Squid have shared a new single, Building 650, as the second preview of their forthcoming album Cowards. The quintet have also announced UK shows for spring.
Cowards is set for release via Warp Records on February 7, and Building 650 is the follow-up to the album’s first single, Crispy Skin, which was released in November.
“It’s a song inspired by our first ever trip to Japan,” says frontman Ollie Judge. “We played the Summersonic festival in 2022, luckily we were booked to play 2 days after the COVID travel ban had been lifted, because of this we felt like some of the only tourists in Tokyo. On the plane I read In The Miso Soup by Ryu Murikami and watched Lost in Translation out of excitement and later decided to write lyrics about being an outsider visiting Japan, including a very particular type of loneliness one can feel visiting a country that is so different from their own. This loneliness feels exaggerated in Tokyo, on the surface it’s hectic and full of people but when you listen, it’s eerily quiet.”
Feb 17: Liverpool Invisible Wind Factory Feb 18: Manchester O2 Ritz Feb 19: Glasgow Old Fruitmarket Feb 21: Newcastle NSU Domain Feb 22: Sheffield Leadmill Feb 24: Cambridge Junction 1 Feb 25: Norwich The Adrian Flux Waterfront Feb 27: Oxford O2 Academy Feb 28: Southampton Engine Rooms
Mar 01: Margate, Lido Mar 02: Brighton Chalk Mar 04: Birmingham XOYO Mar 05: Bristol Beacon
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Apr 26: London Roundhouse Tickets for the tour are on sale now, here
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Three years on from her 2022 debut, the Preacher’s Daughter has fallen from grace. Rather than softening god-fearing anthems behind a veil of ethereal gothic pop, Perverts foregoes the foreplay; in a tar-smeared drone of corrosive blasphemy and dark ambience, Ethel Cain nosedives into the haunting depths of a sexually tormented and guilt-ridden mind.
Perverts isn’t the kind of record you want to listen to in the dark. Its uncanny ambient whir scratches at your senses, never providing a moment of reprieve; every moment of ‘silence’ is tinged by a low hum background noise, as if something is always lying in wake, preparing to pounce. It’s a listening experience that feels perverted in itself, as if Cain is in the room, breathing down your neck, enjoying the paranoia she is forcing you to experience. Yet it also makes voyeuristic perverts of its listeners; as the opening title-track’s soundscape unfolds, long, droning pauses thick with tension, you slowly edge into desperation, longing for Cain to reveal her secrets.
While Perverts’ post-industrial buzz oozes shame, there’s an overwhelming sense of existential fear and resentment scattered throughout. Sometimes this fear manifests in neurotic pleas for salvation, with Housofpsychoticwomn’s murky, pulsating gloom spurred on by obsessive ‘I love you’s. Yet the record also feels like a purge of bitterness; on the 15-minute long Pulldrone, unnerving scrapes of violin amplify Cain’s obtuse mutterings, her gentle voice at one point asserting “Let me tell you how much I’ve come to hate you since I’ve began to live.” It’s at odds with surrounding professions of adoration, the disillusioned utterance hinting at a desire to denounce God.
Amidst the dark ambient purge on display, a few lighter moments are scattered throughout. The softer injections feel more in-line with Cain’s debut, such as lead single Punish’s echoing vocals.Vacillator is also a tender affair, instrumentals deliciously smooth as the ghost of a guitar riff floats in the background. The gentle contrast is almost paranoia-inducing – it’s like the flickering of a fluorescent light in a pitch black room, a sudden shock to the system.
If you’re eager for more of the dark Americana anthems on display throughout Preacher’s Daughter, you’re in the wrong place. Considering Cain has spoken out about people’s shallow interpretations of her art, it makes sense that Perverts refuses to stick to radio-friendly song structuring or and singalongs. If you’re hungry for some thick, distressingly dark ambience, Perverts might be the twisted sonic exorcism you’ve been waiting for.
Full-time freelancer, part-time music festival gremlin, Emily first cut her journalistic teeth when she co-founded Bittersweet Press in 2019. After asserting herself as a home-grown, emo-loving, nu-metal apologist, Clash Magazine would eventually invite Emily to join their Editorial team in 2022. In the following year, she would pen her first piece for Metal Hammer – unfortunately for the team, Emily has since become a regular fixture. When she’s not blasting metal for Hammer, she also scribbles for Rock Sound, Why Now and Guitar and more.
Over their career, The J. Geils Band released 11 studio albums, including standout records like Love Stinks (1980) and Freeze-Frame (1981), which both achieved critical acclaim and commercial success. Their 1981 album Freeze-Frame topped the Billboard 200 chart, driven by the success of the single “Centerfold,” which became a number-one hit. The band’s fusion of blues-based rock and high-energy pop propelled them to the forefront of American rock music during this era.
The J. Geils Band disbanded in 1985 but reunited periodically over the years, performing until 2015. The passing of J. Geils in 2017 marked the end of an era, but the band’s legacy as one of the most electrifying live acts in rock history endures. Their contributions to blues-rock and mainstream rock remain celebrated by fans and critics alike.
Seth Justman
Seth Justman joined The J. Geils Band in 1968 as the group’s keyboardist, bringing a versatile range of skills that helped define their sound. His organ and synthesizer work became a key feature on albums like Bloodshot (1973), which included the hit “Give It to Me,” and Love Stinks (1980). Justman’s ability to adapt his playing style to fit the evolving sound of the band ensured his role as a central figure throughout their career.
In addition to his keyboard work, Justman took on a significant role in songwriting and production. He co-wrote many of the band’s biggest hits, including “Centerfold” and “Freeze-Frame,” both of which showcased his talent for creating infectious hooks. After Peter Wolf left the band in 1983, Justman assumed lead vocal duties for the albums You’re Gettin’ Even While I’m Gettin’ Odd (1984). Outside of the band, Justman worked as a producer and continued to contribute to the music industry behind the scenes.
Danny Klein
Danny Klein, known as “The Ace on Bass,” has been a constant presence in The J. Geils Band since its inception in 1968. Klein’s steady and dynamic basslines provided the foundation for the group’s music, from their early blues-infused albums to their later pop-rock hits. His work is especially notable on tracks like “Must of Got Lost” and “Looking for a Love,” where his rhythmic sensibility helped drive the band’s energetic sound.
Klein remained with the band until their initial breakup in 1985 and participated in several reunions. Outside of The J. Geils Band, Klein pursued various musical projects, including leading his own blues-rock outfit, Danny Klein’s Full House, which pays tribute to the legacy of The J. Geils Band by performing their classic material. His enduring connection to the band’s music has kept their spirit alive for fans worldwide.
Magic Dick
Magic Dick, born Richard Salwitz, brought a distinctive flair to The J. Geils Band with his harmonica skills, which became a hallmark of their sound. Joining the band in 1968, his contributions were pivotal on tracks like “Whammer Jammer” and “Hard Drivin’ Man,” where his harmonica solos showcased a blend of technical skill and raw energy. His ability to fuse blues traditions with rock sensibilities helped set the band apart.
Beyond his work with The J. Geils Band, Magic Dick collaborated with other artists and explored jazz and blues through his duo with guitarist Shun Ng. His innovative approach to the harmonica has earned him recognition as one of the instrument’s most skilled practitioners in rock music. His legacy as a member of The J. Geils Band remains a defining aspect of his career.
J. Geils
J. Geils, born John Warren Geils Jr., was the guitarist and namesake of The J. Geils Band. As the group’s founder, his blues-inspired guitar playing was the backbone of their music. Geils’ mastery of both rhythm and lead guitar is evident on albums like Bloodshot and Nightmares…and Other Tales from the Vinyl Jungle (1974). His ability to seamlessly blend blues, rock, and R&B elements created the sonic foundation for the band’s diverse catalog.
Following the band’s breakup in 1985, Geils pursued various musical endeavors, including forming his own jazz-influenced group, Bluestime. He also delved into auto racing and restoration, showcasing his interests beyond music. Geils passed away in 2017, but his contributions to rock and blues remain celebrated by fans and musicians alike.
Stephen Jo Bladd
Stephen Jo Bladd, the drummer for The J. Geils Band, joined the group in 1968 and stayed with them through their initial run until 1985. Bladd’s drumming provided the driving force behind the band’s high-energy performances and recordings. His backing vocals and occasional lead vocal contributions added another layer to their dynamic sound. Tracks like “Southside Shuffle” highlight his rhythmic precision and ability to anchor the group’s diverse styles.
Bladd stepped away from music after the band’s breakup and largely avoided the public spotlight. However, his contributions during the band’s peak years remain an essential part of their legacy. His role as the rhythmic backbone of The J. Geils Band is still remembered as a key component of their success.
Peter Wolf
Peter Wolf, born Peter Blankfield, was the charismatic frontman of The J. Geils Band, known for his electrifying stage presence and dynamic vocals. Joining the band in 1968, Wolf’s performances and storytelling ability became a signature of their live shows. His voice drove many of their most memorable hits, including “Centerfold” and “Love Stinks.” Wolf’s collaboration with Seth Justman on songwriting played a crucial role in shaping the band’s biggest commercial successes.
After leaving the band in 1983, Wolf embarked on a successful solo career, releasing albums such as Lights Out (1984) and Midnight Souvenirs (2010). His solo work blended rock, blues, and soul influences, earning him critical acclaim and maintaining his status as a respected figure in the music industry. Wolf continued to reunite with The J. Geils Band for performances, ensuring that their music endured for generations of fans.
Check out more J. Geils Band articles on ClassicRockHistory.com Just click on any of the links below……
Infected Rain have shared multi-cam live video of their entire March 8, 2024 show at Barba Negra in Budapest, Hungary. Check it out below.
Setlist:
“The Realm of Chaos” “Pandemonium” “Vivarium” “Fighter” “Dying Light” “Never To Returbn” “Because I Let You” “Sweet, Sweet Lies”
Infected Rain released their sixth modern progressive metal opus, Time, in February 2024 via Napalm Records.
Tracklisting:
“Because I Let You” “Dying Light” “Never To Return” “Lighthouse” “The Answer Is You” “Vivarium” “Pandemonium” “Enmity” “Unpredictable” “Game Of Blame” “Paura” “A Second Or A Thousand Years”
Guitar Meets Science has shared a new video focusing on Slayer’s classic album, Seasons In The Abyss:
“This week, we dive deep into the recording of Slayer’s iconic 1990 album, Seasons In The Abyss. From the intense writing sessions to the creative clashes with producer Rick Rubin, we uncover the stories behind this brutal and influential record. We’ll explore the band’s mindset after the departure of drummer Dave Lombardo (and subsequent return), the evolution of their sound, and the lasting impact of Seasons on the metal world. We will also cover the drama of the recording and touch on some of the band dynamic as they went into recording.”
Fallen Angel has announced the February 21 release of a new Slayer 6CD box set, Blood Spills – Live On Air. Available for pre-order at the Plastic Head Megastore (also listed at Amazon), a description of the set follows:
Superb 6CD set from one of the most influential Metal bands of all time!
Formed in 1981 by guitarists Kerry King and Jeff Hanneman, drummer Dave Lombardo, and bassist and vocalist Tom Araya, Slayer’s fast and aggressive musical style made them one of the “big four” bands of thrash metal, alongside Metallica, Megadeth, and Anthrax. Slayer reached a huge audience and has sold more than 5 million albums in the USA alone. The band has received five Grammy Award nominations, winning one in 2007. This superb 6CD set contains live performances from Slayer recorded at various times during their 40-year career, all of which were recorded for live radio broadcast ensuring excellent sound quality throughout.
Features the tracks “Angel Of Death”, “Raining Blood”, “Seasons In The Abyss”, “Disciple”, “War Ensemble”, “Mandatory Suicide”, “Hell Awaits”, “Chemical Warfare”, “Die By The Sword” and many more.
Tracklisting:
Disc 1: “Bitter Peace” “Deaths Head” “War Ensemble” “Evil Has No Boundaries” “Hell Awaits” “Born Of Fire” “Stain Of Mind” “Postmortem” “Raining Blood” “Dittohead” “Die By The Sword”
Disc 2: “In The Name Of God” “Criminally Insane” “Chemical Warfare” “Dead Skin Mask” “Seasons In The Abyss” “Mandatory Suicide” “Angel Of Death” “South Of Heaven”
Disc 3: “Repentless” “Disciple” “Postmortem” “Hate Worldwide” “War Ensemble” “When The Stillness Comes” “Mandatory Suicide” “Fight Till Death” “Dead Skin Mask” “Seasons In The Abyss” “Hell Awaits” “South Of Heaven” “Raining Blood” “Black Magic”
Disc 4: “Chemical Warfare” “Angel Of Death” “Die By The Sword” “Praise Of Death” “Necrophiliac” “Necrophobic” “Captor Of Sin” “Black Magic” “Reborn” “Postmortem” “Epidemic” “Hell Awaits”
Disc 5: “Raining Blood” / “Killing Fields” “War Ensemble” “At Dawn They Sleep” “Spirit In Black” “Die By The Sword” “Divine Intervention” “Dittohead” “Captor Of Sin” “South Of Heaven” “Sex Murder Art”
Disc 6: “Dead Skin Mask” “Seasons In The Abyss” “Mind Control” “Mandatory Suicide” “Angel Of Death” “Hell Awaits” “Chemical Warfare” “213”
Speaking with Gibson Gear Guide, blues guitar legend, Joe Bonamassa shows you how to dial in an amplifier, and what he listens to when he wants to hit that ‘little hump’ that is the sweet spot on your amp. Check out the clip below.
In a recent edition of My Weekly Mixtape, Bonamassa dove into the stories behind the songs from throughout his entire discography. He also discusses his collection of over 650 vintage guitars, his approach to cover-songs such as “Sloe Gin” (originally written by Bob Ezrin & recorded by actor & singer Tim Curry) and “Prisoner” (originally recorded by Barbara Stresiand); his latest release Live At The Hollywood Bowl w/ Orchestra, his release of “Better The Devil You Know” (a song he co-wrote with Journey’s Jonathan Cain) to celebrate the 10 year anniversary of his Different Shades Of Blue album, and more.
On His Next Studio Album
Bonamassa: “The world doesn’t need another Joe Bonamassa record right away. So we got the Hollywood Bowl. We had Blues Deluxe last year. We’ll put out some singles this year, or maybe next year, and then we’ll just see. I mean, I don’t know how many albums I have left.
I mean, it’s like how many… I’m not even sure if the album format is going to be relevant in 10 years, it’s like, who’s making CDs? Who has a CD player? I’m on a tour bus… a music tour bus. There’s no CD player in here. You don’t even have them in the new cars, so the concept of a 12 song, 59 min record, I’m seeing it become less and less relevant. I think we’re back to A and B-side singles, because even the general notion, when you’re dealing with a streaming kind of business, you’re releasing 10 of the 11 songs anyway, before the album comes out to keep the algorithm or whatever the Spotify thing is. And so you’re basically just churning out singles. And then the 12th song or the 11th song is your… that is a full length album. But like, who cares at that point? They’ve heard most of it. And you’re gonna dump the junk at the end. And you’re gonna put the good songs first, I mean that’s just how it’s gonna work. So I don’t know. I don’t know when the next one is.”
On Retiring From Music
Bonamassa: “I don’t have many years left in this thing. I’d like maybe a decade before I just retire. I’ve done this 36 years. We’re taking this thing up to, maybe a 45 year career, and that’s great enough. You know, let me go enjoy my life and not work every single day. And everybody goes ‘No, you’re still a young man. You can go for another 35, 40 years.’ That’s not me. That is not gonna happen. There’s only so many pitches in this arm and use them wisely from here on out.”
Check out the interview below or via Spotify here.
Venamoris, the heavy, brooding noir outfit who blend darkwave and metal, featuring Paula and Dave Lombardo, release their sophomore album, To Cross Or To Burn, on February 28 via Ipecac Recordings.
Alongside the album announcement, Venamoris unveil “Animal Magnetism,” a striking cover of Scorpions’ 1980 love song. The haunting rendition features a guest appearance from Dave’s former bandmate, Gary Holt (Exodus, Slayer). The song is accompanied by a Displaced/Replaced created video. Watch below.
Dave reflects on the personal significance of including “Animal Magnetism” on To Cross Or To Burn: “The first rock concert I ever attended was on May 25, 1980, with Scorpions opening for Ted Nugent’s ‘Scream Dream’ tour. We (Slayer) had covered a couple Scorpions songs in the early years but I never would have thought of re-imagining one of their songs at that time. Now it seems like the most natural thing to do. I could hear Paula’s sultry voice, the song taking on a slightly industrial feel… and I could fully hear Gary Holt play this insane lead. It’s been incredible to see this idea come to life. To release this at the same time this iconic band celebrates 60 years is a perfect way for me to thank them for an inspiring first show in 1980 and for all that they have contributed since.”
The married duo teased To Cross Or To Burn’s 2025 arrival with the 2024 singles “In The Shadows” and “Spiderweb,” which were praised for their unique sound.
Paula, who wrote the album’s nine-original songs, offers insight into the album: “To Cross Or To Burn has taken us down a darker, very different path than our first album. There’s a confidence in this body of work. An overall vibe of heaviness that was unexpected. Verses of hard truths now bound in acceptance. The soul-searching continues.”
To Cross Or To Burn is available for pre-order now with the collection available digitally, on CD and on both white and limited-edition red vinyl. Pre-order here.
To Cross Or To Burn tracklisting:
“Stay With Me” “In The Shadows” “Truth” “Stain Of Pain” “Spiderweb” “Burnt Paper” “Holding On To Nothing” “Animal Magnetism” “Numb” “To Cross Or To Burn”
“Animal Magnetism” video:
“Spiderweb” video:
“In The Shadows” video:
Guests include:
Ra Diaz – bass on “Stain of Pain” Trevor Dunn – contrabass on “Stay With Me” Gary Holt – guitar on “Animal Magnetism” Alex Skolnick – guitar on “Stain Of Pain” and “Burnt Paper”
The indefatigable Dave Lombardo’s bona fides as a world-class drummer are well-known. While he drafted the blueprint that would define thrash-metal drumming, he’s also applied his finesse to solo percussion (2023’s Rites Of Percussion), hip hop and classical music, as well as boundary-pushing recordings and performances with everyone from John Zorn’s ensembles to punk icons Misfits and Mr. Bungle. To Cross Or To Burn is another milestone in his storied career, where he’s added guitar, bass and considerable production techniques to his sonic skill-set.
Canadian-born Paula Lombardo began her musical career at 18 as a backing singer for Las Vegas icon Wayne Newton, performing multiple shows in the demanding Vegas circuit before relocating to Nashville to further her musical career. A dynamic musical force, she combines impressive vocal prowess, a deftness on piano and synthesizers with a natural instinct for crafting alluring lyrics, melodies and arrangements.
2024 is done! But, with the dust still settling and the world not yet fully awake and into 2025, we figured we’d offer some final look backs at the year that was to crown the best releases according to you – our fine readers.
In December we asked you to vote on the very best metal records of 2024, offering a wide selection from across the year covering just about metal subgenre from goth to metalcore, death metal to thrash. We already revealed that death metal cosmonauts Blood Incantation had taken the Hammer critics’ poll crown, but who did you choose? Below you’ll find the 20 best metal albums of 2024, as voted by the readers of Metal Hammer. Here’s to 2025 – and another year of fantastic new music!
20. Orange Goblin – Science, Not Fiction (Peaceville)
With a six year gap between albums and some significant anniversaries celebrated in the time between, its perhaps unsurprising that OG were in a more reflective state lyrically on Science, Not Fiction than their usual horror and pulp sci-fi fare. Vocalist Ben Ward stating outright on opening track The Fire At The Centre Of The Earth Is Mine, “I will not apologise for the bastards I’ve been“.
This newfound reflectiveness had no major impact on their wider sound however; Goblin still riff like a motherfucker and continue to produce some of the finest stoner metal on the British isles. Science… is testament to this, the likes of (Not) Rocket Science and Cemetery Rats among the finest tunes they’ve ever put out.
19. Zeal & Ardor – GREIF (Redacted)
It’s testament to the creative genius of Manuel Gagneux that even after devising one of the most fascinating stylistic collisions in heavy music – delta blues and black metal, if you somehow missed the band’s stellar early releases – the Swiss artist is still pushing out the boat with Zeal & Ardor.
After rediscovering his, erm, Zeal for the project on 2022 self-titled, GREIF found Manuel back at the drawing board, devising entirely new directions for the group to go. The blues elements are still there – albeit more finessed than on the group’s first two records – and the black metal still hooks like barbs into flesh, but there’s added industrial grime and even desert rock spaciness that opened up new possibilities for the project going forwards. Considering they’re headlining London’s Desertfest this year, it’s safe to say those desert rock elements are here to stay – for now, at least.
18. Leprous – Melodies Of Atonement (InsideOutMusic)
Over the past 15 years, Leprous have risen to become a truly formidable force in prog metal. The sometime backing band for black metal icon – and fellow prog explorer – Ihsahn, Einar Solberg’s group have only grown more confident and impressive on each new release, marrying a sense of technicality with undeniable hooks that throws back to prog’s flirtation with pop sensibilities that turned the likes of Pink Floyd and Genesis into arena-filling bands.
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Little surprise then that Melodies Of Atonement continues that trajectory, Leprous turning out some of the catchiest, most infectiously brilliant tunes of their career in a sleek, strutting package. That they’ve done this while also rediscovering their riffier, harder edges is nothing short of a marvel, the added bite to tracks like Atonment and Like A Sunken Ship reminding everyone that this is a band with serious range and the chops to seriously bother the mainstream.
17. Wheel – Charismatic Leaders (InsideOutMusic)
By frontman James Lascelles’ own admission, Wheel could “release a hang-drum odyssey with seagull noises and somebody would still say it sounds like Tool”. Such is the Anglo-Finnish band’s lot, but glib comparisons to one of prog metal’s most maverick forces aside, there’s an undeniable sense of innovative spirit and creativity that has made them rising stars of contemporary prog metal.
On their third album, Wheel kicked things up a gear, opening track Empire tapping into an urgency and forcefulness that had been seldom seen in their catalogue up to that point. Blended in with their usual meditative melodies and cosmic sonic leanings, it made for an impressively vital and energetic showing of what the band are capable of.
16. Alcest – Les Chants de l’Aurore (Nuclear Blast)
20 years ago, Alcest got the jump on just about everybody when they released Le Secret, their debut EP fusing the dream-like melodies of shoegaze with the frosty fury of black metal. 19 years and seven studio albums later, the French post-black metallers remain masters of the form, their latest outing continuing to refine the subgenre even as it becomes increasingly populated.
Les Chants de l’Aurore is a gorgeous showcase of the style Alcest helped create, seamlessly blending emotional, sublime tones with explosions of blackened fury and force that can still be felt in everyone from Svalbard to MØL.
15. Devin Townsend – PowerNerd (InsideOutMusic)
Mixing the profound with the absurd, Devin Townsend proved to be just as unhinged and brilliant as ever on PowerNerd. 22 (solo) studio albums in, his maximalist tendencies were on full display with forceful riffs and surprisingly catchy tunes in the likes of the title track, Knuckledragger and Gratitude.
There’s characteristic weird and wacky tendencies from Hevy Devy too; from the cat miaow on PowerNerd to a song dedicated to coffee (Ruby Quaker) that goes from folky acoustic ditty to full country thumper with piano and even a blast-beat. Pure Devin, pure brilliance.
14. Saxon – Hell, Fire And Damnation (Silver Lining)
With 24 studio albums, its a safe bet Saxon know what they’re doing. The NOWBHM heroes have stayed the path throughout their near-five-decade career, producing fist-pumping classic metal anthems on each new album to remind fans they’re one of the bands that helped define the genre in the first place.
No surprise that Hell, Fire And Damnation is more of the same then, triumphant old school metal with lyrics touching on everything from the Norman invasion of England to Roswell conspiracy theories, the French Revolution and 60s pirate radio, all tackled with gleeful enthusiasm that’d make you forget they’ve been at this for 50 years, in one form or another.
13. Kerry King – From Hell I Rise (Reigning Phoenix)
It didn’t take long after Slayer announced their planned retirement in 2018 for guitarist Kerry King to clarify that he was still very much planning to forge ahead. Although it took six years to materialise, Kerry king’s solo debut proved well worth the wait.
From Hell I Rise saw King team back up with long-time drummer Paul Bostaph to produce some top-tier thrash metal. With Death Angel’s Mark Osegueda on vocals, former Hellyeah player Kyle Sanders on bass and ex-Machine Head man Phil Demmel adding extra guitars, King had an all-star line-up to achieve his vision of continuing the journey he started over 40 years ago, producing some of his finest material this side of the millennium in the process.
12. Knocked Loose – You Won’t Go Before You’re Supposed To (Pure Noise)
Knocked Loose may just be the breakout success story of 2024. Already a beloved rising force in metalcore, You Won’t Go Before You’re Supposed To firmly booted down the doors of the mainstream without sacrificing any of the heft and frenzied energy that made the band so beloved in the first place.
A caterwauling, careening whirlwind of destructive force, the album nonetheless managed to reach number 23 on the Billboard 200, while an incendiary performance of Suffocate with Poppy on Jimmy Kimmel live saw them breach late-night TV – and earn a few complaints from concerned parents.
11. Poppy – Negative Spaces (Sumerian)
From hyperpop maverick to ascendant metal star, 2024 was a big year for Poppy. With some production assistance from ex-Bring Me The Horizon keyboardist Jordan Fish, Poppy’s sixth full-length embracing the metal flirtations she’d hinted at in the past, with spectacular results.
From the electro-infused metalcore thrum of opener Have You Had Enough? to the all-out hammering of They’re All Around Us, Poppy showed off the sheer diversity of her craft across the album, mixing heaviness and radio-friendly sensibilities with a canniness that felt like a perfect throwback to the nu metal era where even the heaviest band could produce an all-conquering hit.
10. Bruce Dickinson – The Mandrake Project (BMG)
Being the frontman of Iron Maiden is busy business. That goes some way to explain why there was an almost 20 year gap between Bruce Dickinson solo albums, but when The Mandrake Project arrived, it proved well worth the wait.
A sprawling heavy metal opera with tie-in comics to flesh out its story, Dickinson was firing on all cylinders as he returned to the darker sonic realms of his solo output. This being Bruce Dickinson, some of the Maiden-isms certainly persisted – not least in Eternity Has Failed which was written for this album and cribbed by Maiden into the excellent If Eternity Should Fail on 2015’s Book Of Souls – with galloping riffs and huge, near-operatic vocals, but there was no denying Dickinson still had plenty of ambition to burn as he spread his wings away from Maiden once again.
Although not afforded the same chart success as its predecessor Rise Radiant, the sixth album fromCaligula’s Horse showed the Aussies were still a rising force to be reckoned with.
Gorgeous, intricate melodies were tightly woven into prog metal epics, a four-movement title-track just skimming the surface of their colossal ambition. Vocalist Jim Grey stands out as the MVP, his powerful pipes building on already emotionally-layered compositions to single him out as one of the best singers in contemporary prog metal.
8. Nightwish – Yesterwynde (Nuclear Blast)
Symphonic metal titans Nightwish certainly haven’t lacked for ambition on their recent releases. But if the likes of Human. :II: Nature. perhaps sacrificed some of their immediacy and songwriting craft in favour of weighty concepts and ideas, Yesterwynde was a glorious reminder that this band have fought their way to become an apex force within their field.
While they might not beNiaghtwishthe album, Yesterwynde nonetheless soars with the enormity and all-consuming ubiquity of a band that can pack out arenas and headline festivals around the world. From the theatrical grandeur of An Ocean Of Strange Islands to the elegance of Perfume Of The Timeless and anthemic thunder of Spider Silk, Yesterwynde seemed to bring the very best out of the Finns.
7. Bring Me The Horizon – Post Human: Nex Gen (Sony)
It’s been a long road for the second installment in Bring Me The Horizon‘s Post Human series. After 2020’s Survival Horror, the group maintained momentum with a steady stream of singles and festival headline appearances – including headlining Download Festival for the first time – but delays owed to self-admitted quality control issues meant it took four years for Nex Gen to emerge.
Consider this album the fruits of thier labours, then. Nex Gen is a release befitting one of the most impactful and trend-setting forces in the modern metalcore/alt-metal sphere, blending radio-friendly sensibilities and massive choruses with a genuine sense of experimentation and stylistic magpie-ing that sees them incorporate everything from electronica and hyperpop into a record that sounds truly ahead of just about everyone else in the game.
If extreme metal at its very best is an excercise in boundary pushing and trangressive innovation, then Blood Incantation’s fourth full-length was the genre’s promise fulfilled.
The Colorado death metallers had already proven themselves as a rising force with their three previous releases – even up-ending their sound entirely on the synth-driven ambient stylings of 2022’s Timewave Zero – but Absolute Elsewhere kicked things clean out into space, embracing everything from krautrock and psychedelia to 70s prog to craft something truly spectacular, even nabbing top spot on Hammer‘s Critics’ Poll.
5. Amaranthe – The Catalyst (Nuclear Blast)
Amaranthe have never particularly cared for being boxed into any one subgenre. With each album offering new stylistic leaps, its little surprise that The Catalyst continued that adventurous spirit, the Swedes striking a balance between the technical mindset and hefty chugs of djent and impossibly catchy songcraft.
The result was somehow both one of their heaviest yet catchiest releases to date, each track crammed with massive floor-filler moments that lent a sense of infectious energy throughout. From the bouncing Insatiable to the almost symphonic grandeur of Damnation Flame all the way out to big ballad Stay A Little While, Amaranthe’s seventh was a magnificent showcase of why Amaranthe are a fast rising force in European metal.
4. Linkin Park – From Zero (Warner)
2024 was a big year for surprise comebacks, from Oasis to Slayer. But in the metal world, nothing had a bigger impact – or was more widely debated – than the return of nu metal giants Linkin Park. With new vocalist Emily Armstrong and drummer Colin Brittain, LP returned to their roots to recapture some of the magic of their 2000s output and while there were outspoken naysayers, there was an undeniable joy in seeing the band back at full force.
From Zero is the sound of a band reigniting the sparks that united them in the first place, the record packed with callbacks to their past whilst producing infectious new earworms that helped propel the record to the top of international charts including the UK, Australia, Canada and Germany, even nabbing the band a number 2 spot on the Billboard 200.
Propelled to international fame – and top of the charts in their home nation of Finland – after their 2021 Eurovision entry Dark Side, Blind Channel found the pressure mounting when it came to writing a follow-up to 2022’s Lifestyles Of The Sick & Dangerous.
Thankfully, that pressure seems to have manifested in a record even more immediate and propulsive. Exit Emotions is still very much rooted in thedel band’s nu metal revivalist roots, but also honed their songwriting craft to include even more massive anthems that could get crowds roaring and bouncing along, honing their pop sensibilities to live up their self-affixed title as “the Backstreet Boys of metal”. With the band now set to take a break to recharge, Exit Emotions feels like a perfect break point to delight old fans and usher in new listeners alike.
2. Judas Priest – Invincible Shield (Sony)
As one of the bands that helped define heavy metal culture and iconography in the first place, perhaps it shouldn’t be surprising that Judas Priest are also a shining beacon for legacy acts still producing top-tier material. Half a century on from their debut, Invincible Shield arrived with a sense of indomitable triumph, even more so given the passing of former members and near-death experience of guitarist Richie Faulkner in 2022.
Invincible Shield wasn’t just another brilliant Priest album – continuing the excellent form of 2018’s Firepower – but a reminder that trad metal need not feel tired or cliche, the band producing world-class, fist-pumping anthems that feel every bit as powerful and hefty as the likes of Painkiller, Judas Rising or Hell Bent For Leather.
1. Opeth – The Last Will And Testament (Reigning Phoenix)
With lead single §1, Opeth set the internet ablaze as Mikael Åkerfeldt deployed his imperious death metal growls for the first time since 2008’s Watershed. But while that excited fans who’d long clamoured for the return of extremity, it wasn’t even close to the best thing about the Swedes’ fourteenth studio album.
A decade-plus of headlining some of metal’s biggest festivals – not to mention the world’s most illustrious venues – has made Opeth feel like a genuine institution and The Last Will And Testament felt like the band proving they could still strive for new shores and take risks. The prog-heavy instrumentation of their most recent records is still front and centre, buoyed by some genuinely sublime production flourishes and symphonic underpinnings that added to their natural ambition and songcraft in truly phenomenal ways.
Guest appearances from Jethro Tull’s Ian Anderson and Europe’s Joey Tempest added to the record’s star quality, while Opeth flexed their lyrical craft across a narrative with more than a few twists and turns. If Blood Incantation are a barometer of how extreme metal continues to innovate, Opeth reminding everyone that they were the band that set the standard some 20 years ago and remain masters of the craft even as they largely departed the realms of extremity.
When at the end of 2023 Jane’s Addiction announced a UK and European headline tour featuring the band’s original members, frontman Perry Farrell looked forward to the run of dates in his usual charismatic, ringleader-ish style. “It has been far too long, my Jane’s Addiction family,” he said. “We can’t wait to see your faces again… Togetherness – roll on 2024!”
The problem with families is that some really don’t get on. For Farrell, guitarist Dave Navarro, bassist Eric Avery and drummer Stephen Perkins, their much-anticipated reunion (14 years since they’d last been on stage together) turned into a world of fighting, sniping and emotional tug-of-wars with a central character who thought everyone else was plotting against them. Togetherness? Not so much.
Footage from their show at the Leader Bank Pavilion in Boston, Massachusetts, on Friday September 13, where Farrell bodychecked Navarro and then attempted to throw a punch at the guitarist, made for some of the most shocking rock viewing of the year, immediately went viral, and put a question mark over the future of one of the most influential bands of their era.
Jane’s Addiction Boston 9-13-2024 Perry Farrell Flips Out – YouTube
Look back on Jane’s Addiction’s tumultuous 2024 now, though, and you wonder if it could have been any other way. From the off, Jane’s were a band whose explosive alchemy was built on tension, the very sound they made – a mix of glammy swagger alongside riffs that pinballed from metal to funk to hard rock – born from the fact they were each coming at it from a different angle. It had started so well.
Their comeback show at London’s intimate Bush Hall in May crackled with the exhilarating energy of their early days, even if fans couldn’t help but notice Farrell’s vocal delivery was a little on the thin side. But that felt like a minor gripe in the face of the euphoric vibes in the room. It was the first gig back, people assumed, and he’s easing himself in.
They soon had the wind in the sails, receiving rave reviews for a slot at Bearded Theory festival, and more headline performances across the UK and Europe. By the end of that jaunt they were enthused enough by the experience to unveil the first new song by the original quartet in more than three decades. Introducing Imminent Redemption, the band said: “Welcome to the next chapter of Jane’s Addiction. Imminent Redemption is only the beginning.”
It was the beginning of something, alright – but it was of the end. The friction was starting to show. In one interview, Farrell revealed that they had recorded two new songs, but had also started arguing again. In another, more telling line, this time talking to Esquire, he outlined a current pet peeve of his. “Some of these musicians, they don’t care,” he said. “They’ll play loud. And if they think that the crowd loves you, they’ll play even louder.”
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It’s hard not to assume Farrell was referring to his JA bandmates – one purported reason for his meltdown in Boston is that he constantly felt they were drowning out his vocals. Unfortunately, the problems that led to the complete breakdown of Jane’s Addiction probably couldn’t have been solved by turning down an amp a teeny bit. From the off, the US leg of the tour was troubled. It began in Las Vegas on August 9, but almost didn’t begin at all.
In a revealing podcast interview with Rare Form Radio, the band’s bass and guitar tech Dan Cleary said Farrell had quit the band backstage over a row about visuals and on-stage dancers (Farrell apparently wanted some razzle-dazzle, the rest of the group wanted to keep it music only). The singer was persuaded to stay, but the cracks were showing.
The shows continued, some good, some bad, some very bad, with Farrell seemingly losing his way during certain songs. Which brings us to that fracas in Boston, which occurred midway through the song Ocean Size, Farrell perturbed that Navarro was playing a solo when he thought he should be singing. In front of a confused audience it was broken up by members of the band and crew, but Farrell went in for afters backstage.
Cleary later shared an audio clip of Farrell saying to his wife Etty that his bandmates were “trying to fuck my show up”, before a scuffle can be heard between guitarist and singer, this time Farrell’s punch connecting. It was a blow that would signal the end of Jane’s Addiction
#313 – Beantown Beatdown: The End of Jane’s Addiction – YouTube
Well, sort of. Amid the various statements flying round in the aftermath – one from the band declaring that the tour could no longer go ahead due to Farrell’s behaviour, one from Farrell apologising, one from Etty raising the issue of the on-stage volume – Jane’s Addiction snuck out a second new single. A contemplative ballad titled True Love, it now looks like being the final word for the original line-up.
But maybe this is the way it was always meant to end for the one, true version of Jane’s Addiction. Their volatility is part of what made them so great. And by god they went out with a bang.
Niall Doherty is a writer and editor whose work can be found in Classic Rock, The Guardian, Music Week, FourFourTwo, on Apple Music and more. Formerly the Deputy Editor of Q magazine, he co-runs the music Substack letter The New Cue with fellow former Q colleagues Ted Kessler and Chris Catchpole. He is also Reviews Editor at Record Collector. Over the years, he’s interviewed some of the world’s biggest stars, including Elton John, Coldplay, Arctic Monkeys, Muse, Pearl Jam, Radiohead, Depeche Mode, Robert Plant and more. Radiohead was only for eight minutes but he still counts it.
“A lot of bands were bigger than us, but few can claim to have such a diverse catalogue of music… I know it’s all been worthwhile”: Gryphon’s Dave Oberlé looks back
(Image credit: Press/Julian Bajaert)
As a founder member of Gryphon, percussionist and vocalist Dave Oberlé was responsible for helping to bring quirkiness and curiosity to the band’s musical output. Inspired by medieval and renaissance music, jazz, rock and folk, he’s remained a constant within the band alongside Brian Gulland. He’s also guested on albums by Steve Howe, Wire and Gandalf’s Fist. In 2020 he looked back on a life that even led to him working on a metal magazine.
Dave Oberlé is mostly known for being one of the founder members of Gryphon, who were among the truly individual bands on the progressive scene in the 70s. Formed in early 1972, they released five studio albums before splitting up in 1977. While they never enjoyed major commercial success, Gryphon’s unique, quirky musical affectations were well received. They also toured incessantly, including the US with Yes in ’74.
The percussionist/vocalist has been part of the reactivated band since their reunion in 2015, during which time they’ve issued two more albums – 2018’s ReInvention and the recent Get Out Of My Father’s Car! And they continue to attract new fans.
Away from Gryphon, Oberlé contributed to the debut album from Wire, 1977’s Pink Flag, adding backing vocals on the track Mannequin. And he was also one of the guest vocalists on 2014 Gandalf’s Fist album A Forest Of Fey. Two years later, the band invited him back to sing on Pastor Simon from the album The Clockwork Fable.
Apart from his musical activities, Oberlé was the first advertising manager of Kerrang! Magazine, playing a key role in establishing it as the premier heavy metal publication in the 1980s. He was also, until recently, one of the directors of Small Blue, a computer software company.
Do you come from a musical family at all? Well, my mother played the piano, and that had an influence on me. I recall standing next to her as she played both classical and contemporary stuff.
What was the first instrument you played? When I was four or five years old, I found a pair of meat skewers in a wooden box and started to use them as makeshift drumsticks. From there I was hooked on the idea of being a drummer.
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What appealed to you about becoming a percussionist? You mean apart from the joy of hitting things? I had a good sense of rhythm, which I probably inherited from my mother, and from there I got into how musical sounds were constructed.
Did you have any lessons? None at all. I’m completely self-taught. When I was nine my parents bought me a snare, and that was my first proper drum. I recall there were always lots of complaints from Mum and Dad about how loudly I was hitting that snare. Most kids were asked to turn down the stereo or the radio. I was told to dampen the sound of the drum!
When I joined Gryphon I didn’t even know I could sing
Who are your vocal heroes? I never really had any. To be honest, when I joined Gryphon I didn’t even know I could sing. I mean, I knew I could carry a tune, but I’d never tried it in public before. Brian Gulland was a trained chorister and had perfect pitch, so he seemed the obvious choice as the band’s vocalist. However, it turned out that I had a decent voice, and that’s why I ended up doing most of the vocals on our first, self-titled album [1973].
What was your first band? I was in quite a few at school. One of them was with Philip Nestor, Gryphon’s original bassist. I was 13 or 14 at the time and we didn’t even have a name. I suppose the first proper band I had were called Juggernaut. That was with a bloke called Ray Rhoades; we played heavy rock with progressive moments. We were together in 1968, so just a couple of years before Gryphon started.
How did Gryphon get together? Brian Gulland and Richard Harvey [mandolin, keys, recorder] were studying at the Royal College Of Music in London. They had an interest in folk, medieval and renaissance music, which is what inspired them to form the band. Graeme Taylor joined them two or three months later, and they got me involved a short time after that.
You had an unusual sound. How was it developed? We had no plan – it just happened. You could do that sort of thing in the early 70s. The world was our oyster. We began as a folk band, playing all the usual bars and venues on that circuit. The Gryphon album was mostly made up of folk songs and medieval dances. Juniper Suite was the sole original band composition. That set us off on the path we took.
Do you feel your albums in the 70s captured what the band were about? The wonderful thing about this band was that we never recorded an album that sounded like its predecessor. So Midnight Mushrumps [1974] didn’t sound like the debut, and Red Queen To Gryphon Three [also 1974] was nothing like the first two. We set out to make every album totally different to what had come before. There was no formula involved.
I believe that was part of our appeal: the ability to make our records self-contained, as it were. Yes, you did run the risk of losing some fans along the way, but you also gained new ones.
You toured the USA with Yes. Was that a career highlight? Absolutely. We went from playing 1,000-to-1,500-capacity venues to performing in the biggest stadia around, before 40,000 fans or more. It was definitely career changing. We were promoting Red Queen To Gryphon Three at the time, and it got a really good reception.
It wasn’t a good period for us… we were under pressure to become more commercial, which wasn’t our style
I think the biggest show on that tour was the Houston Astrodome [on December 2, 1974]. Yes headlined, with the Mahavishnu Orchestra second and us as the openers. But the greatest thrill was doing Madison Square Garden [on November 20]. When we came offstage, there was a neon sign flashing across the venue which said, ‘New York Welcomes Gryphon.’ I recall thinking to myself, ‘We’ve made it!’ We did a lot of dates on that tour in a very short space time, and sometimes it would involve travelling a few hundred miles overnight to the next city. It was exhausting but worthwhile.
Why did Gryphon split up in ’77? To some extent it was down to punk coming along. That was such a game-changer for us. People no longer wanted to see a band all dressed up and with a big light show – all they wanted were four blokes onstage with one light bulb.
But you’d just signed a new deal with the Harvest label… Yes, we left Transatlantic, who had put out our four previous albums, and released Treason for Harvest. But that wasn’t a good period for us. We were managed by Brian Lane, who also represented Yes, and were under a lot of pressure to become more commercial, which wasn’t our style at all.
Mike Thorne was the producer for Treason; not only did he produce the Sex Pistols but also effectively discovered them. We could see there was an imbalance between what we were doing and what the Pistols were up to. It hammered home that our time was up.
Looking back, if we had started two or three years earlier, then the band may possibly have established itself more and been able to ride out the storm the way Yes, Jethro Tull and Genesis all managed. We were just a little too late coming to the party.
You guested on the first Wire album the same year. How did that come about?
Ironically, that was through Mike Thorne. He produced the Pink Flag album and asked me if I’d like to sing on it, and I was happy to.
During the 80s, you were Advertising Manager for Kerrang! – how did you adapt to that change in circumstances?
I’d always been interested in keeping up with what the music press was writing. Having come out of a band, it was a big shock to suddenly have to find a job. I worked for Melody Maker, then Sounds and finally I was involved with the launching of Kerrang!. I’m extremely proud of my role on that magazine. We had fantastic success, even if we were treated by the publishers as some sort of pariahs. They never seemed to appreciate how much money we were making for them. There was another big plus in being employed: it meant I got a regular income. Anyone who has been in a band will know how perilous that existence can be, and you can struggle to make any money.
There was no desire to go back to being a full-time musician… I was enjoying having money in my pocket
When the neo-prog movement sprung up, thanks to bands like Marillion and Pallas, did you start to feel like you wanted to play regularly again?
The arrival of those bands didn’t really have much impact on me. I was playing drums for local acts in pubs ; nothing too serious, but it meant I was keeping my hand in. However, there was no desire from me to go back to being a full-time musician. As I said, I was enjoying having money in my pocket.
Your old Gryphon pal Richard Harvey became a very successful composer for films and TV shows. Did that ever appeal?
Not at all. It’s a lonely existence. You sit in front of a computer composing the music for images you see on the screen, and you’re all alone. The only time you’ll get to hear what you write being performed is when an orchestra play it in the final version of the movie or TV show. Richard works alongside Hans Zimmer a lot these days, and he’s taken to doing live performances to break the monotony of being cooped up composing. That sort of life could never have any appeal for me.
What prompted the one-off Gryphon reunion for a show at Queen Elizabeth Hall, London in 2009?
At the time we had a Gryphon page on the internet; it was our only media outlet. Someone in Portugal set it up for us, and we were amazed to find it had more than 200,000 hits. We had no idea the band were still so popular – for us it was a revelation. So, as there was never the chance to do a farewell gig once we’d decided to call it a day in 1977, it was felt we should get back together and see how it went.
Was it hard work to get back into the Gryphon mindset for the gig?
We’d booked the Queen Elizabeth Hall, and immediately wondered if it was a bad mistake. Would anyone actually buy a ticket to see Gryphon? To our delight we sold out the venue. But we had to work very hard to make sure the band were up to the task.
We brought in Jonathan Davie, who played bass on Treason, and Graham Preskett to help us out: two excellent musicians. And we spent a month rehearsing. It was really like being in boot camp – but it was necessary, because our music is very complex and it had been so long since we last played together. However, it was all worthwhile, because the gig was a massive success. Better than we could ever have expected. And as a result, there were discussions about doing a new album. That seemed to all of us to be a logical move. The enthusiasm we all felt for the band was undeniable and the plan was to take it to the next stage.
Why didn’t it go any further at the time?
The simple answer is that none of us had the time to devote. Richard was doing his musical scores and the other guys also had projects taking up their time. But there were no problems between us at all, and we kept in touch regularly.
This article first appeared in Prog 117 (Image credit: Future)
You had a computer software company, didn’t you?
My partner Sally had the company, really. I was a director, but very much in the background. I never got actively involved. It takes all my ingenuity just to turn on a computer – ha!
We were all suddenly available. As I said, all of us had been talking anyway, so as soon as the opportunity arose we were in complete agreement it should happen.
You’ve also guested on two albums from Gandalf’s Fist. How did that come about?
I was asked by Dean Marsh from the band if I’d do some vocals for them. As it turns out, Dean is a big fan of Gryphon. I like Gandalf’s Fist and the way they operate, so was happy to help them out. It was a fun thing to do. I get on very well with Dean and also Stefan Hepe. They seem to be very self-contained and understand how to make the band financially viable, and in this day and age that’s vital.
Have you had any other offers to guest on albums?
I did guest on Martin Orford’s solo album, The Old Road [2008]. It was nice to be asked alongside others such as John Wetton, John Mitchell and David Longdon. I’m on the title track. It was Martin’s last album before he retired from music. Honestly, he’s a kid compared to me, so I hope he’ll return to action before too long. Look, if I can still do it at my age, then there’s no excuse for him to remain inactive!
I don’t do anything aside from work on Gryphon stuff. It takes up all of my time, because there’s so much to do these days.
Gryphon are now very much a cottage industry, aren’t you?
We are. We’ve formed ourselves into a limited company, and do everything ourselves. In the 70s, bands had managers, labels and booking agents – for better or for worse. The prog world was very different back then, and there was so much money involved. Of course, having all these people working on your behalf meant you could sometimes lose track of where all the money went.
Now we have it all under our own control. We put out albums on our own label. We manage ourselves and book all the gigs. This way we know what’s happening and when. Is it better for the band than the way it was all those years ago? Yes, it is. Why would we need anyone else to look after our affairs? It would have been impractical in the 70s, but the more experience you get being in a band, the more you appreciate having the ability to make your own decisions. There were some terrible choices made on our behalf in the past. Now, we only have ourselves to blame if anything goes wrong.
We’re mainly an instrumental band and that means there are no language barriers
You have a global fanbase. Why do you think you appeal to so many different nationalities?
Because we’re mainly an instrumental band, and that means there are no language barriers. You’re right; we have fans everywhere – that’s something social media has highlighted. Looking at our Facebook page, it’s amazing how far our reach is. It would be wonderful to play in countries we’ve never been. That sort of thing keeps us all fresh. A new challenge.
What would you say is Gryphon’s biggest achievement?
I would have to say the fact we’ve been able to make every album different and individual. A lot of bands were bigger than us, but few can claim to have such a diverse catalogue of music. When I look back at that alone, I know it’s all been worthwhile. I may not have a mansion or a yacht, but in Gryphon we’ve always been truly creative.
Malcolm Dome had an illustrious and celebrated career which stretched back to working for Record Mirror magazine in the late 70s and Metal Fury in the early 80s before joining Kerrang! at its launch in 1981. His first book, Encyclopedia Metallica, published in 1981, may have been the inspiration for the name of a certain band formed that same year. Dome is also credited with inventing the term “thrash metal” while writing about the Anthrax song Metal Thrashing Mad in 1984. With the launch of Classic Rock magazine in 1998 he became involved with that title, sister magazine Metal Hammer, and was a contributor to Prog magazine since its inception in 2009. He died in 2021.
