May 26th will see the release of “Det Österbottniska Mörkret”, the brand new album by Finnish black metal legion ONDFØDT. After the release of the first single “Dödsrejson” and the second single, Tvelatan. The band follows up today with a brand new video for the track “Where Death Roams”. Watch the video below.
“In these lyrics, I wanted to capture the feeling, that I remember from childhood when I walked too far into the woods past the point which I recognized. Where the forest got old, dark, dense, and crooked. The feeling of having lost your sense of direction and having the unnerving feeling that trees are closing in on you. I combined that feeling with legends of beasts and with an ancient spell to protect against evil.” – Ondfødt comments.
Written in 2022, “Det Österbottniska Mörkret” is a bleak record, both lyric, and sound-wise. Hailing from Ostrobothnia, an area in western Finland with lots of urban legends and dark stories, this album is exploring the darkest side of Ostrobothnia, both lyrically and sonically.
“If you are from Ostrobothnia you will understand. The endless darkness during winter when the sun is barely going above the horizon. You will also understand the dark history of the witch hunt.“
“Det Österbottniska Mörkret” is about all of that and going even deeper to the roots of all the evil spirits that lives in the area.The album takes you through the dark history of murders and the darkest side of people driven by religion. And aswell the urban legends of the spirits and the evil creations that lives in the endless forsts of Ostrobothnia.
“Det Österbottniska Mörkret” was recorded at Wolfthrone Studios in September/October 2022.
Mixed and mastered by Owe Inborr. Guest contributions include Jacob Björnfot (KVAEN) and Mathias “Vreth” Lillmåns. Artwork by René Thuys. The album will be coming out on Black Lion Records and is now available for pre-order at THIS LOCATION
Tracklist:
Det Österbottniska Mörkret
Tvetalan
Furstins Tid
Tå Do Dör
Where Death Roams
Falskhejtins Folk
Själavandring
Höstfruktan
Dödsrejson
Tå Livi Bleknar
Ondfødt are:
Owe Inborr – Vocals, Guitar Dario Kåll – Guitar Joel Notkonen – Bass Tommi Tuhkala – Drums
Jimmy Kay from Canada’s The Metal Voice spoke to former singer of the Headpins’ Darby Mills. In the chat she spoke about the her time in the Headpins; being excluded from performing today and recalled tour stories of opening for bands such as Kiss, Whitesnake and ZZ Top.
When did you first join the Headpins “I just graduated from high school, I had moved to Calgary, Alberta and spent the better part of a year auditioning and doing the steady Loop of cover bands while I was there. I joined Steelback (Band) and within a year I got a call from Brian ‘Too Loud’ MacLeod (Chilliwack) saying that they were replacing their singer and would I join the band. I was 20 years old when that happened, I’m 63 now.”
How much of the first album ‘Turn it Loud’ was written prior to you joining “The song ‘People’ was already done I don’t think anything else was written. I co-wrote ‘Don’t it make you feel like dancing’ with Brian (MacLeod). We basically wrote ‘Turn it loud’ (Album) in the studio. That all came together really fast because the Headpins was still supposed to be a side project for Brian (MacLeod) and Ab Bryant who were in Chilliwack (at the time) but because Mushroom records (where Heart had recorded ‘Dreamboat Annie’) Shelly Siegel had died one night unexpectedly, the record company in the studio was in turmoil. Everything came to a Hiatus or a stop and that’s why the Headpins started to play bars. They (Brian and Ab) did that for about six or seven months while Chilliwack was getting a new contract through Solid Gold Records. And when they came to get Chilliwack back in the studio and get all that figured out uh Steve Propas and Neil Dixon who were the heads of Solid Gold Records came out one night to see this funny band called The Headpins that Brian had put together in the bar. A week later I was the only one to sign the Solid Gold Records contract for that album ‘Turn it Loud’ because they already had Brian and Ab signed for Chilliwack already, so I was the sole proprietor of Turn It Loud. “
Tell me more about your writing on the first album? “I wrote a little bit but Brian had a publishing deal and he needed to write songs and so he’d throw me a bone every once in a while and let me do some writing. It is something that I learned later on when the band tried to reform after we’d broken up. Four years later we did a reunion tour with Brian and Ab and an American label wanted to jump on and they wanted to sign us again. And by that time I’d been in the business for six or seven maybe eight years and I realized that, then how you made money was being a writer so I um I said I’ll come back I’ll sign up again but I want the ability or at least the opportunity to participate in 50% of whatever goes on the album. Not that I would get 50% but at least the ability to contribute and that was one of the main reasons why I didn’t reform with the Headpins in 1998 because I was told absolutely not.”
Did you own the trademark name to Headpins “No I did not, no it was Brian’s name (trademark Headpins). It was Brian’s band, it was Brian’s idea, it was Brian’s everything at the time. I was 20 years old and along for the ride. Little did I know that I would also be the Fall Guy when it all fell apart and that the debt (500K) would fall on me to be paid back even after being fired.”
Tell me about touring the first album “We ended up doing the ‘Lock up your son’s tour’ 82 (Toronto and Headpins ) without Brian and Ab and then we got on the Kiss tour without Brian and Ab and we were just knocking it out of the park. Then Brian and Ab came out to the Memorial Arena in Vancouver and they saw that the crowd was just going wild and it was right after that that they left Chilliwack and reformed or rejoined the Headpins full time. “
Tell me about the making of the iconic video ‘Do it make you feel like dancing’ “Well that was Doug and Doug from Doug in the Slugs he was doing a lot of video work at the time and also managed by the same manager that the Headpins had at the time. He got called up I’m assuming by our manager and said why don’t you do this video for the Headpins and so that was his concept. Doug came up with it. Brian and Ab were still secretly part of the band; they weren’t in the video at that point either. The album (Turn it loud) went double Platinum at the time which was 1982.”
Tell me about the Headpins opening for Kiss on their Creature of the night tour “I think it was six shows in total (with Kiss) and it was incredible. I was seeing Gene and Paul without their makeup on. When I was in high school the guys that I hung with that were in bands were Kiss fanatics. I never quite understood the Kiss thing until I found out I was going to go on tour with them and there I was sitting having dinner every night across the table from Gene Simmons without his makeup on. It was quite an experience and I left enough of an impression on Gene. A year or two later Kiss was on tour in Europe with Helix and Gene went up to Brian Vollmer and said hey you know that chick from the Headpins? Do you know her? What’s she all about? So I tell that story with great passion because you know to leave an impression on somebody like Gene um that’s an accomplishment, uh that’s a feather in my cap.”
Did you interact Eric Carr or with Vinnie Vincent the guitarist for Kiss at the time? “They were not overly social but for Vinnie that was his first tour and he was having a bit of a time. I think we were in either Montreal or Quebec City and we got there for our sound check which would have been directly after Kiss. Gene was on stage with Vinnie and (Gene) he’s like you walk up on stage (To Vinnie) and you stand there (growl) yeah give them a growl walk up there and then turn around and walk back and I’m like wow okay stage presence 101. So that night people who were there might remember it was the tour where they had the big tank, with the risers on the side that looked like the tracks of a tank and then the drum Riser rotated with the big barrel out front. Well he (Vinnie) jumped off one of the tracks and of course he’s wearing platforms and of course he Twitches (falls) and boom into the barrel. And I’m like, oh my God because I’d never seen a pro have an accident like that. I was like that poor guy especially after getting stage presence 101 that afternoon from Gene right but it was like okay you know I guess you can go up and make mistakes we all do it.”
Did you receive royalties from the first album? “The short answer is I still get some money from it yeah I mean am I paying my mortgage with it? No.”
You opened for Whitesnake in Europe? “Yeah we did in Europe, we went over and toured with Whitesnake. We did a month and a half I think with Whitesnake and played the Hammersmith Odeon. Meeting the Whitesnake guys was the thrill of a lifetime even bigger than a Kiss, Cozy Powell, David Coverdale, John Lord, John Sykes and Neil Murray. The shows were sold out every night we were playing the big stadiums.”
Tell me about ZZ Top Tour where the band was throw off for doing an encore “1985 was the Afterburner tour and yeah the crowd was going just freaking wild after we played which we were only doing like a 35 minute set that’s all they would give us and so we were missing tons of the songs that people were used to hearing us play. We’d leave the stage and those lights would go on immediately and the crowd would just go wild and it was better than any encore in my opinion because they were stomping on the ground. I remember thinking we’re stars. So here we are in Calgary, Alberta (arena) where the Headpins went gold alone on ‘Turn it loud’. We do our 35 minute set and as we’re leaving the stage, normally the house lights would go on (and no encore) but they didn’t go on (House lights) so we’re walking down the stairs and we turn our back and look at everybody (audience), they had lighters up, it was lit up. They’re giving us an encore. There was much appreciation for us, so we get up and do our encore. We leave the stage ,crowds going wild, we get into the dressing room and we hear this slam of the dressing room door and it’s like what’s going on? Our road managers there and he’s like we screwed up and it’s like what do you mean? The reason why the house lights didn’t go on is because the intercom went down and they couldn’t get the house guys to bring up the house lights so we’ve put the show over by five minutes. It’s a union gig and now ZZ Top is going to have to pay whatever the price is for having gone over what their allotted time is. Of course they couldn’t take a five minute song out of their set but it was their show so I’ll stop but anyway so uh he said we just lost the American tour.”
How did you get fired from the Headpins soon after? “I’m a pretty strong personality and I will only take abuse so long or I only watch someone else being abused so long before I’ll stand up and say something, granted I was not perfect. I didn’t know everything that everyone else knew but I had an opinion and at certain points I would express it even though nobody wanted to hear it. So I think at that point I had just expressed my opinion enough that Brian (MacLeod) had just decided this is his project he’s not going to take any flack from some woman uh telling him how his project should go. There are some specifics that I won’t go into because you know quite honestly I don’t think it makes Brian look good so I’ll stay there.”
Tell me about almost being the singer of the band Blue Murder with Carmine Appice and John Sykes ” Blue Murder was recording at Little Mountain (Vancouver) and Carmine (Appice) was the drummer and he would come out and see my side projects. I was already out of the Headpins by that time and working on numerous side projects. We would play Club Soda in downtown Vancouver and he (Carmine) came in on more than one occasion. He called up and said you need to come down and you need to sing the Blue Murder stuff. Then the next time I saw him he’s like yeah John Sykes said no way he doesn’t want a woman in the band because they’ll get all the credit and I’m like oh come on, like seriously? Had it been up to Carmine I’d have had the job according to what he was saying but John was saying I was not going to have a female in the band. They had a male singer in there tracking with them they weren’t sure if they were going to hire him and then they ended up with John doing all the vocals for that album.”
Tell me about you being excluded from performing “This could possibly get really really messy in the future, it’s been years now since I was part of the Headpins. I was a possession, I was a property and it was just so frustrating I couldn’t work in that environment anymore. Here I am going out on the road working with an individual who had taken over the identity of the Headpins and every decision that the Headpins were made for and it didn’t coincide with what I saw in the future. They were okay just being what they were. I had the experience, I had the knowledge but I was being told I didn’t know anything. I didn’t have an opinion and I was just tired of it and realized that if I was gonna do original songs, if I was going to collaborate, if I was going to try to be more of an artist than someone writing a coattail from 45 years ago I had to sever ties. I had to do it because my ability to do it within the Headpins was non-existent. So I left and it created a situation that is very unfriendly and I’m not going to name names. Unfortunately I’m butt heading against this individual who in the past 25 years of not only booking the Headpins (current version) but the other acts that he’s brought into his fold. He’s developed a lot of clout and the ability to say to a festival you want my bands or not and unfortunately as you saw it’s even gone to interviews now. You know you can’t interview her. I’ve been fighting the boogeyman my whole career, 45 years. I’m just gonna keep putting one foot in front of the other. I hate the fact that I’m having to say these things publicly that we can’t solve them behind the scenes but it’s right now costing me greatly in acquiring work. “
Are you workings on any projects now? “I’ve got a a new project that’s not officially set or anything it’s called ‘True story’ and it’s going to take a completely different run at the entertainment industry. In other words if I have been crippled from playing the shows that I’ve done for 40 years uh rather than Taking My Ball and go home I’m changing balls. I’ve got this other project that’s in the planning stages right now and have this UK label that’s working with me and this new song that I can’t wait to put out. I got things going on and I’m happy about them and I’m proud of the work that we’re putting out .”
Have you been working on anything else outside of music? “I make jewelry, I started making jewelry, just before my mom passed away as as just something fun and I’m happy to say that I’ve sold over 600 pieces at this point and it got me through Covid. What I realized that one of the reasons why I was so unhappy in the last 10 years with my former band was because I was not being creative. I was stagnated and I started making this jewelry and I gotta say it saved my sanity. If you’re a creative soul and you’re not creating you do stagnate and it can become a form of depression. I put out a line of 10- 15 pieces every three or four months and within 24 hours they’re gone and people are crying I wanted that piece where did it go. So I’m so happy that that came to me when it did I’m loving doing that so that’s also on the website is where it’s sold from.”
Headpins are a Canadian rock group, founded as a side project in the late 1970s. The Headpins began gigging around the Vancouver area throughout 1981.
Headpins released their debut album Turn It Loud in 1982, which quickly went platinum and topped the charts for six weeks, with the hit single “Don’t It Make Ya Feel”. Their second release, Line of Fire, was another multi-platinum success, and included the hits “Just One More Time” and “Feel It (Feel My Body)”, resulting in the band touring Europe with Whitesnake at the beginning of 1984. The group’s sole entry on the US charts, “Just One More Time”, spent nine weeks on the Billboard Hot 100, peaking at number 70 in February 1984.
Texan black metal outlaws NECROFIER will be releasing their second full-length, ‘Burning Shadows in the Southern Night,’ on June 2, 2023 via Season of Mist Underground Activists! The album artwork, tracklist, and details can be found below! In celebration, the band is now sharing the vicious new single, “Burnt by the Sacred Flame,” along with a music video! The song and video can be found at THIS LOCATION.
The record was recorded at legendary Studio G in Brooklyn, NY by 6xGrammy nominated and 1xLatin Grammy nominated engineer, producer, and musician Joel Hamilton (UNSANE, IGGY POP, TOM WAITS).
Necrofier comments: “For where I am, for where I am not For where I go, and where I have been, I burned my soul into this record”
‘Burning Shadows in the Southern Night’ is now available for pre-order HERE and can be pre-saved on streaming services HERE.
The cover artwork for ‘Burning Shadows in the Southern Night’ was created by Burney.
Tracklist: 01. The Fall from Heaven (03:24) 02. Total Southern Darkness (05:43) 03. To the Wolves (03:54) 04. Forbidden Light of the Black Moon (05:20) 05. Destroying Angels (05:09) 06. Whispers That Burn in the Dark (04:40) 07. The All Seeing shadows (04:44) 08. On Wings of Death We Burn the Sky (03:50) 09. Call to the Beyond (04:29) 10. Burnt by the Sacred Flame (06:00) [WATCH] Total Running Time- 00:47:12
Deep within the scorching cauldron of Texas, the alchemists of Necrofier have brewed another potent dose of American black metal with their sophomore full-length, ‘Burning Shadows in the Southern Night.’ The Houston four-piece honors the time-tested virtues of traditional black and heavy metal, even taking an organic sonic approach, tapping seven-time Grammy-nominated producer and engineer Joel Hamilton (Unsane, Tom Waits, Tyler Bryant & The Shakedown, etc.) to lend his magic touch for a natural sound.
“The goal going into the new record was to start setting ourselves apart from our contemporaries,” explains Necrofier drummer Dobber Beverly. “One of those ways was changing what the record sounded like. Moving away from the clinical and sterile nature that most productions suffer from and back into a real room with real instruments and performances. Our friend and esteemed producer/engineer Joel Hamilton had expressed interest in venturing back into the metal world and offered to make the record with us at his facility, Studio G Brooklyn. With a full vintage Neve front end and a host of Telefunken and Neumann microphones we tracked a record the old way, mostly. The results will speak for themselves hopefully, as this record breathes and spits fire wherever it’s played.”
“Joel is one of the world’s best engineers,” adds Necrofier guitarist and vocalist Bakka. “Dobber and Joel have become good friends since they recorded the last Oceans of Slumber album with him. After that, Joel wanted to record something heavy, so we made the trip to New York City to record in his legendary studio. It was an amazing experience in a great studio; besides having all the gear, he also created an environment where we challenged ourselves and brough everything up to the next level.”
‘Burning Shadows in the Southern Night’ doesn’t just simply pick off where Necrofier’s debut album left off, but displays a conscientious effort to double down on the elements that made ‘Prophecies of Eternal Darkness’ successful. The solos are more plentiful and intricate, the hooks are more anthemic, and the overall musicianship is bolder and more daring. Speaking of the band’s evolution, Bakka explains, “I think this collection of songs represents us very well. We have grown together as a band and it shows in the new songs. Also, for this record we flew to NYC and recorded all day long for 10 days straight. I love recording this way because it captures a certain magic. The whole band is immersed in the process and it’s all we would think, do, live and breathe during the process.”
Another core facet of Necrofier’s allure is being a black metal band from Texas. “Where you live always helps shape someone,” says Bakka. “It helps shape our style and tone in ways, it’s hot most of the year, so as we burn, it gives us warmer tones and more of a heavy metal influence than when compared to our brothers from the North. Also, Texas has a style all of its own; everything is heavier, louder and we are always trying to outdo the rest of the world.” To that avail, Necrofier isn’t your typical black metal band, and so this isn’t your typical black metal record as there’s a healthy amount of traditional metal influences, particularly within the guitar work. While conceptually, the band doesn’t heavily rely on Satanic themes, exploring deeper human philosophies and the occult like burning for your dreams or spiraling out on a psychedelic trip and exploring the beyond. “While there isn’t overt satanic worship in the lyrics, I would still say that he is a friend of ours,” Bakka cheekily says. “There are Occult themes on this record, but at the same time, it does take a philosophical approach.”
Further illustrating the influence of their environment, Necrofier also heavily explores one of Southern America’s most fabled myths. “The new record touches on selling your soul at the crossroads,” adds Bakka. “I like to take a different approach and touch on the elements of the esoteric world and dive into the forbidden or hidden that surrounds us in our lives every day.”
As the Texan black metal outlaws saddle up for record two, they are leading the charge as one of the contemporary purveyors of black metal revivalism. ‘Burning Shadows in the Southern Night’ is certain to elicit a sense of nostalgia for those who dare to lay ears on this vicious new offering.
The wait is almost over! This Friday, March 17, modern heavy symphonic metal leaders KAMELOT will finally unveil their most introspective, uplifting, vital release to date – their first full-length in five years, The Awakening. The album enters the KAMELOT legacy as their most massive and diverse offering yet – mixing symphonic, gothic, melodic, progressive and power metal styles while yielding some of the heaviest tracks in the band’s history.
Arriving on the heels of widely-lauded debut single, “One More Flag in the Ground”and operatic anthem “Opus of the Night (Ghost Requiem)” (featuring Grammy nominated, soundtrack-featured cellist Tina Guo), KAMELOT have revealed the new album’s third single – the massive “Eventide”. The track is a modernized banger of epic proportions, featuring the band’s lauded trademark soundscapes and exploring heartfelt themes of lifelong companionship, unwavering loyalty and lasting memories.
KAMELOT vocalist Tommy Karevik offers:
“‘Eventide’ is a celebration of lifelong companionship and unwavering loyalty. A calming voice from the side of the bed in the greatest time of need, sharing beautiful memories as one heart is slowing down and their time together is coming to an end.”
Having reigned supreme with the release of internationally top-charting melodic metal pinnacles such as The Fourth Legacy (1999), The Black Halo (2005), Silverthorn (2012), Haven (2015, #1 US Hard Rock Albums), and most recently 2018’s acclaimed The Shadow Theory (#2 US Hard Music Albums), KAMELOT’s intense brand of ultramodern gothic and symphonic theatricality is amplified further and with more emotionality than ever on The Awakening.
The Awakening embraces enlivening themes that every listener can relate to. Inspiring, engaging lyrics of determination, strength, overcoming personal battles and growth are abound on The Awakening, provoked by extreme societal shifts and the overwhelming realization that we have such a brief time to be true to ourselves and live life to its fullest.
Showcasing the incomparable, stage-seasoned vocal acrobatics of Tommy Karevik and increasingly airtight, renowned technical teamwork of guitarist Thomas Youngblood, drummer Alex Landenburg, keyboardist Oliver Palotai and bassist Sean Tibbetts, KAMELOT’s score-like 13th studio album is accented by guest contributions from the likes of Melissa Bonny (Ad Infinitum) and renowned instrumentalists like violinist Florian Janoske and aforementioned cellist Tina Guo.
KAMELOT guitarist Thomas Youngblood says:
“With The Awakening, we have one of our most diverse albums in years. We’ve fused elements from progressive, power and gothic metal to symphonic and melodic metal on this one. Working with incredible guest artists from around the music industry and having producer Sascha Paeth and Jacob Hansen mixing gave us another step up on overall sound. This album offers everything to KAMELOT fans and also reaches beyond borders to new metal and hard rock legions.”
Tracks honoring KAMELOT trademarks like cinematic “The Great Divide” and darkly hopeful eternal farewell to a loved one, “Eventide”, prove that while The Awakening stays true to the aural foundations fans have embraced for decades, equally-addictive outputs like “One More Flag in the Ground” – a radio-ready anthem about overcoming seemingly unbeatable illness and the mental challenges we all face, featuring additional vocal layers from JUNO Award winning musician and producer Brian Howes – showcase a band devoid of sonic stagnancy. Profound compositions are plentiful, like stage-ready, operatic “Opus of the Night (Ghost Requiem)”, which features a hair-raising dual solo from guitarist Thomas Youngblood and guest cellist Tina Guo, as well as epic, synth-laden “New Babylon”, elevated by the dynamic vocal attack of frontman Tommy Karevik and Ad Infinitum’s Melissa Bonny. Further balancing darkness with light, grooving, heartfelt “NightSky” and ode to conquering one’s adversities “My Pantheon (Forevermore)” boast some of the album’s heaviest moments and most complex guitar solos, while pensive hymns such as Celtic-infused “Midsummer’s Eve” and ebbing-and-flowing hymn of cherished memories “Willow” provide necessary balance to an album fittingly primed for spectacular performances to come.
The Awakening features crystal clear modern production helmed by the band and longtime producer Sascha Paeth, plus mixing and mastering by Jacob Hansen of Hansen Studios.
The Awakening tracklisting:
Overture (Intro)
The Great Divide
Eventide
One More Flag in the Ground
Opus of the Night (Ghost Requiem)
Midsummer’s Eve
Bloodmoon
NightSky
The Looking Glass
New Babylon
Willow
My Pantheon (Forevermore)
Ephemera (Outro)
KAMELOT will tour the world in support of The Awakening! See below for their upcoming European Awaken The World Tour dates.
KAMELOT Awaken The World Tour Europe – Part 1: w/ special guests Myrath, Eleine, League of Distortion
Mar 17, 2023 – Cologne, DE / Essigfabrik Mar 18, 2023 – Den Bosch, NL / Mainstage Mar 19, 2023 – Brussels, BE / La Madeleine Mar 21, 2023 – Hamburg, DE / Gruenspan Mar 22, 2023 – Roskilde, DK / Gimle Mar 24, 2023 – Oslo, NO / Sentrum Scene Mar 25, 2023 – Gothenburg, SE / Trädgårn Mar 26, 2023 – Stockholm, SE / Berns Mar 29, 2023 – Helsinki, FI / Vanha Ylioppilastalo Mar 31, 2023 – Tampere, FI / Pakkahuone Apr 1, 2023 – Oulu, FI / Tapahtumakeskus Tullisali Apr 3, 2023 – Tallinn, EE / Helitehas Apr 4, 2023 – Rīga, LV / Melnā Piektdiena Apr 6, 2023 – Warsaw, PL / Progresja Apr 7, 2023 – Prague, CZ / Meet Factory Apr 8, 2023 – Budapest, HU / Barba Negra
Spring/Summer Festivals:
May 4, 2023 – Karmøygeddon Metal Festival, NO – Headlining Sep 8, 2023 – ProgPower USA XXII, USA – Headlining
BLABBERMOUTH reports that “…Nässil shared a six-minute video in which she addressed some of the questions surrounding the departures of Mancini, Johansson and Lindgren as well as her decision to carry on with a new lineup. She said in part (as transcribed by BLABBERMOUTH.NET)…’Some stuff you read online and even now in some magazines is true and some stuff has more to it,’ she explained. ‘I mean, there’s a depth to what happened and it’s impossible to read in a few lines or a quote from someone. And I wanna assure you and tell you guys that I did my absolute best to work everything out between the old members. I think we should be conscious in what we’re saying and trust that I have done my absolute best for peace, love and rock and roll and I did everything in my power to work it out with the previous bandmembers…
“‘I’m thrilled to have Majsan back, who’s done hundreds of shows with me in THUNDERMOTHER. She’s the THUNDERMOTHER bass player. And I’m thrilled to have Linnéa Vikström, my friend since many, many years, on vocals. And we have a great new drummer we will announce soon. She likes great bands like CLUTCH, FOO FIGHTERS, BLACK CROWES and stuff like that, so a really groovy drummer. And I can’t wait for the future’…”
“Nässil went on to say that all the previously announced THUNDERMOTHER concerts ‘will happen. Not a single canceled show. Everyone has faith in THUNDERMOTHER and so should you…We are super stoked to tour with the SCORPIONS in Europe again and doing our own shows,’ she added…According to Filippa, the new THUNDERMOTHER drummer will be announced ‘within a week.’ She and her new bandmates are also ‘hoping to release a new song before’ they hit the road.”
With four studio albums, and countless, critically acclaimed live shows under their belt – including international tours with bands like SCORPIONS – it has become abundantly clear that THUNDERMOTHER truly embody the rock ethos. THUNDERMOTHER‘s latest album Black And Gold was recorded at Bagpipe Studios, Stockholm, and was mixed and mastered by Søren Andersen at Medley Studios in Copenhagen. The record is out now on AFM Records and available on vinyl, CD and digital formats.
SWEET & LYNCH, the musical union of vocalist/guitarist Michael Sweet (Stryper, Iconic) and guitarist George Lynch (Lynch Mob, The End Machine, ex-Dokken), have announced the long-awaited release of their third album, “Heart & Sacrifice” on May 19th. The combination of Sweet’s powerful, high-octane vocals and Lynch’s immediately recognizable guitar heroics once again prove to be an unbeatable combination sure to please the hard rock faithful. The first single from the album, ‘You’ll Never Be Alone’, is out today.
“I’m very pleased with the outcome of the new Sweet & Lynch album, “Heart & Sacrifice”. It’s diverse, complex and flows beautifully. Every song has something to say in its own unique way. George has always been one of my favorite players and it’s an honor to work with him again. It’s also an absolute pleasure working with Alessandro. We’re able to bring all our own contributions and contribute to create an amazing set of songs and I couldn’t be happier with the results. Get ready for “Heart & Sacrifice”!” says Michael Sweet
Sweet & Lynch first emerged with their debut album, “Only To Rise” in 2015. The album cracked the Billboard Top 200 and came in at #6 on the Top Hard Rock Albums, #17 on Independent Albums, #18 on Top Rock Albums, and #4 on Christian Albums charts. Their sophomore album “Unified” followed in 2017, landing at #53 Top Current Albums, #13 Top Current Rock Albums, and #8 Record Label Independent Current Albums on the Billboard charts. While plans for a third album were always on the table, the project went on a slight hiatus while the guys concentrated on their other musical endeavors. 2022 proved to be the year where the creative juices for Sweet & Lynch began to flow again and work on what would ultimately become “Heart & Sacrifice” began.
Alessandro Del Vecchio, who co-produced this release with Michael Sweet, plays bass on the album, while Jelly Cardarelli (Lalu) plays drums.
Michael Sweet helms the Grammy-nominated Christian hard-rock outfit Stryper, which he co-founded more than 35 years ago, as the band’s vocalist, guitarist, and main songwriter. To date, the band has more than 10 million career album sales worldwide. The venerable band ascended to prominence in the 1980s with Billboard Top 40 charting singles like “Calling on You,” “Honestly” and “Always There for You” and has in more recent years enjoyed an unparalleled career renaissance, delivering arguably the best albums of their storied career, including their 2022 album, “The Final Battle”. Michael has released multiple solo albums, including a self-titled release in 1994, which yielded five No. 1 singles, “Truth” in 2000, the critically acclaimed 2015 project “I’m Not Your Suicide” (peaked at No. 10 on Billboard’s Hard Rock albums), and 2019’s “Ten”, which reached No. 4 on Billboard’s Top Christian Albums chart. He recently partnered with Joel Hoekstra (Whitesnake), Nathan James (Inglorious), Marco Mendoza (Thin Lizzy, Whitesnake), and Tommy Aldridge (Whitesnake, ex-Ozzy Osbourne) in the supergroup Iconic, which was greeted with much adoration by rock fans around the globe.
George Lynch emerged from the ’80s hard rock scene with the L.A. based group Dokken and went on to become a world renowned guitarist. Aside from Dokken, he also enjoyed great success with Lynch Mob, the group he founded after leaving Dokken. Lynch has gone on to become a prolific (that is an understatement, to say the least) music creator, continuing with Lynch Mob, releasing solo albums, and a wealth of collaborative efforts over the decades. Those include, but are not limited to, KXM with dug Pinnick (King’s X) and Ray Luzier (Korn), The End Machine with Jeff Pilson (Foreigner, ex-Dokken), Mick Brown (ex-Dokken), and Robert Mason (Warrant), Sweet & Lynch with Michael Sweet (Stryper), Ultraphonix with Corey Glover (Living Colour), Dirty Shirley with Dino Jelusick (Animal Drive, Trans-Siberian Orchestra), The Banishment with Joe Haze, and many more.
“Heart & Sacrifice” tracklisting:
Heart & Sacrifice
Where I Have To Go
Miracle
Leave It All Behind
You’ll Never Be Alone
After All Is Said And Done
Give Up The Night
Will It Ever Change
It’s Time To Believe
Every Day
It Rains Again
World Full Of Lies
Line-Up: Michael Sweet – lead vocals, guitars George Lynch – lead guitars Alessandro Del Vecchio – bass Jelly Cardarelli – drums
Produced by: Michael Sweet & Alessandro Del Vecchio Executive Producer/A&R: Serafino Perugino
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