LIVE REVIEW: Polaris @ SWX, Bristol

POLARIS have been coming to our shores since 2017 and each time they’ve been coming back bigger and better.
This time round its their second show at SWX in Bristol and they bring with them a stacked bill with support from SILENT PLANET, THORNHILL and PALEDUSK. It’s no surprise to anyone that the show was an instant sell out.

Paledusk live @ SWX, Bristol. Photo Credit: Serena Hill Photography

With the venue slowly filling up, a good chunk of people have made it down to catch openers PALEDUSK, hailing from Japan, its only their second time in the UK and coming on a monumental tour like this shows how well liked they are on our shores. Coming on in a hail of spin kicks they set the bar high for the start of the night. Hyping up the crowd with songs like Black Ice, PaleHell and Slay!!. With fists and legs constantly flying in the pit, it has us pondering if the crowd will handle three more bands. Their set was short, sweet and full of energy. The early birds for the night got a wonderful treat for the start of a spectacular evening. Everyone will be going away remembering PALEDUSK.

Rating: 9/10Thornhill live @ SWX, Bristol. Photo Credit: Serena Hill Photography

With a quick change over, THORNHILL are up next. With the bar set high the Aussie quartet take on the challenge. Opening with Views From The Sun, it is has a definitive groove in comparison to PALEDUSK, highlighted by singer Jacob Charlton constantly thrusting his hips in a dance along to the music. The riffs continue through the set in a more melodic nature and we can see the crowd enjoying the change of pace and having a good song along, rather than moshing through the whole set. Jacob still flexes his vocal chords with some impressive low growls that really bring the rumble to their set. Although THORNHILL have to work a bit harder to get the crowd moving with more slower beats in the set, it’s still an impressive performance and provided a little respite before the night moves on.

Rating: 8/10Silent Planet live @ SWX, Bristol. Photo Credit: Serena Hill Photography

Quick changes are the call for tonight because with just enough time to catch a couple breaths, the final support is up. SILENT PLANET blast on to stage with a wonderful metalcore mix. Starting off strong with tracks Offworlder and Collider, it’s an instant energy injection for the whole room. It’s a contrast to the grooves of THORNHILL with even more naughty riffs in songs like Antimatter, the crowd are also in contrast making non-stop pits and any time a circle pit is called, the crowd obeys. There is however, some time given in the set to shout out International Women’s Day, which this gig lands on. It’s great to see the day acknowledged on an all male line up, they shout out some of the women that are in the touring party, with a cheer from the crowd in support. Bringing it it back up for the latter half of the set, the energy is rising still. Ending on Trilogy, a personal song written by Garret Russell during his stay in a psychiatric hospital after he made an attempt on his own life, before the finale he talks about his experience and about living life. A more humbling and heart felt message to end the set on.

Rating: 9/10Polaris live @ SWX, Bristol. Photo Credit: Serena Hill Photography

The crowd cheers as POLARIS finally take the stage. Starting things off slow with Harbinger. It’s a change of pace with singer Jamie Hails walking out solo to start off the track while the rest of the band follow suit a short while in to the track. However, the set quickly gets jumping, with the crowd eager to sing along and be part of the show. Continuing with second single from Fatalism, Nightmare is the time for everyone to flex their vocals cords screaming “we’re living in a nightmare” back at the band.

Not even two songs in and the crowd surfers start cascading over the barrier with Glasgow having almost five hundred over the barrier, will Bristol beat it? Well, they give it a good shot and defiantly keep security on their toes for the whole set. Crowd surfing aside, POLARIS keep the show on top form. Playing a good mix of songs from each of their albums from Lucid to Martyr (Waves). The journey through each album highlights just how good POLARIS are and it’s no surprise at their rise through the ranks of the metalcore elite.Polaris live @ SWX, Bristol. Photo Credit: Serena Hill Photography

They make sure no one is sitting still, opening up bigger and bigger circle pits which take over SWX and leave nowhere for people hide. Taking some time out to speak about being positive, it’s always good when a band uses their platform to bring a good message to their audience. Ending the night on Pray For Rain and break out single The Remedy really brings the show to a close with a bang.

Everyone truly has had the night of their lives, witnessing four superb bands put on one hell of a show. Metalcore is alive and kicking and going from strength to strength. With the show ending before 10pm, the audience will be able to squeeze in a post-gig pint so they can reflect and recover from the show and raise a glass to POLARIS.

Rating: 10/10

Check out our photo gallery of the night’s action in Bristol from Serena Hill Photography here:

























































Like POLARIS on Facebook.

While She Sleeps: Breaking The Mould

WHILE SHE SLEEPS looked poised to be one of the defining names of the 2010s metalcore scene. Formed in Sheffield in 2006, the band were known for their D.I.Y. ethics, playing every show they got the opportunity to play as they recorded their music in a barn that was converted into a music studio.



After resounding success with their 2010 EP The North Stands for Nothing and their 2012 debut album This Is The Six, the band looked to be on their way to stardom. And yet, it never quite worked out for them. Due to a three year gap between their first two albums, the music scene moved on, and WHILE SHE SLEEPS seemed to disappear entirely. At least, that is what it looked like to any casual heavy metal fan.

But WHILE SHE SLEEEPS knew different. They quickly built a loyal fanbase with each album release. This meant that the band could become fully independent in September 2016. They created their own record label called Sleeps Brothers and built their own studio in a warehouse in Sheffield.

But the way we consume music is constantly changing, as streaming services become more popular. Whilst this is great for discovering new music without paying for it, musicians are worse off due to the poor payment they receive from Spotify. As the coronavirus pandemic put the brakes on everything – especially the arts and entertainment industry – WHILE SHE SLEEPS launched a monthly subscription page on Patreon in October 2020 called Sleeps Society, which has changed everything for them.

“It’s allowed us to do so many things in terms of touring, recording, and taking control of every aspect of the band. The Patreon has allowed us to do that without a record label lending us the money. Our fans are our record label. They fund straight towards us to allow us to hire our crew, pay for the recordings and things like that. It’s a special experience for us and the fans to be able to see what we’ve created together,” lead guitarist and producer Sean Long explains.

He and vocalist Lawrence ‘Loz’ Taylor have sat down with us today to discuss their sixth album, Self Hell, which the band – completed by rhythm guitarist Mat Welsh, bassist Aaran McKenzie, and drummer Adam ‘Sav’ Savage – have worked tirelessly at for the past two and a half years. It is both their darkest and their most varied album to date.


The title Self Hell is something that Sean and Loz came up with whilst they were in the studio. As Loz explains. “We’d noticed that this term self help had been thrown around quite a lot, and if you were to write down self help, you’d get self hell first. I think that’s a great metaphor, as you must go through some shit before you realise where you need to be.”

“Before you decide to get help or to change your life in a way that is beneficial, you must first experience the pain of it all,” Sean adds.

The lyrics of WHILE SHE SLEEPS have always been outstanding, but they have also been raw. “As a band, we don’t really follow trends,” Loz explains. “We’re not trying to write what’s hot right now; we’re trying to write good music for the foreseeable future.” The band never sugar-coat the topics they talk about, especially death and grief. In fact, they are one of the very few bands to understand the dichotomy of grief and two songs capture this perfectly: 2010’s Hearts Aside Our Horses, which focuses on the happy memories and the promise to carry on a loved one’s legacy, and 2012’s Our Courage, Our Cancer, which focuses on the pain and confusion of living without a loved one.

Grief and death are also explored on Self Hell with the song To The Flowers, which is one of the stand-out songs due to the emotional lyrics. It starts off with an audio sample from a speech by Indian philosopher Jiddu Krishnamurti about how – as Sean explains – “no matter how much outwardly attention, power, and energy you spend trying to fix everything externally, it’s never going to change anything…the change always begins from within.”

The song itself sheds a light on anticipatory grief: the grief that is felt whilst someone is dying. But it can also happen after someone has passed, especially if it is a major loss, as it proves that no one is truly immortal, although we all like to think otherwise. For Loz, the song is about how “no matter who we are, or what we’ve achieved in life, we all go back into feeding the soil, and from our decay, other things will live.”

That positivity hidden in the darkness is a great summary of the album. One example of it is Dopesick, which is a pop-metal song that addresses the dangers of identifying yourself by your mental illness. Another is closing track Radical Hatred / Radical Love, which contains the lyric ‘I will be here for you when no one else is’.

It is musically where the album really shines, crossing from drum and bass, electronica, to pop and nu-metal. It could fall apart if any other band had made it, but not WHILE SHE SLEEPS. Working alongside their longtime producer Carl Brown, the album has a definitive start, middle and end. It sounds like the band have captured their live show and recorded it as an album. It also pushes Loz vocally as he delivers some of the heaviest screams of his career, alongside some singing. But the biggest surprise is when he delves into rapping.

“If I wanted to make a pure rap song, I’d say the words faster. But we tried to make a rap with a sort of punk-rock edge. The band wanted to do something a bit different vocally. We’ve been a metal band for so long, just screaming constantly, so it’s nice to throw some other things in there,” he explains. “We were listening to a bit more rap, including a lot of [rap-rock supergroup] TRANSPLANTS and a lot of NF at the time. It was nice to pick the pace up and try something out.”

Another stand-out song is Leave Me Alone. It opens and closes with the line: ‘We are WHILE SHE SLEEPS’. “I just thought it was badass,” Sean says. “I had playing it live in mind as well, and I thought it was cool introducing yourself. The guitar riff that accompanies it is one of my favourites as it’s very simple. It also sounds like a big ‘fuck you’ to anyone who has doubted our band. I wanted the introduction to shut those people up quickly. It’s us saying ‘This is our band’, and once you hear us introducing ourselves, you get this massive riff. It’s egotistical in a cool way.”

They have a good reason to feel like this. After a phenomenal sold-out show in September 2023 that saw them crowned the new kings of London’s esteemed 10,000 capacity Alexandra Palace, and with a genre-bending album under their belt – alongside a loyal fanbase that will be with them through thick and thin – the only limits that WHILE SHE SLEEPS face are the ones they put on themselves.

Self Hell is out now via self-release.

Like WHILE SHE SLEEPS on Facebook.

Six Feet Under: Cianeto Discos lança álbum clássico e mais três CDs da banda no Brasil

A CIANETO DISCOS está lançando no Brasil quatro álbuns da banda de Death Metal norte-americana SIX FEET UNDER, liderada pelo icônico e polêmico vocalista Chris Barnes, ex-Cannibal Corpse. Com licenciamento exclusivo para o Brasil, os álbuns “Maximum Violence” (1999), “Undead” (2012), “Unborn” (2013) e “Crypt of the Devil” (2015) terão distribuição em formato slipcase com 300 cópias cada, exceto “Maximum Violence”, com 500 unidades. Na pré-venda, os CDs terão um preço especial até dia 02/04, com valor de R$ 30,00 cada.

Formado em 1993, em Tampa, Flórida, como um projeto paralelo enquanto Barnes ainda fazia parte do Cannibal Corpse, o grupo passou por várias mudanças na formação ao longo de sua carreira, com Barnes sendo o único membro constante desde o início. Nos primeiros álbuns, a banda contava com o baixista Terry Butler (Death, Obituary) e o guitarrista Allen West (Obituary). Seu álbum de estreia, “Haunted” (1995), rapidamente consolidou sua reputação no cenário do Death Metal, apresentando um som cru e agressivo que atraiu uma base de fãs dedicada.

Desde então, o SIX FEET UNDER lançou uma série de álbuns aclamados pela crítica, incluindo “Warpath” (1997), “Maximum Violence” (1999) e “Bringer of Blood” (2003), entre outros. Além de sua música própria, o SIX FEET UNDER também é conhecido por suas versões de clássicos do Metal, apresentando covers de bandas como AC/DC, Black Sabbath, Exodus, Deep Purple e Savatage. As quatro partes de “Graveyard Classics” se tornaram itens amados e odiados em sua discografia, mas revelaram ao público um pouco das influências do vocalista.

“Maximum Violence” é o terceiro álbum de estúdio, lançado em 1999 pela gravadora Metal Blade Records. Este trabalho é frequentemente considerado um dos pontos altos da discografia e um clássico do Death Metal, repleto de riffs de guitarra intensos, uma cozinha pesada e o tradicional vocal gutural de Barnes. Faixas como “Feasting on the Blood of the Insane”, “Victim of Paranoid”, “Short Cut to Hell” e “Torture Killer” exemplificam a abordagem lírica direta e visceral da banda, que complementa perfeitamente sua música brutal. Há ainda um cover para “War Machine”, do Kiss. Além de sua força sonora, “Maximum Violence” também é elogiado por sua produção sólida, liderada por Brian Slagel, fundador da Metal Blade Records. capturando a intensidade crua de sua performance. No total, “Maximum Violence” vendeu mais de 100 mil cópias em todo o mundo.


Para adquirir “Maximum Violence”, acesse:

https://cianetodiscos.com.br/produtos/pre-venda-six-feet-under-maximum-violence-cd-slipcase

Assista ao vídeo de “Victim of Paranoid”:


A década de 2010 foi particularmente profícua para o SIX FEET UNDER. Dentre os lançamentos da época, “Undead” é o nono álbum de estúdio do grupo, lançado em 2012. O registro marca uma volta às raízes, com influências diretas do Death Metal dos anos 90. Na sequência vem “Unborn”, lançado em 2013, continuando a tendência estabelecida por “Undead”. Por fim, “Crypt of the Devil”, de 2015, que se destaca pela participação especial dos integrantes do Cannabis Corpse.

Para adquirir “Undead”, acesse:

https://cianetodiscos.com.br/produtos/pre-venda-six-feet-under-undead-cd-slipcase

Para adquirir “Unborn”, acesse:

https://cianetodiscos.com.br/produtos/pre-venda-six-feet-under-unborn-cd-slipcase

Para adquirir “Crypt of the Devil”, acesse:

https://cianetodiscos.com.br/produtos/pre-venda-six-feet-under-crypt-of-the-devil-cd-slipcase

Assista ao vídeo de “Open Coffin Orgy”:


Contatos:

Site: www.cianetodiscos.com.br

E-mail: info@cianetodiscos.com.br

Bandcamp: www.cianeto.bandcamp.com

Review: Pink Floyd – The Dark Side of the Moon (1973)

The Dark Side of the Moon, oitavo álbum do Pink Floyd, foi lançado em 1 de março de 1973. Em termos musicais, o disco foi desenvolvido durante os shows do quarteto, que experimentou e aprimorou as faixas em cima do palco. Já liricamente, foi concebido como um álbum conceitual que explora as pressões enfrentadas pela banda e também aborda os problemas de saúde mental que levaram o vocalista e guitarrista Syd Barrett a deixar o grupo.



As gravações aconteceram no Abbey Road Studios, na época conhecido como EMI Studios, em Londres, em duas sessões realizadas em 1972 e 1973. Há uma série de inovações e experimentações técnicas no álbum, com o então engenheiro de som Alan Parsons, que mais tarde lançaria a sua própria carreira como músico, tendo um papel central na sonoridade do disco.



The Dark Side of the Moon explora temas como conflito, ganância, passagem do tempo, morte e saúde mental. A ideia veio de Roger Waters, que concebeu um álbum que tratava de coisas que “enlouquecem as pessoas”. David Gilmour, Richard Wright e Nick Mason aprovaram o conceito proposto por Waters e mergulharam juntos no processo de composição das músicas. O álbum então recebeu o título provisório de Dark Side of the Moon, uma alusão à loucura e não à astronomia. Após descobrir que esse título já havia sido usado por outra banda inglesa chamada Medicine Head em um disco lançado em 1972, ele foi temporariamente alterado para Eclipse. No entanto, o fracasso comercial do disco do Medicine Head fez a banda retomar a ideia original.

The Dark Side of the Moon foi construído a partir de experimentos que o Pink Floyd havia tentado em seus shows e gravações anteriores, porém sem as longas passagens instrumentais que marcavam a banda na época. As músicas foram concebidas com uma abordagem mais direta, e tanto David Gilmour quanto Roger Waters citam Meddle (1971), sexto álbum do grupo, como o ponto de virada para a sonoridade que seria explorada em Dark Side. Cada lado do vinil funciona como uma peça musical contínua e completa, com o lado A iniciando em “Speak to Me” e indo até “The Great Gig in the Sky”, enquanto o lado B começa com “Money” e vai até “Eclipse”. As cinco faixas de cada lado refletem vários estágios da vida, começando e terminando com uma batida de coração e explorando a natureza da experiência humana.



A clássica capa foi desenvolvida pelo estúdio Hipgnosis e pelo designer inglês Geordie Hardie. A Hipgnosis já havia trabalhado em capas anteriores do Pink Floyd, artes essas que não agradaram a EMI, como as de Atom Heart Mother (1970) e Obscured by Clouds (1972). A gravadora eria designs mais convencionais, incluindo o nome da banda e o título do álbum. O design foi inspirado na fotografia de um prisma com um feixe de luz branca projetado através dele e emergindo nas cores do espectro visível que Storm Thorgerson, diretor criativo da Hipgnosis, havia encontrado em um livro de física de 1963, bem como em uma ilustração de Alex Steinweiss, o pioneiro designer que desenvolveu na década de 1940 a ideia inovadora de cada álbum possuir uma capa única em uma época onde os lançamentos da gravadoras vinham embalados em artes padronizadas. Foram apresentadas sete opções para a banda, e a imagem do prisma foi aprovada por unanimidade.



The Dark Side of the Moon é considerado não apenas um dos melhores álbuns de rock de todos os tempos, mas também é um dos discos mais vendidos da história. Estima-se que, em uma semana considerada fraca, são vendidas entre 8 e 9 mil cópias do álbum no mercado norte-americano, e que um em cada quatorze moradores dos EUA com menos de 50 anos possuam uma cópia de Dark Side em suas casas. No total, foram mais de 15 milhões de cópias vendidas somente nos Estados Unidos, e aproximadamente 45 milhões de unidades em todo o mundo, o que faz de Dark Side o quarto álbum mais vendido de todos os tempos atrás apenas de Thriller (1982) de Michael Jackson, Back in Black (1980) do AC/DC e a trilha de The Bodyguard (1992), de Whitney Houston. O disco vendeu tanto que, sozinho, provocou um revitalização na venda de LPs durante a segunda metade da década de 1970 e, diz a lenda, levou a EMI a dedicar uma fábrica de vinis para produzir exclusivamente novas edições do álbum 24 horas por dia.

Frequentemente apontado como um dos melhores álbuns de todos os tempos, The Dark Side of the Moon traz entre suas dez faixas canções espetaculares como “Time”, “Money” e “Us and Them”, além da sensacional “The Great Gig in the Sky”, em que a cantora Clare Torry faz um solo vocal improvisado que está entre os momentos mais emocionantes da história da música.

O oitavo álbum do Pink Floyd não apenas mudou a trajetória da banda, a vida dos músicos e conquistou milhões de fãs em todo o planeta. O disco impactou profundamente o rock e a indústria musical, e é um dos maiores documentos culturais e históricos que o ser humano já produziu. Passados mais de cinquenta anos de seu lançamento, continua com o poder intacto de conquistar novos ouvintes e revela novos detalhes a cada audição. Um trabalho atemporal e um dos poucos álbuns em que o termo genial, usado de maneira tão frequente nos tempos atuais, se aplica com precisão e justiça.

HEAVY MUSIC HISTORY: All You Can Eat – Steel Panther

Hold on to your pearls Mrs Lovejoy, we’re going on the prowl. Not with the STEEL PANTHER record which was released in 2023, but the close-to-the-bone glam metal sphere is where we shall stay. Come one and all ye power bottoms and settle down for All You Can Eat.



April Fools Day 2014 may have brought some silly little pranks but it also heralded the return of one of Los Angeles’ sleaziest exports. Hoping to capture the lightning in a bottle status of Feel The Steel (2009) and Balls Out (2011), the filthy foursome slapped the metaphorical phallus on the table in the form of All You Can Eat. For a band with such a balls to the wall approach however, could the tertiary album measure up?

Before fans and critics alike could dive into the main course, lead single Party Like Tomorrow Is The End Of The World dropped with a star-studded video. UFC fighter Chuck Liddell was joined by Jackass star Steve-O and Breaking Bad’s RJ Mitte to encourage us all to “Get drunk/ Till you puke all over the floor”. Here was this boombastic approach. A very “look at me” attitude. With a potential magnum opus waiting in the wings, STEEL PANTHER demanded the metal sphere’s attention. On October 29, 2013 Party Like Tomorrow Is The End Of The World garnered it. The only issue was they needed to hold it for another five months.


Enter viola led second single The Burden Of Being Wonderful. A catchy power-ballad of sorts about empowerment and self-image. “I’m just a Maserati in a world of Kias” became the badge of honour for STEEL PANTHER fans. The “take me as I am approach” STEEL PANTHER always came to the table with had allowed The Burden Of Being Wonderful to become a fan favourite and a live staple in the years to come. It may not have lived up to Community Property but it’s not all about size, right? We do have to point out that according to certain theories, Leonardo Da Vinci may have not been jealous of the album cover’s interpretation of The Last Supper.

The denouement of the menage á trois came with the rather controversial Gloryhole. A now iconic riff from Satchel (guitar) opened the album release like a speculum. Michael Starr’s (vocal) trademark squeals and sleazy recountings of “a place in France where the naked ladies dance” brought fans flocking in their thousands. While there were no aids needed with this particular number, a video which can’t be described as anything other than x-rated dominated the internet. It was fun, ludicrous, STEEL PANTHER in all their glory… holes.

The third volume of STEEL PANTHER’s Karma Sutra opened on April 1, 2014. The band have prided themselves on creating a division with tongue-in-cheek lyrics which step over and snort the line of misogyny. Their writing style, while clever in some regard, would be akin to something you find scribbled on the toilet cubicle of The World’s End. All You Can Eat was certainly no different.

Opening with flamenco style Pussywhipped felt reminiscent of the deliciously grimy 17 Girls In A Row. The lyrics were as snappy as Lexxi Foxx’s basslines. Stix Zadinia (drums) drove the beat through If I Was The King. With Bukkake Tears (Google it), we were buying what Michael Starr was selling. Nothing was off limits. Moreso when DEF LEPPARD’s Vivian Campbell ripped a new solo through Gangbang At The Old Folks Home. Hey, age doesn’t mean libido dies out. It was this humour which kept people hooked. Up until a certain point.

Campbell’s revisitation of joining the band for a rendition of DIO’s Rainbow In The Dark back in 2012 couldn’t sweeten the bad taste of hinting towards talk of necrophilia. Did the ick list we all keep as Ten Strikes You’re Out pokes fun at really need that zest of beastiality? All You Can Eat started to show fans that while you drew the line somewhere, STEEL PANTHER clearly didn’t. How do you stay relevant if you don’t push the boundaries? Though we will praise the sentiment behind She’s On The Rag – “riding the Crimson Tide” isn’t a fun time for women either.



It wasn’t just this butting of the boundary STEEL PANTHER was coming up against. Some people were simply not finding the joke funny anymore. Stephen Hill of Metal Hammer wrote “The whole bawdy ‘Oooh matron!’ shtick has been stretched to breaking point further than one of the Panther’s earliest groupies”. Stereoboard’s Alec Chillingworth added about She’s On The Rag in particular that the joke goes “a tad too far”.

Yet critics weren’t as savage as they would be towards 2017’s Lower The Bar. In fact there was a counter for every negative written. In the same review for Metal Hammer, Hill penned “Lesser bands would be long forgotten by now with this approach. Luckily for Steel Panther, they’re still better than all their peers.”. Chillingworth argued for Stereoboard “they play hard, they play heavy”. While Classic Rock’s Jon Hotten stated “Good ideas aren’t always new but they have their time, and Steel Panther’s timing has been perfect.”.

Ten years on and All You Can Eat is showing signs of fading into the background. Fan favourite Pussywhipped was the flagship of STEEL PANTHER shows as it set the tone for ninety minutes of debauchery. Now with newer material needing promotion, it’s simply left to watch the fun from the corner. The only song now to be played in the live arena is Gloryhole – a time where more than 17 girls are brought up on stage to celebrate the inclusion the sex aid can bring. Aside from this, and a rare performance of Bukkake Tears with a fan in London’s Crobar (RIP), the All You Can Eat buffet is rarely visited by the band. Yet it’s The Burden Of Being Wonderful, Bukkake Tears, and Gangbang At The Old Folks Home which keeps the fan coming back. As some will say, stamina is far more important than size and All You Can Eat has stamina by the bucketload.



All You Can Eat was originally released on April 1, 2014 via Open E Music.

Like STEEL PANTHER on Facebook.

SCORPIONS SHARE LAS VEGAS RESIDENCY REHEARSAL FOOTAGE FROM HANNOVER'S PEPPERMINT PARK STUDIOS

SCORPIONS SHARE LAS VEGAS RESIDENCY REHEARSAL FOOTAGE FROM HANNOVER'S PEPPERMINT PARK STUDIOS




Scorpions are returning to the Las Vegas Strip in 2024 with a brand new exclusive headlining residency show in celebration of the 40th anniversary of Love At First Sting, performing the album plus all of their biggest hits.

Video of the band rehearsing "I'm Leaving You" in Hannover at Peppermint Park Studios can be viewed below.



Scorpions - Love At First Sting Las Vegas kicks off on Thursday, April 11, 2024 at Bakkt Theater at Planet Hollywood Resort & Casino. The new show follows the band’s popular “Sin City Nights” residency which sold out all nine performances at the venue in 2022.

"We're very excited to return to Las Vegas in 2024 for nine more concerts at Planet Hollywood Resort & Casino’s Bakkt Theater. We can't wait to share our new show with our fans in the US, celebrating the 40th anniversary of the iconic Love At First Sting album along with our biggest Hits! Get ready for another Desert Sting … it's gonna be a Hell of a Ride!!!" - Klaus Meine

For more information and and to claim your tickets, visit The-Scorpions.com/RockZone.

The nine performances on sale are:

April 2024: 11, 13, 18, 20, 24, 26 & 28
May 2024: 1 & 3

THE WHO - LIVE AT SHEA STADIUM 1982

THE WHO - LIVE AT SHEA STADIUM 1982





Nowadays when a veteran popular music artist announces a 'farewell tour,' quite a few fans merely roll their eyes – as the power of the almighty dollar will eventually lure them out of retirement. And one of the first rock acts to launch a substantial farewell tour before reuniting just a few years later, was The Who.

But as exemplified by the release of the 2-CD or 3-LP set, Live at Shea Stadium 1982, the band was still a mighty powerful live act at this point – despite no Keith Moon in their line-up and touring in support of one of their weakest studio efforts, It's Hard.

With ex-Faces drummer Kenney Jones still keeping time – alongside long-time Who-sters Roger Daltrey, Pete Townshend, and John Entwistle – the set is mostly front-loaded with then-newer material, including the Entwistle-sung “The Quiet One” and a tune which proved popular on MTV, “Eminence Front.”