DOKKEN - HEAVEN COMES DOWN

“I’ve been trying to win this fight, but I think I’m gonna lose,” struggles Don Dokken on the chorus for “Is It Me Or You?” While the song is about a toxic relationship, that line may be more about Don’s vocal troubles and the serious power he has lost throughout the years. Heaven Comes Down is Dokken’s first album since the horrible 2012 effort Bad Bones and it’s easy to be skeptical about the quality of a new Dokken album in 2023.

Heaven Comes Down - like 2008’s Lightning Strikes Again – reminds of better times, days of better music, but despite the limitations of the band’s namesake, Heaven Comes Down isn’t bad. It’s an earnest, honest, reflective album with hints of the glory days, while also maintaining a laid back approach. It's one last time time to go rokken with Dokken - the music a suitable soundtrack for a lone motorcyle ride through the desert.

Don’s vocals are tired and there are times where more “oomph!” is needed, but it’s just not there. The ballad “I’ll Never Give Up” speaks to his determination to push through, especially with all the health problems he has suffered.

Red Hot Chili Peppers entrega show emocionante no RJ

Red Hot Chili Peppers entrega show emocionante no RJ em uma mistura de clássicos e inovações
A banda californiana contou com o retorno ilustre do guitarrista John Frusciante

No Maracanã lotado, milhares de corações vibraram com a final da Libertadores. Ainda na zona norte do solo carioca, não precisava ir muito longe para ver outros inúmeros corações vibrando, mas ao som de Red Hot Chili Peppers.

O grupo californiano se apresentou no Estádio Olímpico Nilton Santos no último sábado, 04, e, apesar de ter marcado presença no penúltimo Rock In Rio (2019), esse espetáculo estava sendo aguardado há mais de uma década. Isso porque a turnê Unlimited Love sinaliza o retorno de John Frusciante, que não tocava com a banda no Brasil há 21 anos. Trata-se de um momento único para qualquer fã: aos que cresceram vendo os solos marcantes do guitarrista nos clipes do Red Hot na MTV e eram novos demais para comparecer no show de 2002, aos que acompanham o grupo desde os anos 80 e carregavam uma saudade enorme de ver os improvisos de John no palco e a nova geração, que tem a chance de acompanhar em tempo real o seu retorno.

Com apenas 3 minutos de atraso, a banda ocupa o palco introduzindo uma grande jam. Chad Smith (bateria) mostra o seu ritmo e a sua velocidade, Flea (baixo) o seu groove e os cultuados slaps e John Frusciante (guitarra), em sua Fender relicada, mostra as suas melodias delicadas, mas ao mesmo tempo viscerais. Após a improvisação, Anthony Kiedis se junta a banda e emenda uma trinca de clássicos: “Can’t Stop”, “The Zephyr Song” e “Snow ((Hey Oh))”. Logo no riff inicial de “Can’t Stop”, o público grita em uníssono e acompanha Frusciante em seu backing vocal. Diga-se de passagem, os backing vocals do guitarrista se concretizam como um ponto alto do show, uma vez que os seus agudos ecoam de maneira angelical.

Em “Here Ever After”, do álbum que nomeia a turnê em questão, Flea, conhecido por sua animação nas apresentações, expressa a sua energia com os seus pulos e interações emocionadas com John. A banda segue o repertório com “Otherside”, que surpreendeu muitos, uma vez que a música ficou de fora do setlist do show da Costa Rica. Outra surpresa foi a faixa “Suck My Kiss”, que foi um belo banquete aos fãs das fases mais funkeadas do grupo.

O público demonstrou o seu amor intenso por John Frusciante em diversas ocasiões, sobretudo gritando “John Fruscianteee, John Fruscianteee!” nos intervalos entre as músicas. “John, você é a razão por eu ter começado a aprender a tocar guitarra”, estampava o recado presente em uma folha erguida por uma fã.

Em alguns desses intervalos, a banda se reunia em frente a bateria e cochichava entre si. Será que estavam discutindo o repertório? Será que estavam combinando alguma jam? Nunca saberemos, mas é possível que a segunda pergunta seja pertinente, uma vez que as improvisações foram destaque da noite, incluindo até mesmo um momento só de John e Flea.

O baixista e o guitarrista se posicionaram um de frente para o outro e apresentaram um improviso digno de lágrimas da plateia, em que somente os instrumentos de corda se comunicavam entre si de modo íntimo, apesar das milhares de pessoas no local.

O repertório não só seguiu recheado de outros clássicos, como “Californication”, “By the Way” e “Under the Bridge”, mas também de lançamentos mais recentes – que foram igualmente cantados aos berros pelo público-, como “Black Summer” e “The Heavy Wing” – essa última despertando um entusiasmo gigante entre a plateia. Isso porque os vocais de John Frusciante ficam majoritariamente restritos aos backing vocals das canções e, em “The Heavy Wing”, é o vocal do guitarrista que comanda o refrão.

Nos telões laterais, foi possível observar a filmagem em tempo real do show em determinados padrões de efeitos e cores que remetiam a algo entre as animações do “Windows Media Player” e a capa do disco Wired (1976), do guitarrista Jeff Beck.

Flea foi o integrante que mais interagiu com o público, desejando boa noite e agradecendo a presença de todos. O espetáculo foi encerrado de forma vigorosa com a dançante “Give It Away”, com Flea tocando em cima de um dos amplificadores. Ao final da apresentação, Anthony, que quase não falou durante o show, agradeceu ao público, enquanto Chad e John se comunicavam de maneira mais próxima da plateia, distribuindo baquetas e palhetas.

Após o fim do espetáculo, muitas pessoas reclamaram de sua duração, que contou com menos de 2 horas. No entanto, seria rigoroso dizer que o show não valeu a pena: dançante, cheio de energia e fluidez, mesmo com as diversas pausas. A presença de Frusciante é algo à parte. Todos falavam dele e aguardavam ansiosamente por seus solos e vocais. Tudo que esperamos é que ele não demore mais 20 anos para retornar!

SLIPKNOT Parts Ways With Drummer JAY WEINBERGNovember

SLIPKNOT Parts Ways With Drummer JAY WEINBERGNovember 5, 2023





Earlier today (Sunday, November 5), the band released the following statement via social media: "We would like to thank Jay Weinberg for his dedication and passion over the past ten years. No one can ever replace Joey Jordison's original sound, style or energy, but Jay honored Joey's parts and contributed to the last three albums and we, the band, and the fans appreciate it. But as ever, SLIPKNOT is intent on evolving. The band has decided to make a creative decision, and to part ways with Jay. We wish Jay all the best and are very excited for what the future holds."

Weinberg played his final show with SLIPKNOT this past Friday (November 3) at the Hell & Heaven festival in Toluca, Mexico. Fan-filmed video of the concert can be seen below.

The now-33-year-old Jay discovered SLIPKNOT when he was a pre-teen, through his father Max, of Bruce Springsteen's E STREET BAND, and leader of the house band on Conan O'Brien's talk show. He was hooked immediately and was a huge fan of SLIPKNOT by the time he was invited to Los Angeles to try out as replacement for Joey Jordison in 2013.

For the first few months after the release of 2014's ".5: The Gray Chapter", the members of SLIPKNOT had declined to name the musicians who were playing drums and bass on their tour, despite the fact that their identities were revealed as Weinberg and bassist Alessandro "Vman" Venturella by a disgruntled former drumtech for SLIPKNOT who posted a picture of a backstage call sheet on Instagram.

SLIPKNOT announced its split with Jordison in December 2013 but did not disclose the reasons for his exit. The drummer subsequently issued a statement saying that he did not quit the group.

Jordison passed away "peacefully in his sleep" in July 2021 of an unspecified cause. He was 46 years old.


Asked in a 2016 interview with Music Radar how respectful he felt he had to be to Joey's legacy, and how much he felt he was free to make it his own, Weinberg said: "Having a massive respect for the band's music, having a massive respect for Joey Jordison as a person and as a player, I understood my role in needing to deliver what this band needs, and understanding what Joey brought to the table, and having this band's legacy continue in the way that the Maggots, the fans of the band, respect, and the nine of us feeling proud of the music we're creating.

"Of course, the history of the band feeds into what I think of the band, but when it came time to come up with new material, new songs, I didn't think about Joey Jordison one bit," he continued. "And I feel it would be disrespectful to do that, and the band wanted me to be completely myself. Because why would I want to be Joey Jordison, why would I try to mimic what he's done?

"Joey's one of the greatest drummers we've ever had the privilege of witnessing. So as a fan of the band and someone who respects the people and the music, I didn't want to come in and try to be a copycat. That's not interesting to me, that's not interesting to the band and it would be insulting to everyone involved, including the fans."

In a May 2023 interview with Danny Wimmer Presents's "Power Hour", Jay reflected on his first concert with SLIPKNOT, which took place in October 2014 at the Knotfest in San Bernardino, California. He said: "I had joined the band about a year before our first show together, so we made a record and we were jamming. And we had that kind of a runway before our first show. But yeah, man, nothing — I've said it before, but it's like nothing…. I could have had years and years and years to prepare for my first SLIPKNOT show. There was truly nothing that could prepare for that first moment when the curtain goes up, we're in our masks, we're in our outfits, everybody's there. That was like the turnkey moment. Especially after a year of knowing. I'm waiting for that moment, what's gonna happen for this first show? What's it going to smell like? What's it gonna feel like? All this stuff, and just trying to best prepare myself for that moment. And there was no preparing for that moment. It really was, as the guys had described to me, every night is, like, you're just dropped out of an airplane and you just have to figure it out. And so that first night certainly was special in that regard. And I feel like we've just built it over the last 10 years."

Prior to joining SLIPKNOT, Weinberg was a member of AGAINST ME!, having played with the Florida-based act from November 2010 until December 2012.

Weinberg joined AGAINST ME! shortly after he was ousted from MADBALL and following the departure of AGAINST ME!'s previous sticksman, George Rebelo.

**UPDATE**: SLIPKNOT's social media post announcing Jay Weinberg's departure has been removed from all of the band's official platforms. However, the announcement can still be found on SLIPKNOT's web site

KREATOR's MILLE PETROZZA

KREATOR's MILLE PETROZZA: 'We Wanna Progress As Musicians And Come Up With New, Exciting Stuff'November 5, 2023









In a new interview with Kris Peters of Australia's Heavy, KREATOR frontman Mille Petrozza was asked how he thinks the band's goals and vision have changed in the four decades since KREATOR's inception. He responded (as transcribed by BLABBERMOUTH.NET): "Of course we progressed as musicians. I think the attitude is still the same. We love to play extreme metal. We love to explore new music. Every time we release an album, it's important for us that we do something that we haven't done before and that we push ourselves and put in new elements and try new things every time we release an album. But the attitude is still the same.

"I think over the years we established our own style and we wanna progress as musicians and we wanna come up with new stuff, exciting stuff," he continued. "We wanna keep our music exciting, and that's why we sometimes take five years between albums, sometimes three, four, but we never just put out something for the sake of it."










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Brian Setzer's 1960s Fender Bassmans | Rig Rundown Trailer




Asked how KREATOR's sound has evolved since the release of the band's debut album, "Endless Pain", in 1985, Mille said: "Like I said, we've progressed as musicians. We're more confident. We're more experienced, obviously. But sound-wise, the technology is so different nowadays, even though on [KREATOR's latest album, 2022's] 'Hate Über Alles', we went to an old-school studio called the Hansa studio [in Berlin, Germany], a studio where David Bowie worked in the '80s, U2 did some albums there, DEPECHE MODE worked there. So we keep it old school to some extent in order to keep sound-wise, sonically, just keep some of the elements from the early days. But I would lie to you if I would say we are not using computers. Of course, everybody's using computers nowadays. We're not blocking out this new technology and the possibilities of nowadays recording techniques. So it's a nice mix. But I think as long as the attitude is the same, and I think that's referring to your question, we still have the same energy we put into the music and we work very hard on keeping it fresh and exciting."


This past May, KREATOR released a music video for the song "Conquer And Destroy" from "Hate Über Alles". The performance footage was filmed on March 4, 2023 in front of 6,000 of KREATOR's mighty hordes in their spiritual home of Essen.

KREATOR's fifteenth studio album, "Hate Über Alles" was released in June 2022. The follow-up to "Gods Of Violence" was recorded at Hansa Tonstudio in Berlin, Germany. Helming the sessions was Arthur Rizk, who has previously worked with CAVALERA CONSPIRACY, CODE ORANGE, POWER TRIP and SOULFLY, among others.

The "Hate Über Alles" cover artwork was created by Eliran Kantor, who has previously worked with HATEBREED, SOULFLY, TESTAMENT, ICED EARTH and SODOM, among others.


"Hate Über Alles" marks KREATOR's first album with bassist Frédéric Leclercq, who joined the group in 2019.

In March 2020, KREATOR surprise-released a new single, "666 - World Divided". The song was produced by Andy Sneap and Markus Ganter and was recorded at Hansa Tonstudios.

KREATOR played its first show with Leclercq in October 2019 in Santiago, Chile.


Before joining KREATOR, Leclercq rose to fame with U.K.-based extreme power metallers DRAGONFORCE for whom he handled bass duties from 2005 until August 2019.

KISS: FRONTMAN PAUL STANLEY DESCARTA NOVA RESIDÊNCIA EM LAS VEGAS

KISS: FRONTMAN PAUL STANLEY DESCARTA NOVA RESIDÊNCIA EM LAS VEGAS

O guitarrista/ vocalista e cofundador do KISS, Paul Stanley rejeitou os rumores de que a banda poderia fazer uma residência no novo Sphere de Las Vegas. Desde que o U2 iniciou sua residência em 29 de setembro no local que abriga uma tela LED envolvente de 16K e 167.000 alto-falantes dentro do orbe de 366 pés de altura, a leste da Las Vegas Strip, tem havido muita conversa na Internet sobre outros artistas. que poderia fazer um uso tão criativo de seu espaço único. No entanto, parece que o KISS não será um deles. Disse Paul Stanley ao Ultimate Classic Rock:
“Não posso falar sobre isso de outra maneira, exceto para ser honesto com você sobre como me sinto agora, e o que sinto hoje é… não consigo imaginar isso acontecendo. No que me diz respeito, terminamos."


Em março passado, o KISS anunciou os shows finais de sua última turnê – dois shows consecutivos no Madison Square Garden, em Nova York, no final de 2023. A última etapa da turnê norte-americana do KISS culminará nos shows do MSG. nos dias 1º e 2 de dezembro. Questionado em uma entrevista de março de 2023 para o Las Vegas Review-Journal se o KISS faria um show novamente em Las Vegas, depois que a residência da banda no Zappos Theatre marcada para dezembro de 2021 a fevereiro de 2022 foi cancelada, o baixista/ vocalista e cofundador Gene Simmons disse:“Na verdade, não sei, porque temos sido inundados por pessoas querendo nos ver onde quer que vamos. Quero dizer, todo cara que lavou meu cachorro ou fez minha lavagem a seco está me pedindo ingressos para toda a sua família, três gerações de volta. Vegas? Não sei, seria bom fazer uma residência em Las Vegas. Mas não sei nenhuma dessas coisas. "


Em janeiro passado, Stanley foi questionado pelo Yahoo! se o último show da turnê End Of The Road realmente marcará a apresentação final do KISS ou se há uma chance de shows únicos ou de uma residência em Las Vegas no futuro, Stanley disse:"Eu realmente não posso. Mas é o último de qualquer tipo de show ou turnê regular. Está na hora. E da mesma forma, é demorado. E fisicamente, é cansativo fazer o que fazemos. Inferno, se eu pudesse subir ao palco de jeans e camiseta, nos daria mais 10, 15 anos facilmente. Mas o que fazemos é um esporte totalmente diferente. Quer dizer, somos atletas; estamos correndo no palco com 30, 40 libras de equipamento, e não é possível fazer isso por muito mais tempo. Então, não somos como outras bandas. Então, faremos mais shows ou eventos únicos? Eu realmente não tenho ideia. Mas esta é uma mentalidade muito clara de que os dias de turnê e de fazer esse tipo de show acabaram.”


Ao fazer sua última passagem por Cleveland, no último fim de semana, os membros do KISS, Paul Stanley, Tommy Thayer e Eric Singer foram presenteados com um “Music Keynote To The City”, no Rock And Rock Hall Of Fame de Cleveland, Ohio , no sábado (21 de outubro). Além disso, o vereador de Cleveland, Brian Kazy, proclamou o domingo, 22 de outubro, como o “KISS Day (Dia do KISS)”, coincidindo com o último show da banda na cidade, que aconteceu naquele dia à noite, no Rocket Mortgage Field House. (O baixista Gene Simmons, não compareceu. De acordo com Cleveland.com, Stanley disse à multidão que Simmons precisava descansar.)



Depois de ser apresentado com o “Music Keynote To The City”, o vocalista Paul Stanley, disse:"Sempre sentimos que este era um lar longe de casa. É interessante estar aqui quando todos conhecem nosso passado histórico com o Rock Hall. O Hall Of Fame encontrou uma nova base e os artistas que pertencem aqui estão entrando. Estou muito honrado depois de 50 anos por estar aqui e receber prêmios e fazer outro show com ingressos esgotados. Tem sido incrível, e obrigado, do fundo de nossos corações. Vocês tem sido incrível conosco. E [domingo] à noite, lhes daremos um grande agradecimento ensurdecedor. "


Assista o evento no vídeo abaixo:


Fonte: Blabbermouth.net

BORKNAGAR: BANDA ANUNCIA TOUR PELA AMÉRICA LATINA

BORKNAGAR: BANDA ANUNCIA TOUR PELA AMÉRICA LATINA



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A banda de Folk Metal Borknagar acaba de anunciar através de suas redes sociais que estará em tour pela América Latina entre os dias 10 e 15 de novembro do próximo ano.


Até o momento, infelizmente, não constam datas para o Brasil, apenas México, Costa Rica e Chile estão confirmados.

Fonte: Facebook Oficial Borknagar

AM REVIEWSLBUALTERNATIVEPOST-HARDCOREREVIEWS

Ever since their inception in 2002, American post-hardcore outfit TAKING BACK SUNDAY have drenched our souls with heartbroken sorrow and desperate longing but they’ve always done so in the style where you can sing your heart out to diminish the pain. But they took a break from crafting some of the catchiest anthems in emo and hardcore after the release of their 2016 album Tidal Wave, returning now with 152 to demonstrate that nothing has changed apart from TBS stretching their sound muscles. They’re the same band, with the same purpose of building human connection, but their sound now surpasses the two bracket genre categories they have been held in for the past 24 years.



Opener Amphetamine Smiles gently eases the listener into the awaiting emotional rollercoaster that 152 unveils itself to be. An array of acoustic guitars, stringed orchestra and piano accompany Adam Lazzara’s distinct vocal showcase that emits the emotions of bittersweet reflectiveness and that core theme of heartbreak TAKING BACK SUNDAY make damn sure they do best.


Elsewhere, early single The One and other tracks like Keep Going, Am I The Only One Who Knows You and Quit Trying do exactly what they say on the tin. Tapping into pop heavy territory with the occasional shimmer of synths akin to the likes of THE KILLERS breakthrough debut album Hot Fuss, particularly on Am I The Only One Who Knows You, all three songs are heartfelt in their approach, scaled up to a stadium-sized pop sounding atmosphere. TAKING BACK SUNDAY have been the crème de la crème of churning out anthem after anthem and nothing is stopping them from continuing to do that on 152.

The album comes to a close with The Stranger. A song that is fuzzy and warm in its sound yet cold and lonely in its lyrics, The Stranger may be the listener’s last hope of a glimmer of optimism amongst the rubble of broken hearts but as its story of being lonesome alludes to, it dashes all of those.

Overall, on 152 TAKING BACK SUNDAY preserve the DNA that has defined every inch of their success to date but they are also clearly curious about branching out to new horizons and perhaps this album will be their mainstream leap or at least an attempt at that even if arguably they do miss by a fraction on this record.

Rating: 7/10



152 is out now via Fantasy Records.

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