By: Riley Rowe

Arkheth is an Australian experimental black metal act consisting of vocalist/multi-instrumentalist Tyrone ‘Tyraenos’ Kostitch, who performs everything besides the saxophone, done by Glen Wholohan. Additionally, the band’s album artwork was created by T Bare McClough and logo by Mark Riddick.

The project will be releasing its third album, 12 Winter Moons Comes the Witches Brew, later this month. We’re excited to exclusively premiere the fourth track on the album, “The Fool Who Persists In His Folly,” which harkens the immersive and layered black metal aspects of Arcturus, Oranssi Pazuzu, or Ihsahn. You can listen to the grim, yet gripping song below.

To check out more of the band and preorder the LP, click here. Also, be sure to look into more bands from the international label, Transcending Obscurity.

ARKHETH Brings Saxophone Chaos On “The Fool Who Persists In His Folly

A Taake show in New York City has been cancelled after pressure from local AntiFa groups. It should be noted that AntiFa is not a single organizational body, it is simply a term for “Anti Fascist.” There is no central governing body, anybody can say they are AntiFa. Some people who identify as AntiFa use extreme measures, which other people who identify as AntiFa do not agree with. Now that we’ve cleared that up, a group calling themselves New York City Antifa posted this tweet a few days ago:

You might be wondering why Taake is being targeted, and it all stems back to a concert the band played in Germany where the frontman Hoest painted a swastika on his chest. Below, you can see a photo.

Hoest has said on numerous occasions, when called out for this performance, that he was essentially being a troll, and does not believe in the ideology. Basically, since it is illegal to display swastikas in Germany, Hoest felt he was being “edgy,” and has said he has since regretted it. The band was allegedly also burning a German flag during the performance. As MetalSucks points out, though, he didn’t exactly use the most tactful language:

“Taake is not a political Nazi band […] everyone should know by now that our whole concept is built upon provocation and anything evil […] we truly apologize to all of our collaborators who might get problems because of the Essen swastika scandal (except for the untermensch owner of that club; you can go suck a Muslim!)”

The term “untermensch” is a term Nazis used to describe “a person considered racially or socially inferior.” Perhaps not the best time to use that term. Also, a phrase like “suck a Muslim” was probably not the best thing to say when trying to prove you are not a racist. Hoest would certainly say he hates Muslims, Jews and Christians equally.

After this was brought to the attention of the NYC venue, Le Poisson Rouge, they released a statement saying the show is cancelled.

“Please note that the Taake show scheduled for March 24th has been cancelled. We are providing full refunds to all ticket holders. Please email with any questions you may have.” We reached out to LPR too, and the venue’s marketing director gave us a statement that reads: “It is our mission to create a safe space for everyone in our community and this show does not meet that standard.”

AntiFa members in other parts of the country are reaching out to venues where Taake is playing and there may be further cancellations ahead. The Chicago venue is saying they are taking action to cancel the show.

Due to these allegations popping up again, Hoest has released a new statement, attempting to distance himself from the Nazi imagery:

“I have clearly explained many times throughout the years that me wearing a swastika once at a German concert was not at all meant to show support for the nazi ideology.

It was all about doing something extreme for the sake of it, which certainly backfired.

But it has now been 11 years and the band has even performed in Israel (!)

Anyway, similar incidents have not happened in Taake’s 25 year long career and will obviously not happen again. But certain parties seem to find this cold case unforgivable nevertheless, insisting on wilful misunderstanding.

So, once and for all, Taake is not a racist band. Never has been, never will be. Still claiming so is as ridiculous and unfounded as are the attempts at sabotaging our highly anticipated shows


TAAKE Show Cancelled Amid AntiFa Protests, Band Vehemently Deny Nazi Accusations

By: Chad Childers

Frazer Harrison/ Getty Images

As Ozzy Osbourne prepares for his final major tour, the question has come up about what might be part of his set lists and if there could be any special shows revisiting albums. While speaking with Rolling Stone, Osbourne was asked about the possibility of taking on Blizzard of Ozz for its 40th anniversary, but the singer shot down the idea.

“That was the thing for a while, to play the whole album, but I don’t write albums that way, so no,” said Osbourne. “When I make an album, I specifically record songs that I’ll never do on the stage. Like on Blizzard of Ozz, there are songs that I wrote never to play live, because the production was too heavy. I always do a ballady song, I always like to do a rock song and I like to do what I call album tracks. And I’ll do the ballady songs and the rock songs onstage, but the album tracks are just too over the top. But I suppose I could do one.”

While the revisiting a full past album may not be on the table, a new studio album for the future is a definite possibility. Osbourne said after his tour is complete, he’d like to do another disc. “I’d like to make an album,” said the singer. “I’ll be doing gigs from time to time. I just know I won’t be touring anymore.”

Osbourne stated that he has a number of ideas for the next album, but adds, “I’ve just got to sit down and work them out. There’s never enough time in this house.” The vocalist added that he also tries to rest his voice while on tour, so working on music while out on the road isn’t ideal either, so it’s possible that if he does do another album, it may not start until after the “No More Tours 2″ trek is complete.

The North American leg of the “No More Tours 2″ trek starts Aug. 30 in Allentown, Pa., though Osbourne does have a pair of U.S. festivals in late April and shows in South America, Russia and Europe this summer.

See all of his scheduled dates here.

Ozzy Osbourne Squashes Idea of Revisiting ‘Blizzard of Ozz’ Live for 40th Anniversary

By: Joe DiVita

Photo: Melina Dellamarggio

The shooting that claimed the lives of 17 at Marjory Stoneman Douglas High School in Parkland, Florida on Wednesday (Feb. 14) has reignited the long-standing debate about gun control in America. It was the 18th school shooting to take place in the country in 2018 alone and Pearl Jam are calling for action in a “#throwthemout” campaign.

“We’re done with ‘leaders’ who refuse to lead on commonsense gun safety laws. It’s time to #ThrowThemOut,” the band declared yesterday (Feb. 16) in a tweet. The statement accompanied an image outlining the “plan to kick out lawmakers beholden to the gun lobby” with a set of steps to take, linking out to an EveryTown website.

A little over an hour later, Pearl Jam followed up the tweet with another message, adding, “We deserve to live in a country where children live free from gun violence in their schools, in their homes, and in their communities. #EndGunViolence.” The band also provided another EveryTown link, this one listing “7 Actions You Can Take to Prevent Gun Violence.”

Historically, Pearl Jam have maintained awareness of social issues throughout the decades. In the fall of last year, Eddie Vedder joined the #takeaknee movement populated by Colin Kaepernick and other NFL players and guitarist Mike McCready performed the National Anthem at a Seattle Seahawks home game, revealing he stood with outspoken player Michael Bennett.

Pearl Jam: Kids ‘Deserve’ to Live in a Country Free From Gun Violence

Vic Damone performs at Garden State Arts Center on August 29, 1979 in Holmdel, New Jersey. Bobby Bank/WireImage

Vic Damone, a singer who rose to fame along the tail end of the post-war era embodied by The Rat Pack, died yesterday at Mount Sinai Medical Center in Miami Beach, Fla., according to a statement from his family. He was 89.

A first-generation Italian-American, Damone grew up closely studying the work of another similarly situated artist, Frank Sinatra, who would later become a cherished friend. “Without Frank there would not have been a Vic Damone,” Damone once said.

While in his early teens, working as an usher at New York’s Paramount Theater to make his family’s ends meet after his father was injured on the job, Damone forced an elevator audition on Perry Como, who put him touch with a local bandleader.

By age 19, in 1947, Damone had secured a recording contract with Mercury Records. By 20, he had his own weekly radio show, Saturday Night Serenade, and secured regular live gigs and roles in feature films. From there, regular appearances on television became the source of much of his mid-career work, including as host of The Vic Damone Show on NBC during the summers of 1962 and ’63. During the same period, his success on the Billboard charts diminished, as it did with many other similar artists. His final chart appearance was in 1966, when his cover of “To Make A Big Man Cry” reached No. 31 on the Easy Listening (now Adult Contemporary) chart; that same week, Frank Sinatra’s “My Way” stood at No. 3.

More recently, Damone’s hit rendition of “On The Street Where You Live” soundtracked the close of the debut episode of Mad Men.

Damone’s final performance was in 2011, at the Raymond F. Kravis Center for the Performing Arts in Palm Beach. He is survived by two sisters, Elaine Seneca and Terry Sicuso, three daughters — Victoria Damone, Andrea Damone-Brown, and Daniella Damone-Woodard — and six grandchildren.

Vic Damone, Golden Age Crooner, Dead At 89

Janelle Monáe Juco/Courtesy of the artist

Who in the pop world but Janelle Monae could pack dystopian Afro-Futurism, sleek runway style, action sequences, club hotness and tender love into thirty seconds?

Today, a teaser-trailer for Monae’s new album and “emotion picture,” Dirty Computer, was released to the web and select theaters, to air before screenings of – what else? – Black Panther. That Monae isn’t actually in Ryan Coogler’s revolutionary Marvel flick is mildly confusing, since she’s been crafting her own version of superheroine-ism since bursting onto the scene more than ten years ago. Of course, she’s been busy crafting her own multiverse; no need to attach to a corporate comics franchise. Dirty Computer indicates Monae following her vision in intriguing new directions.

All Monae offers in the tantalizing bite above is thirty seconds of images, a fuzzy smear of guitar feedback, a quick monologue and some finger snaps. Yet somehow, through only that, she builds a world. It opens with a Westworld-style shot of Monae on a floating table, in what’s probably an examination room. Cut to a montage of scenes inside a nightspot not unlike the Matrix’s Club Hel, where Monae exchanges moves and glances with male and female partners, including her apparent costar, Tessa Thompson. Before you can blink, Thompson is abducted by mask-wearing thugs in military riot gear. Then there are scenes on a beach that have the flavor of A Wrinkle In Time, including one of Monae and Thompson engaging in a tender embrace. Monae (we think) intones: “They drained us of our dirt, and all the things that made us special. And then you were lost. Sleeping. And you didn’t remember anything at all.” Monae lays prone on the exam table; someone caresses the tattoo on her arm, an apparent amalgam of the primordial goddess and the Wicker Man.

Dystopia, baby! The trailer also features some True Detective-style masks and several high-fashion shots that won’t disappoint acolytes of Monae’s sartorial genius, including a final shot of her in a spooky costume that seems to invent a Black Queen for a new version of Alice Through the Looking Glass. (Or, snap, in Wondaland.) Are we reading into this thing much? Well, why not? The ongoing saga of Cindi Mayweather, the android alter-ego that Monae has developed in previous recordings and visuals, starting with Metropolis Suite 1 (The Chase) in 2007, has taken her from nascent Fritz Lang fantasies to the beginnings of a whole new language: “Q.U.E.E.N.,” the song and video from her last album, 2013’s Electric Lady, coined a new term for today’s oppressed: “Queer, Untouchables, Emigrants, Excommunicated and Negroid.” Dirty Computer will likely place that community within the context of a cyber-nightmare – dressed, of course, in dazzling Christian Soriano couture. We know nothing of the music yet, nor of the lyrical content of the album that is part of this project. However, the warm glances between Thompson and Monae in the trailer suggest there will be some love scenes. And no one will be shocked if the dance sequences are on point.

Janelle Monáe Teases Dystopic, Afro-Futurist Emotion Picture ‘Dirty Computer’

Elise LeGrow remakes blues and soul classics for her full-length debut, Playing Chess.

Shervin Lainez/Courtesy of the artist

Chess Records is an American institution. Founded in Chicago by Phil and Leonard Chess in the 1950s, it became the label that launched Howlin’ Wolf, Muddy Waters and Bo Diddley. Now, Canadian singer Elise LeGrow is taking on the label’s catalog on her debut album: Playing Chess features covers of songs made famous by Chuck Berry, Etta James, Sugar Pie DeSanto, The Moonglows and more.

“Etta James has been one of my favorite singers for a very long time and, of course, I was aware of Chuck Berry’s hits. But I didn’t realize that the common thread there was Chess,” LeGrow tells NPR’s Scott Simon.

The album features guest appearances from the Dap-Kings and, on the track “Long, Lonely Nights,” Questlove and Captain Kirk Douglas from The Roots. Questlove’s father, Lee Andrews, co-wrote that ballad back in 1965.

As she put together the track list, LeGrow says, old memories collided with some new surprises. Now 30, she’d heard Chuck Berry’s “You Never Can Tell” for the first time as a child, playing behind Uma Thurman and John Travolta in Pulp Fiction‘s iconic dance sequence. When she put the song on her covers shortlist, her producer revealed he had written an original melody for the lyrics 40 years ago. Their combined efforts resulted in something all LeGrow’s own: “I’ve had some people say it’s completely unrecognizable until they hear the line, ‘C’est la vie,’ ” she says.

LeGrow is already looking ahead to her next release, but she says she’ll still want her sound to stay in the tradition of the greats she emulates on Playing Chess: “a live band and a girl in a room.”

Playing Chess is available now from S-Curve Records.

Elise LeGrow’s ‘Playing Chess’ Honors Blues And R&B Greats