bombastic howl – this is the sound of a band rejuvenated and firing on all cylinders.
With Century Child, Nightwish really kicked into gear. Bridging their power metal and symphonic inclinations, it was the band’s first time recording with an orchestra, and introduced fork-bearded bassist Marco Hietala, to the mix. Its fantastic opening run of the gothtastic Bless The Child, melodramatic End Of All Hope and Dead To The World, the gorgeous Ever Dream and raging Slaying The Dreamer,is one of the best in their back catalogue.
Following their messy and very public split with Tarja, who was fired in 2005 via an open letter, the band’s next record was an unsurprisingly intense affair. Tuomas poured every drop of his anger, hurt and disappointment into the dark majesty of glorious epic, The Poet And The Pendulum and Bye Bye Beautiful, but this is also a record of devastating beauty. New singer Anette Olzon’s poppier style works perfectly on those prettier moments while some of Tuomas’ most stunning lyricism is on display here – “The good in her will be my sunflower field” (Eva). “It would be an exaggeration to say Dark Passion Play saved my life,” he would tell us later. “But it definitely saved my mental health.”
Nightwish’s first album with Floor Jansen is a high-concept exploration of evolutionary science, narrated by scientist Richard Dawkins and an absolute triumph. From the full-pelt throttle of Shudder Before The Beautiful and cinematic bombast of Weak Fantasy, to the Celtic flourishes of Elan to the life affirming anthemia of Alpenglow, it’s a constant stream of brilliance. Then there’s The Greatest Show On Earth, a 25-minute show-stopper most bands could only dream of writing. It’s no surprise this was the record that turned Nightwish into festival and arena headliners.
The album that introduced Nightwish to the masses. Once brandishes many of the band’s most famous songs and saw Tarja on the form of her life: the tempestuous DarkChest Of Wonders, stomper Wish I Had An Angel, wintery anthem Nemo and their career-defining moment, the extraordinary Ghost Love Score. With Once, the band perfected their symphonic drama and left their peers in the dust. For newbies, this is the best place to start.
After the darkness of Dark Passion Play, with Imaginaerum, Nightwish stepped back into the light. Described by Tuomas as a “celebration of life”, their seventh album was a sprawling, wide-eyed wonder that explored the depths of every human emotion and experience, threw everything at the wall and watched it all stick. Every member of the band puts in the performance of their lives; in particular, Anette Olzon sounds completely at home fronting the band by this point, while stylistically this is Tuomas’ most ambitious experimental moment to date. For every Nightwish-on-steroids dazzler like Storytime, Ghost River and I Want My Tears Back, there’s a volte-face like the jazz lounge of Slow, Love, Slow or haunted circus-top horror of Scaretale, while Last Ride Of The Day gave the band their most colourful anthem. Just one year after its release, and seven years after Tarja’s acrimonious departure, Anette would leave in a similarly dramatic hail of fire, but she left behind her the band’s crowning opus.
Danniii Leivers writes for Classic Rock, Metal Hammer, Prog, The Guardian, NME, Alternative Press, Rock Sound, The Line Of Best Fit and more. She loves the 90s, and is happy where the sea is bluest.
Pallas have told fans that there will be at least one more album from the group, but they’ve reached the end of the road as far as live shows are concerned.
“The Messenger is a year old. It was officially released on the 15th of December, 2023. We felt that this was an opportunity to mark the continued future of the band.
“There will be (at least) another album. There isn’t a title yet, or a tracklisting. There isn’t even a release date at this stage. Though there was more than enough for another album from The Messenger sessions, the band has gone back to the drawing board and is creating afresh. Expect the material to be rockier than The Messenger, though it will again be a ‘progression’. There will be more info in due course.
“But, we also formally announce the end of Pallas as a live act. This shouldn’t come as a surprise to anyone, least of all those close to the band who’ve stuck with us through thick and thin.
“We did look at the likelihood of returning – even just to say goodbye – but the sums just didn’t add up. Touring is an expensive business. Add to that the cost of re-equipping and paying for a drummer. Not to mention the cost of flying Niall back from Cambodia for the requisite amount of time. We wanted to do this as we’ve always done it – at the top of our game. We’re sad that it was’t to be.
“We’d have made a major loss on any dates, and it wasn’t sensible to continue. Thank you to all of the promoters out there who got in touch (you know who you are) to suggest one last gig or other. We thank you from the bottom of our hearts.
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“Pallas: Alan, Graeme, Niall and Ronnie.”
In his own blog post singer Reed clarified the band’s statement, saying, “We did look at replacing various members – at least in a live setting. But two out of five isn’t the Pallas that I’d go to see, so reluctantly we came to the conclusion that the live part of the band is over.
“It’s sad, but it’s better to quit while we’re ahead rather than try to recapture past glories.
“Besides, I already have a band and will continue that element of my career. Who knows who may join me onstage at some point!
“To be honest, I’d gotten sick of answering all the questions about whether we’d tour again. I was also approached by a number of promoters who wanted to know if the band would like to play at this or that gig. I’d even gone as far as investigating whether there’d be mileage in a farewell package, that would include Euan and his band, as well as my own. But it wasn’t to be. There wasn’t any point in putting stuff together without the full commitment of the band as a whole.”
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