Look for emo rock outfit THE FUNERAL PORTRAIT to release their second full-length album GREETINGS FROM SUFFOCATE CITY via Better Noise Music on September 13. The album’s story arc is told across its 14 tracks (see listing below) which blends religious and violent imagery. It’s a thrilling and evocative mix of the holy and unholy, the sacred and sacrilege. Guest appearances include Bert McCracken of The Used, Spencer Charnas of Ice Nine Kills, Danny Worsnop of Asking Alexandria and Eva Under Fire. Pre-orders for GREETINGS FROM SUFFOCATE CITY are available via digital download, CD, and vinyl HERE.
“This album is a statement,” says vocalist LEE JENNINGS. “Its title reflects our conviction, respect, and most importantly, DEVOTION to its message. This record talks of love and loss. That the people we love, the passions we dedicate ourselves to, the culture we are surrounded by, and the society we partake in, will all inevitably hurt us. Yet through the pain and struggle of it all,” he adds, “we still choose to love, unabashedly, even when it kills us. It is a warning of the challenges life will present us all with and a universal truth that suffering is inherent in all joy.”
THE FUNERAL PORTRAIT today, August 2, have released a new industrial-tinged track, “Blood Mother.” JENNINGS says, “This southern-fried riff machine brings a low, pulsing energy to the record. It harks on modern medication and the fear of risking losing your personality and sense of self once prescribed.” The music video for “Blood Mother” can be seen streaming below, or via YouTube HERE. Stream/download the song digitally HERE.
The track’s release marks the start of their U.S. tour supporting Five Finger Death Punch, Marilyn Manson, and Slaughter To Prevail in Hershey, PA. The tour will stretch until September 19 ending in Houston, TX. Next, the band head to Louisville, KY for Louder Than Life (September 28), followed by Aftershock Festival in Sacramento, CA (October 12). Throughout the tour the band will also appear on a handful of one-off shows with Marilyn Manson and Slaughter To Prevail. In addition, the band have announced a special “double feature” night on August 6 in Detroit, Mitch. It consists of a free in-store performance at Rock of Ages from 5-7 PM, followed by a private ghost hunt with the band at Eloise Asylum in Westland, MI starting at 8pm. Limited to 30 spots, tickets are currently available HERE.
GREETINGS FROM SUFFOCATE CITY Track Listing:
Suffocate City (feat. Spencer Charnas of Ice Nine Kills)
Blood Mother
Doom And Gloom
Holy Water
Dark Thoughts (feat. Danny Worsnop)
You’re So Ugly When You Cry (feat. Bert McCracken of The Used)
Chernobyl
Dopamine
Voodoo Doll (feat. Eva Under Fire)
Happier Than You
Alien
Generation Psycho
Stay Weird
Hearse For Two
Lauded as one of Alternative Press magazine’s “100 Bands You Need To Know,” THE FUNERAL PORTRAIT stands to represent the outcasts from all walks of life. The misunderstood, the weird, neurodivergent, LGBTQ+, marginalized, and otherwise given an unfair hand in life. The band—LEE JENNINGS (vocals), CODY WEISSINGER (guitar), CALEB FREIHAUT (guitar/auxiliary), ROBERT WESTON (bass), and HOMER UMBANHOWER (drums)—have relentlessly toured across the country opening for acts including Shinedown, Ice Nine Kills, Underoath, Skillet, From Ashes To New, Starset,Pvris and ISSUES. Through their live performances, which include extravagant theatrics, stage décor, costumed actors, and more, they’ve built a dedicated and unwavering fanbase called the “Coffin Crew.”
THE FUNERAL PORTRAIT TOUR DATES
8/2 Hershey, PA – Hersheypark Stadium % 8/3 Silver Spring, MD – The Fillmore Silver Spring # 8/5 Holmdel, NJ – PNC Bank Arts Center % 8/6 Detroit, MI – Rock of Ages (FREE In-Store, 5-7pm) 8/6 Detroit, MI – Eloise Aslyum (Private Ghost Tour) 8/7 Detroit, MI – Pine Knob Music Centre % 8/8 Cincinnati, OH – Riverbend Music Center % 8/10 St. Louis, MO – Hollywood Casino Amp % 8/13 Rogers, AR – Walmart Amp % 8/14 Nashville, TN – Bridgestone Arena % 8/16 Noblesville, IN – Ruoff Music Center % 8/17 Chicago, IL – Byline Bank Aragon Ballroom ** 8/19 Des Moines, IA – Wells Fargo Arena % 8/21 Omaha, NE – CHI Health Center % 8/22 Denver, CO – Ball Arena+ 8/24 Saskatoon, SK – SaskTel Centre* 8/27 Vancouver, BC – Rogers Arena % 8/29 Airway Heights, WA – BECU Live at Northern Quest % 8/31 Portland, OR – RV Inn Style Resorts Amphitheater % 9/1 Reno, NV – Grand Theatre at Grand Sierra Resort and Casino # 9/3 Mountain View, CA – Shoreline Amphitheatre % 9/4 Chula Vista, CA – North Island Credit Union Amphitheatre % 9/6 Anaheim, CA – Honda Center % 9/8 Las Vegas, NV – MGM Grand Garden Arena % 9/10 Phoenix, AZ – Talking Stick Resort Amphitheatre % 9/11 Albuquerque, NM – Isleta Amphitheater % 9/13 Durant, OK – Choctaw Grand Theater % 9/15 Atlanta, GA – Lakewood Amphitheatre % 9/16 Biloxi, MS – Mississippi Coast Coliseum % 9/18 Austin, TX – Germania Insurance Amphitheater % 9/19 Houston, TX – Cynthia Woods Mitchell Pavilion % 9/28 Louisville, KY – Louder Than Life 2024 ^ 10/12 Sacramento, CA – Aftershock Festival ^
%with 5FDP, Marilyn Manson & Slaughter To Prevail *with 5FDP & Slaughter To Prevail +with 5FDP & Marilyn Manson #with Marilyn Manson & Slaughter To Prevail **with Marilyn Manson ^festival date
THE DEAD DAISIES are back with their brand of solid straight-ahead rock that is leaving fans eager with anticipation for the new album and tour dates!! The band recently lit up the US on the first leg of the ‘Light ‘Em Up’ Tour to rave reviews from both fans and media alike.
“I’m Gonna Ride” is the second single from the band’s upcoming album and hits the airwaves today. Recorded by Marti Fredericksen in Nashville, this exhilarating track is sure to get you pumped on your next road trip.
“I’m Gonna Ride is a song about leaving your worries, and everyday stresses behind, getting on your Harley and cranking it up. It’s an anthem of the open roads and our next single from the “Light ‘Em Up” album. See you on our UK Tour in September!! Love you guys” – John Corabi
Accompanying this rockin’ track is a video to inspire a feeling of freedom.
“Light ‘Em Up” – the album, is available to pre-order now ahead of the UK and European Tours in early September and November.
TOUR DATES: UK – SEPTEMBER 06 – Chalk Brighton 07 – The Foundry Torquay 08 – The 1865 Southampton 10 – Picturedrome Holmfirth 11 – SWG3 Glasgow 13 – Rock City Nottingham 14 – KK’s Steel Mill Wolverhampton 15 – Boiler Shop Newcastle 17 – O2 Ritz Manchester 18 – Patti Pavilion Swansea 20 – O2 Academy Bristol 21 – O2 Shepherd’s Bush Empire London
EUROPE – NOVEMBER 01 – Metropool Enschede NL 02 – De Casino Sint Niklaas BE 03 – Gruenspan Hamburg DE 05 – Essigfabrik Cologne DE 06 – Technikum Munich DE 08 – Bibelot Poppodium Dordrecht NL 09 – RuhrCongress Bochum DE 10 – Z7 Pratteln CH 11 – Élysée Montmartre Paris FR 13 – Palac Akropolis Prague CZ 15 – Barba Negra Budapest HU 16 – Simm City Vienna AT 17 – Gibson Frankfurt DE
Emerging metallic hardcore outfit MANY EYES (fronted by ex-Every Time I Die vocalist Keith Buckley) is now announcing a run of headlining performances in conjunction with their upcoming tour in support of Sum 41 as well as three very special album release shows for the band’s highly anticipated debut full-length, for which info will soon be revealed! The updated itinerary can be found below!
In addition, MANY EYES is now welcoming touring guitarist Craig Vittorio (TZARINA) to the lineup as they have parted ways with Charlie Bellmore.
Buckley comments, “We’ve parted ways with Charlie Bellmore. We thank him for everything & could not have gotten this project off the ground without him. We wish him nothing but the best with all of his current/future projects and we look forward to the possibility of writing with him again when the time comes.”
MANY EYES has recently unveiled three explosive singles, “Revelation” [WATCH], “Future Proof” [WATCH] and “Mystic Cord” [WATCH]. Stay tuned for more news soon!
MANY EYES North American Tour Dates (w/ Sum 41):
08/29: Grand Rapids, MI @ The Pyramid Scheme ** 08/30: Chicago, IL @ Subterranean ** 08/31: Omaha, NE @ Reverb Lounge ** 09/04 San Francisco, CA @ The Masonic 09/06 Portland, OR @ Theater Of The Clouds 09/07 Seattle, WA @ WAMU Theater 09/08 Boise, ID @ Revolution Center 09/10 Salt Lake City, UT @ The Complex 09/11 Morrison, CO @ Red Rocks Amphitheatre 09/12 Waukee, IA @ Vibrant Music Hall 09/14 Detroit, MI @ Masonic Temple Theatre 09/15 Cuyahoga Falls, OH @ Blossom Music Center 09/16 Moon Township, PA @ UPMC Events Center 09/20: Baltimore, MD @ Ottobar ** (MANY EYES Album Release Show) 09/23 Miami Beach, FL @ The Fillmore 09/24 Orlando, FL @ The Orlando Amphitheater at Central Florida Fairgrounds 09/28 Austin, TX @ H-E-B 09/29 Houston, TX @ 713 Music Hall 09/30 Irving, TX @ The Pavilion at Toyota Music Factory 10/02 Phoenix, AZ @ Arizona Financial Theatre 10/03 Los Angeles, CA @ YouTube Theater 10/05 Las Vegas, NV @ Bakkt Theater 10/09: St. Louis, MO @ Red Flag ** (MANY EYES Album Release Show) 10/11: Lakewood, OH @ Mahall’s ** (MANY EYES Album Release Show)
**MANY EYES ONLY
The man in question is Keith Buckley, and these aren’t flames of destruction either. instead, this conflagration merely signals the beginning for the vocalist and his cohorts—brothers Charlie [guitar] and Nick Bellmore [drums, bass, backing vocals]. scratching an itch for catharsis, the music swings from fits of venomous hardcore into disarmingly catchy choruses spiked with grunge melody and quotable lyrics.
Unpredictable and undeniable in equal measure, many eyes come to life on a series of independent singles in 2023 and much more to come.
“This is an expression of who I am,” Buckley proclaims. “I’m letting the music do the talking. I really trusted my collaborators. I’m not interested in being known as a frontman. I just want to be another part of the band who uses his own instrument to complete the picture. that’s what I’m doing with Many Eyes.”
A long and winding road brought Buckley to many eyes. the Buffalo native has fronted metalcore stalwarts Every Time I Die as well as the Damned Things (featuring Scott Ian of Anthrax and Joe Trohman and Andy Hurley of Fall Out Boy), and lent his instantly recognizable vocals to everyone from Knocked Loose to seeyouspacecowboy and Say Anything, played countless shows, and even penned two books.
in 2021, after fronting Every Time I Die for over two decades, he reached an impasse and needed to make a change. focusing on his mental health, he chose sobriety, spent a month in a recovery facility “to learn how to live soberly,” and reorganized his priorities as a father and husband.
Ultimately, he gained new perspective all around.
“After the pandemic, I realized I had made a lot of really bad decisions in life, and I was reaping what I had sown,” he admits. “There was no meaning anymore. So, I vowed to do things differently. I started getting sober. When you do, most of your relationships based on alcohol go away. My current wife and my daughter were my entire support system. During that time, i didn’t think about music at all.”
That’s until Hatebreed frontman Jamey Jasta reached out. He suggested Keith consider working with Charlie and Nick Bellmore. “It was wonderful to hear a friendly voice say, ‘Hey, this could be good for you,’” he elaborates. “I just got in my car and drove to Connecticut. They showed me what they were working on, and the music was exactly what I wanted—while their trust and patience were exactly what I needed.”
As it turns out, the three musicians bonded over a shared deep-seated appreciation for nineties hard rock and alternative, including Soundgarden, Alice in Chains, Nirvana, Pearl Jam, and Jane’s Addiction. Locking into a groove, they struck a delicate balance between pit-splitting intensity and arresting infectiousness with brothers Charlie playing guitar, Nick playing bass/drums and also producing the new music, while Jamey Jasta took on the role of executive producer.
“I was super excited to fully incorporate huge hooks into devastating mosh riffs,” he grins. “It’s something I’d always wanted to do. For me, it’s a complete release to express anger through big sweeping choruses.”
The single “Revelation” introduces Many Eyes. From the jump, a guttural guitar riff underlines Buckley’s vitriolic screams. Melody only enhances the drama on the catchy chorus, “Look me in the eyes again, look me in the eyes. i dare you.”
“It’s a very aggressive song, and it’s confrontational lyrically,” he reveals. “I was still at a point in my sobriety where I thought I had to speak bluntly in order to heal. Then, I found recovery was about a lot of acceptance. I wrote ‘Revelation’ before I went to this facility in Salt Lake City. While I was there, I did the 12 steps, and I was diagnosed with bipolar 1. I had unknowingly been living with that my whole life and self-medicating with alcohol and drugs. the message of ‘Revelation’ is, ‘I can do this if I have love.’ I don’t need anything else. it’s very punk rock.”
“Future Proof” represents the other end of the spectrum. on the track, uneasy guitars toss and turn beneath the verses, and the refrain echoes with naked emotion.
“It was the first song back after recovery,” he goes on. “I had found out what was wrong with me. Now, I’m fully prepared to deal with anything that happens in the future—any loss or any gain. nothing will shock me anymore, because of everything i already went through.”
Out of the flames, Buckley’s still standing, and he’s ready to tell his story like never before.
“From all of these experiences, I’ve become wiser,” he leaves off. “I’m the same person, but i have a better understanding of my own purpose now. I want to use these experiences to help people get out of situations where they feel helpless. I’m trying to show that hope and recovery are possible.”
Recording Lineup: Vocals – Keith Buckley Drums/Bass Guitar and Additional Percussion – Nick Bellmore Guitar/Bass/Keys – Charlie Bellmore
Live Lineup: Vocals – Keith Buckley Drums – Nick Bellmore Bass – Sean Vallie Guitar – Craig Vittori
Recorded and mixed by Nick Bellmore at Dexters Lab Recording in Milford, CT Assistant Engineer William Hayes Mastered by Randy Merrill at Sterling Sound Additional vocals recorded by Anthony Potenza All songs written by Keith Buckley, Nick Bellmore and Charlie Bellmore.
Art Direction & Design by Nick Steinhardt & Ryan Sanders for 23in Produced by Nick Bellmore Executive Producer Jamey Jasta
Pretoria’s own Crash And The Void is back and bolder than ever with their new single Neon Bloodstains out today via Mongrel Records, featuring guest vocals from Johni Holiday of Ruff Majik. Inspired by the intense and competitive world of the video game Cyberpunk 2077, the band crafted a song that mirrors the violence and drive required to succeed in the music industry. “I feel like the violence and competitive nature found in the game, which I played extensively, was a good parallel to the music industry and how you need to carve your way to success,” says Marius Schutte, the band’s vocalist and primary songwriter. The track’s message is clear: stand your ground, don’t sell yourself short, and be realistic about the monumental task ahead when striving for success.
This self-produced song showcases the collaborative spirit of Crash And The Void. Initially entered into a competition to be featured in Cyberpunk 2077, the song evolved beyond its original form. The final doom breakdown, a highlight of the track, was a collective effort created during a rehearsal. The original demo, solely created by Marius Schutte, didn’t include this breakdown due to competition restrictions. Marius’s love for soundtracks and ludomusicology is evident, with the song’s opening lead line being a heavily distorted synthesizer inspired by Mick Gordon’s work on the DOOM soundtrack.
True to their innovative spirit, the band members recorded their parts in their home studios, with Marius programming the drums. This DIY approach not only highlights their versatility but also their commitment to producing high-quality music.
About Crash And The Void: Crash And The Void makes music by infusing traditional balls-to-the-wall rock music with concepts often found in film music, particularly horror and sci-fi genres. Their collective musical influences range from Hans Zimmer to Black Sabbath and everything in between, creating a unique sound that is both thrilling and cinematic.
Swedish prog legends OPETH are now pleased to reveal that their 14th studio album, ‘The Last Will & Testament’, is set for release on October 11, 2024 via via Reigning Phoenix Music / Moderbolaget! In celebration, the band is now sharing the first single from the offering, “§1” available on all DSPs HERE. Prior to today’s worldwide announcement, the album was teased yesterday, exclusively for attendees at Wacken Open Air 2024 in conjunction with the band’s performance at the illustrious festival.
In addition to OPETH’s previously announced North American headlining tour, which will take place in October 2024, the band is also now revealing an extensive European run for February 2025!OPETH is offering a special bundle for fans who pre-order ‘The Last Will & Testament’. Starting today, August 2 at 10:00 A.M. CEST, fans who pre-order the album will receive a special ticket pre-sale code for advanced tickets to the European tour! The offer will end on Tuesday, August 6 at 15:00 CEST, so don’t sleep on this limited opportunity!
General sales will start on Friday, August 9 at 10:00 A.M. local time.
Pre-order the album HERE to get access to the pre-sale for the EU tour. Tickets for North America are now available HERE
Opeth vocalist/guitarist Mikael Åkerfeldt admits: “I love this record. I have to say it (write it). Maybe I’m proud even? There are some familiar ingredients in there I suppose. Most of our music has sprung from the same source, so I guess it’s not much of a shocker if it’s going to sound like ‘us’. I’m a bit in awe of what we did with “The Last Will and Testament”. It feels like a dream. There is some ‘coherence’ and ‘songwriting skills’ I hope, but what do I know? I tend to favour the ‘strange’ over the ‘obvious,’ but I feel like I’m in the minority, and that’s fine. So…fair warning! Don’t expect an instant rush (as per usual), but if you do “get it” (have you got it yet?) right away, that’s ok too!”
‘The Last Will & Testament’ is a concept album set in the post-World War I era, unfolding the story of a wealthy, conservative patriarch whose last will and testament reveals shocking family secrets. The narrative weaves through the patriarch’s confessions, the reactions of his twin children, and the mysterious presence of a polio-ridden girl who the family have taken care of. The album begins with the reading of the father’s will in his mansion. Among those in attendance is a young girl, who, despite being an orphan and polio-ridden, has been raised by the family. Her presence at the will reading raises suspicions and questions among the twins.
Regarding the record’s creation, Åkerfeldt adds: “This is the first record with Walt on drums. Seeing and hearing him record his bits was otherworldly and what went through my head was something like: How can a human being play this stuff? The older cats (myself, Mendez, Fred and Jocke) did our bits in due time. We did them well (I like to think) and the alcohol concentration in our blood was mostly quite low as the red light was on. We’re professionals, you see! Rockfield Studios treated us well and we love that place! Stefan Boman recorded and mixed it all (CAPTURED it on TAPE… kind of…). Miles Showell did the master at Abbey Road Studios and then we (myself and Stefan) took him for a curry in Covent Garden. Travis Smith has done this odd-masterpiece-artwork that put ‘clothes’ on the music. All in all, we hope we’ve put together a nice little morsel of information for you to nibble on when it’s raining out. Thank you for your time. Thank you for reading. Thank you for listening. Thank you for giving us a respectable past. I’ll thank you for our future in the actual future, OK?”
Opeth’s fourteenth album was written by Åkerfeldt, with lyrics conferred with Klara Rönnqvist Fors (The Heard, ex-Crucified Barbara). ‘The Last Will & Testament’ was co-produced by Åkerfeldt and Stefan Boman (Ghost, The Hellacopters), engineered by Boman, Joe Jones (Killing Joke, Robert Plant), and Opeth, with Boman, Åkerfeldt, and the rest of Opeth mixing at Atlantis and Hammerthorpe Studios in Stockholm. The strings on ‘The Last Will & Testament’ were arranged by Åkerfeldt and returning prog friend Dave Stewart (Egg, Khan) and conducted by Stewart at Angel Studios in London. Not one to miss a beat, visual artist Travis Smith returns to the fold, crafting his 11th cover, a haunting “photograph” reminiscent of Stanley Kubrick’s infamous “Overlook Hotel” photograph. Miles Showell (ABBA, Queen) also revisits mastering and vinyl lacquer cutting at Abbey Road Studios in London.
Åkerfeldt rolls out the red carpet for storied flautist and Jethro Tull main man Ian Anderson. Not only do Anderson’s signature notes fly on “§4” and “§7”, he narrates on “§1”, “§2”, “§4”, and “§7”. Joining Anderson, Europe’s Joey Tempest lends a backing vocal hand on “§2”, while Åkerfeldt’s youngest daughter, Mirjam Åkerfeldt, is the disembodied voice in “§1”.
‘The Last Will & Testament ‘is gripping from start to finish, jaw-dropping inside and out, representing some of Opeth’s finest material to date. Just as Opeth welcomed many into its distressed arms over the years, the Swedes again deliver on the promise that great music always tells a compelling story—this time with growls.
‘The Last Will & Testament’ Tracklist: 01 – §1 [LISTEN] 02 – §2 03 – §3 04 – §4 05 – §5 06 – §6 07 – §7 08 – A Story Never Told
OPETH North American Tour Dates (w/ TRIBULATION): 10/11: Milwaukee, WI @ The Rave / Eagles Club 10/12: Cleveland, OH @ Agora Theater & Ballroom 10/14: Toronto, ON @ Queen Elizabeth Theatre 10/15: Montréal, QC @ L’Olympia 10/16: Worcester, MA @ Palladium 10/18: Brooklyn, NY @ Kings Theatre 10/19: Pittsburgh, PA @ Stage AE 10/20: Washington, DC @ Warner Theatre 10/22: Atlanta, GA @ Tabernacle 10/23: New Orleans, LA @ Fillmore New Orleans 10/24: Austin, TX @ Emo’s Austin 10/25: Dallas, TX @ Majestic Theatre 10/27: Denver, CO @ Mission Ballroom 10/29: Phoenix, AZ @ The Van Buren 10/30: Los Angeles, CA @ YouTube Theater 10/31: San Francisco, CA @ The Warfield
OPETH European Tour Dates 2025: 02/09: Helsinki (FI) @ Ice Hall 02/11: Stockholm (SE) @ Cirkus 02/12: Oslo (NO) @ Sentrum Scene 02/14: Copenhagen (DK) @ DR Koncerthuset 02/15: Hamburg (DE) @ Docks 02/17: Cologne (DE) @ Palladium 02/18: Berlin (DE) @ Tempodrom 02/19: Munich (DE) @ Muffathalle 02/21: Paris (DR) @ L’Olympia 02/22: Amsterdam (NL) @ AFAS Live 02/23: Brussels (BE) @ Ancienne Belgique
More than three decades into their career, Opeth have trained their admirers to expect the unexpected. But even by their own standards, the Swedish progressive titans have conjured something extraordinary this time around. The band’s 14th studio exploration, The Last Will & Testament, is the darkest and heaviest record they have made in decades, it is also the most fearlessly progressive. A concept album recounting the reading of one recently deceased man’s will to an audience of his surviving family members, it brims with haunting melodrama, shocking revelations and some of the wildest and most unpredictable music that songwriter/frontman Mikael Åkerfeldt has ever written.
“I have become quite interested in family, and the idea that blood is not always thicker than water,” Åkerfeldt explains. “I became interested in how family members can turn on each other. I saw an interview with this guy whose family had all turned against him, over the inheritance, so I wrote a song about that on the last record. The idea stuck with me, and then along came the TV show Succession, and I loved that series. That was in the back of my head too. It felt like an interesting topic that you could twist and turn a little bit.”
The follow-up to 2019’s widely acclaimed In Cauda Venenum; The Last Will & Testament is set in the shadowy, sepia-stained 1920s. It slowly reveals its secrets like some classic thriller from the distant, cobwebbed past, with each successive song shining more light on the stated machinations of our dead (but definitely not harmless) protagonist. The emotional chaos of the story is perfectly matched by Opeth’s vivid but claustrophobic soundtrack, which artfully winds its way towards a crestfallen but sumptuous finale. Masters of their own idiosyncratic musical domain, Opeth have never sounded more unique.
“I knew I could go a bit overboard and wild with the music, a bit heavier and a bit more metal, maybe, because I felt it would fit the concept, which is dark and kind of complex. You might dabble with the occult in your youth and write songs about Satan, but this felt like I could make a story about real evil, and about human behaviour. It felt like the music for this concept should be on the heavier side of things. It’s a pretty heavy topic.”
Proud adherents to a progressive ethos, Opeth have never repeated themselves, and The Last Will & Testament is every bit as revelatory and adventurous as its 13 predecessors. But one thing is undeniable: Mikael Akerfeldt’s peerless death metal growls are back, for the first time since Watershed in 2008.
“I like to be unfashionable, in a way,” grins Åkerfeldt. “So, when it comes to bringing that kind of death metal vocal back, I wanted it to happen when people had stopped caring… and I guess that’s now! Maybe it’s a bit surprising, but we did some anniversary type shows, and we played lots of old songs, and I just thought that my death metal voice sounded good. There’s also been a little push because of our new drummer, Walt. He’s a death metal guy. Mendez (Opeth bassist) has been a bit of a horse whisperer, too, saying ‘Maybe you should do something heavier this time…’ In the end I just thought, yeah, let’s give it a try.”
The Last Will & Testament is destined to be a milestone in Opeth’s illustrious recorded history. The band’s first out-and-out concept record, it features guest cameos from Jethro Tull legend Ian Anderson and Joey Tempest, frontman with Swedish rock gods Europe. Only one of the album’s eight songs has a title: closing ballad A Story Never Told. The rest are simply labelled as numbered chapters in this slowly unfolding saga of deceit, recrimination and betrayal. Enigmatic, unsettling and immersive, The Last Will & Testament is a turbulent, prog metal tale like no other.
To add to an overwhelming sense that The Last Will & Testament is a landmark record for Opeth, its guest stars are of impeccable and legendary quality. Ian Anderson has been making imaginative and influential music for nearly 60 years, both with Jethro Tull and as a solo artist, and remains one of progressive rock’s most revered figures. He joins Opeth here for the first time, performing as the voice of the album’s chief protagonist and contributing some glorious flurries of flute.
“With Ian, it’s about his voice and just how he is. I decided we should have spoken word, and if that was going to happen, the voice should be Ian’s. He’s like a distinguished gentleman. Everything he says has authority. So, it was just perfect. No one else would have been as good. I felt maybe it was a bit too cliched to ask him to play a flute solo too, but instead, he asked me, ‘Do you need a flute solo?’ and so obviously I said, ‘Yes! Yes, we do!’”
Another legend of the rock world to grace the new Opeth album with his presence and talent is Joey Tempest, singer with Europe.
“On the record, Joey does this call and response with Ian, which was another dream come true for me,” Åkerfeldt says. “I love Europe and I love Joey. We’ve become buddies over the years. So that was a big thing for me. He also knows Ian and had met him a few times. He’s a fan of Tull, so it was cool to have them on the same track. You don’t want to have guests that just for the glitter and glamour. You want someone that’s going to add something to the record, and those two guys were perfect.”
Making his recorded debut alongside Opeth’s long-established line-up of Mikael Åkerfeldt, guitarist Fredrik Åkesson, bassist Martin Mendez and keyboard maestro Joakim Svalberg on The Last Will & Testament is new drummer Waltteri Väyrynen, who joined the band in 2022. Åkerfeldt is eager to commend his new comrade’s immense drumming abilities, while observing that recording drums for the new album was a virtually stress-free process.
“I knew Walt was a great drummer, but I didn’t know how good he was. We’re not crappy musicians in this band. We can play. But we sat there at Rockfield Studios, and he just was doing these insane, technical songs in one take. We were almost recording it in real time! [Laughs] He’s amazing.”
After three decades of dazzling the world, Opeth have made their most daring creative leap yet. The Last Will & Testament is a progressive and dramatic triumph, and yet more proof that expecting the unexpected is the only way forward for fans of Sweden’s finest.
“It’s a restless record for me,” concludes Åkerfeldt. “It’s an explosion of ideas, which I like. It’s a bit shorter and snappier. But I definitely didn’t want to rehash anything. The only thing that has come back is some of those death metal screams, but the mindset is still much more forward looking. In typical Opeth fashion, it’s not a direct record that you understand and that you love or hate right away. It takes time and if you put that time into it, you might like it… or hate it! It feels like it was written on a whim. Which it was, in a way! I hear things on this album and think, where the fuck did that come from?”
Lineup: Mikael Åkerfeldt – Vocals, guitars Fredrik Åkesson – Guitars, backing vocals Martin Mendez – Bass guitar Waltteri Väyrynen – Drums and percussion Joakim Svalberg – Keyboards, backing vocals
Special Guests: Ian Anderson (Jethro Tull) – spoken word (tracks 1, 2, 4, 7) // flute (tracks 4, 7) Joey Tempest (Europe) – backing vocals (track 2) Mirjam Åkerfeldt – spoken word (track 1)
All Music and Lyrics written by Mikael Åkerfeldt Lyrical concept by Mikael Åkerfeldt, dramatic consultation by Klara Rönnqvist Fors
Produced by Mikael Åkerfeldt Co-produced by Opeth and Stefan Boman Engineered by Stefan Boman, Joe Jones and Opeth Mixing by Stefan Boman and Mikael Åkerfeldt and Opeth at Atlantis and Hammerthorpe, Stockholm, Sweden Mastering and vinyl lacquer cut by Miles Showell at Abbey Road studios, London, UK
Strings conducted by Dave Stewart at Angel Studios, London, UK Strings arrangement by Mikael Åkerfeldt and Dave Stewart Drum technicalities by Kit Cunningham
Artwork by Travis Smith with directions from Mikael Åkerfeldt
The Cold Stares have released “Mortality Blues,” the latest single from their highly anticipated seventh studio album, ‘The Southern,’ set to drop on September 6th via Mascot Records. An eerie, modern Delta blues track played on singer-guitarist Chris Tapp’s resonator guitar, the haunting song is infused with Southern imagery and thematics, drawing on the mythos of legendary blues guitarist Robert Johnson.
“I had Robert Johnson on my mind for a couple songs on this album,” Tapp shares. “I had read a few biographies that recently came out, and it always seemed Robert was doing his best to stay alive in a time where it wasn’t necessarily easy. The song is my contemporary version of my delta blues influences, and is about looking around and seeing others take risk with mortality, while you are doing your best just to stay alive.”
Known for their electrifying blend of blues-rock, The Cold Stares delve deep into their Southern roots with this poignant track that highlights their Delta blues influences. Tapp is a cancer survivor, and it’s hard not to read into some of the lyrics on “Mortality Blues” and not think of his brave journey. “I can’t see how some folks set their mind on dying/When I’m doing my best, just to stay alive,” Tapp howls. Featuring fuzzed-out guitars, Zep-style riffs, and fleet-fingered Cream-style improvisations, the song captures the raw essence of Delta blues while adding a contemporary twist.
Tracklisting: 1. Horse to Water 2. Coming Home 3. Looking For A Fight 4. Blow Wind Blow 5. Confession 6. Level Floor Blues 7. Seven Ways to Sundown 8. No Love in the City Anymore 9. Giving It Up 10. Woman 11. Mortality Blues
They will also be touring Europe in August and September, including playing two shows in Denmark this month:
23 Aug – Sønderborghus Sonderborg, Denmark 24 Aug – Karosserifabrikken, Helsingør, Denmark
Drawing deep into their Southern roots for the first time on record, the album embodies a true reflection of their heritage. “When it came time to record this album, I thought about everybody giving us this Southern rock tag, and decided to intentionally write songs that explore that,” says singer-guitarist Chris Tapp. “In doing so, I realized that being Southern, for me, is more than an accent, and a setlist of songs. It’s about family and tradition.”
The previous single, “Coming Home,” is a plaintive, bluesy number played on dobro, echoing the depth of Southern familial ties and personal resilience. “Perhaps our most rootsy song to date, I wrote this song after a trip back to my hometown in Kentucky,” Tapp shares. “Touring the world and seeing so many countries has made me realize how unique the place I grew up was, and this song is just about getting back to our roots and where we came from.” Tapp sings about the enduring advice of his father: “My Father said son don’t forget to pray/Cause you know there will come a day/When this old world turns against you/You better have a plan to make your way.”
Initially formed in 2012, The Cold Stares began its career as a duo, but expanded its sonic firepower with the addition of bassist Bryce Klueh in 2022. The Cold Stares has been praised by Classic Rock Magazine, No Depression, and American Songwriter, among other outlets; reached #1 on Amazon Music’s Blues Rock album chart; earned prime sync license placements in commercials, on major network television, and on sports games. Their song, “Mojo Hand,” is the trailer song for Cyberpunk 2077, and has amassed over 10 million streams on YouTube. The band has shared stages with Larkin Poe, Rival Sons, Reignwolf, JJ Grey & Mofro, Spoon, Grand Funk Railroad, and Thievery Corp.
Though the trio has below the Mason-Dixon Line origins, the group mines a woolier sound than expected. Fuzzed-out guitars, Zep-style riffs, and fleet-fingered Cream-style improvisations abound, as do nods to Delta blues.
“We are so proud to tip a hat to Kentucky on this album, and embrace being ambassadors of the South,” Tapp concludes, bringing the journey of ‘The Southern’ full circle—a heartfelt tribute to the land and stories that shaped them.
EU Tour Dates: 23 Aug – Sønderborghus Sonderborg, Denmark 24 Aug – Karosserifabrikken, Helsingør, Denmark 25 Aug – Music Star, Norderstedt, Germany 26 Aug – Music Star, Norderstedt, Germany 27 Aug – Hafenbar Tegel, Berlin, Germany 29 Aug – Musiktheater Piano, Dortmund, Germany 30 Aug – The Carlisle, Hastings, UK 31 Aug – Ropetackle Arts Centre, Shoreham, UK 1 Sep – Sunflower Lounge, Birmingham, UK 3 Sep – The 1865, Southampton, UK 4 Sep – New Cross Inn, London, UK 5 Sep – The Bourne Music Club, Sittingbourne, UK 7 Sep – Breda Barst Festival, Breda, The Netherlands 8 Sep – De Blaaspijp, Koekelare, Belgium
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