The other day I heard a song that was absolutely pummeling and punishing and it put a giant smile on my face. That song is called “Endless” and it’s by the mighty, Black Magnet. If you aren’t familiar with Black Magnet you should change that. Black Magnet have been a favorite of mine since I heard them a few years back. Their 2022 album Body Prophecy, is an unsung masterpiece and they are one hell of a band. Black Magnet are one of a handful of industrial metal bands that have really put the genre back on the map. This new song “Endless” is as relentless as it is raw. It reminds me of Broken era Nine Inch Nails and Psalm 69 era Ministry. It’s heavy and chock full of electronic goodies to discover with each listen. Black Magnet’s new album, Megamantra, is set for release on Federal Prisoner June 27th, 2025. I know I will be picking this up for damn sure!
It’s only April and I believe I have found the album of the year. A couple weeks back I introduced you to the band Idle Heirs. I’ve been enthralled by this album from the moment I heard it in full. The singles definitely got me right off the bat as well. The 8 tracks on the album are some of the most gut wrenching, soul bearing and intense performances I’ve heard on record. Written by Coalesce’s Sean Ingram and Multi Instrumentalist/Producer Josh Barber, Life Is Violence, just set a new standard of what the “post-metal” genre should be.
I’ve mentioned in other reviews of mine that I don’t want to dissect each song as I feel that it truly takes away from the listeners experience of the album. The rawness, intensity and emotional charge that this album brings out of oneself is quite an accomplishment. It’s one of those albums that is like a mirror that responds back to you. The personal elements found throughout this album are eye opening and cut pretty deep. The way those emotions that are poured into these songs are enough to make you uncomfortable but, in a good way that is quite introspective. The vulnerability that Sean Ingram delivers on these songs is uncanny. The deeper you listen, the more you hear all the pain, anguish, remorse, sorrow and more in his vocal performance. I can only imagine how much more his live performance of this would be. I’ve seen Coalesce and this has got to be even more intense than that. There’s that word again “intense.” That’s truly what this album is. Musically Sean and Josh Barber crafted songs that not only are heavy in the traditional senses but, allowed for all the lyrical concepts to come to life through different instruments be it a simple shuffle on the drums, atmospheric soundscapes, sludgy tones, bright tones and a plethora of more. Life Is Violence is a great title for this album as that is a great summation of what this all sounds like.
When I first heard this band/album it immediately struck a chord with me. I don’t know what I was looking for at the time but, this was the one. For the past few weeks I’ve truly soaked this album up. It’s become one of those I can’t go a day without listening to it at least once. The eruption of brilliance that is poured out over 51 minutes is pretty astounding. I’d love to know more about the recording of this album because there are so many great nuances to it, that I’m just beyond curious to know. This is seriously one of those special albums that feels magical and for lack of a better phrase “Lightning In A Bottle.” What an incredible album and foundation to start with because, I sure hope this project keeps going. This is the power of music at its finest. The connection to a record and all that it brings. Thank you Sean and Josh for what you put into this to make what I truly consider to the the album of 2025!
I love when it’s been a long while since you’ve seen a certain band live, then you go to the show and it’s just what you wanted it to be and even a little bit more too, since it’s been that long in between shows. This past weekend I went to see Danzig (who I haven’t seen live since 2013) and one of my all time favorite bands, Down (who I haven’t seen live in almost 10 years) at The Forum. What a show it was too. Also playing this evening were Abbath (first time seeing them live) and Cro-Mags (didn’t catch them). The Forum over the last decade plus has really stepped up their game in terms of sound, and the shows they hold. Getting to see Down here was quite special (think the last time they played the Forum was when they were on tour with Heaven And Hell (Dio era Black Sabbath).
First band I saw of the evening was Abbath. It’s been a while since I’ve seen a black metal band play and they sure were good. I forgot that the main guy was also previously in Immortal. Abbath was a good choice for this show (just thought of this, why wasn’t this tour billed as the new Blackest Of The Black tour- I’ll have to inquire). It was nice to see Norwegian Black Metal still thriving and destroying. Though I didn’t see Cro-Mags, the 1, 2 punch of Hardcore Punk then Black Metal is quite the way to open a show.
Now the part that really got me, DOWN!!! I love Down. I actually get into arguments with people because I like Down more than I like Pantera. To me Down just has more substance and depth. There’s nothing like seeing Down live and firing on all cylinders. It’s truly a magical thing to see and hear. Playing songs mainly from their classic debut, NOLA, as well as a couple from their second album, Down had the crowd in the palm of their hand for the hour they were on stage. The moment they all took the stage and the first notes of “Lysergic Funeral Procession” began, you knew that you were in for one hell of a set. From there it was just classic after classic. It’s always a pleasure to hear favorites of mine like “Losing All,” “Ghosts Along The Mississippi,” one of the best Track One’s of all time “Temptation’s Wings,” and one of the best closers too in “Bury Me In Smoke.” I also love that during the “Bury Me In Smoke” Phil sang the a bit of “Nothing In Return (Walk Away)” and that absolutely was a special moment. I love that song. It’s so epic that it too should be played live! Down was on fire and everyone sounded killer. Watching Philip, Pepper, Kirk, Jimmy and Pat on stage truly having fun and ripping through a great set like that is why I love going to concerts and seeing my favorite bands, Down especially!
Danzig headlined this evening and by the time he went on and the lights went down, it was sure time for things to get a bit darker. It’s been a long time since I’ve seen Danzig live. The last time was probably the best Danzig show I have ever seen. This show is right up there though. There’s such a fun theatricalness to a Danzig show that it keeps you into it. Knowing his audience well, the set consisted of songs mostly from the first 3 albums with a few scattered ones from Danzig IV, Circle Of Snakes, and Deth Red Sabaoth. Personally I love Danzig III so getting to hear any of the songs from that album is a joy for me. The performance this evening of “How The Gods Kill” was great (you can watch it on the Audioeclectica Instagram page). Glenn is still one hell of a frontman and when he’s on like he was this evening, it’s pretty spectacular. Joining Glenn on stage was longtime Danzig collaborator and Prong’s Tommy Victor on guitar, Samhain’s Steve Zing on bass and Karl Rosquist on drums. Watching the crowd get into the show song by song was interesting. You could tell who knew more than just a handful of songs. Either way, it was a great bill all around.
DOWN Set List: 01) Lysergik Funeral Procession 02) Lifer 03) Hail The Leaf 04) Ghosts Along The Mississippi 05) Pillars Of Eternity 06) Temptation’s Wings 07) Stone The Crow 08) Eyes Of The South 09) Bury Me In Smoke
DANZIG Set List: 01) Skin Carver 02) Brand New God 03) Twist Of Cain 04) Evil Thing 05) Hammer Of The Gods 06) How The Gods Kill 07) Her Black Wings 08) Killer Wolf 09) Black Hell 10) Tired Of Being Alive 11) The Hunter (Albert King Cover) 12) Am I Demon 13) Not Of This World 14) Mother ENCORE: 15) She Rides 16) Dirty Black Summer 17) Do You Wear The Mark
It’s not everyday that you get to have a second career this far into your career. 5 years ago when Slayer hung it up (or so they said- I even remember telling my friend Justin at the last Slayer show, “Give them 5 years and I would bet they will be back playing festivals at least.”). Well that premonition came true right at the same time Kerry King announced his debut solo album, From Hell I Rise. Technically I could say it’s his second since Slayer’s last album, Repentless, was basically a Kerry solo album but, From Hell I Rise, gave us all another chance to keep riding the Slayer wave.
A few months before this show at the Fonda, I went with a few friends to see Lamb Of God and Mastodon on the Ashes Of Leviathan tour. On that tour they had Kerry opening up for them. While the set was short, it definitely led me to want to see the show when they came through as a headliner as they left a lasting impression on me.
Kerry King’s live band is one hell of a group of guys. First on vocals you have Mark Osegueda from Death Angel. Mark’s one hell of a vocalist and does a superb job here. Even with the moments that sound like Tom Araya, Mark really has come into his own with these songs. On drums you have the ferocious Paul Bostaph. We all know what he’s capable of. Then on bass you have Kyle Sanders. Who if you don’t know if the older brother of Mastodon’s Troy Sanders and was a part of bands like Bloodsimple, Hellyeah, Medication and more. Kyle has one hell of a thunderous low end delivery and the way he plays is outstanding. And on the other lead guitar is one of my favorite guitar players, Phil Demmel. Phil is an absolute beast on the guitar. The leads he added to Kerry’s songs take those ones to all new heights.
The live show for Kerry and company is quite intense as you’d expect. There is no shortage of aggression and heaviness permeating from the stage to audience. The Fonda in Hollywood is one of my favorite spots to see a show as it’s big but not too big and just intimate enough to feel like you are really close. Kerry’s set included all songs from the debut album like my favorites such as “Toxic,” “Shrapnel,” “Tension,” and “Residue” as well as 2 stellar Iron Maiden covers (“Purgatory and “Killers”), and a handful of Slayer songs including of course “Raining Blood.” Though it was cool to hear “At Dawn They Sleep” from Hell Awaits as well as “Disciple” from God Hates Us All. The band throughout the set was on absolute fire from the get go. The way Kerry and Phil play off each other is quite the the sight to see and hear. If you are missing Slayer, get yourself to a Kerry show and it will help with the withdrawls. One other thing before I close this out, I get that this is the Kerry King solo band now but, with a lineup of gents like this, I really hope that when it comes time to write the next album, these guys especially Phil Demmel, are brought in to write cause, if they do, I can definitely see the next album being one that just DESTROYS!
Review By: Brian Lacy (sorry no photos- was too into watching the show)
Set List:
01) Where I Reign 02) Rage 03) Trophies Of The Tyrant 04) Residue 05) Two Fists 06) Idle Hands 07) Repentless (Slayer Cover) 08) Toxic 09) Tension 10) Everything I Hate About You 11) Disciple (Slayer Cover) 12) Purgatory (Iron Maiden Cover) 13) Killers (Iron Maiden Cover) 14) Crucifixation 15) At Dawn They Sleep (Slayer Cover) 16) Shrapnel 17) Raining Blood (Slayer Cover) 18) Black Magic (Slayer Cover) 19) From Hell I Rise
One of the things I love most about bands that craft actual albums is the detail they put into it. Not just the music but also the subject matter and how it relates to certain topics and imagery. A few weeks back a band was brought to my attention and I’ve really been digging what they are cooking up. Allow me to introduce you to High Command. This band is more than just your regular metal band, they take it to another level. Taking their metal cues from the likes of Dio, Mercyful Fate, with a bit of Obituarty, a tinge of Bathory and a dash of Discharge, High Command have crafted a sound that feels fresh with a throwback sense. It’s something I like to call, “Epic Metal.” I know, just what we need, another sub-genre but, it fits. The bands latest and upcoming second album, Eclipse Of The Dual Moons, the band have upped their storytelling game and expanded upon where their first album left off. The band place themselves as omniscient narrators of the world they have created making for a very intriguing and visceral listening experience. It’s refreshing to hear a band like High Command take such time and pride to craft something on a deeper level than the atypical topics. I look forward to hearing where the band continues to go with this and evolve. Cheers to High Command on a well chosen path!
PRE-ORDER: High Command- Eclipse Of The Dual Moons:
There are a lot of bands out there that catch a lot of flack. Sometimes it is justified and others well it’s just unwarranted. Recently,while putting together some topic ideas for an upcoming podcast and radio show (stay tuned for that!!!), a thought crossed my mind. Why do people hate on Godsmack so much? I will admit that their name isn’t the most original and at times the lyrics are a bit juvenile but, Godsmack are a band that is absolutely necessary. Think of them more as a gateway band into heavy music. Godsmack are a really solid hard/heavy rock band, mixing bit of Alice In Chains and “Black Album” era Metallica. They emit a sense of accessibility and melody, that sometimes gets lost in translation as you delve into heavier genres. For someone that is young and is starting to get into “rock” music, a band like Godsmack is a great place to start.
The reason I mention all this and single out Godsmack, is because of how good their second album Awake is. They really stepped up their game from their debut. The sound of the album kept a “raw” edge to it, without sounding too polished. The songs were riff heavy but with a ton of groove to them. For a second record, the band shows a sense of maturity throughout the music written. You can tell on the first single “Awake” that they were trying to separate themselves from being lumped into the “nu-metal” tag, by adding guitar solos, and the song being 5 minutes long. “Sick of Life” and “Greed” are solid rock songs, minus the lyrics. Other tracks on the album like “Mistakes,” “Trippin,” “Forgive Me,” “Vampires,” “The Journey,” and “Spiral” really make this album as good as it is. The production on this album was top notch as well.
Godsmack delivered a solid heavy rock album, and continue to do so. Over the years, the juvenile lyrics have subsided and matured. Awake showed a range of songwriting. Songs that weren’t all about depression and hopelessness. Instead themes of reincarnation, and rebirth were very prevalent. The band also has a secret weapon in bassist Robbie Merrill. He has a feel to the way he plays that stands out. Guitarist Tony Rombola, is a student of the 70’s and early 90’s. He’s able to blend those two together just as Jerry Cantrell, but on a simpler level. Sully Erna, on this album started to come into his own. It wasn’t until their fourth album though, that he really found his own voice. The drums on this album are something else to be intrigued by. Tommy Stewart laid down some really great grooves. Though I will say, Shannon Larkin has really taken the songs from the first two albums and made them his own. He’s a true underrated drummer, that should get a ton more credit.
Say what you want about them but, know this, without bands like Godsmack, generations of kids wouldn’t get into heavier music. Take a listen to Godsmack’s Awake and just appreciate the music if anything.
In 2001 Rammstein released a masterpiece of an album called Mutter (Mother in English). The eleven songs on this album stretch beyond their normal hard pounding industrial metal sound. The band used the incorporation of strings in certain songs and added more melody throughout. There is also an underlying concept to the album as well. Rammstein has also been a band that has always come with a bit of controversy. For example the album’s cover image is a photograph of a dead fetus. One other fun fact before I delve into the album. During this time Rammstein appeared in the ever forgettable Vin Diesel film XXX. The band is seen in the opening scene, performing their song “Feuer Frei!”
The album kicks off with “Mein Herz Brennt (My Heart Burns).” Beginning with a delicate string section and Till Lindemann quietly and hauntingly speaking then the heavy comes crashing down. There is also a huge melodic swing that starts in this song and expands throughout the entire album. “Links 2-3-4 (Left 2,3,4)” is the typical type of song that Rammstein is known for. The guitar tone that is found throughout their albums shines big and bright on this album. Paul Landers and Richard Kruspe have a knack for heavy distorted guitars all the while playing with a steady hand that helps the clarity shine. “Sonne (Sun)” The churning guitar guides this song perfectly into a deeply melodic chorus. Also the keyboards by Christian “Flake” Florenz are very prominent on this song. “Sonne” is one of my favorite songs on the album. “Ich Will (I Want)” has a little bit of a dance vibe to it. Christian Schneider’s drums and Oliver Riedel’s bass balance each other out tremendously on this song. Showing the power of their rhythm section. “Feuer Frei (Fire At Will)” is another of the classic signature Rammstein songs. “Mutter (Mother)” is my favorite track on this album. It’s such an intriguing song. You can hear the passion in the voice and the way it’s written and played. “Spieluhr (Music Box)” is a very strange song and almost doesn’t fit, but musically it has some interesting parts. “Zwitter (Hermaphrodite)” has a very pulsating guitar riff, thrusting the song into familiar territory. “Rein Raus (In/Out)” has a similar feel to Du Hast but with more melody. “Adios (Goodbye)” is a gem of melodic goodness. Closing the album is “Nebel (Fog)” is one of the slowest, delicate songs Rammstein has ever created. There are moments that harken back to the textures of the song “Mutter.”
This album is one of those that you should play all the way through to fully grasp. There is something really intriguing and exciting about this album.
Tool is one of the most artistic, innovative and creative bands to come out in the past 25 years. Each of their albums have left a mark with rabid fans eating up everything that they do. Tool’s catalog though short is very deep. The subject matter of lyrics and the depths that the music creates is not for the weak. You can tell the amount of time they band spent working on the songs is worth every second. Maynard’s vocal approach is undeniable his own. Many have tried to copy him but don’t come close. Adam Jones has one of the more intriguing guitar tones and styles. Danny Carey’s drumming is said to be created by seances and summoning sprits, to which is very believable especially with the odd time signatures. Originally on bass Paul D’amour created a bass tone that ripped through the songs with such ferocity that it became the driving force of quite a few songs. Now Justin Chancellor has taken that sound and progressed it to an etherial place. A lot can be said for what their masterpiece is. Some will debate that it is Aenima or Lateralus, Undertow is an unsung Masterpiece. Songs like Intolerance, Crawl Away, Bottom, Flood, and of course Sober all have such a well of emotion and insight into the inner workings of Tool. A bit of history about the album, Undertow was recorded between October and December 1992 at Sound City Studios, and at Grandmaster Recorders, Hollywood, California, by Sylvia Massy. Some of the songs featured on the album are songs that the band decided to not release on Opiate. Henry Rollins makes a guest vocal appearance on the song “Bottom.”
Take a listen again and see what you’ve missed out the first few times you listened to Undertow.
