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10 Best Rock Songs About Depression

# 10 -You Don’t Love Me When I Cry – Laura Nyro

The opening song on this list of the 10 Best Rock Songs About Depression is Laura Nyro’s haunting and deeply emotional track, “You Don’t Love Me When I Cry,” from her 1969 album New York Tendaberry. Known for her distinctive, soulful voice and her ability to convey raw emotion through her music, Nyro was one of the most revered songwriters of her era, with other artists like the 5th Dimension and Blood, Sweat & Tears covering her songs. This track, though, is intensely personal and dives deep into the feelings of heartbreak, abandonment, and the isolating weight of depression, themes that Nyro explores with brutal honesty throughout the album.

Recorded at Columbia Records in New York with Roy Halee as producer and engineer, the song features Nyro’s striking piano and her anguished vocals, which fluctuate between tender whispers and impassioned wails. The starkness of the production heightens the emotional intensity, making the listener feel as though they are inside Nyro’s most vulnerable moments. New York Tendaberry marked the peak of Nyro’s creative and commercial success, and this song, in particular, stands as a powerful expression of the inner turmoil that can accompany both love and loss.

The lyrics to “You Don’t Love Me When I Cry” encapsulate the pain of unreciprocated love and the feelings of worthlessness that can come with depression. Nyro sings of being rejected at her lowest, with the line “You don’t love me when I cry” becoming a piercing refrain. The bluesy undertones of the song are laced with grief, as Nyro explores how love promised and love lost intertwine, leaving her in emotional ruin. Her use of vivid imagery—“rubies and smoke rings” and the cry “I want to die”—connects directly to the overwhelming sense of despair often associated with depression.

As the first song on this list, “You Don’t Love Me When I Cry” sets the stage for an exploration of how rock music can give voice to the most painful human emotions. With its poignant mix of vulnerability and stark musicality, this song exemplifies how depression often comes with feelings of abandonment, loneliness, and the desire for escape—recurring themes that will resonate throughout the rest of the tracks in this collection.

Read More: Top 10 Laura Nyro Songs

# 9 – Runaway Train – Soul Asylum

“Runaway Train” by Soul Asylum is an emotionally charged track that vividly captures the helplessness and confusion that often accompany depression. Released in June 1993, this power ballad from the Grave Dancers Union album became one of the band’s biggest hits, peaking at number five on the Billboard Hot 100 and earning the band a Grammy Award for Best Rock Song in 1994. The song resonated with audiences worldwide due to its raw portrayal of depression, a theme that struck a universal chord.

Recorded with producer Michael Beinhorn and featuring Booker T. on keyboards, the song’s powerful instrumentation elevates the despair in Dave Pirner’s lyrics. The recording process was grueling, with Pirner stating that Beinhorn had him record the vocals numerous times to capture the right emotional depth. Drummer Sterling Campbell replaced Grant Young during the session, and his tight drumming punctuates the song’s melancholic atmosphere. The song’s haunting lyrics, such as “So tired that I couldn’t even sleep, so many secrets I couldn’t keep,” echo the relentless struggle of feeling trapped by depression. The metaphor of the runaway train illustrates how life spirals out of control, which is something that Pirner himself had struggled with during his battle with a nervous breakdown.

Thematically, this song shares a connection with You Don’t Love Me When I Cry by Laura Nyro, which also grapples with overwhelming emotional pain. Both songs explore the depths of despair, with Nyro’s track focusing on the feelings of rejection and sorrow when love and support are absent, while Soul Asylum delves into the internal chaos of depression. The isolation and helplessness Pirner conveys are reminiscent of Nyro’s portrayal of emotional turmoil, making these two songs fitting companions in this exploration of the darker side of human emotion.

The accompanying music video for “Runaway Train” is also notable, as it prominently features images of missing children, giving the song an additional layer of emotional weight and connecting its metaphor of being lost to real-life tragedies. While Nyro’s song is more introspective, Pirner’s lyrics express a desire for escape—“Runaway train never going back, wrong way on a one-way track”—showing how both artists used music to process and express their internal struggles with mental health and the human condition.

In comparing these two songs, Runaway Train continues the exploration of deep emotional pain set by You Don’t Love Me When I Cry, giving the list a cohesive thread that ties together the experiences of feeling abandoned, lost, and struggling with depression.

Read More: Top 10 Soul Asylum Songs

# 8 – Lonesome Town – Ricky Nelson

Released in 1958, Lonesome Town is a haunting ballad by Ricky Nelson, written by Baker Knight. It became a major hit in the United States, reaching number seven on the Billboard Hot 100 and number 15 on the R&B chart. Featured on his 1959 album Ricky Sings Again, the song showcases Nelson’s smooth vocals, accompanied by the renowned vocal quartet The Jordanaires, who added a rich depth to the melancholy track. The song was recorded at United Western Recorders in Hollywood, California, with producers Jimmie Haskell and Ozzie Nelson, Ricky’s father, overseeing the production.

Thematically, Lonesome Town delves into the despair and heartache of broken relationships. Nelson croons about a metaphorical town where people go to grieve lost love, hoping to escape the pain and loneliness that has taken over their lives. The lyrics, such as “In the town of broken dreams, the streets are filled with regret,” evoke a vivid image of emotional desolation, making this song an early example of the dark, reflective style that would later define many rock ballads about depression. The simple arrangement, combined with Nelson’s soft and vulnerable delivery, makes it a timeless and relatable exploration of heartache.

Compared to other songs on this list, such as Runaway Train by Soul Asylum, which portrays depression as an uncontrollable force pulling the protagonist off course, Lonesome Town takes a more introspective approach, presenting heartbreak and sorrow as a place of self-exile where the brokenhearted go to process their pain. Both songs convey deep emotional struggles, but while Runaway Train leans heavily on metaphors of losing control, Lonesome Town suggests a more passive acceptance of sorrow. The subtle instrumentation and Nelson’s gentle voice give the song a softer, more nostalgic feel, making it a contrasting yet complementary addition to the list of rock songs about depression.

Read More: Top 10 Ricky Nelson Songs

# 7 – From The Edge Of The Deep Green Sea – The Cure

From The Edge of the Deep Green Sea is one of the standout tracks from The Cure’s 1992 album Wish, an album that both embraced their gothic rock roots and ventured into broader alternative rock territory. Written by Robert Smith, this track is a sprawling, emotionally charged exploration of unreciprocated love, longing, and despair, themes that resonate strongly with the feelings of depression and helplessness. The song was recorded during sessions for Wish at The Manor and Hook End Studios, with David M. Allen co-producing alongside the band.

Clocking in at over seven minutes, From The Edge of the Deep Green Sea is musically expansive, characterized by swirling guitars and the heavy use of effects like detuning and phasing, which add to the track’s atmospheric and melancholic feel. Perry Bamonte, who played both guitar and keyboards on the track, helped shape its layered sound, while Boris Williams’ drumming gave it a dynamic pulse that added to the emotional urgency of the song. The extensive use of guitar feedback and subliminal overdubs only deepens the sense of emotional tension, making the song feel almost claustrophobic at times.

Lyrically, From The Edge of the Deep Green Sea captures the painful cyclical nature of a toxic relationship, where love seems to be forever slipping away despite the desperate attempts to hold on. The repetition of phrases like “Too many tears, too many times, too many years I’ve cried for you” reflects the sense of futility and exhaustion that often accompanies emotional depression. The song’s imagery—of watching the sun rise while grappling with heartache and the feeling of being miles away from home, both emotionally and physically—creates a haunting depiction of isolation and inner turmoil. As the first song on the list, it sets a powerful tone, drawing listeners into the depths of despair and emotional conflict, much like Lonesome Town by Ricky Nelson does, though in a more atmospheric and modern way.

Read More: 10 Essential Songs By The Cure

# 6 –  Fade To Black – Metallica

“Fade to Black” is one of Metallica’s most iconic songs, recognized as the band’s first power ballad, which marked a significant shift in their musical style. Released as the first promotional single from Ride the Lightning in 1984, the song showcases the band’s ability to merge heavy metal with deeply introspective and emotional themes. The track was recorded at Sweet Silence Studios in Copenhagen, Denmark, under the production of Metallica and Flemming Rasmussen. James Hetfield’s haunting lyrics and Kirk Hammett’s soaring guitar solo have earned the song a place in metal history, even being ranked by Guitar World readers as having the 24th best guitar solo of all time.

Musically, “Fade to Black” begins with an acoustic intro that builds into a crushingly heavy riff, reflecting the song’s themes of despair and hopelessness. Hetfield’s vocals are restrained and somber, mirroring the lyrical content, which deals with the narrator’s contemplation of death and longing for an escape from unbearable emotional pain. The song resonates with themes of isolation and mental torment, much like Runaway Train by Soul Asylum, as both songs deal with the feeling of losing control and searching for a way out of the darkness. However, while “Runaway Train” speaks more to the spiraling nature of depression, “Fade to Black” delves into the numbness and finality that come with contemplating suicide.

Lyrically, the song reflects a deep sense of loss and disconnection from life. Lines such as “I have lost the will to live / Simply nothing more to give” and “Emptiness is filling me / To the point of agony” portray the crushing weight of depression, capturing the feeling of being consumed by darkness. The song’s final verse, where Hetfield sings, “Now I can’t think / Think why I should even try,” evokes the bleakness of depression, where even the idea of hope seems out of reach. Much like From The Edge of the Deep Green Sea by The Cure, the emotional intensity in “Fade to Black” leaves listeners feeling the heaviness of despair and the desire for release from the overwhelming burden of life.

As a pivotal track on Ride the Lightning, “Fade to Black” is not just one of Metallica’s defining songs, but also a powerful statement on the darker aspects of the human experience, making it an essential inclusion on this list of rock songs about depression. The song’s combination of emotional vulnerability and aggressive instrumentation make it a timeless exploration of mental anguish.

Read More: Complete List Of Metallica Albums And Songs Discography

# 5 – Stolen Car – Bruce Springsteen

“Stolen Car” from Bruce Springsteen’s 1980 album The River is a stark meditation on loneliness, identity, and the emotional devastation of a failing marriage. The song’s narrative centers around a man who finds himself disconnected from the life he built. Recorded in January 1980 at The Power Station in New York, the minimal instrumental arrangement of soft piano, synthesizer, and restrained percussion reflects the haunting isolation at the heart of the song. Springsteen’s vocals are subdued, allowing the story’s emotional weight to shine through.

Lyrically, the song opens with the protagonist reflecting on his once hopeful marriage: “We got married and promised never to part / Then little by little we drifted from each other’s hearts.” This sets the stage for the deep sense of despair that follows. The stolen car serves as a metaphor for the protagonist’s internal turmoil—he’s not literally stealing a car, but rather, he’s lost control of his own life, directionless and yearning for something to anchor him. “Now I’m driving a stolen car on a pitch-black night / And I’m doing my best to make it through,” he sings, capturing the feeling of navigating through a life that has lost its meaning.

The second verse further emphasizes this theme of hopelessness, with the protagonist realizing that his attempts to rekindle his marriage were futile. “At first I thought it was just restlessness / That would fade as time went by and our love grew deep / But in the end it was something more, I guess / That tore us apart and made us weep.” This realization is a painful one, reflecting the common experience of depression—where initial optimism fades into deep sorrow and regret. The narrator’s fear of fading away and “disappearing” into the night is echoed throughout the song, especially when he says, “I ride by night and I travel in fear / That in this darkness I might just disappear.”

The final verse paints a poignant image of a man disconnected not only from his wife but from the world itself. “She asked if I remembered the letters I wrote / When our love was young and we were bold / She said last night she read those letters / And they made her feel a hundred years old.” This reference to their past—the time when love felt strong and new—contrasts sharply with their present, where love has become a distant memory. This sense of emotional aging, of love withering away, ties directly into the feelings of regret and helplessness that permeate the song. The lyrics convey a haunting, almost existential crisis, with the stolen car acting as both a literal and symbolic vehicle for the narrator’s inner journey of loss.

In comparison to Runaway Train by Soul Asylum, both songs delve into the concept of being lost, but Stolen Car is more introspective, focusing on emotional disintegration rather than outward chaos. Springsteen’s protagonist seems resigned to his fate, traveling through the night in search of something he knows he may never find—a sense of belonging or salvation. This feeling of fading away, of becoming invisible, makes Stolen Car a powerful reflection of depression, and its inclusion on this list is essential for understanding how rock music has explored these themes.

Read More: Top 10 Bruce Springsteen Albums

# 4 – Mad World – Tears For Fears

“Mad World,” released by Tears for Fears in 1982, is a quintessential song capturing the emotional weight of depression and disillusionment. Written by Roland Orzabal and sung by bassist Curt Smith, the song was the band’s first chart hit, reaching number three on the UK Singles Chart. It quickly became an international success, offering a haunting reflection on the emptiness of modern life and existential dread. Recorded during the sessions for their debut album, The Hurting (1983), “Mad World” was produced by Ross Cullum and Chris Hughes. The song’s combination of new wave instrumentation and Smith’s plaintive vocals helped cement Tears for Fears as pioneers of emotionally driven synth-pop.

Lyrically, “Mad World” presents a vivid portrayal of despair and alienation. The opening lines, “All around me are familiar faces / Worn out places, worn out faces,” set the tone for a world filled with monotony and hopelessness. The imagery of people going through their daily routines “going nowhere” evokes a sense of emotional paralysis. The protagonist’s detachment is palpable, with lines like, “Hide my head I want to drown my sorrow / No tomorrow, no tomorrow,” revealing his deep sadness and inability to escape the cycle of despair. The chorus, with its famous lines, “The dreams in which I’m dying are the best I’ve ever had,” speaks to a desire for release from the overwhelming pain.

Musically, “Mad World” is carried by its minimalist yet powerful arrangement, using sparse synthesizers and a steady beat to emphasize the lyrics’ emotional depth. Smith’s vocal delivery is hauntingly restrained, allowing the listener to connect more deeply with the protagonist’s sense of isolation. The repetitive nature of the music mirrors the “circles” the song describes, as people navigate life feeling stuck and helpless, making it a fitting anthem for those struggling with depression. As the first song on this list, “Mad World” sets a reflective and poignant tone, examining the darker corners of the human experience, similar in emotional weight to songs like “Stolen Car” by Bruce Springsteen but with its own unique take on melancholy and resignation.

Read More: Top 10 Tears For Fears Songs

# 3 – Lithium – Nirvana

Released as the third single from Nirvana’s 1991 album Nevermind, “Lithium” is one of the band’s most poignant songs about depression. Written by Kurt Cobain, the song narrates the experience of a man on the verge of emotional collapse who turns to religion as a last resort to keep himself from succumbing to suicidal thoughts. Cobain’s raw lyricism explores the psychological ups and downs that accompany depression, while the music alternates between soft verses and loud, cathartic choruses, capturing the emotional volatility of the subject.

Recorded at Sound City Studios in Van Nuys, California, under producer Butch Vig, “Lithium” was one of the most challenging tracks for the band to record, largely because of timing issues during initial takes. Drummer Dave Grohl eventually stabilized the recording with a metronome, and the song was completed as one of the most well-structured pieces on the Nevermind album. With its grunge-infused guitar riffs and dynamic shifts between soft and heavy sections, “Lithium” showcases the band’s ability to channel complex emotions through powerful musical arrangements.

The lyrics to “Lithium” present a juxtaposition of conflicting emotions, reflecting the protagonist’s psychological battle. The opening lines, “I’m so happy ’cause today I found my friends / They’re in my head,” immediately suggest a dissociative state where the protagonist’s ‘friends’ are only imagined, a nod to the isolation he feels despite claiming to be happy. This false sense of happiness continues throughout the song as Cobain contrasts feelings of contentment and deep inner turmoil.

The phrase “I’m so ugly, that’s okay, ’cause so are you” presents a stark admission of low self-worth, yet it’s delivered with a resigned acceptance of his situation. The repetition of “Yeah, yeah, yeah” in the chorus adds a sense of detachment, as if the singer is numbly convincing himself that he’s fine, when in reality, he is struggling to cope.

The chorus brings in one of the song’s most impactful lines, “I’m not gonna crack,” which is repeated like a mantra, almost as if the protagonist is trying to will himself to hold on. Yet, the darker undertones of the song reveal the underlying fear of losing control: “I killed you, I’m not gonna crack.” This could be interpreted as a metaphor for the emotional detachment or destruction that often comes with depression—pushing away or even metaphorically ‘killing’ the people closest to him to protect himself from further pain.

Cobain’s lyrics take the listener on a psychological journey of emotional highs and lows, much like the shifting dynamics in the music. The slow, almost calm verses contrast sharply with the explosive energy of the chorus, symbolizing the volatility of living with depression.

Read More: Top 10 Nirvana Songs

# 2 – Maniac Depression – Jimi Hendrix

“Manic Depression” is a track from The Jimi Hendrix Experience’s iconic 1967 debut album, Are You Experienced. Written by Jimi Hendrix, the song is a raw and electrifying portrayal of emotional turbulence. Although the title references a clinical mental disorder, the song’s lyrics reflect more of a romantic frustration and a feeling of emotional chaos rather than a literal interpretation of manic depression. It captures the essence of feeling stuck between highs and lows, both in love and life, through Hendrix’s unique blend of rock, blues, and psychedelic sound.

Recorded in late 1966 at Olympic Studios in London, the song features Jimi Hendrix on guitar and vocals, Mitch Mitchell on drums, and Noel Redding on bass. Produced by Chas Chandler, the track showcases Hendrix’s signature guitar style, full of raw emotion, and Mitchell’s jazz-inspired drumming in a 3/4 time signature, which is an unusual and striking rhythmic choice for rock music. The triple meter of “Manic Depression” adds a swirling, waltz-like feel to the otherwise aggressive rock sound, a testament to Hendrix’s innovative approach to songwriting and arrangement.

The lyrics of “Manic Depression” are a poetic reflection of a deep emotional struggle, as Hendrix sings, “Manic depression is searching my soul / I know what I want, but I just don’t know / How to go about getting it.” This sense of desire coupled with an inability to attain satisfaction permeates the song, capturing the cyclical nature of feeling stuck between hope and frustration. The line “You make love, you break love, it’s all the same” suggests a pattern of failed romantic endeavors, further reinforcing the song’s themes of emotional highs and lows.

Hendrix’s vocals are filled with intensity as he navigates the tension between passion and despair. The repetition of “Music, sweet music / I wish I could caress, caress, caress” highlights how deeply he longs for solace through music, a form of escape and relief from the mess of emotions he experiences. The phrase “Manic depression is a frustrating mess” sums up the turmoil of feeling overwhelmed by conflicting emotions.

“Manic Depression” is widely regarded as one of Hendrix’s more introspective songs, with critics noting its ability to convey emotional chaos through both lyrics and music. The song didn’t chart as a single but has become a staple in Hendrix’s catalog and is featured on many live recordings, including BBC Sessions and Winterland. Hendrix’s guitar work on this track, coupled with Mitchell’s inventive drumming, has been praised for its complexity and creativity, influencing generations of rock musicians.

The song has been covered by artists such as Ace Frehley and King’s X, both of whom brought their own interpretations to Hendrix’s emotional depth. Despite its more personal and reflective nature, “Manic Depression” fits perfectly within the energetic and experimental world of Are You Experienced, standing as a testimony to Hendrix’s ability to blend vulnerability with groundbreaking musicianship.

Read More: Top 10 Jimi Hendrix Songs

# 1 – Behind Blue Eyes – The Who

“Behind Blue Eyes,” written by Pete Townshend and performed by The Who, is one of rock’s most iconic ballads and a fitting conclusion for a list of songs focused on depression. Released as the second single from the band’s Who’s Next album in 1971, the song delves into feelings of alienation, emotional turmoil, and isolation. Originally conceived as part of Townshend’s abandoned Lifehouse project, the song’s lyrics are written from the perspective of the villain Jumbo, giving a deeply personal view of someone who feels misunderstood, burdened by their role as the “bad man.” It blends folk-like softness with a powerful, hard-hitting climax, making it one of the most emotional songs from the album.

Recorded at Olympic Studios in London, Who’s Next was produced by Glyn Johns and features Roger Daltrey on vocals, Pete Townshend on acoustic and electric guitars, John Entwistle on bass, and Keith Moon on drums. The track begins with soft, acoustic guitar arpeggios and builds into a full band crescendo in the second half, adding intensity to the emotions expressed in the lyrics. The studio’s production expertise is evident in the seamless transition from the intimate, melancholic opening to the explosive release of frustration and anger, one of the most memorable contrasts in the band’s catalog.

The lyrics of “Behind Blue Eyes” are a powerful reflection on the internal struggle of someone who is misunderstood and trapped by societal expectations. Townshend’s protagonist confesses, “No one knows what it’s like / To be the bad man / To be the sad man / Behind blue eyes,” offering a glimpse into the isolation of someone who is perceived as villainous but is battling deep emotional scars. The line “My love is vengeance that’s never free” conveys the complexity of his inner world, where love is intertwined with bitterness and vengeance. His dreams and conscience are not aligned, leaving him isolated and lost in a sea of conflicting emotions.

Townshend’s personal connection to the song comes through in the lyrics inspired by his own struggles, particularly after a tour performance when he resisted temptation and chose solitude. The refrain of “When my fist clenches, crack it open / Before I use it and lose my cool” encapsulates the emotional tension, asking for help before anger consumes him. The juxtaposition between inner vulnerability and outward toughness speaks to the protagonist’s struggle to navigate his feelings of anger and sadness.

“Behind Blue Eyes” stands out in The Who’s discography for its emotional depth and the way it grapples with inner conflict, making it one of the band’s most enduring tracks. While its thematic focus on alienation and unresolved feelings of frustration connects it to other rock songs about depression, the song’s soft-to-heavy structure offers a contrast to many songs on this list. The melancholy tone in the first half mirrors the feelings expressed in “Runaway Train” by Soul Asylum, while the explosive release of anger and frustration in the second half provides a catharsis not found in more consistently somber tracks.

The song’s chart success, reaching No. 34 on the US Billboard Hot 100, as well as its numerous cover versions—including a notable rendition by Limp Bizkit—attest to its lasting influence. Its raw portrayal of emotional conflict resonates deeply with listeners, making “Behind Blue Eyes” a powerful closing track for a list of rock songs that explore the darkest corners of human emotion.

Read More: Complete List Of The Who Studio Albums And Songs

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Complete List Of The Cranberries Songs From A to Z

Complete List Of The Cranberries Songs From A to Z

Feature Photo: Poudou99, CC BY 3.0 , via Wikimedia Commons

The Cranberries emerged as a defining voice of 1990s alternative rock, hailing from Limerick, Ireland. The band was originally formed in 1989 by brothers Noel Hogan (guitar) and Mike Hogan (bass), along with drummer Fergal Lawler and vocalist Niall Quinn. However, it was Dolores O’Riordan, who replaced Quinn in 1990, whose distinctive voice and poetic lyricism propelled the group into global prominence. Her raw yet ethereal vocals became the band’s signature sound, intertwining seamlessly with their melodic, guitar-driven compositions.

The Cranberries began their ascent in the early 1990s after signing with Island Records. Their debut album, Everybody Else Is Doing It, So Why Can’t We?, released in 1993, featured the breakout hits “Linger” and “Dreams,” both of which showcased O’Riordan’s emotive vocal delivery and the band’s knack for crafting memorable melodies. The album achieved massive commercial success, reaching multi-platinum status and marking the start of the band’s global impact.

Their second album, No Need to Argue (1994), cemented their place in rock history with the iconic protest anthem “Zombie,” a visceral response to the violence of the Troubles in Northern Ireland. The song’s haunting lyrics and grungy intensity contrasted with their earlier work, demonstrating the band’s versatility. No Need to Argue became their best-selling album, achieving platinum and multi-platinum certifications worldwide.

Over their career, The Cranberries released eight studio albums, including To the Faithful Departed (1996), which explored themes of mortality and social issues, and Bury the Hatchet (1999), which marked a return to their melodic roots after the more experimental tone of its predecessor. Following their hiatus in 2003, the band reunited in 2009 and released additional albums such as Roses (2012) and In the End (2019), the latter serving as a poignant farewell following O’Riordan’s untimely death in 2018.

The Cranberries’ contributions to music were widely celebrated. They received several international accolades, including nominations for MTV Europe Music Awards and recognition for their artistic and cultural impact. Their ability to merge deeply personal themes with universal resonance endeared them to fans worldwide. Tracks like “Ode to My Family,” “When You’re Gone,” and “Animal Instinct” remain beloved for their emotional depth and timeless appeal.

Beyond their music, The Cranberries, particularly Dolores O’Riordan, were active in philanthropy and social causes. O’Riordan often used her platform to advocate for peace and address societal issues, amplifying the band’s influence beyond the charts. Their music became a voice for a generation grappling with political turmoil and personal introspection.

The Cranberries’ legacy is marked by over 50 million records sold worldwide and a discography that continues to inspire new listeners. Their ability to balance introspective ballads with powerful rock anthems ensured their place as one of the most significant bands of their era. Even after O’Riordan’s passing, their music remains a testament to their enduring artistry and the profound emotional connection they forged with audiences.

(A-D)

“7 Years” – CD-R test pressing of Wake Up and Smell the Coffee (2001)
“A Fast One”Water Circle (1990, as The Cranberry Saw Us)
“A Place I Know”In the End (2019)
“All Over Now” † – In the End (2019)
“Always” – Bonus track on the iTunes release of Roses (2012)
“Analyse” † – Wake Up and Smell the Coffee (2001)
“Animal Instinct” † – Bury the Hatchet (1999)
“Astral Projections”Roses (2012)
“Away” – B-side of “Zombie” (1994)
“Baby Blues” – B-side of “Animal Instinct” (1999)
“Bosnia”To the Faithful Departed (1996)
“Cape Town” – Bonus track on Wake Up and Smell the Coffee (2001)
“Carry On”Wake Up and Smell the Coffee (2001)
“Catch Me If You Can”In the End (2019)
“Chocolate Brown”Wake Up and Smell the Coffee (2001)
“Chrome Paint”Water Circle (1990, as The Cranberry Saw Us)
“(They Long to Be) Close to You” (Carpenters cover) – If I Were a Carpenter (1994)
“The Concept”Wake Up and Smell the Coffee (2001)
“Conduct”Roses (2012)
“Copycat” ‡ – Bury the Hatchet (1999)
“Cordell”To the Faithful Departed (1996)
“Crazy Heart”In the End (2019)
“Daffodil Lament”No Need to Argue (1994)
“Delilah”Bury the Hatchet (1999)
“Desperate Andy”Bury the Hatchet (1999)
“Disappointment”No Need to Argue (1994)
“Do You Know”Wake Up and Smell the Coffee (2001)
“Dreaming My Dreams” ‡ – No Need to Argue (1994)
“Dreams” † – Everybody Else Is Doing It, So Why Can’t We? (1992)
“Dying In The Sun”Bury the Hatchet (1999)
“Dying Inside”Wake Up and Smell the Coffee (2001)

(E-H)

“Electric Blue”To the Faithful Departed (1996)
“Empty”No Need to Argue (1994)
“Every Morning”Wake Up and Smell the Coffee (2001)
“Everything I Said”No Need to Argue (1994)
“Fee Fi Fo”Bury the Hatchet (1999)
“Fire & Soul” ‡ – Roses (2012)
“Forever Yellow Skies”To the Faithful Departed (1996)
“Free to Decide” † – To the Faithful Departed (1996)
“The Glory”Something Else (2017)
“Go Your Own Way” (Fleetwood Mac cover) – Legacy: A Tribute to Fleetwood Mac’s Rumours (1998)
“God Be With You”The Devil’s Own (Original Soundtrack) (1997, credited to O’Riordan)
“Good Morning God”Anything (1990, as The Cranberry Saw Us)
“Got It”In the End (2019)
“Hollywood” † – To the Faithful Departed (1996)
“How”Everybody Else Is Doing It, So Why Can’t We? (1993)
“How’s It Going To Bleed”Anything (1990, as The Cranberry Saw Us)

(I-J)

“I Can’t Be with You” † – No Need to Argue (1994)
“I Don’t Need” – B-side of “Zombie” (1994)
“I Just Shot John Lennon”To the Faithful Departed (1996)
“I Really Hope”Wake Up and Smell the Coffee (2001)
“I Still Do”Everybody Else Is Doing It, So Why Can’t We? (1993)
“I Will Always”Everybody Else Is Doing It, So Why Can’t We? (1993)
“The Icicle Melts”No Need to Argue (1994)
“I’m Still Remembering” ‡ – To the Faithful Departed (1996)
“Illusion”In the End (2019)
“In It Together” – Bonus track on Roses (2012)
“In The End”In the End (2019)
“In the Ghetto” (Elvis Presley cover) – Bonus track on Wake Up and Smell the Coffee (2001)
“Intermission”To the Faithful Departed (1996)
“Íosa”Everybody Else Is Doing It, So Why Can’t We? (25th Anniversary Edition) (2018)
“Joe”To the Faithful Departed (1996)
“Just My Imagination” † – Bury the Hatchet (1999)

(L)

“Liar” ‡ – B-side of “Linger” (1993)
“Linger” † – Everybody Else Is Doing It, So Why Can’t We? (1993)
“Losing My Mind”Roses (2012)
“Lost”In the End (2019)
“Loud and Clear”Bury the Hatchet (1999)

(M-N)

“Many Days” – Asian Tour Edition of Wake Up and Smell the Coffee (2001)
“Never Grow Old”Wake Up and Smell the Coffee (2001)
“New New York”Stars: The Best of 1992–2002 (2002)
“No Need to Argue”No Need to Argue (1994)
“Not Sorry”Everybody Else Is Doing It, So Why Can’t We? (1993)
“Nothing Left at All”Uncertain (1991)

(O-P)

“Ode to My Family” † – No Need to Argue (1994)
“Paparazzi on Mopeds” – B-side of “Animal Instinct” (1999)
“Pathetic Senses”Uncertain (1991)
“Perfect World” – Bonus track on Roses (Extended Version) (2012)
“The Picture I View” – B-side of “Free to Decide” (1996)
“Pretty”Everybody Else Is Doing It, So Why Can’t We? (1993)
“Pretty Eyes”Wake Up and Smell the Coffee (2001)
“The Pressure”In the End (2019)
“Promises” † – Bury the Hatchet (1999)
“Put Me Down”Everybody Else Is Doing It, So Why Can’t We? (1993)

(R)

“Raining in My Heart” ‡ – Roses (2012)
“Reason” – B-side of “Linger” (1993)
“The Rebels”To the Faithful Departed (1996)
“Ridiculous Thoughts” † – No Need to Argue (1994)
“Roses”Roses (2012)
“Rupture”Something Else (2017)

(S)

“Salvation” † – To the Faithful Departed (1996)
“Saving Grace”Bury the Hatchet (1999)
“Schizophrenic Playboys”Roses (2012)
“Serendipity” – Bonus track on Roses (2012)
“Shattered”Bury the Hatchet (1999)
“Shine Down”Nothing Left at All (1990, as The Cranberry Saw Us)
“Show Me” ‡ – Roses (2012)
“So Cold in Ireland” – B-side of “Ode to My Family” (1994)
“So Good”Roses (2012)
“Someday” – Bonus track on the Japanese release of Roses (2012)
“Sorry Son”Bury the Hatchet (1999)
“Stars” † – Stars: The Best of 1992–2002 (2002)
“Still Can’t…” ‡ – Everybody Else Is Doing It, So Why Can’t We? (1993)
“Stop Me” – Bonus track on the iTunes Canada release of Roses (2012)
“Storm in a Teacup”Anything (1990, as The Cranberry Saw Us)
“Such a Shame”Bury the Hatchet (The Complete Sessions) (2000)
“Such a Waste” – Bonus track on “This Is the Day” (2002)
“Summer Song”In the End (2019)
“Sunday” ‡ – Everybody Else Is Doing It, So Why Can’t We? (1993)

(T-Z)

“The Sweetest Thing” – B-side of “Promises” (1999)
“Them”Uncertain (1991)
“This Is The Day” † – Wake Up and Smell the Coffee (2001)
“Throw Me Down a Big Stairs”Anything (1990, as The Cranberry Saw Us)
“Time is Ticking Out” † – Wake Up and Smell the Coffee (2001)
“Tomorrow” † – Roses (2012)
“Twenty One”No Need to Argue (1994)
“Uncertain”Uncertain (1991)
“Waiting in Walthamstow” ‡ – Roses (2012)
“Wake Me When It’s Over” † – In the End (2019)
“Wake Up And Smell The Coffee”Wake Up and Smell the Coffee (2001)
“Waltzing Back”Everybody Else Is Doing It, So Why Can’t We? (1993)
“Wanted”Everybody Else Is Doing It, So Why Can’t We? (1993)
“War Child”To the Faithful Departed (1996)
“What You Were” – B-side of “Dreams” (1992)
“What’s On My Mind”Bury the Hatchet (1999)
“When You’re Gone” † – To the Faithful Departed (1996)
“Why?” † – Something Else (2017)
“Will You Remember?”To the Faithful Departed (1996)
“Woman Without Pride”Bury the Hatchet (The Complete Sessions) (2000)
“Yeats’ Grave”No Need to Argue (1994)
“You and Me” † – Bury the Hatchet (1999)
“Zombie” † – No Need to Argue (1994)

Steeleye Span announce Spring tour and update on new studio album

Steeleye Span have announced a run of live dates for April and May, as well as offering an update on their latest studio album.

Founding member and singer Maddy Piro heads a line-up that includes Liam Genockey (drums), Julian Littman (guitar and keyboards), Roger Carey (bass), Andrew “Spud” Sinclair (guitar) and latest addition, violinist Athena Octavia (who also plays in indie folk act Iris & Steel) for an 18-date run around England, kicking off at Alnwick Playhouse on April 25 and running through to Dorchester’s Hardye Theatre on May 17.

The band’s new studio album, titled Conflict, is currently at the mixing and mastering stage. Said to encompass the rockier side of the band Conflict is slated for a general release later this year, in time for the band’s traditional November and December run of live dates, although there remains a chance that, if completed, it may make the merch stand on the Spring run of dates,

You can see the full run of live dates and ticket details below.

Steeleye Span Spring tour dates

Apr 25: Alnwick Playhouse
Apr 26: Harrogate Theatre
Apr 27: Scunthorpe Plowright Theatre
Apr 29: Southport Atkinson Arts
Apr 30: Rhyl Pavilion Theatre
May 1: Kendal Brewery Arts
May 2: Pocklington Arts Centre
May 4: Middlesbrough Theatre
May 6: Hereford The Courtyard
May 7: Newport Riverfront
May 8: Walsall Arena
May 10: Hunstanton Princess Theatre
May 11: Newark Palace Theatre
May 12: Leamington Spa Royal Spa Centre
May 14: Milton Keynes The Stables
May 15: Salisbury Arts Centre
May 16: East Grinstead Chequer Mead Theatre
May 17: Dorchester Hardye Theatre

Get tickets.

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This nu metal band want YOUR ideas for song titles and lyrics: “If we pick yours we’ll give you a shoutout on the album credits”

Nu metal band Nonpoint have turned to their fans for help writing their next album.

On Wednesday (February 19), the Florida five-piece, best-known for 2005 single Bullet With A Name and their metallic take on Phil CollinsIn The Air Tonight, took to social media, asking for their following to suggest potential song titles and lyrical themes in exchange for a shout-out in their next record’s liner notes.

“Want some new music from the Nonpoint squad?” the band asked. “We just so happen to be writing. Give us some ideas for titles and subject matter you’d love to hear in the comments. If we pick yours we’ll give you a shoutout on the album credits thanking you for the inspiration!”

So far, responses to the request have varied wildly, with one fan asking for lyrics about sleep paralysis while another suggests covering Chicago by Michael Jackson. Have your say by commenting on the embedded Instagram post below.

Nonpoint were formed in Fort Lauderdale in 1997 by vocalist Elias Soriono and drummer Robb Riviera. They debuted with 2000 album Statement, which reached number 166 on the US Billboard 200 charts. 2002 follow-up Development is currently their highest-charting record, having reached number 52 on the Billboard 200.

In 2004, Nonpoint’s version of In The Air Tonight cover reached number 3 on the US Bubbling Under Hot 100 singles chart. Bullet With A Name later found crossover appeal when it appeared on the soundtrack for WWE SmackDown vs. Raw 2007.

The band’s latest album, X, came out in 2018. Soriano declared his intention to start writing their next release last year. “We’re creators, and we’re constantly creating, so we’re sitting on a ton of music,” he told DJ Force X (via Blabbermouth). “It’s just about which ones kind of work together and kind of fit together and we wanna finally put together into a body of work.”

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Bloodstock festival announces one-day Winter Gathering event headlined by doom legends Candlemass

Bloodstock Open Air has announced a Winter Gathering offshoot for December.

The Derbyshire-based festival will take over KK’s Steel Mill down the road in Wolverhampton for a one-day, two-stage event on December 6. Headliners Candlemass have been confirmed and tickets are on sale now.

Joining Candlemass on the lineup’s main stage will be Venom Inc. playing their 2018 album Ave in full, plus Raised By Owls, Hellripper, Tortured Demon and King Kraken. Acts confirmed for the second stage are Red Method, Thuum and Hellripper.

Also at the event will be signing sessions, DJs and more activities still to be announced.

Candlemass comment: “Candlemass are proud to be a part of the Bloodstock Winter Gathering! We have always felt welcome on British soil and we’re excited to be there once again and deliver our special brand of Swedish doom metal! See ya all soon… Love you!!!”

The Winter Gathering will follow the 2025 edition of Bloodstock Open Air, set to be held at Catton Hall from August 7 to 10. Headlining the four-day outdoor weekender will be Trivium, Machine Head and Gojira. Weekend tickets have already sold out, as have day tickets for the Sunday with Gojira. Day tickets for Friday (featuring Trivium) and Saturday (featuring Machine Head) are still available.

Rounding out the Bloodstock bill will be Emperor, Lacuna Coil, Lord Of The Lost, Mastodon, Ministry and many more.

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Earlier this week, Machine Head announced details of their new album. Unatoned will be released on April 25 via Nuclear Blast and Imperium, and the singles These Scars Won’t Define Us and Unbound are currently streaming.

During an exclusive interview with Metal Hammer last year, Trivium frontman Matt Heafy revealed the band will play their 2005 breakthrough album Ascendancy in full during their slot. They are currently performing the record in its entirety on a European tour with Bullet For My Valentine.

“We’ve discussed adding in the special-edition original songs as well,” Heafy also told us, referencing Ascendancy’s bonus tracks Blinding Tears Will Break The Skies and Washing Away Me In The Tides.

A mysterious new band has been added to Download 2025 and the internet is convinced it’s Sleep Token-related

The internet is convinced that a mysterious new band added to the Download 2025 lineup have something to do with Sleep Token.

On Tuesday (February 18), the Leicestershire festival added 22 new names to this year’s bill, with one of them being an as-yet-unheard act called President. Little is known about the project, whose members are thus far unnamed. Their profile on the Download app reads, “No names. No past. No distractions. Only the mission ahead.”

On Instagram, President have posted several enigmatic images with captions that include “Join the campaign” and “The campaign commences soon”. The band’s website is currently hosting a countdown set to expire at midnight UK time on Friday, May 16.

The mystery has inherently led to some internet sleuths drawing parallels between this new outfit and similarly faceless superstars Sleep Token, who are headlining Download for the very first time in 2025.

In a Reddit thread with the title “Who/what are President (band)?”, one fan comments: “Could potentially be related to Sleep Token in some way. Download is a massive moment for them, could potentially be a way to signal a ‘new era’ for them?”

It’s understandable for the British progressive metal figureheads’ following to be in a puzzle-solving mood, as Sleep Token have been putting out some teasers of their own lately.

On Tuesday, a new TikTok account linked to the band began directing people to the website showmehowtodanceforever.com. The site hosts a cryptic word game that, when solved, asks the user to sign up to a mailing list. Many sources report that fans then receive an email sorting them into one of two ‘houses’.

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It seems that new Sleep Token music is on the horizon, given the band inked a deal with major label RCA last year and have been teasing a ‘new era’ for quite some time.

Download 2025 will take place at Donington Park from June 13 to 15. Korn and Green Day will headline along with Sleep Token. Weezer, the Sex Pistols, Bullet For My Valentine, Spiritbox and more will also appear across the weekend.

Complete List Of Addison Rae Songs From A to Z

Complete List Of Addison Rae Songs From A to Z

Feature Photo: Tinseltown / Shutterstock.com

Addison Rae Easterling’s rise from small-town Louisiana to global stardom is a testament to the power of social media and an unrelenting drive to expand creative horizons. Before she was a household name, she was simply a young girl with a passion for dance, competing nationally and sharpening her skills. However, the digital age provided an opportunity that would change the course of her life. In July 2019, Rae joined TikTok and quickly gained a massive following with her engaging dance routines. Within months, she had over a million followers, prompting her to leave Louisiana State University, where she was studying broadcast journalism, and move to Los Angeles to pursue a full-fledged career in entertainment.

Her massive online presence opened doors far beyond social media. In 2021, Rae made the leap into music with the release of her debut single, “Obsessed.” While the song had a mixed critical reception, it solidified her entry into the pop landscape. Determined to refine her sound, she continued working on music, and in August 2023, she released AR, an EP that showcased her artistic growth. The project included early material that had been leaked and subsequently polished for official release, giving fans insight into her musical evolution. Rae’s ability to transition from influencer to recording artist was further solidified with her 2024 single “Diet Pepsi,” which became her first entry on the Billboard Hot 100, peaking at number 54.

Beyond her success in music, Rae made her acting debut in the Netflix film He’s All That (2021), a gender-swapped remake of the 1999 teen classic She’s All That. While the movie received largely negative reviews, it was the most-streamed film on Netflix during its release week, proving her immense star power. She continued building her acting portfolio with a role in the 2023 horror film Thanksgiving, where she played Gabby. Looking ahead, Rae is set to appear in the 2025 film Animal Friends, marking yet another step in her growing film career.

Rae’s chart success has been driven by her strong fan engagement and ability to leverage her digital presence into tangible industry success. Her ability to dominate social media and branch into different entertainment avenues has set her apart from other influencers who attempted to break into mainstream music. While her career is still developing, her influence is undeniable, as she continues to balance multiple ventures, from music and acting to endorsements with major fashion brands.

Her popularity extends beyond entertainment, as she has become a force in fashion. Collaborations with luxury brands such as Saint Laurent and Marc Jacobs have further cemented her status as a style icon. Rae’s sense of fashion and ability to generate trends make her a valuable asset to designers looking to tap into younger demographics. She has seamlessly transitioned from TikTok star to a legitimate figure in the fashion world, attending major industry events and gracing the covers of top magazines.

Outside of entertainment, Rae has used her platform to support charitable causes. In January 2021, she donated her $1 million prize from an all-star Mario Tennis Aces tournament to No Kid Hungry, a nonprofit focused on ending child hunger in the United States. Her philanthropic efforts demonstrate that she is more than just an influencer—she is someone using her fame to make a positive impact.

Addison Rae’s rapid ascent is a testament to her ability to adapt, evolve, and capture the attention of millions across various entertainment fields. From TikTok sensation to pop artist, actress, and fashion icon, she has proven that social media success can translate into lasting stardom. As she continues to expand her career, she remains a dynamic presence in the industry, with a fan base eager to follow her next move.

Complete List Of Addison Rae Songs From A to Z

2 Die 4 (featuring Charli XCX) – AR – August 18, 2023
Aquamarine – 2024
Aquamarine / Arcamarine (Music Video, Directed by Lexee Smith) – 2024

Blueberry Faygo (with Lil Mosey) – Non-album single – 2020
Canceled (with Larray) – Non-album single – 2020
Diet Pepsi – 2024
Diet Pepsi (Music Video, Directed by Sean Price Williams) – 2024

Got It Bad –  2024
I Got It BadAR – August 18, 2023
It Could’ve Been UAR – August 18, 2023
Lucifer (with A. G. Cook, Charli XCX) – Britpop – 2024
Nothing On (But the Radio)AR – August 18, 2023
ObsessedAR – March 19, 2021
Obsessed (Music Video, Directed by Diane Martel) – 2021

Von Dutch (with Charli XCX and A. G. Cook) – Brat and It’s Completely Different but Also Still Brat – 2024

You Only Love Me (with Rita Ora) – Non-album single – 2023

Read More: Artists’ Interviews Directory At ClassicRockHistory.com

Read More: Classic Rock Bands List And Directory

Complete List Of Addison Rae Songs From A to Z article published on Classic RockHistory.com© 2025

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About The Author

Brian Kachejian

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Brian Kachejian was born in Manhattan and raised in the Bronx. He is the founder and Editor in Chief of ClassicRockHistory.com. He has spent thirty years in the music business often working with many of the people who have appeared on this site. Brian Kachejian also holds B.A. and M.A. degrees from Stony Brook University along with New York State Public School Education Certifications in Music and Social Studies. Brian Kachejian is also an active member of the New York Press.

“It’s gory and romantic and brutal and I think that’s what keeps people coming back again and again.” Why metal is obsessed with vampires

Christopher Lee's Dracula/Creeper's Will Gould
(Image credit: Christopher Lee’s Dracula: Silver Screen Collection/Getty Images/Creeper’s Will Gould: Steve Bright)

“What you people want?” “Just a couple more minutes of your time, about the same duration as the rest of your life.” The bar scene in Kathryn Bigelow’s cult 1987 neo-Western vampire classic, Near Dark, is one of horror’s most iconic sequences. It marks a point where brooding atmosphere explodes into brutal violence, and it does so with consummate style. Bill Paxton’s psychotic Severen exudes an air of deranged menace, but when he slices the bartender’s throat with a razor-edged spur, he looks cool doing it.

Near Dark and The Lost Boys both came out in the same year, which is crazy,” says Creeper frontman Will Gould, whose band sank their teeth into a rich vein of vampire mythology on Sanguivore, Metal Hammer’s 2023 album of the year and a fully fledged concept album that sucked in all the right ways.

“We took a lot of visual cues from both of them, but especially Near Dark. Bill Paxton’s character had the leather jacket and the sunglasses on, he was covered in blood. We basically based the whole look around that.”

Creeper aren’t the first band to draw inspiration from the blood-drinkers of literature and film. Metal has had a long and fruitful love affair with the undead. The Witch and The Northman director Robert Eggers’ high-profile remake of classic 1922 vampire movie Nosferatu is in cinemas from January 3. Its be-fanged antagonist Count Orlok – a bestial, inhuman version of Dracula – has inspired countless bands over the years, from Saxon and 80s thrashers Dark Angel to Darkthrone, whose drummer Fenriz has said that the frostbitten atmosphere of their classic 1994 album, Transilvanian Hunger, was influenced by the original black and white movie.

“Vampires are the most enduring character trope to emerge from the legacy of gothic literature and culture, probably because they speak to a need people have for something that is transgressive, escapist and romantic,” says Joel Heyes, a writer, cultural commentator and goth musician who performs under the name Byronic Sex & Exile. “They are essentially powerful outsiders who embody the ideas of romanticism – eternity, power, terror, beauty and sadness.”

There’s a lot in there to appeal to numerous outsider groups, but particularly subcultures like goth and metal, which come with a built-in preoccupation with some of the darker elements of life and death.

“For me it’s the extremes, which give you dramatic things to sing about,” says Will Gould. “You go from the highest form of crushing obsession and love and lust – the ‘I have crossed oceans of time to find you’ sort of thing – and then you have the blood and beheadings. It’s gory and romantic and brutal and I think that’s what keeps people coming back again and again.”

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Creeper – Teenage Sacrifice (Official Music Video) – YouTube Creeper - Teenage Sacrifice (Official Music Video) - YouTube

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The original vampires of European folklore were monstrous figures who inspired genuine fear in superstitious populaces. There was a widespread belief in these undead revenants, as indicated by numerous ‘vampire burial’ sites uncovered by archaeologists and containing corpses with staked hearts and decapitated skulls.

“I think vampires started out as spectacles of horror that seemed to provide explanations for things that we didn’t fully understand,” says Dr Helen Driscoll of the University of Sunderland, who has a background in evolutionary psychology and an interest in vampire mythology. “But they have now evolved beyond that horror aspect. Humans have an understanding of our own mortality but we also have a strong instinct to survive. In many ways, vampires transcend human limits and we want to be like them.”

The first major work of literature to bring vampires to a wider western audience was John Polidori’s 1819 short story The Vampyre (Polidori was Lord Byron’s physician and the tale sprang from a story-telling session that also saw Mary Shelley create Frankenstein). It was followed in 1872 by Sheridan Le Fanu’s groundbreaking novella Carmilla, centred around a female vampire, but it was Bram Stoker’s 1897 classic Dracula that really hypnotised the public.

“And the popularity of that really became the basis for what we see now, which is vampires being worth billions to the economy,” says Helen Driscoll. “If you look at all of the films, the books, the games and the music inspired by vampires, that is ultimately a result of Dracula.”

The character of Dracula was partly inspired by Vlad Tepes – aka Vlad The Impaler – a real life 15th century nobleman from Wallachia (now modern-day Romania), who had a penchant for skewering his enemies on stakes. His unquenchable bloodthirst has inspired songs by several extreme metal bands, from Marduk to Macabre and countless others. By contrast, Stoker’s Dracula was a more darkly romantic figure, and the book’s themes of sexual repression and deathless love are more suited to bands such as Cradle Of Filth, who have utilised vampiric themes and imagery on several songs, not least 2006’s Lovesick For Mina, which centres on one of Dracula’s female protagonists, Mina Harker.

“What I find appealing is the combination of polar opposites,” says Will Gould of the Victorian vampire. “Eternal love versus extreme violence and death. Love and death work against each other and it’s fun playing with those themes.”

While there was a romantic appeal to the vampires of Stoker, Le Fanu and Polidori, they were still very much portrayed as the Other; an antagonist to be defeated. It was Anne Rice’s 1976 book Interview With The Vampire that changed the game, painting the vampire – in the shape of main characters Louis de Pointe du Lac and Lestat de Lioncourt – as sympathetic protagonists. The subsequent series of books (The Vampire Chronicles) and later film and TV adaptations fleshed out Rice’s original idea, introducing a wealth of undead characters wrestling with morality and immortality as they walked through the ages.

“With Interview With The Vampire we started to see the humanising of vampires,” says Helen Driscoll. “That was part of them moving from existing purely in the horror genre to being characters that we could relate to. We also started to see a moral aspect to vampires.”

Aesthetically and thematically, The Vampire Chronicles had a huge impact, not only on vampire lore and the horror genre but many areas of the metal scene. The presence of Lestat, Louis and their fellow vampires is in everything from the gothic sumptuousness of My Dying Bride’s A Kiss To Remember and Type O Negative’s mournful Suspended In Dusk to the flouncy shirts, facepaint and bombast of Powerwolf, who mix up their lycanthropy-themed songs with plenty of vampiric imagery.

Italy’s Theatres des Vampires have built a career on writing and singing about vampires. Founded as a black metal band in 1994 by vocalist Alessandro Nunziati before drifting towards goth metal territory, they took the name directly from Interview With The Vampire – specifically a coven of Parisian vampires who used theatre performances to kill in plain sight. Alessandro left Theatres des Vampires in 2004, and today releases solo albums under the name Lord Vampyr.

“In literature and film adaptations, they are cruel beings, but also very melancholic and profoundly lonely,” Lord Vampyr says. “But then the association is often made between vampires and evil or Satan, as in [1973 Hammer Horror movie] The Satanic Rites Of Dracula. It’s a versatile figure, so adapts to both gothic atmospheres and more extreme ones.”


The late 70s and early 80s saw cinematic portrayals of vampires turning increasingly more vicious and explicit. 1983’s The Hunger, starring David Bowie as an undead immortal, and featuring goth pioneers Bauhaus performing their classic single Bela Lugosi’s Dead, an homage to the 1931 Dracula movie and its Hungarian-born star, was an erotic arthouse classic, but it was an outlier. More typical were the likes of 1979 mini-series Salem’s Lot (claustrophobic smalltown dread and jump-scares, based on a Stephen King novel) and the aforementioned Near Dark (vampires as blood-drenched outlaw gang).

Musically, vampire-inspired songs were getting darker and more blood-splattered too, as evidenced by Venom’s Bloodlust and Slayer’s At Dawn They Sleep. The 1990s saw both the campy fun of Buffy The Vampire Slayer, with its alt rock soundtrack, and the more transgressive literary work of William Joseph Martin, who explored vampirism alongside sexuality and gender roles in 1992 novel Lost Souls (published under the name Poppy Z. Brite). The latter was a continuation of vampire literature’s exploration of queer themes, from the lesbian overtones of Carmilla to the homoerotic relationships between Lestat and Louis in Interview With The Vampire.

The latter book was turned into a blockbuster 1994 film, starring Tom Cruise as Lestat and Brad Pitt as Louis (and featuring Guns N’ Roses’ less-than-stellar cover of the Rolling Stones’ Sympathy For The Devil on the soundtrack). Despite the initial reservations of Anne Rice herself, it was a surprisingly effective adaptation of the book. The same couldn’t be said for 2002’s Queen Of The Damned, a mangled version of two more Rice novels, The Vampire Lestat and the eponymous Queen Of The Damned.

What the latter movie did have in its favour was a killer soundtrack, written by Korn’s Jonathan Davis and performed by artists including Linkin Park’s Chester Bennington and Disturbed’s David Draiman. The biggest vampire franchise of the 21st century was undoubtedly The Twilight Saga. While its metal credentials were tenuous, it did at least introduce a new generation to music’s dark(ish) side, with Linkin Park, Muse and Green Day all featuring on various soundtracks from the five films.

“That’s an example of vampires situated more in romantic fiction but the dark side is still there,” Helen Driscoll says. “In psychology, there’s something that we refer to as the dark triad of personality: narcissism, which is self-love; Machiavellianism, which is manipulative personality, and psychopathy, which is linked to a lack of empathy and guilt. We see those traits embodied in vampires but engaging with this kind of media gives us a chance to explore it in a safe way in a fictional scenario.”

That’s one of the reasons why tapping darker themes through music can be healthy. Which is just as well, because vampire mythology – and metal’s obsession with it – is as immortal as the characters it’s based on. Some of the more notable works of recent years include the post-apocalyptic vision of Justin Cronin’s novel The Passage, Jim Jarmusch’s 2013 arthouse movie Only Lovers Left Alive, comedy movie-turned-TV series What We Do In The Shadows and the Scandi-horror of John Ajvide Lindqvist’s Let The Right One In, turned into two different films.

Let The Right One In was another big one for us because we wanted a more platonic take on love,” says Creeper’s Will Gould. “It was more about companionship and the idea of ancient vampires living through the years and wanting a connection with somebody. [Sanguivore protagonist] Mercy was based partly on Eli from Let The Right One In, but also Claudia from Interview With The Vampire, who is turned when she’s younger but is just as scary as the other two. We basically put a lot of classic vampire folklore and tales into a blender and came up with our own thing.”

Asked whether he’d accept if a real-life vampire invited him to step into the shadows, the Creeper frontman laughs. “Who’s to say I haven’t?” he replies. “But no, I’d like the power and the blood-drinking, but I’m not sure this is a world I’d want to live in forever. When you see me wearing sunglasses and covered in fake blood, it’s pure escapism.”

Sanguivore is out now via Spinefarm. Creeper play Bloodstock festival in August.

Paul Travers has spent the best part of three decades writing about punk rock, heavy metal, and every associated sub-genre for the UK’s biggest rock magazines, including Kerrang! and Metal Hammer

Goth is the coolest it’s been in decades – and these 9 rising metal bands prove it

Kalean Mikla in 2023
(Image credit: Scott Legato/Getty Images)

You can’t blame people for being a bit pessimistic nowadays. The world is boiling itself to death, the upper classes are hoarding more and more of humanity’s wealth, and Kanye West refuses to just go away forever. There is good news to come from all the terribleness, however: gothic music, able to soundtrack the ever-darkening prospects of the modern age, is undergoing a glorious renaissance.

You can feel that comeback in everything from The Cure’s recent return to Wednesday becoming a Netflix megahit, and it’s present in metal as well. Below, Metal Hammer’s listed nine up-and-coming goth metal bands ideal for these miserable times. The new wave of moody riffs starts right here…

A divider for Metal Hammer

Cemetery Skyline

Formed by members of Dark Tranquillity, Amorphis and more, Cemetery Skyline could have been the greatest melodeath supergroup since The Halo Effect. Instead, the Nordic collective changed lanes to much gloomier fare, indulging their love for Sisters Of Mercy and Type O Negative. Debut album Nordic Gothic, released last year, flaunted Mikael Stanne’s smooth singing voice, while crunching riffs were tempered by layers of sublime synth work. When more music will come remains unclear, but it bloody well better!


Crippling Alcoholism

If Nine Inch Nails and The Birthday Party had a fist-fight in a synthesiser shop, you’d get Crippling Alcoholism. Little is known about New England’s noise/goth enigmas, but latest album With Love From A Padded Room narrated the stories of inmates at a fictional prison and offered fucked-up music to match. Where such songs as Satan Is The One were ominous and darkly catchy, I’ll Pay More If You Let Me Watch saw the quintet drop into hellish discordance with zero notice.

Crippling Alcoholism – Blood Pony (Official Video) – YouTube Crippling Alcoholism - Blood Pony (Official Video) - YouTube

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Dool

Dool singer Raven van Dorst was born intersex, and through their lyrics they ask how they can fit into the world while being at peace with who they are. Reducing the Dutch five-piece to just ‘goth’ would be an insult, but van Dorst grew up a fan of Type O Negative and retains much of their darkness while experimenting with prog, doom and more. Check out last year’s The Shape Of Fluidity for their most mature and balanced work to date.


Hangman’s Chair

One of the most literal takes on ‘goth metal’ you’re likely to hear, Hangman’s Chair play melodies comparable to Sisters Of Mercy, but turn up the guitar distortion and fierceness of the drums when they do so. Their forceful music and sullen singalongs won the attention of Nuclear Blast Records (Sabaton, Nightwish, Machine Head), and after 2022’s A Loner, they toured with Amenra and Paradise Lost. This year’s Saddiction only doubled down on the might and majesty of their output.


Kælan Mikla

Endorsed by Alcest, Deftones and Ville Valo of Him, Kælan Mikla are the glum synth-punks that metal’s learnt to love. The Icelandic trio turn old-school goth on its head, entirely rejecting its guitars while emphasising its cinematic synths and bopping percussion. The result is a soundscape so beautifully versatile that the band haven’t just released tight anthems such as Sólstöður, but also lush, feature-length soundtracks. With single Stjörnuljós dropping late last year, hopefully more excellence looms on the horizon.

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Kælan Mikla – Stjörnuljós – YouTube Kælan Mikla – Stjörnuljós - YouTube

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Messa

With a name that means ‘mass’ in their native Italian, Messa have played a shamanic and slow-paced take on doom metal since starting in 2014. However, as of 2025 single At Races, the band have broadened their reach, opening the track with a doleful, Cure-like riff before slowing into sparse musical expanses. Spoiler alert, but new album The Spin will continue that detour, adding not just tighter, 80s-indebted melodies, but ventures into jazz and synth-rock. Check it out on April 11.


Naut

Naut say they sound like “a bad trip on a dancefloor”. The Bristolians are goth at their core, but throw in several disruptors along the way. Their warm, danceable riffs are offset by the odd flicker of noise, not to mention the mechanical drum machine that pounds away underneath. Vocalist Gavin Laubscher has the same inviting baritone as Peter Steele and Carl McCoy, yet can bust out shrill, blackened screams as well. Hear 2023 album Hunt for the full, disorientating experience.


Remina

It’s goth… in spaaaaaaace! Self-described “cosmic doom” duo Remina play a spacy and progressive take on downbeat metal. The synths that so many goth bands use to frame songs of human drama get rocketed to the stars, their sparseness hitting like the soundtrack to a sci-fi B-movie. The guitars and drums are similarly slow, and with Heike Langhan’s arresting vocals on top it’s easy to feel like you’re suspended in a stunning, otherworldly place. Hear new EP Eremus for a concise but comprehensive introduction.

REMINA – Erebus (Official Video) – YouTube REMINA - Erebus (Official Video) - YouTube

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Unto Others

Arguably the leaders of gothic metal’s new school, Unto Others are equally literate in grim atmosphere and bullheaded riffing. On breakthrough album Strength and banger-stacked follow-up Never, Neverland, the Oregon band shout on top of Metallica-calibre thunder one minute, then croon over jangling guitars and bouncing drums the next. What unites it all, though, is tight-knit songwriting and undeniable darkness. As a result, they’ve played with everyone from Green Lung to Carcass and never once felt like an outlier.

Louder’s resident Gojira obsessive was still at uni when he joined the team in 2017. Since then, Matt’s become a regular in Prog and Metal Hammer, at his happiest when interviewing the most forward-thinking artists heavy music can muster. He’s got bylines in The Guardian, The Telegraph, NME, Guitar and many others, too. When he’s not writing, you’ll probably find him skydiving, scuba diving or coasteering.

“Wrapping blues tradition in boundary-breaking innovation”: Every Led Zeppelin album ranked from worst to best

Led Zeppelin studio portrait
(Image credit: Album / Alamy Stock Photo)

The Becoming Led Zeppelin documentary has been criticised by some for its swift, wait-a-sec-what-happened-next conclusion, but there’s good reason for that. Ending as Led Zeppelin II is released, the timeline spares the filmmakers the onerous task of having to address the band’s Hammer Of The Gods years and all that entails, allowing them to focus on the music, which, as anyone who’s seen the film on a big screen can attest, sounds like it was beamed down from Olympus. And that’s why we’re here.

Jimmy Page, Robert Plant, John Paul Jones and John Bonham formed Led Zeppelin in 1968, taking their name from a prediction from Keith Moon that their band was almost certain to go down like a ‘lead balloon’. Their manager Peter Grant’s lack of confidence in the record-buying public’s pronunciation skills, allied to an innate instinct to think big, translated The Loon’s withering sarcasm into ‘Led Zeppelin’. And before you could say ‘swiftly signed to Atlantic, relentlessly toured’, they were the World’s Biggest Band that, for some reason, nobody you knew had ever seen on television.

Inexplicable anonymity aside, Zeppelin’s vastness was preposterous, and as their fame ballooned, their artistic vision expanded to match. Ever more epic live shows were marked by extensive improvisations by four virtuosi whose inspired ensemble interplay seemed almost supernatural in origin. Audiences broke records, albums camped out at the top of charts and during their 12-year existence, Led Zeppelin casually conquered Earth.

You’ve clearly got all of the Led Zeppelin albums already, so here’s the order in which they appear if you rank them from least-best to most-best.

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Classic Rock’s Reviews Editor for the last 20 years, Ian stapled his first fanzine in 1977. Since misspending his youth by way of ‘research’ his work has also appeared in such publications as Metal Hammer, Prog, NME, Uncut, Kerrang!, VOX, The Face, The Guardian, Total Guitar, Guitarist, Electronic Sound, Record Collector and across the internet. Permanently buried under mountains of recorded media, ears ringing from a lifetime of gigs, he enjoys nothing more than recreationally throttling a guitar and following a baptism of punk fire has played in bands for 45 years, releasing recordings via Esoteric Antenna and Cleopatra Records.

With contributions from