Killswitch Engage – Jesse Leach, vocals; Adam Dutkiewicz, guitar; Joel Stroetzel, guitar; Mike D’Antonio, bass; and Justin Foley, drums – released their latest album THIS CONSEQUENCE on February 21, via Metal Blade. Get it here. The album arrived alongside a hugely successful Winter/Spring 2025 tour, yielded a Top 10 single with “I Believe,” and landed the band on the covers of Revolver and Outburn.
The album was another reminder of why KsE, who have earned several gold and platinum certifications alongside three Grammy nominations, remain one of the most enduring bands of the modern metal scene.
Today, the band proudly shares the evocative video for “Aftermath.” For this video, KsE collaborated with some of the world’s leading environmental groups to highlight damage being done to Earth and things we can all do to help stop it.
Watch the video, produced and directed by Good Eye: Music Visuals, here.
“‘Aftermath’ is a song about the realization of a tragic event or a war, and the strength it takes to rebuild and the hindsight of the loss, betrayal, and madness that transpired while going through it all,” Leach explains. “I think we can all relate to this in one way or another. We see daily the tragedies of humanity as well as the destruction of a place we call home. We have taken so much from our planet and ripped the scales in the incorrect direction.”
The singer continues, “This song is not just a desperate song with a sense of sadness and anger – it is a call to arms. I’m urging my fellow humans to rise above the helplessness and despair. I want people to see we need to put one foot in front of the other and start to rebuild our lives. Be it from an abusive relationship, a financial hardship, a death of a loved one, or mourning yet another disaster unleashed upon the natural world.”
Leach finishes, “We all have power to create change. To me, this works perfectly with the various organizations we partnered with for this video. We all have a responsibility to the amazing place we call home. All of us can make a difference big or small by just contributing to righting the wrongs and repairing the damage we have inflicted on our planet. Our hope is to inspire others to help contribute to keeping our home safe and clean for future generations. It starts right here and right now with us.”
Learn more about how you can help at the links below and here.
KsE will return to the road this week on the massive Summer of Loud Tour, co-headlining alongside Beartooth, I Prevail, and Parkway Drive. All dates are below. Get tickets here.
KILLSWITCH ENGAGE ON TOUR WITH SUMMER OF LOUD: 6/21 – West Palm Beach, FL – iTHINK Financial Amphitheatre 6/22 – Tampa, FL – MIDFLORIDA Credit Union Amphitheatre 6/24 – Atlanta, GA – Lakewood Amphitheatre 6/26 – Dallas, TX – Dos Equis Pavillion 6/27 – Austin, TX – Germania Insurance Amphitheater 6/28 – Houston, TX _ The Cynthia Woods Mitchell Pavilion 7/01 – Phoenix, AZ – Talking Stick Resort Amphitheatre 7/02 – San Diego, CA – Gallagher Square at Petco Park 7/05 – Irvine, CA – Great Park Live 7/06 – Concord, CA – Toyota Pavilion at Concord 7/08 – Salt Lake City, UT – Utah First Credit Union Amphitheatre 7/09 – Denver, CO – The JunkYard 7/11 – Somerset, WI – Somerset Amphitheater 7/12 – Green Bay, WI – Capital Credit Union Park 7/13 – Tinley Park, IL – Credit Union 1 Amphitheatre 7/15 – Toronto, ON – Budweiser Stage 7/16 – Clarkston, MI – Pine Knob Music Theatre 7/18 – Mansfield, OH – Inkcarceration* 7/19 – York, PA – York State Fair* 7/20 – Wantagh, NY – Northwell at Jones Beach Theater 7/22 – Mansfield, MA – Xfinity Center 7/23 – Camden, NJ – Freedom Mortgage Pavilion 7/24 – Holmdel, NJ – PNC Bank Arts Center 7/26 – Bristow, VA – Jiffy Lube Live 7/27 – Charlotte, NC – PNC Music Pavilion *Festival
THIS CONSEQUENCE TRACK LISTING: “Abandon Us” “Discordant Nation” “Aftermath“ “Forever Aligned“ “I Believe“ “Where It Dies” “Collusion“ “The Fall of Us” “Broken Glass” “Requiem”
ABOUT KILLSWITCH ENGAGE: Killswitch Engage first shook the structure of heavy music upon climbing out of snowy industrialized Western Massachusetts in 2000. A musical outlier, the band pioneered a union of thrashed-out European guitar pyrotechnics, East Coast hardcore spirit, on-stage hijinks, and enlightened lyricism that set the pace for what the turn-of-the-century deemed heavy. 2002’s Alive Or Just Breathing became avowed as a definitive album, being named among “The Top 100 Greatest Metal Albums of the Decade” by Decibel and celebrated by everyone from Metal Hammer to Revolver. Not only did they bust open the floodgates for dozens to follow, but they also garnered three GRAMMY® Award nominations in the category of “Best Metal Performance” in 2005, 2014, and 2019, respectively, a gold certification for The End of Heartache [2004], and a platinum certification for As Daylight Dies [2006]. The group landed three consecutive Top 10 debuts on the Billboard Top 200 with Killswitch Engage [2009], Disarm The Descent [2013], and their career high best bow at #6 with Incarnate [2016]. The latter two releases, along with 2019’s Atonement, would also both capture #1 on the Top Rock Albums and Top Hard Rock Albums charts. The band’s total streams are nearing 3 billion to date, while they’ve remained consummate road warriors who’ve sold out countless headline tours and have shared stages with everyone from Iron Maiden to Slipknot to Slayer to My Chemical Romance to Mastodon to Parkway Drive, which is a testament to their ability to cross genres and appeal to all fans of hard rock. KsE have remained a featured attraction at every major North American and European festival through the years. The band is celebrating an astonishing, 25-year career as one of the most vital and genre-defining bands of the ’00s and continues its incredible legacy.
Progressive death metal duo ENTHEOS are very pleased to announce their first ever North American headlining tour! The month-long journey begins on October 30th in New Orleans, Louisiana and runs through December 6th in Nashville, Tennessee. Support will be provided by Fallujah, The Zenith Passage, and Tracheotomy.
Comments vocalist Chaney Crabb, “We’re incredibly excited to announce our first ever headlining tour in the United States and parts of Canada. As a band, we have looked forward to this moment for a very long time, and to be able to bring along our friends in Fallujah, The Zenith Passage and Tracheotomy is a dream come true. We look forward to sharing a very special set with all of you, and are confident that from start to finish this will be one of the best metal shows of the year. See you soon.“
Tickets are on sale now at: entheosofficial.com. See all confirmed dates below.
ENTHEOS w/ Fallujah, The Zenith Passage, Tracheotomy: 10/30/2025 Southport Hall – New Orleans, LA 10/31/2025 The Secret Group – Houston, TX 11/01/2025 The Rail – Ft. Worth, TX 11/02/2025 Come And Take It Live – Austin, TX 11/04/2025 Launchpad – Albuquerque, NM 11/05/2025 Nile Underground – Mesa, AZ 11/06/2025 Brick By Brick – San Diego, CA 11/07/2025 The Moroccan Lounge – Los Angeles, CA 11/08/2025 Backstage Bar – Las Vegas, NV 11/09/2025 Neck of The Woods – San Francisco, CA 11/11/2025 Dante’s – Portland, OR 11/12/2025 El Corazon – Seattle, WA 11/13/2025 The Big Dipper – Spokane, WA 11/14/2025 Metro Music Hall – Salt Lake City, UT 11/15/2025 HQ – Denver, CO 11/16/2025 Bottleneck – Lawrence, KS 11/18/2025 Lefty’s – Des Moines, IA 11/19/2025 Cabooze – Minneapolis, MN 11/20/2025 Reggies – Chicago, IL 11/21/2025 Sanctuary – Detroit, MI 11/22/2025 Lees Palace – Toronto, ON 11/23/2025 Foufounes – Montreal, QC 11/25/2025 Palladium (Upstairs) – Worcester, MA 11/26/2025 Empire Underground – Albany, NY 11/28/2025 The Meadows – Brooklyn, NY 11/29/2025 Underground Arts – Philadelphia, PA 11/30/2025 Hangar 1819 – Greensboro, NC 12/02/2025 Orpheum – Tampa, FL 12/03/2025 Conduit – Orlando, FL 12/04/2025 Masquerade (Purgatory) – Atlanta, GA 12/05/2025 Eulogy – Asheville, NC 12/06/2025 The End – Nashville, TN
ENTHEOS released their An End To Everything EP last Fall via Metal Blade Records. “An End To Everything’s title and lyrics are significant on a personal level and depict an era in my life that ended with the death of a close friend because of addiction,” says Crabb. “This person had thrived in life against many odds but ultimately succumbed as a result of their own poor decisions. An End To Everything is about the nature of the darkness of life and the human experience.
“Musically, our goal on this EP was to write five songs that could both stand on their own as singles and be cohesive as a collection. As always, we aimed to incorporate many different musical influences and blend them in a succinct way. Over the span of three months, we worked from the demo stages to completion alongside Mark Lewis (The Black Dahlia Murder, Fallujah, Whitechapel), who co-produced and engineered the EP, to make five tracks that are uniquely ‘ENTHEOS,’ and we are incredibly proud of the result.”
Watch the band’s previously released videos for the EP’s title track, “Life In Slow Motion,” “All For Nothing,” “A Thousand Days,” and “Return To Me” HERE.
Charismatic Infected Rain frontwoman LENA SCISSORHANDS recently teamed up with Vervain St. Project on a brand-new solo single “Believe” – now available to stream in colorful yet cryptic music video form! The track hits with radio-ready hard rock energy, chock full of swaggering guitar riffs, melodic hooks and haunting atmosphere. The “Believe” music video was filmed at ArtStage Studio in Chisinau, Moldova and directed by Vadim Ojog – who also edited and managed cinematography for the video.
With lyrics co-written by Lena and Denis Magazov, “Believe” showcases an alternate side of Lena’s abilities, delving into the charismatic frontwoman’s more accessible stylings. Fans will recognize Lena as lead vocalist of multinational metal unit Infected Rain, who have succeeded with impactful albums such as 2024’s TIME (#4 US Hard Music Albums), which was dubbed “exceptional” by Blabbermouth and their “strongest album to date” by Metal Hammer DE.
LENA SCISSORHANDS on “Believe”:
“BELIEVE is my first collaboration with the Vervain St. Project team. I was quite nervous at first, but seeing the final result, I couldn’t be happier. The song is catchy and speaks to a wide audience, allowing everyone to find their own meaning in it. I’m proud of what we created together!”
Ever since they came rumbling down from the Blue Ridge Mountains, it was clear that Bask are cut from a different neck of the woods than their fellow Southern trailblazers.
“It’s really exactly what you want from a musical artist”, Heavy Blog is Heavy wrote about the band’s previous album, “a group of people creating their own sound that isn’t aping anyone”.
The climb to reach album number four wound up taking the Asheville natives on one hell of a trip. But The Turning takes Bask’s homebrewed Heavy Americana to a new dimension. While its lead singlestarts with boots firmly planted in familiar metallic pastures, “Dig My Heels” leaps into the great beyond thanks to a gentle nudge from the band’s newest member.
“We’ve been through so many trials and tribulations together over the past five years”, Bask says. “We were knocked down by COVID, then by Hurricane Helene. Seeing this album finally come to light is therapeutic for us. The Turning is Bask at our finest. It’s our most cohesive and heartfelt effort, an ode to our mountain home in the sky”.
The Turning comes out August 22, 2025 on Season of Mist.
To kick off this heavy and heady new frontier, Bask are touring the East Coast later this summer. Hear them play “Dig My Heels” and other songs from The Turning during the album’s opening run out on the road.
The Turning 2025 East Coast Tour August 20 – Atlanta, GA @ 529 August 21 – Savannah, GA @ El Rocko August 22 – Asheville, NC @ The Orange Peel August 23 – Raleigh, NC @ Chapel of Bones August 24 – Richmond, VA @ Fuzzy Cactus August 26 – Philadephia, PA @ MilkBoy August 28 – Searsport, ME @ Starboard Lounge August 29 – Providence, RI @ Parlour August 30 – Wallingford, CT @ Cherry Street Station August 31 – Boston, MA @ O’Briens
For as long as they’ve been together, Bask have called The Land of the Sky home. “We’ve been a band longer than we’ve been with our spouses”, says bassist Jesse Van Note. The Turning is still rooted in Appalachia’s rugged terrain. The album was recorded at Echo Mountain Recording with producer and fellow Asheville fixture Kenny Harrington, who’s also worked alongside Manchester Orchestra. “Dig My Heels” quickly settles into a sunbaked groove with riffs that are as chiseled as red clay. But once drummer Scott Middleton takes the reins, the band’s new single bounds off in a proggier direction.
“This song stemmed from Scott calling me out”, laughs guitarist Ray Worth. Instead of following Worth’s headbanging leads, the band let Middleton’s sideways gallop be their guide. “There’s nothing wrong with playing in 4/4”, Middleton acknowledges, “but if you’re not exploring, then you’re missing out on a world of opportunity”. As “Dig My Heals” rounds the corner into the chorus, what should appear but a country field of paisley countermelodies.
“We all like heavy music and half us grew up around folk and bluegrass”, says vocalist and co-guitarist Zeb Wright, “but The Turning leans into that mix even further”.
Despite the global pandemic and a natural disaster hitting their hometown, Bask have grown by literal leaps and conceptual bounds on The Turning. While they’ve have always been a tight-knit group, this is the band’s first album to welcome Jed Willis as an official member. Granted, Willis was already part of their orbit, having put a bow on their last album and chipped in on tour with merch and driving duties. But while a light touch, his reassuring presence launches “Dig My Heels” into the stratosphere. Floating amidst a constellation of twinkling chimes and keys that fall like stardust, his pedal steel softly swirls with all the colors of the Milky Way.
“That part just sort of flowed out of me”, Wright says about the single’s mesmerizing middle section. “It was when we were working on ‘Dig My Heels’ that I first asked Jed to lay some steel down on this record. But after hearing how he opened up a new dimension within this song, I felt like we could have him play all over The Turning. The songs were twangy but also spacier and more psychedelic than anything we’ve done before”.
“These guys have become friends and brothers to me over the past decade or so”, says Willis. “Our music journeys have become intertwined, creating a solid and welcoming foundation that made my transition into the band feel like a natural next step for all of us”.
Adding a headier dose of heaviness also influenced the concept behind The Turning. The album’s story arc truly straddles the fence between cosmic and country with a 40-minute saga that spans not only genres but generations in man’s never-ending quest for immortality. “Dig My Heels” marks its first major turning point. “When you’re riding with death / no one’s following“, remarks its mysteriously ageless gunslinger before riding off into the intergalactic void with our spurred heroine in hot pursuit. But despite being admittedly “out there”, the album’s dwellings on family, aging, death and rebirth hit close to home. Cosmic scale tipped by Van Note’s heaving bass line, the song ends by crashing down with all the supernatural force of a waterfall on Mars.
“The Turning was a challenge”, the band says, “but we weathered the storm and came out the other side with a beautiful album that sounds like Bask”.
The video for “Dig My Heels”was created by Humanoire.
Tracklist 1. Chasm (1:30) 2. In the Heat of the Dying Sun (4:57) 3. The Traveler (4:06) 4. The Cloth (4:12) 5. Dig My Heels (5:33) [WATCH] 6. Unwound (7:02) 7. Long Lost Light (6:52) 8. The Turning (6:33)
Psychedelic rockers have wrangled with the laws of spacetime since time immemorial, but for Bask, the past half decade has felt like falling through a prolonged series of black holes.
Before the pandemic knocked 2020 for a loop, the band were all set to traverse North America’s dusty ol’ trail with kindred spirits Elder. Flash forward roughly four years and they were fixing to tour Europe when another disaster struck their idyllic mountain town. The climb to reach album number four wound up taking one hell of a trip. But on The Turning, Bask bring Heavy Americana to a whole new dimension.
“The past five years have been challenging for all of us”, the band says. “So seeing this album finally come to light is therapeutic. The Turning is Bask at our finest. It’s our most cohesive and heartfelt effort, an ode to our mountain home in the sky”.
For as long as they’ve been together, Bask have called Asheville, North Carolina home. Drummer Scott Middleton and axeman Ray Worth were already jamming up a storm, when in 2013, they tag teamed with bassist Jesse Van Note and vocalist/guitarist Zeb Wright after the two arrived in The Land of the Sky. “We’ve been a band longer than we’ve been with our spouses”, Van Note acknowledges with a gold-toothed smile of appreciation. And yet, after 12 years in the same city, Bask still sound of their own time and place. Sharing bills with High on Fire, Black Tusk and Weedeater has led some metal archivists to peg them as stoners, though it was clear right away that these trailblazers were carved from a different neck of the woods.
“I’m quite sure I haven’t heard anything like it”, Metal Storm admired after filling up on Bask’s first full-length American Hollow. Second helping Ramble Beyond expanded the band’s homebrewed heaviness into crushing peaks and leaf-strewn valleys. “It’s tuneful, heavy, full of heart and soul and wanderlust” noted Invisible Oranges before adding, “and above all, a killer fucking rock album”.
“It’s really exactly what you want from a musical artist: a group of people creating their own sound that isn’t aping anyone”, Heavy Blog is Heavy sang in praise of the aptly titled III, which took a more snow-sheened path at the direction of Matt Bayles, who’s served as studio sherpa for Pearl Jam, Mastodon and Minus the Bear. “This is the kind of band you want to see grow”.
Bask continue to grow by literal leaps and conceptual bounds on The Turning. “I think that’s where the magic is for us”, Van Note muses. “We’re not put in a box”. Following a retreat to Echo Mountain Recording with producer Kenny Harrington, the band have returned with a concept album that truly straddles the fence between cosmic and country. “Zeb did a lot of work behind the scenes to help Kenny bridge the gap between the polish of our last record and the warmth of Ramble Beyond“. In the spirit of a Hollywood Western, the opening track sets a sizzling scene. Distant cries of trumpet stir beneath ominous drone, as if blown with the wind through a mountain chasm. Only then, like a lone ranger, does “In The Heat of the Dying Sun” appear over the blood moon horizon. “I was born to ride”, announces Wright with booming cleans as bass circles the wagons with the earthshaking force of an asteroid.
The Turning remains grounded in the natural-born sounds of Appalachia, which pokes its prickly head through the sludgier chords of “The Cloth” like a black bear swimming upstream. “We all like heavy music and half of us grew up around folk and bluegrass”, explains Wright, “but this album leans into that mix even further”. Despite starting with boots firmly planted in Tampa Bay death metal, lead single “Dig My Heels” strides through kudzu-covered fields of prog before bounding for the great beyond. “Scott called me out”, Worth laughs when asked about the song’s origins. “Instead of writing to my riffs like we’re known to do, his drumbeat took the reins on this one”.
“There’s nothing wrong with playing in 4/4”, Middleton admits, “but if you’re not exploring, then you’re missing out on a world of opportunity”.
While they’ve always been a tight-knit group, Bask’s immediate universe has also expanded. Granted, Jed Willis was already part of the band’s orbit, having helped put a bow on their last album. He’s also chipped in on tour with merch and driving duties, but The Turning welcomes him as an official member. “It’s hard trying to add someone when you’ve had the same four guys in a van for 12 years”, notes Van Note. Indeed, it’s a testament to their dyed-in-the-wool chemistry that the album’s initial thread was teased out in one go. Chugging riffs lock horns with a sideways galloping before folding seamlessly into pastoral space rock, though “Unwound” didn’t fully come together until laced with Willis’ aching bends of pedal steel. “He’s done a really good job of shining when we want that sound”.
“These guys have become friends and brothers to me over the past decade or so”, Willis says. “We’ve shared rehearsal spaces, explored new sounds and collaborated on various side projects. Our music journeys have become intertwined, creating a solid and welcoming foundation that made my transition into the band feel like a natural next step for all of us”.
“When we started writing The Turning, the songs were twangy but also spacier and more psychedelic than anything we’ve done before”, adds Wright, who also performs as the band’s lyrical scribe. “And so I asked myself, ‘What does this feel like? What do all these things come together and make?”
The answer? How about a 40 odd minute, sci-fi opus that stretches not just across dimensions but generations in man’s never-ending quest for immortality. “Sorry, this is gonna get a bit heavy”, Wright warns before walking us through the ins-and-outs of Bask’s latest yarn. Whereas the band’s previous treks were inspired by tall tales, The Turning spools forth from their own fantastical imagination. The album’s spurred heroine, known simply as The Rider, has her extraterrestrial world turned upside down by “The Traveler”, a mysteriously ageless gunslinger who needs her help getting out of Dodge. “Don’t be frightened of me”, he pleads, though the breakdown’s doomy, organ-provoked premonition suggests his intentions aren’t so honorable. Maze-like twists are revealed at every self-referential turns as the star-crossed outlaws try and outrun the changing of the seasons. However, despite being admittedly “out there”, the album’s dwellings on family, aging, death and rebirth hit close to home.
“We’ve been through so much together. We were robbed in Sweden. A tire literally fell off our van while we were driving”, Van Note reflects. “Because of COVID, we didn’t get together as much, either. We’re also older now and there are challenges and responsibilities that come with that. I have two kids. Some of us have bought houses. We’ve all been through marriages and different relationships. For things to snowball on top of the band one after another, it kind of had us feeling like maybe this was the end of our era”.
In fact, The Turning was almost lost to the sands of time. Bask finished tracking just a few weeks before Hurricane Helene reached Asheville. “It was terrifying”, Worth remembers. “We had a hard time getting in touch with each other. I climbed a hill to get cell phone reception. One of the guys was still unaccounted for the day before we were supposed to leave for Europe”. While they feel fortunate to have sustained just a flooded practice space, the storm’s aftermath did seep into the album’s mixing and mastering sessions with Alan Douches. “It would be naive to think that a life-changing event didn’t color the overall tone”. With a wearisome gait, “Long Lost Light” drifts through a ghost town haunted by salooning piano and high, lonesome fiddle until it’s swept like sawdust into the void.
“It’s the heaviest and most challenging song”, Wright says about the album’s emotional centerpiece. Though not the last song written for The Turning, it became the missing piece almost by design. “We worried it was going to be too hard for us to listen back to”, Van Note shares, a sentiment that Worth echoes. “You can feel the pain in every note”. But fellow Asheville native Franklin Keel helped them turn the tide with his deeply melancholic churns of cello. “The way Franklin bends the note, right as things get heavy”, Van Note points out, ” it acted like a release for us”.
When pressed, Wright stops short of concluding that The Turning has a happy ending. “Honestly, it’s almost in spite of that”, he responds in reference to the surprise family reunion that sets its final showdown in motion. If we’re left with a cliffhanger, then the myriad ways in which the albums keeps us guessing are perhaps fitting. After all, much like their hometown, the band are just starting to feel as if things are turning around. “Cleaning up our practice space was such an emotional experience. It was heart-wrenching but also heartwarming at the same time. It led us to re-appreciate each other and our community”. Just as our heroine discovers her hidden powers, the title track ends with the newly mounted five-piece stampeding toward the next frontier. “I danced through age and fire”, Wright belts, backed by everything Bask have always stood for: mountainous bass, tumbling drums, blazing leads, and a sunburst of pedal steel.
“Music is an emotional outlet, but at the end of the day, it’s also a way for us to hang out with our best buds”, the band says. “The Turning was a challenge, but we weathered the storm and came out the other side with a beautiful album that sounds like Bask”.
Line-up:Jesse Van Note – Bass Scott Middleton – Drums Ray Worth – Guitar Zeb Wright – Guitar/Vocals Jed Willis – Pedal Steel
Guest musicians Clay White – Trumpet Franklin Keel – Cello Alex Taub – Piano, Hammond B3 Organ
It’s been 45 years since the Fuzztones established themselves among New York City’s grooviest ghoulies, and the psycho-garage fuzzpunks are still walking the earth, still lithe as lillies, and as fresh as a newly dug plague pit.
Their last album, Friends and Fiends (also available on Cleopatra Records) found the Fuzztones joining forces with a host of sainted icons, from Junior Wells to Screaming Jay Hawkins; and dropping some delicious surprises as well – Ann Margret sings “Born To Be Wild”? Betcha never expected that.
And you probably weren’t expecting this one, either, as their new album Buried Treasure unearths a veritable cornucopia of squirming, squawking grave-grinding raves and hauls them screaming into the light.
“Most of the songs will… be familiar to hardcore Fuzztones fans” acknowledges, frontman Rudi Protrudi (still one of the best names in rock, by the way). But the performances most certainly won’t be.
“This collection is composed entirely of previously unreleased… kick ass studio versions, often recorded by line-ups differing from the ones who recorded them originally.”
Take the new single “I Never Knew” for example. According to Rudi, this organ-swirling slice of locked-in-the-garage claustrophobia is “one of only two songs (the other being ‘Don’t Speak Ill of the Dead’) that came to me fully-formed in a sort of audio hallucination while driving to rehearsal.
“I taught it to the band immediately, the original version appearing on the Fuzztones Action EP, back in 1990.”
A live staple for many years (there’s a great version on 1991’s Lysergic. Ejaculations live album), it was rerecorded for 2008’s Horny Hell. But, as Rudi puts it, not only should you “dig this new version,” you can rest assured that “there’s plenty more where this came from.”
There is indeed. Rudi continues, “While rummaging through my sorely-neglected attic recently, I stumbled across a recording simply entitled ‘rhythm tracks.’ My curiosity sufficiently aroused, I made a bee-line to my man cave, where I spent the next hour reviewing tracks I’d forgotten existed – in fact it wasn’t until the third or fourth song that I realized the source. These were the rhythm tracks for Horny As Hell, minus the vocals, horns and Hammond organ.
“The sound quality was excellent, and the mix was different than the final version, with a strong accent on the hard stereo guitar interplay of Lenny Svilar and myself. In other words, this shit ROCKED!!! Not only that, but there were enough smoldering tracks for two albums – easily!!
“I took the recordings into the studio, added brand new vocals and keyboard (contributed by current Fuzztones’ organist Nico Secondini) and presto! Buried Treasure!”
It’s weird, sometimes, to think that The Fuzztones have now been with us for probably longer than all their primal influences put together… weird, but also gratifying. Because, no matter how long you’ve been a Fuzzmaniac, they never stop stunning you, and they never grow old. Some of these songs are positively ancient Fuzztone history. But they could have been recorded just now.
And two of them actually were. “69” is a reworking, and long -established re-wording of the Sonics‘ classic, “Strychnine,” while “One Night Stand” is the band’s take on the 60s garage classic by the Grotesque Mommies, with a few lyric changes thrown in to coincide with the Fuzztones’ philosophy. It was recorded on tour in Spain last year by the current Fuzztones line-up of Rudi and Nic, plus Marcello Salis (lead guitar), Pablo Rodas bass) and Marco Rivagli (drums).
PATRIARCHS IN BLACK release “Celestial Yard”, the second pre-release single from the upcoming studio album ‘Home’ (out August 15th on Metalville).
Dan Lorenzo says about the song : “About a year ago, Mark Sunshine asked me to write something on acoustic guitar for him. I believe that night I came up with the opening notes to what became “Celestial Yard”. I finished the guitar parts a few days later and sent it off to Mark. Johhny Kelly played drums on it and Emma Smoler added violin. I love what everybody came up with, but I’m still blown away by Sunshine’s melody, lyrics and vocals. Yes, I know, we’re supposed to be a “heavy” band and this is mellow. I think it’s myfavorite song on the album. This is a crushing yet nuanced emotional heaviness, immersed in a beautiful musical array.”
Former Type O Negative/Danzig drummer Johnny Kelly and guitarist and riff writer Dan Lorenzo (Hades/Non-Fiction) founded PATRIARCHS IN BLACK at the end of 2021. Their debut single ‘Demon of Regret’ was released in January 2022 and the full album ‘Reach For The Scars’ was released in July 2022. Their second album ‘My Veneration’ was released in October 2023, followed by ‘Visioning’ in July 2024.
As with their previous releases, Dan and Johnny managed to secure some outstanding artists as guest musicians for their 4th longplayer ‘Home’.
Dan Lorenzo says about “Home”: “Did you ever see the movie Groundhog Day? Bill Murray is forced to live the same dayover-and-over. How boring, right? I love pizza, but I don’t want to eat it every meal. With our new albumyou will find our “usual” doomy riffs, but we also took some chances. There’s acoustic guitars, violin,flute and of course lots of heavy riffs. Diversity. It keeps things interesting.
I picked the title “Home” because as much as I love to travel, it’s always nice to come home.Johnny’s mom died last year. Some would say the Lord took her Home.Johnny and I recorded 17 new songs, but we couldn’t fit them all on this album.
We are honored that some of the best vocalists and bassists worked with us to lend their talents. We hope you love PATRIARCHS IN BLACK “Home”.”
“HOME” TRACK LISTING (incl. guest musicians)
Hymns for the Heretic –Written by Lorenzo/Thomas –Johnny Kelly drums –Dan Lorenzo guitars –Kyle Thomas vocals –Dave Neabore bass
The Call –Written by Lorenzo/Agell –Johnny Kelly drums –Dan Lorenzo guitars –Karl Agell vocals –John “JD” DeServio bass
Burn Through Time –Written by Lorenzo/Sunshine –Johnny Kelly drums –Dan Lorenzo guitar/bass –Mark Sunshine vocals
Frisson –Written by Dan Lorenzo –Dewey Bragg vocals –Johnny Kelly drums –Jonathan Eng viola –Eric J. Morgan strings
Kaos –Written by Lorenzo/Abe –Johnny Kelly drums –Dan Lorenzo guitars –Kelly Abe vocals –Bass Rob Moschetti bass
Storm King –Written by Lorenzo/Ferrara –Johnny Kelly drums –Dan Lorenzo guitar –Joe Ferrara vocals –Johnny Araya bass
Celestial Yard –Written by Lorenzo/Sunshine –Johnny Kelly drums –Dan Lorenzo acoustic guitar –Mark Sunshine vocals –Emma Smoler violin –Damon Trotta bass
Where You Think You’re Going –Written by Lorenzo/DMC –Johnny Kelly drums –Dan Lorenzo guitars –DMC vocals –David Freis vocals –Sarah Sovak vocals/flute –Damon Trotta bass –Jonathan Eng violin
Beline –Written by Dan Lorenzo –Johnny Kelly drums –Dan Lorenzo guitars –John Kosco vocals –Eric J. Morgan bass/string arrangement
Pointed Fire –Written by Lorenzo/Sunshine –Johnny Kelly drums –Dan Lorenzo guitars/bass –Mark Sunshine vocals –Emma Smoler violin
Enough Of You –Written by Dan Lorenzo –Johnny Kelly drums –Dan Lorenzo guitars/bass/backing vox –Lead vocals Frankie Diaz
Ready To Die –Written by Lorenzo/Abe –Johnny Kelly drums –Dan Lorenzo guitars –Kelly Abe vocals –Damon Trotta bass –Gang vox Kelly, Dan, JROD
Shadows Grasp –Written by Lorenzo/Traynor –Johnny Kelly drums –Dan Lorenzo guitar/bass –Rob Traynor Vocals
Sweet Blood –Written by Lorenzo/Sunshine –Johnny Kelly drums –Dan Lorenzo guitar –Mark Sunshine vocals –Iron Lou Strachan bass
Kimmo Kuusniemi’s ASA unveil the long-overdue release of "Collective Failure" + first music video for title-track! Check it out and stay tuned for more news! Click image to watch the video
Kimmo Kuusniemi’s SARCOFAGUS return with a Historic 2010 Concert Video Premiere on YouTube! Click image to watch the video
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Visionary artist KIMMO KUUSNIEMI's ANCIENT STREAMING ASSEMBLY (ASA) have released “Aurora Nuclearis”, a powerful 12-minute audiovisual experience, dedicated to the Late Keyboardist Esa Kotilainen. - Click image to watch the video
Click image to watch the video
Metal Shock Finland (World Assault ) 