From classical to jazz to rock and even Broadway musicals, the tritone conveys feelings ranging from forbidden love and longing to fear and defiance.

Like the Beast, it has many names: Diabolus in musica (devil in music), the devil’s interval, the tritone, the triad and the flatted fifth. As its Latin moniker suggests, it’s an evil sounding combination of notes that’s designed to create a chilling or foreboding atmosphere. Jimi Hendrix, Black Sabbath and many more musicians in rock and metal use this technique. It has a sinister and menacing sound that is meant to disturb its listeners.

This simple technique has been used most effectively in heavy metal, and is often credited to Black Sabbath guitarist Tony Iommi who played it in the song “Black Sabbath” from the band’s 1970 self-titled first album.

The Devil’s Interval, and diabolus in musica, this combination of tones has led to some of the most chilling melodies in music history, from classical compositions to heavy metal riffs, and even has a reputation for being banned by religious authority in centuries past.

According to Carl E. Gardner’s 1912 text Essentials of Music Theory, a “triad” in music is composed of three tones—specifically, one starting note plus the third and fifth tones found along its scale (e.g. C, E, G)—that can get together to form either a “dependent” or an “independent” chord. According to Gardner, an independent chord is one that can happily conclude a composition. Meanwhile, a dependent chord contains “dissonant” or tense intervals—such as the tritone.

John Sloboda, a professor of music psychology at London’s Guildhall School of Music and Drama, explained to NPR in 2012 that the dissonant intervals of the Devil’s Tritone are particularly affecting because of this listener’s instinct to find resolution in music, and the fact that we’re used to getting it:

“Our brains are wired to pick up the music that we expect, [and] generally music is consonant rather than dissonant, so we expect a nice chord. So when that chord is not quite what we expect, it gives you a little bit of an emotional frisson, because it’s strange and unexpected.

The emotional result of dissonant sounds, then, might not be too different from the one experienced at the bottom of a staircase that failed to mention it’s missing its last step. “[Music] taps into this very primitive system that we have which identifies emotion on the basis of a violation of expectancy,” Deathridge said. “It’s like a little upset which then gets resolved or made better in the chord that follows.”

So how exactly Did the Tritone Get Such a Devilish Reputation?

In those pious days of the Middle Ages, the tritone was so unpleasing that it was considered the work of the devil, leading church authorities to ban its use in ecclesiastical music. The problem with stories like that, though, is that they’re just stories — fanciful exaggerations of the past that explain the notions of the present. To the chagrin of many a musician wanting to tap into a badass rebel streak in music’s DNA, there aren’t any records to suggest any rogue medieval composers took a hike to Perdition after using this spooky, devilish interval.

However, that doesn’t mean the whole “devil” association is without a strong foundation. As early as the 1700s, the tritone is described as “diabolus in musica” — literally, “the devil in music.” But as with most things, context is the greatest friend we have. The phrase is part of a mnemonic:

Mi contra fa est diabolus in musica

Mi against fa is the devil in music

A paradox of musical pitch.

For years rock and roll has been dubbed the devils music and in the last 30 years it has evolved into heavy metal.

“The coming of the lawless one is by the activity of Satan with all power and false signs and wonders…” Thessalonians 2:9, New Testament of the Christian Bible

“Blessed are the destroyers of false hope, for they are the true Messiahs – Cursed are the god-adorers, for they shall be shorn sheep!” Anton Szandor LaVey, The Satanic Bible

When the Angel of Light, Lucifer The Light Bearer, was denounced by his Father and subjugated to an existence of sin and horror, man was nothing more than a creative forethought. At least, this is the construction presented to us through years of religious storytelling. Since the dawn of democracy, societies’ self-appointed rulers have intentionally enforced a scapegoat, or invincible boogeyman figure, in order to keep their communities afraid of total extermination but safe under their masters’ laws.

Demonic and fantastical beasts are conjured by raconteurs to maintain a sense of control over ‘God fearing’ nations. Almost every culture, both historical and present, has one of these ‘Satans’ – a carnal image of infinite death and destruction. But as we ease further in to a “post-secular” era, as author and philosopher Eugene Thacker suggests, our ideas and interpretations of Hell and The Devil have changed. Throughout the course of time, the concept of Satan has become less of an effigy of religious torment and more of a trendy reference point in pop culture. Since the 20th Century, Lucifer’s nefarious aesthetic of blood, sacrifice and blaspheme has wormed its way into subversive art, literature and most significantly music.

Anton LaVey, founder of The Church of Satan

he practice of Satanism itself wasn’t formally present until the establishment of The Church of Satan in 1966 by Anton LaVey, devout occultist and author of The Satanic Bible. Yet sonic allusions of The Devil can be dated back as far as the Middle Ages. The musical interval of a tritone or diminished fifth was referred to as The Devil’s Chord (or the Devil In Music) and subsequently banned by the Roman Catholic Church. Gonoud’s Faust composition in the 19th Century boasts one of the most direct and compelling of satanic narratives, while Tartini, Paganini, Stravinsky, Liszt and Hellmsberger II have composed multiple pieces with figurative associations with Lucifer. However, none of these early examples are inherently ‘Satanist’, they merely reference Satan as a fearful nemesis in a religious tale. It wouldn’t be until the emergence of blues and jazz music in the early 1900s before the so-called ‘Devil’s Music’ would find its true cultural footing.

In the early 20th century, traditional societal values and Christian morals were particularly potent in the western world. Anything deemed subversive to the God-feared norm was often considered a direct display of Devil worship. Rebel music – that which is performed by the oppressed or disaffected – was seen as dangerous and unholy. The blues, especially, was regarded as a diablo of satanic profanity and no artist embodied this mythology more than guitarist Robert Johnson. Son House, one of Johnson’s many peers, tells the story of how the guitarist was an average guitar player before disappearing for weeks. On Johnson’s return, his masterful technique was revolutionary. Faustian legend says that Johnson took his guitar to Highways of 49 and 61 in Mississippi where the Devil exchanged his instrument for the bluesman’s soul. Again, this tale tells us more about the conservative superstitions of a predominantly white Christian populace in the 1920s than an artist’s allegiance to Satan.

By the mid-60s, rock & roll, a commercial mutation of blues with greater emphasis on sexual liberation and depravity, was already in its prime. The idea of Satanism as an ideology, rather than a means of purely scaring people, was beginning to take shape. Through LaVeyan teachings and the increasing cult status of occultist poet Aleister Crowley, satanic symbolism started to bleed into mainstream rock and prog. An image of Crowley himself appeared on The Beatle’s Sgt. Pepper’s Lonely Heartsclub Band LP sleeve, leading to great scrutiny over the band’s religious leanings. The Rolling Stones’ Sympathy For The Devil sees Mick Jagger literally assume the role of the Devil, calling out for crowds to “Just call me Lucifer”. Led Zeppelin’s Jimmy Page, while not specifically a Satanist, was a follower of Crowley’s ‘philosophy of personal liberation’. The guitarist went on to purchase Crowley’s reportedly haunted former home in Loch Ness. Led Zeppelin were also involved in one of the more estranged allegations of satanic worship in the 80s, when Televangelist Paul Crouch claimed that by playing the group’s track Stairway to Heaven backwards a voice would be heard saying “Here’s to my sweet Satan… He will give those with him 666”. The claim was purely a coincidence, albeit an unsettling one.

Another act that was hellishly misrepresented in the media due to their unashamedly morbid aesthetic was Black Sabbath. Two of the most common symbols utilised by the band were the Christian cross and the peace sign. Despite this, the gradual rise of counterculture and the inevitable backlash from right wing media corporations painted Black Sabbath as ambassadors of the occult. In actual fact, Ozzy referred to his satanic fans as “freaks in white paint and robes” in his biography. So, considering their Black Mass ritual referencing name and their forging of a genre which would later be synonymous with Satanism, Black Sabbath are possibly the most accidental Satan supporters in existence. In fact, regardless of a public outcry during the 70s and 80s blaming agenda-pushing metalheads such as Iron Maiden, Judas Priest, Alice Cooper and Mötley Crew of contributing to what the American media called ‘The Satanic Panic,’ hardly any of these groups actually believed what they were singing about. Luciferian imagery was very much on trend – from bloodied goblets of hollowed skulls to severed goats heads. Controversy sold and The Devil was paying for it.

Perpetual parent botherers Black Sabbath

By the late 80s, simply pretending to worship Beelzebub was rather tame. Despite it’s commercial appeal, underground metal was getting darker, heavier and more insular than it ever had before. While groups such as Morbid Angel, Venom, Celtic Frost and Deicide were focusing their songwriting on Sumerian deities, mythical sorcery and ancient incarnations, it was Norway’s first wave of black metal artists that were genuinely serious about Satanism. Formed in 1984 by Dead, Hellhammer, Euronymous and Necrobutcher, Mayhem personified fear. Their take on speed and death metal was as abrasive as their reputation as a dangerous band. Mayhem would regularly cut themselves onstage and have either a pig or sheep’s head impaled on stakes as they performed. “There is nothing which is too sick, evil or perverted,” Euronymous claimed in a 1993 interview. A self-described Theist Satanist, he despised followers of LaVey and Crowley, claiming the sects to be “just a bunch of freedom and life-loving atheists.” The undying pessimism that drove Euronymous and Mayhem was a new extreme. Their corpse painted faces grimaced at the thought of satanic illegitimacy and publicly cackled as the glowing embers of Norwegian churches slowly burnt to the ground.

When Mayhem’s Per “Dead” Ohlin committed suicide in 1991, Euronymous was reportedly ecstatic. Having found him motionless with a shotgun hole to his head, the Mayhem guitarist took the opportunity to capture the scene on a disposable camera. The image went on to feature on the cover of Mayhem’s bootleg live album Dawn of the Black Hearts. The immeasurable violence surrounding Mayhem shook the world. Similar acts such as Varg Vikernes’s Burzum famously incorporated aspects of ‘traditional paganism’ and ‘Odalism’ into his sound, merging these elements with a stalwart advocation towards nationalism, survivalism and militant individualism.

Norwegian black metal band Mayhem took satanism seriously

Of all these ‘isms,’ Satanism was still regarded as the highest threat to society. Emperor, Gogoroth, Bathory, Darkthrone and Sweden’s Dark Funeral were all accused of conducting pagan rituals at shows or recording subliminal backmessages on their records. These were predominantly stage theatrics or acts of non-conformist marketing, which were naively identified as Satanic. Today, many bands adopt this aesthetic, from Eyehategod to Goatwhore to Behemoth to Ghost to Satanic Warmaster to Waitain to Rotting Christ. Whether theistic or atheistic or simple just sadistic, Satanism is omnipresent in our contemporary cultures. Our most recent variation would be the surging popularity of the Illuminati symbolism in hip-hop. Again, this is nothing more than a baseless PR stunt or form of right-wing propaganda. No, Three-6 Mafia are not devil worshippers. No, Beyoncé and Jay Z didn’t name their child Blue Ivy because if pronounced backwards it reads Eulb Yvi, meaning Satan’s daughter in Latin.

Similarly, as we enjoy shocks and horrors in cinema or literature, the aesthetic of Satanism can be a display of darkly expressive Bohemianism to frighten and inspire you in equal measure. It’s the antithesis of big business marketing, one that still sees bands banned from entering countries because of their assumed allegiances to The Beast. Embrace the hyperbole of it all and The Devil will reward you quite handsomely in the afterlife.

The Devil’s Chord: The Eerie History of The Menacing Tritone

L-R – Alex Huber – Bass Guitar, Vocals, Shane Sherman – Vocals, Guitar, Zak Waterlow – Drums

Releasing their debut album “Cowards” earlier this April, Grand Forks, BC’s 90’s grunge stoner rock trio BADGUYSWIN are sharing their next music video ‘Honey Bucket’ that features an acting cameo by ExPain guitarist Pat Peeve. 

The video is being premiered via New Noise Mag HERE.

Vocalist/guitarist Shane Sherman explains the track:

“When we first started writing ‘Honey Bucket’ we didn’t know how impactful of a song it would become. I brought the first two riffs to our drummer Zak and he felt it out quickly, incorporating a strong Spanish style groove to the bluesy sound. Later on, we wrote the chorus and it was apparent it had a very strong hook. The lyrics are a vague description of being dependent on something. Vague enough to leave the message up for interpretation, but direct enough to tell a story of desperation. Originally we had a different ending. But we didn’t feel it had enough impact. We wanted a powerful finish to the song that would translate well to a live audience. After a few different ideas we really nailed it down and it’s become a staple in our set.”

Featuring 3 out of 4 members from technical metal band Slagduster, BADGUYSWIN shows off their original roots in music, the grunge era of the 90s where they would glue themselves to the stereo for hours. The members of BADGUYSWIN also all grew up together in the same small town and have been playing music together in various ways for 15 years.

The band’s debut full length “Cowards” was written to give the listener an experience that doesn’t repeat itself over 12 tracks. It’s an album that is a heavy and hooky modern take on a classic sound with influences that are everything 90’s in grunge, stoner, alternative, and punk. It was conceived organically, performed, and recorded DIY style at the home studio of drummer Zak Waterlow with mastering by Brock McFarlane of CPS studios in Vancouver. The album has a crisp and larger than life sound. With plenty of easter eggs that’ll have you searching for more from each listen.  

“Cowards” is available for stream and download on Spotify, Apple Music along with physical CDs having limited edition artwork painted by Shane Sherman on Bandcamp. Each song’s lyrical content revolves around a story and a main character. A painting was depicted for each persona.

Previous music videos:
‘Needle Beach’ here.
‘Lying To Myself’ here.

Track Listing:
1. Like A Sailor (4:36)
2. Lowlifer (3:13)
3. Honey Bucket (4:06)
4. Lying To Myself (3:30)
5. Between Hook And Hole (4:11)
6. Fly On The Wall (5:28)
7. Coal (4:32)
8. August 8th (3:54)
9. Needle Beach (2:54)
10. Legends Of The Wheel (4:19)
11. Under It All (3:31)
12. Central (5:29)
Album Length: 49:50
For more info:

“Another grunge-inspired stoner rock ‘n’ roll track now with BADGUYSWIN and their debut ‘Needle Beach’, combining Ozzy-like vocals with the kind of riffs you’d see Orange Goblin churning out through their career… quite the way to introduce themselves!” – Uber Rock UK

“Due out on April 10th, the guys are ready to unleash their debut full-length, Cowards, tailor-made to give you a different listening experience with each of the record’s twelve tracks. Grunge rock may be a distant spec in the musical rearview mirror, but it’s comforting to know that bands such as BADGUYSWIN are carrying on the tradition of that legendary era.” – V13

“BADGUYSWIN calls back to the Stoner Rock and Grunge sounds of their youth.” Ghost Cult Mag

“Cowards is chock full of sublime punked up riffs and harmonies such as “Fly On the Wall” as well as percussive masterpieces in “Lowlifer” and “Coal”. The lyrics speak out to the listener. For example, “Honey Bucket” is about alcoholism and addiction… Cowards provides a perfect feeling of leaves-you-wanting-more. Each song is constructed for maximum appeal with stunning fretwork, exemplary percussion and bass and vocals a bit on the higher range but certainly fitting. With Badguyswin, there is so much to rock out to here.” – Boston Rock Radio

Stoner Grunge BADGUYSWIN Premiere Music Video ‘Honey Bucket’ via New Noise Mag

L-R – Frederick Dupuis (Guitar), Vincent Benoit (Guitar), James Brookes (Vocals), Eric Lemirs (Drums), John Yates (Bass)
Photo Credit: Frederick Blanchette

Melodic death metallers [EVERTRAPPED] will be unleashing their fourth studio album “The Last Extinction” on May 22, 2020. The Montreal based five-piece intentionally wrote their band name with enclosed brackets to signify the trappings of modern life for all of us and how people, despite their best attempts to break out of the mold are still affixed to a simple controlled existence and futility. 

Their forthcoming full length is a mix of the band’s sound that was defined on “The Anomaly” (2012) and “Under The Deep” (2015). With influences ranging from death metal to melodic death primarily, along with some classic thrash and speed metal, which explains their technicality and diversity sonically, the album overall will give fans a very heavy post-apocalypse feel. It’s meant to mix the dark and light of the end of all things. Fans of Arch Enemy, Persefone, Whitechapel, Death, and Fleshgod Apocalypse will feel the whirlwind of aggression.

Today the band is sharing the lyric video for their second single Truth Behind Disorder’ viaits premiere on The Circle Pit’s YouTube channel HERE.

The band explains the track:

“This song was written almost as a story that explores the negative effects of oppression towards advanced thinking. For the most part, more specifically, the oppression of organized religious groups. As the chorus of the song mentions ‘holy men,’ it kind of gives it away. But mostly depicts said negative effects as being the truth behind why the world, in some cases, is in such chaos. And the story ends with a conclusion suggesting one school of thought that if this is allowed to continue, and in this case suggests that if we continue this way, well you might as well give up now and be prepared to watch half the world burn because that’s the more likely outcome.”

Since 2007, [Evertrapped] has brought together their collective experience from the Montreal metal scene to create their heavy brand of melodic death metal. The guitarists Frederick Dupuis (ex-Daggerfalls) and Vincent Benoit hammer out raw guitar while drummer Eric Lemire (ex-Apocalypsys, ex-Ice Castle) pummels the drums. Their versatile frontman James Brookes (ex-Ammonia, ex-One Final Moment, Continuum) easily alternates between strong clear vocals and low bellowing screams giving listeners the illusion of more than one vocalist. John Yates (ex-AraPacis) weaves together each song with his driving bass lines to keep the energy of the punishing track at an all-time high.

Their lyrics come from two places. One from the dark and exaggerated metaphors for things actually based on personal events. The other is lyrics that are only loosely based in reality and have an almost fantasy-like appeal. Sometimes the reality can be based on what could be the actual state of the world as it is or an image of a future where the world is on the brink of an apocalypse. The overall idea is that the lyrics are not meant to be understood at face value in any way. It’s an art form that’s open to interpretation by the listener. 

[Evertrapped]’s new album “The Last Extinction” will be available for stream and download on Spotify, Bandcamp and Apple Music as of May 22nd.

Music Video ‘Sorrow (Nothing More In Between) ‘ HERE.

Track Listing:
1. Sorrow (Nothing More In Between) (7:35)
2. Truth Behind Disorder (5:30)
3. Across The Disease (5:49)
4. Titan (5:52)
5. The First Machine (5:59)
6. The Last Extinction (6:10)
7. Illusion (7:08)
8. Stillborn Era (5:26)
9. Learning To Kill (7:52)
Album Length:  57:24
For more info:

“If you’re looking for some heavy Lamb Of God vibes, heavier than the newer Lamb Of God has to offer, this is the band you’ve been needing in your life. The main chunk of the song(Sorrow (Nothing More In Between)) is straight to the point heavy metal. Harsh, aggressive, and ready to go.” – Metal Injection

‘’Those looking for melodic death metal on the heavier end of the spectrum need apply here…be ready to pump some fists, bang some heads, and reminisce back to a time when melodic death metal wasn’t all about clean, poppy choruses – just raw and memorable carnage.’’  – Dead Rhetoric

“I’ve played with some of the best metal drummers in the world and I’d put you up alongside them any day!” – Jeff Waters (Annihilator guitarist)

 “Evertrapped, and as they lay their claim as one of the front runners of melodic death metal in all of the land” – Bucket List Music Reviews

‘’This is Headbanging 101, take your seat.’’  – Metal Trenches

‘’It’s clear these guys are not followers. They make their own brand of Melodic Death.’’  – Metal France

‘’If you want your dose of Melodic Death to be as brutal as possible, you won’t be disappointed with Under The Deep.’’ – Metal Universe

‘’Under The Deep is a full-throttle melodic death metal release that endlessly descends into new layers of carnage as the album progresses.’’ – Worship Metal

Montreal’s [Evertrapped] Premiere Video ‘Truth Behind Disorder’ via TheCirclePit + New Album May 22

THE ROLLING STONES have released a brand-new song called “Living In A Ghost Town”. The track is the group’s first original composition since “Doom and Gloom” and “One More Shot” were made available on THE ROLLING STONES‘ 2012 compilation album.

Singer Mick Jagger said the band was “recording some new material before the lockdown and there was one song we thought would resonate through the times that we’re living in right now. We’ve worked on it in isolation. And here it is.”

Guitarist Keith Richards said: “We cut this track well over a year ago in L.A. for a new album, an ongoing thing, and then shit hit the fan. Mick and I decided this one really needed to go to work right now and so here you have it.”

In a new interview with Zane Lowe of Apple Music, Jagger said the song “was written about being in a place which was full of life but is now bereft of life, so to speak… I was just jamming on the guitar and wrote it really quickly in like 10 minutes… Keith Richards and I both had the idea that we should release it. But I said, ‘Well I’ve got to rewrite it.’ Some of it is not going to work and some of it was a bit weird and a bit too dark. So I slightly rewrote it. I didn’t have to rewrite very much, to be honest. It’s very much how I originally did it.”

HE ROLLING STONES released an album of blues covers, “Blue & Lonesome”, in 2016, and another hits compilation, “Honk”, in 2019. The band’s last album of original material was 2005’s “A Bigger Bang”.

“I don’t just want it to be a good album; I want it to be great,” Jagger said. “I’m very hard on myself. If I write something or if I write something with Keith Richards or whatever, it’s going to be great. It can’t just be good.”

Jagger also addressed the postponement of THE ROLLING STONES‘ 2020 stadium tour due to the COVID-19 pandemic that is sweeping the globe.

“We don’t know when the next tour outside’s going to be,” Jagger told Lowe. “You would imagine that playing outside would be more healthy than playing inside, one would imagine, but you don’t know. And people are saying, ‘Well are you going to be playing in a stadium that’s 40,000 people? You’re going to have 20,000 people in there,’ for instance. But this is all in the realm of conjecture.”

THE ROLLING STONES Release New Song, ‘Living In A Ghost Town’

Demogoroth Satanum is a Soweto, South Africa metal band that’s breaking down barriers in the South African music scene with their bombastic, but controversial sound. In Soweto, hardcore and metal are still seen as negative, black locals associate the harshness of the sound and visceral imagery with Satanism, while white folks in the musician scene are less than enthusiastic about welcoming a Black metal band. Apartheid had so many devastating effects on the disenfranchised black populations of South Africa. The physical isolation and confinement to townships like Soweto often narrowed black folks exposure to arts and culture considered to be or that was appropriated by white people, like hardcore rock music.

However, Demogoroth Satanum are not only rising above such obstacles, they are also using their music as a tool to bring people together from both sides, integrating more white people into their black community as well as introducing more black people to the extreme-metal scene.

“We’re trying to get more black people involved by playing here in Soweto,” explains Kunene. “Fuck it, we’re tired of going out there. We’re trying to get white people to come to Soweto more. In Soweto, that’s a very, very weird thing to see. Which is cool, it’s working out. They fucking love it. We host some of the best gigs. Apartheid was only, like what, just over 20 years ago. So there’s a shitload of tension. We’re trying to break that fucking tension. And once our country breaks that racial tension, then we can fucking move on and they won’t call us ‘white people’ for playing ‘white people music.'”

For more on Demogoroth Satanum, follow the band on Facebook.


Tool drummer Danny Carey has revealed that the band are hoping to write new music while in quarantine.

The band have postponed a host of tour dates due to the coronavirus pandemic, with shows from April through to June called off.

“I’m hoping, during this downtime, as soon as we’re able, maybe we’ll get together — Justin and I, and [guitarist] Adam [Jones] — maybe start hashing out some new Tool stuff in the meantime, maybe write another EP since we’re down and we can’t do anything else.

“I’m just kind of waiting on that, you know, waiting around but – that’s all I’ve really got going on.”

Tool released their long-awaited new album ‘Fear Inoculum in 2019, their first in 13 years.

Tool are planning to write a new Album while in quarantine

Webb arrived in New York in 1975 at the age of 16, the same year in which his future employer Trash and Vaudeville would open in St. Marks Place. Webb quickly acclimated to the East Village punk scene, becoming one of its most notable figures, in particular for his personal style of extremely tight pants, leather jackets, and bleached shaggy hair.

Following nearly two decades struggling with addiction, Webb would later become the manager, salesman, stylist, and face of the iconic rock and roll emporium. Trash and Vaudeville was notable for being the first retailer in the U.S. to carry Dr. Martens, as well as being a go-to for famous clientele including Tommy Hilfiger, Blondie frontwoman Debbie Harry, Iggy Pop, and Henry Rollins.

In a 2013 feature in the The New York Times, artistic director of Diesel Nicola Formichetti said “[Trash and Vaudeville] smells of punk rock. The store always has a solution. Every job, I start there. For my first ever Lady Gaga job, I went there and got her amazing stripper shoes and created an entire wardrobe for her dancers.”

In his later years, Webb remained a stylist to some of the music industry’s biggest names including Beyoncé, Justin Bieber and The Ramones, before opening his own boutique,”I Need More,” in 2017.

Duff McKagan (GUNS N’ ROSES), Slash (GUNS N’ ROSES), Sebastian Bach (SKID ROW), Nikki Sixx(MÖTLEY CRÜE), Alissa White-Gluz (ARCH ENEMY) and CRO-MAGS are among the rockers who have reacted on social media to the passing of Jimmy Webb, the iconic manager at famed New York clothing store Trash And Vaudeville, who died Tuesday morning at the age of 62. The cause of death was reportedly cancer.

Jimmy Webb was a great friend of mine,” Bach wrote. “I bought every pair of Cuban-heeled boots that I wore from 1987 – 2011 at Trash & Vaudeville from Jimmy. Rest in peace brother, we will miss you. You came from the time of true rock and roll.”

McKagan added: “The sweetest man and pure punk f*cking rock n roll. Jimmy has SUCH a story, and my family and I feel honored and loved to be a small part of his triumphant tale. We love you Jimmy…we will miss you, brother.”

Punk rock legend Henry Rollins told the New York Post that he played Buffalo not long ago and an ailing Webbtook the train up to surprise him backstage. “He traveled four hours and came in with a bouquet of flowers,” Rollins recounted. “He said he just wanted to see me. That was a total Jimmy move. We put the flowers on the tour bus and hoped they wouldn’t get knocked over when we pulled out of a truck stop. Jimmy Webb was one of the sweetest human beings I ever met.”

Webb grew up in upstate New York and moved to New York City in 1975. He spent more than a decade and a half working at Trash And Vaudeville, which he dubbed “rock and roll heaven,” before opening his own boutique, I Need More, named after a song by Iggy Pop, three years ago.

In a 2013 article, Vogue called Webb the “reigning Mayor of St. Marks Place” and “punk rock’s unofficial shopkeeper.”

“Without a doubt, I have a dream come true life,” Webbonce said. “I live every moment and I taste everything in it. I taste it, I smell it, I feel it … Dreams do come true.”

Photo courtesy of Road Recovery

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This is a very difficult one. Jimmy Webb IS New York City to me. The city and his name go hand in hand. I cannot imagine being in the city and there not being a Jimmy Webb. Jimmy has been a member of our tight knit family since the very beginning. Jimmy rode the bus with us across America. Across Europe. It is inconceivable that he is gone. If Jimmy took you in you were immediately his family. He took us in like strays. Jimmy was my family. I don’t know how to live in a world without Jimmy Webb so I chose to believe he will always with me. He will watch over St. Marks and the Lower East Side forever after. The Angel Of New York City. We miss you, Jimmy. We love you. I am thankful that I was fortunate enough to be alive at a time when Jimmy Webb walked the Earth. What a gift you were to so many of us. You are with us always. Thank you for all that you gave us. Forever heartbroken. #jimmywebb @jimmywebbnyc @ixneedxmore

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💔 RIP @jimmywebbnyc there are no words 😢

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You sold me my first pair of skinny jeans when I was 15 , people would make fun of how tight my pants were , trash and vaudeville was a place where a kid like me , who never felt like he fit in or was cool , found things that spoke to me and Made feeling “different” cool , you always welcomed all of us with a smile, didn’t matter if you knew them or not ,a smile a funny or encouraging quote with your unforgettable voice and a hug . For a lot of people who didn’t grow up in ny and moved here later on , Jimmy was one of the people who made New York what it is , people moved to ny because of the energy Jimmy put into this community and into the culture. A piece of New York has passed away. I’ll always cherish your kindness and accepting love of all. From the bottom of my heart Thank You . ROCK IN PEACE JIMMY @jimmywebbnyc your smile is NEW YORK

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SLASH, DUFF MCKAGAN, SEBASTIAN BACH, NIKKI SIXX, Others Mourn Passing Of New York’s Most Famous Punk Rock Fashion Icon JIMMY WEBB

Type O Negative vocalist/bassist Peter Steele died ten years ago on Apr. 14 and, although criminally underrated, they still left a lasting impression both music and horror fans.

Metal, regardless of which subgenre your more familiar with, goes remarkably well with horror movies — there’s no disputing that. It doesn’t matter if it’s a slasher film, creature features, ghost or zombie flicks, whatever it is. Unsurprisingly, certain metal groups appear on multiple soundtracks throughout their careers. One band that was very unique in their approach to convey emotion, sensuality and dark humor with depth was Type O Negative.

I first got into Type O Negative after a friend recommended them to me and I promptly bought the October Rust CD. I remember being overwhelmed and totally impressed with each and every song. Soon after I bought Bloody Kisses and from there I did a deep dive and bought all their albums while impatiently awaiting future releases.

Below is a list of movies featuring the “Drab Four” on their soundtrack.

1) I Know What You Did Last Summer (1997)

Off their 1993 album, “Bloody Kisses,” Type O Negative released this Seals and Crofts cover. It’s featured in the opening of the Kevin Williamson ’90s hit, I Know What You Did Last Summer. The camera is moving over a body of water to its destination and slowly the song transitions to the film’s score by John Debney. It’s a strong mood setter, especially with the sound effects added in.

Something about their cover of Summer Breeze is perfect for this opening. It feels sarcastic, insincere and perhaps a tad dangerous. Either way you look at it, it’s a huge departure from what the 1972 original’s vibe is like.

Noteworthy in the band’s history: “Bloody Kisses” earned them recognition from the Recording Industry Association of America. Also noteworthy, drummer Sal Abruscato quit the band shortly after and was replaced by their drum technician, Johnny Kelly.

2) Nosferatu (1922 silent film, released in 1998)

Courtesy of Arrow Videos and DigiView Entertainment, the original 1922 silent film was re-released in 1998 with music taken from 1991’s Slow, Deep and Hard, 1993’s Bloody Kisses and 1996’s October Rust. If interested, you can watch it in full on YouTube, but if you’d prefer a DVD copy, check here. The song I’ll choose to highlight comes off October Rust. Green man is an earthy, tranquil song that suits any season and any purpose.

3) Bride of Chucky (1998)

The song, “Love You to Death,” appears as track number six on the official soundtrack, however, it doesn’t appear in the movie. It’s interesting because the album cover reads, “Music from and inspired by the Motion Picture”, but the song came out in 1996; so if it’s neither featured in the film, nor inspired by it, why is it listed?

I just wished they actually used it somewhere in the movie. It’s a sexy, goth romance song that’s as beautiful and overwhelming as it is passionately played and mellifluously sung.

4) The Blair Witch Project (1999)

The Blair Witch Project — Courtesy of Lionsgate

Say what you will about this found footage flick, but the soundtrack isn’t half bad. Included on it, is the 1996 track, Haunted. It’s ethereal, otherworldly, tragic and effective in every sense. While none of the songs on the soundtrack actually made it to the film, the idea was to market the hell out of it by releasing a mixed CD the character Josh had in his car before disappearing. It’s funny to note that, if memory serves, the film takes place in 1994, despite being released in 1999. “Haunted” was not released until 1996. The film was shot in late October of 1997 and became a hit two years later during its festival run.

5) Freddy vs. Jason (2003)

“(We Were) Electrocute” is one of many awesome tracks on the film’s official soundtrack. It’s a mournful yet celebratory track of heavy riffs complimenting reflective lyrics softly albeit passionately sung. The track is off Type O Negative’s 2003 album, “Life is Killing Me.” The album would be their last with Roadrunner records. Although not the first, Freddy vs. Jason is certainly one of the greater horror soundtracks offering a variety of different types of metal.

Type O Negative disbanded shortly after Peter Steele died on Apr. 14, 2010. His death was from an aortic aneurysm. Since then, Keyboardist Josh Silver has become a certified EMT in New York, while guitarist and vocalist Kenny Hickey has help positions in several bands, including Danzig and Seventh Void along with drummer Johnny Kelly, who also plays in A Pale Horse Named Death with Type O’s original drummer, Sal Abruscato on vocals.

I strongly feel as though, all these years later, Type O Negative still isn’t given nearly the credit they deserve. Not only has the band become a source of inspiration, but their music has helped me through some rough times. I was even fortunate enough to see them in concert.

If you haven’t heard of the band before, I highly recommend you check them out. Especially if you’re a fan of any of the aforementioned horror movies. How many of the songs and movies are you familiar with?

On This Date in History, April 14th Remembering Peter Steele Of Type O Negative

“Rebirth of Slick (Cool Like Dat)” – Digable Planets.

Samples that cement hip-hop as a natural successor to jazz.

Ive never been a fan of rap or hip hop, being a true fan of rock and metal. That being said I have an open ear for good music and multiple music genres have infiltrated my barriers throughout the years. This band being one of them. They incorporate old school jazz with rap. The song “Rebirth Of Slick,” with its blend of jazz, hip-hop–and philosophical musings has stood the test of time and still slays.

Intro: The rap trio scored their highest charting hit with their first single, “Rebirth of Slick (Cool Like Dat)” in 1992. The song reached #1 on the Billboard Rap Singles chart and #15 on the Billboard Hot 100. It was certified gold in 1993 and has subsequently been sampled in its original mix by many other artists since that time. It won the 1993 Grammy for Best Rap Performance by a Duo or Group.

Analysis: Much of the album Reachin’ (A New Refutation of Time and Space), the album on which “Rebirth of Slick” appears is heavily based on samples. In “Rebirth of Slick”, the primary sample is that of Art Blakely and the Jazz Messengers’ “Stretching”; “Rebirth” samples both the bassline and the horn motifs from “Stretching.” Also in the song, rappers Butterfly, Ladybug Mecca and Doodlebug each discuss the influence of jazz musicians such as Miles Davis. The heavy sampling and references to jazz are indicative of that late 1980s/early 1990s period in hip-hop, prior to the prevalence of gangsta rap starting in 1992.

Considerations for Teaching: The song can be used strongly to demonstrate use of jazz samples in later music, but there is mild use of profane language occurring periodically throughout the song. The chorus, containing no profanity, demonstrates a good portion of the Art Blakey sample, and the chorus as performed by Ladybug Mecca is an early example of a prominent female rapper.

Jazz Samples in Digable Planets’ “Rebirth of Slick (Cool Like Dat)”

According to the French newspapers Le Parisien and Le Dauphiné Libéré, acclaimed heavy metal cover artist Jean-Pascal “JP” Fournier was arrested on Thursday for allegedly killing his 80-year-old father, Jean-Paul Fournier, by disemboweling him and shooting an arrow in his head.

The police apparently discovered Jean-Paul‘s body on Wednesday after being alerted by relatives. The victim’s wife, an elderly and sick woman, was upstairs when the police arrived.

One day after allegedly committing the murder, Jean-Pascal reportedly tried to commit suicide by jumping from a bridge into the Isère river in the town of Saint-Martin-d’Hères in the suburbs of Grenoble. The police were called, and the the 47-year-old suspect, who was not injured, was immediately taken by investigators to the Grenoble police station where he was placed in police custody.

One of the victim’s neighbors, Jacques, voiced his shock at the deadly outburst of violence, saying that the murderous act was “beyond comprehension.” The neighbor described Jean-Paul as “quiet” and “very kind.” As for Jean-Pascal, whom the neighbor saw from time to time, Jacques said: ‘He did not look mean. He must have gone crazy. Why? I do not know.”

According to his web siteJean-Pascal Fournier began to draw and paint before he was able to walk, and he has worked on more than 200 album covers — including AVANTASIA‘s “The Metal Opera”DRAGONFORCE‘s “Valley Of The Damned” and EDGUY‘s “The Savage Poetry” — over the course of his nearly two-and-half-decade career. He has also designed the logos of several well-known metal acts.

In a 2019 inteview with Metal ‘N’ Rock For Life, Jean-Pascal admitted that he had a hard time making a living from his art. “I think that even an established illustrator will find it difficult to make ends meet,” he said. “Personally, I gave up for a few years ago trying to make a living exclusively with [my art].”

Acclaimed French Heavy Metal Cover Artist Accused Of Disemboweling His 80-Year-Old Father