A Love Letter to the Past: Heidi Shepherd Reflects on the Past 25 Years in Her Most Personal Release Yet, Exploring the Life Lessons That Forged Her Identity
Butcher Babies return with their powerful new single “Lost In Your Touch,” produced by Howard Benson, this marks the second release from their forthcoming album via Judge & Jury Records. Blending emotional vulnerability with crushing intensity, the track serves as a key chapter in an album that functions as a deeply personal love letter to vocalist Heidi Shepherd’s past reflecting on the experiences, relationships, heartbreaks, and hard-earned lessons that have shaped her over the last 25 years. It’s a record rooted in self-reflection and growth, honoring where she’s been while embracing the strength and clarity of who she has become today.
Heidi Shepherd shares:
“10 years ago, I watched the love of my life fall in love with someone else. I watched him fill my shoes with another girl’s touch. She slowly took my place in the late-night phone calls and early morning coffee.
He replaced “us” with her name on his lips. I bent between this new reality and the past that my body and heart so desperately wanted back. As I watched this unfold, I couldn’t help but wonder if they shared the same, deep emotional bond we once shared, and if ‘she gets lost in his touch like I do’.
This song brings me back to those heartbreaking moments alone; reflecting, growing, and finding myself again. I don’t take a love like that for granted now. It’s special, and deserves to be put on a pedestal.
Recording this song with Howard was really special. From the get go, he understood the emotion and story behind the lyrics. We both knew this song was going to be special, and treated it with the emotional sensitivity needed to not just hear the song, but to feel it.”
Howard Benson adds, “I gravitated to this song immediately because of the vulnerability of the lyrics. To me, as a producer, if I can get lyrics like this that I know the vocalist will deliver.. like Heidi delivers the emotions in this song … that’s so critical to the track connecting.”
Mar 4 – Saginaw, MI @ The Vault with Jeris Johnson, Eva Under Fire, LYLVC Mar 5 – Columbus, OH @ A&R Music Bar with Jeris Johnson, Eva Under Fire and LYLVC Mar 6 – West Chicago, IL @ WC Social Club with Jeris Johnson, Eva Under Fire and LYLVC Mar 7 – Minneapolis, MN @ Fine Line Music Club with Jeris Johnson, Eva Under Fire and LYLVC Mar 8 – Iowa City, IA @ Wildwood Smokehouse & Saloon with Eva Under Fire Mar 9 – Madison, WI @ Majestic Theatre with Jeris Johnson, Eva Under Fire and LYLVC Mar 10 – Fort Wayne, IN @ Piere’s Ent Center with Jeris Johnson, Eva Under Fire and LYLVC Mar 12 – Houston, TX @ Warehouse Live with Jeris Johnson, Eva Under Fire and LYLVC Mar 14 – Oklahoma City, OK @ 89th Street OKC with Jeris Johnson, Eva Under Fire and LYLVC Mar 15 – Albuquerque, NM @ Launchpad BB Headliner Mar 16 – Farmington, NM @ Dino’s Hideaway & Lounge BB Headliner Mar 17 – Mesa, AZ @ The Nile Theater with Jeris Johnson, Eva Under Fire and LYLVC Mar 18 – West Hollywood, CA @ The Whisky A Go-Go with Jeris Johnson, Eva Under Fire and LYLVC Mar 19 – San Francisco, CA @ Brick and Mortar with Jeris Johnson, Eva Under Fire and LYLVC Mar 20 – Reno, NV @ The Alpine BB Headlner
Butcher Babies Co-Headline Dates with Infected Rain
Mar 25 – Glasgow, UK @ Slay Glasgow Mar 26 – Newcastle Upon Tyne, UK @ Anarchy Brew Co. Mar 27 – Manchester, UK @ Manchester Academy Mar 28 – London, UK @ O2 Academy Islington Mar 29 – Bristol. UK @ The Fleece Mar 30 – Birmingham, UK @ O2 Institute Birmingham Mar 31 – Southampton, UK @ The 1865 Apr 1 – Brighton, UK @ Concorde 2 Apr 3 – Kortrijk, Belgium @ DVG Club Apr 4 – Nijmegen, Netherlands @ Doornroosje Apr 5 – Oberndorf Am Neckar, Germany – Easter Cross Festival 2026 Apr 7 – Essen, Germany @ Turock Apr 8 – Weinheim, Germany @ Cafe Central Apr 9 – Paris, France @ La Machine Du Moulin Rouge Apr 10 – Villeurbanne, France @ CCO La Rayonne Apr 11 – L’hospitalet De Llobregat, Spain @ Salamandra Apr 12 – Madrid, Spain @ Mon Madrid Apr 14 – Toulouse, France @ Le Metronum Apr 15 – Milano, Italy @ Legend Club Apr 16 – Zurich, Switzerland @ Dynamo Apr 17 – Lindau, Germany @ Vaudville E.V. Club Apr 18 – Munchen, Germany @ Backstage Apr 19 – Budapest, Hungary @ Barba Negra Apr 20 – Wien, Austria @ Szene Apr 22- Warsaw, Poland @ Klub Hybrydy Apr 23 – Hamburg, Germany @ Bahnhof Pauli Apr 24 – Copenhagen, Denmark @ Pumpehuset Apr 25 – Stockholm, Sweden @ Kollektivet Livet Apr 28 – Helsinki, Finland @ Aaniwalli
May 16 – Columbus, OH @ Sonic Temple Art & Music Festival Jul 18 – Cadott, WI @ Rock Fest Sept 18 – Louisville, KY @ Louder Than Life
Butcher Babies, hailing from Las Vegas, NV, are a force to be reckoned with in the hard rock and heavy metal scene. Formed in 2009, the band is known for its aggressive style and intense live performances. Inspired by metal legends and punk rock attitude, Butcher Babies blend elements of thrash, groove, and melodic metal, creating a unique and ferocious sound.
The band’s debut album, Goliath (2013), showcased their raw energy and tight musicianship, earning critical acclaim and a dedicated fan base. Follow-up albums like Uncovered (2014), Take It Like a Man (2015), Lilith (2017), Eye for an Eye and ’Til the World’s Blind (2023 double album) further cemented their reputation, with tracks that highlight their dynamic range and lyrical depth.
With influences ranging from Pantera and Slipknot to No Doubt and riot girl, PJ Harvey, Butcher Babies have carved out their niche in the metal world. Their relentless touring schedule and high-octane performances have taken them across the globe, sharing stages with some of
the biggest names in metal. Butcher Babies continues to evolve, pushing boundaries and challenging the norms of the genre. Their dedication to their craft and their fans makes them a standout act, promising and exciting future for this powerhouse band.
Founded by multi-platinum producer Howard Benson and Neil Sanderson (drummer and songwriter of Three Days Grace), Judge & Jury brings decades of success in the rock world, offering extensive promotional, production, and songwriting resources.
CITOVITZ AND FIREFLIES OF FEBRUARY have released the official lyric video for “I Am a Gentleman Tempered by Grief,” a deeply personal classic rock anthem from the “My Revenge” EP, released on Andrzej Citowicz’s 50th birthday, February 10th, 2026.
The lyric video, now available on YouTube (https://youtu.be/WrgAOinVu4M), presents the most introspective and vulnerable song from the five-track EP—a meditation on how profound loss transforms a person while preserving their essential humanity.
THE QUIETEST STATEMENT: GRIEF AS TRANSFORMATION
While “My Revenge” EP carries themes of defiance and survival throughout its runtime, “I Am a Gentleman Tempered by Grief” offers something different: quiet reflection on what remains after the fire, delivered through a classic rock anthem that balances power with vulnerability.
The song’s title encapsulates its entire philosophy—acknowledging both who Citowicz strives to be (a gentleman: kind, patient, understanding) and what shaped him (grief: loss, devastation, transformation he never chose). “After losing my son Jonasz, I’m not the same person,” Citowicz states plainly. “Grief changes you. It doesn’t make you bitter necessarily, but it makes you different. Harder in some ways. Softer in others. More patient with suffering. Less patient with bullshit. This song is about that transformation—about choosing kindness even after the world was cruel.”
The track carries particular weight as the only song on “My Revenge” where Citowicz explores internal transformation rather than external survival. It’s intimate, vulnerable, and remarkably honest about the ongoing nature of grief’s influence.
“I wanted to write about what grief does to someone who chooses to stay kind anyway,” he explains. “It’s easy to let pain turn you cruel. It’s harder—much harder—to be forged in fire you didn’t ask for and still preserve the good parts of who you are. That’s what ‘tempered’ means. Not destroyed. Shaped. Made stronger in unexpected ways.”
MUSICAL APPROACH: CLASSIC ROCK ANTHEM WITH SOUL
Musically, “I Am a Gentleman Tempered by Grief” represents a classic rock anthem in its purest form, drawing from the melodic sensibilities and emotional honesty that defined the genre’s greatest moments. “This track is pure classic rock,” Citowicz states with conviction. “There’s a touch of AC/DC’s melodic approach, Def Leppard’s way of building anthems that stay emotional without losing power, even The Darkness in how the guitars carry both vulnerability and strength simultaneously. This isn’t a ballad—it’s a classic rock anthem with soul.”
The guitars here employ the clean, melodic tones characteristic of classic rock’s most memorable tracks, creating hooks that serve the emotional content while maintaining the genre’s inherent power. The arrangement builds dynamically, creating space where needed but never sacrificing the forward momentum that defines an anthem.
“Def Leppard taught me that you can be emotional without being soft,” Citowicz reflects. “AC/DC showed that hard rock can hit… hard while staying accessible. The Darkness proved that classic rock isn’t dead—it just needs honesty. This song pulls from all of that. It’s an anthem, but it’s an anthem about something real.”
The production employs contemporary techniques while honoring classic rock traditions: warm guitar tones that recall the genre’s golden era, dynamic range that ebbs and flows with emotional content, and careful attention to how each element serves the song’s anthemic quality without overwhelming its intimate message.
“I wanted this to feel like classic rock—not retro, not nostalgic, but genuinely classic in approach,” he explains. “Big enough to be an anthem. Honest enough to be personal. Powerful enough to stand with the classics that influenced it.”
PATRYK SZYMAŃSKI: BASS AS MELODIC VOICE
Throughout “My Revenge” EP, bassist Patryk Szymański’s contribution has been crucial, but “I Am a Gentleman Tempered by Grief” showcases a different dimension of his musicianship—bass as melodic conversation partner rather than rhythmic foundation alone.
“Patryk’s bass work on this track is beautiful,” Citowicz emphasizes. “He’s not just holding down the rhythm—he’s playing melody. Listen to the verses. His bass line is as important as the vocal melody. That kind of playing only comes from deep musical understanding and genuine friendship.”
The bass lines throughout the track demonstrate the intuitive connection that develops from over a decade of musical collaboration. Szymański doesn’t simply support Citowicz’s guitar work—he engages in dialogue with it, creating harmonic depth that elevates the classic rock anthem structure.
“When you’ve been creating with someone for over ten years, you develop this almost telepathic connection,” Citowicz notes. “Patryk hears what I’m trying to say before I fully say it. On this anthem especially, his bass playing isn’t technical showmanship—it’s emotional intelligence translated into the language of classic rock.”
The result is bass work that feels organic, essential, and deeply connected to both the song’s thematic content and its classic rock foundation—much like how the genre’s greatest bassists understood that melody and rhythm could coexist in service of the song.
THE LYRIC VIDEO: MAKING WORDS VISIBLE
The decision to create a lyric video for “I Am a Gentleman Tempered by Grief” stems from the same philosophy that guided previous lyric videos from the “My Revenge” project: words this personal deserve to be seen, read, and absorbed beyond just hearing.
“These aren’t just lyrics—they’re a life map,” Citowicz explains. “Every line represents something real. Every word earned through actual transformation. I want people to read them, sit with them, recognize themselves in them. The lyric video format makes that possible.”
The visual presentation allows viewers to engage with the anthem’s message on multiple levels simultaneously—hearing the vocal delivery, reading the words, absorbing the musical support. For a classic rock anthem built on introspection and personal transformation, this multi-layered approach deepens connection while honoring the genre’s tradition of meaningful lyrics.
GRIEF, KINDNESS, AND THE CHOICE TO REMAIN HUMAN
At its core, “I Am a Gentleman Tempered by Grief” explores a question many survivors face: how do you maintain kindness, patience, and humanity after experiencing devastating loss? The classic rock anthem structure gives this personal question universal reach. The song doesn’t offer easy answers or false comfort. Instead, it acknowledges the ongoing nature of grief’s influence while asserting the possibility—and importance—of choosing kindness anyway, all delivered through the powerful, accessible language of classic rock.
“Grief taught me things I never wanted to learn,” Citowicz states. “It showed me who stays and who runs. It revealed what matters and what’s just noise. I’m a gentleman because I choose kindness even after the world was cruel. But I’m tempered—forged in fire I didn’t ask for. Both those things are true simultaneously.”
This dual acknowledgment—of damage and dignity, of change and continuity—gives the anthem its emotional power. It doesn’t pretend grief doesn’t alter you, but it refuses to accept that alteration must mean destruction. “You can be shaped by terrible things without being destroyed by them,” he continues. “You can carry loss without letting it make you cruel. You can be tempered—made stronger in the broken places—while still preserving what makes you human. That’s what this classic rock anthem is about. Big enough to be universal. Honest enough to be personal.”
FOR EVERYONE CHANGED BY LOSS
While deeply personal, “I Am a Gentleman Tempered by Grief” speaks to universal experience—the discovery that surviving profound loss requires ongoing choices about who you become afterward. The classic rock anthem structure makes this personal message accessible to anyone who’s faced similar transformation.
“This song is for everyone who survived something that changed them forever,” Citowicz offers. “For everyone who’s trying to stay kind after the world was cruel. For every gentleman and gentlewoman tempered by grief. If you’re fighting to preserve your humanity after it was tested by fire—this anthem’s for you.”
The message resonates particularly in an era where trauma, loss, and grief have touched countless lives in various forms—from personal bereavement to collective suffering. The classic rock format provides familiar musical language for unfamiliar emotional territory.
“We’re living in times when a lot of people are carrying loss they never expected to carry,” Citowicz observes. “This anthem doesn’t fix that. But maybe it reminds someone that transformation doesn’t have to mean destruction. That being changed doesn’t mean being broken beyond repair. That choosing kindness after cruelty is strength, not weakness. Classic rock has always been about those kinds of truths—big emotions, honest statements, music that connects.”
CONTINUING THE “MY REVENGE” NARRATIVE
“I Am a Gentleman Tempered by Grief” fits within the larger “My Revenge” EP narrative while offering distinct perspective. Where other tracks explore defiance, survival, and refusing to be silenced, this classic rock anthem examines internal landscape—how you live with yourself after surviving what tried to destroy you.
“The EP is called ‘My Revenge’ because it’s about refusing to let pain write the ending,” Citowicz explains. “But revenge isn’t just defiance. It’s also preservation—preserving your humanity, your kindness, your essential self after everything tried to strip those things away. This anthem represents that quieter form of revenge: still being a gentleman after everything that tried to make me cruel.”
The song demonstrates that “My Revenge” encompasses multiple forms of survival—from loud defiance to quiet persistence, from external battles to internal choices. “Some revenge is screaming,” he notes. “Some revenge is staying kind. Both matter. Both take strength. This anthem is the second kind—the choice to be tempered by grief rather than destroyed by it. That’s its own form of winning.”
CLASSIC ROCK LEGACY AND CONTEMPORARY RELEVANCE
“I Am a Gentleman Tempered by Grief” positions itself firmly within classic rock tradition while addressing contemporary emotional reality—demonstrating that the genre’s approach to honest, melodic, powerful music remains relevant for processing complex human experience.
“Classic rock never died—it just got honest,” Citowicz states. “AC/DC, Def Leppard, The Darkness—they all understood that you can make anthems that hit hard emotionally while maintaining musical power. That’s what I’m doing here. Using classic rock language to talk about grief, transformation, choosing kindness. The genre was built for this.”
The track proves that classic rock’s fundamental elements—melodic guitars, strong bass lines, honest lyrics, anthemic structure—can carry weight beyond nostalgia when applied to genuine emotional content. “I’m not making classic rock because I’m stuck in the past,” he clarifies. “I’m making it because it’s still the best language I have for certain truths. This anthem about grief and kindness—it needed classic rock. It needed that combination of power and vulnerability, accessibility and depth. That’s what the genre does best.”
AVAILABILITY AND CONNECT
The lyric video for “I Am a Gentleman Tempered by Grief” is available now on YouTube: https://youtu.be/WrgAOinVu4M The complete “My Revenge” EP is available on Spotify, Apple Music, Amazon Music, YouTube Music, and all major streaming platforms.
“This song is for everyone who survived something that changed them forever. For everyone who’s trying to stay kind after the world was cruel. For every gentleman and gentlewoman tempered by grief. This isn’t a ballad—it’s a classic rock anthem with soul. Big enough to be universal. Honest enough to be personal. I’m a gentleman because I choose kindness even after the world was cruel. But I’m tempered—forged in fire I didn’t ask for. That’s what this anthem says: you can be shaped by terrible things without being destroyed by them.” — Andrzej Citowicz
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About Andrzej Citowicz: Andrzej Citowicz is an acclaimed Polish guitarist and songwriter currently based in Cairo, Egypt. As a former recording artist for DownBoys Records, he has built a reputation for emotionally resonant songwriting and distinctive guitar work. His music combines classic rock influences with contemporary production, creating a sound that bridges generational and cultural gaps while maintaining artistic authenticity. His YouTube channel has garnered over 70,000 views from an international audience.
Killswitch Engage – Jesse Leach, vocals; Adam Dutkiewicz, guitar; Joel Stroetzel, guitar; Mike D’Antonio, bass; and Justin Foley, drums – will return to the road this summer on a headline run of the U.S. It marks the band’s first U.S. tour since last year’s Summer of Loud run.
The tour kicks off June 3 in Detroit and runs through June 27 in San Francisco, and includes appearances at Milwaukee Metal Fest and DC Warped Tour Weekend. Support will come from Machine Head, Iron Reagan, and Havok. All dates are below.
A variety of pre-sales run through Thursday, March 5 at 10pm local time. The general on-sale is set for Friday, March 6 at 10am local time. Get tickets here.
“I’m extremely excited to get back out on the road supporting our newest album This Consequence!,” says Leach. “We are hitting major cities and bringing along with us an absolutely killer lineup with the legendary Robb Flynn and Machine Head, thrash masters Iron Reagan, and rounded out by the mighty Havok. This is a stacked and powerful crew of bands that will electrify and dominate wherever we roll up to… so LET’S GO!!!!!!“
KILLSWITCH ENGAGE ON TOUR: WITH MACHINE HEAD, IRON REAGAN, + HAVOK: 6/03 – Detroit, MI – The Fillmore 6/05 – Minneapolis, MN – The Fillmore 6/06 – Milwaukee, WI – Milwaukee Metal Fest* 6/07 – South Bend, IN – Four Winds Field 6/09 – Raleigh, NC – The Ritz 6/11 – Brooklyn, NY – Brooklyn Paramount 6/12 – Boston, MA – Roadrunner 6/13 – Bethlehem, PA – Wind Creek Event Center 6/14 – Washington, DC – DC Warped Tour* 6/16 – Orlando, FL – Hard Rock Live 6/17 – Atlanta, GA – Tabernacle 6/19 – Dallas, TX – South Side Ballroom 6/20 – Houston, TX – Bayou Music Center 6/21 – San Antonio, TX – Boeing Center at Tech Port 6/23 – Albuquerque, NM – Revel Entertainment Center 6/24 – Tempe, AZ – The Marquee 6/25 – Los Angeles, CA – Hollywood Palladium 6/27 – San Francisco, CA – Warfield *KsE Festival Appearance
KsE‘s latest album THIS CONSEQUENCE is out now via Metal Blade. Get it here. The album arrived alongside a hugely successful Winter/Spring 2025 tour, yielded a Top 5 single with “I Believe,” which peaked at No. 3, and landed the band on the covers of Revolver and Outburn. The album was another reminder of why KsE, who have earned several gold and platinum certifications alongside three Grammy nominations, remain one of the most enduring bands of the modern metal scene.
ABOUT KILLSWITCH ENGAGE: Killswitch Engage first shook the structure of heavy music upon climbing out of snowy industrialized Western Massachusetts in 2000. A musical outlier, the band pioneered a union of thrashed-out European guitar pyrotechnics, East Coast hardcore spirit, onstage hijinks, and enlightened lyricism that set the pace for what the turn-of-the-century deemed heavy. 2002’s Alive Or Just Breathing became avowed as a definitive album, being named among “The Top 100 Greatest Metal Albums of the Decade” by Decibel and celebrated by everyone from Metal Hammer to Revolver. Not only did they bust open the floodgates for dozens to follow, but they also garnered three GRAMMY® Award nominations in the category of “Best Metal Performance” in 2005, 2014, and 2019, respectively, a gold certification for The End of Heartache [2004], and a platinum certification for As Daylight Dies [2006]. The group landed three consecutive Top 10 debuts on the Billboard Top 200 with Killswitch Engage [2009], Disarm The Descent [2013], and their career high best bow at #6 with Incarnate [2016]. The latter two releases, along with 2019’s Atonement, would also both capture #1 on the Top Rock Albums and Top Hard Rock Albums charts. The band’s total streams are nearing 3 billion to date, while they’ve remained consummate road warriors who’ve sold out countless headline tours and have shared stages with everyone from Iron Maiden to Slipknot to Slayer to My Chemical Romance to Mastodon to Parkway Drive, which is a testament to their ability to cross genres and appeal to all fans of hard rock. KsE have remained a featured attraction at every major North American and European festival through the years. The band is celebrating an astonishing, 25-year career as one of the most vital and genre-defining bands of the ’00s and continues its incredible legacy.
Experimental multifaceted artist Otay:onii has announced the release of her new album Love is in the Sh*t, set for release on 8th May 2026 via Pelagic Records. She has also unveiled the first single / video from the album, ‘No Talent’.
Otay:onii’s music unfolds like a living organism – restless, curious, and constantly re-shaping itself. Her sound is driven by her enchanting voice that serves as texture, rhythm, and raw material, moving between breath, chant, incantation, and fractured lyricism. From the beginning of her work Otay:Onii has treated sound as a physical substance, sculpting it with an experimental instinct that resists genre boundaries.
Otay:onii comments on the meaning behind the new single: “”Talent” is the familiarity and passion for a certainty, and the courage to break it upon dire straits, and the determination to receive and give love after shattering to none. Many times we have lost ourselves, however each one of us has a “Shělìzǐ舍利子”(dragon ball) inside, it never left us, we have to hold it close while navigating all excruciation.”
Otay:onii’s new album Love is in the Sh*t is a deeply intimate album that reaches a striking balance between control and chaos. Harnessing her ability to move from serenity to madness, Love is in the Sh*t is an exploration in representing trialing conscious states. Drawing-in and challenging the listener, the songs play with comfort and discomfort, deliciously crafting the sonic arc of the story so that intention is undeniably felt.
Otay:onii comments on the album: “This album speaks to what we cannot escape – the noise, the weight, the mess from the world, from others, from our own minds and bodies, what is damaged is damaged, we cannot change that one bit. Yet within the agony, here comes our process to restore, and hold on to something. The burden becomes alchemy: transformed into passion, into what makes us feel alive, and living. By choosing what ignites us, we do not lose ourselves – and from that grounding, we are able to give more of ourselves to others.”
Track list: 1. Have You Ever 2. Love From Survivors 3. World Class Citizen 4. No Talent 5. The Plaice 6. Underdog Bark 7. Tears Won’t Tell
Otay:onii (Lane Shi) is a multifaceted artist originally from Haining, China. Her artistic practice spans across music, performance, installation, and film composition.
Performance works such as Unwrap! at the Ming Contemporary Art Museum exemplify her innovative concept of “bio instruments.” She has performed at Harvard University and at prestigious international festivals including SXSW, Roadburn Festival, CTM Festival, Fusion Festival, Creepy Teepee, Le Guess Who?, Fekete Zaj Festival, and Full of Lava Festival.
Otay:onii has joined the opera performance ‘Sancta’ by Florentina Holzinger and was selected as a featured artist by the SHAPE+ Platform for 2024 – 25. Her work moves fluidly between humour and the poignant realities of contemporary zero-generation immigrants, offering rooted Eastern perspectives to Western audiences in an effort to bridge cultural divides.
Her acclaimed albums — NAG (2018), MíngMíng ٥٥ (2021), Dream Hacker (2023) and True Faith Ain’t Blind (2024) — defy conventional structures, foregrounding philosophies drawn from lived experience.
She describes her process as: “Solving a puzzle with another puzzle — one that cannot be seen or touched, only felt.”
Otay’s work has received recognition and accolades, including the bronze prize for “Best Female Vocalist” from Global Music Awards, and “Best Sound” from the Audiovisual Arts Industrial Incubator Awards.
Otay:onii is: Lane Shi – all lyrics, composition and performance
“Evil teachers, a pet werewolf, cutting class for joyrides in the Cadillac that once belonged to late, great Children of Bodom vocalist and guitarist Alexi “Wildchild” Laiho. Meet The Ghoulstars, a fresh – and frightening – blast from the past. Since rising from beyond the pop-culture graveyard in 2021, this skeletal group of horror punks have captivated press and tantalized crowds in their native haunt of Finland without releasing a single bloody track. Until now!
Today, The Ghoulstars are delighted to announce their blockbuster debut album. The Dark Overlords of the Universe conjures a monstrously catchy mash-up of headbanging heavy metal, fist-pumping punk rock and cult classics. Lead single “Too Ghoul for School” is jam-packed with more antics and attitude than Saturday afternoon detention.
“The Dark Overlords of the Universe is a love letter to everything that blew our minds as kids”, The Ghoulstars mastermind Markus “Daddy Ghoul” Laakso says. “The album is loaded with huge riffs, big choruses, surprising curve balls and Easter eggs from old horror, sci-fi and coming-of-age movies. Holding it all together is our sheer joy in watching all the pieces fall into the right place”.
Watch the fun and freaky retro video for “Too Ghoul For School”:
Despite their ghostly appearance, The Ghoulstars are a collection of real talent. The band features an all-star cast of current and former members of death-doom royalty and Season of Mist labelmates Hooded Menace, stoner rockers Thermate and Finland’s Top Ten charting Kuolemanlaakso.
What bands these ghouls together on “Too Ghoul for School” is their straight A acumen for all things ‘80s. Like a crossover TV episode, the song mashes together horror and punk into a Super 8mm high school romp. From the high-risers at the back of the classroom, drummer Toni “Ghoulio” Ronkainen pounds his desk with surf beats. Axeman Laakso impresses the ghoulies with his collection of spooky tremolos and righteous riffs. Markus “Hella houl” Makkonen causes a scene with rough and rowdy bass lines, freeing rebel yeller Arthur “LL Ghoul A” to slip out back. “Don’t give me sass, I’ve got the gas”, Thure howls as the band punch into a chorus that will have nerds, jocks and principals all raising horns.
“Fast Times at Ridgemont High, The Lost Boys and Ferris Bueller’s Day Off are some of my favorite movies”, Laakso grins. “I love the cliched characters: the nerds, the jocks, the cool kids and rebels. They remind me of my junior high school days”.
While spun off from Laakso’s real-life schooling, “Too Ghoul for School” recalls the records and VHS tapes that The Ghoulstars hoarded as young skeletons. Mötley Crüe’s pomp, the can’t-do attitude of Twisted Sister and nods to ‘80s coming-of-age comedies all haunt its hallowed grounds. Though whipping around in Alexi Laiho’s Cadillac was beyond the band’s wildest dreams.
“There’s a collector nearby who’s come to possess Alexi’s Cadillac. He let The Ghoulstars borrow it for some after school fun. It was a blast”, Laakso remembers. “We can’t wait to unleash The Dark Overlords of the Universe upon the world. As my long-time collaborator and the album’s producer V. Santura told me: ‘The record is unique, catchy and a really fun listen’”.
The video for “Too Ghoul for School” was directed, filmed and edited by Sam Jamsen.
Additional video credits –Written by Sam Jamsen & Markus Laakso –Production assistants: Roope Paaskoski & Kalle Ovaskainen Principal: Timo Kokko –Teacher: Ninnu Huikko –Hypewolf: Mikko Matilainen
Extras: Hilda Hyvönen, Simo Tolvanen, Iida Korhonen, Wicktoria Polock, Nestori Hirvonen, Teemu Savonlahti, Teemu Holopainen, Veerti Saastamoinen, Kalle Ovaskainen, Anni Valokorpi, Pauliina Heikkinen, Kira Kylävainio, Tinja Korhonen, Katariina Laukkanen, Mila Fichtchenko.
The Ghoulstars would like to give a special thanks to Ingmanedu and Kuopion klassillinen lukio for the opportunity to film the video on their premises.
Tracklist 1. Too Ghoul for School (3:57) [WATCH] 2. The Dead in Purgatory (4:04) 3. Zombie Apocalypse (2:52) 4. The Dark Overlords of the Universe (3:43) 5. The Brain That Wouldn’t Die (3:16) 6. Graverobbers from Outer Space (3:46) 7. The Wolfman (2:48) 8. The Ballad of the Cursed Bandits (2:19) 9. Vampire (2:58) 10. They Dance Upon Our Graves (3:52)
Old crusty metalheads can be stuck in their ways, but The Ghoulstars are a fresh — and frightening — blast from the past. Since invading the land of the living back in 2021, the horror punk supergroup has captivated press and tantalized crowds in their native haunt of Finland without releasing a single bloody track. Until now! Evil mastermind Markus “Daddy Ghoul” Laakso and his fellow pop-culture junkies are raising the cobwebbed curtain from their blockbuster debut album. On The Dark Overlords of the Universe, no tome is too sacred for these ghouls to summon back to life!
“The Dark Overlords of the Universe is a love letter to our fifteen-year-old selves”, Laakso says. “It’s crammed with headbanging metal riffs, shout-along punk rock choruses, B-movie easter eggs, ‘80s aesthetics, surprising curveballs and the sheer joy of all the pieces falling into the right places. Move over, Rover, and let the ghouls take over!”.
Despite their ghostly appearance, The Ghoulstars are a collection of real talent. Axeman Laakso and goose-bumping drummer Toni “Ghoulio” Ronkainen shared a past life together in the Top Ten charting Finnish death-doom band Kuolemanlaakso. Bassist Markus “Hella Ghoul” Makkonen formerly haunted the low end for Season of Mist labelmates Hooded Menace while moonhowler Arthur “LL Ghoul A” Thure croons for the stoner rockers Thermate.
Banding The Ghoulstars together is a freaky obsession with the classic metal, punk and movies that blew their minds as kids. The Dark Overlords of the Universe is named after the many-teethed mutants from the 1986 cult classic Howard the Duck. “I grew up during a time when movies in Finland were censored, so my hobby was collecting uncensored VHS tapes of horror and sci-fi movies any way I could”, Laakso reveals. As a young skeleton, he frequently raided European record store crates for The Misfits, Bad Religion and obscure metal finds, though the album’s lead single spun off from his schooling in the U.S. With Mötley Crüe’s pomp and the can’t-do attitude of Twisted Sister roaming its halls, lead single “Too Ghoul for School” is jam-packed with more fun-filled ‘80s antics than Saturday afternoon detention.
“Fast Times at Ridgemont High, The Lost Boys and Ferris Bueller’s Day Off are some of my favorite movies”, Laakso applauds. “I love the cliched characters: the nerds, the jocks, the cool kids and the rebels. They remind me of my junior high school days”.
To bring their ingenious creation to life, The Ghoulstars summoned V. Santura of the mighty Triptykon for the mixing and mastering of The Dark Overlords of the Universe. “Graverobbers from Outer Space” pays homage to Ed Wood’s B-horror classic Plan 9 from Outer Space with a straight-up headbanging chorus, though not many clear-cut punk rippers are enlivened by a doomy C-part and güiro. “That’s one of my favorite moments on the album”, Laakso recalls. The Wolfman, a zombie apocalypse, the brain that wouldn’t die and other cultishly beloved touchstones jump out during the album’s crisp 34-minute runtime. Though the band also enter original plots to horror’s hallowed crypt. Set amidst the cruel unfeeling world of the Wild West, “The Dead in Purgatory” rides a galloping melody after Morricone’s heart into a sunset that’s colored by the fifty shades of Volbeat.
“No spoilers, but all cowboy hats aside, that song deals with feeling hopeless and abandoned by someone close to you who needs but refuses your help”, teases Laakso.
The Ghoulstars may be undead, but there’s nothing pale or lifeless about The Dark Overlords of the Universe. The title track crosses surf beats, heavy riffing and a hair-raising transition into a chorus that’s absolutely to die for. “We can’t wait to unleash this delightful horror upon the world”, Laakso says with an ominous glint in his bloodshot eye. “As V. Santura told me: ‘The record is unique, catchy and a really fun listen’”.
With The Dark Overlords of the Universe, The Ghoulstars direct a monstrously catchy mash-up between metal, punk and B-horror.
Lineup Markus “Daddy Ghoul” Laakso – Guitars Toni “Ghoulio” Ronkainen – Drums Arthur “LL Ghoul A” Thure – Vocals Markus “Hella Ghoul” Makkonen – Bass
Guest musicians Mathias “Vreth” Lillmåns (…and Oceans, Finntrol) – Backing Growls Tommi “Tuple” Salmela (Tarot, Raskasta Joulua, Lazy Bones) – Backing Vocals on “The Dark Overlords of the Universe”)
Production credits Produced by Markus Laakso Guitars recorded by Markus Laakso and Erkka Närhi Vocals recorded by Markus Laakso and Mathias “Vreth” Lillmåns Drums recorded by Erkka Närhi Bass recorded by Samu Männikkö and Markus Laakso Percussion recorded by Markus Laakso Mixed & Mastered by V. Santura at Woodshed Studio in Germany
PIL & BUE‘s (eng: Arrow & Bow) new album “You Have Chosen Darkness” was released on February 27 on Vinyl, Music Cassette, CD and through digital music platforms.
The album was recorded at Kysten Studio in Tromsø, together with co-producer, engineer and mixer Ariel Joshua Sivertsen. The album, consisting of seven tracks, is a journey through emotions. It speaks about the times we live in, and a feeling of overwhelmingness.
BIO: Pil & Bue is a two-piece, consisting of Petter Carlsen (the arrow) and Goeran Johansen (the bow).
Watch their latest video for the Track “222” via THIS LINK.Check out the VISIONS Premiere AT THIS LOCATION. In case you missed it: LISTEN TO the First Stunning Single “Giving in” Everywhere via THIS LINK
Credits: Music by Petter Carlsen & Goeran Johansen / Pil & Bue Lyrics by Petter Carlsen Produced by Ariel Joshua Sivertsen & Pil & Bue Recorded at Kysten Studio, Tromsø, Norway, June 2025 Distribution: Diger Distro P&C 2025 Petter Carlsen
Tourdates at this point: 06.03 Alta – Iskald Festival 12.03 Tromsø – Blårock Kafé (utsolgt) 14.03 Narvik – Mørkholla (vinterfest uka) 19.03 Oslo – Parkteatret 10.04 Trondheim – Relentlessfest 11.04 Hamar – Sebs Hotel 14.05 Vadsø – Valo Rock (ikke annonsert) 05.06 Halden – Aladdin Scene 06.06 Kristiansund – Kulturfabrikken 27.06 Steinkjerfestivalen 10.07 Kristiansand – Måkeskrik 24.07 Harstad – Rockholm 20.08 Bristol – ArcTanGent 04.09 Bergen – High Voltage Rockfest
Kimmo Kuusniemi’s ASA unveil the long-overdue release of "Collective Failure" + first music video for title-track! Check it out and stay tuned for more news! Click image to watch the video
Kimmo Kuusniemi’s SARCOFAGUS return with a Historic 2010 Concert Video Premiere on YouTube! Click image to watch the video
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Visionary artist KIMMO KUUSNIEMI's ANCIENT STREAMING ASSEMBLY (ASA) have released “Aurora Nuclearis”, a powerful 12-minute audiovisual experience, dedicated to the Late Keyboardist Esa Kotilainen. - Click image to watch the video
Click image to watch the video
Metal Shock Finland (World Assault ) 