Jimmy Kay and Alan Dixon from The Metal Voice interview Triumph’s Gil Moore (Drummer).
In the exclusive interview Gil Moore sets the record straight in regards to the upcoming Canadian and USA tour. He explains & clarifies all
Watch full interview Jan 2, 10 pm EST, set notifications here:
Triumph, one of Canada’s most revered and influential rock bands, proudly announces their first tour in 30 years with the Triumph 50th Anniversary Tour, produced by Live Nation – an expansive 2026 North American run celebrating five decades of musical excellence, pioneering stagecraft, and a legacy that continues to inspire fans worldwide.
Special guests on the tour April Wine
Comprised of members Brian Greenway (guitar), Richard Lanthier (bass), Roy Nichol (drums), and Marc Parent (lead vocals, guitar), this will not be the first time April Wine and Triumph have shared the stage before. Longtime fans may recall a show at the Municipal Auditorium in San Antonio, Texas on February 18, 1977, which served as Triumph’s major American debut and a significant breakthrough for the band.
2026 TRIUMPH 50TH ANNIVERSARY NORTH AMERICAN TOUR DATES
CANADA
April 22 – Sault Ste. Marie, ON | GFL Memorial Gardens April 24 – Toronto, ON | Scotiabank Arena April 25 – Hamilton, ON | TD Coliseum April 28 – Halifax, NS | Scotiabank Centre April 29 – Moncton, NB | Avenir Centre May 1 – Laval, QC | Place Bell (Montreal) May 2 – Ottawa, ON | Canadian Tire Centre May 5 – Winnipeg, MB | Canada Life Centre May 7 – Edmonton, AB | Rogers Place May 8 – Calgary, AB | Scotiabank Saddledome
UNITED STATES
May 13 – Rosemont, IL | Rosemont Theatre (Chicago) May 14 – Milwaukee, WI | Miller High Life Theatre May 16 – Kansas City, MO | Starlight Theatre May 17 – St. Louis, MO | Hollywood Casino Amphitheater May 20 – Irving, TX | The Pavilion at Toyota Music Factory (Dallas) May 21 – San Antonio, TX | Frost Bank Center May 22 – Houston, TX | Smart Financial Center at Sugar Land May 24 – Tampa, FL | MIDFLORIDA Credit Union Amphitheater May 26 – Atlanta, GA | Synovus Bank Amphitheater at Chastain Park May 28 – Camden, NJ | Freedom Mortgage Pavilion (Philadelphia) May 30 – Sterling Heights, MI | Michigan Lottery Amphitheatre at Freedom Hill (Detroit) June 3 – Darien Center, NY | Darien Lake Amphitheater June 5 – Wantagh, NY | Northwell at Jones Beach Theater (New York) June 6 – Boston, MA | Leader Bank Pavilion
In photo left to right: Michael Devin, Troy Lucketta, Paul Taylor, John Corabi, Jeremy Asbrock, Marti Frederickson – photo by Erik Hernandez
Live report + photo by Erik Hernandez
Unless you’ve been living under a rock for the past 30 plus years, you’ve heard the name John Corabi. From his days with The Scream, Motley Crue, Union, The Dead Daisies, and his solo career, Corabi has steadily remained relevant within the Rock n Roll community for decades. Hell bent on keeping authentic Rock n Roll music alive, with no signs of slowing down.
On December 30, 2025, at the Basement East in Nashville Tennessee, Corabi once again proved that he has plenty of gas in the tank for yet another road trip. Teamed up with Rock n Roll greats Troy Lucketta, Paul Taylor, Michael Devin, Jeremy Asbrock and Marti Frederickson and collectively known as John Corabi & Friends, the band took to the stage to debut new songs and play for the hometown crowd.
The vibe backstage was electric. Band members were pacing with instruments in hand just before the show. “Our first gig together,” said Frederickson. “I know man” said Taylor, smiling. “We’ve been on the road a lot together over the years playing in different bands, but this is our first time together.” “First one, gents, first one of many,” said Corabi. All were smiling and you could feel the bond between them, it was like watching something great happening for the first time.
The crowd was ready, cheers and screams called out as the band took to the stage. The “Beast” as the venue is known, was packed, and it was finally time to see what these 6 guys had in store for the world. I was present during soundcheck, so I knew it was going to be an amazing show, but when those first chords were struck and the drums beating the rhythm, it was like a call to arms and the crowd loved it. The new music takes me back to a simpler time. A time when Rock n Roll meant something more than just a few second clip on social media. Real music, with very real meaning. It was as I often imagine how it must have been to have heard the Rolling Stones or Aerosmith play LIVE for the first time back in the day.
The new single “New Day” opened the set and the crowd danced and sang along. It signaled that people had paid attention and been listening to the track. Released two weeks ago and already with 45 thousand views on You Tube, and over 3 million streams on Spotify, it’s apparent that despite what many believe, Rock n Roll is in fact not dead.
Each song played from the new record fit perfectly, like a well-oiled machine. The songs flowed as if they were already old favorites among a hungry crowd. Songs like ‘One More Shot’ and ‘That memory’ Are straight forward Rock n Roll songs that will have you tapping the steering wheel as you drive.
The set also included a re-imagined version of Hooligans Holiday, and for me that song is sacred, so I wasn’t sure how to feel about it at first. By the time the song was finished I was sold. This version is better. Maybe it’s that I’m nearly 54, or maybe, just maybe Corabi’s writing and style is aging like fine wine. Closing the night was an encore featuring the final track on the new record. Sly and The Family Stone’s ‘Everyday People’. While the song has been covered by others, I think it fits nicely with Corabi & Friends.
To go this long and do it your way in the music biz is the thing legends are made of. I give this new band and record nothing short of a 10/10. Corabi & Friends are set to tour overseas in February. You owe it to yourself to go out and see this show.
Chicago metal legends Aftermath are celebrating 40 years of musical chaos with a powerful year-end milestone: the release of their newly re-recorded track “Sentenced to Death (They Die You Die)” and brand-new lyric video, arriving December 31, 2025 — New Year’s Eve — through TLG|ZOID, distributed by Virgin Music Group.
“Sentenced to Death” was written in 1985 and appeared on Aftermath’s 1986 demo. Back then the band recorded it live in one take on two tracks. It was never meant for anyone else to hear. They hated the production, but loved the song. Fast forward to 2025 and as part of their 40th Anniversary they decided to record the track properly. What you get now is “Sentenced to Death (They Die You Die)”: an amazing song that brings the listener back to the early days of thrash, but with a powerful production recorded with all four members in the studio together like the old days.
The band shares, “It took 39 years to record it the right way, and we are so happy to finally get it the way we always imagined it should be, that we decided to include it on our upcoming album.”
Currently the band is in the studio putting the finishing touches on their 4th studio album.
The band states, “We are excited to be back in the studio. We can’t wait for everyone to hear this album. It’s heavy, it’s catchy, and in typical Aftermath fashion it sounds totally different from our previous albums.”
The new album is being recorded at Electrowerks Recording, with engineering and mixing by Chuck Macak. Additional details, including the album title, tracklist, and release date, will be announced in the coming months.
Chicago based Aftermath, fronted by Kyriakos “Charlie” Tsiolis, formed in October 1985 when Charlie and his schoolmate Steve Sacco (Guitar) got together. This early incarnation with Adam (Bass) and Ray Schmidt (Drums) released their first demo in 1986 featuring “Sentenced to Death”, “Revenge”, “Shotgun” and “The Aftermath”.
In 1987, they unleashed their second demo entitled Killing the Future featuring the tracks “When Will You Die”, “Going No Place”, “Chaos”, “Meltdown” and “War for Freedom”. The band pursued a mind-blowing speed and technical brand of thrash that soon set them apart from the pack and in the process made them a pioneering crossover thrash band.
The tracks “War for Freedom” & “When Will You Die” were both featured on the British Metal Forces magazine_compilation LP Demolition: Scream Your Brains Out in 1988. Their appearance on the Metal Forces compilation further expanded the band’s international appeal.
By 1988, the band’s musical direction was changing, and Adam’s raw and simple bass lines would soon be replaced with complex and technical bass parts handled at first by John Lovette. Ironically, John never played bass on any Aftermath recording and was not even a bass player. He wanted to join the band so badly, however, that he came to the audition with a friend’s bass he had just started to play. The speed and complex playing he displayed were like nothing the members had ever seen before on bass. He landed the gig that day. When the band decided it was time to add a second guitarist, Lovette told his bandmates of his desire to switch to guitar and for the first time he came clean he was a guitar player pretending to be a bass player all along. His bass playing was surpassed by his guitar skills and the band found its second guitar player, but unfortunately the search for a bass player was forced to resume. Luckily, the search (for the time being, anyway) ended with Danny Vega. His warm and precise playing was the perfect complement to the guitar playing of Lovette and Sacco and worked amazingly well with Schmidt’s powerful drumming. With Lovette handling most of the song writing duties, Aftermath was about to make an unbelievable musical change.
By 1989, that change brought on by Lovette’s writing and the band’s musical tastes and stylings had slowed and matured as evidenced by the release of the underground classic demo Words That Echo Fear. Danny Vega was replaced on bass by Chris Waldron. The band went onto to become a trailblazing progressive/technical thrash band in the years that followed.
In 1990, based on the huge international success of the Words that Echo Fear demo, the metal label RoadRacer Records (a subsidiary of Roadrunner Records) approached the band for a demo deal, which resulted in a live four track demo featuring the songs “Eyes of Tomorrow”, “Afraid Of Time”, “The Act Of Unspoken Wisdom” and “Reflecting Pictures”. Negotiations eventually broke down and Aftermath signed to New York’s Big Chief Records. The label’s collapse halfway through the recording sessions led to a long delay in finishing the record. While the band struggled to pay the studio bill, the album the band started to record in 1990 would not see the light of day for four years. The experience left the band reeling and forced them to issue the album under their own imprint with the help of their manager through Zoid Recordings in 1994. Four long years had passed since the initial recordings for the record Eyes of Tomorrow and the scene had dramatically changed.
The album was subsequently re-released on Thermometer Sound Surface / Zoid and released yet again four years (1998) later on Black Lotus Records in a re-mastered version.
Quite famously, Aftermath, in a notable court case Tsiolis v. Interscope. Records. Inc., 946 F.Supp. 1344, 1349 (N.D.III. 1996) sued high-profile millionaire rapper DR. DRE over the ownership of the Aftermath name. The Rapper tried to buy the name for $50,000, which the band rejected. The band sued him. As part of the settlement, Interscope Records signed the band. To the label’s surprise, the band delivered a record under the moniker Mother God Moviestar. Its eponymous Electro-Metal debut was released in March 1998. The case has been studied in law schools around the US related to the issue of trademark dilution.
Aftermath has continued to receive critical acclaim as one of the major influences in the genre. The band was featured on pages 9 and 10 of Gary Sharpe-Young’s A – Z of Thrash Metal, available on Cherry Red Books. Aftermath is also given an entire feature section in Alexandros Anesiadis’ 2019 book Crossover the Edge: Where Hardcore, Punk, and Metal Collide.
Twenty-five years after its formation, Aftermath’s music made its return in 2011 with the release of the Box Set 25 YEARS OF CHAOS on Area Death Productions and the vinyl When Will You Die on F.O.A.D. The reemergence of one of the most original thrash bands ever continued in 2014 with their decision to reunite for several concerts in 2015.
Coming off their first show in 20 years at Ragnarokkr Metal Apocalypse in their hometown of Chicago, the band ripped the stage apart at Headbanger’s Open Air in Hamburg, Germany that summer. In the Fall of 2015, the reunion continued with the reissue of Eyes of Tomorrow. With an expanded booklet and remastered by Paul Logus (Pantera, Steel Panther), Shadow Kingdom Records released the band’s debut along with bonus material. Following this release was the Killing the Future reissue on Divebomb Records. Once again Paul Logus remastered the tracks from their original source and created a wall of sound in the process. Killing the Future, along with the expanded booklet and bonus tracks from the band’s 1986 first demo completed the celebration of the band’s 30th anniversary.
In 2017, the band started writing the material for their new album. There is Something Wrong is an 11-song opus recorded by Chuck Macak. mastered by Ted Jensen and released through Ingrooves by Zoid Entertainment and The Label Group. A concept record in the truest sense of the word, the album features a mix of old-school crossover thrash and technical/progressive metal and is a commentary on what is wrong with the world today. A calling out of the masses to wake up and know the real enemy. The music is urgent, and the lyrics challenge the listener to seek the truth. Aftermath went back to its early days and revived its crossover thrash stylings on several songs, but those are only samples of what the listeners have in store for them once they put on their headphones and listen to There is Something Wrong in its entirety.
In 2020, Aftermath released a re-imagined version of the John Lennon classic, “Give Peace a Chance”. The song was remixed and remastered for the new album and included on the record because of the message.
“John Lennon’s urgent call for peace in Give Peace a Chance is more important today than ever, and our call for peace with this cover is the perfect message to follow up our previous album. We released a dark concept album with a bleak message and felt it was important to follow that up with something positive. The visuals in the video are as important as the lyrics in a way. We live in a visual world today and this video needed to get out the message of HOPE. Having a young girl be the focus of the video was our way of getting that across. Seeing only positive acts when she puts on Lennon’s famous glasses was the perfect visual metaphor. Lennon’s message is transmitted not only through his lyrics but also through the perspective created by his unique lenses” says the band.
The video was directed by critically acclaimed video director Steven Nathan in New York City.
Aftermath unleashed their highly awaited masterpiece, No Time to Waste, through Zoid Entertainment/TLG/INgrooves on March 17, 2023. This release stands as the triumphant conclusion to a powerful trilogy, representing a notable departure from the somber tones of its predecessor.
In an exclusive statement, Kyriakos “Charlie” Tsiolis shared, “We take immense pride in this album, a culmination of a trilogy that commenced with our debut. Crafted during a challenging era in contemporary history, ‘No Time to Waste’ emerges as an anthem of hope. In contrast to our previous dark conceptual endeavor, we’ve refined this record. The ten tracks within are both weighty and charged, delivering a potent metal experience coupled with a profound message – that collectively, we can overcome, but time is of the essence.”
AFTERMATH is: Kyriakos “Charlie” Tsiolis – Vocals Steve Sacco – Guitar Ray Schmidt – Drums George Lagis – Bass
ALCATRAZZ respond to Graham Bonnet’s recent remarks regarding the band’s current lineup:
Graham, thank you for the free PR… the Alcatrazz name has been trending quite nicely over the holidays. In a recent interview you seem to have had your say, so now we will have ours:
You claim our current line-up contains, in your opinion… a lack of musical merit, or that the musicians in our current line-up have no connection to, nor the right to perform or record as Alcatrazz… let’s look under the hood a bit to your reasoning as to why…
Despite the fact that we have two original founding members (whom you have willingly, and certainly when it suited you happily worked with more than once at numerous stages in your musical career), one of whom named the band “Alcatrazz” — plus a guitarist that you yourself claimed in interviews at the time was “perfect for the Alcatrazz band”… someone that you yourself “fully endorsed” back in 2019 to record and co-write our “Born Innocent” album, when you were still in the band.
Perhaps you could check in with your apparent new friend Bruce Dickinson… as Bruce’s own keyboard player Maestro Mistheria is currently in a band with our guitarist… Mr. Joe Stump… that band is called Tower Of Babel… small world isn’t it?…we are sure Bruce likely has better things to do though.
The balance of your comments are also all a bit hypocritical, as aside from yourself not one member of your current solo band has any connection to these songs (nor to the songs of Rainbow or M.S.G. which you perform).
In fact many of the songs that you are known by: “Since You Been Gone” “All Night Long” “Night Games” “Warm Ride” “It’s All Over Now Baby Blue” “Only One Woman” (to name a few) you didn’t write a single part of any of them yourself… yet you continue to trade off this material whenever you perform live, on recent re-recordings, live albums and compilations of your work… How many more versions of Russ Ballard’s “Since You Been Gone” are you going to re-record?… as many as you like we assume, but your apparent faulty logic of >writers being the only ones who have a right to perform a song< doesn’t compute.
Again; we have two original founding members in our line-up and a guitarist who has been in the band longer than any other guitarist previous.
The version of Rainbow that you were in bore little resemblance in sound or image of the original Rainbow band, yet in our opinion was no less valid… so by your logic as you didn’t write anything with Rainbow, should you be dismissed in equal measure as some kind of imposter Rainbow member when you are out performing those songs? … You do seem to have a habit of shifting the rules around depending on what suits you best.
You have claimed that you have seen videos of our live show and deem us to be “terrible”… you have also made recent comments in the press that you also cannot listen to yourself on similar such videos as they also sound “terrible”… so we suppose, in your estimation, that there isn’t much hope for any of us… God-Damned Video!
You also seem a bit “put-out” that Jimmy recently spoke to the press regarding your lip-synching and running of pre-recorded vocal tracks to cover for your vocal issues live (an absolute truth during Jimmy’s tenure both in your solo band and in Alcatrazz)…
Would you care to take a lie detector test to settle this once and for all? — as we would be happy to also do so… are you up for the challenge?… anytime!
There was of course no mention by you of the fact that you had no problem (for years) stating numerous falsehoods publicly about Jimmy Waldo… not least of all your ridiculous claim that he had “stolen” the main theme from the Alcatrazz song “Island In The Sun” directly from Van Halen’s “Jump” (?)… But wait!, we have a slight timeline problem there, as Jimmy wrote that piece while a member of New England in 1981… it was released in 1983, still some months prior to the release of the Van Halen song (the two songs have nothing in common by the way).
In reality it was Jimmy who would pitch correct your vocals on the records, prepare the pre-recorded live tracks for you to lip-synch to, and basically save your arse night after night — so it shouldn’t come as a surprise that once you decided to take shots at our band and at Jimmy, that we decided (after THREE years of saying nothing about you at all) that enough was enough and he gave it back to you with both barrels fully loaded!.
Jimmy Waldo; as a member of New England, A-Z, Warlord and someone who has performed numerous sessions for the likes of Quiet Riot, Pretty Maids, WASP, and many more, doesn’t need to make up stories about Graham Bonnet to get attention.
You make no mention of the fact that three international trademark courts dismissed your claim to the “Alcatrazz” trademark, for the simple fact that you quit-the-band (!) back in 2020 and that the band contractually was never ever your solo project… a narrative that you are still trying to push, proving once and for all that your ego is still your worst enemy.
Now conveniently enough you say that the Alcatrazz name is an embarrassment to you and you have no desire to be known by it any longer.
You didn’t like Alcatrazz when the great Doogie White (ex Rainbow, Michael Schenker, Malmsteen) was singing for us, nor do you like it now that Giles Lavery (Warlord, Jack Starr, Dragonsclaw) is singing for us. Actually you told us you didn’t like the music of Alcatrazz when YOU were a member either. Which is fair enough… we quite liked your last solo album by the way… apart from that song “David’s Mom” … which was crap!… We all have opinions, so let’s let the fans make up their own minds.
You seem to make a big deal of the fact that our singer (Giles Lavery) is also our manager and was at one time your manager…a man of many talents indeed (but not in the kitchen!)… you make this comment in some kind of attempt to diminish his work as a vocalist (as mentioned above he also sings quite successfully as member of, and for: Warlord, Jack Starr’s band and Dragonsclaw).
Again, your hypocrisy is palpable — Your own bass player is your current manager, of course she is also your girlfriend (and driver, nurse and landlady)… and speaking of musical merit, she herself did not actually play the bass on the Graham Bonnet Band albums (you can ask your guitarist Conrado more about that!) …Oh…did someone just say “Spinal Tap”…?
We continue to record and tour internationally quite successfully without you… so you do your thing and we will do ours.
Alcatrazz (with two Z’s)
BraveWords Records releases PRIOR CONVICTIONS, the new album by Alcatrazz. PRIOR CONVICTIONS contains newly re-recorded versions of nine 1980s era Alcatrazz songs, all featuring new vocalist Giles Lavery. Plus two brand new band compositions “Transylvanian Requiem” and “Stand And Wait Your Turn”.
01 Transylvanian Requiem (New Song) 02 Stand And Wait Your Turn (New Song) 03 Jet To Jet (2025) 04 Starr Carr Lane (2025) 05 Hiroshima Mon Amour (2025) 06 Island In The Sun (2025) 07 Too Young To Die, Too Drunk To Live (2025) 08 God Blessed Video (2025) 09 Skyfire (2025) 10 General Hospital (2025) 11 Kree Nakoorie (2025)
Credits: Produced Giles Lavery and Jimmy Waldo Mixed & Mastered by Andy Haller All songs recorded 2025
Brand new Alcatrazz song “Stand And Wait Your Turn” video:
Giles Lavery – Vocals Joe Stump – Guitars Jimmy Waldo – Keyboards Gary Shea – Bass Mark Benquechea – Drums
About ALCATRAZZ: Alcatrazz, formed in 1983 in Los Angeles, has been as well known for the legendary players and singers who have passed throughout the bands ranks as much as they have for their music.
Formed originally by the trio of Jimmy Waldo, Gary Shea (both fresh from late 70’s hitmakers New England and the short lived band Warrior featuring a pre-Kiss Vinnie Vincent) along with vocalist Graham Bonnet (himself with impressive credentials having been a then recent member of Rainbow and the Michael Schenker Group) the band set about completing the line up with drummer Jan Uvena (formerly of Alice Cooper) and a then very young Yngwie Malmsteen, a guitarist who had quickly made a name for himself upon arriving in the USA in the early 80s. The band issued their now classic debut “No Parole From Rock N Roll” album (1983) which was met with universal critical acclaim. Yngwie was soon to depart in favor of Steve Vai just in time for the bands second album “Disturbing The Peace” (1985).
The bands mission has always been a not necessarily stable line-up, but of an evolving union of established performers all forming a “supergroup” of sorts, one with perhaps more guitar fire-power than many, but definitely also with the songs to back it up.
Vocalist Doogie White (himself also formerly of Rainbow and Michael Schenker) served a successful two album stint with the band, while the “shred-lord” himself…the acclaimed Joe Stump (also a very established solo artist and a Berklee college professor) has now been the bands longest serving guitarist, with this year now making his 6th continuing year as a member of the band.
Longtime Graham Bonnet and Alcatrazz collaborator, producer, songwriter and vocalist Giles Lavery is now the man behind the microphone, having proved he was an inspired choice on two recent U.S. tours — having worked with the band in numerous other creative capacities since 2017 the band feel it was a logical move, but also one chosen on merit. Giles can be heard on the recent BraveWords Records release, Jack Starr’s “Out Of The Darkness Part II” as well as his studio and live work with U.S. metal legends Warlord, a band who feature non-other than Mark Zonder on drums…himself a former member of the Graham Bonnet Band, Fates Warning, and worth noting here… as he is also currently leading the band A-Z who feature none other than Alcatrazz main man keyboardist Jimmy Waldo! confused yet? don’t be, as all of this proves that there is a firm but perhaps overlooked consistency and lineage to what on the surface may seem like an ever evolving band personnel.
Indeed Jimmy Waldo continues to be the heart and soul of Alcatrazz… as aside from being the bands talented keyboardist, he has been the one who would, over the bands career find himself at the centre of all band affairs and decision making, from booking the band in the early days, working closely with the bands various record labels, to making sure other members, at the height of 1980s rock n roll decadence were present and accounted for when it came time to get the work done…”i think i even drove the tour bus once or twice back then” says Waldo… in fact it was Jimmy himself who personally selected Steve Vai out of a number of other contenders for the guitarist position in 1984 when Yngwie Malmsteen chose to move on to his own distinguished solo career.. “alot of people have come and gone over the years” says Jimmy… “It’s kept it fresh and we are hardly the only band like that, we still have myself and Gary still holding down the frontline from that early era” Chris Impellitteri historically was one such player in line for the job, who may not have made it into the bands ranks back in 1984, but who in 2020 finally recorded with the band as a special guest on the successful “Born Innocent” album (co-produced by Giles and Jimmy).
Bassist Gary Shea, he who named the band and designed the bands logo no less… came up with the above-mentioned iconic album titles (lets also not forget “Live Sentence”) as noted above, has been flying the Alcatrazz flag with Jimmy for over 4 decades now and is looking forward to this next phase. Gary’s recently published book “No Bass, No Party” is also an essential read for those wanting to delve deeper into the Alcatrazz story!
It took nearly 10 years since THE HOLEUM’s last album Sublime Emptiness, but now the Spanish progressive post-doom band is back with their third album Ensis, which is set to be released on March 20th, 2026.
And to end the year right with some cosmic tunes, THE HOLEUM is known for, we present the first single The Fermi Paradox of the forthcoming new effort.
Baptized with a name derived from astrophysical theories about dark matter and black holes, THE HOLEUM was formed in 2014 in Alicante, Spain. Founded by former members of NahemaH, Demised, quantumXperience, Hela, Neptunian Sun, and Priest of Dawn, the quintet set out to push the boundaries of heavy music and to intensify the emotional impact of darkness in sound. Their concept is both cosmic and sonic: “THE HOLEUM is related to the dark matter that forms the black holes in the universe. THE HOLEUM is not a black hole, but black holes are formed by The Holeum. That is the idea from which we extract our concept – we are a sonic and cosmic vision of the sublime.”
With their third album “Ensis” (2025), the band continues its journey through experimental metal, death doom, melodic metal, and post-metal. This work is more than a continuation – it is a condensation and expansion of their previous soundscape. “Ensis” reveals itself as finely nuanced, challenging, yet at the same time profoundly sensitive and multifaceted. The songs unfold like cosmic landscapes where heaviness and melancholy meet subtle emotionality. The intensity remains palpable, but it is complemented by a deeper sensitivity that draws the listener into a fragile balance between harshness and delicacy. “Ensis” is an album that demands and touches at once – a work that makes the complexity of human existence audible in the mirror of the universe.
SISTER KILL CYCLE is back—and this time, they’re staring straight into the storm as they take the iconic Creedence Clearwater Revival classic song and is reborn as a crushing anthem for uncertain times.
The industrial rock provocateurs have released a ferocious new cover of “Bad Moon Rising,” transforming the legendary CCR anthem into a menacing, modern-day prophecy drenched in distortion, grit, and raw intensity. Where the original warned of trouble on the horizon, SISTER KILL CYCLE turns that warning into a full-scale sonic uprising.
From the first pulse to the final note, “Bad Moon Rising” is reimagined through the band’s signature blend of industrial aggression, dark atmospheres, and unrelenting rhythm.
Grinding guitars collide with pounding electronics, while the vocals deliver the song’s ominous message with a snarling urgency that feels eerily relevant in today’s fractured world.
SISTER KILL CYCLE has long been known for pushing boundaries and refusing to play it safe, and this release is no exception. By taking a timeless rock classic and injecting it with industrial firepower, the band bridges generations—connecting the paranoia and unrest of the past with the volatile energy of now.
Perfect for fans of hard-hitting industrial rock, dark alternative, and fearless reinterpretations, “Bad Moon Rising” stands as both a tribute and a warning: the moon is rising, the tension is building, and SISTER KILL CYCLE is here to soundtrack the fallout.
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
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