System Of A Down, Incubus, Korn, Evanescence and Deftones will headline Sick New World Festival, a new music festival in 2023 featuring some of the biggest names in nu-metal. Among the dozens of bands on the bill, it will mark the reunions of both Flyleaf with lacey Sturm and Coal Chamber. The event will be held on Saturday, May 13, 2023 at the Las Vegas Festival Grounds in Las Vegas, Nevada. This was the site of the recent When We Were Young Festival, that was forced to cancel one day of the fest due to high winds.
De Arma’s new three-track EP Nightcall marks something of a turning point for the Swedish gothic rock band. Following their 2021 album Strayed in Shadows, the band have now signed a multi-album deal with Silent Future Recordings, for whom Nightcall is the first offering.
GosT has, since 2013, been the vehicle for producer and singer James Lollar. Loosely fitting into the synthwave bracket, GosT’s music in fact takes influence from many areas including post-punk, industrial and black metal. Moreover, Lollar has regularly shared stages with metal bands including Pig Destroyer, The Black Dahlia Murder and Mayhem, as well as fellow synthwave acts such as Perturbator and Carpenter Brut.
The Sisters of Mercyhave bookedheadline gigsatThe Roundhouse London on Friday 20 and Saturday 21 September 2019. They did a brief tour last summer, and have already been booked to headline a stage at this summer’s Hellfest. The band has been especially active lately on social media and their last full-length original album, 1990’s Vision Thing (East West/Elektra) was just released on streaming platforms for the first time last week. Tickets for the London shows go on sale this Friday 18th January 10 am local time at the link below. Continue reading →
Up and coming UK gothic metal band Her Despair is releasing their new EP this summer, the amazingly titled ‘Mournography.’ The EP drops on July 20th, and we’ll bring you more news soon about this exciting band. In the meantime, Ghost Cult has teamed up with the band to debut their new music video for the track ‘Blaspheme With Me, so check it out! Continue reading →
Thirty-five years, and now fourteen albums, of railing against the establishment and providing regular, biting social commentary and Spear of Destiny mainstay Kirk Brandon could have been forgiven for dialling it down on Tontine, a fan-funded album released on Brandon’s own Eastersnow imprint, and just appeasing the masses with re-recordings, or watered down versions, of hits of yesteryear. Instead, the lack of giving a fuck that comes with such longevity and belligerence of vision fuels an interesting and diversely poetic selection of tracks. Continue reading →
In a story Ghost Cult broke and has tracked for several months, the band Ghost has been hit with a major lawsuit in the bands’ original home town Linköping, Sweden over the dismissal of the previous lineup.Continue reading →
Oh, Jesus. Richmond, Virginia has proved a fertile ground for the heavier end of metal over the last two or three years, but the cheesy 80s synth and tinny-sounding drums that overshadow Silaluk (6131), the début three-track EP from quartet Shadow Age, sadly give me all the wrong kind of chills.
Changing their name from Colony some months ago, their ethos has remained post-Punk yet the feel loses some of that intensity. The rapid bass of the opening title track underpins coldly mellow strings, while lacklustre yet melodic vocals, a cross between Barney Sumner and Morrissey, enforce the pervading Mancunian air. Sadly, save for the lead shimmers and slightly more urgent delivery of ‘A Portrait of a Young Man Drowning’, the first two tracks have more of the Indie / Pop of New Order than the angular, piercing swagger of forefathers Joy Division.
It’s the booming drums and Post-rock leadwork of the moody, balladic closer ‘Innocence’ that finally give this outing a bit of steel. The building swathes of pensive atmospherics take the listener into Shoegaze territory, that Smiths vocal link ever more apparent and lightly dusted over the emotive instrumentals which are evocative of the heady days when both U2 and The Sisters of Mercy were both capable of appealing to the harder rockers among us. The sound that Shadow Age are peddling is indeed an attractive one in many respects, but overall it’s missing a row of teeth which would generate real interest outside the NME readership.
Having started off like so many Swedish death metal bands by worshipping at the putrid altar of Entombed on debut album The Horror (Pulverised), Arvika upstarts Tribulation clearly weren’t content to merely rehash the work of the elders, as demonstrated by sophomore record The Formulas of Death (Invictus), a lengthy concept piece that won them many admirers despite not straying too far from established templates. All that has changed now with third effort The Children of the Night (Century Media), which save for snarled vocals and horror themed lyrics, is a classic heavy metal record, far more interested in melody and catchy songs than aggression and violence.
Aided by a lo-fi, vintage production which isn’t a million miles away from the kind of vibe Opeth have been cultivating on their past two albums, the music on The Children of the Night rarely gets above mid-paced; those who came here expecting blastbeats and tremolo picking will be sorely disappointed. Instead we get some fantastic guitar interplay between Adam Zaars and JonathanHulten that dart and weave amidst each other like a pair of bats dancing at twilight.
A lot of influence appears to have been taken from both Watain’s Lawless Darkness (Century Media), and last year’s final In Solitude record Sister (Metal Blade), especially on the vaguely groovy gothisms of ‘In the Dreams of the Dead’, while the sinister melodies and big stomping riffs of ‘Winds’ is like Iron Maiden if Steve Harris was forced to watch repeated showings of The Cabinet of Dr Caligari.
There’s also a strong yet subtle Sisters of Mercy feel to the album, noticeably on the achingly hip ‘The Motherhood of God’ with its irresistibly danceable rhythms and morose, melodic verses. The songwriting throughout the record is full of surprises, from the catchy chugging riffs of opener ‘Strange Gateways Beckon’ to the mysterious doomy refrains of closing track ‘The Motherhood of God.’ One gripe is that the record is ten minutes too long and where instrumentals should be used to build atmosphere, the two tracks here go nowhere and should have been culled. That said, The Children of the Night is a brave record from an exceedingly talented set of musicians who are just that more subtle when it comes to what style of darkness works best.
Sunday sees the sun come out again, and the weekend rapidly coming to an end. To ease the pain of Sonisphere being over for another year, ska-punk legends Reel Big Fish run riot on the Bohemia stage with a setlist made up of happy-go-lucky, bouncy ska hits. Disappointingly, the sound cut out for ‘Where Have You Been’, causing the audience to flit between chanting to get the sound back on as soon as possible, to helping the band out singing along word for word when the chorus kicks in. The ever notorious ‘S.R’ (‘Suburban Rhythm’) and the bands penchant for playing parts of the song in varying genres throughout the duration gives fans a chance to skank, mosh and any other form of dance that tickles their fancy.
Boston-Irish punks Dropkick Murphys are next, their whisky soaked bar room anthems in full swing today, kicking off with the well suited ‘The Boys Are Back’ before following it up with raucous renditions of ‘Black Velvet Band’, ‘Johnny I Hardly Knew Ya’ and ‘Shipping Up To Boston’. Despite a hefty collection of songs from previous albums, the Celtic boys opt for playing a fair few from their 2013 album Signed & Sealed In Blood, and it’s a credit to the guys that these tracks are as well received as ones that have been around for years, ‘Rose Tattoo’ being a notable favourite of the crowd.
Over at the Apollo stage, grunge legends Alice In Chains are in full swing, singer William DuVall once again proving his worth as he throws himself around the stage, his vocals mixing perfectly with guitarist Jerry Cantrell’s harmonies. ‘Dam That River’, ‘Man in the Box’ and ‘Stone’ all make obvious appearances in the set, sounding as good now as they ever did back in the day. After their comeback five years ago, Alice In Chains certainly set the record straight for any disbelievers whose opinons may have ever swayed towards their comeback being an unsuccessful one.
Finally, Metallica bring the weekend to a blinding close, the songs they perform chosen entirely by Sonisphere attendees and fans who’ve spent the last few months casting their votes in the run up to the festival, some of whom were invited on-stage to announce them to the audience. Obviously, there were the odd grumble here and there as some songs are cut from their usual set list, but in all honesty, it’s hard to argue with the likes of ‘Enter Sandman’, ‘One’, ‘Nothing Else Matters’ and all the other hits they cram into their two hour performance. It’s a shame that the screens at each side of the stage were unfortunately hindered by the lack of backdrop due to some issues earlier on in the day, meaning that it wasn’t until dark that those of us vertically challenged and/or stood further to the back were able to watch the performance properly. Striding back on stage for their encore of ‘Whiskey In The Jar’, James Hetfield announces ‘…And Justice For All’ as the song that had won the vote from the ongoing polls, before ‘Seek and Destroy’ brings the main stage to a close for another year.
With just enough left in our vocal chords to have a sing along to some classic 90’s grunge, The Defiled top off the weekend with their ‘Nirvana Defiled’ set. Playing Kurt Cobain, singer Stitch pays homage and does justice to the raspy, gravelly vocals that Cobain was notorious for, as well as pulling off a performance whilst seemingly a little bit too tipsy. Playing the part of Courtney Love, The AvD wanders the stage in a skimpy dress as his band members crash their way through ‘Rape Me’, ‘Lithium’, ‘Heart Shaped Box’ before ending with the obvious choice ‘Smells Like Teen Spirit’.