LIVE REVIEW: Cannibal Corpse @ The Roundhouse, London

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It’s Sunday night, and there’s a handful of people wearing corpse paint, standing around patiently at The Roundhouse in the UK capital as they wait for death metal titans, CANNIBAL CORPSE, to take to the stage. Typical of a night out in Camden, really, but very much a home for all four bands (SCHIZOPHRENIA, IMMOLATION, MUNICIPAL WASTE and CANNIBAL CORPSE) and the amassing fans.



Schizophrenia live @ The Roundhouse, London. Photo Credit: Sarah Tsang

Death-meets-thrash metal band, SCHIZOPHRENIA open up as the first band of the evening, grabbing the attention of fans as they move and play effortlessly across the stage. Drummer, Lorenzo Vissol, stands out with the fact he hypes up the crowd as he plays and is constantly smiling throughout. SCHIZOPHRENIA showed that despite that they are a young band, they have the songs and stage presence to prove why they are on this bill with CANNIBAL CORPSE.



Rating: 8/10Immolation live @ The Roundhouse, London. Photo Credit: Sarah Tsang

Up next are IMMOLATION, with their brutal riffs and the legacy that this band has, IMMOLATION made sure that each fan – both old and new – knew exactly what they got from the set: heavy in your face noises as well as melody that balanced the set out. Half way through set, IMMOLATION not only gave a shout out to all the bands on the bill, they also dedicated a song to Erik Ruton (who had to leave the tour early due to the damage caused by Hurricane Helene in his home state of Florida). Very respectful and wholesome, indeed.



Rating: 8/10Municipal Waste live @ The Roundhouse, London. Photo Credit: Sarah Tsang

Main support act, MUNICIPAL WASTE actually wasted no time in making everyone feel involved. Their showmanship throughout their set led to egging on the crowd by demanding everyone to crowdsurf. This led to chaos especially with mosh pits everywhere and the constant stream of crowdsurfers of every moment of the songs, putting security to work. They ended their set with Born To Party, with chants of “MUNICIPAL WASTE is gonna fuck you up!”, it was the perfect way to get fans excited and riled up for the main act of the night.



Rating: 9/10Cannibal Corpse live @ The Roundhouse, London. Photo Credit: Sarah Tsang

Whatever threatening/eerie image you have in your head of vocalist Corpsegrinder aka George Fisher, it is immediately gone because as the band came on to the stage, a fan from the front row hands a stuffed toy bear to George. Cheers came from the fans as he held it up with a smile as he placed it on the back of the stage.



Following this, CANNIBAL CORPSE immediately transitioned smoothly to their first song – Blood Blind – from their latest album, Chaos Horrific, and it is a sudden reminder of who this band is. The descent into mosh pits is felt from the front row as the band playing just slaps you in the face with excitement and the feeling of dread. The Roundhouse is filled with red and blue colours across the stage, just the way it should be for a death metal band. As a sudden four piece band without the presence of Erik, it didn’t deter from their performance in the slightest.

As a band with a long successful legacy, the setlist spanned material from across 11 of their albums, all flowing well in to each other. As George commands the crowd, the band keep the crowd on their toes and Fisher‘s relentless headbanging with every song encourages everyone to do the same, if they can keep up, is another story entirely. The funny moments of the set comes from when George talks to the fans, his humour to mess around, such as telling all the men off for screaming when he said the band wanted to dedicate a song to the women in the crowd.Cannibal Corpse live @ The Roundhouse, London. Photo Credit: Sarah Tsang

Near the end of the set, he teases everyone by saying “I’ve decided out of the kindness in my heart, this is still going to be the last song”, which erupted in a mixture of cheers and sounds of disappointment.




Closing the set, there’s a pit opening up as wide as possible, while George screams “I’m sure you know what this song is next, but I’m gonna tell you motherfuckers anyway” and as the intro of Hammer Smashed Face unleashes, the entire venue turns in crushing wave of bodies flying everywhere and into each other. A song so popular that it was played in mainstream movies. Chants of people singing along to the riffs echoes around The Roundhouse is a highlight to see and hear.
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CANNIBAL CORPSE are a household name whether you’re into metal or not. With 36 years under their collective belts and boasting music that is still refreshing and never wavering in heaviness, it’s no wonder that the band have solid out The Roundhouse. After all these years, CANNIBAL CORPSE still have the tenacity and ravenous hunger for aural destruction and to witness their explosive mastery of death metal is a joy to behold. Long may it continue.

Rating: 10/10

Check out our photo gallery of the night’s action in London from Sarah Tsang here:



































































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LIVE REVIEW: Health @ Electric Brixton, London

A broad church descends upon Brixton on a Sunday night as the HEALTH show rolls into town. The band’s unique mix of industrial metal and noise-rock, cut with a bit of synth-wave, has developed a cult following. Amidst the usual cohorts of band T-shirts and goth get-ups are the Extremely Online fans, inspired by the band’s Discord page and Elden Ring meme antics of bassist Johnny Famiglietti (AKA Johnny HEALTH). A few cosplay outfits, cat ears, and brandished anime dolls are dotted about the packed venue. Within five minutes of opening, there is a persistent queue for the merch stand. HEALTH are notorious for provocative merch, including meme-ready T-shirts (“Sad Music For Horny People”), oversized computer mats and some more salubrious items. It’s a febrile atmosphere for this leg of the UK & Europe Tour.
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Zetra live @ Electric Brixton, London. Photo Credit: Chris Hart

Openers ZETRA have had a busy few months – festival appearances at 2000Trees and ArcTanGent as well as opening slots for ZEAL & ARDOR and VILLE VALO (the latter at the Royal Albert Hall) alongside the release of their debut self-titled album. The synth-rock duo takes to the stage atop separate raised platforms, resplendent in full goth face paint and outfits; their microphone stands draped in chains. The early crowd are treated to a succession of thumping slow-tempo goth tunes – crunching power chords underneath soaring synth pads and soft harmonised vocals.



The live guitar and synth-deck combination works well. It helps that ZETRA have an excellent ear for melody and drama, particularly on set opener Sacrifice. The palm-muted builds and widescreen chorus in the likes of The Mirror translate well amidst the backlit fog. There is a flair for the dramatic too – the duo descend their plinths to conduct a summoning ritual from a portal backdrop in a mid-set break. For the most part, the programmed drum backing is unobtrusive, though the blast beats in the closer induce some dissonance to the broader energy of the set. It’s a confident showing from a band on the rise.

Rating: 8/10GosT live @ Electric Brixton, London. Photo Credit: Chris Hart

The fog on stage clears for GOST, samples of Satanic panic radio broadcasts building tension before the band emerge bathed in red light. Frontman James Lollar leads proceedings, dressed up in a Ghost Rider-esque costume, all leathers and skull mask. It’s a kinetic display, eschewing any live delivery of vocals in favour of physical hype, often moving to centre stage from behind the synths to wordlessly rile up the crowd into a frenzy. His only accompaniment on stage is the bassist, relentlessly playing at speed without pause.



GOST blend a mix of dark synth-wave and extreme dance & electronic elements – that 80s throwback PERTURBATOR style, but cut with a little more menace and ambient horror. Live, it presents as an attention-deficit cyberpunk rave. There are frequent and wild shifts in tone, often rapidly and without warning mid-song. It can sometimes be hard to track, but it’s incredible fun, especially when the band hits those rave tempos. The crowd are certainly game for it, regularly bouncing along to the nightmarish soundtrack.

Rating: 9/10Health live @ Electric Brixton, London. Photo Credit: Chris Hart

And so the Rat-Based Warfare begins. The trio of HEALTH present a curious synthesis. Much attention is lathered on Famiglietti, who takes up some 75% of the stage running about, whipping his hair around, the focal point of energy for the band. But there’s an impressive tightness to the musicianship. The precision-tooled drumbeats are replicated without fault live by B. J. Miller, whether in the machine-gun assault on the senses double-time of Crack Metal or the metronomic pace of Ashamed. Jake Duzsik‘s soft vocals sit in juxtaposition to the abrasive sonic instrumentation, at their best when they cut to the heart in bitterness or restrained emotion. That carries through into an introverted performance – equally as compelling as Famiglietti‘s histrionics, a dark complement. His guitar work is excellent, too – mountains of industrial over-compression not killing its brutal impact.




Somehow, the band packs 20 songs into a set lasting just over an hour. It’s an efficient performance with minimal crowd interaction, beyond Famiglietti throwing his cat ears to the crowd. There are cuts from across the back catalogue, including the band’s Max Payne 3 soundtrack and a DEFTONES cover of Be Quiet And Drive (Far Away). The lion’s share of attention is on last year’s Rat Wars, which presents a step up in songwriting and vision. The crowd are in agreement, reserving their biggest reactions for the night for the hands-in-the-air chorus of Ashamed, and uncontrolled moshing and pogo-ing to Hateful.

That lack of crowd interaction does nothing to dampen the enthusiasm, with an enormous circle pit opening unprompted mid-set between songs. The transition at that point into Demigods – the cavernous, epic opener from Rat Wars – kicks off an extreme slow-tempo mosh. Rarely do the energy levels drop. It’s an assured performance from a band moving from strength to strength.

Rating: 9/10

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HISTÓRIA DA MÚSICA PESADAPOP-PUNKPUNK

Lançado em 21 de setembro de 2004, American Idiot marcou não apenas um retorno para o GREEN DAY , mas um fenômeno cultural e musical que transcendeu o punk rock, reacendendo a carreira da banda após anos de relativa dormência. Após a decepção comercial de Warning , de 2000 , um afastamento experimental de seu som punk anterior, o GREEN DAY se viu em uma palavra cruzada.
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Nascido das cinzas do álbum original condenado , Cigarettes and Valentines (as mastertapes foram roubadas, de acordo com a banda), American Idiot foi um salto artístico ousado e um retorno incrível à forma, mostrando sua capacidade de evoluir enquanto reafirmava sua relevância em um cenário pós-11 de setembro e elevando o trio formado por Billie Joe Armstrong, Mike Dirnt e Tre Cool à estratosfera dos ícones do rock and roll.

Após seu lançamento, American Idiot estreou em primeiro lugar na Billboard 200, vendendo 267.000 cópias em sua primeira semana somente nos EUA e alcançando o primeiro lugar na parada de álbuns do Reino Unido. Tornou-se um dos discos de maior sucesso comercial dos anos 2000, vendendo bem mais de 16 milhões de cópias em todo o mundo. O álbum em si viu um lado mais maduro da banda do que os álbuns anteriores. Sua entrega sarcástica ainda permaneceu, mas permitiu que eles mostrassem um lado mais vulnerável.

Quando se trata das músicas que aparecem ao longo do álbum, parece quase impossível destacar faixas individuais, pois o álbum em si está cheio até a borda com clássicos genuínos como Letterbomb , Homecoming (a segunda música de nove minutos do álbum) e Whatsername , todas as faixas por direito próprio que causaram um grande impacto na discografia da banda. Ele também continha a obra-prima absoluta que é Jesus Of Suburbia , um épico de nove minutos que não desperdiça um segundo, sem dúvida sendo o maior trabalho da banda até hoje. No lado mais comercial do álbum, ele produziu vários singles de sucesso como Holiday , Boulevard Of Broken Dreams e Wake Me Up When September Ends, para citar apenas alguns.

A faixa titular American Idiot se tornou um hino punk, alcançando o primeiro lugar na parada Billboard Modern Rock Tracks. A recepção crítica do álbum foi quase unanimemente positiva, uma mudança da resposta morna para Warning . Os críticos saudaram o álbum como uma declaração ousada e vital dos tempos. A Rolling Stone o descreveu como "o movimento mais ousado que o GREEN DAY já fez", enquanto a Spin o chamou de "ópera punk rock para um mundo pós- Bush ". Sua combinação de atitude punk com sensibilidade, junto com seus temas conceituais profundamente políticos, foi recebida com elogios por sua ambição e execução. Em termos de elogios, American Idiot ganhou o Grammy de Melhor Álbum de Rock em 2005, solidificando o status renovado do GREEN DAY como um dos atos mais importantes do rock.


Mais do que apenas um sucesso comercial e crítico, American Idiot se tornou uma pedra de toque cultural para uma geração que vivia a turbulência do início dos anos 2000, particularmente nos EUA em meio à injusta Guerra do Iraque e à presidência de George W. Bush . As letras politicamente carregadas do álbum ressoaram profundamente com os jovens que estavam desiludidos com o estado do mundo. Músicas como American Idiot criticavam diretamente a cultura, a política e a mídia, tornando-o um dos álbuns de protesto definidores da época. O arco narrativo do álbum segue um personagem conhecido como Jesus Of Suburbia , um indivíduo que refletia a insatisfação e a angústia que era a geração pós-11 de setembro. Muitas vezes referido como uma "ópera punk rock" por sua ambição conceitual, esse enquadramento ajudou o álbum a transcender as limitações do gênero punk.



O GREEN DAY não era mais apenas a banda que criou os hinos cativantes e irreverentes dos anos 90; eles agora eram vistos como comentaristas políticos e contadores de histórias musicais. A marca "punk rock opera" completou o ciclo, quando em 2010, o álbum foi adaptado para um musical da Broadway, consolidando ainda mais seu impacto cultural. Recebendo ótimas críticas por seu retrato energético e visceral do desânimo suburbano e da agitação política, apresentando American Idiot a um público totalmente novo. Essa mudança do álbum para o show no palco é uma prova de seu legado e influência duradouros, um feito raro para um disco de rock no século XXI.

Antes de American Idiot , a trajetória do GREEN DAY parecia incerta. Eles atingiram um pico comercial em meados dos anos 90 com o sucesso de Dookie , de 1994, e Insomniac , de 1995. Mas no início dos anos 2000, seu ímpeto havia diminuído. Enquanto na época, Warning , de 2000 , era criticamente apreciado por sua abordagem mais madura, folk-punk, ele falhou em ressoar com o público mainstream da mesma forma que seus trabalhos anteriores, sinalizando o que muitos acreditavam que poderia ser o início de um declínio. A banda enfrentou o desafio de permanecer relevante em uma cena musical em rápida mudança, onde o pop-punk, um gênero que eles ajudaram a popularizar, estava massivamente supersaturado.

O sucesso de American Idiot reacendeu a carreira da banda, tornando-os mais populares do que nunca. Não só permitiu que eles recuperassem sua posição como uma das bandas mais importantes de sua era, como também expandiu seu público além dos limites do punk e do rock alternativo. Trouxe o GREEN DAY para a conversa mainstream de uma forma que transcendeu seu trabalho anterior, falando sobre as frustrações e ansiedades de uma geração com o mundo ao seu redor.

Até hoje, American Idiot é considerado não apenas a obra-prima do GREEN DAY , mas um dos álbuns mais importantes dos anos 2000. Sua mistura de comentários políticos mordazes, narrativa intrincada e rock hino vigoroso ajudou a comentar o legado do GREEN DAY como uma banda que poderia se adaptar e permanecer vital ao longo de décadas, eles até embarcaram em uma gigantesca turnê mundial para celebrar o 20º aniversário da banda junto com o 30º aniversário do Dookie . O álbum continua a ressoar, especialmente porque as convulsões políticas e sociais permanecem na vanguarda do discurso global.



Em retrospecto, American Idiot não apenas salvou o GREEN DAY do que parecia um declínio inevitável, mas os catapultou para uma nova era de criatividade e influência. Foi uma aposta de alto risco e alta recompensa que valeu a pena tanto comercial quanto culturalmente. Revitalizou o lugar do punk rock no mainstream e serviu como um lembrete do poder da música de refletir e moldar seus tempos. Duas décadas depois, continua sendo O momento decisivo do trabalho do GREEN DAY e um momento crucial na história do rock.



American Idiot foi lançado originalmente em 21 de setembro de 2004 pela Reprise Records.



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DISMEMBER GUITARIST ROBERT SENNEBÄCK UNVEILS NEW SOLAR XF1.6 SIGNATURE MODEL IN PLAYTHROUGH VIDEO

Robert Sennebäck, a founding member of the legendary death metal band Dismember, has been instrumental in shaping the iconic sound that put Swedish death metal on the global map. As a key player in the genre’s development, his influence extends beyond Dismember, having also co-founded Unleashed and contributed to bands like Necrophobic. Known for his crushing riffs and raw, uncompromising style, Robert’s contribution to extreme metal is undeniable.

Now, in collaboration with Solar Guitars, Robert brings his experience and craftsmanship to the creation of his first signature model, designed to meet the demands of heavy, fast, and intricate playing. Check out his new Solar XF1.6 signature model in the playthrough video below.

For information on the guitar and to purchase, go to Solar Guitars here.

MÖTLEY CRÜE – CANCELLED

This new, three-song EP from Mötley Crüe is significant for a few reasons. Most notably, it’s their first recorded output with guitarist John 5, who previously played with Rob Zombie, Marilyn Manson, and David Lee Roth. John 5 replaced original six-stringer Mick Mars in 2022. It’s also the Crüe’s first new music since The Dirt Soundtrack, released in 2019. And it marks Mötley’s initial collaboration with new label, Big Machine Records. Furthermore, it’s produced by Bob Rock, who was at the helm for Dr. Feelgood, as well as the self-titled Mötley Crüe, with John Corabi on vocals.

Up first is the title track, “Cancelled”. Kicking off with a thick and meaty riff, it quickly cascades into a lyrical waterfall, that vocalist Vince Neil will most likely never be able to replicate live. Taking aim at cancel culture as well as social media, “Cancelled” calls out “Monkeys on the Internet” and “Tik Tok videos” that “Smell like landfill.” Then the band mutes themselves while Vince sings, “Bang your head against a motherf**kin wall!” That being the catch phrase of the song. The second verse mirrors the first, this time highlighting a “Supermodel sandwich, selfie in the back seat. She said yes then they arrest me.” After some noodling by John 5, the song ends unexpectedly with a solemn piano outro. Not a great Mötley Crüe song by any means, but far and away, the best tune of this trio.

Another new original, “Dogs Of War” follows, reeking of familiarity. It begins with Vince Neil whispering “Bastards”. If you remember, Mötley Crüe had a song called “Bastard” on their second album, Shout At The Devil. After a bout of chunky guitar, the bottom end drops out completely, allowing Vince the space to clearly annunciate, followed by a series of uninspiring whoa, whoa filler. The line, “A black wolf is standing at our back door, staring at the blood stain on the floor,” instantly takes fans back to 1983, fists in the air chanting, “He's the wolf screaming lonely in the night, he's the blood stain on the stage.” Unintentional coincidence or planned parallel? Only bassist / lyricist Nikki Sixx knows for sure. John 5’s dazzling fretboard dance is unlike anything his predecessor Mick Mars would have done, and it takes some getting used to.

LOVEBITES – LOVEBITES EP II

The ladies keep on rolling and shredding – fresh off 2023 magnificence in Judgement Day is a new live release and a new EP – Lovebites II, a call back to their debut release, The Lovebites EP, in 2017.

At five tracks and 25 minutes, Lovebites juggles the modes in the power metal spectrum with unrelenting thrashing speed (“Where’s Identity”), the standard speedy, anthemic attitude in “Soul Defender”, catchy chorus work in opener “Unchained”, dabbling in AOR-infused leanings in “The Bell In Jail”, and twin melodic stormer “Someone’s Dream”.

The last two tracks accentuate the talents of Fami’s bass work with jumping lines and Haruna drum work is in fine form, a complete menace behind the kit blending melody and intensity. Asami is as bright as ever with her vocals with “The Bell In Jail” highlighting her strengths and Midori and Miyako own the guitars with outstanding lead work – speed, melody, shredding, and some neo-classical

GRAND MAGUS - SUNRAVEN

In a recording career that spans nearly 25 years, with a new opus arriving every couple of years, seems like eternity since we heard anything from the Swedish trio fronted by guitarist/vocalist JB Christoffersson. Actually, there was a pre-pandemic North American tour, in '19, for the Wolf God album, but the longevity of said disc was blunted by the global shutdown. So now JB, Fox (bass) and drummer Ludde are back, with nine new sonic weapons in their arsenal.

Some call it stoner, others doom. The truth? Both are (partially) correct, but Grand Magus offer so much more. The album revolves around the classic Beowulf tale and his adversary Grendel, re-imagined through JB's lyrical lens (the title character re-christened Sunraven herein).

The music chugs along, at varying speeds, from trudge to full-out sprint, but always with that requisite, thundering heaviness. "Skybound" opener bounces and bristles with life, despite the subject matter (relating a flight to the after-life). A "welcome back" calling card moment. More metered and mid-tempo "The Wheel Of Pain" follows. First single/titular tune, "Sunraven" sticks to a similar pace, punishingly, yet melodically, working its way into your head. A recurrent guitar break, courtesy of Christoffersson, does the heavy work. Classic doom, mixed with traditional metal, such is the construct of "Winter Storms".