25 years and 10 genre-defining albums into its storied career, Grammy-nominated band BETWEEN THE BURIED AND ME returns with its most immersive and eclectic record yet, "The Blue Nowhere", due out September 12 via InsideOut Music. The release also serves as BETWEEN THE BURIED AND ME's debut for the label.

Although BETWEEN THE BURIED AND ME is known for its conceptual albums, vocalist Tommy Rogers explains that the 10-track collection "exists in a world that's not tied to a storyline. It's more about a feeling, where the songs live for me." He describes the lyrical approach to "The Blue Nowhere" as "journal entries, fleeting and introspective thoughts — chaotic at times, depending on the music."

BETWEEN THE BURIED AND ME offers fans a first feel for the new album with today's release of "Things We Tell Ourselves In The Dark" and its accompanying video.

Director Miles Skarin shares insight into the clip: "For 'Things We Tell Ourselves In The Dark', we wanted to create the hotel from the album concept and artwork — we 3D-modeled the hotel based on the artwork and began to create shots of it at different times of day. Marigold is a theme across the record, so we have a scene where lots of marigold petals start to cover the hotel. This was quite an intense particle simulation that took 17 hours to process and render. We also added surreal elements to the video, including infinite hotel corridors and strange space sequences with the doors to the different rooms in the hotel. We're really pleased with the final look and hope that everyone enjoys seeing the hotel come to life!"

"This track emerged from the maniac genius of Dan Briggs," Rogers shares. "The song deals with the dark cloud that is ego, so I tried to vocally approach it with a different kind of confidence than normal, almost like a pop song… even though it takes you down crazy avenues, you can sit back and sing along."

Dan Briggs adds: "It's one of the rare songs I started around the bass and that foundational funky idea, while also maintaining a pretty straightforward melodic idea underneath everything, no matter how dense it got rhythmically. I love when we have arrangements that feel like they have a page turn into another dimension, but I thought it was important for this one to feel really seamless as it moved dynamically. Even when it gets heavy, I thought it'd be fun at the core to still feel like it was Prince's band playing, keeping it funky."

Produced by longtime collaborator Jamie King, "The Blue Nowhere" is also the first BETWEEN THE BURIED AND ME album to feature an extensive string and horn section. It is available as a special-edition CD, gatefold 2LP and digitally. A deluxe gatefold special colored 2LP + 2CD edition includes a bonus track on side D, the full album and instrumentals across 2CDs, an exclusive door-hanger, and alternate artwork. Pre-orders are available tomorrow via Betweentheburiedandme.com.

"The Blue Nowhere" track listing:

01. Things We Tell Ourselves In The Dark
02. God Terror
03. Absent Thereafter
04. Pause
05. Door #3
06. Mirador Uncoil
07. Psychomanteum
08. Slow Paranoia
09. The Blue Nowhere
10. Beautifully Human

BETWEEN THE BURIED AND ME has built a reputation as one of heavy music's most forward-thinking and creatively ambitious bands. Over the past 25 years, they have released ten albums, from their 2002 self-titled debut to 2021's "Colors II", blending technical mastery with conceptual depth. Throughout their career their albums have consistently landed on year-end best-of lists, earned a Grammy nomination in 2019 (with the award's web site praising their music as "versatile, imaginative and absolutely crushing the band's music"),been dubbed "prog metal heroes" by Kerrang!, and praised by Guitar World for their "epic" and "hugely diverse" sound.

BETWEEN THE BURIED AND ME is Tommy Rogers (vocals/keys),Paul Waggoner (guitars),Dan Briggs (bass/keys),and Blake Richardson (drums).

Photo credit: Randy Edwards

Former FEAR FACTORY singer Burton C. Bell kicked off his Australian solo tour on Wednesday (June 11) at The Triffid in Brisbane. Fan-filmed video of the concert can be seen below.

Last month, Burton shared the lyric video for his fourth solo single, "Savages".

In a recent interview with Andrew Haug, Bell spoke about his plans for new music after issuing two singles in 2024 — "Anti-Droid" and "Technical Exorcism" — and a cover of RAMMSTEIN's "Du Hast" in 2023. He said:  "Right now there's no solo record planned. We're just writing songs and releasing singles. When it comes to a point where we have enough songs to release a full-length, maybe an EP — we'll choose which one — but if I can get some support and some funding to make that happen, I will definitely release a full-length. But at this point, we're just writing songs and releasing 'em like hip-hop artists. It's the hip-hop template where they would just drop songs, singles, just here and there along the way, and then they would eventually release the record.

"I realized a while ago that when bands — mostly rock bands, other than hip-hop artists — when they released records, and they released a single before the record is dropped, and when the record dropped, there might have been another song, but the whole record gets lost by the wayside, just gone in the ether," he explained. "So all that work is just lost. And I'm thinking, well, why don't I just have people pay attention to one song at a time and then when we have enough songs we can release something and they can have 'em all together, plus some new stuff."

As for how the changes in the industry in the last three decades have affected his approach to putting out new music, Burton said: "One thing technology has been positive is that artists have been able to record their own music and release it on their own independently. The downside of that is there's way more artists nowadays releasing music, so it's harder to get noticed. But I am very fortunate and I'm grateful that I've had the 30-year career before this for people to see it already. They know my name already, so I've done the hard work. Now the harder work starts with dealing with social media."

Bell went on to say that there have been occasions where he felt limited by the musical restrictions of his former band. "Yeah, at various times," he said, before clarifying: "Not just in the band, but in my life in general. I felt that I wanted to experiment more than anybody else did, and I just wanted to move out of the box that we created for ourselves."

Burton also acknowledged that going solo at this point in his career comes with its own set of obstacles. "It's challenging, and is hard," he explained. "But we don't do things because they're easy; we do things because they are hard. And that creates the challenge. And I do feel that freedom. And that freedom is a sense of — I have a sense that I can go in any direction I feel. I can write any type of song I would like to write and I can go in any direction I wanna go. As long as I stay true to myself in creating music that I would love to hear, I think other people would love to hear it as well."

Bell played the first concert with his solo band on June 13, 2024 at 1720 in Los Angeles, California.

Backing Bell at his recent gigs have been guitarist Henrik Linde (THE VITALS, DREN),drummer Ryan "Junior" Kittlitz (ALL HAIL THE YETI, THE ACID HELPS),bassist Tony Baumeister (ÆGES) and multi-instrumentalist Stewart Cararas.

Bell's discography includes multiple live and recorded collaborations with BLACK SABBATH icon Geezer Butler and JOURNEY's Deen Castronovo (as G/Z/R); industrial maverick Al Jourgensen and MINISTRY; and guest vocal appearances with PITCHSHIFTER, CONFLICT, SOIL, STATIC-X, SOULFLY and DELAIN, among others. He's the vocalist of ASCENSION OF THE WATCHERS and CITY OF FIRE and, of course, the co-creator of FEAR FACTORY and the only musician to appear on every FEAR FACTORY release from 1992 through 2024.

FEAR FACTORY created a sound that revolutionized extreme metal, defined in no small part by Bell's innovative scream/sing dichotomy and the influences he brought from post-punk and industrial. Songs like "Replica", "Linchpin", "Edgecrusher", "Fear Campaign", "Archetype", "Cyber Waste" and "Zero Signal" are modern metal anthems. "Demanufacture" (1995) and the RIAA gold-certified "Obsolete" (1998) are genre-redefining works heralded by fans and critics as essential albums. Orwell, Bradbury, "Blade Runner", and sophisticated sci-fi and fantasy works fed Bell's lyrics and concepts.

The band toured the world with METALLICA, SLIPKNOT, KORN, MEGADETH and OZZY OSBOURNE, taking bands like SYSTEM OF A DOWN and STATIC-X out as support acts in their early stages. After years of behind-the-scenes band member turmoil and legal issues, Bell left FEAR FACTORY in the fall of 2020.

The 56-year-old Bell had been largely inactive on the musical front since officially announcing his departure from FEAR FACTORY in September 2020. At the time he said that he could not "align" himself with someone whom he did not trust or respect, an apparent reference to FEAR FACTORY founding guitarist Dino Cazares. Bell has since been replaced in the band by the Italian-born singer Milo Silvestro.

In early May, Burton reflected on his decision to leave FEAR FACTORY in September 2020 after a 31-year run as the band's singer and pursue a solo career. He told the Post-Punk.TV podcast:  "It was time for me to do other things. And here I am. Venturing out on my own is scary. Doing something solo is frightening. I'm, like, 'Am I doing the right thing?' As artists, we always question ourselves. [We hear] voices in our head. There's voices in my head that are, like, 'Oh my God. What the fuck are you doing?' But I've gotta follow my heart because my heart is directing me towards a path that I truly wanna be in, and that's the artistic path."

Bell continued: "Failure is something that, as artists, we experience on a daily basis. But you just can't let that failure dictate your life. You have to learn from it. And once you learn from that, it's, like, 'Okay, I did that wrong. This time I'll try it this way. And so I am moving forward with my solo career, writing music that, for me, fits my mantra.

"I came up with a mantra maybe a couple years ago," Burton added. "Now that I have a [solo] band that I'm working with on a daily basis, they have grown to understand me as well. And so this next [solo] song I'm about to release called 'Savages' on May 30th, we wrote together as a band. And it fits my mantra, which is 'heavy, groovy, dark and moody'. And I think that fits every aspect that I wanna do. It fits the criteria of every band that I've ever liked. I think it fits the criteria of every band I've been a part of. So what I'm doing now is an amalgamation of everything I've ever done. I'm taking it all, creating this nice little piece, and I'm releasing it, making something new for myself. And I think when people hear this new song 'Savages', and the next song, which is called 'Cold Lazarus', they [will be], like, 'Wow, that sounds familiar, but it's kind of new.' So it's, like, there you go. That's what we're doing."

Burton went on to say: "So I'm super excited about the future. I'm super excited about my tour coming up in June, going to Australia, and just very excited for what the future holds. I'm just staying creative. That's what it's all about. Being an artist is being creative, and creating art, whether it's writing music or photography, you're expressing yourself through your visions and from what you see and how the world affects you."

German metal veterans HELLOWEEN will release their highly anticipated new album, "Giants & Monsters", on August 29 via Reigning Phoenix Music (RPM). The LP, now available for pre-order, follows HELLOWEEN's self-titled No. 1 2021 record and promises to be the most versatile and dynamic release of the band's career. Mixed at the legendary Wisseloord Studios (IRON MAIDEN, JUDAS PRIEST, DEF LEPPARD) in Hilversum, Netherlands, "Giants & Monsters" reaffirms HELLOWEEN's position at the pinnacle of the metal world.

Leading the charge is the album's first single "This Is Tokyo", accompanied by a visual homage to Japan. The powerful, four-minute anthem features vocalists Andi Deris and Michael Kiske and delivers a chorus designed for stadium sing-alongs.

The song holds personal significance for Deris, who says: "I've always wanted to write this song. Japan plays a special role in my life because I had my first big successes there. I wanted to create a tribute to Japan for a while now and finally found the right lyrics. Because 'Tokyo' sounds better than 'Japan,' the city stands for a whole country that is very important to me."

HELLOWEEN will celebrate four decades of metal mastery with a global 40th anniversary tour. The European leg begins in mid-October, with initial dates selling out quickly and additional shows in Madrid and Bochum already on sale. Featuring an ultimate set list packed with surprises, the tour will showcase the band's unparalleled legacy and ongoing creative power.

"Giants & Monsters" pushes the boundaries of HELLOWEEN's sound, thanks to the instincts of producers Charlie Bauerfeind and Dennis Ward, as well as the band's relentless pursuit of excellence. Per example, drummer Dani Löble recorded all tracks using three different drum kits to capture the perfect vibe for each song, a testament to their attention to detail and love of experimentation.

The band's chemistry continues to drive their success. "What keeps motivating us is the fact that we're extremely different. It generates creative energy," says guitarist Michael Weikath. Guitarist/vocalist Kai Hansen adds: "We try not to take ourselves and everything around us too seriously." Deris sums it up: "In the end, we're just seven guys who want to make music and enjoy the incomparable force that arises when we're together. HELLOWEEN is way more powerful than the sum of its parts."

"Giants & Monsters" track listing:

01. Giants On The Run
02. Saviour Of The World
03. A Little Is A Little Too Much
04. We Can Be Gods
05. Into The Sun
06. This Is Tokyo
07. Universe (Gravity For Hearts)
08. Hand Of God
09. Under The Moonlight
10. Majestic

In a recent interview with Hakos Pervanidis of the Metal Hammer Greece TV program TV War, Deris and Hansen were asked if they would agree that "Giants & Monsters" sounds "more focused and direct" than 2021's self-titled effort. Hansen said: "Yeah, I would agree. I mean, we have diversity, but we've grown together as HELLOWEEN and the individual members, so you could hear the differences between the songs and the songwriters still, but there's a straight red line. And we're more connected now."

Deris chimed in: "So far I'm happy to say that there were lots of little things being put into your song by the other guys, which was much easier this time. Honestly, we had so much more time, actually, so everybody had tons of time to listen to each and everybody's tracks and come up with own ideas. Kai, for example, he added I would say a whole new song into my song. 'Giants On The Run', the whole middle part is a new song which Kai put in, and it's just perfect; it fits. That's something I love and I always wanted to have, but, honestly, back in the day, like [on] the [previous] album, everybody was minding his own business. You have to write super songs for the new upcoming album and the expectations are so high because Michael [Kiske, HELLOWEEN singer] and Kai are back. And so there was no mindset to actually put your shit into the other songs and vice versa. And this time it just played out easily because the pressure was gone. I think when you just had such a successful album, it takes away so much pressure because you know you were on the right track. So play with it. Don't stress it. Just play with it. And that was a lot of fun."

Regarding the "Giants & Monsters" album title, Deris said: "The first title says it all. It's 'Giants On The Run', and it talks about us as mankind. We are actually giants. We are gods inside. But then you could come up with a conspiracy theory. Are we on purpose, purposely put down that the god side, that giant thing that we all have inside, is not allowed to express itself or to come out? But at the end of the day, everybody, each and every individual I know, they are much bigger inside with their dreams, with their possibilities they would like to have, than they're actually allowed to have or allowed to be in our society. And there you could come up with that conspiracy theory. Are we held down on purpose? I personally think when I listen to my inside, I know everybody from the band and all my friends I know, they're so much bigger inside. They're great, great people. And they have great ideas, but in our world, you're not allowed to express it."

Kai added: "It takes all efforts. You have to fight the monsters. That's the point. And I think the title leaves a lot room a for interpretation. You could say the giants is your great ideas that you might have, your aims, your goals. But then here come the monsters, the demons you have to fight and everyday struggle. Then you could go to the Anunnaki, the return of the gods from outer space, giant people and so on. There's a lot of room for fantasy, I think."

Andi continued: "But I just went back also to the Bible. I said, 'Okay, look, it's even written in the Bible.' There were giants walking on earth, and who says that the giants are not still here in ourselves? I mean, we are still the giants, and as Kai said, you constantly have to fight the demons, the monsters in your life. And I thought that's a super metaphor. And I think everybody knows what I'm talking about because sometimes when you're with yourself thinking about yourself, your own life, you realize you would be much more if only you are allowed to be."

Asked if HELLOWEEN purposely approached songwriting this time around in a way where the vocals and the first chorus come in very early in each song, Andi said: "Yes and no. I mean, honestly, if it would destroy the song, I'd rather not, me personally. I think everybody in the band would agree, because if the song yells for it and shouts for it — keep it short; otherwise it's getting boring — then I keep it short.

Hansen added: "It's good to have that on the commercial tracks, all the — how do you say it? — the hit singles. It's very hard. Personally, I don't mind if it takes longer to go into the chorus if it makes sense for a song. So there is no general thought or rule when you approach songwriting to say, 'Oh, no, the chorus has to come after one minute or so.'"

Deris continued: "If we talk about looking what the commercial side would be, and back in the days, I remember you've been forced by the record company to put it short into maximum three-minute songs because otherwise it couldn't be a single. Fuck it. I mean, honestly, no. If I have to keep it short, then probably, because I'm a stubborn asshole, I would do the opposite. But nobody tells me what to do, so I just personally write the way I feel. But then again, it's very important, when we have guys in the band who say, 'This is a great song, and I could hear it even better when we not keep it that short.' For example, 'Giants On The Run'. [Kai's] part is at least three minutes and stretches the song to eight minutes something, which used to be something like round five minutes, and it's totally worth it. But if it's not worth it, why would you? That was another question: 'Do you always have to write these long songs?' And Kai said, 'No.' It's just what it is. When you're in the process of songwriting and it yells for another part and here's an idea, and yeah, I could do this lyrics, so I need another part, otherwise the story is not round, and maybe you end up with 10 or 12 minutes."

Hansen added: "And it's fun to do those long songs. To me, it's fun. It's a kind of challenge, but I don't do it on purpose to say, 'I need a long song.' It's just if the song gives it to you, then you do it."

Deris explained: "And if the story is two sheets of paper. You can't possibly put all the lyrics in a three-minute song; that's not possible. So then you've got different feelings depending on the lyrics itself. Suddenly there's a romantic section, for example. Ah, yeah, definitely you have to go down and do something romantic around it arrangement-wise. You probably cannot go all metally with that romantic thing. And so it cries, it, it yells, it shouts for another part."

On the topic of how they balance fans' expectations with being creative and trying new things with their music, Hansen said: "It's a challenge and it's always like a walk on the edge. Because if you consider that you want people to be pleased with what you're doing, but on the other hand, when you do your thing, you should not consider that. You should not write with that purpose in mind, because, first of all, you have to be a fan of what you're doing. To me, it's a very egoistic process. I write for myself, and I want to be a fan of what I'm doing. And then I'm glad if other people think so too."

Deris added: "Yeah, that's my way too. I don't wanna say I don't give a fuck, but when you are writing, there should be nothing in the back of your mind. It's just you and your music. And as Kai said, if you goosebump goes up, it's great for yourself, first of all. And then when you finish the song, on the second thought or second guess would be, 'Would they like it out there?' But during the songwriting process, it's not important. You are important because you have to actually give your thoughts, your feelings into whatever you do in the very moment. And yes, sometimes it's not good enough that the people would say, 'Yeah, I love it.' But I always say that the possibility that I am completely happy with my song and my goosebump goes up, considering myself a super-normal guy, so when I say I love it, my goosebumps go up, because I consider myself a mediocre guy, I would say the normal person out there would feel the same [as] I do. That's what I always hope."

Hansen continued: "You develop a feeling. I mean, when you write a song, and you trust yourself, if you like it, then there will be a lot of others that would like it too."

Deris concurred, saying: "No guarantee, but that's the way to work."

"Helloween" was the first HELLOWEEN album to feature the band's expanded lineup, consisting of returning singer Michael Kiske and Hansen along with Deris, guitarists Michael Weikath and Sascha Gerstner, bassist Markus Grosskopf and drummer Daniel Löble.

Last December, Deris told Spain's MariskalRockTV about the musical direction of the new HELLOWEEN material: "I love two or three songs from Kai. [They're] super crazy, and I love 'em to death. Weiki [guitarist Michael Weikath] has a great song as well. My songs are certainly always good. [Laughs] [That's a] joke, joke, joke. But I think we have lots of great songs, definitely. Super-nice hooks, lots of positive sing-alongs. So, yeah, I think this is something that we probably may need in the times to come. [Laughs] Very positive, I have to say. So I would say 80 percent of the album is super positive. Sometimes very fast and heavy, but positive. Good, good mood. And we have a ballad. Finally, we have a ballad."

Earlier in December, Deris was asked by The Metal Command how the material for HELLOWEEN's next album compares to that on "Helloween". He said: "I'd say it's much more easy listening, because there's less constructed stuff on it. It's more flowing with the wind, so to say. It's very, very positive, so I would rather say it's more happy, happy HELLOWEEN than the other album. I think it's a bit more… yeah, the flow is, for my taste, not as edgy as the last album, which was cool — I like edgy stuff — but we should have more or less some counterpart to edgy, more exhausting things. The last album, for me, was great to listen through — it was edgy, it was heavy, it was complicated here and there — but after listening to it, then I needed a pause. It was exhausting. After [listening to 'Helloween'], I needed some break, put it that way. I loved it, and I still love it, but it's demanding. I think the next album will be much more easy listening, I think much more enjoyable to sing along [to]; there are lots of parts in there. So I would rather describe it as a more happy, happy HELLOWEEN album. That would be the best description."

Andi continued: "It's hard to describe, because there are lots of speedy and heavy things on it. But when I listen through it, I feel good. I mean, that's a good sign. Not that I felt bad when I listened to the last album — that's not what I mean. It's fun. I listen to it, and it's fun. Definitely."

Regarding what he and his HELLOWEEN bandmates learned from the making of "Helloween" that they improved upon this time around, Andi said: "Yeah, I think the main keyword would be confidence. The last album, we had to get to know each other in that new setup, lineup, how to work with [each other], how to work here and blah, blah, blah, and this time we just realized, okay, actually everybody has such great ideas; just don't control each other. We don't need to actually stick in a studio for pre-production for two months because everybody did it for himself. Let's just listen to it and say, 'Wow, cool.' So this time we've been some lazy backs, actually, and just said, you know, pre-production we just do ourselves back at home, everybody in his own studio, and we just take the technique we are given. Internet is great, and you can have live sessions online, and that made life so much easier because everybody is just relieved that you [are] still at home. You still work hard, but you're at home. And as we all know, when you're at home, work doesn't hurt that much as being back in the studio again somewhere in the world, but not with your family. And nowadays you can actually have your family life, you have your eight, nine hours per day in the studio, you yourself decide when you make a break or when you go and have a meal with your lady or go down to the beach, in my case. That makes life so much easier and much more enjoyable than sitting in a fricking studio again and again and again, each and every day for two months, just for a pre-production, which you could easily do at home together. So this time, I have to say there's confidence that we earned for each other that helped a lot to make things even more easygoing. And I think that's exactly what you listen, when you go through the songs and you listen to them — you feel that easiness: 'Wow. Wow. Okay, cool.' I love it. So that's the way to go."

Upon its release in June 2021, "Helloween" landed in the Top 10 in more than 10 countries, including Germany, Spain, Finland, Sweden, Switzerland and Austria. The cover artwork for the LP was painted by artist Eliran Kantor, who has previously worked with HATEBREED, SOULFLY, TESTAMENT, ICED EARTH and SODOM, among others.

Produced by Charlie Bauerfeind and Dennis Ward, the last HELLOWEEN LP was recorded in part at the H.O.M.E. Studios in Hamburg (where everything started in 1984). The same recording console used for such HELLOWEEN albums as "Master Of The Rings", "Time Of The Oath" and "Better Than Raw" was utilized to record the band's new material. The effort was mixed at the Valhalla Studios of Ronald Prent (IRON MAIDEN, DEF LEPPARD, RAMMSTEIN).

"Helloween" saw the legendary German power metallers going "back to the roots," with the band recording fully analog and Löble playing the drum kit previously used by HELLOWEEN's original drummer, the late Ingo Schwichtenberg, on the legendary "Keeper Of The Seven Keys" recordings.

HELLOWEEN released a new live album, "Live At Budokan", on December 13, 2024 via Reigning Phoenix Music (RPM). The colossal effort immortalized HELLOWEEN's September 16, 2023 performance at Tokyo's legendary Nippon Budokan.

"Live At Budokan" was made available in a plethora of formats: 2CD-digipak and 3LP vinyl in trifold with the first print run of both coming as "deluxe edition" including embossed cover artwork, as well as Blu-ray, DVD and digital. Each version is meticulously crafted to suit the metal community's diverse tastes, ensuring every fan can relive the raw, unfiltered energy of HELLOWEEN in their preferred medium.

This release celebrated the grand finale of HELLOWEEN's epic world tour from 2022 to 2023. Spanning over 30 countries on three continents, the tour was nothing short of a triumph, drawing massive crowds and showcasing the band's undying appeal, the sold-out concert in Tokyo is the crowning glory of the cycle.

HELLOWEEN is:

Michael Kiske - vocals
Andi Deris - vocals
Kai Hansen - guitars, vocals
Michael Weikath - guitars
Sascha Gerstner - guitars
Markus Grosskopf - bass
Daniel Löble - drums

Photo credit: Mathias Bothor

COHEED AND CAMBRIA's drummer Josh Eppard has announced a special collaboration between his organization Drum Set Confessional and the metal community-driven mental health nonprofit HeartSupport.

Drum Set Confessional was born from Eppard's own struggle with deadly substance addiction. He uses the platform to share his stories with at-risk populations like students as well as with professionals like therapists and teachers.

The partnership with HeartSupport will allow Eppard's empowering story to reach more heavy music fans with hope.

"We're usually in awe of HeartSupport," Eppard expressed. "Like, 'Wow, look what's possible.' While they lead the way, it's our honor to use them as aspirational and inspirational. We know HeartSupport can help us to better our organization."

HeartSupport was founded by another band member in the heavy music scene: AUGUST BURNS RED's Jake Luhrs. HeartSupport offers opportunities to open up about mental health and receive immediate peer support. Listeners who hear Josh Eppard's story will now also hear about their chance to receive free peer support through HeartSupport's repliers and Support Calls.

Eppard added: "We all intertwine. The marriage with HeartSupport just feels so right to us. I'm just so happy that they'll have us. I sense a lot of good people doing the work so well and leading the way for other bands and organizations to pop up."

HeartSupport's services include social media replies of support from trained volunteers and a long-term Support Calls program where participants are matched with a peer supporter who calls them every week. HeartSupport goes wherever heavy music fans are: both online and at festivals. Their services fit the needs of Drumset Confessional's audiences perfectly.

"We are so incredibly grateful to partner with Josh Eppard and Drum Set Confessional to deepen our impact on the scene and help more fans," the HeartSupport staff stated.

You can learn more about Drum Set Confessional at drumsetconfessional.com and get involved with HeartSupport and their services at heartsupport.com.

HeartSupport unites fans through music and empowers them to support each other's mental health. HeartSupport founder Jake Luhrs is the well-recognized frontman of the world-famous metal band AUGUST BURNS RED.

Every night, fans would share raw stories about addiction, suicide, self-harm, fear and hopelessness. He created HeartSupport to help these fans open about their struggles and get support in improving their mental health.

It has been announced that Randy Bachman and Burton Cummings will play as THE GUESS WHO for the first time in 23 years when they take part in the Rock Legends Cruise as it sails from Fort Lauderdale, Florida through the Caribbean, February 23-27, 2026.

As principal songwriters of THE GUESS WHO's early hits, Bachman and Cummings helped propel the band to international success with songs such as "These Eyes", "Laughing", "Undun", "American Woman", "No Sugar Tonight/New Mother Nature" and "No Time". Their 1970 album "American Woman" reached No. 1 in Canada, and the title track became the first Billboard number one hit by a Canadian group.

After the group disbanded, Burton continued his winning streak with a gold record for his solo debut single "Stand Tall". He followed his inaugural solo success with more than a dozen hit singles and albums, including "I'm Scared", "My Own Way To Rock", "Break It To Them Gently" and "You Saved My Soul". Burton's 1978 album "Dream Of A Child" became the first quadruple platinum-selling album by a Canadian artist.

Randy went on to find success as BACHMAN-TURNER OVERDRIVE with hits such as "Let It Ride", "Roll On Down The Highway", "Takin' Care Of Business", "Lookin' Out for #1", "Hey You" and the BTO anthem "You Ain't Seen Nothin' Yet".

For the cruise, passengers can look forward to two hours of hits from THE GUESS WHO, along with songs from BTO and Burton Cummings's solo career. Joining Burton and Randy on stage will be Sean Fitzsimons (drums, vocals),Jeff Jones (bass, vocals),Nick Sinopoli (percussion, vocals),Tim Bovaconti (guitar, vocals) and Joe Augello (guitar, vocals).

THE GUESS WHO joins the previously announced line up of GENE SIMMONS BAND, KEVIN CRONIN BAND, BLUE ÖYSTER CULT, URIAH HEEP, JEFFERSON STARSHIP, UGLY KID JOE, ROBERT JON & THE WRECK, Gary Hoey and TWO WOLF.

Earlier this year, Bachman told American Songwriter about his plans for a reunion with Cummings for a THE GUESS WHO reunion tour in 2026: "[Burton is] finishing up his stuff this year, I'm finishing up my BTO stuff. And we have a plan for 2026 to be THE GUESS WHO, where … we do a setlist of about 30 hit songs, and it's probably gonna be a two- or three-hour Springsteen kind of marathonic show. And we're all geared to do that in 2026. It'll be the unveiling of 'THE GUESS WHO are back.'"

Two years ago, Bachman and Cummings filed a lawsuit accusing a band calling itself THE GUESS WHO — led by original drummer Garry Peterson — of falsely advertising "a group of hired musicians who have been touring and recording using the band's name."

In September 2024, it was announced that Bachman and Cummings had settled their long-running dispute with former bandmates Peterson and Jim Kale.

Hailed by The Toronto Star as "the greatest band in Canadian history," THE GUESS WHO emerged out of Winnipeg, Manitoba in 1965 and went on to international success through the next decade with an impressive catalogue of songs including "These Eyes", "No Time" and the chart-topping "American Woman". During the course of its legendary career, the band released 11 studio albums, with 1970's "American Woman" — recorded with the classic lineup of Bachman, Cummings, Kale and Peterson — reaching No. 1 in Canada and the top 10 in the United States. THE GUESS WHO charted more than thirty Top 40 singles in Canada along with 14 in the U.S., including "American Woman" which went all the way to No. 1.

The classic lineup of THE GUESS WHO reconvened at various times over the years, including a series of shows captured on 1984's live album "Together Again!" (known as "The Best Of The Guess Who - Live!" in the United States). In 1999, the band performed at the closing ceremonies of the Pan Am Games at Winnipeg Stadium at the personal behest of the premier of Manitoba.

THE GUESS WHO have been bestowed with a wide array of honors in their home country. In addition to their 1987 induction into the Canadian Music Hall Of Fame, the band were given a star on Canada's Walk Of Fame in 2001 while in 2002, the band received the Governor General's Performing Arts Award for Lifetime Artistic Achievement.

Image credit: wowzieee

In a new interview with Skratch N' Sniff and SNSMix.com, PAPA ROACH frontman Jacoby Shaddix spoke about the progress of the songwriting and recording sessions for the follow-up to the band's 2022 album "Ego Trip". He said (as transcribed by BLABBERMOUTH.NET): "We've got about five, six songs finished up. I'm headed to Nashville later today. I'm going to a NASCAR event and then headed to L.A. to go back in the studio and wrap up some more new tracks. And so [we're] well into this new album.

"We don't have a release date yet [for the new PAPA ROACH album]," Jacoby clarified. "We just wanna get this one perfect before we drop it. But fans can expect new music throughout the year. Actually, after I go in the studio, I'll jump back down to L.A. We're shooting a music video for a brand new single we're gonna drop in the middle of June, and so that's coming up right around the corner. And that one's a fucking banger, dude. I'm so excited about this next song."

Asked if there is a possibility of some guests appearing on the new PAPA ROACH album, Jacoby said: "Actually, yeah. I've got a couple guests already on this record, but I ain't gonna tell you who it is 'cause we just wanna surprise you as the tracks drop."

Jacoby also talked about PAPA ROACH's decision to release "Ego Trip" through the band's own record label, New Noize Records, in partnership with ADA Worldwide (WMG's independent label and artist services arm). Asked if there are things about that process that he and his PAPA ROACH bandmates learned along the way that they can apply to the upcoming album, Jacoby said: "Oh, absolutely, man. I've been a student since I've been in the business, and back in ''99 when we first got a record deal, I've been taking notes; everybody in the band's been taking notes. And it's been a good experience for us. And I was quite fearful of stepping into the role of being a record company executive. But now that we're two years into it, and we really have learned the insides of the record business, it's just, 'Let's go.' It's exciting. So we're gonna continue that. And we've had some great successes on this last album, 'Ego Trip'. We had four Number Ones on rock radio, and for us that was huge. And then broke into the Top 5 and Top 10 with 'Leave A Light On' at alternative. And 'Even If It Kills Me', the reimagined version, just hit through the Top 10. And so we've got this momentum happening, and it just feels so good. And then we just came off this tour, 'Rise Of The Roach', in America and Europe, some of the most successful touring of our career. And so we just feel this excitement bubbling up around what we're doing, and I'm just, like, 'Dude…' This deep into our career, we're having all these successes. And it's dope. I mean, I just got a plaque from Spotify for a billion streams. It a really good time to be in PAPA ROACH and to be doing what we're doing with New Noize."

Last month, PAPA ROACH released a music video for an acoustic version of "Even If It Kills Me". The original single reached No. 1 at U.S. Rock Radio, marking PAPA ROACH's 13th appearance at the top of the charts.

Shaddix spoke to the I-Rock 93.5 radio station about the lyrical inspiration for "Even If It Kills Me", which was released in late January. He said: "This one was started about two years ago, the music part of it, and I heard it first from the first musical just vibe with the strings. I was, like, 'It sounds cinematic. This sounds like it's about to be a journey we're taking the fans on.' So I hit the boys up instantly. I'm, like, 'Dude, I can't wait to get in the studio on this one.' Then life happens, and some stuff goes down. My older son went through this really traumatic heartbreak breakup. Just his whole world was leveled, and I watched my son just crumble. And that was a tough one. But to also have to go, 'Hey, man, there's some hard truths about life, and sometimes people aren't what they show themselves as, and there's two sides to people sometimes. And you got one, and then eventually discovered that other dark side of them and you were hurt.' And that was really hard for me to watch my son just fall to pieces. And that song was born from that moment of going, 'I wanna be able to help you, but I also know that you kind of gotta walk through the fire.' And knowing that, 'I'm not gonna leave you. I'm here for you, but I'm also gonna stand in that fire with you.' And I wanted to shoulder the pain. I wish I could, but sometimes we have to go through those moments in life that build character. Who are you? Can you get back up? Well, my son got back up."

In March, PAPA ROACH released a "reimagined" version of "Even If It Kills Me". The band and Joshua Landry again produced the track. "Even If It Kills Me (Reimagined)" was a fresh take on its heavier counterpart, showcasing the hit song in a new light, with a melodic arrangement and signature vocals delivered by Shaddix.

PAPA ROACH are two-time Grammy-nominated, platinum-selling leaders in alternative hard rock music. PAPA ROACH are not unfamiliar with calling attention to mental health and have been doing so since the seminal release of their first hit single "Last Resort". Since then, the band has gone on to create 10 studio albums, including "Ego Trip".

Photo credit: Bryson Roatch

NIRVANA's "Smells Like Teen Spirit" music video has surpassed two billion views on YouTube. The clip, which was uploaded to the Google-owned video platform in June 2009, previously hit one billion views in 2019.

"Smells Like Teen Spirit" opened NIRVANA's breakthrough release "Nevermind" (Geffen/UMe) which hit No. 1 around the world, selling more than 30 million copies worldwide. The single made its radio debut on August 27, 1991 and the accompanying video showed the band playing background music for a truly spirited high-school cheerleading squad. The clip was filmed on August 17, 1991 at a sound stage in Culver City, California.

The "Smells Like Teen Spirit" music video was directed by Samuel Bayer, whose his personality clashed with those of the NIRVANA bandmembers. "He's got a little Napoleon complex," NIRVANA frontman Kurt Cobain said in the NIRVANA biography "Come As You Are: The Story Of Nirvana". "He was just so hyper, such a rocker guy. I couldn't believe it. I couldn't believe we actually submitted to that."

Courtney Love, who married Cobain in an intimate ceremony on February 24, 1992, told New York Magazine in 2011: "Kurt hated Sam Bayer. For 'Teen Spirit', Kurt wanted fat cheerleaders, he wanted black kids, he wanted to tell the world how fucked up high school was — but Sam put hot girls in the video. The crazy thing is it still worked."

"Nevermind" would come to be much more than one of the most successful and influential albums of all time. It returned rock 'n' roll integrity and passion to the top of the charts and continues to be a singular inspiration to fans and musicians alike over the last three decades — and generations to come. It has been credited over the years with helping to kill off hair metal.

Charles R. Cross, the author of "Heavier Than Heaven", a biography of Cobain, told Today.com about the mega-success of "Nevermind": "It's an incredible album. It would have been a hit whenever it was released. But at the same time, the timing was right for there to be a superstar act like NIRVANA. It came right at the end of the death knell of hair metal and the world was screaming for rock music that would be meaningful again. And the timing for a new generation wanting a voice was also ideal. It just so happened that everything came together at the exact right moment when rock needed a revolution."

In a new interview with Variety to promote METALLICA's upcoming film project "Metallica Saved My Life", which explores the world of METALLICA through the lives of their fans — including the bandmembers themselves — METALLICA drummer Lars Ulrich was asked if having a fanbase which has followed him and his bandmates as they take big risks with their music has liberated them in taking big swings. He responded: "I don't think it was ever a choice. I would like to believe that we dictate our own narrative, and one of the key pieces of the individual and collective DNA in METALLICA is curiosity. We've always wanted to turn over rocks and look at new ideas and challenges. If curiosity is a significant part of our DNA, another part is the fear of complacency, a fear of fear, of getting stuck. The claustrophobia, 'Oh my God, we've got to keep evolving. We've got to keep growing. We gotta keep trying different shit.' The fear of stagnation, of ending up on autopilot, a fear of repetition, of just getting stuck. So we've always pushed ourselves into new and different creative endeavors. Whether it's the films or doing stuff with symphony orchestras or playing with different producers or new approaches, it's to make sure that we always keep it fresh and there are always challenges in front of us.

"When 'Ride The Lightning' came out, the fourth song, 'Fade To Black', had acoustic guitars on it," he continued. "There were definitely some raised eyebrows and people in the very hard-rock end of the community wondered what we were doing. But I would like to think that very early on, we stated that we were not to be boxed in, and we were not to be doing always what was expected. We would not be the band to churn out the same record over and over again, just in a different sleeve with different cover art. We were gonna do everything that we could to prevent that from happening."

"Metallica Saved My Life" will get its world premiere at the Tribeca Film Festival Wednesday night (June 11),with New York City screenings following Thursday and Saturday.

Filmmaker Jonas Åkerlund, who previously directed METALLICA's music videos for 1998's "Turn The Page", 1999's "Whiskey In The Jar" and 2016's "ManUNkind", interviewed fans from 23 different countries for the documentary, which is slated for release later this year.

In a statement announcing "Metallica Saved My Life" in April, the band said: "As a few of you may know, we've been working behind the scenes the last couple of years on a new film that will be released later this year starring you guys! 'Metallica Saved My Life' explores our world through the lives of fans who have supported each other through highs, lows, trials and triumphs for over four decades. And yeah, we're in it a little bit too."

Back in July 2023, METALLICA put out a casting call for "superfans" of the band to possibly appear in an upcoming documentary. The filmmakers were looking for "big personalities, unique characters and unexpected stories from METALLICA fans who consider METALLICA to be their favorite band, real 'Fifth Member' types. All stories and walks of life" were "welcome and encouraged to reach out."

The documentary was reportedly being produced by METALLICA and Mercury Studios, powered by Universal Music Group.

Two years ago, Ulrich credited the use of "Master Of Puppets" in 2022 in the hit Netflix series "Stranger Things" with creating a whole new generation of METALLICA fans.

As a result of the song's appearance in the show, "Master Of Puppets" — the title track of METALLICA's 1986 album — went on to top of the iTunes Rock Chart and crack the Spotify Top 50.

Ulrich told Japan's TVK: "I'm just so happy that hard music and hard rock still has a place. To see so many young people connecting with music again. . . I can see it my kids; I can see it, in the last nine months, the 'Stranger Things' phenomenon of so many young kids discovering 'Master Of Puppets' and that being a gateway to maybe more METALLICA music or to more heavy music or heavy rock music."

Lars went on to say that the possibility for METALLICA's music to reach a new audience seems endless.

"I see that there's still so much, all over the world, a coming of age when kids are 12, 13, 14 years old, to get into music and for us to be part of that discovery is an incredible thing," he explained.

In a 2015 interview with Time Warner Cable News, METALLICA frontman James Hetfield was asked what it feels like to get such a strong reaction from the crowd every time the band performs live. He said: "Well, it's like an ultimate family for us — especially for me. When I'm able to just be honest and ask, 'Hey, help sing this part,' or I screwed up the words and they sing it for me. It's, like, 'Man, they really do have our back.' And we don't look at things as mistakes. There are no mistakes that happen. There's just unique ways of doing it for that day. We go up there and we play it. So there's just such a freedom when you have… When the crowd has your back, there's such a freedom to be able to even explore more up there or to even do better. 'Cause you know you're not out there to impress people, you're out there just to deliver what you've got in you."

In 2016, Ulrich told Vice that he and his bandmates don't make a concerted effort to bring in new fans or win over naysayers whenever they release a new album. "I mean, we are all aware kind of aware of the fact of how wide the net is cast," he said. "And like I said, most things that I see in the world is in grays, so it's pretty easy with this stuff. So 40-year-olds, 50-year-olds, 30-year-olds, 20-year-olds, teens, it's fine. We don't go out of our way to do one thing more than the other. I think that there still there seems to be a rite of passage for 13 and 14-year-old boys and in lots of places around the world. There are still a lot of young kids. When I occasionally check our social media, I can tell that a lot of them are younger, which is cool. So I think we got a pretty good balance. There are certain places like in Scandinavia, they're really young and there is like 14-year-old girls down in the front row. Sometimes parents bring their kids, or kids bring their parents. It's fun."

In a new interview with Thomas S. Orwat, Jr. of Rock Interview Series, Sam Bam Koltun (DOROTHY, FASTER PUSSYCAT, BUDDERSIDE) spoke about what it was like to play guitar for GODSMACK during the latter band's recently completed European tour. Asked if he had a lot of time to get ready for the trek, Sam said (as transcribed by BLABBERMOUTH.NET): "I had found out about the auditions kind of end of January, very end of January. And that's about when I heard from management after I was looped in and connected with management. And then the auditions were kind of mid-February about, and then after that there was a week off and then rehearsals started at lke the end of February. So there was about a month, I guess, before that I knew. But I had already learned the set for auditions. They had sent out the setlist and said, 'Pick out as many as you want to learn, as many as you can learn.' I learned all of them, and I learned the studio versions and the live versions, and then a couple extra songs. So, yeah, about a month was the time prior to the first gig. But that was auditions, then rehearsals, and then I went and did [The '80s] Cruise with [FASTER] PUSSYCAT and then went to Europe, and then we had a couple production rehearsals there and then started the tour."

Reflecting on the experience of playing material that was originally recorded by the now-former GODSMACK guitarist Tony Rombola, Sam said: "I was very, very grateful for the opportunity, and it was really, really cool to do. And all those guys are really, really great. Their crew is incredible. [GODSMACK frontman] Sully [Erna] and [GODSMACK bassist] Robbie [Merrill] are really, really, really cool dudes and the stuff is really fun to play. A little heavier than — I can't really say heavier than I'm used to, just 'cause I'm used to playing all different styles, depending on what is necessary and what's needed. But it was fun to play with that much gain, as a guitar player. It's just, like, all the chunky riffs. And the crowds were incredible. The fans were really, really cool. I was very appreciative that people didn't throw stuff at me. And I had a great time with Will Hunt too, the drummer, Will Hunt from EVANESCENCE [who played drums for GODSMACK in Europe in March/April 2025 as the replacement for Shannon Larkin]. He and I had met prior to that. He was with either Stephen Pearcy or SLAUGHTER and I was with PUSSYCAT on a Monsters Of Rock cruise and we had met there. And so when we were both in [GODSMACK] auditions together, it was kind of a trip.

"I can't say anything other than [I'm] just thankful for the opportunity," Sam repeated. "It was crazy to do. I enjoyed every second of it. And how the whole thing came about in general, it was just very, very wild. But, yeah, it does something to your confidence for sure when you have to step onto a stage like that and the first show is 13,000 people, sold out, in Sofia, Bulgaria in a country that you've never been to. And so definitely something else takes over in that time, for sure. But it was really, really cool and I'm thankful to have gotten to experience a level of touring like that band does."

Regarding what Sully was like to work with, Sam said:  "Sully was great. He was really, really cool to me. I was kind of unsure. The only thing I was unsure about at first is [when] we were in rehearsals and auditions... but he was really, really cool. He said that I had done my homework and he didn't really have any notes [for me], and it was great. He's a great singer, cool dude. I dig his whole vibe."

As for what he feels the most challenging part about that role in GODSMACK was, Sam said: "For me, I just wanted to hopefully try to give the most accurate presentation of the music. So, that was probably the most difficult — just trying to make sure everything was right. Yeah, just trying to present the music as close as I could, because Tony [Rombola] is a great guitar player, and I feel like a pretty underrated guitar player, especially going through and learning his parts and learning his things. And, yeah, that was definitely the most challenging thing."

Asked if there has been any talk about him playing more shows with GODSMACK in the future, Sam said: "I can't discuss anything further. I've already said too much. [Laughs]"

GODSMACK announced Rombola and Larkin's departures on April 2, revealing in a lengthy statement that both musicians had decided to retire from the band "for no other reason than to fulfill their desire to live a more simple and quiet life away from touring."

Larkin joined GODSMACK in 2002 after cutting his teeth with WRATHCHILD (later WRATCHILD AMERICA and SOULS AT ZERO) before getting picked up by UGLY KID JOE in time for a taste of their zenith.

Tony had been the lead guitarist and backing vocalist for GODSMACK since the mid-1990s following the departure of Lee Richards.

GODSMACK kicked off its 2025 European tour on March 22 at Arena 8888 in Sofia, Bulgaria.

The day before the Sofia concert, Erna told Elena Rozberg of Bulgaria's Z-Rock radio station that "personal things" were preventing Tony and Shannon from taking part in the trek and explained that "a couple of guest musicians" were playing with GODSMACK while he and Merrill were " trying to figure out exactly what's happening".

In the Z-Rock interview, Sully said about GODSMACK's current status: "I can tell you that there has definitely been some changes that have happened in the last few months. They are changes that we're not sure will be permanent or temporary, but everybody and everyone is in good health and in really good spirits. And the band is doing better than ever. We're [playing to] the biggest audiences ever, and the shows are just becoming more and more valuable, because, as we get older, we still appreciate coming to places like Sofia that is so far away from where we started and being able to come here and sell out a 13,000-seat arena.

"All I can tell you right now is that the band is in good health, we're in good spirits, but there's gonna be a little bit of a different visual for everybody. Tony and Shannon have some personal things going on, and they're not with us. So we have a couple of guest musicians playing with us that are phenomenal."

Asked to elaborate on the reason for Shannon and Tony's absences from the trek, Sully said: "Hmmmm… I don't know. I don't know. I don't know if I feel safe enough talking about that yet, because I don't wanna give people the wrong impression. Right now we're still at a stage where we're trying to figure out exactly what's happening, but we're also trying to respect their privacy. So whatever Tony and Shannon have going on in their personal life, we're just trying to respect that and at the same time still come here and put on a really great show. I can tell you right now that we have a guest drummer playing with us, who's Will from EVANESCENCE. And he is such a good friend of ours and such a great musician, and we've been having so much fun with him. So that's been a real surprise. And then we have a guitar player with us named Sam Koltun, who is somebody who — he's played with several different bands and a really, really nice guy and great guitar player. So as far as the music goes and the sound, it sounds exactly like we've always sounded, which is even surprising to me."

GODSMACK's spring 2025 European tour featured support from P.O.D. and DROWNING POOL.

The 14-date trek ended on April 12 in Oberhausen, Germany.

GODSMACK's latest album, "Lighting Up The Sky", was released in February 2023 via BMG. The LP was co-produced by Erna and Andrew "Mudrock" Murdock (AVENGED SEVENFOLD, ALICE COOPER).

Image credit: Loknath 007

Fresh off supporting REFUSED and QUICKSAND in New York City as part of "The Refused Are Fucking Dead" farewell tour, ORANGE9MM has released its first new music since the 1990s. The latest single, "Turn It Up", which can be heard below, solidifies the new lineup, furthering 9MM's legacy as a band fundamental to the DNA of New York City post-hardcore. The artwork for "Turn It Up" was created by Mike Saes.

Exploding on to the scene with its self-titled EP in 1994 (Revelation Records),ORANGE9MM was founded by singer Chaka Malik (BURN, GHOST DECIBELS) and guitarist Chris Traynor (formerly of FOUNTAINHEAD, HELMET, currently BUSH). Chaka was raised in New York City housing projects and Chris continues the lineage of successful and influential musicians from Long Island. Driven by a mutual desire to explore how they could expand their punk and New York hardcore roots, the result was a riff- and rhythm-heavy, hook-laden danceable groove under cutting, urban vocals. This diverse, multi-genre approach was the foundation of ORANGE9MM.

Adding Matthew Cross on drums and Davide Gentile on bass, they recorded "Driver Not Included" (Atlantic Records),a seminal record in the post-hardcore and nascent nu-metal genres. The record was produced by Dave Jerden (ALICE IN CHAINS, JANE'S ADDICTION, RED HOT CHILI PEPPERS).

Soon after, ORANGE9MM's appearance on the first Warped Tour led to amplified exposure with a new and enthusiastic audience. Subsequent tours with KORN, DEFTONES, SEVENDUST, HELMET, QUICKSAND and BIOHAZARD broadened their fanbase, bringing their raw, emotionally charged energy to new fans across the globe.

Toward the end of recording their sophomore album "Tragic" (Atlantic Records),recorded with producer Dave Sardy (OASIS, INCUBUS, WOLFMOTHER),Long Island based multi-instrumentalist Taylor Mclam joined the fold. His gifted ear for melody and natural groove were apparent on ORANGE9MM's MTV/radio hit single "Failure", his contribution to the "Tragic" LP. He remained a core songwriter through the band's subsequent full-length "Pretend I'm Human" (Ng/Artemis Records).

Known for their engaging live shows and heavy groove, ORANGE9MM reformed in 2024 with the addition of Long Island natives Chris Enriquez (drums; SPOTLIGHTS, JULIE CHRISTMAS, ON THE MIGHT OF PRINCES) and Cory Bonfiglio (bass; TOTAL MELTDOWN). With a new LP in the works and high demand for shows, ORANGE9MM is set to deliver more aggressive yet optimistic music to a world that needs it now more than ever.

Photo by Jammi Yorke

German power metal veterans PRIMAL FEAR have released the second single from their upcoming album, "Domination", due on September 5 via Reigning Phoenix Music. "The Hunter" tells a conceived story while it musically sounds the attack for the quintet's new record.

Being also the opening track of "Domination", "The Hunter" builds up tension with anthemic lead harmonies before bursting drums and guitars break through the idyll to set the tone for another highly melodic piece from PRIMAL FEAR's musical forge. The single additionally cements the thoroughly positive impression the group left with first single "Far Away", which saw PRIMAL FEAR introduce its striking new lineup.

"Science fiction scenery, the beast is behind you, it's me, I'm the hunter, so better watch out, I smell your blood and I'm gonna get you!" warns vocalist Ralf Scheepers grinningly.

Joining Scheepers and Mat Sinner (bass, vocals) in PRIMAL FEAR's current lineup are the band's latest additions, Italian/Cuban sensation Thalìa Bellazecca (ANGUS MCSIX, ex-FROZEN CROWN) on guitar and André Hilgers (AXXIS, RAGE, SILENT FORCE, SINNER, BONFIRE) on drums. Also appearing with the group is Swedish guitarist Magnus Karlsson, who has been primarily a studio member of the band for much of the past decade but who has now rejoined PRIMAL FEAR's touring lineup.

Picking up the dystopian theme of "The Hunter" single, director Patric Ullaeus (IN FLAMES, AMARANTHE, EVERGREY) placed the band in a ruined environment to create a "metal-as-fuck" music video where they find themselves surrounded by hellfire.

The "Far Away" music video, which was released in April, was filmed at Dennis Ward's Kangaroo Studios in Karlsdorf-Neuthard, Germany, where the "Domination" recording sessions took place in late 2024.

Going strong for nearly three decades, PRIMAL FEAR was founded and is still led by Sinner and Scheepers, who have never let down their global fanbase. Relentless and constantly pushing their limits, PRIMAL FEAR ensure that no two albums ever sound the same. After "Code Red" (2023) hit some of the highest chart positions of their career, expectations for the next release were higher than ever. And as "Domination" makes clear, no obstacle is too great for PRIMAL FEAR's powerhouse songwriting trio — Sinner, Scheepers and Karlsson, who also rejoins the band's live lineup after several years away.

From the hard-hitting opener "The Hunter" and first single "Far Away" to the uplifting mid-tempo anthem "Tears Of Fire" and the epic ballad "Eden" — featuring a guest appearance by AD INFINITUM's Melissa Bonny — "Domination" delivers on all fronts. Add in neck-breakers like "Scream" and "Crossfire", and the reflective, string-and-piano-driven closer "A Tune I Won't Forget", and it's clear: PRIMAL FEAR aren't here to reclaim the crown — they're here to prove they've never left the throne of heavy/power metal royalty.

"Domination" was recorded in autumn 2024, produced by Mat Sinner and co-produced by Ralf Scheepers as well as Magnus Karlsson. Rounded off by multiple PRIMAL FEAR mixing/mastering engineer Jacob Hansen at his own studios in Denmark, the album artwork was designed by Death.Milk.Designs.

"Domination" track listing:

01. The Hunter
02. Destroyer
03. Far Away
04. I Am The Primal Fear
05. Tears Of Fire
06. Heroes And Gods
07. Hallucinations
08. Eden (feat. Melissa Bonny of AD INFINITUM)
09. Scream
10. The Dead Don't Die
11. Crossfire
12. March Boy March
13. A Tune I Won't Forget

Bonus track (physical only, excluding jewel case CD)

14. Bridges Will Burn

PRIMAL FEAR's new lineup made its live debut on May 9 at the 2025 edition of the Rock In Rautheim festival in Braunschweig, Germany.

Sinner (a.k.a. Matthias Lasch),who also serves as PRIMAL FEAR's producer, reportedly suffered an extreme adverse reaction to the COVID-19 vaccination in 2021 and received treatment for eight months at various hospitals. As a result of Sinner's health challenges, PRIMAL FEAR canceled all of its planned shows in 2021 and 2022, eventually recruiting Alex Jansen as Mat's temporary replacement.

Warming up at five select summer festivals, PRIMAL FEAR will return to the live front with its longest European tour since 2018. Reigning Phoenix Music labelmates ELEINE have been confirmed as special guests.

In August 2024, guitarists Alex Beyrodt and Tom Naumann, drummer Michael Ehré and bassist Alex Jansen announced their departures from PRIMAL FEAR, writing in a statement: "Dear fans and friends of PRIMAL FEAR, we unfortunately have to inform you today that Alex Beyrodt, Tom Naumann, Michael Ehré and Alex Jansen, who helped us on bass for the last two years, are no longer part of the band PRIMAL FEAR. Triggered by decisions within the band that we do not agree with, this step was anything but easy for us to take. We would like to make it clear that despite the differences of opinion, there was no argument or bad blood.

"We would like to thank you for the time we spent together, the numerous albums, the tours, shows and festivals that have taken us around the world together, and of course for the love of the fans. We wish Mat and Ralf all the best for the future!"

Formed by Sinner in 1997 as an outlet for Scheepers (who had left GAMMA RAY and was a rumored candidate for the then-open JUDAS PRIEST vocal spot, but was considering early retirement from metal),PRIMAL FEAR has emerged as one of the most consistent European metal bands, rarely straying from its core PRIEST-styled power metal sound.

PRIMAL FEAR 2025 is:

Ralf Scheepers - vocals
Mat Sinner - bass, vocals
Magnus Karlsson - guitars
Thalìa Bellazecca - guitars
André Hilgers - drums

Photo credit: Heiko Roith

MOTÖRHEAD has released "Leavin' Here", the second single and its accompanying music video from the forthcoming album "The Manticore Tapes", which is due on June 27.

The music video for "Leavin' Here" is an explosively raucous mixed media visual combining unique model characters and set pieces with archive footage of the band.

In 1976 the seminal line-up of MOTÖRHEAD was solidified a year after the band's initial inception. Known as the "Three Amigos" era of MOTÖRHEAD, Lemmy (bass/vocals),Fast Eddie Clarke (guitar) and Phil "Philthy Animal" Taylor (drums) joined forces and began their extraordinary journey to the top of the hard rock elite.

In August 1976 the band set up at EMERSON, LAKE & PALMER's legendary Manticore Studio in Fulham to rehearse and showcase the new lineup. While they were there they recorded together for the very first time and now, forty-nine years later, this long-lost tape has surfaced, been dusted off and restored in all its raw glory, to celebrate the seminal hard rock band's 50th anniversary

It's quite surreal, even unbelievable that a whole half century has elapsed since that vital time in 1976. Just as remarkable, especially for those who remember Lemmy hammering the fruit machines of London's pubs or as the era's most extraordinarily approachable rock star, has been this always humble man's ascension to Mount Rushmore-like immortality as rock 'n' roll's ultimate icon, this despite his having sadly passed away nearly ten years ago. Lemmy himself certainly would have cackled.

The dogged struggles MOTÖRHEAD faced in the first four of their 50 years are well documented and the almost accidental manifestation of this album — and the circumstances under which it was recorded — present a previously barely known new element in the band's history from that time when it's very future looked bleak had events not taken a different course.

Part of that early story involved a little-mentioned man called Frank Kennington, who roadied for THE WHO before moving into management and briefly taking on the struggling MOTÖRHEAD. One of Kennington's moves was booking the trio into the converted ABC cinema on Fulham Palace Road that served as prog supergroup EMERSON, LAKE & PALMER's HQ — which was known as Manticore. Named after the mythical beast in Persian folklore that adorned their album sleeves, Manticore was one-stop shopping for bands, with the projection room housing offices while the seatless main auditorium provided a useful soundstage for bands to rehearse in. MOTÖRHEAD were ensconced at Manticore recording their set on Ronnie Lane's mobile studio, which was operated by Ronnie's trusted mate Ron Faucus.

Faucus did a fine job capturing MOTÖRHEAD's blossoming raw power and high-velocity onslaughts on songs that would remain in their live set until 1979. These aging tapes were brought to life with restoration duties dutifully handled by longtime MOTÖRHEAD collaborator Cameron Webb at Maple Studios in California and mastered by Andrew Alekel at Bolskine House in Los Angeles. The result is a truly historical moment in the evolution of hard rock's finest heavy icons, restoring and bringing to the public eye for the first time ever a vital part of MOTÖRHEAD's evolution and history.

"The Manticore Tapes" will be available as a deluxe expanded bookpack containing a double LP and seven-inch single, a single LP, CD and digital.

See below for full details of "The Manticore Tapes" releases and be sure to visit www.iMotorhead.com for news and updates.