Copenhagen’s Phrenelith emerges from the darkness once again with their third and most unholy full-length offering, Ashen Womb. Nine sinister funeral marches, draped in a bleak and blackened atmosphere, provide a lens into the forthcoming end of times.
A droning tone fades in, opening up a slow dirge that eases us into the apocalyptic explosion of death that will follow for the next 40 minutes. Where guitars anxiously scale the fretboard & weave morose melodies while drums pound and smash with the force of the Chicxulub impactor.
Interspersed between the infernal, seismic, blackened stampedes are droning psychedelia & ambient noise interludes, immersing us further into the ever-growing darkness. But there are also moments of overwhelming beauty, like on tracks “Nebulae” and the eponymous “Ashen Womb,” where Phrenelith indulge in the repetition of their sinister melodies, layering Serpentinian guitars atop each other, spinning a web of desolate harmonies around the listener.
With Ashen Womb, Phrenelith gives us the foretold sound of the apocalypse, but whether it’s a warning or a celebration is yet undecided.
Ashen Womb is due for release February 7 via Dark Descent Records / Me Saco Un Ojo Records.
“She was like, ‘This will not be tolerated. I spent years building a profile and you’re not going to throw my hard work away’.” The Libertines’ Pete Doherty reveals how intrusive media attention soured his relationship with supermodel Kate Moss
(Image credit: BG034/Bauer-Griffin/GC Images)
On September 15, 2005, UK tabloid newspaper Daily Mirror published a photo of super model Kate Moss above the headline ‘Cocaine Kate: supermodel Kate Moss snorts line after line.”
The photo, and several more printed on subsequent pages, was allegedly taken in a West London recording studio where her then-boyfriend Pete Doherty’s band Babyshambles were working. The story cost the English model lucrative contracts with Chanel, Burberry & H&M, and, although Doherty had nothing to do with the leaked images, the scandal negatively impacted Moss’ relationship with the former Libertines co-frontman.
“Kate’s big thing was ‘not taking her for a cunt’,” Doherty wrote in his 2022 memoir A Likely Lad.
“Before I was with Kate, I was never in the tabloids,” Doherty says in a new interview with journalist and broadcaster Kirsty Young for her BBC Radio 4 podcast Young Again. “I was head over heels in love and just having a proper knees-up, really. I thought it was a sacrifice worth making. A hit worth taking. She was the opposite. She was like, ‘This will not be tolerated. I spent years building a profile and you’re not going to throw my hard work away.’”
Speaking to Young, Doherty admits that having made the journey from the front page of the NME to the front pages of Britain’s most notorious newspapers, he had no idea how to deal with the ramped-up press interest in his life.
“You can’t really beat these people,” he says. “It’s a bit like a virus. There’s nothing sporting about it. There are no rules to it. It’s just, ‘How can we make this sound as bad as possible and sell more papers?’ I’d be like, ‘I know what I’ll do. I’ll write an amazing song that’s so beautiful… they’ll have to write about it’. But they never did.”
In his memoir, Doherty admitted that his two year relationship with Moss was perhaps always doomed to failure.
“There was not really one specific incident that finished the relationship,” he wrote. “Our worlds were not really compatible in the end. There were all sorts of incidents. She had this panic button by her bed and a panic button in the kitchen. One day, when she was away somewhere and I was scrabbling down by the side of the bed, for a dropped rock probably, I accidentally pressed the panic button and 12 armed police ended up at the cottage in St John’s Wood. She was really unhappy about things like that. It became a running battle, really, that relationship. It was always the same, for all those years: highs and then crushing, violent lows. It was not sustainable.”
These days, Doherty is clean, but he is entirely mindful that his battle with addiction may not yet be won.
“Obviously, you still have to be on your toes, because it’s a funny old thing, addiction,” he admits. “They say that when you get clean, your addict is just in the corner doing press-ups. A really strong tie has severed, but you’re never completely free.”
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A music writer since 1993, formerly Editor of Kerrang! and Planet Rock magazine (RIP), Paul Brannigan is a Contributing Editor to Louder. Having previously written books on Lemmy, Dave Grohl (the Sunday Times best-seller This Is A Call) and Metallica (Birth School Metallica Death, co-authored with Ian Winwood), his Eddie Van Halen biography (Eruption in the UK, Unchained in the US) emerged in 2021. He has written for Rolling Stone, Mojo and Q, hung out with Fugazi at Dischord House, flown on Ozzy Osbourne’s private jet, played Angus Young’s Gibson SG, and interviewed everyone from Aerosmith and Beastie Boys to Young Gods and ZZ Top. Born in the North of Ireland, Brannigan lives in North London and supports The Arsenal.
While the blues had been the essential touchstone of 60s rock, inspiring the major players from the Rolling Stones and Cream to Jimi Hendrix and early Led Zeppelin, it had steadily fallen from grace during the following decade. Prog, punk, disco and heavy metal successively took centre stage, and the rise of the synth signalled the demotion of the guitar.
But deep in the American heartland there was a revolution brewing, which would produce a barrage of new six-string heroes. Leading the charge in 1983 was a 29-year-old Texan who rewrote the blues rules with the power of Jimi Hendrix, the soul of Albert King and a sackful of further influences from Lonnie Mack to Kenny Burrell.
‘Discovered’ by Mick Jagger and Keith Richards in a Dallas club, Stevie Ray Vaughan transformed the genre, becoming a superstar following his 1983 album Texas Flood, the most impressive blues debut since Eric Clapton on John Mayall’s Bluesbreakers back in 1966.
The 80s also saw the blues mutate like never before. While Stevie Ray Vaughan drew in hard rockers and purists alike, Robert Cray took the blues to the masses, with 1986’s Strong Persuader becoming a million-selling success. And let’s not forget ZZ Top’s make-over from rednecks to cheeky, chart-friendly blues rockers.
Meanwhile, having dabbled in jazz fusion with The Yellowjackets, session ace Robben Ford brought a sophistication to the blues when he went back to his roots for his debut solo album. At the other extreme, George Thorogood supercharged a supply of Chuck Berry, Bo Diddley and John Lee Hooker standards with his searing slide-guitar style.
As the dust was settling, a blind Canadian upped the ante with an extraordinary two-handed style. Playing with his guitar on his lap, Jeff Healey saw out the decade with renditions of his heroes, while scoring mainstream success with his songwriting.
The new blues scene prompted John Lee Hooker to reinvent himself as the elder statesman of the blues. With Carlos Santana, Keith Richards and Bonnie Raitt among the stars guesting his album The Healer, the record became a blueprint for a string of celebrity blues collaborations in the following decade.
All that was missing was another British Blues Boom. Apart from the highlights on 1985’s Behind The Sun, Eric Clapton was largely overshadowed by the action on the other side of the Atlantic. At least until his performance at Live Aid sparked his revival and a welcome return to recording form with Journeyman.
Waiting in the wings was the next British Blues God, Gary Moore, preparing to ditch his heavy metal halo as the 90s dawned. But that’ll have to wait.
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Dominic Pedler is a freelance writer, author and musicologist, and the author of The Songwriting Secrets Of The Beatles and God Save The Queen: The World’s Most Collectible Single: The Fall And Rise Of The Sex Pistols’ Infamous Anthem.
On paper, Collins certainly has a case. He’s released eight studio albums, sold more than 150 million records worldwide, won eight Grammys and even has an Academy Award in his trophy case. Despite such achievements, he’s never so much as appeared on a Rock Hall ballot as a solo artist.
“He’s come up in meetings so much,” John Sykes, chairman of the Rock & Roll Hall of Fame, admitted during a recent conversation with Vulture. “What happens to great artists like Phil Collins, and I could name about four or five more, is that the committee will sometimes say, He’s already in with Genesis.’” We have such a backlog of people that need to get in that sometimes great solo artists like Phil can’t get on the ballot because there’s someone who’s not on in any configuration.”
‘No Excuse’ Phil Collins Isn’t in the Rock Hall Twice
While Sykes’ claim carries some weight, it’s not entirely understandable. There are 27 musicians who have been inducted into the Rock & Roll Hall of Fame more than once, a list that includes such vaunted stars as Stevie Nicks, Ozzy Osbourne, Dave Grohl and Eric Clapton (the only three-time inductee). The “they’re already in” argument didn’t stop those rockers, so why has it prohibited Collins?
“I’ll say right now that’s no excuse for not putting Phil Collins in because he’s a great artist,” Sykes admitted, alluding to how competitive nominations are on a yearly basis. “I’m a voter, and I really believe Sting should be in as a solo artist. I’ve nominated him many times, and I’m the chairman. That shows how this isn’t some backroom organization where decisions are made by a couple of people. People vote on these things, and they fight like hell. So I think Phil is deserving.”
145 Artists Not in the Rock and Roll Hall of Fame
Many have shared their thoughts on possible induction.
If you’re reading this on January 1st: Happy New Year! Here’s hoping the next 365 days bring you good health, laughter and growth.
If you’re reading this on any other day of the year, that’s cool too – a new beginning can happen at any point on the calendar. Here’s 10 great rock songs to help you appreciate all that you already have while pursuing new goals and challenges:
The Beatles, “Here Comes the Sun” From: Abbey Road (1969)
Fed up with the conflicts and pressures of being a Beatle, George Harrison played hooky instead of going to one of the band’s business meetings one day in early 1969, and instead wrote this beautiful song about the gifts and opportunities each new morning presents to us.
Peter Gabriel, “Solsbury Hill” From: Peter Gabriel(1977)
Peter Gabriel took a gigantic risk by leaving Genesis in 1975, after helping them become one of the most popular progressive rock bands in the world. He openly sang about the internal fears and outside critiques he faced while making that decision with his debut solo single, “Solsbury Hill,” while also explaining that he could no longer go on as he was before: “I was feeling part of the scenery / I walked right out of the machinery.”
Van Halen‘s third album with Sammy Hagar largely found them putting the keyboard-based pop influences of 5150 and OU812 aside in favor of hard rock guitar riffing and somewhat simpler subject matter. This helped the anthemic, piano-based pep talk “Right Now” stand out all the more on For Unlawful Carnal Knowledge, as the always upbeat Hagar extolled the power of taking control of your own future. An innovative video – which the singer initially fought against – helped “Right Now” become one of the most enduring tracks from this lineup.
Tom Scholz says that the title track for Boston‘s second album came to him almost fully formed – so much so that he didn’t even cut a demo version, instead recording straight to the master tape. Maybe that’s why the song’s lyrics so perfectly illustrate the confidence of a person who has just found the correct path to follow in life.
With a big assist from Yes keyboardist Rick Wakeman, Cat Stevens turned a 40 year old Christian hymn into a smash hit single. The lyrics tout the virtues of starting each day with gratitude. Decades later, upon learning Wakeman was upset about not being paid for the session, Stevens corrected the error, only to have Wakeman donate the sum to Stevens’ school. Good luck finding a sweeter royalty dispute story!
It’s perfectly acceptable to spice up your fresh start with a dash of piss and vinegar, as Chrissie Hynde proves on this flame-throwing kiss-off from the Pretenders‘ second album: “My enemies, my new family, my new friends / My future enemies, I got to flush them out / Pack it all up, nothing goes in storage / I’m burnin’ every bridge / Burn, baby, burn.”
Bill Withers, “Lovely Day” From: Menagerie (1977)
Five years after his amazing “Ain’t No Sunshine,” “Lean on Me” and “Use Me” chart run, R&B singer Bill Withers made another big splash with the irresistible “Lovely Day.” The song’s upbeat message about the power of love has quite deservedly been revived in lots of commercials and movies: “When the day that lies ahead of me / Seems impossible to face / When someone else instead of me / Always seems to know the way / Then I look at you / And the world’s alright with me / Just one look at you / And I know it’s gonna be a lovely day”
John Lennon, “(Just Like) Starting Over” From: Double Fantasy (1980)
It’s almost impossible to hear this song without feeling the pain of John Lennon‘s untimely death barely one month after its release, but “(Just Like) Starting Over” has a message that deserves to stand on its own. After a five-year absence from the music industry, the Beatles legend returned with a sweet ode to romantic renewal: “It’s been too long since we took the time / No one’s to blame, I know time flies so quickly / But when I see you, darling / It’s like we both are falling in love again / It’ll be just like starting over.”
Did you really think you were going to make it out of this list without a Kiss song? Oh well! Self-confidence has seemingly never been in short supply for either Paul Stanley and Gene Simmons, and the words a very oddly coiffed Demon sings here work well for anybody whose running a bit short of it themselves: “And then a bolt of lightning hit me on my head / Then I began to see I just needed to believe in me.”
Chumbawamba, “Tubthumping” From: Tubthumper, 1997
Early in my writing career I was forced to include this track on a list of the worst songs of all time. I tried turning in a very polite version of the story and was sent back to make it meaner. When I saw my coerced negative quotes turn up on the song’s Wikipedia page under my name, I promised that would never happen again. And it didn’t. In short, I got knocked down, but I got up again, and nobody’s ever gonna keep me down. So here’s a formal apology to Chumbawamba: This song and its message are both excellent.
Honorable mentions / “How could you not include….”: The Zombies “This Will Be Our Year,” Sheryl Crow “Soak Up the Sun,” ABBA “GImme! Gimme! Gimme! (A Man After Midnight),” Journey “Don’t Stop Believin’,” Prince, “The Rest of My Life,” Pink Floyd “Wearing the Inside Out,” Paul McCartney “One of These Days,” Johnny Nash “I Can See Clearly Now,” The Carpenters, “We’ve Only Just Begun,” Sting “Brand New Day” and U2 “Beautiful Day,” Chicago “Only the Beginning.”
Feature Photo: Raph_PH, CC BY 2.0 , via Wikimedia Commons
Muse was formed in 1994 in Teignmouth, Devon, by Matthew Bellamy, Christopher Wolstenholme, and Dominic Howard. The band initially gained attention with their debut album Showbiz (1999), which introduced their blend of alternative rock, space rock, and progressive elements. Over time, Muse’s music evolved, incorporating symphonic elements, electronic music, and more complex compositions, which helped them become one of the most innovative and commercially successful bands of the 2000s and 2010s. Their breakthrough came with the release of Absolution (2003), followed by Black Holes and Revelations (2006), which solidified their global recognition. The band has released multiple successful albums, such as The Resistance (2009), 2nd Law (2012), and Simulation Theory (2018), achieving chart-topping success worldwide.
Muse’s energetic live performances, grandiose sound, and politically and socially charged lyrics have earned them a dedicated fanbase and numerous awards, including multiple Grammy Awards. Despite changes in their lineup and style, the band’s core members have maintained a consistent musical vision. Muse has sold over 20 million albums worldwide and is considered one of the most influential and innovative bands in the modern rock scene. Their ability to blend a wide range of musical styles, from rock to classical to electronic, has made them stand out in the music industry, with their live shows known for their theatricality and elaborate staging.
The following is a detailed look at the current and former members of Muse, as well as their contributions to the band’s success.
Matt Bellamy
Matt Bellamy is the lead vocalist, guitarist, and keyboardist for Muse, and he has been the driving creative force behind the band since its formation. Bellamy joined with Dominic Howard and Chris Wolstenholme to form the band in 1994, and his unique blend of operatic vocals, virtuosic guitar playing, and complex musical compositions quickly became the hallmark of Muse’s sound. Bellamy has played a crucial role in shaping the band’s distinctive style, blending progressive rock, space rock, classical music, and electronic elements. His work on Showbiz (1999) introduced his intricate guitar riffs and soaring falsetto, which became central to the band’s sound on albums like Absolution (2003), Black Holes and Revelations (2006), and The Resistance (2009).
Bellamy’s musicianship extends beyond the guitar; his proficiency in keyboards and synthesizers allowed Muse to evolve and experiment with electronic textures, especially on albums like The 2nd Law (2012) and Simulation Theory (2018). He has also become known for his passionate, often politically and socially charged lyrics, addressing themes such as government control, revolution, and the human condition. Outside of Muse, Bellamy has occasionally dabbled in solo projects, including his work with the supergroup The Jaded Hearts Club. His contributions to Muse have cemented his place as one of the most innovative and influential musicians in modern rock music.
Dominic Howard
Dominic Howard is the drummer and percussionist for Muse, and he has been with the band since its formation in 1994. Howard’s drumming is a cornerstone of Muse’s powerful sound, blending heavy rock beats with more experimental rhythms, which adds to the band’s dynamic range. He has been a driving force behind the band’s energetic live performances, using a wide range of percussion instruments to create a diverse array of sounds. Howard played a pivotal role on Muse’s early albums, including Showbiz (1999), where his aggressive drumming helped lay the foundation for the band’s alternative rock sound.
As Muse’s music evolved, so did Howard’s drumming style. His contributions to albums like Absolution (2003) and Black Holes and Revelations (2006) showcased his ability to adapt to the band’s more symphonic and progressive rock direction. His drumming on tracks like “Knights of Cydonia” and “Starlight” highlighted his versatility and ability to keep pace with the band’s genre-defying style. Outside of Muse, Howard has remained focused primarily on the band but has occasionally participated in other musical collaborations. He continues to be a central figure in Muse’s live shows, known for his energetic and theatrical presence.
Chris Wolstenholme
Chris Wolstenholme is the bassist and backing vocalist for Muse, joining the band in 1994 and remaining a core member throughout its career. Wolstenholme’s bass lines are a crucial part of Muse’s sound, often driving the rhythm section with a mix of heavy, distorted bass riffs and more melodic, atmospheric lines. His work on early albums like Showbiz (1999) and Origin of Symmetry (2001) established him as an integral part of the band’s identity, contributing to the band’s signature blend of rock and electronica. Wolstenholme’s bass work provided a solid foundation for Matt Bellamy’s virtuosic guitar playing and Dominic Howard’s complex drumming.
In addition to his bass playing, Wolstenholme has also contributed backing vocals and lead vocals on several songs, such as “Sunburn” from Showbiz (1999) and “Liquid State” from The 2nd Law (2012). His voice added another layer to Muse’s harmonies, complementing Bellamy’s falsetto. Outside of Muse, Wolstenholme has been involved in various side projects, including his work with his sideband, The Helium Trio. His contributions to Muse’s sound, particularly his evolving bass techniques and vocal contributions, have been integral to the band’s success.
Dan Lancaster
Dan Lancaster joined Muse in 2022 as a touring member, primarily playing keyboards, guitars, and percussion, and contributing backing vocals. While he was initially brought on to support the band during live performances, Lancaster’s versatile musical talents added a fresh dynamic to the band’s live shows. His contributions were particularly useful in recreating the band’s more electronic and keyboard-driven sounds during concerts, especially those from albums like Simulation Theory (2018) and The 2nd Law (2012).
Lancaster is also known for his work as a producer and multi-instrumentalist in the British music scene. He has collaborated with various artists across genres, contributing to both live and studio performances. His role with Muse marks an exciting chapter in his career, as he continues to contribute to the band’s evolution as a live performer.
Morgan Nicholls
Morgan Nicholls is a British musician who joined Muse in 2004 as a touring member. He played multiple roles during his time with the band, including keyboards, bass, and percussion. Nicholls was an important figure during Muse’s tours, particularly in recreating the band’s complex electronic elements on stage. His contributions helped the band achieve a fuller sound during their live performances, especially on albums like Black Holes and Revelations (2006) and The Resistance (2009). He also provided backing vocals, complementing Matt Bellamy’s and Chris Wolstenholme’s vocal work.
Nicholls had a long tenure with Muse, participating in various tours until his departure in 2022. He also played in other bands, including the alternative rock band The Strangeloves. His role as a touring member of Muse made a significant impact on the band’s live performances and helped them maintain their energetic and atmospheric shows.
Daniel Newell
Daniel Newell was a trumpet player for Muse during their 2006–2008 tours. He was part of the band’s expanded lineup, playing trumpet during performances of songs that incorporated brass elements, adding a unique touch to the band’s evolving sound. Newell’s work can be heard on songs like “Knights of Cydonia” and “Take a Bow,” where brass instrumentation was used to create a more symphonic and cinematic atmosphere. After his time with Muse, Newell returned to working with other musicians and continued his career as a session musician.
Alessandro Cortini
Alessandro Cortini joined Muse as a keyboardist and synthesizer player during their 2009 tour, serving as a substitute for Morgan Nicholls. Cortini’s contributions helped Muse enhance their electronic sound, particularly during live performances of songs from The Resistance (2009). Known for his work with the band Nine Inch Nails, Cortini added a distinct, atmospheric layer to Muse’s live performances, making the sound more textured and complex. Although Cortini did not have a long-term role with Muse, his time as a touring member helped the band evolve their live sound, particularly with more experimental electronic elements.
Scott Koziol
Scott Koziol was a bassist who briefly toured with Muse in 2000, stepping in to cover for the band’s usual bassist, Chris Wolstenholme. He played bass on several early live performances during this period, although he was not a permanent member of the band. Koziol’s contributions were primarily in a live setting, helping the band maintain their energetic performances during this transitional period.
Alex Feder
Alex Feder joined Muse in 2024 as a touring member, playing lead guitar and providing backing vocals. His role was to assist the band with more complex guitar parts during live performances, especially those from their later albums. Feder’s addition to the lineup marked another phase in Muse’s live shows, adding his expertise to the band’s already dynamic sound. His contributions to the band are still in development as he continues to support Muse’s ongoing creative direction.
Swedish melodic metallers Cyhra have checked in with the following message for the fans:
“2025 is here, and so are we – stronger than ever!
After some quiet time, we’re turning up the volume and kicking off a new chapter. Starting this January, we’re dropping new music more or less every month. Yes, you heard that right — new songs, new vibes, and a new Cyhra era!
But we can’t do it without YOU. We need our incredible fans to keep the fire burning:
– Share our music. – Tell your friends about us. – Let the festivals near you know you want Cyhra on their stages!
This restart is powered by the amazing support you’ve shown us over the years, and we’re beyond grateful. Let’s make 2025 a year to remember—together. Stay tuned for our first single, ‘Superman’, landing January 8th.
Guitarist Jeff Loomis and drummer Van Williams recently teased a return of Nevermore in 2025.
The duo recently issued teasers on their social media pages with phrases “Resurrecting The Dream” and “A New Chapter Rises”.
Nevermore split in 2011 when Loomis and Williams departed the band due to problems with singer Warrel Dane and bassist Jim Sheppard. Dane and Sheppard would focus their efforts on Sanctuary after Loomis and Williams left. Dane died of a heart attack in 2017 while working on solo material in São Paulo, Brazil.
Nevermore’s last album is 2010’s The Obsidian Conspiracy, released through Century Media Records.
Now, Loomis and Williams have shared an open letter via social media. Check it out in full below.
Van Williams:
“So, the Nevermore teaser has sparked a lot of positivity and some expected negativity. Let me address the negative first. Some people think it’s disrespectful not to involve Jim or inform him of our plans. But those who feel that way don’t know the history of the band or the behind-the-scenes dynamics that led to this decision. While it may not have been the most ideal approach, the reality is that there hasn’t been communication with Jim in years. We felt that sometimes, for the sake of a fresh start, it’s necessary to move on from relationships that may no longer be conducive to growth or new beginnings. We made this decision with the intention of honoring the legacy of the band while moving forward in a way that felt right for us at the time. That said, we wish him good health and he is free to pursue whatever path he chooses. Without going into too much detail, I’ll just say respect goes both ways, and certain things became irreconcilable over time for us. At this point in my life, I don’t feel the need to explain myself further on this, so take from that what you will.
As for why I’m revisiting Nevermore, it’s simple, this band has always been my dream. To find a group of guys to be in a band with and travel the world and create music. After auditioning to the moment I was asked to join, it was a whirlwind of music, art, creativity, adventure, fun and camaraderie. Over the years, we made incredible music and amazing memories together. But as time went on, things spiraled out of control… trust, respect, and the joy of it all started to disappear. I always compare it to an analogy like having a cake and eating it too, but in our case, it turned into having a cake covered in shit frosting; you wanna eat it but it’s covered in shit! The final breaking point came during the last leg of our European tour with Symphony X, after which it was clear we couldn’t continue as we were. After years of us building the best band we could for ourselves we couldn’t get on the same page to fix it. Jeff and I went one way; Warrel and Jim went another. There was no reconciliation. Warrel went to Brazil, Jim retired to Alaska, and years passed without contact.
During this time, my personal life took a devastating turn when my wife was diagnosed with ovarian cancer. We did everything to create a sense of normalcy for our little boy and we did our best to make her comfortable. Warrel would occasionally call from Brazil, and while we exchanged kind words during those calls, it didn’t erase the past and I can tell that certain things haven’t changed. Dore passed on in 2020, and her loss crushed me and my boy, we feel that loss still to this day. I personally feel like I am just starting to come out of a coma truth be told and thank God I’m finally seeing the light and grateful for who and what I still have in my life. I’ll never be able to express the gratitude I feel for my family, close friends, and fans who helped me and my family through all the dark days. Thank you all so very much for helping me get through the toughest times.
Through it all, Jeff remained one of my strongest supporters, and our bond deepened. Over time, we both missed the joy of creating and performing together. Nevermore was a huge part of that joy, something I’m tremendously proud of.
For those calling this a ‘money grab’, I have to disagree. Most musicians don’t do this for the money. We’ve spent countless hours thru the years sweating, rehearsing, performing, and recording simply because we love it. This is what we chose to do in life because we’ve always loved it. That’s what drives us, the passion for music, the connection with fans, and the creative process. If money comes from that, great but it has never been the focus, but we also have bills to pay like you.
So here we are. Jeff and I want to honor Nevermore’s legacy by finding musicians who can respect what Warrel and Jim brought to the band while helping us build a new chapter. And this isn’t about replacing Warrel, no one can. But it’s about finding someone who can honor his work while contributing something new. We want to give fans a chance to come together, celebrate the music, and sing those incredible lyrics again. And, hopefully, we can create new music that stands alongside the classics.
I wish the situation with Jim were different, but the past has brought us here. I am personally focusing on positivity and positive people and will refuse to get tangled in the negativity of the past. If Jeff and I can find the right vocalist and bassist—musicians who respect the legacy and want to move forward with us—then this new chapter can be something truly special for all who choose to come along with us. This isn’t going to be a cover band, or a tribute band, it’s going to be the next evolution / chapter of a band determined to pick up the flag and carry on this thing we call Nevermore.
I look forward to seeing you all again.”
Jeff Loomis:
“I couldn’t agree more with Van’s statement. There have obviously been a lot of ups and downs with Nevermore’s past history. I’d like to just remember the good ones, while carrying the torch with Van to yet another level of the band. My heart has always been in it for the music, touring and performing. I’ve had some great times playing with other musicians these past 10-11 years, but Nevermore has and will always be my personal portal to some of the best music I’ve ever done and created. No one can replace Warrel Dane. Bottom line. With his interesting melodies and charisma onstage, he was a force that was a huge part of the band both lyrically and spiritually. With that being said, we aren’t looking for a Warrel Dane clone. We are looking for someone that can carry the older Nevermore tunes in his vocal style, and someone who can add something new and refreshing to the next chapter of the band. Obviously, this won’t be the easiest thing to do.
With all this being said, we are going on a WORLD SEARCH seeking two extraordinary musicians. One main lead vocalist, and one bass player to join the fold and help carry our legacy forward. We have since filled the position of a second guitarist, but more on that a bit later in another update!
Vocalist auditions:
Nevermore is known for its intense emotional resonance, and obviously this came through Warrel’s unique vocal dynamics. We’re looking for a vocalist who can deliver a wide range of tones and emotions with mastery and authenticity.
Dynamic Range: Capable of singing high notes and resonant lows, blending power and vulnerability as the song demands.
Expressive Depth: Beyond technical skill, we’re looking for someone who can incorporate the raw emotion and haunting themes that define Nevermore’s music. Stage Presence: We need someone who works well with an audience and embodies the intensity of the music in a live setting.
Bassist Audition:
We’re looking for a rock-solid player who understands how to create depth and drive in Nevermore’s arrangements. Precision, groove, and the ability to lock in tight with Van is a huge plus. If you can contribute backing vocals, that would be great as well. Someone that can keep the rhythm section tight is all we ask.
What we are looking for in both roles:
Positive attitude. We want individuals who bring good energy to the band dynamic. We’re seeking people who can maintain focus, professionalism, and respect for the music. Someone who is reliable, prepared and has a strong work ethic. You must be open to extensive worldwide touring with an active and current passport. A willingness to work together creatively, support each other, and represent Nevermore with integrity on and off the stage.
How to Audition:
Singers: Submit a video of yourself singing the song ‘Born’ and ‘Sentient 6’ from the This Godless Endeavor album. Please feel free to sing as much of the song as you want. If you choose not to do the whole song, please at least sing a full verse and chorus of each song. Please also include a brief introduction about your background, influences, and what you can bring to the band. We encourage you to demonstrate everything to the best of your potential.
Bassists: Should please play the songs ‘Enemies Of Reality’ and ‘Inside Four Walls’ while standing up focusing on tightness, technique and feel. Send us a PRIVATE YouTube link to your auditions to: officialnevermoreinfo@gmail.com
Along with Van, I’m very excited to see and hear from you. Thank you again to the fans all around the world for your kindness and support.
Kręcioła TV has shared pro-shot video of Electric Callboy’s entire August 1st show at Pol’and’Rock Festival 2024 in Broczyno, Poland. Check it out below.
Setlist:
“Tekkno Train” “MC Thunder II (Dancing Like a Ninja)” “Spaceman” “Hate/Love” “Everytime We Touch” (Maggie Reilly cover) “Castrop X Spandau” “Arrow of Love” “Hypa Hypa” “Parasite” “RATATATA” “Hurrikan” “MC Thunder”
Encore: “Pump It” “Mindreader” “We Got the Moves”
Electric Callboy recently shared the following message with their fans:
“The wait is over – we‘re hitting the road with our new tour!
Every concert on this tour will be a massive celebration, and we’re so pumped to make each one unforgettable. We’ve been working hard on new music and some cool surprises, and we’re ready to make this our biggest, most electrifying tour yet.
Tickets are available now! Make sure to grab yours before they’re gone.”
The band has followed up with a tour trailer, which features a sneak peek of their new single. Check it out below.
January 2026 17 – Rotterdam, Netherlands – Ahoy RTM 18 – Paris, France – Zénith Paris (La Villette) 20 – Lyon, France – Radiant 22 – Barcelona, Spain – Sant Jordi Club 23 – Madrid, Spain – WiZink Center 25 – Lisbon, Portugal – Sala Tejo/MEO Arena
There is a lot to celebrate for Electric Callboy these days. Two years after the release of TEKKNO (2022), their label Century Media Records, their agency CONTRA Promotion as well as their management Exact Management surprised the band in Cologne while being a part of one of the biggest TV shows in Germany.
After multiple awards for their singles “Hypa Hypa” and “We Got The Moves” in Germany, Switzerland and Austria, the TEKKNO album has reached Gold status in Finland. Furthermore, the album has surpassed half a billion streams worldwide and the music videos for their singles are close to a quarter billion views. With over 250,000 tickets sold for their TEKKNO World Tour alongside playing in front of millions of people headlining festivals all over the world, this has been the most successful tour in the band’s history. Their amazing live energy was also honored by Heavy Music Awards in the UK, winning an award for the third year in a row and the second time as “Best International Live Artist”.
After a busy year of successful shows and festivals around the world, the band is set to play at major festivals this winter, starting at Toyosu Pit in Tokyo, Japan, which sold out just four weeks after the announcement. Electric Callboy’s momentum continues with festival performances across the globe, reinforcing their lasting appeal and solidifying their status as a standout act in the music scene. Starting strong in 2025, they’ll perform at the third sold-out edition of their own Escalation Fest on February 1st, with much more to come.
February 1 – Germany – Escalation Fest (SOLD OUT)
May 24-25 – UK – Slam Dunk
June 12-14 – Austria – Nova Rock 20-22 – Germany – Hurricane 25-28 – Norway – Tons Of Rock 26-28 – Finland – Provinssi 27-29 – Finland – Tuska
Additionally, building on the success of their recent collaboration with the Japanese band Babymetal with the track “RATATATA,” they’ve launched a game where fans can showcase their dance skills and compete for a spot on the global leaderboard. Ready to join the challenge? Find out more at ratatata.io.
(Image credit: Linkin Park: Tim Mosenfelder/Getty Images/Slipknot: Mick Hutson/Redferns/Evanescence: Annamaria DiSanto/WireImage/Korn: Mick Hutson/Redferns/Kittie: Mick Hutson/Redferns)
Few movements in metal have achieved the same level of commercial success or mainstream crossover as nu metal. From its roots in the late 80s and early 90s alt metal scenes to its eventual takeover of just about everything in the metal world and rapid decline the other side of the new millennium, the genre spawned some of metal’s most iconic names, from Korn to Slipknot, Evanescence to Linkin Park.
To celebrate the genre, we’ve dug beyond the surface to find out some of the best songs buried in the backpages of nu metal history.
P.O.D. – Snuff The Punk (Snuff The Punk, 1994)
P.O.D. may have hit big with 1999’s millionselling The Fundamental Elements Of Southtown and 2001’s follow-up Satellite, but they weren’t gatecrashers at the nu metal party – their debut album, Snuff The Punk, actually predated Korn’s self-titled debut by about nine months.
OK, so P.O.D. didn’t have the same impact as hearing Jonathan Davis growling ‘Are you reaaadyy…?’ over that churning Blind riff for the first time, and Snuff The Punk sounds like it was recorded in a garage for $5 and a bag of communion wafers, but the rap-metal flow and squalls of distorted guitar hold their own place in nu metal history. PT
Deftones – Damone (Around The Fur, 1997)
Those who were there will remember the trend of hidden tracks at the end of CDs back in the 90s. If you didn’t hit the stop button at the conclusion of MX, the supposed final track on Deftones’ masterful second album, you’d get a shock about half an hour later when secret song Damone kicked in.
Quite why a song of such exceptional quality didn’t make the main album remains a mystery, as Damone is as good as anthems like Be Quiet And Drive (Far Away) or My Own Summer (Shove It). Stephen Carpenter serves up a driving riff as Chino Moreno and bassist Chi Cheng trade throat-tearing screams. The band have only played it live three times in the last 20 years, but old-school fans would dearly love to hear it again. SH
By 1998, there were already tons of also-rans in the emerging nu metal scene, making the jump to the upper echelons of an already crowded field a tough task. There were high hopes and plenty of hype surrounding LA industrial metal crew Spineshank, though, who were signed to Roadrunner Records off the back of Fear Factory guitarist Dino Cazares’s patronage.
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While the band did experience a significant level of success, it didn’t happen until their second album, 2000’s The Height Of Callousness. This leaves Spineshank’s debut album, Strictly Diesel, something of a long-lost, electro-metal gem that’s rarely spoken about.
There are plenty of bangers, but the creeping, Deftones-style, quiet-quiet-LOUD dynamics of Grey is the record’s gold standard. In fact, frontman Jonny Santos arguably managed 1998’s most uncanny impression of Chino Moreno on the track, something he had plenty of competition for that year.
The song was a highlight of the band’s set when they came over to the UK on the Strictly Diesel run, opening for System Of A Down. They split (for a second time) in 2016, rarely playing the song during those last few years. Shame. SH
Mushroomhead – Xeroxed (M3, 1999)
Most famous as a) the masked metal band who weren’t Slipknot and b) the band who had a running feud with Corey Taylor and co, Mushroomhead actually beat their rivals out of the gate.
The Cleveland band were already on their third album by the time their Iowan nemeses released their self-titled debut, and Xeroxed stands as a terrific late-90s nu metal rager with more than a hint of death metal aggression. It resurfaced on major label compilation XX a couple of years later, but remains a cult classic. Always the bridesmaids, etc. PT
Machine Head – Five (The Burning Red, 1999)
Yeah, we’ve heard the jokes about Machine Head’s nu metal period: the rapping, the jumpsuits, the blond spiky hair, har de har! But for the all the hate The Burning Red gets, it contains one of Robb Flynn’s most powerful and vulnerable songs.
Buried at the back end of the album, Five is a furious yet haunting burst of rage that sees the frontman reliving a sexual assault he went through as a child. ‘You molest and destroy just a five-year-old boy,’ he seethes. ‘And you make me suffer, motherfucker!’ Unsurprisingly, Robb’s said he’s never going to play it live – a buried track that’ll stay buried. MM
Coal Chamber – My Mercy (Chamber Music, 1999)
With their mad hair and facial piercings, nu metal first-wavers Coal Chamber were the scene’s freak squad. Their second album saw them experimenting with their sound in an attempt to step out of the shadow of scene kings Korn and Deftones.
My Mercy had actually been written shortly after breakout single Loco, but as drummer Mikey Cox told KindaMuzik: “That song was supposed to be on the first album. But it was so different, we thought people are gonna say, ‘What the hell is this?’ But with this album we weren’t afraid to do anything.”
The orchestral sweep still sets it apart from CC’s better-known songs, with guest appearances from Human Waste Project’s Aimee Echo and Elijah Blue Allman of Deadsy. PT
Korn – Camel Song (End Of Days OST, 1999)
After The Crow’s alt rock soundtrack topped charts and earned platinum status, countless blockbusters sought to recreate that impact. Few tried as hard as Arnold Schwarzenegger vs The Devil action/horror End Of Days, which prised the first original Guns N’ Roses song in eight years out of Axl Rose (the industrial-metal misfire Oh My God).
Limp Bizkit, The Prodigy, Eminem and Rob Zombie also rocked up, but top honours went to Korn with the track that opened the album, Camel Song. Despite being unavailable on streaming services and never played live, the track presents imperial-phase Korn at their absolute best.
A haunting opening where the guitars chime and disorient breaks into a funky swagger led by Fieldy’s clackety-clack bass. Jonathan Davis brings some classic Korn vibes in the addictive hook, wailing, ‘Sometiiiiiiime! Somewheeeeeeere!’ That all-out nu metal jam during the bridge is brutally heavy, too.
Ultimately, End Of Days the movie sank without trace, and so did the soundtrack – a fate it didn’t deserve. Had it fared better, perhaps this Korn cut would enjoy its rightful, celebrated place in their back catalogue. MM
Frontwoman Morgan Lander was just 15 when Kittie were writing their debut album, Spit. Tracks like Do You Think I’m A Whore brimmed not only with teen spirit but righteous anger at an industry and mindsets that both judged and packaged them based on their age and sex.
It was one of the heaviest, most aggressive songs on the album but, as the band evolved, it was left behind and wasn’t played live for two decades. PT
Picking what non-singles to play from Hybrid Theory must be like choosing favourite kids; they’re pretty much all worldies. Still, it’s a shame that By Myself has been largely left on the shelf over the past 24 years, only being dusted off by Linkin Park once since 2003 (and that was for their full playthrough of Hybrid Theory at Download in 2014, so it kinda had to be played).
By far the most unusual song on the album, it’s an off-kilter, mechanical burst of catchy, nu metal riffs, clanking, industrial samples and swathes of 90s ambient EDM. Add in a typically raw and angst-laden 2000s showing from Chester Bennington and you have a song that really should be getting more love. MA
Alien Ant Farm – Sticks And Stones (ANThology, 2001)
To many, Alien Ant Farm were nothing more than a teeth-grindingly wacky nu metal crew who covered Smooth Criminal and dressed up as Karate Kid characters in a music video.
Dig below the surface, though, and you’ll find that debut album ANThology is a far more subtle, emotional and nuanced record than their public image suggests. On the rarely mentioned Sticks And Stones Alien Ant Farm show what a good band they really are. A scratchy, post-hardcore riff and a fantastic part-yelped, part-crooned performance from vocalist Dryden Mitchell steals a song that has far more in common with Glassjaw than it does Crazy Town. SH
Staind – Waste (Break The Cycle, 2001)
Staind’s third album, the five-million-selling Break The Cycle, was home to the inescapable It’s Been A While. Waste took a similarly angsty approach, building from a gloomy acoustic atmosphere to a raging finale, but it remains in the shadow of that monster hit.
The sombre feel comes from the subject matter, inspired by when Aaron Lewis encountered the mother of a Staind fan who had died by suicide. “It made me feel like she wanted me to give her answers for it,” he told Rolling Stone. “I did get a little angry, but I was angry at everything – angry that he killed himself and angry that so many kids feel that’s the only way out.” PT
Slipknot – Skin Ticket (Iowa, 2001)
It feels bizarre that the nastiest, ugliest album to ever top the UK charts has buried treasure on it, but precious little of Iowa’s tracklisting has persisted in Slipknot’s sets, leaving a vault of gems for those who stick the record on in full. Of these, none are as arresting Skin Ticket.
An extended, percussive intro draws you in, before Corey Taylor pours out misanthropy for the next six minutes: ‘Cancer and people conspire together / Running and running and going forever.’ It’s actually Sid Wilson’s favourite Slipknot song. “It takes you out of your everyday world to a super-dark place,” the band’s turntablist told Revolver in 2023. MM
Although they never reached nu metal’s top division, Ill Niño were a vital force within it. They infused their music with Latin American influences and a fiery polemic that was often lacking in a scene that tended to deal more with the personal than the political.
Debut album Revolution Revolución boasted minor hits in What Comes Around and Unreal, but album track Liar hit harder than anything else on there. The song combines lilting acoustic guitar and Latin percussion with an absolutely crushing riff. It did grace the game Ghost Recon: Advanced Warfighter but remains a largely overlooked gem. PT
Static-X – Speedway (NASCAR On Fox: Crank It Up, 2002)
Working on the theory that fast cars and metal go together, the NASCAR On Fox: Crank It Up compilation threw up some remarkably bonkers covers, including Slayer playing Steppenwolf’s Born To Be Wild and Type O Negative putting their spin on Deep Purple’s Highway Star.
Not to be outdone, Static-X recorded a version of Elvis Presley’s Speedway, originally from the King’s 1968 movie of the same name. It works surprisingly well, taking the quiff-quivering old-school rock’n’roll groove and repanelling it with that instantly recognisable electro-metal stomp. Jesus might’ve built Ministry’s hotrod, but Static-X proved they could floor the accelerator too. PT
Papa Roach – Singular Indestructible Droid (Lovehatetragedy, 2002)
Papa Roach’s career-making Infest album was a hard act to follow. Lovehatetragedy didn’t come close to its predecessor’s five million sales, but it had some great tracks, one of which was Singular Indestructible Droid. “It’s pretty wild and one of the heaviest songs we’ve written,” singer Coby Dick (as he was then known) enthused at the time.
It certainly was, with slamming riffs, a powerful vocal and some atmospheric Native American chanting thrown into the mix. It also served as a tribute to Slipknot DJ Sid Wilson, with the title spelling out S-I-D and the screamed lyrics declaring their subject to be a ‘bloody human robot’.
System Of A Down – Ego Brain (Steal This Album, 2002)
Is SOAD’s Steal This Album a legitimate follow-up to 2001 masterpiece Toxicity or just a hastily bundled-out collection of offcuts? Tough one to call, though it has its share of great songs: Chic ’n’ Stu, Boom, Fuck The System, all the kind of things other bands can only dream of writing.
But there’s one song that never gets its fair due – the swinging, swerving Ego Brain, which sees Serj Tankian and Daron Malakian’s voices working in perfect tandem against some warped acoustic country riffing. Serj himself certainly has a soft spot for the track. “I was listening to Ego Brain the other day,” he tells Hammer. “I don’t think we’ve ever played that live, so I was thinking how cool it’d be to do it.” SH
Crazy Town – Change (Darkhorse, 2002)
The nu metal band that all nu metal fans loved to hate, Crazy Town struggled to follow up their 2000 megahit Butterfly and platinum parent album The Gift Of Game. Follow-up Darkhorse was a relative flop, but there were some decent moments buried within the album, though, most notably Change.
It followed much the same format of slick rap-rock, with frontman Seth ‘Shifty Shellshock’ Binzer tempering a little bit of self-aggrandisement with a surprising amount of selfawareness. Given he would struggle with addiction for the rest of his life before dying this year at just 49 years old, his questioning of whether he was capable of change takes on an extra poignancy. PT
Mudvayne – Skyring (The End Of All Things To Come, 2002)
This overlooked gem from Mudvayne’s second album features a very different vibe from most of the punchy nu-math-metal material that fuelled their rise to notoriety on debut L.D. 50.
Rather than relying on technical chops and outright aggression, they lean into a funky psychedelic groove and hazy backing vocals that slowly build towards a climax of screaming and chaotic nu metal clatter. They’ve played it live just 15 times in total, though frontman Chad Gray has described it as “one of my favourite songs from The End Of All Things To Come”.
Taproot – Transparent (Poem B-Side, 2002)
When nu metal B-listers Taproot released their Besides boxset in 2018, it contained a staggering 134 alternative versions, demos and previously unreleased tracks. The one track that really stood out from this little lot was Transparent.
Dating back to the sessions for the Michigan band’s 2002 breakthrough Welcome but never making the cut, it did appear as the B-side to their biggest single, Poem, and Japanese pressings of the album, becoming the deep cut of choice for the discerning super-fan in the process. There’s good reason too; heavy, churning and utterly infectious, Transparent is the finest album reject you’ve never heard. PT
Disturbed – God Of The Mind (The Sickness, 2002 reissue)
Disturbed’s debut album, The Sickness, was packed with classics – so many that God Of The Mind didn’t make the final cut. A pity, given how great it is. This is Disturbed at their Disturbed-iest, as animalistic snarls from singer David Draiman and some ominous bass usher in three minutes of adrenalised metal.
It was eventually added to the 2002 reissue, and, later, 2011 rarities comp The Lost Children, but it remains an under-the-radar classic – it’s only been played live eight times. Let’s hope next year’s 25th anniversary tour rectifies that. MM
Disturbed – God Of The Mind [Official Audio] – YouTube
Drowning Pool, of course, will forever be known for nu metal banger Bodies. The death of frontman Dave Williams just a year later understandably derailed the band, but they did get back on the tracks quickly.
Their second album, Desensitized, featuring one-and-done replacement Jason Jones, didn’t have a Bodies but it did boast a minor hit in Step Up and some interesting moments like Numb. In common with a lot of bands of the era, they wanted to expand their horizons, and Jason helped them do so here, with a rasping wail and a song that straddled bluesy hard rock and grunge as much as it did nu metal.
Limp Bizkit – The Truth (The Unquestionable Truth (Part 1), 2005)
This largely forgotten EP saw nu metal’s most braggadocious offspring abandon the proud silliness of Chocolate Starfish… and relentless self-pity of Results May Vary for darker, more serious subject matter, with everything from abuse in the Catholic Church, to political sloganeering, to Fred Durst’s indulgence in conspiracy theories getting a look-in.
Some of it worked, some of it really didn’t, but the title track(ish) remains one of Limp Bizkit’s great unsung anthems – a heavy, propulsive rager featuring one of Wes Borland’s finest riffs and a sneering, no-nonsense showing from Fred Durst. Six years later, Limp Bizkit released their next studio album and were writing about gold cobras, sharks and waving shotguns about. It was like this whole release never happened. Shame. MA
Limp Bizkit – The Truth (Original Version) – YouTube
There are no Evanescence deep cuts if you’re a fan of Amy Lee and co, but Like You doesn’t have the sheer cultural reach of Bring Me To Life or My Immortal. A hauntingly beautiful song tucked away on their second album, it was written by Amy about her late sister, Bonnie, who died at the age of three.
“It’s affected my life and definitely affected my music writing, and it’s made me who I am,” she has said of the tragedy. The nearest Evanescence have ever come to playing Like You live is using a section of it as the intro to Lithium on their 2012 tour.
Incubus – While All The Vultures Feed (Monuments And Melodies, 2009)
A lot of bands would kill to have the sort of songs that Incubus have jettisoned. While All The Vultures Feed was casually included on 2009 compilation Monuments And Melodies, fully formed but entirely lacking in an origin story.
The best guess is that it stems from writing sessions for the soundtrack to Stealth – a 2005 sci-fi thriller that made one of the biggest losses in cinematic history. At least one good thing appears to have come of it, though. Mixing churning guitars, brittle melodies and a pulsing groove, While All The Vultures Feed is a fantastic if little-known song. PT
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![Korn - Camel Song [Lyrics Video] - YouTube](https://img.youtube.com/vi/04ghxtlkfW0/maxresdefault.jpg)
![Disturbed - God Of The Mind [Official Audio] - YouTube](https://img.youtube.com/vi/NLedkN-UUBA/maxresdefault.jpg)
