Welcome to our “Psychedelic Lunch” series where wefind out how deep the rabbit hole really goes and explore music and musicians from the 60’s to today. Enjoy the trip!
Randall William “Randy” Rhoads (December 6, 1956 – March 19, 1982) was an American heavy metal guitarist. He was best known for performing with Ozzy Osbourne and the band Quiet Riot.
Rhoads first formed a band with Kelly Garni called Little Women. Kevin DuBrow was recruited into the band and they changed their name to Quiet Riot. The band became popular by playing in clubs in Los Angeles. By late 1976 they were signed to CBS/Sony Records.
Dana Strum contacted Rhoads to see if he was wanted to audition for Ozzy Osbourne’s new band. He asked his mother if he should join Osbourne’s band since he was still in Quiet Riot. She asked him if he would accept “an offer like this one” and Rhodes replied “Of course!”
He went to audition in Osbourne’s hotel room in Los Angeles with his guitar and a practice amplifier. As he started getting ready he was given the job. Osbourne was very drunk, and had fallen asleep during the audition. Rhoads remembered later, “I just tuned up and did some riffs, and he said, ‘You’ve got the gig’; I had the weirdest feeling, because I thought, ‘You didn’t even hear me yet'”.
Rhoads flew to England on the November 27, 1979. He stayed with Osbourne, his wife at the time Thelma, and their two children. After a short while, Lee Kerslake joined the band, which was at the time called The Blizzard of Ozz. The band recorded their debut album Blizzard of Ozz which was released on September 20, 1980 and became a success. Diary of a Madman, their second studio album, was recorded between February and March 1981. It was released on November 7, 1981.
Rhoads died on March 19, 1982. He was touring with his band at the time. While driving in their tour bus, the band stopped in Leesburg, Florida, to fix the bus’ air conditioner. Osbourne stayed asleep because he had been drinking heavily earlier in the evening. While stopped, their driver Andrew Aycock noticed an airstrip with small helicopters and planes. Aycock had previously worked as a commercial pilot. He decided to take a small Beechcraft F35 plane registered to a man named Mike Partin. He took it without Partin’s permission. He took keyboardist Don Airey and tour manager Jake Duncan for a flight. He took Rhoads and makeup artist Rachel Youngblood on for the second flight. Aycock tried to fly the plane very low over their tour bus, where the other band members were sleeping. He made two close passes but caused an accident on the third one. One of the plane’s wings had clipped the top of the tour bus. This broke the wing into two parts and sent the plane spiraling out of control. Both Rhoads and Youngblood were thrown out of the plane’s windshield by the initial impact. While traveling at about 150 miles per hour (240 km/h), the plane crashed into a nearby garage. All three passengers were killed instantly. They were burned beyond recognition from the fire of the plane. The only person to witness the accident was keyboardist Don Airey.
Written By Braddon S.Williams aka “ The Concert Critic”
On this date in history, 11/10/2021, my wife and I eagerly attended a sold-out show at The Black Circle in Indianapolis featuring Baroness. Anticipation and curiosity were running rampant in my brain as I wondered if this incredible band could top the life changing show that we had witnessed in 2019. The simple answer is “Yes, they did!” The more complex answer involved a number of factors…
1. There was no opening band at The Black Circle. This allowed Baroness to stretch out and play a longer show (one that was voted on by fans). No disrespect to the opener at the previous show we attended, but I really loved seeing Baroness in its purest form.
2. I was much more familiar with the Baroness catalog this time around. In 2019 I had attended just wanting to expand my musical horizons and check out a band I had been aware of but hadn’t really familiarized myself with.
After that show I quickly went back and purchased all their albums and explored the vast treasure trove of Baroness music.
3. Both venues we have caught shows at have been fantastic. However, The Black Circle is so intimate (capacity maybe 200 if packed in as tightly as possible) that there was a perfect storm of magical musical majesty happening. Oddly enough, we were standing almost directly in front of guitarist/vocalist Gina Gleason both times. Gleason and John Baizley (band leader/lead singer/guitarist) have this wonderful symmetry to their singing and playing that is such a beautiful thing to witness and hear. Their voices blend almost into a third voice when they harmonize, and their guitars build these tapestries of sound that are like cathedrals of almost heartbreaking beauty that suddenly rage into colossal riffs of crushing power. Equally important are the contributions of the terrific rhythm section;
Nick Jost pulls double duty on bass and keyboards, contributing tons of inventive grooves and ambience throughout the show, while drummer Sebastian Thomson plays super intelligent counterpoint to all the creativity bursting form this most exceptional band. Thomson can hit with the best of them, but he was fascinating to watch as he reacted and adjusted to all the myriad peaks and valleys of this challenging music.
Their dynamic range is staggering and inspirational, truly every shade of dark to light and a whisper to a scream is displayed throughout the performance. Our view of the entire band was perfection…every facial expression, all the interactions between all four Baroness members, and of course all the physicality and exuberance that are hallmarks of their passion for their music…in short, a concert experience of a lifetime.
I’ve been attending shows since 1976 and I’ve literally seen some of the legends of all time. I haven’t been this excited about a band in a long, long time. Baroness is an elite band, and I place them among the best of the best that I have ever seen. And I’ve seen a lot! But don’t take my word for it. By all means, go see for yourself…you can thank me later!
Welcome to our “Psychedelic Lunch” series where wefind out how deep the rabbit hole really goes and explore music and musicians from the 60’s to today. Enjoy the trip!
“Immigrant Song” is a song by the English rock band Led Zeppelin.
The “land of ice and snow” is Iceland, where the band played in June 1970. Robert Plant explained: “We weren’t being pompous. We did come from the land of the ice and snow. We were guests of the Icelandic Government on a cultural mission. We were invited to play a concert in Reykjavik and the day before we arrived all the civil servants went on strike and the gig was going to be canceled. The university prepared a concert hall for us and it was phenomenal. The response from the kids was remarkable and we had a great time. ‘Immigrant Song’ was about that trip and it was the opening track on the album that was intended to be incredibly different.”
One of the lyrics became part of Led Zeppelin lore. The line, “The hammer of the gods will drive our ships to new lands” got many of their fans referring to Zeppelin’s sound as the “hammer of the gods.” The phrase was used by author Stephen Davis as the title of a book about the band.
Led Zeppelin meant for this song to be somewhat humorous, relating their adventures on the road to the Vikings who fought the hordes to conquer new lands. They weren’t known as a funny band, so a lot of their fans took it quite seriously.
The hiss at the beginning is feedback from an echo unit. It was intentional.
Robert Plant’s love of history played into the lyric, as he was thinking about explorers like Marco Polo and how they must have felt in their travels. Just as he felt pressure to top the previous album, he wondered if these explorers felt pressure to find even better lands after a big discovery.Until the Zeppelin boxed set was released, the fan favorite “Hey, Hey What Can I Do” could be found only on the flip side of this single. In Japan, the single was mistakenly released with “Out On The Tiles” as the B-side. That one became a rare collectible.
The line, “Valhalla I am coming,” refers to Norse mythology. Valhalla is a hall in Asgard where the souls of fallen warriors are taken by the “Valkyries,” which are spirits of war who carry up heroes who have been slain. Only heroes are taken to Valhalla, where they will wait for their certain doom.
To get permission to use this song in the movie School Of Rock, the star of the movie, Jack Black, videotaped himself singing in front of a huge crowd of people, begging Led Zeppelin to let them use the song in the movie. They succeeded, and the song was featured in a scene where Black sings along to the tune when it comes on the radio in his van, which he is using to transport his students.
“It may seem corny, but it worked,” Jack Black said on the DVD. “The moral of the story is, Don’t be too proud to beg.”
Led Zeppelin opened their live shows with this song from 1970-1972.
This plays over the credits of the French TV series 50 Minutes Inside.
Trent Reznor, Atticus Ross, and Karen O covered this song for the 2011 film adaptation of The Girl with the Dragon Tattoo. It can be heard over the opening credits/title sequence.
The song soundtracks the trailer for the 2017 movie Thor: Ragnarok. The iconic opening riff kicks in while Cate Blanchett, a.k.a. Hela, the Goddess of Death, turns to the camera. The track continues to play as she wrecks havoc in Thor’s world.
Led zeppelin: The Immigrant Song. Album: Led Zeppelin III Released: 5 November 1970.
Written By Braddon S. Williams aka “The Concert Critic”
On this date in history, 11/8/2021, I made my first trip to the Emerson Theater in Indianapolis. Suicide Silence brought an “all ages” show to the landmark Indy venue, featuring Hudson Hill, Eye Of Malice, Death On Fire, and Voice Of Sylas.
Due to the status of the attendance being wide open, I was able to bring my oldest stepdaughter to this one, and she thoroughly enjoyed the experience. I have to admit to feeling pretty proud that she is cultivating an interest in heavier music as she gets older. Nothing that the opening four bands played was really reinventing the wheel for me, but they all played proficiently and with plenty of youthful enthusiasm. I can only hope they will develop their craft to the point where their songwriting can catch up to their playing level. Suicide Silence is one of the first metalcore bands I became interested in after catching their set on the inaugural Mayhem Festival back in 2008.
On that tour, they were the first band to take the stage, and they came out with a raw ferocity that demanded attention. I saw them once more with the charismatic Mitch Lucker fronting the band before his tragic early death, and then once again with new singer Hernan “Eddie” Hermida, formerly of All Shall Perish. I remember at the time feeling that Hermida had some big shoes to fill, as Lucker was not only a riveting performer, but much beloved by the band’s loyal fanbase, and he did a great job in my humble opinion.
Fast forward to this night eight years later and the new guy has grown tremendously in his role in Suicide Silence, delivering powerful vocals with a fierce, yet friendly demeanor as master of ceremonies to the band’s relentless attack. Musically, Suicide Silence brought the heat throughout their career spanning set, and still showing they’re not too old to windmill their considerable hair without missing a note. Although the Emerson doesn’t have the best sound system in the world, visibility is good from virtually any spot in the room; and these guys used all that space wisely. At one point they orchestrated a small but committed Wall Of Death from the small Monday night crowd, and they tossed in a partial cover of Korn’s Blind and appeared to really enjoy the reaction it received.
With a little work and some serious renovation money, the Emerson could be transformed into a much nicer facility, but the practice of staging all ages shows is a solid plus for this venue. I have already been back twice since this concert and will always carry a proud stepdad memory of my first time there. Suicide Silence played a killer set, and it is great seeing them still delivering on the powerful presence they established in their early days.
Welcome to our “Psychedelic Lunch” series where wefind out how deep the rabbit hole really goes and explore music and musicians from the 60’s to today. Enjoy the trip!
Edward Lodewijk Van Halen, was a Dutch-born American musician and songwriter. He was the main songwriter and guitarist of the American rock band Van Halen, which he co-founded in 1972 with his brother, drummer Alex Van Halen, bassist Mark Stone, and singer David Lee Roth.
The man began learning the piano at six years old, and he would meticulously remember his piano educator’s finger developments and built up his listening abilities until he could hear a record and replay it note for note. He guarantees that a few years, no one speculated that he really couldn’t peruse sheet music by any stretch of the imagination. In any case, Eddie credits his comprehension of old-style music for his capacity to compose melodies.
Van Halen has had incalculable manifestations, with eight unique individuals all through their just about 50-year history. In any case, they’ve additionally had a lot of personality changes, having initially been known as the Broken Combs when Eddie and Alex shaped a band in secondary school in 1964. With Eddie on violin and Alex playing sax alongside classmate Kevan Hill on cello, they played in school lunchrooms. The Broken Combs endured two years before they climbed a couple of indents on the hard rock scale.
In 1972 they considered themselves The Trojan Rubber Co, prior to changing to Genesis. Given the name Genesis was being utilized by a mainstream English band, they changed once more, this chance to Mammoth, yet again acknowledged it was being utilized, but this time by a more modest LA band. They, at last, chose Van Halen in 1974, supposedly determined by lead artist David Lee Roth, not both of the siblings notwithstanding the conspicuous connection to their family name. Obviously one of the other name choices was Rat Salade.
Van Halen and Gene Simmons connected up in 1977 after the Kiss artist watched them live with notable radio DJ Rodney Bingenheimer. Simmons would deliver a 10-melody demo tape for Van Halen, before their advancement self-named debut collection in 1978.
The gathering trusted the organization with Simmons would assist them with getting their break in the business at the end of the day it didn’t demonstrate productivity. In the midst of all that, Simmons is perceived to have needed them to re-name themselves once more, this opportunity to ‘Daddy Longlegs’ for reasons not uncovered. Quick version, Simmons couldn’t land a record bargain for Van Halen so they headed out in a different direction. They additionally shrewdly stayed with the name Van Halen.
They’ve generally been viewed as the hard rock band with notable guitar performances from Pasadena, LA. In any case, it’s regularly not realized that both Eddie and Alex were brought into the world in Amsterdam in the Netherlands and emigrated with their folks to the United States in their initial years.
The siblings’ dad, Jan, was really a Dutch jazz artist. Jan was a capable piano player, clarinetist, and saxophonist. In 1962, Jan and spouse Eugenia migrated the family to LA, empowered by stories from relatives who’d recently emigrated. They left with just 75 guilders which likened to around US$40 at that point.
Curiously, Van Halen’s melody ‘Amsterdam’ on 1995 collection ‘Equilibrium’ wasn’t really composed by the Amsterdam-conceived siblings, however rather by last lead vocalist Sammy Hagar.
At the point when you consider Van Halen collections, you typically consider “1984” given a portion of the singles which is included. Nonetheless, in spite of its widespread allure and life span, the collection never really figured out how to be number one on the Billboard diagrams in the USA.
The integral explanation was Michael Jackson’s “Spine chiller” couldn’t be knocked. It’s important, “Spine chiller” was delivered in December 1982, while “1984” turned out in January 1984, yet MJ’s collection sat number one on the Billboard outlines for a surprising 37 weeks, from February 26, 1983, to April 14, 1984. For five of those weeks, “1984” sat as number two however would never knock MJ off the best position.
Yet, Eddie can revel in the reality he gave the guitar in the huge hit “Beat It” on Jackson’s collection, which means he actually got that main spot.
It’s moderately notable that Eddie’s child Wolfgang joined the band in 2006, supplanting Michael Anthony as their bass player as a teen. Wolfgang, presently 29, remains part of the band right up ’til the present time.
Yet, what’s most secret is that the motivation behind his original name was to give recognition to Wolfgang Amadeus Mozart. The Van Halens experienced childhood in a melodic family and their dad Jan gave an old-style music foundation, which included presenting the young men to Mozart’s work.
Curiously, Eddie’s complete name is Edward Lodewijk Van Halen, with his center name out of appreciation for Ludwig Van Beethoven, as Lodewijk is the Dutch variant of the German name Ludwig. While Eddie began a musical gang, he generally had a connection to old-style music from his childhood and he passed that on, though in the name just, to his child.
At the point when you look into Van Halen on Spotify, you’ll track down some huge hits with in excess of 70 million streams, including “Hop”, “Panama”, “Runnin’ with the Devil”, “Hot for Teacher” and “Ain’t Talkin’ Bout Love”, so it’ll come as an astonishment to realize that lone “Bounce” went number one in the US.
Three of those previously mentioned songs of devotion fell off the beast hit collection “1984” with “Hop” standing out enough to be noticed on account of Eddie’s ludicrous guitar solo. “Panama”, “I’ll Wait” (both from “1984”), and “Finish What Ya Started” got as high as 13 on the Billboard outlines and number two on the Mainstream Rock Tracks list. Mainstream 1988 track “When It’s Love” got as high as five.
Eddie in the end lost his fight with the disease this week yet everything began in 2000 with tongue malignant growth. He accordingly went through a medical procedure on his tongue which eliminated 33% of it. He was astoundingly announced malignancy-free in 2002 however more as of late he experienced throat disease.
Known as a famously weighty consumer and smoker from his young years, Eddie really pointed the fault for his tongue disease at guitar picks. He guaranteed: “I utilized metal picks – they’re metal and copper – which I generally held in my mouth, in the specific spot where I got the tongue malignancy.
“I was smoking and doing a ton of medications and a great deal of everything. And yet, my lungs are thoroughly clear. This is only my own hypothesis, yet the specialists say it’s conceivable.” Either way, the passing of 33% of his tongue never influenced him musically.
It might come as a shock, yet Van Halen holds the imprint for the most generously compensated single appearance of a band in the Guinness Book of Records. In 1983, Van Halen showed up at the US Festival for an hour and a half, which merited a dazzling US$1.5 million. A few fans may contend this demonstrates Van Halen is the greatest musical crew on the planet.
Van Halen featured Heavy Metal Day of the three-day celebration coordinated by Apple fellow benefactor Steve Wozniak on Memorial Day Weekend in Southern California. They got front and center attention, and cash, in front of any semblance of David Bowie, Stevie Nicks, The Clash, and U2.
A radio broadcast sorted out that compared to Van Halen making $275 each second, however, Eddie reprimanded that remark when he addressed Guitar World years after the fact. “What he didn’t understand is that we put each penny of that into the creation,” Eddie said. “We didn’t make a f**king dime when it was all finished.”
It’s somewhat buzzword, however, Eddie and his entertainer first spouse Valerie Bertinelli ran into each other interestingly at a Van Halen show in Louisiana. Valerie wasn’t actually a major Van Halen fan either, rather hauled to the show by her sibling Patrick, before she caught Eddie behind the stage tuning his guitar. She said it was all-consuming, instant adoration.
“I took a gander at him and he took a gander at me and that was it,” she said. “My heart liquefied.” In a story like that from ‘A Star Is Born’, they got up to speed after the show and went through the late evening talking for quite a long time.
Valerie was then a moderately notable entertainer on mainstream US sitcom ‘One Day At A Time’, so Eddie before long moved in with her in the Hollywood Hills. They wedded not long after in 1981 but rather separated in 2007.
Written By Braddon S. Williams aka “ The Concert Critic”
On this date in history, 11/6/2021, the historic Vogue nightclub in Broad Ripple hosted a terrific triple bill of terror featuring GWAR, Napalm Death, and Eyehategod.
As fate (or luck…or both) would have it, my wife and I secured a spot right on the barricade, directly in the blood zone in front of the stage; but more on that later. I have to share a few words about the stage in order to set the mood for this piece.
When I originally learned of this gig, the New York hardcore band Madball was also on this bill, but for reasons unknown to me, they were not in attendance at The Vogue. This was probably for the best as there was barely a 3′ x 8′ (and I’m being generous with this estimate) patch of open space on that stage. I doubt that another drum kit would have fit up there, let alone any more amps and band members. Eyehategod eventually appeared in their tiny allowance of real estate and wasted no time in filling the airspace with their claustrophobic brand of sludge metal.
I had previously missed them way back in the mid ’90’s when they opened for Pantera, White Zombie, and Deftones, and have been looking forward to rectifying that situation ever since. Although they played a relatively short set, the New Orleans based swamp lords delivered a crushing display of down tuned brutality, both in pure sound and lyrical spewage.
Mike Williams alternated between friendly and full of hatred towards anyone who had the audacity to yell out during any silences between songs. His vocals were delivered in an agonizing combination of screams, roars, and generally sounded like he was in major pain squeezing these inhuman sounds out of his body. Jimmy Bower cranked out riff after riff of deliciously greasy sludge guitar mastery, and the whole thing was anchored by a frenetic rhythm section. In short, it rocked balls.
Following the harrowing horror of Eyehategod was the legendary English grindcore band, Napalm Death. After the previous band’s equipment was removed from the crowded stage, vocalist “Barney” Greenway and his colleagues somehow seemed to have the exact same tiny patch of stage to commandeer for their blistering attack on our senses.
Napalm Death are the antithesis of Eyehategod in sound and approach, while being equally ferocious in pure violence of their chosen style. In other words, these guys play FAST! I’m not sure how many songs they leveled the capacity audience with, but it was relentless from the moment they hit the stage, and hit it they did. Greenway never stopped moving, appearing to be having some sort of mental breakdown at times, running in place as if he could somehow escape his miniscule strip of stage. Barney delivered a few heartfelt speeches leading into songs, but for the most part Napalm Death just laid the hammer down and battered us senseless; and it was exhilarating. Bassist Shane Embury was fascinating to watch, also. He is a big guy who plays his instrument with what appears to be a surprisingly gentle touch with his picking hand, fingers brushing across the strings like manic butterflies. The sound coming out of his amps was colossal and crushing, in direct opposition to the illusion of delicacy.
All in all, the concert had been immensely enjoyable up to this point…and then GWAR appeared and took us into the frenzy of their intergalactic and apocalyptic vision of a metal show.
Shortly after we arrived, a guy who I had just met briefly at another show where his amazing band Drude played, walked up to me and told me he was playing bass for GWAR that night. I later discovered that Jordan Smith is from GWAR’s hometown (not the one in outer space, but Richmond, VA, their base on this toilet earth). This made the show even more fun for me, since we happened to be standing directly in front of the substitute Beefcake.
The Mighty GWAR is primarily known and notorious for their visual impact, but being in the front, I was able to really enjoy the music and marvel at how difficult it must be to play cleanly with not only the cumbersome costumes, but just the general chaos going on for the duration of the show.
My friend Jordan was a great Beefcake and the entire band was on point…respect. I am fairly new to the whole GWAR experience, having seen them at their latest two appearances at Riot Fest in Chicago, but my wife (who has seen them many, many times) told me that the best place to see them was precisely where we were set to experience them, from the front row at The Vogue. She couldn’t have been more correct! Seeing all the crazy costumes, theatrics, and the nearly constant dousing of the faithful with staggering amounts of stage blood of varying colors (not to mention fake urine and semen…yeah, I said semen!) was a thrill that needs repeating for certain.
We arrived with dry hair and clothes (I was sporting a white Lucifist shirt purchased from their badass lead guitarist, Van Smith) and by concerts end my shirt would never pass for white again! We took before and after pics and it is hilarious to see the transformation that occurs at a typical GWAR show.
Needless to say, this isn’t entertainment for everyone, but for those in my tribe, this was a show that delivered a variety of musical and visual styles. It would have been cool (and rather insane) if they could have squeezed Madball onto that stage, but I’m not gonna be greedy. GWAR at The Vogue ruled!
Neverworld Release Limited CD Single; ‘Midnights Abyss’
Metallers Neverworld return their symphonic-tinged brand of heavy metal to the forefront of the UK underground with their new limited single release ‘Midnight Abyss’.
Following a brief period of rejuvenation, the band have resurged with a new line-up and new music – ‘Midnight Abyss’ is the band’s first formal release featuring vocalist Frankie Arnold and guitarist Jonny Lang.
As ever, production of both the recorded music and accompanying video has been handled by the band via their imprint Dreamdemon Recordings; affording Neverworld the control to make their creative vision an exact reality.
‘Midnights Abyss’ will be released as a limited edition CD, featuring stunning three-panel artwork feature by story artist Andy Foster alongside several exclusive bonus tracks. ‘My Monster And I’ is an original track exclusive to the release, themed around the story of Jeckyll & Hyde. Meanwhile, opener ‘The Other Side Of Midnight’ serves as the first single from the band’s as-yet-untitled third album, set for release in Spring 2022 – ‘Call To The Fallen (Acoustic)’ and ‘Into The Abyss (Orchestral Edit)’ offer glimpses into the LP with alternate versions of upcoming tracks.
Three years on from the senseless violence of their second album, Graveyard Sessions, Manchester’s anti-heroes Wolfbastard are back! Walking the margins of civilised society and not giving a damn for your love or hatred, the belligerent beasts have returned with another chaotic platter of D-beat infused black metal, stained with the influence of crust punk and blackened hardcore. Everything has been turned up one more notch – the aggression, the speed, the violence, the attitude – and the result is the thirteen track nail bomb of Hammer The Bastards!Since bursting onto the scene in 2012 in an explosion of blood, beer and hate, Wolfbastard have established themselves as prime purveyors of the ugliest, grittiest most unrelenting sonic violence imaginable. Proudly and defiantly unacceptable, this band hit hard enough to punch through brick walls and have no regard for any collateral damage that may occur on their riff-fuelled rampage. Hammer The Bastards is the ultimate expression of their nihilistic destruction, the perfect distillation of their heavier than hell, irresistible metallic onslaught. Starting and ending in the tomb, from ‘Can’t Escape The Grave’ to ‘Graveyard Slag’, ‘Pissing On The Sacred Ground’ along the way, this is a one way trip to oblivion.
New label, Clobber Records, will loose the leash on the slavering Wolfbastard pack onJanuary 14th and Hammer The Bastards will be set free. Louder, harder and faster than ever before and just as up for the fight, Wolfbastard are ready to tear down anything that gets in their way. You’ll either be wielding the hammer or under the hammer – the choice is yours.
For more information on Wolfbastard click here Visit Wolfbastard on Facebook Visit Clobber Records here
Finland’s Amoth featuring Pekka Montin of Ensiferum on vocals are sharing their second single “It Aint’s Over Yet” off their forthcoming album “The Hour Of The Wolf”due out on January 28, 2022.
“This is a full-scale thrash attack with no mercy! This is about school bullying or bullying in general. We are totally against bullying! Unfortunately, it’s a thing that’s going on all around the world. Remember if you’re a bully that it may be over for you but it ain’t over for the victim. Things might get ugly if the bullied person decides to retaliate…” adds the band.
Amoth is a melodic progressive heavy metal band from Helsinki, Finland. Their third studio album “The Hour Of The Wolf” is a huge leap forward compared to their previous recordings “Revenge” (2016), “Crossing Over” (2011), “Wounded Faith (EP) (2008).
“This is by far our best album yet! Superior performances from all of the musicians. Much better production and songwriting. It’s not a fast-food album. Some of the songs are quite complex so it takes probably more than one listen to really get into!” comments Amothguitarist and main songwriter Tomi Ihanamäki.
Amoth’s roots are strongly founded on 80’s heavy metal, but branch out in different directions with elements from progressive rock, thrash, and even jazz brought to the table.
The new album features Pekka Montin of Ensiferum once again as the lead vocalist and for the first time, there are also keyboards on an Amoth recording. Fans can expect insane vocals and virtuoso-like playing from all members of the band. The nine songs are very diverse, taking sudden twists and turns into unexplored territory. Amoth even offers up two Steve Vai / Joe Satriani-style instrumentals on this new full-length with tracks “Wind Serenade Part I” and “Wind Serenade Part II”.
Amoth‘s new album “The Hour of The Wolf” is recommended for fans of Iron Maiden, King Diamond, Testament, Megadeth, Joe Satriani.
Track Listing: 1. Alice (4:46) 2. The Man Who Watches The World Burn (6:57) 3. Wounded Faith (4:31) 4. Wind Serenade Part I (2:02) 5. Wind Serenade Part II (5:20) 6. We Own The Night (5:34) 7. It Ain’t Over Yet (3:27) 8. Traces In The Snow (6:26) 9. The Hour of The Wolf (7:27) Album Length: 46:34
The Kasey Ferguson Show, which has been a staple of online radio in Canada since 2013 is proud to announce its new UK syndication on Radio Q and 121 Radio along with some special decade-themed episodes to air on Australian station Memphis Mayhem Radio 101.3FM in 2022.
RADIO Q CAMBERLEY (UK): http://www.radioquk.com/ (UK beginning on Sunday, Dec 5th at 10pm GMT / 5pm EST and every Sunday from then on)
121 RADIO (UK): https://121radio.com/ (Saturday, Nov 27th at 9pm GMT/4pm EST – The program will air every week in that time slot from then on. For the UK debut, Kasey has decided to air Episode 47 of his show in tribute to legendary photographer Mick Rock (David Bowie, Iggy Pop, Queen) who recently passed away. The episode features not only an interview with Mick but also Ryan Roxie, guitarist of Alice Cooper and rafter-shaking ruckus from the likes of Big Sugar, Greystone Canyon, Colin James, Void Vator, and Kat Meoz.
About: The Kasey Ferguson Show is an exciting and one-of-a-kind podcast that spins great music from a diverse array of genres (with a particular focus on hard rock and metal) and provides in-depth interviews with bands, songwriters, actors, athletes, authors, celebrities, comedians, and those behind the scenes.
Since it’s debut episode in March of 2013 many notable guests have appeared on The Kasey Ferguson Show including Rock N Roll Hall Of Fame inductees Dizzy Reed (Guns N Roses) and Reese Wynans (Stevie Ray Vaughan And Double Trouble, Joe Bonamassa), Grammy Award winners Alannah Myles, Jonny Lang and Eric Johnson, Olympic gold medalist Ross Rebagliati, Emmy award winning composer, Jeff Russo (Star Trek: Discovery, Star Trek : Picard, Fargo) , Simon Wright (AC/DC) , Alan Cross (Legendary Broadcaster and Host of The Ongoing History Of New Music), Bruce Kulick (KISS , Grand Funk Railroad) , John 5 (Rob Zombie, Marilyn Manson) , stunt driver and actor Kevin Waterman (Avengers : End Game, The Walking Dead, Fear Street trilogy) Tony Palermo (Papa Roach), Lexxi Foxx (Steel Panther), Dan “The Beast” Severn (UFC Legend and Hall Of Famer), John Corabi (Motley Crue), Tara Spencer Nairn (Corner Gas), Jonny “Two Bags” Wickersham (Social Distortion), Jason Smith (former NHL Captain), Kevin Martin (Candlebox) , comedian Jim Florentine (That Metal Show, Crank Yankers), Brad Roberts (Crash Test Dummies), Colin James, Ryan Roxie (Alice Cooper, Slash’s Snakepit), Bill Moseley (The Devil’s Rejects) , Linnea Quigley (The Return Of The Living Dead), Tony Moran (aka Michael Myers from the original 1978 film Halloween), Gordie Johnson (Big Sugar and Wide Mouth Mason), animation director Yvette Kaplan (Beavis And Butt-Head), Ken Sagoes (A Nightmare On Elm Street 3 and 4), internationally acclaimed artist Derek Hess, Bill Welychka (Muchmusic VJ), Tasha Reign (Porn Star and Penthouse Pet), Thom Mathews (Friday The 13th Part 6), Pete Agnew (Nazareth), legendary photographer Mick Rock (Queen, David Bowie, Iggy Pop), Grammy nominated producers Ulrich Wild (White Zombie, Pantera , Breaking Benjamin) and Michael Beinhorn (Soundgarden, Korn, Hole), Bif Naked, director Adam Marcus (Jason Goes To Hell : The Final Friday) , Dan and Sal Canzonieri of Electric Frankenstein, pro wrestling legends The Iron Sheik, “The Million Dollar Man” Ted DiBiase and Shane Douglas among many others.
Hosted and produced by the wise-cracking and often outspoken Kingston-based musician turned podcaster, Kasey Ferguson, this is an uncensored and raucous ride that speaks to those who are dissatisfied with what they hear on commercial radio. It’s Saturday Night Live meets Headbanger’s Ball, it’s Letterman for metalheads, it’s Mad Magazine for your headphones. It’s an irreverent, unpredictable and wildly funny program that Kasey himself describes as “craft radio”.
In addition to The Kasey Ferguson Show podcast, Kasey also hosted and produced a 25-episode radio version of The Kasey Ferguson Show, several interviews and a one-hour radio special for the terrestrial radio station, Amherst Island Radio 92.1 FM, a volunteer-run station serving the community in and around his hometown which streamed to the online world as well. This version of The Kasey Ferguson Show featured all-new content and became the most downloaded show on the station, a trend that continued even after the program went into reruns when he chose to leave the station in 2017.
Kasey then accepted an offer from internet station Q108, Kingston’s New Rock to produce a few specials, including the continuation of his annual Halloween series “The Haunted House Of Rock” which not only continues to this day but is often regarded by many fans as a staple of their Halloween celebrations each year.
Kasey is also an in-demand MC, hosting concerts, festivals, charity events, mixed martial arts contests, and horror conventions. He lent his musical talents to one of his past guests when he was tapped to compose and perform the theme song for UFC Legend Dan “The Beast” Severn’s MMA Promotion Dangerzone. Known to some for his writing as well, Kasey has written for several entertainment websites and magazines, the latest of which was penning a regular column, “Words From A Wild Card” and a cover story for 2nd Floor Sound Factory Magazine.
Most recently, Kasey created a custom program/station for The Cottage Coffee House in Westport, Ontario called “The Frothy Coffee Sessions” and began first-run syndication of The Kasey Ferguson Show in the US with the Ohio based rock station, KRMA Radio and in Canada with Hamilton, Ontario’s Alt Rock Radio.