Portland’s blackened death-mongers DROUTH return this spring for the release of their 3rd album, The Teeth of Time, out May 16th with Eternal Warfare Records. The band’s long-awaited follow-up to 2020’s acclaimed Excerpts From a Dread Liturgy, is an intense, doom-ridden record wrought with torment and turbulence.
Commenting on the record, the band says:
“We are proud to present The Teeth of Time, a culmination of several years of blood, sweat and pain. It is a nightmare made manifest, and we are both eager to share our creative work and grateful to the many people who helped make it possible.”
Today, DROUTH shares the first new track, “False Grail,” from the impending record. First revealed at InvisibleOranges.com, the song is an ominous foreboding of the sonic hellscape unfolding within The Teeth of Time.
Bassist Matt Solis, says of the new song:
“‘False Grail’ is actually the last song we wrote before heading to the studio to record the album. It came together relatively quickly based on ideas that Stikker brought in—he had it pretty well fleshed out, but we made some arrangement adjustments together and expanded the closing doom section to really emphasize the dynamic shift in the song. We also knew we wanted string accompaniment in that section, so we had Eva Vonne from Isenordal add layers of mournful viola after the initial tracking was completed.”
Vocalist/guitarist Matt Stikker adds:
“Lyrically, the song is a nightmare reflecting the disconnect between the true and projected self and the increasing tension between those poles that we’re all experiencing. The map is not the territory, but when the map prefigures and gradually dictates the territory, our agency is threatened forever.”
The Teeth of Time Tracklist: 1. Hurl Your Thunderbolt Even Unto Death 2. False Grail 3. The Teeth of Time 4. Through a Glass, Darkly 5. Exult, Ye Flagellant
About DROUTH: Portland’s Drouth formed in 2012, originally under the name Contempt before changing their moniker following the release of their 2014 EP Skinwalker. The band stirred the local scene with their potent mixture of black metal, death metal, doom, and crust, and went on to release another EP, Vast, Loathsome (2015) and two albums Knives, Labyrinths, Mirrors (2017) and Excerpts From a Dread Liturgy (2020). Their follow up, The Teeth of Time was recorded and mixed with legendary engineer Billy Anderson (Neurosis, Cattle Decapitation) and mastered by Justin Weis (Agalloch, Hammers of Misfortune) and features five tracks of vicious, melodically adventurous black/death metal spread across 40 unrelenting minutes.
Drouth is: Matt Stikker: Guitar, vocals, lyrics Patrick Fiorentino: Drums John Edwards: Guitar, vocals Matt Solis: Bass
Samantha Fish, “a genuine force of sonic prowess” (Rolling Stone) and one of the most electrifying guitarists of her generation, has shared new single “I’m Done Runnin’” – the lead-off track from her forthcoming album Paper Doll, out April 25 via Rounder Records.
An exhilarating statement of self-reliance and unshakable confidence, Fish brings her signature “bold and expressive” (NPR, World Cafe) flair to the new song. “I’m Done Runnin’” opens with sublimely moody riffs, fueled by her extraordinary vocal power and emotionality: “When I look in the mirror, staring at the unknown / The world’s not getting clearer, but I like where I’m goin,’” she sings. “It’s about pushing forward even when life knocks you down, because you know what you want,” Fish explains.
It’s this vibrant, unapologetic energy that the Kansas City-bred, New Orleans-based musician brings to Paper Doll, each song delivered with visceral force, soul-soothing empathy, and newfound clarity. “It’s taken me years to finally find my voice in a studio setting,” Fish admits. “But with this record, I took everything I had and slammed it right on the table.” Paper Doll offers listeners “a taste of the neo-psychedelic fantasias that can occur when Fish stretches out in concert,” said Premier Guitar, who featured Fish on the cover of their just-released April 2025 issue. Throughout the album Fish explores new depths of vulnerability and self-expression, confronting love, loss, and personal growth–all while “stretching idiomatic boundaries” (Nashville Scene).
Tracked in Austin at The Orb and Los Angeles at Savannah Studios, the 9-song collection was recorded amid Fish’s grueling touring schedule, ultimately capturing the untamed energy of her live performances. “I’d never made a record on the road like that,” Fish reveals. “Even though it was so intense, it felt good to keep up the momentum from the live show. It helped us make an album that’s got a real living, breathing pulse to it.” Paper Doll is produced by Detroit garage-rock legend Bobby Harlow (The Go) – with assistance from fellow Detroit luminary Mick Collins (The Gories) on one track – and features touring bandmates Ron Johnson (bass), Jamie Douglass (drums), and Mickey Finn (keys).
Known for her unique blend of rock and soul, expressive guitar playing and powerhouse performances, Fish’s career hit warp speed with the release of her last album, 2023’s Death Wish Blues, which hit #1 on the Billboard Blues Chart, earned her a Grammy nomination, and saw her share stages with The Rolling Stones, Jon Spencer, Slash and more.
Fish will tour across the US and UK throughout 2025, including dates with Kingfish, plus performances at JazzFest and more. For tickets and all upcoming tour dates please visit https://www.samanthafish.com/tour/.
Samantha Fish 2025 Tour Dates 3.21.2025 – Keeping The Blues Alive at Sea – Miami, FL 3.22.2025 – Keeping The Blues Alive at Sea – Miami, FL 3.23.2025 – Keeping The Blues Alive at Sea – Miami, FL 3.24.2025 – Keeping The Blues Alive at Sea – Miami, FL 3.25.2025 – Keeping The Blues Alive at Sea – Miami, FL 3.26.2025 – Keeping The Blues Alive at Sea – Miami, FL 3.28.2025 – Seminole Casino Hotel Immokalee – Immokalee, FL 4.1.2025 – Count Basie Center – Experience Hendrix Tour – Red Bank, NJ 4.2.2025 – Mayo Performing Arts Center – Experience Hendrix Tour – Morristown, NJ 4.3.2025 – Hampton Beach Casino – Experience Hendrix Tour – Hampton Beach, NH 4.4.2025 – Ocean Casino Resort – Experience Hendrix Tour – Atlantic City, NJ 4.5.2025 – Warner Theatre – Experience Hendrix Tour – Washington, DC 4.6.2025 – DPAC – Experience Hendrix Tour – Durham, NC 4.8.2025 – North Charleston PAC – Experience Hendrix Tour – Charleston, SC 4.9.2025 – Ovens Auditorium – Experience Hendrix Tour – Charlotte, NC 4.10.2025 – Tennessee Theatre – Experience Hendrix Tour – Knoxville, TN 4.11.2025 – Peace Concert Hall – Experience Hendrix Tour – Greenville, SC 4.12.2025 – Fox Theater – Experience Hendrix Tour – Atlanta, GA 4.30.2025 – Crawfish Fest – New Orleans, LA 5.3.2025 – JazzFest – New Orleans, LA 5.14.2025 – Aztec Theatre – San Antonio, TX * 5.15.2025 – House of Blues – Houston, TX * 5.16.2025 – House of Blues – Dallas, TX * 5.17.2025 – TempleLive – Fort Smith, AR * 5.18.2025 – Cain’s Ballroom – Tulsa, OK * 5.21.2025 – The Astro – Omaha, NE * 5.22.2025 – Cotillion – Wichita, KS * 5.23.2025 – Gillioz Theater – Springfield, MO * 5.28.2025 – Cheese & Grain – Frome, United Kingdom 5.29.2025 – Red Rooster Festival, Thetford, United Kingdom 5.30.2025 – Arts Club – Liverpool, United Kingdom 5.31.2025 – The Brook – Southampton, United Kingdom 6.1.2025 – Academy 2 – Oxford, United Kingdom 6.5.2025 – Sweden Rock Festival – Solvesborg, Sweden 6.7.2025 – Peer Blues Festival – Peer, Belgium 6.8.2025 – Ribs N Blues Festival – Raalte, The Netherlands 6.9.2025 – Tivoli – Utrecht, The Netherlands 6.10.2025 – Le Trianon – Paris, France 6.11.2025 – Le Transbordeur – Lyon, France 6.13.2025 – Bilbao Arena – Bilbao, Spain 6.14.2025 – Joy Eslava, Madrid, Spain 6.15.2025 – Razmataz 2, Barcelona, Spain 7.12.2025 – Samantha Fish Outlaw Square – Deadwood, SD *
SVARTA HAVET hail from Turku, Finland. The long nights of their geographical location has bled into the band’s sound, resulting in beautiful but gloomy black metal tinged post-hardcore.
This single is taken from their forthcoming sophomore album, titled ‘Månen Ska Lysa Din Väg‘, via their new label home Prosthetic Records on May 9th.
The band has this to say about their lead single:
“Alla sover portrays a sort of grotesque party on a speeding train at the potential end of the world.
“Fill up the champagne glasses, let us toast to the final hour!”
It is about most things being pretty firmly on the road to ruin, no climate targets are being met, over 70 000 tons of explosives have been dumped on Gaza since October of 2023. Alla sover describes the feeling of being a privileged citizen of today’s world – someone that has never known true strife because of the luck of being born into privilege in the Global North, but who instead has to live with the fact that we and our lifestyle are a large contributing factor to how the world looks today. Alla sover deals with this feeling of complicity and powerlessness. The song ends in some sort of collapse where the protagonist lays down on the rails after the last train of partiers has left, making a last plea to the birds to keep singing.” -Lotta
Månen ska lysa din väg, translated in English as “The moon will light your way” and a direct quote from album track Göm dig, was recorded in January 2024 at Waiting Room Studio in Tampere, Finland, with producer Mikael Neves. SVARTA HAVET sought to capture the spirit and essence of their written material, approaching the recording sessions in as close a way to their live shows as possible, with minimal overdubs and studio trickery in favour of organically captured intensity during each instrument’s recorded take.
Mixing for Månen ska lysa din väg was then handled by Matthew Michel of NØ / MAN (with previous mixing credits including Portrayal of Guilt, Majority Rule and Darkest Hour) at Viva Studio in Fairfax, Virginia, before being mastered by Brad Boatright at Audiosiege in Portland, Oregon. The ensuing result is one of a dynamically ferocious edge between chaos and melancholy in songs such as lead single Härlig är jorden and Avgrunden, the latter a plea for humankind’s collective action in the face of environmental catastrophe.
As dark as the subject matter gets across Månen ska lysa din väg’s eight songs the moonlight shines through, this duality is best exemplified by the one-two cascade of Djur and Under staden. Where Djur’s narrative hones in on wilfully ignorance to the perspective of animals with respect to human war and destruction, in spite of humankind’s intrinsic links to the animal kingdom, Under Staden deals in survival of animal and insect species within urban spaces and homogenous cultural landscapes of the city.
With communities residing at the heart of their purpose, on a localised and a broad scale, SVARTA HAVET are not ones to lay idle in their hopes of a better world. 2025 will continue to see the band both touring their home country and beyond, as well as being deeply involved in organizing gigs and events through the collectively-run venue, Kirjakahvila (“Book Café”) – a queer feminist, anti-capitalist DIY community space in Finland. In addition to hosting local acts, the group’s tireless efforts to support international bands will continue to see SVARTA HAVET helping to foster a vibrant underground scene in the process.
Tour dates:
27.3. Uppsala, Femman 28.3. Göteborg, Kajskjul 46 29.3. Lidköping, secret location 1.5. Jyväskylä, Kramsu 2.5. Tampere, Vastavirta 3.5. Helsinki, Playhouse 10.5. Turku, Kåren (record release party) 14.5. Tartu, Club Hell 15.5. Riga, Depo 16.5. Vilnius, XI20 17.5. Olecko, Przystanek Skocznia 23.5. Helsinki, Sonic Rites Festival 29.5. Oulu, Tukikohta 6.6. Helsinki, Aivopiha Festival 23.8. Turku, Punk ja yäk Festival 26.9. Turku, Iloinen Härkä 28.9. Helsinki, Lepakkomies
SVARTA HAVET is: Lotta (she/her) – vocals Joakim (he/him) – guitar Anders (he/him) – bass Jara (she/her) – drums
After journeying to the stars on their full-length venture, NITE now faces the shadowy mythology that lays dormant beneath society’s underbelly on Cult of the Serpent Sun. Each of the eight fiery battles on their new album test the Bay Area torchbearers mettle. But amidst its poisonous perils, the band emerge triumphant with white-hot, blackened heavy metal.
“Listen to Cult of the Serpent Sun if you are interested in any or all of the following:”, writes Last Rites, “mighty drums, crushing bass, leads that soar and melt your face. Riffs of steel, songs of war, vox to lead a fearsome horde”.
“…their classiest set of classic metal perversions yet”, Blabbermouthsays. “Many bands have dabbled in similar waters, but seldom with this much self-assurance or creative conviction”.
Cult of the Serpent Sun was released yesterday, Friday, March 14, and you can hear all eight slithering tracks today by listening to the full album stream on the Season of Mist YouTube channel:
“Cult of the Serpent Sun is our most focused and fully realized album to date”, NITE says. “We’ve struck a balance between melody and aggression, between sophistication and primal simplicity. Our third album captures the dual nature of NITE, the light within the darkness”.
To properly initiate their following into Cult of the Serpent Sun, this summer, NITE are touring the East Coast with the dark and dangerous Savage Master. Raise your spike-gloved fists to the high-flying single “Crow (Fear the Night)” and other battle anthems from their road-ready new album.
NITE 2025 East Coast Tour with Savage Master, remaining shows: June 15 – Washington, D.C. @ Pie Shop [TICKETS] June 16 – Philadelphia, PA @ Milk Boy [TICKETS] June 17 – Brooklyn, NY @ TV Eye [TICKETS] June 19 – Cambridge, MA @ Middle East [TICKETS] June 20 – Quebec City, QC @ La Source de la Martinière [TICKETS] June 21 – Montreal, QC @ Piranha Bar [TICKETS] June 22 – Toronto, ON @ Monarch Tavern [TICKETS] June 24 – Cleveland, OH @ No Class [TICKETS] June 25 – Chicago, IL @ Reggies / Music Joint [TICKETS] June 26 – Detroit MI @ Sanctuary [TICKETS] June 27 – Indianapolis, IN @ Black Circle [TICKETS] June 28 – Lexington, KY @ Green Lantern [TICKETS]
Ever since banding together in 2018, NITE has carried the torch for Bay Area metal. On Cult of the Serpent Sun, the San Franciscan four-piece wisely triple down on their trusty arsenal. The title track snakes into the heat of battle with all the leathery glory of ’80s heavy metal gods.
The “more-is-more” philosophy behind Cult of the Serpent Sun was guided by what NITE garnered from storming the stage at North West Terror Fest and marching across the Southwest on the way to Hell’s Heroes VI. “Fans really responded to older songs like ‘Acheron’ and ‘Genesis’, vocalist and guitarist Van Labrakis says. “Cult of the Serpent Sun has more songs that are fast and upbeat and help lift people’s spirits”. On “Crow (Fear the Night)”, the duel leads of Labrakis and Scot Hoffman climb on the back of drummer Patrick Crawford’s foundation-shaking march like two birds of the same feather.
But while blessed with proven chemistry, NITE’s particular alchemy is defined by contrasts. As Crawford says in the latest issue of New Noise: “the dark and the light, the good and the evil. We celebrate both elements. Without one, you can not have the other”. With melodic riffs that drip like candle wax, “The Mystic” glistens like a midnight seance. “Fire / Bring me to life”, Labrakis beckons as bassist Avinash Mittur stretches time and space into a hypnotic groove.
While ringed by rituals of fire and slithering with serpentine demi-gods, Cult of the Serpent Sun was written amidst shadows brought on by real life. “NITE strives to be a light”, says Labrakis. “This album is about how we persevere in times of immense darkness”. His road-hardened voice stands defiant on standout “Carry On”, which denounces the perils of war with axes raised high and mighty.
Cover artist by Adam Vick
Tracklist 1. Cult of the Serpent Sun (4:56) [LISTEN] 2. Skull (4:31) 3. Crow (Fear The Night) (4:11) [WATCH] 4. The Mystic (4:55) [LISTEN] 5. The Last Blade (4:32) 6. Carry On (4:29) 7. Tarmut (5:14) 8. Winds of Sokar (3:52)
When darkness engulfs the world, NITE sets the sky ablaze with white-hot, blackened heavy metal.
Having journeyed to the stars on their last venture, NITE now faces the abyssal and shadowy mythology that has long laid dormant beneath society. Each of the eight epic battles on Cult of the Serpent Sun tests their mettle. But amidst the album’s blackened perils, the band emerges victorious.
“NITE strives to be a light,” says vocalist and guitarist Van Labrakis. “Cult of the Serpent Sun is about how we persevere in times of immense darkness.”
Ever since banding together in 2018, NITE has carried the torch for Bay Area metal. Darkness Silence Mirror Flame debuted their blackened twist on NWOBHM. “…raucous, Marshall-fueled heavy metal that would be the envy of many a British band in the 1980s,” wrote Invisible Oranges. Follow-up Voices of the Kronian Moon upped the ante with more strutting tempos and windblown shredding, much to Stereogum’s delight. “It’s like speeding down a freeway at night in a Corvette with the top down, but everyone is wearing velvet capes.”
On Cult of the Serpent Sun, NITE wisely triples down on their trusty arsenal. Instead of scaling back, their third album adds more heft to the band’s armor. Labrakis and fellow guitarist Scott Hoffman’s molten leads duel with heightened showmanship. Drummer Patrick Crawford pummels and gallops while Avinash Mittur rattles the chest with his Rickenbacker bass. The title track charges with newfound urgency, slithery and venomous in its attack.
The album’s “more is more” philosophy is guided by what NITE have learned from the road. Since their last studio stint, the band have stormed the stage at Northwest Terror Fest, toured with fellow statesmen Persekutor and Haunt and marched across the Southwest on the road to Hell’s Heroes VI. “Fans really responded to older songs like ‘Acheron’ and ‘Genesis’,” Labrakis says. “Cult of the Serpent Sun has more songs that are fast and upbeat and help lift people’s spirits.” Galvanized by a foundation-shaking groove, “Skull” defiantly crushes. “Crow (Fear the Night)” is a rallying cry, calling for fists to rise with power and might.
NITE’s classic weaponry shows no signs of rust on their third album. “The Last Blade” draws first blood amidst an acoustic flurry before thrusting onto the offensive. “The aim here is not to replicate that era but to explore and evolve,” Labrakis told Decibel when asked about the band’s influences. Cult of the Serpent Sun honors the trailblazing spirits of old by honing what separates this band’s particular alchemy from mere imitation brew. “The Mystic” expands their sonic palette, featuring a slow-burning bass line that stretches time and space into a hypnotic portal. With its whirling and enchanted melody, “Tarmut” glimmers like a desert mirage.
“We play a traditional style of heavy metal, but the blackened element takes us in a different direction,” Labrakis says. His road-hardened voice stands resolute in “Carry On,” denouncing the perils of war. “Dream on and find who you are,” he beckons on the album’s triumphant closer “Winds of Sokar.”
On Cult of the Serpent Sun, NITE guards the altar of blackened heavy metal with sharpened blades and axes raised.
Lineup: Van Labrakis: Guitar / Vocals Scott Hoffman: Guitar Avinash Mittur: Bass Patrick Crawford: Drums
Recording studio 210 Studios San Francisco and The Hoagie Container
Production credits Recorded by Van Labrakis Produced by Van Labrakis and Nite Mixed and mastered by Van Labrakis at 210 Studios San Francisco
Swedish rockers DEGREED are thrilled to share their new single and accompanying visualizer video, “Wildchild (Tribute to Alexi Laiho)”, out now via Frontiers Music Srl. As the title suggests, the song is a touching tribute to Children Of Bodom’s guitarist Alexi Laiho, who passed away in 2020.
Listen to “Wildchild (Tribute to Alexi Laiho)” HERE
Vocalist Robin Eriksson commented on the song: “Alexi Laiho was a true rockstar, up there among Lemmy and those guys. He was also one of our heroes. We’re happy to pay tribute to him, one of Finland’s finest. Rock and metal fans all over the world deserve to hear this piece of music.”
Degreed have been releasing critically acclaimed music since the start of their career with their first album “Life, Love, Loss” in 2010. Over the course of their career, the band has gone from strength to strength with every release, touring and gaining fans all over the world. Their sound mixes classic melodic and hard rock sounds with more contemporary influences, offering the fans a very personal, fresh and exciting mix of great rock music.
Due to the COVID-19 pandemic, the band wasn’t able to tour on the heels of the release of the album “Lost Generation” in 2019. The band released the song “The World We Knew”, their musical summation of the year 2020 (the song became “Track of the Week” at Classic Rock Magazine’s website a week after its release) and then in 2021, Degreed began working on what would ultimately become “Are You Ready”, released in 2022.
The latest Degreed album, “Public Address”, was released on July 7, 2023, and it sees the band delivering on all of the promise of earlier efforts and reaching an absolute premiere moment in their musical creativity.
Line Up: Robin Eriksson – Bass/Vocals Mats Eriksson – Drums Mikael Blanc – Keyboards Daniel Johansson – Guitars
Overcoming life-threatening illness and finding a fresh perspective on real priorities, DINOSAUR PILE-UP roar back from the brink with their new single‘Bout To Lose It and announce their signing to Mascot Records.
It’s been six years since the release of their last studio album. “People need clarity about what happened,” Matt Bigland explains. “It’s been so cathartic to lay it out.” He began documenting his story on the band’s Instagram account in December 2024, laying bare everything – You can see it in his own words here: Part 1 | Part 2 | Part 3 | Part 4.
‘Bout To Lose It is 5 years of pent-up emotion – hope, despair, resignation and colossal bravery – let loose into a blistering 3:40 minutes of Dinosaur Pile-Up at their absolute best. Struggle. Vulnerability. Pain. Resilience. Love. It’s been a hell of a journey. In many ways, brilliant, shapeshifting opener – and lead single – ‘Bout To Lose It begins at the end, dropping us into the shoes of a frontman chomping at the bit to get back to business but low on confidence, unsure if fans still give a damn after so much time away: ‘I guess I’m back on the edge / Maybe I never left! / Would have been nice if you cared / But what did I expect?!’
There were six people in the ward the second time Matt Bigland admitted himself to the hospital. Three of them didn’t make it out alive. Life is short. It’s fragile. It can end in an instant. That’s the harsh truth with which the Dinosaur Pile-Up frontman has wrestled with. When ulcerative colitis left him in critical care in early 2021, he began to think again about what it’s really all about.
“You think you’re halfway through life, but then you realise you might be right at the end,” Matt smiles. “Being in that room was scary. I felt incredibly vulnerable. I had no control. But hearing people in the final hours of their lives forced me to think about what would happen if I were to die. What was I leaving behind? What really mattered while I was here? What bullshit did I waste my time worrying about? What had true value to me? I’ve always understood that life can be fleeting and fragile – how important it is to take every chance – but I’d never processed it like that…”
Unwilling to sift through the layers of daily trauma with every friend who checked-in to see how he was doing – indeed, often unable to speak through a mouth filled with centimetre-wide sores – Matt found himself defaulting to a wry response of ‘I’ve felt better…’
Flash back to 2018. Ten years of chasing opportunity and betting big on every chance had built Dinosaur Pile-Up into one of the most beloved alt. rock bands in the UK. It had also left them flat broke, physically and mentally drained, and without a label to release their imminent fourth album, Celebrity Mansions. It became their make-or-break record. Between Matt, bassist Jim Cratchley and drummer Mike Sheils, it was agreed that failure would mean calling it quits. However, the rock gods were smiling on them, and the album was a hit. They began the year on a US tour with Shinedown and lined up major summer festival dates, along with a North American tour with The Offspring and Sum 41 in North America through to the end of the year. They were soaring. 2020 was going to be massive – then everything changed.
“People don’t relate things like health crises with being a dude in a band,” he stresses the sense of isolation that came with the ordeal. “We’re more associated with rocking out and having a great time – even more so with today’s Instagram culture. At my lowest point, I couldn’t have felt further from being that dude onstage playing to a big crowd. That was difficult to rationalise. I was skin and bones, wrecked, feeling like I was going to die, wondering what had happened to me and why.”
Unwilling to portray an image that didn’t truly reflect what he was going through, Matt dropped off social media entirely. It added another level of separation from the outside world, most of whom had no idea the nightmare he was living. February, 2021 was the first time he’d been admitted to hospital, a stay cut short due to a lack of beds. “I was sent home with permission to self-administer morphine. It felt dangerous. I could have killed myself with that syringe.”
The band resurfaced for performances at Reading and Leeds 2021 – which saw Matt still swollen from the massive Methylprednisolone dose that had gotten him out of hospital – along with an end-of-year UK tour with Enter Shikari and Nova Twins. Their long-delayed Kentish Town Forum headline show in March, 2022 was an emotional explosion, alongside a riotous performance at the 2000Trees festival that summer. 2023 saw them take the stage at 2000Trees again, with the summer centring around a triumphant return to Download festival.
“‘Bout To Lose It is about feeling completely and utterly on the edge of your capacity emotionally. I wanted to write a song that had an intro that would correctly set the scene as the first track back after a 4 or 5 year break from being out ‘in the world’ due to ill health. I wanted it to be intense and visceral. And I wanted it to be heavy metal,” Matt says.
“It’s not about whether I might get to be rich and famous any more,” he explains. “It’s about being excited for people to get to hear my songs. I want to be free of the bullshit of how people perceive me – or us – and what it means to be a ‘cool band’. I’m proud that we’re still here as a band at all. I’m proud that I’m still here as a person. And I’m just so stoked that I’m still able to make music. That’s what I want to do. That’s why I’m here…”
THE ROCK ALCHEMIST – Italian Rock Band from Turin with a strong sonic identity that blends modern rock with progressive, hard, alternative, and pop elements!
Kimmo Kuusniemi’s SARCOFAGUS return with a Historic 2010 Concert Video Premiere on YouTube! Click image to watch the video
