: Dookie – Green Day

LADY GAGA once told NME GREEN DAY’s Dookie (1994) was the first album she ever bought; “I just wanted to lick the pages from the booklet! That particular album, I mean, it is iconic.”. Now Dookie’s booklet-licking goodness celebrates its 30th anniversary, it’s only right we dive into what makes the album so iconic.



Dookie came at a time when things needed rearranging. Much like one’s guts after a bout of the diarrhoea from which this album draws its name. Grunge was the pinnacle of the mainstream with the likes of NIRVANA dominating the airwaves morning ‘til night. It could be argued spiralling mental illness had become a content farm for media corporations at this juncture… we won’t jump down that rabbit hole just yet. With Dookie, the mainstream jumped from the depression of Kurt Cobain to the anxiety of one Billie Joe Armstrong (vocal/guitar).Photo Credit: Ken Schles

A source of the displacement would come with GREEN DAY’s signing to a major label: Reprise Records. Not wholly due to new distribution factors. Rather it would come from the visceral reaction of Berkeley, California’s prolific punk scene. Notably fanzine Maximumrocknroll and iconic venue 924 Gilman Street. After playing a show at the club in September 1993, GREEN DAY would be banned from the venue altogether. Yet Armstrong would later reflect as Kerrang!’s Stevie Chick wrote: “I couldn’t go back to the punk scene, whether we were the biggest success in the world or the biggest failure. The only thing I could do was get on my bike and go forward.”.

Now labelled “sell outs” and exiled from the scene they once called home, despite ensuring previous label Lookout! Records retained 100% of the rights to previous Kerplunk (1991) and 39/Smooth (1990), GREEN DAY entered the studio with Rob Cavallo and were exposed to a whole new world. Prior to Dookie, the most time the band had spent recording was three days for Kerplunk. Thrust into the mahogany realm of Fantasy Studios and confronted with change, anxiety hoisted a barrier in the way of Armstrong, Mike Dirnt (bass), and Tré Cool (drums) reaching their full potential. After a night at a Mexican bar with Cavallo, despite Cool not being of legal age, GREEN DAY came back with fresh yet tentative vigour and set to work.

Recording sessions for Dookie would last three weeks. Admittedly this would be due to the material already being written, the trio just needed to turn up and play. Yet Armstrong would insist on recording his vocals with urgency; tracking 17 songs in two days. One of these would be the single Good Riddance (Time Of Your Life), though this wouldn’t see the light of day until 1997’s Nimrod. What emerged from those recording sessions were 14 which culminated in arguably one of the most vital records within the punk rock genre.


It’s not just the raw sonic freshness which makes Dookie so relatable. It’s the content itself. The ease Armstrong had in bearing all not only with sensitive subjects like Pulling Teeth’s domestic violence but the mundanity of chronic masturbation was unparalleled. Slipping from lyrics such as “I better tell her that I love her/ Before she does it all over again” to “I’m so damn bored, I’m going blind/ And loneliness has to suffice” is what makes Armstrong an incredibly underrated lyricist. This was a band brashly talking about every facet of mental health long before it was acceptable to today’s standards.

Though not all the material has aged well. Having A Blast comes from the perspective of a mentally ill young man who plans to kill himself, and others, with the use of explosives. While it wasn’t seen as an issue at the time and society allowed the idle fantasy to slip by, this wouldn’t be the case some five years later. After the events of the Columbine Massacre in 1999, Having A Blast is undoubtedly an uncomfortable listen if allowed to be.

There was some controversy surrounding the trio’s third album but we’ll get to that in a moment. Dookie released to critical acclaim. Basket Case’s ability to speak to those also addled with panic disorder paired with When I Come Around’s perspective on relationships saw GREEN DAY catapulted into the stratosphere. Rolling Stone’s Paul Evans would pen; “They’re convincing mainly because they’ve got punk’s snotty anti-values down cold: blame, self-pity, arrogant self-hatred, humor, narcissism, fun.”. New York Times’ Joe Pareles would proclaim “apathy has rarely sounded so passionate”, and in a retrospective review for Billboard, Chris Payne would praise the band’s “sugary, almost bubblegum choruses”.Photo Credit: Catherine McGann

So why the controversy? The answer comes in two words: Woodstock ‘94. As future Heavy Music History pieces will bring to light, Woodstock hasn’t always been the peace and love it is synonymous with. On August 14 1994, GREEN DAY would miss a day of Lollapalooza to play the iconic festival. Imagine a rock festival where it’s rained for the past three days. AEROSMITH, JOHNNY CASH, and RED HOT CHILI PEPPERS are billed. Then three Californian upstarts saunter on stage and open with Welcome To Paradise. A bright ditty about undesirable living conditions which is sung with a smile. Members of the crowd, unimpressed with both the irony and the punk rock they were being subjected to, cast clumps of mud on stage. Chaos would ensue with mud slung between band and audience, Dirnt being tackled by security and breaking two teeth (whilst still playing we might add), and Armstrong mooning the crowd upon exit. As a result of the festival being broadcast to millions worldwide via pay-per-view, album sales would sky rocket.

Dookie would go on to sell 20 million copies, achieving Diamond Certification via the Recording Industry Associations of American (RIAA). It would debut at number two on the Billboard 200 and chart in the top ten world wide. In 1995, GREEN DAY would walk away with the Grammy Award for Best Alternative Album. Retrospectively, it has been placed on countless best album lists including Rolling Stone’s three iterations, as well as the publication hailing it as the Greatest Pop-Punk Album.

Artists like LADY GAGA and BILLIE EILISH alongside bands like MY CHEMICAL ROMANCE and SUM 41 have heralded Dookie as the album of a generation. Reflecting on the album with Christina Saraceno of Rolling Stone in 2001, Armstrong would state “They still hold the same relevance that they did and that’s good ’cause ultimately you want your songs to stand the test of time.”. Three decades later, Dookie is just as refreshing and urgent as it was back then and that is a legacy many only dream of having. With a 30th Anniversary Edition box set having been released on September 29 2023 and a tour commemorating both this and the 20th anniversary of American Idiot (2004) taking place this year, the gloomy stoner who simply wanted acceptance and acknowledgement is still received with open arms.



Dookie was originally released on February 1st, 1994 via Reprise Records.

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Rotting Christ release new music video for ‘Saoirse’ March 29, 2024James Weaver

Photo Credit: Chantik Photography


ROTTING CHRIST have released a new music video!



The new music video, for the track Saoirse, is taken from the Greek black metal band’s upcoming new album, Pro Xristoy, which is scheduled to be released in May this year.

Saoirse – emblematic of the album’s overarching concept – intends to showcase a manifestation of ROTTING CHRIST‘s evolution and their unwavering commitment to pushing boundaries. Expect a melodic symphony punctuated with moments of raw, unyielding harshness – a signature of the band’s unique style captured in a fresh light.

Watch the official music video for Saoirse here:


The upcoming album was recorded at Deva Sounds Studios in Athens, Greece and was produced by vocalist/guitarist Sakis Tolis. The album, titled ‘Before Christ’ in Greek, serves as a fervent tribute to the last Pagan kings who resisted the onslaught of Christianity, guarding their ancient values and knowledge. In this thematic odyssey, intricately woven through tracks such as The Apostate and Ygdrassil, ROTTING CHRIST delves into the legacies of historical figures such as Flavius Claudius Julianus and Nordic mythological kings, embodying the might of Pagan wisdom in the face of Christian adversity.

Pro Xristoy is set for release on May 24th via Season Of Mist. Pre-orders are available now and can be purchased here.

For more information on ROTTING CHRIST like their official page on Facebook.

Iron Maiden's Eddie - A Look at Over 40 Years of Metal's Best Mascot

Iron Maiden and literature go hand in hand, not just because of their penchant for fictional allusions but because they released two official coloring books within the last year. Soon, they’ll be tackling one of the most popular children’s series of all time – Where’s Waldo? – with their own seek-and-find adventure: the delightfully titled Where is Eddie?

The 36-page collection will be distributed by Simon & Schuster, published by Fantoons, illustrated by Samuel Blanco and co-written by Lindsay Lee and Eduardo Benatar. Unsurprisingly, this isn’t Lee’s first foray into such a project, as she previously worked on Frank Zappa Coloring Book, Ninja Sex Party: The Graphic Novel, Rush: The Making of a Farewell to Kings, Neil Peart: The Illustrated Quotes and Where is Alice Cooper?















As for Benatar, he’s played drums with numerous bands (including Luz Verde, Rc2 and Side Chick) and co-wrote The Official Marillion Coloring Book. Meanwhile, Blanco collaborated with Lee on Ninja Sex Party: The Graphic Novel in addition to working on The Bizarre World of Frank Zappa and Motörhead: Where is Lemmy?

Many of those books were put out by Fantoons and Simon & Schuster, too, so it’s safe to say that Where is Eddie? is in good hands.

As for the book’s official description, it reads:


Are you brave enough to find EDDIE? You'd better find him before he gets you! Search for IRON MAIDEN's iconic figurehead throughout insanely detailed illustrations based on some of their incredible album covers.



Throughout their illustrious career, IRON MAIDEN's dauntless music has captured the hearts of dedicated fans all over the world, ever fueled by a fierce determination and immense passion for rock 'n' roll. Their painfully addictive riffs and gripping lyrical storytelling have created a legacy like no other, and always with EDDIE by their side.

As you search for EDDIE, plunge into (15) double-page puzzles inspired by IRON MAIDEN's legendary songs and albums. Walk the edgy East End streets of Killers, escape the maddening asylum of Piece of Mind, trek across the desert ruins of Powerslave, then plummet headfirst down into The Number of the Beast's hellfire--every page pays glorious respect to the sheer awesomeness of IRON MAIDEN's imagery.

Lovingly created by the demented team of artists at Fantoons. The studio that brought to life the celebrated seek-and-find book WHERE IS ALICE COOPER?, the fan-adored MOTÖRHEAD: THE GRAPHIC NOVEL and IRON MAIDEN: THE OFFICIAL COLORING BOOK. WHERE IS EDDIE? is a must-have for every IRON MAIDEN fan. EDDIE’s GONNA GET YA...

Where is Eddie? is scheduled to release in May of 2023, and you can preorder it here.



Iron Maiden's Eddie - A Look at Over 40 Years of Metal's Best Mascot
Iron Maiden's undead mascot Eddie, as seen on single and album art throughout the band's 40-plus year history.

Iron Maiden's Eddie: A Look Back Through 40 Years of Metal's Best Mascot


EMI
Iron Maiden's Eddie: A Look Back Through 40 Years of Metal's Best Mascot
Scroll through the gallery to take a look through all the changes Eddie has undergone since debuting as a shadowy figure on the 'Running Free' single.

"Running Free" (1980)


EMI
"Running Free" (1980)
Artist: Derek Riggs // The very first artist rendering of Eddie pre-dates Iron Maiden's self-titled release on the "Running Free" single cover. The lurker of the shadows was inspired by the band's usage of a papier-mâché mask they had dubbed "Eddie the Head," though their London accents blurred the lines with the pronunciation of "head," lopping off the H.

'Iron Maiden' (1980)


EMI
'Iron Maiden' (1980)
Artist: Derek Riggs // Maiden had received recording deals prior to their debut, but refused to conform to stylistic standards (punk) that were being pushed, though Eddie's first full appearance seems to confuse that issue, with his punk-like hairstyle.


"Sanctuary" (1980)


EMI
"Sanctuary" (1980)
Artist: Derek Riggs // This cover to the "Sanctuary" looks like a prequel to the next album, 'Killers.'

"Women in Uniform" (1980)


EMI
"Women in Uniform" (1980)
Artist: Derek Riggs // Iron Maiden's revved up cover of the Skyhooks' song adopts an even more menacing cover. Oh, nice bulge there, Eddie.

'Killers' (1981)


EMI
'Killers' (1981)
Artist: Derek Riggs // This is the album where Iron Maiden's twin guitar attack was perfected as they distanced themselves away from some of their more punk-leaning early sounds. The cover remains iconic and is an absolute fan-favorite as Eddie, bathed in a sickly yellow hue, looks down at his victim.


"Twilight Zone" (1981)


EMI
"Twilight Zone" (1981)
Artist: Derek Riggs // Being trapped in limbo never looked so awesome.

'Live at the Rainbow' - Video (1981)


Picture Music International
'Live at the Rainbow' - Video (1981)
Artist: Derek Riggs // Seeing Maiden at The Rainbow all those years ago probably felt like getting bludgeoned with a guitar, so this cover makes a lot of sense.

"Purgatory" (1981)


EMI
"Purgatory" (1981)
Artist: Derek Riggs // This cover didn't help matters when Maiden wound up pegged as Satanists just one year later.


'Maiden Japan' (1981)


EMI
'Maiden Japan' (1981)
Artist: Derek Riggs // Samurai Eddie? Check. Play on Deep Purple's legendary live album? Check.

"Run to the Hills" (1982)


EMI
"Run to the Hills" (1982)
Artist: Derek Riggs // Some bands worship Satan. Upping the ante considerably, Iron Maiden's Eddie kicked Satan's ass.

'The Number of the Beast' (1982)


EMI
'The Number of the Beast' (1982)
Artist: Derek Riggs // Puppet or puppet master? This cover has all the making of a genuine classic from the power struggle between Eddie and the Devil, from the mascot's blazing stare and grimace to the swirling storm clouds signaling armageddon's arrival. Fun fact: this was originally the drawing that Riggs submitted for the "Purgatory" single, but Iron Maiden manager Rod Smallwood said it was too good for a single, and held it for the next album cover.


"The Number of the Beast" (1982)


EMI
"The Number of the Beast" (1982)
Artist: Derek Riggs // In which we learn how the fight on the cover of the "Run to the Hills" single ended.

"Flight of Icarus" (1983)


EMI
"Flight of Icarus" (1983)
Artist: Derek Riggs // We don't remember flamethrowers being part of this legendary tale... we also can't remember the last time Steve Harris let this one slip into the set!

'Piece of Mind' (1983)


EMI
'Piece of Mind' (1983)
Artist: Derek Riggs // Eddie, have you lost your mind? Well, yes. In 1983, Maiden had their dear mascot lobotomized and locked in an asylum.


"The Trooper" (1983)


EMI
"The Trooper" (1983)
Artist: Derek Riggs // It's not very often that Riggs' single covers bested the full lengths', but "The Trooper" stands as one of the most iconic representations of Eddie. It's so good even Bruce Dickinson couldn't resist wearing the uniform himself.

"Two Minutes to Midnight" (1984)


EMI
"Two Minutes to Midnight" (1984)
Artist: Derek Riggs // When the Cold War still keeping the world on edge, and threat of worldwide nuclear annihilation was in the back of everyone's minds, Maiden used that fear as inspiration for a new song. The accompanying artwork is one of the more underrated Riggs pieces, conveying a real sense of doom that only Eddie (and cockroaches) could withstand.

'Powerslave' (1984)


EMI
'Powerslave' (1984)
Artist: Derek Riggs // The 'Powerslave' album cover brought the riches of Egypt to Iron Maiden's stage on their most daunting tour to date. Casting Eddie as a powerful pharaoh seemed appropriate, as the tour took Maiden all over the planet, extending their influence to metalhead worldwide.


"Aces High" (1984)


EMI
"Aces High" (1984)
Artist: Derek Riggs // Is there anything more terrifying than being in an aerial dogfight? Yeah — facing Eddie at the controls of the plane you're battling.

'Live After Death' (1985)


EMI
'Live After Death' (1985)
Artist: Derek Riggs // 'Live After Death' captured the band at one of their many career peaks during the 'Powerslave' tour, which saw them become one of the biggest metal bands in the world. One of the greatest live records of all time also brought one of the band's most striking pieces of artwork, an electrified Eddie bursting from the grave.

"Run to the Hills" - Live (1985)


EMI
"Run to the Hills" - Live (1985)
Artist: Derek Riggs // Did someone miss the memo? The "Run to the Hills" live single curiously depicts a de-masked, cape-clad Eddie in front of a pipe organ in a frozen wasteland. It has nothing to do with the feature single, but rounds out the "Phantom of the Opera" B-side quite nicely.


"Wasted Years" (1986)


EMI
"Wasted Years" (1986)
Artist: Derek Riggs // Star Log: Day 666.

'Somewhere in Time' (1986)


EMI
'Somewhere in Time' (1986)
Artist: Derek Riggs // Behold Derek Rigg's masterpiece. It may not be the most popular Iron Maiden cover, but it has the "Easter eggs." There's the fingerprints of the band's entire history from the Ruskin Arms sign to the Ancient Mariner Seafood Restaurant. You can spend a couple hours just trying to find them all.

"Stranger in a Strange Land" (1986)


EMI
"Stranger in a Strange Land" (1986)
Artist: Derek Riggs // Anyone need a light?


"Can I Play With Madness" (1988)


EMI
"Can I Play With Madness" (1988)
Artist: Derek Riggs // Eddie doubles as a bowl - who knew?

'Seventh Son of a Seventh Son' (1988)


EMI
'Seventh Son of a Seventh Son' (1988)
Artist: Derek Riggs // Did we ever find out what in the world that pink thing is in Eddie's hand?

"The Evil That Men Do" (1988)


EMI
"The Evil That Men Do" (1988)
Artist: Derek Riggs // Did someone make a deal with the Devil?


"The Clairvoyant" (1988)


EMI
"The Clairvoyant" (1988)
Artist: Derek Riggs // Would you let this version of Eddie read your fortune?



Read More: A 'Where's Waldo?' Style Iron Maiden Book is Coming in 2023 | https://loudwire.com/wheres-waldo-iron-maiden-book-where-is-eddie-coming-2023/?utm_source=tsmclip&utm_medium=referral

Paul Dianno, Warhorse

Paul Di’Anno’s Warhorse released a EP entitled “Stop The War” on BraveWords Records. The EP “Stop The War” is in advance of the band’s upcoming full length debut album.

Listen to “Stop The War”: https://smarturl.it/WarhorseEP

Speaking about the Stop The War EP, Paul Di’Anno said, “I’m looking forward to the digital release of ‘Stop the War’, ‘Warhorse’ and ‘The Doubt Within’ and I hope you like it. By my standards, too much time has passed since the recording of this album and I can’t wait to finally have this record in my hands.”

Warhorse members Hrvoje Madiraca and Ante Pupačić Pupi commented on the Stop The War EP, “Are you ready – Ready to rock? Cause we are ready – Ready to rock! As the song says  ! Enjoy the album, cheers!”

The debut Warhorse album releasing later in 2024 was recorded during 2022 and 2023 in Croatia and the UK. On nine new songs and two fantastic covers, Paul sings like never before and in a way that will surprise and leave all his fans speechless, as well as heavy metal fans in general. Paul will perform with Warhorse all over the world and return the old spirit of heavy metal to where it belongs.

The core of the band and founders are Paul Di’Anno, vocals, Hrvoje Madiraca, guitar and Ante Pupačić Pupi, guitar.

Paul Andrews, a British singer better known by his stage name Paul Di’Anno, his nearly half-century-long career began explosively with Iron Maiden, when with the EP ‘The Soundhouse Tapes’, and the albums ‘Iron Maiden’ and ‘Killers ‘ forever cemented the foundations of heavy metal. With timeless hits like ‘Iron Maiden’, ‘Remember Tomorrow’, ‘Running Free’, ‘Phantom of the Opera’, ‘Killers’, ‘Wratchild’, Murders in the Rue Morgue’, ‘Purgatory’ etc., they influenced numerous musicians and bands and were responsible for the creation or development of many subgenres in metal music.


Paul is known as one of the most productive singers, who has a huge number of albums and other releases behind him, either as a solo artist or a member of bands such as Gogmagog, Di’Anno’s Battlezone, Praying Mantis, Killers, Rockfellas, Architects of Chaoz or Warhorse. In all his incarnations, Paul always knew how to find a way to the fans, with numerous hits, uncompromising singing, which is confirmed by his successful career and furious live shows around the world.

For the last eight years, Paul faced serious health problems that almost ended his career, but thanks to his loyal fans, friends, Iron Maiden and his strong will to overcome the disease, Paul is on a big world tour again, and he recorded a new album with the Paul D’Anno’s Warhorse band, which will be released in mid-2024 for BraveWords Records, a new label, which is also an integral part of one of the most strongest brands in heavy metal music.

This icon of heavy metal with the heart of a punk rock rebel never spared himself in his life, but he always gave everything for music and fans, which is why they have followed him faithfully for almost fifty years.

Warhorse is the original band/project of Paul Di’Anno. The first idea of forming a band arose in December 2021, when Paul and guitarist Hrvoje Madiraca met in Zagreb, Croatia. The formation and naming of this project happened simultaneously with the writing and recording of new songs, which were started immediately after Paul and Hrvoje joined hands and thus formed the band. Warhorse independently released the DVD single ‘Stop the War’ in a limited edition of 666 copies and sold it out in just a few days. This was followed by the fantastic ‘Stop the War’ lyrics video, which delighted fans around the world. The Warhorse project gathered fantastic guest musicians on some songs, and a video will be filmed for almost every song on the album. The core of the band itself is the three ‘horsemen’ Paul Di’Anno – vocals, Hrvoje Madiraca – guitars and Ante Pupačić Pupi – Guitars. Fans at Warhorse live shows can expect a live explosion, musical virtuosos and a top stage attraction. Paul Di’Anno in the stadium edition, would be the most appropriate description. Warhorse is a parallel band to his classic ‘Paul Di’Anno’ line-up and unlike his standard set list, Warhorse concerts will abound with Warhorse songs, with the addition of Iron Maiden classics and special, unexpected covers chosen by Paul Di’Anno.

BraveWords Records have agreed to physical distribution deals with Plastic Head in Europe and MVD in North America.

About BraveWords Records:
There is a serious void which desperately needs to be filled, hard-working and creative bands that have yet to find a partnership and a mutual vision with a professional team. The music-fuelled minds behind BraveWords Records, Brian Adams, Giles Lavery, Tim Henderson and Michael Brandvold, have built the ultimate home for an artist that will take you where you want to be. Collectively, with nearly 100 years of music industry experience under our belts, the BraveWords Records team will take care of all the crucial aspects of your project from global distribution (digital and physical), publicity and media coverage (web, radio, visual), social media blanketing and streaming opportunities (such as Streaming For Vengeance). Where most labels have forgotten the concept of actually marketing a release sensibly, BraveWords Records will construct a viable and comprehensive marketing plan, including visibility at BraveWords.com, which attracts a million visitors monthly. BraveWords Records has all senses on high alert as the music industry continues its never-ending transitioning, so the artist will always be aware of new opportunities to build their brand and strive for world domination. BraveWords will also have a focus on licensing film and TV content, both contemporary and retrospective across many genres. As artists and labels transition to the many new mediums available today for their work, BraveWords intends to stay ahead of the curve in providing and actively seeking opportunities for our roster of clients.

With the rapid spread of the world wide web, BraveWords.com was born in 2000 and quickly became the CNN of heavy metal. With its team of global writers and photographers, the site flourished with 24/7 updated news, features, reviews, audio and video steams.

For nearly 30 years, BraveWords wears their metal heart loudly on their sleeve, as they celebrate the greatest genre of music with the most dedicated and passionate fans on the planet!

http://www.pauldianno.co.uk

https://www.facebook.com/pauldiannoofficial

http://www.facebook.com/WarhorseBandOfficial

https://www.instagram.com/pauldiannoofficial

https://facebook.com/groups/335974958743610

https://www.youtube.com/@warhorse859

https://www.instagram.com/pauldiannowarhorse

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https://bnds.us/m5y6ib

http://bravewordsrecords.com

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Michael Brandvold Marketing

Shawn “Clown” Crahan do Slipknot divulga nova máscara

Shawn “Clown” Crahan do Slipknot divulga nova máscara
O percurssionista compartilhou uma foto que parece ser uma nova máscara



Shawn “Clown” Crahan, percussionista e membro fundador do Slipknot compartilhou uma foto em suas redes sociais de uma nova máscara com a legenda: “Jurei que não deixaria isso acontecer”. Segundo os fãs, é uma versão que nunca apareceu no palco antes.

A máscara é carnuda e sangrenta e de acordo com alguns fãs, só foi vista antes no Knotfest Museum, embora se pareça muito com a que foi usada por Crahan em uma turnê de 1999.

Quanto ao Slipknot, todos estão na expectativa que a banda anuncie em breve quem será seu novo baterista após a saída repentina de Jay Weinberg. Também espera-se que a banda compartilhe detalhes de seu álbum experimental Look Outside Your Window.

Em entrevista à NME, Corey Taylor falou o que os fãs poderiam esperar do tão discutido projeto: “Eu estava conversando com Clown sobre isso outro dia e ele disse: ‘Uma das razões pelas quais não foi lançado é porque você continua divulgando merdas que entram em conflito com quando eu quero lançá-las!’”

Shawn “Clown” também falou sobre o tema: “Definitivamente chegará no próximo ano. Você tem minha palavra”, ele insistiu. “A arte foi feita. Foi misturado. Foi dominado. Definitivamente será lançado em 2024 e é um ótimo álbum”.

Slipknot no Knotfest Brasil 2024

O Knotfest Brasil anunciou as datas da edição de 2024. O evento acontecerá nos dias 19 e 20 de outubro no Allianz Parque, em São Paulo.

A nova edição conta Slipknot como headliner dos dois dias de festival, com uma apresentação diferente com um set único e imperdível para cada dia.

O lineup completo do festival será divulgado em breve. Os ingressos estão disponíveis no site oficial da Eventim.

HEAVY MUSIC HISTORY: The Division Bell – Pink Floyd

FEATURESHEAVY MUSIC HISTORYPROGRESSIVE ROCK
HEAVY MUSIC HISTORY: The Division Bell – Pink Floyd
March 28, 2024Elliot Leaver


It’s early 1993. On the banks of the River Thames, on a converted grandboat named Astoria, three men convene to write and record their band’s fourteenth album. There are two basic goals – to improve on their previous record and, crucially, to rubber stamp PINK FLOYD‘s place at the top of global rock music. Eight years previously, they were on the brink of dissolution; now, they were reaching an improbable second peak.



When PINK FLOYD bassist and founding member Roger Waters left the prog-rock legends in 1985, citing them as a ‘spent force, creatively’, many presumed that would be the end. But guitarist and vocalist Dave Gilmour wasn’t about to let the band die on the decision of one man and a year later, along with drummer Nick Mason, began to work on the follow up to 1983’s fractious The Final Cut. Waters was outraged, assuming the duo wouldn’t have the necessary qualities to continue, and began legal proceedings saying no music could be released as PINK FLOYD unless he was involved. He dropped the case when EMI Records intervened and whilst the resulting record, A Momentary Lapse Of Reason (1987), was closer in feel to a Gilmour solo record than a PINK FLOYD album, its subsequent success breathed new life into the group: the album broke into the top five of multiple countries and preceded a world tour of sold out arenas and stadiums that culminated in a high-profile performance at the legendary Knebworth House in Hertfordshire.

Perhaps more importantly, though, keyboardist Richard Wright was back. Waters‘ increasingly domineering leadership of the band had forced him out November 1979 with his confidence shattered, but he was offered the chance to tour as one of the backing musicians for PINK FLOYD in support of A Momentary Lapse… and that, once all legal boundaries had been overcome, opened the door for him to come back into the fold. Also critical to the album’s development was Gilmour‘s wife Polly Samson, who had worked wonders in bringing the frontman out of the depression and cocaine addiction he slumped into following his divorce and legal disputes with Waters; although initially just glancing an eye over her husband’s lyrical content, she would eventually end up co-writing nearly the whole album with him.


The title, The Division Bell, was suggested by author Douglas Adams in exchange for a £5,000 charity donation to the Environmental Investigation Agency. Although not a full concept album as such, the theme of communication (or lack thereof) was prevalent across the record and led to many tracks dealing with Gilmour‘s personal demons, whether that be the collapse of his previous marriage and subsequent recovery in Coming Back To Life or the emotional ode to former, estranged band member Syd Barrett in Poles Apart; there was even an attempt to reach out to Waters in Lost For Words. This olive branch was subsequently refused. Instrumental track Marooned would win the 1995 Grammy for Best Rock Instrumental Performance and there was even a cameo from Stephen Hawking on Keep Talking. So moved was Gilmour by the words spoken by the scientist on an advert for BT, he sought – and was granted – permission from the company to use them. But it’s High Hopes, the final track and a beautiful reflection on the band’s early days in Cambridge, that remains the overall highlight; heavy and tender in equal measure, it was the final track written for the album and the last original PINK FLOYD song for nearly two decades.

Released on March 28th, 1994, The Division Bell received mixed reviews – although stronger than its predecessor, many criticised its supposed self-indulgence and suggested the band were just going through the motions. Entertainment Weekly said it was ‘notable primarily for its stomach-churning merger of progressive rock pomposity and New Age noodling’, Rolling Stone said ‘only on What Do You Want From Me does Gilmour sound like he cares’ and, ever the outspoken individual, Roger Waters dismissed it as ‘just rubbish…nonsense from start to end’. Nevertheless, it would top the charts in 21 different countries and go on to sell over seven million copies worldwide, in many places going platinum multiple times over.

PINK FLOYD spent the rest of 1994 touring The Division Bell, a run that would see them, albeit briefly hold the title of the biggest tour ever undertaken, generating a worldwide gross of £150million. Playing a career spanning set that changed from night to night, many of the shows saw the band’s 1973 classic The Dark Side Of The Moon played in full during the second half of the show. The tour finished with a 14-night run at London’s Earls Court where, infamously, a section of the venue collapsed on opening night and had to be rescheduled; the critically acclaimed live CD and video Pulse was recorded on the night of October 20th during this residency.

Despite the overwhelming success of the tour, PINK FLOYD would quietly disband after this show, save for their one-off appearance at Live 8 in 2005, release of final album The Endless River in 2014 and surprise 2022 single Hey Hey, Rise Up!. In that time, views on The Division Bell have warmed considerably – it may never stand up with the likes of The Dark Side Of The Moon or Wish You Were Here (1975), but it’s the jewel of PINK FLOYD‘s twilight years, a layered and dexterous record that continues to impress after all this time.



The Division Bell was originally released on March 28, 1994 via EMI Records.

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INTRODUCING: GreenWing

Photo Credit: Saul & Nova Creative



“The name GREENWING was decided a week before the announcement of our very first show as part of a short list we made from all numerous suggestions we had come up with,” confesses bassist Travis Williams. He and drummer Kolton Kimbely make up half of Canadian band GREENWING, named because “our original drummer suggested it because it was his favourite type of parrot! It had a special ring to it, so we ran with it.”



“The band got together in our original three piece core during the COVID lockdowns of 2021 where we we jamming to stay sane. This just felt right and the next thing we knew, GREENWING had formed,” he explains. For those not in the know, GREENWING are a band that would class themselves as ‘heavy indie’.

“We’re a more upbeat sweater song meets PUP with a bit of THE DIRTY NIL‘s chaos!” Travis explains, whereas Kolton describes their sound “to be very pop influenced, with catchy choruses and catchy riffs. But with a heavy rock feel on top that rounds it out.”

The band have developed between their 2022 debut album Late Bloomer and their 2024 sophomore album Eatin’ It. “Our rhythm is tighter, we have more melodic content and our overall energy just feels like a natural step up!” Travis says. He explains that the name Eatin’ It is “after a song on the record of the same name. It’s about feeling a certain way and reacting poorly when being held accountable and then coming to terms with realizing they were correct.”

However, the recording process for this album was very different. “I myself spent most of it five hours north tuning in on skype for production feedback and coming down to do all my bass in a single day. The process still felt very good and proved to us that we can accomplish something like this when obstacles are thrown at us,” he explains. “I would say my hardest song to record this record was Fences. That song has a crazy amount of feel that I really had to lock into!”


Kolton says, “the hardest song to record for me would probably be Better Than Yesterday. It’s one of our more upbeat songs on the album. It has this killer groove to it, and a super heavy breakdown. It definitely took me a few takes to finish the drums!”

But making the album wasn’t all doom and gloom; it was also a lot of fun. Kolton explains that his favourite song to record is called Enough because “it’s one of my favourites off the album, and tracking drums for it was so fun!” Travis also says he enjoyed recording it because “it felt so natural and had zero doubts on any parts.”

It’s both their favourite song for good reason. It is the second single to be released from the band’s sophomore album, and the lyrics tackle the uncertainty that comes with releasing a musician’s second album. It also explores the feelings of fear that come from deviating away from a previously established path that had proven successful in the past. Whilst it is predominantly about music, the themes of the song are universal to everyone, no matter what stage in life they are in.

After supporting the likes of MOM JEANS, THREE DAYS GRACE, REINWOLF and ONE BAD SON, GREENWING have made a name for themselves by gaining a cult following in the touring circuit, and it has influenced their music. “Shortly after our new lineup change, we hit the road and played a good chunk of shows throughout 2023,” Kolton explains. “The chemistry we grew on stage throughout the year transitioned greatly into the studio when we started writing for the new album. The whole writing and recording process flew by quickly as each of us were locked in and knew exactly what was needed. And it was definitely from all the shows we had under our belt together.”

Travis agrees, “I would say touring has influenced our music in a big way. When we write, it’s often not complete till we feel like it has that ‘live energy’ and that’s something I feel touring has really made possible for us. But the Canadian music scene has influenced us in our sound but especially our live show as we pull from the energy that bands like PUP and NOBRO bring to the table.”

Kolton also acknowledges this, explaining that “the Canadian music scene has definitely influenced each of us! One band that comes to mind is THE DIRTY NIL from Ontario. We were fortunate enough to have opened for them last summer. They’re definitely a band we all look up to!”

After releasing the standalone 2023 single, Dark, the band found themselves nominated for various awards in the music industry. They were named Rock Artist of the Year in the same year by Sask Music. When it comes to live shows, GREENWING are one of the best in the music business. “I would describe a GREENWING show to be very hectic, but in the best way possible! We all let loose and have fun, which is our main focus on all our live shows,” Kolton explains. Travis agrees, “our live show is fast paced high energy with a welcoming feeling meant to bring everyone to the party!”

With their powerful songs, infectious live energy, unique sound, and passion for their music, it is clear that GREENWING are something special. With 2024 being the year that the band are going to spend touring, it looks increasingly likely that they will become one of the most beloved new bands of the music scene, and there will be a lot more people attending their parties.

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RAGE - AFTERLIFELINES

RAGE - AFTERLIFELINES

March 27, 2024, 20 hours ago
(SPV/STEAMHAMMER)

Rich Catino

Rating: 6.0

review heavy metal rage



Forty years, and now the 26th album, Afterlifelines, by the German speed/power/prog melodic metal machine. I am a fan of their history, select songs from the ‘80s, more so the Manni Schmidt era (Perfect Man - Missing Link), two guitar attack Black In Mind - Ghosts, and the Smolski albums 2001-2010. Getting you up to speed, the last four albums there has been another new drummer and change in guitarists, twice. That's many albums, and quantity over quality often, too much sameness. With that, how does this new album compare?

This is a double album, Afterlife’s first eleven songs guitar driven written as a trio, Lifelines with an orchestra behind the guitars, drums, and bass, something Rage has done several times during the history. And like lone original member, singer Peavy Wagner in the bio says "some of it may be reminiscent of albums XIII and Lingua Mortis,” which I agree, plus Speak Of The Dead form 2006. With that, first disc kicks off in traditional Rage fashion, rampaging riffs and drums driving the song. Wagner's voice has lost nothing in tone, a tad more edgy like last few albums. They have become heavier since The Devil Strikes Again, and with mixed results.

Like lead off track "End Of Illusions" has a modern breakdown and guttural growl pre solo. But, as always with Rage with speed the important guitar melody still a thread, heard in "Under A Black Crown", and the solo in the catchy rhythm for the title track. "Mortal" has a modern chugging riff, as does "Toxic Waves" with melodic verse breaks. "Waterwar" has chorus riffing pattern style more in the vein of the Smolski era. Gallop and double bass power metal for the chorus to "Justice Will be Mine". These two are my Rage.

GUITAR VIRTUOSO NILI BROSH FEATURED ON NEW INTRO THEME FOR REBOOTED X-MEN '97 ANIMATED SERIES

GUITAR VIRTUOSO NILI BROSH FEATURED ON NEW INTRO THEME FOR REBOOTED X-MEN '97 ANIMATED SERIES




If you're a comic book nerd, you're likely aware of the relaunched X-Men '97 Animated Series on Disney+. The iconic intro theme - created by composer Ron Wasserman - has been updates and features guitar virtuoso Nili Brosh. She checked in via Instagram to reveal the news:

"I’ve been waiting a long time for today…when I finally get to share with you that I played the classic X-Men theme for @xmen97marvel, now streaming on @disneyplus! I can’t thank @thenewtonbroth3rs enough, for such an unbelievably gorgeous score and for having me!

The idea that I am now somehow part of the legacy of the Saturday Morning Cartoons is beyond me, and even crazier to me to now have credits with Haim Saban and Shuki Levy. I mean, what??? I’m at a loss for words today. So so grateful!”

LIVE REVIEW: Napalm Death

Grindcore veterans NAPALM DEATH have returned to yet another sold out Glasgow live show, this time at Queen Margaret Union. Accompanying them are the live rare experience PIG DESTROYER, the unfathomably heavy doomsters PRIMITIVE MAN and Singaporean grind heroes WORMROT. Such a stacked lineup translates to a queue that snakes down the street. As WORMROT hit the stage a scant 20 minutes after the doors open and the line slithers down at a snail’s pace, this reviewer and so many others entirely miss WORMROT’s set. Frustrating. Primitive Man live @ Queen Margaret Union, Glasgow. Photo Credit: Duncan McCall

The night moves quickly. American sludge doomsters PRIMITIVE MAN commence their show just ten minutes after WORMROT’s end. The trio begins with the eight-minute-long Menacing from their most recent full-length, Immersion. Frontman ELM and bassist JPC shadow each end of the stage and lead the headbanging with an austere presence. They sketch violently nihilistic soundscapes, wielding a suffocating atmosphere. My Will, Victim and Consumption compose the rest of their setlist. Their doom heaviness can shatter diamond mountains, but its deliberately crawling tempos certainly stick out among the other speedy acts tonight. The audience appears to merely tolerate the performance, offering polite applause after each song. There’s definitely an unspoken desire for breakneck moshing anthems. ELM’s black/death/grindcore act VERMIN WOMB would have suited the bill better, but PRIMITIVE MAN played a solidly engaging show.

Rating: 8/10 Pig Destroyer live @ Queen Margaret Union, Glasgow. Photo Credit: Duncan McCall

The venue’s hall turns into a sweatbox before American grindcore soldiers PIG DESTROYER are up. For a band of their pedigree, they rarely play the UK, although they made the 2022 Damnation Festival lineup. It’s safe to say that most of the crowd haven’t witnessed them live, and they are probably a bigger draw than the headliners. The opening notes of Grave Dancer transform the vast majority of the punters into a vortex of flailing human bodies. The pit occupies around two-thirds of the floor; not only is it massive, but it’s also extraordinarily violent and frenetic. Vocalist J.R. Hayes deploys a signature hardcore-inspired shout-growl backed by complex yet savage guitar riffs from Scott Hull. Unlike their genre peers, PIG DESTROYER’s guitar tone isn’t always heavy, leaning closer towards thrash metal at times, and their use of electronics from Alex Cha adds to the disorientation. There’s a solid concentration on groove and alternating tempos, all contributing to the semi-permanent moshpit and tide of crowd surfers.

With song clocking in around a couple of minutes, these grindsters fire out aural shot after shot, which, coupled with the omnipresent pit, feels like getting struck by a semi-automatic firearm. Unsurprisingly, the band draws predominantly from highly lauded albums Prowler In The Yard and Terrifyer. The likes of Cripped Horses, Thumbsucker, The Torture Fields, Deathtripper, Cheerleader Corpses (preceded by the creepy and bizarre Jenifer intro), Scatology Homework, Trojan Whore and many more are ammunition for the record-breaking moshpit. The fans are so hyped to see the band that they could probably play anything and summon a similar response. The band looks entirely energised on stage and genuinely excited to perform, not typical for a band that started in the 90s. All in all, this was a wildly dynamic show of chaos that even NAPALM DEATH would struggle to surpass.

Rating: 9/10 Napalm Death live @ Queen Margaret Union, Glasgow. Photo Credit: Duncan McCall

Back again in Glasgow for the second time in as many years, Birmingham’s NAPALM DEATH explode on stage with the bruising From Enslavement To Obliteration. This classic slab of grindcore has heads banging and fists pumping. Surprisingly, the audience appears reluctant to form a mosh pit, which takes some encouragement. When it does spawn, it’s significantly smaller and less violent than PIG DESTROYER’s swarm, but the band members are just as enthralling as the previous act. Vocalist Barney Greenway possesses more energy than a hyperactive, sugar-addled toddler, constantly working the stage with an authentic, frustrated wilderness about him. The legends of grind pummel the venue with song after song of aural devastation, brief but ultra-punishing. Chunky riffs and thunderous power chords from live guitarist John Cooke are served with feral abandon, underscored by Danny Herrera’s apocalyptic drummings.

With so many albums to their name, the band wisely sticks to their genre-defining earlier tracks and fresher cuts, peppered with the odd mid-discography banger. The likes of If The Truth Be Known, Suffer The Children, You Suffer and Dead proudly represent the old material. Contagion, Backlash Just Because, Amoral and Resentment Always Simmers showcase NAPALM DEATH in their modern incarnation, adeptly weaving death metal and grindcore into tapestries that don’t shy away from criticising our corrupt moral world. Moshers and crowd surfers try their hardest to move attention away from the headliners and onto themselves. One of the craziest parts of the set is when someone clambers up the vertiginous amp stacks to the right of Shane Embury. The man then launches himself into the pit. Hopefully, he avoids any injuries. Napalm Death live @ Queen Margaret Union, Glasgow. Photo Credit: Duncan McCall

Greenway is known for his political stage chatter, although he keeps it quick tonight: “Refugees welcome,” earning hearty acclaim from the crowd. Another message cements the band’s support for human rights, including women’s rights, gay rights, and trans rights, with the applause for the latter being enormous. Is it really a NAPALM DEATH show without a cover of DEAD KENNEDYS’ Nazi Punks Fuck Off? Of course, that makes the set. As the years pass, these grind icons defy age limitations by providing an impassioned, dynamic live experience. There’s a reason they sell out so many shows so often.

Rating: 9/10

Check out our photo gallery of the night’s action in Glasgow from Duncan McCall here:








































































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