“The Rock and Roll Hall of Fame: Where Hard Rock Goes to Die and Metal Gets Melted Down”

Written By Tristan Cardinelli

Step right up, ladies and gentlemen, and behold the spectacle of the Rock and Roll Hall of Fame, where they’ve got more snubs than Glenn Close. Yes, indeed, it’s the place where hard rock goes to die a slow, painful death, and metal? Well, metal gets thrown into the furnace faster than you can say “Sellout!”

Ozzy Osbourne is the only metal act to be nominated this year. While his contributions to the genre are undeniably legendary, his solitary presence only highlights the blatant disregard the Hall has for the vast landscape of metal music. It’s like trying to rock out at a funeral procession—just plain awkward. Metal isn’t some fringe genre relegated to the shadows; it’s a force that has shaped the very fabric of rock and roll. Yet, here we are, with Ozzy as the lone representative, while countless other deserving bands are left hanging. The establishment’s ignorance is a travesty, a mockery, and a slap in the face to every metalhead who has ever dared to dream of seeing their heroes enshrined in the Hall of Fame. Shame on you, Rock and Roll Hall of Fame. Shame on you.

They wouldn’t know a real riff if it smacked them in the face with a double-necked guitar. Oh, sure, they’ve let in a few token headbangers like Black Sabbath and Metallica, but anything beyond that? Forget about it! They’d sooner induct a kazoo quartet than admit that maybe, just maybe, there’s more to rock and roll than bubblegum pop and one man acts using laptops and auto correct.

In the hallowed halls of the Rock and Roll Hall of Fame, there’s a whispering rumor that echoes through the corridors like a distant guitar riff: “Why no love for hard rock and metal?” Indeed, as fans of the genre bang their heads in frustration, it seems the institution has built a metaphorical wall of sound, barricading itself from the thunderous onslaught of amps and power chords. But fear not, dear reader, for we are about to embark on a quest to unravel this enigma, armed with wit, wisdom, and perhaps a touch of devilish humor.

First, let’s address the elephant in the room: the Rock and Roll Hall of Fame seems to have a soft spot for the more melodic and mainstream acts. The gods of metal like Iron Maiden and Motörhead are left waiting in the wings. Could it be that the Hall has a secret penchant for dance beats over distorted guitars? Or perhaps they fear the wrath of metalheads breaking loose and wreaking havoc in their pristine museum? One can only speculate.

Now, let’s not dismiss the Hall’s choices entirely. After all, they have bestowed honors upon legends like Black Sabbath and Led Zeppelin, proving that they do have an appreciation for the heavier side of rock. But why stop there? Where’s the love for the riff-wielding warriors who have kept the flame of rock and roll burning bright through decades of turmoil and trend-chasing?

Some argue that hard rock and metal are too niche and abrasive for the delicate sensibilities of the Hall’s voting committee. But come on, this is rock and roll we’re talking about! If it’s not loud, rebellious, and just a little bit dangerous, then what’s the point? We didn’t sign up for a tea party; we want to feel the earth shake beneath our feet and our eardrums quiver in ecstasy.

Perhaps it’s time for the Hall to loosen its tie, let down its hair, and embrace the raw power of hard rock and metal. Picture it: a gallery dedicated to the shredders and screamers, where the walls reverberate with the echoes of explosive solos and guttural roars. It would be a sight to behold, a pilgrimage site for headbangers from across the globe.

Who votes for cats to get nominated into rock and roll hall of fame anyway?The Rock and Roll Hall of Fame’s nominating committee chooses names for the “Performers” category, which includes singers, vocal groups, bands, and instrumentalists. A committee of rock and roll historians selects the nominees each year.

Fear not, dear metalheads, for we shall not be silenced! We’ll keep banging our heads and flipping the bird to the ‘Hall of Lame’ until they recognize what great rock and metal sounds like. Until that day comes, we’ll just have to content ourselves with spinning our favorite vinyl records and raising a defiant middle finger to the powers that be. After all, rock and roll was never about fitting in or playing by the rules. It’s about resistance, passion, and sticking it to the man, even if he’s just a bourgeois museum curator.

So, here’s to the unsung heroes of hard rock and metal, the bands who refuse to kowtow to the whims of a bunch of elitist snobs in suits. Keep shredding, keep screaming, and who knows? Maybe one day, the Hall of Shame will come crawling back, begging for a taste of that sweet, sweet metal magic. But until then, we’ll be over here, cranking the volume to eleven and laughing our asses off at their clueless incompetence. Rock on, you beautiful misfits, rock on!

Music News

Rammstein Has Arrived on Thunderflix

Get ready to unleash the flames of metal madness with Thunderflix’s latest addition: Rammstein!

Experience the explosive energy and raw power of Rammstein’s legendary performances in Paris and Berlin, now streaming on Thunderflix!

From pyrotechnics galore to jaw-dropping stage theatrics, Rammstein delivers a metal experience like no other. Don’t miss out on the firestorm of metal.

Live in Paris

Live aus Berlin

And that’s not all! We’ve added four more epic titles this week. Grab a helmet and dive into:

And that’s not all! We’ve added four more epic titles this week. Grab a helmet and dive into:

The Zombie Horror Picture Show

Live at the Hard Rock

Live and Murderous in Chicago

Start Streaming Now!


Rock ‘n’ Rolls Roots in Metal Evolution

Photo From BS Facebook Page. ‘Never Say Die!’ tour at Lewisham Odeon in London, England, UK 1978

Written By Tristan Cardinelli

The roots of heavy metal run deep. From the rock ‘n’ roll of the 1950’s to 1960s owing a significant debt to the likes of Deep Purple, Led Zeppelin, and notably, Black Sabbath who emerged in the late 1960s and early 1970s. They laid the groundwork for what would become metal. While dubbed the unholy trinity and credited as the first wave of true heavy metal, the common narrative oversimplifies their role, glossing over pre-1969 influences.

Metal’s origins defy a singular moment of creation; it’s not a linear progression from Jimi Hendrix to Black Sabbath. Rather, it’s a complex amalgamation of influences that gradually coalesced, with the New Wave of British Heavy Metal marking a significant milestone. Pinpointing the birth of metal is elusive, as defining what qualifies as such remains subjective. However, by the late ’60s, the groundwork for metal and its myriad subgenres was laid, with bands experimenting with heavy rock, inching closer to its infernal essence. Yet, amidst this evolution, many pioneering bands have faded into obscurity, prompting us to delve into forgotten realms of rock history to unearth metal’s unsung heroes.

In contrast to the dominant reign of rock and roll in the 1950s, the 1960s saw a diverse musical landscape emerge, where jazz, blues, pop, and folk music gained significant followings alongside the continuing growth of rock and roll. This era witnessed a distinction between “hard” rebellious rock and “soft” rock, which often bore resemblance to pop music.

Both genres of rock and metal feature heavy instrumentation, often characterized by distorted guitars, powerful drumming, and prominent basslines.

Both rock from the 60s and metal today place a significant emphasis on memorable guitar riffs, which often serve as the highlight of a song.

Both genres explore a wide range of themes, including but not limited to, rebellion, angst, societal issues, personal struggles, and fantasy.

Just as rock music diversified into various subgenres over the decades (acid rock, psychedelic rock, progressive rock, punk rock, etc.), metal has also branched out into numerous subgenres, including heavy metal, thrash metal, death metal, power metal, black metal, and many more.

Many metal bands today, like their rock predecessors from the 60s and 70’s incorporate theatrical elements into their performances, including elaborate stage setups, costumes, and dramatic lighting effects.

Both rock from the 60s and metal today have had a significant cultural impact, influencing fashion, lifestyle, and even politics.

While there are certainly differences between the two genres, such as intensity, lyrical content, and production techniques, the parallels between rock from the 60s and metal music today are evident, highlighting the enduring influence of rock music on contemporary metal.

Music News

EXIT EDEN Unveils New Official Video for Spellbinding Mylène Farmer-Cover “Désenchantée”

photo credit: Stephan Heilemann

Clémentine Delauney
Anna Brunner
Marina La Torraca

EXIT EDEN Unveils New Official Video for Spellbinding Mylène Farmer-Cover “Désenchantée”| Watch HERE!

New Album, Femmes Fatales, Out Now via Napalm Records
Order the Standout Offering HERE!

“Seductive, magical and demonic at the same time” – Legacy DE

Symphonic metal unit EXIT EDEN – consisting of Clémentine Delauney (Visions of Atlantis), Anna Brunner (League of Distortion) and Marina La Torraca (Phantom Elite) – has unveiled a stunning new music video for their shimmering cover version of French iconic pop artist Mylène Farmer’s “Désenchantée”. French-born Clémentine Delauney presents the track in her mother tongue – which marks the very first time ever doing so for a whole song! “Désenchantée” is cut from the band’s second studio album, Femmes Fatales, and, together with the accompanying music video, lures the listener into the mysterious world of Mylène Farmer, showing a whole new exciting facet of EXIT EDEN.  
In addition to its six cover versions of famous cross-generational super-hits, Femmes Fatales is the trio’s first record featuring original songs, written by Anna Brunner and Hannes Braun (Kissin’ Dynamite), with one exception, “Dying in my Dreams”, co-written by Marina La Torraca. EXIT EDEN’s new masterpiece follows their debut, Rhapsodies in Black (#15 DE album charts), and millions of video views (12M on their cover of Bonnie Tyler’s “Total Eclipse Of The Heart” alone). The album, in its entirety, marks an illustration of strength and female empowerment topped with symphonic heaviness. Watch the official music video for “Désenchantée” below and make sure to order your copy of Femmes Fatales!   

Clémentine Delauney on the song:                    
Reflecting upon the journey that shaped the woman I’ve become, I, Clementine, delved into the influences of my youth – the individuals and artists who ignited my inspiration. Among them, Mylène Farmer, a pop artist whose universe, thoughts, and messages I held in high regard during my teenage years. Her poetry, distinctiveness, and bittersweet perspective on life, with a touch of melancholy, left an indelible mark. I am convinced that her portrayal of despair and loneliness remains relevant to this day.
In our video rendition of “Désenchantée,” I aimed to pay homage to this iconic song and the unparalleled artist behind it. Seeking to evoke the essence of the 90s, the era of its inception, I imagined a way to connect it to the contemporary landscape of 2024 – a world where the evolution of our digital lives has heightened the sense of isolation.
Releasing on Valentine’s Day, this tribute is for anyone feeling lonely in our super-connected world.”

Watch the seductive official video for “Désenchantée” HERE

When Clémentine Delauney, Anna Brunner, Marina La Torraca and Amanda Somerville came together to form EXIT EDEN, topped by the release of their first album, Rhapsodies in Black, in summer 2017, it became immediately clear that this combination would be both powerful and magical! These four outstanding and independent female vocalists proved that symphonic heaviness can go hand in hand with pop music – dressing well-known classics in a yet unheard soundscape, and evoking more than just a covers album!         

Get your copy of Femmes Fatales NOW:

Femmes Fatales tracklisting:     
1    Femme Fatale           
2    It’s a Sin        
3    Run! (feat. Marko Hietala)  
4    Separate Ways         
5    Buried in the Past    
6    Désenchantée          
7    Dying in my Dreams
8    Poison          
9    Alone            
10  Hold Back Your Fear
11  Kayleigh       
12  Elysium 

With stellar vocals, an exceptional concept and high-quality production, EXIT EDEN have crafted another standout album that absolutely succeeds in expanding the identity of the supergroup even more, and gives fans the chance to experience three of the most beautiful and talented women in metal united as one on Femmes Fatales

Femmes Fatales is available in the following formats:                
1-LP Gatefold MARBLED RED/BLACK – ltd. to 300 copies worldwide      
1-LP Gatefold BLACK     
1-CD 48 page Earbook – ltd. to 300 copies worldwide   
1-CD 6p Digipak              
Bundle 1-CDs DGS + Shirt          
Digital Album


[1-LP Gatefold MARBLED RED/BLACK – ltd. to 300 copies worldwide]

EXIT EDEN online:
Napalm Records

Music News

Skindred – Release New Video For If I Could. Appearing At Knotfest Australia This March!

UK ragga-metal legends Skindred released their colossal eighth album, Smile, in August of 2023.

With the incredible support of the rock and metal community – including messages of support from Metallica, Rage Against The Machine and Disturbed as well as Kerrang!, NME and Metal Hammer, the band landed a career best of Number 2 in the UK Album chart. They also went to reach Number 1 in the Official UK Rock & Metal,  Independent Album, Downloads AND Vinyl charts, outselling most of the UK’s biggest and most established rock artists!

The band have just released a music video for the track, If I Could.

The video celebrates Skindred’s amazing year with footage and highlights filmed in the build up to Skindred’s UK #2 album ‘Smile’ and sold out UK and European tours as the band gear up for their trip to play Knotfest Australia next month.

Watch If I Could via Knotfest now at  

‘Smile’ attests to the enduring power of a band that delivers a good time, every time. “When I look out into the crowd, whether it’s in a small room or a festival crowd, the one thing I notice above all else is the smiles,” says Skindred’s formidable frontman Benji. For him and for Skindred – completed by guitarist Mikey Demus, bassist Daniel Pugsley, and drummer Arya Goggin – it’s about enduring and it’s about legacy. “In life, it’s about hearing that our music has encouraged people and got them through dark times. But even when we’re done and gone, people will still be listening to this music. That thought makes me smile.”

The release of Smile followed an incredible career-defining year for Skindred: from winning the award as Best UK Live Act at the Heavy Music Awards, to touring with rock legends KISS as special guests on their last ever UK tour. The band also graced the cover of Kerrang! magazine for the first time in their careers and performed their single “Gimme That Boom” on BBC2’s  Later… with Jools Holland. Aside from this, singer Benji Webbe also appeared on Never Mind The Buzzcocks and the band also were featured as guests on BBC Breakfast.

Adding to the Skindred frenzy, the band’s 2000’s hit “Nobody” also saw an electrifying resurgence following a viral TikTok dance trend, which saw over 14 million hits on the Skindred hashtag in a matter of weeks. (Just in the first few weeks of 2024, one person dancing “Nobody” has amassed 32 million views on Instagram too!)

With the band’s forthcoming appearance this March on Knotfest Australia, 2024 is set to be Skindred’s best yet! Prior to Australia they will play their biggest headline shows in the UK to date and have just WON Best Alternative Act at this years MOBO Awards!

Skindred have certainly got more than enough reasons to smile!

Smile is out now

Skindred will be appearing at Knotfest Australia this March

Wednesday, March 20: Liberty Music Hall, Sydney – with Halestorm
Thursday, March 21: Knotfest Melbourne
Saturday, March 23: Knotfest Sydney
Sunday, March 24: Knotfest Brisbane
Tuesday, March 26: Princess Theatre, Brisbane– with Halestorm  


Unveiling Ageism in Music: The Climate Towards Legendary Hard Rock and Metal Artists

Written By Tristan Cardinelli

Within the realm of music ageism persists as a contentious issue, with legendary artists often facing disrespect and disdain from younger generations. Despite their groundbreaking contributions and enduring legacies, older bands and artists encounter dismissive attitudes and derogatory remarks, highlighting a troubling trend of age-based discrimination within the music community.

In the fabric of American society, ageism remains a pervasive issue, shaping attitudes, policies, and opportunities. Despite strides in diversity and inclusion, discriminatory biases against older adults persist, hindering their societal contributions and well-being. From workplace discrimination, politics to healthcare disparities, ageism manifests in various forms, prompting calls for systemic change and heightened awareness. This bias not only affects individuals but also deprives society of the wealth of experience and wisdom older people bring to the table.

In the fast-paced world of rock and metal, where trends evolve rapidly, older bands are sometimes unfairly relegated to the sidelines as newer acts gain prominence. The phenomenon of ageism manifests in various ways, from disparaging comments on social media platforms to diminished opportunities for veteran bands to showcase their talents on tour circuits and festival lineups.

One prevailing narrative perpetuated by some younger fans is the notion that older bands are past their prime and no longer relevant in today’s music scene. This dismissive attitude overlooks the enduring impact and influence of these iconic groups, whose pioneering musical terrain continue to resonate with audiences across generations.

Moreover, ageism in music extends beyond mere criticism to outright hostility and disrespect towards older musicians. Instances of ageist rhetoric, such as mocking remarks about appearance or physical abilities, undermine the artistic contributions and achievements of veteran performers, perpetuating harmful stereotypes about aging in the music industry.

The world can be superficial when it comes to bands, artists, and actors. There’s often a focus on outward appearances, age, social media presence, and popularity rather than the actual talent, creativity, and depth of the work they produce. This vapid emphasis on shalliw aspects can overshadow the genuine artistry and substance of musicians and artists, leading to a culture that prioritizes image over substance. However, it’s essential to recognize that not everyone subscribes to this frivolity, and there are still many individuals who value authenticity and talent above all else.

It’s essential to recognize the invaluable contributions of older bands to the evolution and diversification of rock and metal music. These trailblazing artists paved the way for subsequent generations, shaping the musical panorama and cultural identities of the genre.

In response to ageism within the music community, efforts are underway to challenge stereotypes and promote intergenerational dialogue and respect. Initiatives aimed at celebrating the legacies of older bands, such as tribute bands, concerts, documentary films, and retrospective articles, seek to highlight the enduring relevance and significance of their musical contributions.

Fostering greater appreciation and understanding between different generations of music fans is essential in combating ageism and promoting inclusivity within the rock and metal community. By recognizing the interconnectedness of past, present, and future musical movements, society can cultivate a more vibrant and inclusive music culture that celebrates the rich tapestry of artistic expression across generations.

In confronting ageism within the realm of hard rock and metal music, it is imperative to acknowledge and honor the enduring legacies of older bands while fostering a culture of respect, appreciation, and equality for artists of all ages. By embracing diversity and rejecting age-based discrimination, the music community can chart a more harmonious and equitable course towards a brighter future for rock and metal music.

In conclusion, ageism is an issue that will inevitably touch us all as we journey through life and grow older. To foster a better world for ourselves and future generations, it is important that we collectively strive to eradicate ageism. By actively challenging age-based discrimination and promoting integration and respect across all age groups, we can create a society that values the wisdom, experience, and contributions of individuals at every stage of life. Failure to address ageism now will only result in its continued perpetuation, potentially affecting us all as we age. Let us work together to build a more balanced and compassionate world for everyone, regardless of age.

Music News

If These Trees Could Talk: Akron, Ohio-Based Post-Rock Outfit Issues “Trail of Whispering Giants” Single, Their First New Music in Eight Years, via Metal Blade Records

Photo by Sondra Kelly

Tom Fihe – bass guitar
Jeff Kalal – guitar
Cody Kelly – guitar
Mike Socrates – guitar
Zack Kelly – drum

Stream IF THESE TREES COULD TALK’s “Trail of Whispering Giants” HERE

Acclaimed instrumental post-rock band IF THESE TREES COULD TALK is back with a new single, “Trail Of Whispering Giants,” the group’s first new music in eight years, out today and streaming via Metal Blade Records.

Trail Of Whispering Giants” marks the anticipated return of the Akron, Ohio-based lineup spearheaded by drummer Zack Kelly and his guitarist-brother Cody Kelly. IF THESE TREES COULD TALK has been praised by Metal Hammerfor, “uplifting post-rock that layers cascading guitars over tight drums with a deep emotional resonance,” while the lineup’s third LP and Metal Blade debut, 2016’s The Bones Of A Dying World, was called, “a fluid-flowing masterpiece that builds upon complex, progressive dreamscapes.”

The Kelly brothers have been working on new material over the past year and are excited to reveal “Trail Of Whispering Giants.” “It has been a minute since our last album, and we cannot wait to get things moving again. Cody and I have tried to ignite a new vision for the music while keeping the same elements and old vibes that makes IF THESE TREES COULD TALK,” reveals Zack Kelly. “I would like to send thanks to the fans all over the world for their undying support and patience!

In describing, “Trail Of Whispering Giants,” he says the single is, “reminiscent of our songs ‘Solstice’ and ‘Earth Crawler’ from The Bones Of A Dying World and brings the same energy and ambiance as our previously released recordings.”

The band will support “Trail Of Whispering Giants” with live shows and festival appearances. IF THESE TREES COULD TALK will be headliners at the PORTALS Festival in Hackney, UK on May 26th, marking the band’s first-ever UK performance. They’ll also perform a special hometown show on February 17th at Akron’s Musica, and will appear at the annual Post Festival in Indianapolis, Indiana on July 27th.

Watch IF THESE TREES COULD TALK‘s “Trail Of Whispering Giants” visualizer HERE.

Stream / purchase the track at:

Formed in 2005, IF THESE TREES COULD TALKreleased their eponymous debut EP in 2006 on indie label The Mylene Sheath, who also put out their debut studio album, Above The Earth, Below The Sky, on vinyl, digital and CD formats in 2009. The band self-released their second album, Red Forest, in March 2012, and followed it with a European tour in April of that year. After signing to Metal Blade and releasing The Bones Of A Dying World, the band’s previous albums were reissued through the label in 2021 and 2022.

Music News

Cannibal Corpse Drops “Vengeful Invasion” Video

Photo by Alex Morgan

North American Tour With Amon Amarth Draws Near

Watch CANNIBAL CORPSE’s “Vengeful Invasion” video HERE

Death metal icons CANNIBAL CORPSE are pleased to unleash a video for “Vengeful Invasion.” The track comes by way of the band’s critically-adored Chaos Horrific full-length, released last Fall via Metal Blade Records.

The video was directed and edited by Zev Deans and shot by Brendan McGowan with SFX makeup by Nina Carelli, AI footage manipulation by KingCon2k11, and stars Actually Huizenga from the band Patriarchy. With “Vengeful Invasion,” a human trafficking revenge tale spirals into grotesque phantasmagoria in the spirit of Japanese horror classics.

Watch CANNIBAL CORPSE‘s “Vengeful Invasion” video HERE.

Watch CANNIBAL CORPSE‘s previously released videos for “Chaos HorrificHERE, “Blood BlindHERE, and “Summoned For SacrificeHERE.

Since 1988, CANNIBAL CORPSE has remained at the forefront of death metal, shaping and defining the genre. In 2021, they raised the stakes again with their Violence Unimagined full-length. In 2023 they returned with its successor, the equally monstrous Chaos Horrific, consequently beginning the next chapter in their legacy. Produced again by guitarist Erik Rutan, who has now produced six of the band’s albums, Chaos Horrific is, without question, a full-on, CANNIBAL-style death metal outing, straight down to the themes, which include zombie warfare, resetting the human race through mass mutilations, and the violent revenge of victims of human trafficking, and its cover art by longtime collaborator Vince Locke.

Chaos Horrific slaughtered Billboard charts upon its first week of release, earning the #7 position on the Billboard Album Sales chart, #2 on the Hard Music Albums chart, #3 on the Rock Albums chart, #5 on the Independent Label Albums chart, and more!

The record is available on digipak CD, cassette, and digital formats as well as vinyl in multiple limited color variants.

Secure your copy today at the CANNIBAL CORPSEstore at: and Metal Blade at:

This April, CANNIBAL CORPSE will join labelmates Amon Amarth on the Metal Crushes All Tour. The journey runs from April 21st through May 25th and includes performances at the historic Red Rocks Amphitheatre in Denver as well as arena stops in Portland, Vancouver, Quebec City, Asheville, Tampa, and Anaheim. Additional support will be provided by Obituary and Frozen Soul. See all confirmed dates below.

CANNIBAL CORPSE w/ Amon Amarth, Obituary, Frozen Soul:
4/21/2024 Revel Entertainment Center – Albuquerque, NM
4/22/2024 Red Rocks Amphitheatre – Denver, CO
4/24/2024 The Complex – Salt Lake City, UT
4/26/2024 Alaska Airlines’ Theater Of The Clouds – Portland, OR *
4/27/2024 PNE Forum – Vancouver, BC *
4/29/2024 Edmonton Convention Center – Edmonton, AB
4/30/2024 Grey Eagle Event Center – Calgary, AB
5/03/2024 Steelhouse – Omaha, NE
5/04/2024 The Sylvee – Madison, WI
5/05/2024 GLC Live At 20 Monroe – Grand Rapids, MI
5/07/2024 Rose Music Center At The Heights – Huber Heights, OH
5/09/2024 The Wellmont – Montclair, NJ
5/10/2024 Toyota Oakdale Theater – Wallingford, CT
5/11/2024 Videotron Centre – Quebec City, QC *
5/13/2024 The Fillmore Philadelphia – Philadelphia, PA
5/14/2024 The Fillmore Silver Spring – Silver Spring, MD
5/16/2024 Arena – Asheville, NC *
5/17/2024 House Of Blues – Myrtle Beach, SC
5/18/2024 Yuengling Center – Tampa, FL *
5/20/2024 Bayou Music Center – Houston, TX
5/21/2024 Boeing Center At Tech Port – San Antonio, TX
5/23/2024 Arizona Financial Theatre – Phoenix, AZ
5/24/2024 Pearl Concert Theater At Palms Casino Resort – Las Vegas, NV
5/25/2024 Honda Center – Anaheim, CA *
* arena show


Metal Mania: A Headbangers Quest Through Mosh Pits

Written By Tristan Cardinelli

In the thunderous world of metal, where guitars wail like banshees and drums beat like the pulse of a Viking heart, there exists a ritual that unites fans in a chaotic dance of euphoria – the mosh pit. Picture this: a sea of metal heads converging, bodies colliding in a symphony of controlled chaos, all while a blistering guitar solo shreds through the air. Welcome to the adrenaline-fueled realm of mosh and circle pits. Participating in a circle pit or mosh pit is revered as a rite of passage for devoted metal enthusiasts.

The history of moshing is as wild as the mosh pits themselves. Born in the gritty underground punk scene, this primal dance form evolved into a full-blown phenomenon embraced by metal aficionados worldwide. It evolved as a form of enthusiastic, physical expression to the energetic and rebellious music. While its roots can be traced to punk, the term “mosh” itself is believed to have been coined later, in the early 1980s. While moshing doesn’t have direct parallels to specific historical rituals, it shares similarities with communal dances and physical expressions of unity found in various cultures throughout history. The idea of a collective, uninhibited dance or physical interaction in response to music is not entirely new. Moshing, in a sense, taps into the primal urge for group expression and solidarity. Metal heads, a breed apart, find solace in the unbridled energy that accompanies the cathartic release of headbanging and body slamming.

Now let’s talk about the grand stages that amplify this metal madness. Various metal festivals, especially those with large attendance and dedicated metal communities, often boast massive circle pits. Wacken Open Air in Wacken, Germany, the colossal playground for headbangers. Once a quaint village, now a haven for the heaviest of metal, Wacken transforms into a moshing mecca once a year. It’s the place where thousands of metal heads gather, not just to witness legendary bands but to partake in the communal ecstasy of moshing that reverberates across the festival grounds.

Across the pond, the Download Festival in the UK has become a global metal pilgrimage, with its infectious energy spreading to Australia, Japan, and Spain. In Sweden, the Sweden Rock Festival in Sölvesborg becomes a haven for metal heads, while Hellfest Open Air in Clisson, France, beckons with its magnetic pull for those seeking the ultimate metal experience.

Imagine a horde of metal heads, diverse in their leather-clad armor, congregating like disciples of the riff. Here, in the heart of the mosh pit, camaraderie is forged through shared love for face-melting guitar solos and bone-rattling drum beats. It’s a celebration of sophisticated rebellion where the metal community thrives on unity amidst the chaos.

As bands unleash their sonorous onslaught, the crowd responds in a dance that defies conventional logic. Mosh pits are a kinetic tapestry where strangers become comrades, connected by the pulsating heartbeat of metal. And let’s not forget the legendary circle pits – a synchronized ballet of adrenaline and brotherhood, a circular ritual that transcends language and borders.

Metal heads don’t just attend concerts; they embark on an odyssey, seeking not only the blistering sounds of their favorite bands but also the magnetic pull of kindred spirits. Metal concerts and festivals are not just events; they are gatherings of a global tribe, united by a common passion for the raw power of metal.

So, the next time you witness a mosh pit swirling like a tornado at a metal festival, remember that it’s not just chaos – it’s a celebration. It’s a testament to the unspoken bond that ties metal heads across continents. In this world of riffs and roars, where the only rule is to let loose and embrace the mayhem, the mosh pit stands as a testament to the enduring spirit of metal – loud, proud, and gloriously unhinged.

Music News

UNEARTH Drops Intense New Video for “Eradicator” Off Their Critically Acclaimed Album ‘The Wretched; The Ruinous’

Watch “Eradicator” HERE

Metalcore titans UNEARTH proudly present their latest video for “Eradicator,” a standout track from their formidable album, The Wretched; The Ruinous. The video, showcasing the band’s relentless energy and unique artistry, is now available for viewing HERE.

Following the success of The Wretched; The Ruinous, UNEARTH continues to push boundaries, both musically and thematically. The album, lauded for its incisive commentary on global issues, stands as a testament to the band’s ability to blend aggressive sounds with thought-provoking lyrics.

Fans can access the album HERE.

Reflecting on the new video, vocalist Trevor Phipps says, “Since our new album The Wretched; The Ruinous was released ‘Eradicator’ has been posted and reposted more than any other track on the record by you all. Because of this we hit up our good friend Daniel Vandal from Kreact to shoot another live themed video (Incinerate) for us across the Canadian provinces of Quebec and Ontario. The footage captures the high energy, and mayhem (Barrie), our Canadian friends always bring to our shows north of the border. Check out ‘Eradicator’ now and see you on the road.”

The album The Wretched; The Ruinousdelves into pressing global concerns, as Phipps explains: “The Wretched; The Ruinous is about the eight billion people on this planet. We’ve created a man-made mass extinction event and have been too slow to correct our faults. Extreme weather, drought, famine, disease, erosion of land, culture wars, civil wars, wars for natural resources, and the displacement of billions of people, is all a current reality. This isn’t a future problem; it is a now problem and I take this record to talk about it.”

Critics have hailed The Wretched; The Ruinous as a landmark release in the metalcore genre:

“Worthy of respect for staying the course, but also for smashing harder than ever, UNEARTH have made their best album since 2008’s “The March”. In the absence of anyone else nailing this substrain of metal with such panache, I hereby proclaim them to be the current kings of this shit.” – Blabbermouth

“The Wretched; The Ruinous is a reminder of how exciting metalcore can be when executed with passion and integrity, and that’s welcome in 2023.” – Kerrang

“It’s fun, it’s powerful, it’ll be a blast to pit to and it’s performed with a gusto and self-belief that comes from years of hard work and their deserved place as one of the originators of the scene.” – Distorted Sound

UNEARTH’s new video for “Eradicator” is more than just a musical statement; it’s a visual journey into the heart of what makes them one of metal’s most enduring and relevant acts.

You can catch UNEARTH live at these festivals:

July 5 – RockHarz – Ballenstedt, Germany
August 16 – Summer Breeze Open Air – Dinkelsbühl, Germany
August 23 – NOAF (Neuborn Open Air Festival) – Wörrstadt, Germany
October 4 – Furnace Fest – Birmingham, Alabama

The Wretched, The Ruinous Track List:
The Wretched; The Ruinous
Cremation of the Living
Mother Betrayal
Call of Existence
Dawn of the Militant
Into the Abyss
Broken Arrow
Theaters of War



Music News

NUCLEAR BLAST – Announces ‘The Aggression Sessions’!

Nuclear Blast is proud to announce the release of The Aggression Sessions featuring THY ART IS MURDER, FIT FOR AN AUTOPSY,and MALEVOLENCE which will be available digitally on April 7th and on CD + Vinyl on July 21st, 2023 via Nuclear Blast.

Today, FIT FOR AN AUTOPSY releases the first single from the EP entitled, “Hellions”. Check out the visualizer here:

FIT FOR AN AUTOPSY states, “‘Hellions’ was a fun look back at some of our more brutal and fast-paced roots more akin to our earlier material. This year marks the 10-year anniversary of Hellbound, the record which we all collectively feel really started things in motion for the band. It was a blast to channel the energy and excitement we had at that time back into our music in 2023. It’s only natural for bands to evolve and expand their sound over time, but we never forgot where we came from, so this one is for those who were here from day one!”

Listen/stream “Hellions” here:

The Aggression Sessions is the follow-up to 2016’s The Depression Sessions and follows the same 6-song mini album where each band offers an original single and a cover song. For this session, THY ART IS MURDER is covering Cannibal Corpse and FIT FOR AN AUTOPSY is covering At The Gateswhereas MALEVOLENCE is handling a song by American singer Anastacia.

THY ART IS MURDER and FIT FOR AN AUTOPSY make the following joint statement:
“Before we had even completed work on ‘The Depressions Sessions’ we knew a lifelong friendship had been forged between THY ART IS MURDER and FIT FOR AN AUTOPSY, and that we would have to do another variation of the project. ‘The Aggression Sessions’ concept was born almost immediately following the completion of the first iteration but has taken many years to finally find the time to record and release it amidst the chaotic touring and music release schedules of both bands. We wanted to take things back to some of our favorite inspirations for writing and performing heavy and aggressive music this time, encapsulating the tone of the EP title. We hope everyone enjoys!
Joining us for round 2, please welcome MALEVOLENCE into the series. Much love to The Acacia Strain, and thank you to them for being a part of this lineage. Check out their new forthcoming record as well!
Working with friends and peers and avoiding the pitfalls of competitiveness has always been the most rewarding part of being in a band, so as always thank you for the support and opportunity to have this platform. See you all on the road soon!”

MALEVOLENCE’s ilkie Robinson adds, “New Jersey to Australia to Sheffield! it was an absolute pleasure to be involved in this big international metal link-up and a great opportunity for us to have fun creatively outside of the usual expectations. Shout out to Eliran Kantor for killing the artwork and Nuclear Blast for making it all happen.”

Below is the tracklisting for The Aggression Sessions:
1. Hellions – FIT FOR AN AUTOPSY
2. Until There Is No Longer – THY ART IS MURDER
3. Waste Of Myself – MALEVOLENCE
4. Under A Serpent Sun (At The Gates Cover) – FIT FOR AN AUTOPSY
5. Hammer Smashed Face (Cannibal Corpse Cover) – THY ART IS MURDER
6. Left Outside Alone (Anastacia Cover) – MALEVOLENCE

Pre-order your copy of The Aggression Sessions, here:

Like what you hear? Hellions is available to stream/download HERE.

The Aggression sessions are set for release digitally on 7th April 2023 and on CD/Vinyl on 21st July 2023, available to pre-order/pre-save now.

Music News

Job for a Cowboy Unleashes “Beyond the Chemical Doorway” Video And Single

Photo by Chris Klumpp

Jonny Davy – vocals
Al Glassman – guitar
Nick Schendzielos – bass
Tony Sannicandro – guitar

Moon Healer Full-Length To See Release February 23rd On Metal Blade Records

Watch JOB FOR A COWBOY’s “Beyond The Chemical Doorway” video HERE

Experimental death metallers JOB FOR A COWBOY are pleased to unleash “Beyond The Chemical Doorway,” the latest single from their long-awaited new full-length, Moon Healer, set for release on February 23rd via Metal Blade Records. The release marks the iconic outfit’s first new full-length in a decade!

Moon Healer is a vivid illustration of what happens when creativity, aggression, and volatility tangle for the first time in years. Like the band’s critically adored, 2014-released Sun Eater full-length, Moon Healeris musically multifaceted, unabashedly brutal, and compellingly conceptual. Featuring a newly refreshed and reinspired lineup of frontman and co-founder Jonny Davy, guitarists Tony Sannicandro and Al Glassman, bassist Nick Schendzielos, and drummer (since 2020) Navene Koperweis, the band seamlessly picks up the mantle where Sun Eater left off.

“Moon Healer” track listing:

01. Beyond The Chemical Doorway
02. Etched In Oblivion
03. Grinding Wheels Of Ophanim
04. The Sun Gave Me Ashes So I Sought Out The Moon
05. Into The Crystalline Crypts
06. A Sorrow-Filled Moon
07. The Agony Seeping Storm
08. The Forever Rot

Compared to past offerings, Moon Healeris as bone-crushing as JOB FOR A COWBOY has ever been. But it’s more consistent and conceptual, composed with the utmost enthusiasm and confidence. “The evolution of our sound has become a big part of the band,” Davy says. “As we mature as musicians, our tastes and interests naturally expand. With age comes more experience and ideas that we wouldn’t have considered in our earlier years.

When discussing the lyrical genesis of songs “Grinding Wheels Of Ophanim,” “Into The Crystalline Crypts,” and latest single, “Beyond The Chemical Doorway,” Davy’s writing gets cryptic and elliptical-sounding, part Philip K. Dick, part Timothy Leary. “I envision this as a death metal album born from the mystical confines of an alchemist’s laboratory. The music acts as potent potions, inducing hallucinogenic journeys that unlock the secrets of the universe.”

With “Beyond The Chemical Doorway,” Davy explores Gnosticism — an occult teaching based on Gnosis, a state of transcendence achieved through intuitive, unconventional means — by way of Hieronymus Bosch’s art. Elaborates Davy, “On Moon Healer, we unravel the dismal narrative of a close friend consumed by an unwavering pursuit of enlightenment. They achieve this through a compulsive embrace of hallucinogenic drugs. This storyline emerges from the foundation set in our earlier album, Sun Eater, delving deeper into the intricacies brewing within our friend’s psyche.

When under the influence of these drugs,” he continues, “this individual claimed to encounter entities and find themselves in indescribable worlds that defy rational comprehension. Many who undergo such experiences draw intriguing parallels between diverse facets of Gnostic philosophy, biblical depictions of angels, and the stages of Bardo Thodol delineated in the Tibetan Book Of The Dead. In the album’s opener, ‘Beyond The Chemical Doorway,’ our friend vividly voices his hallucinations, recounting the experience of breaching forbidden, gnostic-like realms, with each account culminating in the utter unraveling of his being.”

Watch JOB FOR A COWBOY‘s “Beyond The Chemical Doorway” video at THIS LOCATION.

Watch the band’s previously released videos for “The Agony Seeping StormHERE and “The Forever RotHERE.

Moon Healer was produced by Jason Suecof (Death Angel, The Black Dahlia Murder, Deicide) at his Audiohammer Studios and is the first JOB FOR A COWBOY album to feature session drummer Navene Koperweis (ex-Animosity). Davy previously worked with Koperweis in the progressive death metal side project Fleshwrought, which released Dementia/Dyslexia through Metal Blade in 2010. Koperweis also worked as a session drummer for Machine Head and Whitechapel and is currently in the band Entheos, whose third full-length came out on Metal Blade in March 2023.

Moon Healer will be released on CD, digitally, and on vinyl in the following color variants:

Vinyl US:
Purple w/ Black Smoke
Blue And White Marbled
Pink And White Marbled
Magenta Marble (Independent Retailers)

Vinyl EU:
Dark Purple Marbled (1000 copies)
Ice Blue Marbled (500 copies)
White w/ Purple Splattered (300 copies)
Blue/White Split Splattered (300 copies)

For pre-orders, visit: