Swedish band KATATONIA has unveiled "Wind of no
Change," the final single from their upcoming album “Nightmares as
Extensions of the Waking State”, out this Friday via Napalm Records. The track
features a mix of electronic textures and enigmatic soundscapes, accompanied by
a music video.
Following their top-five chart success with “Sky Void
of Stars”, the band will tour Europe and the UK this fall with support from
EVERGREY, ending in Stockholm on December 20.
Vocalist Jonas Renkse says, “Receive our last single.
The album’s build-up is at its peak—sing praise!”
Power metal band WARKINGS drop their fierce new track
“Kings of Ragnarök,” the third single from their upcoming album “Armageddon”,
out July 4, 2025 via Napalm Records. The song tells tales of mythic destruction
with thunderous riffs and heroic chants, serving as a rallying cry for metal
fans.
Fans can catch WARKINGS live on the 2026 Pirates &
Kings tour across Europe with Visions of Atlantis.
Their Spartan frontman says, “When the world burns,
our warriors will stand together!”
Four years after their acclaimed album “Rage Of War”,
Belgian combat metal band FireForce is back with a fierce new song, “Battle of
Ramadi.” The thunderous track showcases the band’s signature blend of epic,
heavy power metal inspired by historical conflicts, war, and mythology.
Accompanied by a gripping music video, “Battle of
Ramadi” explores the chaos and frustration faced by soldiers during intense
combat. FireForce explains, “This one is about the battle between a regular
army and opponents who act like ghosts between the ruins, and don't fight by
the normal rules of engagement. And the frustration and emotions of the
soldiers involved.”
With their return, FireForce continues to deliver powerful
storytelling through heavy metal, capturing the brutality and heroism of war.
Fans can anticipate more electrifying releases from the Belgian band in the
near future.
Ted Nugent’s self-titled debut album, released in
September 1975, isn’t just the start of his solo career—it’s a full-throttle
declaration of independence. Coming on the heels of the breakup of The Amboy
Dukes, this record wastes no time in establishing Nugent as a force of nature.
From the first notes, it’s clear this isn’t a cautious debut—it’s loud, fast,
unapologetically aggressive, and proud of it.
This album didn’t just do well—it hit #28 on the US
charts and eventually went double platinum, with a gold certification in
Canada. That commercial success is only part of the story, though. What’s more
enduring is the reputation it built over time. Today, it’s considered a classic
of 70s hard rock, often mentioned in the same breath as early Van Halen,
Aerosmith, and AC/DC. And rightfully so. It’s raw, riff-heavy, and brimming
with the kind of sweaty, unfiltered energy that defined the decade.
“Stranglehold” is the standout—the centerpiece,
really. It’s nearly nine minutes long, but it never overstays its welcome.
Built on a hypnotic riff and a slow-burning groove, it lets Nugent stretch out
with a solo that’s part blues sermon, part psychedelic freefall. His use of
feedback, sustain, and dynamics feels alive, almost conversational. That he
played a Gibson Byrdland—an odd choice for hard rock—through Fender amps makes
his tone all the more unique. It’s sharp and biting, but also full and
expressive, rooted deeply in the blues.
That’s what often gets overlooked about Nugent:
beneath the wild man persona, the fur, the antics—there’s a blues guitarist
with real soul. Listen closely to his solos and you’ll hear it: the bends, the
phrasing, the vibrato. It’s there on “Stranglehold,” of course, but also
throughout the record, woven into the fabric of heavier songs like
“Stormtroopin’” and “Just What the Doctor Ordered.” These aren’t just vehicles
for showing off—they’re built around tight grooves and structured in a way that
still lets the guitar sing.
There’s a real connection between this album and the
early sound of heavy metal. It was 1975, and the borders between hard rock and
metal were still being drawn. You can hear Nugent stepping over those lines,
often within the same track. The riffs are heavier than what most hard rock
bands were doing at the time, the vocals are grittier, and the energy is
relentless. It’s not metal in the way Sabbath or Priest were doing it, but it’s
close—like a wild cousin who refuses to follow rules.
Lyrically, the themes are exactly what you’d
expect—and, in a way, exactly what you want from an album like this. It’s
rebellion, sex, speed, freedom, and volume turned all the way up. Songs like
“Motor City Madhouse” are tributes to a chaotic, loud life of rock and roll,
while “Hey Baby” doesn’t waste time with subtlety. This is Nugent leaning all
the way into his Motor City Madman image, full of swagger, confidence, and a
kind of primal charisma that’s hard to ignore.
And then, just when you think you’ve got the whole
album figured out, he throws in something like “You Make Me Feel Right at
Home.” It’s acoustic, warm, and—surprisingly—gentle. Cliff Davies handles the
vocals here, and it’s a nice shift in tone, both musically and emotionally. In
a weird way, it feels almost Beatles-esque. Not that it sounds exactly like
them, but there’s a kind of melodic grace and softness that recalls their more
introspective moments. It’s the kind of left turn that makes you stop and
reassess what the album is really capable of.
This album is more than a collection of songs—it’s a
statement. It’s the kind of record that captures a moment in time, not just for
Nugent, but for hard rock as a whole. There’s no hiding, no holding back. It’s
loud, brash, occasionally over-the-top, but also full of musicality and heart.
It’s not perfect—and it doesn’t want to be. That’s the point. Like a muscle car
roaring down a Detroit highway, “Ted Nugent” is all about power, attitude, and
the thrill of the ride.
Extreme metal band Cradle of Filth released their 14th
album, “The Screaming Of The Valkyries”, debuting high on charts worldwide.
They’ve now dropped a new music video for "Demagoguery," directed by
Shaun Hodson. The video depicts a puppet controlled by unseen forces,
symbolizing media and political manipulation, with dark, disturbing imagery.
The band kicks off their UK/European tour later this
week, supported by Nervosa. Fans can expect intense music and visuals from this
legendary act.
Virginia black metal band Winter Blood has launched
their new album, “Only Dust Remains”. Recorded and mixed by Manothanas (John)
at his home studio, the album features a dark, melodic blend of aggressive
black metal and classical influences, with layered synths and intense guitars.
Returning in 2023 with synth programming by Fogrim (Jason), Winter Blood
continues to craft a captivating, atmospheric sound. Fans
can stream the album now.
Το
συγκεκριμένο συγκρότημα δεινοσαυρικών διαστάσεων δε χρειάζεται συστάσεις. Ο
αειθάλητος Ian Anderson στη μουσική, τη φωνή και το φλάουτό του μας έχει
χαρίσει άπειρα πράγματα από το 1967.
Η
σκοτεινή περίοδος της δεκαετίας του '90 και για το progressive rock έμελλε να
είναι, με ελάχιστες εξαιρέσεις, ακριβώς αυτό… σκοτεινή! Αυτό το άλμπουμ σε CD,
δεν ξέρω γιατί, το πήρα τότε, στις αρχές του 2007, μαζί με σχεδόν ολόκληρο τον
κατάλογό τους από την EMI/Chrysalis, που κυκλοφόρησε σε remastered έκδοση.
Μάλλον γι' αυτό το λόγο μπήκε στο σπίτι και αυτό, μαζί με τα άλλα πιο κλασικά
τους άλμπουμ.
Ωστόσο,
το αγάπησα πολύ αυτό το άλμπουμ. Τα δύο πρώτα κομμάτια του, ο ομώνυμος
"Roots to Branches" και το ανατολίτικο "Rare and Precious
Chain", έχουν πια καθιερωθεί στη συνείδησή μου. Από εκεί και πέρα, το
άλμπουμ δεν απογοητεύει· αντιθέτως! Τα τραγούδια "Out of the Noise",
"This Free Will", "Valley", "Dangerous Veils",
"Wounded Old and Treacherous" και "Stuck in the August
Rain" αξίζουν και μάλιστα πολύ.
Ο
Martin Barre στην κιθάρα, ο Dave Pegg στο μπάσο, ο Andrew Giddings στα πλήκτρα
και ο Doane Perry στα ντραμς πλαισιώνουν τον Ian Anderson σε αυτό το ανέλπιστα
όμορφο άλμπουμ.
English:
Unstoppable and always interesting.
This particular dinosaur-sized band needs no
introduction. The indefatigable Ian Anderson, with his music, voice, and flute,
has given us countless treasures since 1967.
The dark period of the 1990s for progressive rock was,
with few exceptions, exactly that… dark! For some reason, I bought this CD back
then, in early 2007, along with almost their entire catalog from EMI/Chrysalis,
which was re-released in a remastered edition. Perhaps that’s why it found its way
into my home, alongside their other more classic albums.
Nevertheless, I loved this album very much. The first
two tracks, the title track "Roots to Branches" and the
Eastern-inspired "Rare and Precious Chain," have now become firmly
established in my mind. Beyond that, the album does not disappoint; on the
contrary! Songs like "Out of the Noise," "This Free Will,"
"Valley," "Dangerous Veils," "Wounded Old and
Treacherous," and "Stuck in the August Rain" are truly
excellent.
Martin Barre on guitar, Dave Pegg on bass, Andrew
Giddings on keyboards, and Doane Perry on drums round out Ian Anderson in this
unexpectedly beautiful album.
