On the latest episode of Doc Coyle’s (Bad Wolves, God Forbid) The Ex-Man Podcast, he interviews Bias and former Korn drummer David Silveria (pronounced Sil-vera). Doc and David discussed his new band Bias, the origins of Korn, their rise to success, his battles with injuries, Korn and Nu Metal as a cultural phenomenon, and much more.
Woah! SHINING (the Norwegian BlackJazz Munke(b)ys) have got some balls. While Rock and Metal fans are often the most obsessive and loyal of supporters, woe betide a band who undergoes a misplaced style change; when heroes embark in a new direction that isn’t just left at the traffic lights but involves a radical transformation, it’s not unknown for a band to split and lose an audience, sometimes irretrievably. Make no mistake, Animal (Spinefarm) is one such move. Continue reading
It’s hard to fathom that Good Charlotte has been around for over twenty years – it doesn’t seem that long since the Maryland natives were the one band to really thrive in the pop-punk MTV explosion of the early 2000’s with the very successful The Young and The Hopeless (Epic/Daylight). They’re released a number of hits since then, the Madden brothers took time off for a side project, got married to Hollywood darlings, and came back with 2016’s Youth Authority (MDDN) to much praise from old fans, and not so much from others.
It has been ten years since The Sound of Madness well and truly smashed Shinedown through the glass ceiling into the higher echelons of mainstream, modern Rock. A perfect storm of energetic heavy, alternative Rock riffing with a distinctive edge and a series of absolutely huge songs, all headed up by a top tier vocalist, Brent Smith, whose earnest lyrics and distinctive delivery helped set the band apart. Amaryllis kept things ticking over, adding more anthems to the live set, as the band headed into Threat To Survival (all Atlantic) on a high, and ready to diversify.
There has been a certain inevitability about the de-Rocking of 30 Seconds To Mars’ sound. They have always embraced electronica as being as integral to what they are as the guitars, bass, and drums, with Jared Leto’s distinctive tones up-front and centre. If 2013’s Love, Lust, Faith + Dreams (Virgin) advanced matters, progressing things from flirting with pop and electronics to full on stepping out, to (painfully) extend that metaphor, America (Interscope) is the lavish engagement party, as the band walk confidently off into the sunset hand-in-hand with modern, mainstream and minimalist pop-sensibilities. Continue reading
Cast your misconceptions aside; it’s fine, you don’t have to pretend you don’t have them, I know you do. Yes, it’s Scott Stapp (wasn’t he the guy from Creed who ended up out ‘there’, homeless and bankrupt and blah blah blah?) and, yes, it’s Bumblefoot (wasn’t he the guitarist in Guns n’ Roses when they were shit and blah blah blah?) and aren’t they uncool, and all that other bollocks that clouds the judgement and blah blah blah becomes far too important for far too many people…?
And, to quote the immortal… So fucking what? Continue reading
It may be all too easy to scoff at bands that come from that America specialty of post-grunge hard rock acts following the likes of Nickelback, bands often cited as lowest common denominator rock and metal. What this does overlook is the genuine talent that does come through in this style, and at the very least that they do sometimes bring some great songs (even Nickelback have some anthems, don’t deny it). Relative unknowns in the UK and Europe, Pop Evil are big news in their native USA and are beginning to make some waves across the Atlantic (a pretty well received Download Festival main stage slot is a good start), and with good reason.
Pop Evil have always been a little bit different from the crowd they find themselves in, with a bit of an exploratory streak beyond their peers, whilst not proving wildly unpredictable or hard to follow. On this, their 4th effort Up (eOne Music) proceedings are immediate and huge from the start but also have an underlying sense of atmosphere, almost veering on eerie and morose at times.
Opening with lead single ‘Footsteps’ is a statement of intent, displaying the album’s new found positivity in comparison to its predecessor’s gloomy tone, as its instant chorus and metallic crunch embed themselves firmly into your head. Not that it lapses after this as throughout, each song proves strong, if not as memorable as others. Even the obligatory ballad ‘If Only For Now’ has a darker feel opposed to the sugar coating that many would do. Leigh Kakaty’s vocals prove heartfelt and genuine and certainly match the band’s colossal, if somewhat unoriginal, sound.
This kind of stadium ready contemporary rock is certainly not for everyone’s taste and it very rarely sets the world alight in the sense of reinvention or necessity, and whilst Up doesn’t entirely buck this trend it certainly further evidences Pop Evil’s prowess and their edge above many of their peers. With a greater sense of atmosphere than many similar bands and an ear for a good tune, these guys have proven themselves as one of the strongest in their field. Big things await.