Welcome to our “Psychedelic Lunch” series “Spooktober Edition,”where we find out how deep the rabbit hole really goes and explore tunes from the 60’s to today. Enjoy the trip! 🎃

“On a gathering storm comes a tall handsome man
In a dusty black coat with a red right hand”

There’s no shortage of bone-chilling songs in the discography of Nick Cave & the Bad Seeds. The man has an album titled Murder Ballads, for crying out loud! But his single “Red Right Hand” (off the 1994 album Let Love In) has become shorthand for “creepy mood” in television and film, making it the most well-known song of his catalog. The track was used effectively in the first three films in the Scream movie franchise, in an episode of The X-Files, and, well, in the movie Dumb & Dumber, which is scary in a different way. (Founding and former Bad Seeds member Mick Harvey told the NY Post, “That happened quite by accident… I’m not sure we would have wanted it in a film like that, but there you go!”) Most recently, the song has been the opening theme to the BBC crime show Peaky Blinders, resulting in a slew of covers, like the one by Cave’s former girlfriend PJ Harvey.

Unfortunately, Nick Cave is not exactly one to divulge what his songs are about. In fact, he apparently didn’t even plan this one out, admitting to Rolling Stone magazine in 1994 that he ad-libbed the lyrics in the studio:

That’s quite true. One of my great talents is ad-libbing, I have to say. I had the title, and basically I knew what I wanted to sing about, and it was a matter of just going in and putting it down. There’s certain lines in there, obviously, that aren’t off the top of my head, but there’s ones in there that definitely are. Aren’t I incredible?

And modest, too! In another 1994 interview with German magazine Spex, he dances around the idea of the devil:

Spex: But here you’re clearly talking about the devil.

Nick: I’m really not sure what about I’m talking there, to be really honest with you. I have to sing a few verses with the music that we have written together. I sang how it was in my head. So this is a somewhat mysterious song for me. I suppose, “Red Right Hand” is a hand, plunged in blood, you know? It is the Evil. It is about someone, who pretends to be the saviour, but he isn’t.

Spex: Consequently the Devil.

Nick: You can say that’s the Devil. But it is only a song about… it is only that, what it is.

“They never caught the man
He’s still on the loose
It seems he has done many many more
Quotes John Milton on the walls in the victim’s blood
The police are investigating at tremendous cost
In my house he wrote, “red right hand”
That, I’m told is from Paradise Lost

— “Song of Joy”, Murder Ballads, 1996

Cave grew up the son of a librarian and an English professor, so it’s no surprise that he’s inspired by literature. And while I can’t find a direct quote from Cave to confirm it, it’s treated as common knowledge across the internet that “Red Right Hand” was inspired by “Paradise Lost” by 17th century English poet John Milton, an epic poem with over ten thousand lines of verse on the Biblical story of Adam & Eve. The closest we get to a confirmation is “Song of Joy,” a song he described to Swedish magazine Pop in 1994 as “the pre-eminently most nasty, most implacable song” on his following album Murder Ballads. And in an essay on an old version of the Nick Cave website, Bad Seeds drummer Jim Sclavunos reveals:

Toward the end of Bad Seed (Ian Johnston’s autobiography of Nick Cave), a fleeting clue is dropped about a new song Cave was in the process of writing at the time. With the working title of “Red Right Hand II” it relates the tale of a father of three that murders his entire family — the very same scenario laid out in “Song of Joy”, the opening track of Nick Cave & the Bad Seeds 1996 album Murder Ballads. The references to “his red right hand” and other Miltonian citations sprinkled throughout link the two songs; but the gory details in “Song of Joy” make it clear that Cave had left behind the baleful romantic brooding of Let Love In, and this was to be a more bloodthirsty successor.

It’s interesting that Nick Cave carried the idea of the “red right hand” to the next album, an album that sees the demise of 65 (fictional) victims (yes, someone counted!). So, maybe “Red Right Hand” isn’t about the “devil” himself, but about the devil that lurks within, that compells a man to murder his entire family.

Psychedelic Lunch

Welcome to our “Psychedelic Lunch” series “Spooktober Edition,”where we find out how deep the rabbit hole really goes and explore tunes from the 60’s to today. Enjoy the trip! 🎃

The Birthday Party (originally known as The Boys Next Door) were an Australian post-punk band, active from 1978 to 1983. Despite limited commercial success, The Birthday Party’s influence has been far-reaching, and they have been called “one of the darkest and most challenging post-punk groups to emerge in the early ’80s.” The group’s “bleak and noisy soundscapes,” which drew irreverently on blues, free jazz, and rockabilly, provided the setting for vocalist Nick Cave’s disturbing tales of violence and perversion. Their music has been described by critic Simon Reynolds as gothic, and their single “Release the Bats” was particularly influential on the emerging gothic scene.

In 1980, The Birthday Party moved from Melbourne to London, where they were championed by broadcaster John Peel. Disillusioned by their stay in London, the band’s sound and live shows became increasingly violent. They broke up soon after relocating to West Berlin in 1982. The creative core of The Birthday Party – singer and songwriter Nick Cave, multi-instrumentalist and songwriter Mick Harvey, and singer, songwriter and guitarist Rowland S. Howard – later went on to acclaimed careers.

The Birthday Party – ‘Deep In The Woods’

There’s no denying that Nick Cave is the master of murder ballads, and in all honesty, any number of Bad Seeds songs could have made this list: ‘Song Of Joy’ is an obvious pick, and ‘Red Right Hand’ is an all-time spooky classic.

However, I thought it’d be more useful to spotlight another side of the beloved troubadour with The Birthday Party’s ‘Deep In The Woods’, with Cave showcasing his trademark creepy lyricism alongside the cataclysmic guitar playing of Rowland S. Howard to incredible effect. It’s a bit of an obscurity, but ‘Deep In The Woods’ is quite frankly terrifying from start to finish.

Birthday Party – Deep in The Woods. Album: The Bad Seed, 1983

Psychedelic Lunch

While the world awaits the new full length studio album from Consecration, which will blight the spring of 2022 with its rotten horrors, released from the clutches of Redefining Darkness Records, the band have dug deep into their crypt of dead songs and torn three mouldering corpses from their caskets. Three ancient tracks have had their bones broken and reassembled and new life breathed into their hollow chest cavities. They have been brought back from the dead…reimagined and reanimated!Consecration’s unholy elixir of decaying death metal and decomposing doom has grown darker and heavier over the years of their shadowy existence. Their earlier compositions have been transformed into terrifying, monstrous versions of their original incarnations and the band decided that the time had come for the results of that alchemical process to be captured and preserved for posterity. On one cold autumn night they entered their rehearsal studio and thundered through three prime examples of their new necromantic rituals, recording them raw and live, freezing their intimidating, overwhelming presence for eternity. ‘Cast Down For The Burning MMXXI’ and ‘Gut The Priest MMXXI’ are black abominations, warped children of tracks that appeared on the band’s 2010 debut EP, Gut The Priest while ‘Domain Of Despair’ grew from the diseased seeds of an incomplete 2011 demo, never made available before in any format. Together these haunted, hellish entities form a new EP, Reanimated, that reveals the new putrescent, perished heart of Consecration.

Reanimated will be released on November 19th by Cavernous Records, complete with stunning artwork from band vocalist and lyricist Daniel Bollans. It is a look back to the past through a lens of nightmares and a warning of what the future holds. For you dwellers in twilight and haunters of the burial grounds, this is an underground treasure to feed your ravenous souls.

For more information on Consecration click here
Visit Consecration on Facebook
Enter the online tomb of Consecration here
Visit Cavernous Records here

Consecration present Reanimated, a new EP of horrors on Cavernous Records!

Thrash legends Helgrind return with their fifth LP, ‘Insurrection’

Celebrating their 20th year of mayhem, thrash legends Helgrind unleash their fifth LP, ‘Insurrection’ – a testament to their iron will.

The nine-track album represents a perfect mix of all the band’s influences – with diverse melodic undertows and an aggressive vocal sound, the record carries the ethos of the band to higher statures; charging Helgrind with the determination and brutality that stems from its very roots.

‘Insurrection’ sees the first writing collaboration between [vocalist, bassist] Paula Nelson and [guitarist] Si Ellis – with 2008’s ‘Religious Persecution’ as a starting point; the new foundation and chemistry between the two saw fresh ideas coming thick and fast, catalyzing a rebirth and reinvigoration of the signature Helgrind sound.
“Insurrection feels like a re-visit to the Religious Persecution style for the band but more mature in the composition of the tracks” explains Nelson.
“We set our stall out with those previous releases and needed to come back with something that reflects the band’s attitude and the ferociousness of our live show. Insurrection isn’t just about fast music and aggression, we have added thought out parts and harmonies – and for the old school fans we added Helgrind, the live set finisher.”

The album serves as a demonstration of the band member’s production expertise, with recording of guitars, bass and vocals as well as mixing and mastering of the album occuring at the band’s own home facilities. Drums were recorded in Portugal by Arlindo Cardoso.

The ‘Insurrection’ album artwork was created by Indonesian artist Five Miligrams (illustrator for Possessed, Shadows Fall, Napalm Death), who brought Paula Nelson’s concept to life – a demon sitting in the mercy seat, being worshipped by fallen angels; with disciples impaled on spikes and Christ burning on an inverted cross.
“You will face this Insurrection” rolled off the tongue once the artwork was created, and the album title was born.

‘Insurrection’ (which features singles ‘Massacre The Suffering’ and ‘Bitter End’) is for fans of Kreator, Overkill, Sepultura, Exodus, Sodom and Death – out October 22nd via Metal Rocka Recordings, Cargo Records and One Eyed Toad Records.

Helgrind – Insurrection OUT NOW!

Sun Below has a new release coming out, a self-titled, full-length concept recording that follows a figure, the Holy Drifter, on his journey through visions and across time.

The album clocks in at over an hour spread across nine tracks, the first single being the introductory track “Chronwall Neanderthal”. The song title came about while heading to a gig and passing Cornwall. The band started spitballing titles for a song that would debut that night, and Cornwall became Chronwall which would eventually become the mountain range depicted on the album cover. As the opening track, it is the most direct and hard-hitting song on the album and it sets the tone for the remainder of the album. Sun Below explains the concept behind this part of the album’s story:

“Chronwall Neanderthal was one of the first new tracks written for the album and was the last new song we had an opportunity to experiment with live before the pandemic shutdown. It is a more raw and direct track than many of our longer slow-burning jams, but still maintains the groove and feel present within our signature sativa rock sound. The song explores the origin of the sacred strain of ancient herb that becomes a focal point of the story later in the album, and how the Neanderthals of the distant past harvested it to their advantage against rival tribes. The intensity of the music demanded a more aggressive vocal delivery than used in the past, resulting in a pulse-pounding album opener.”

The lyrical subject serves as almost a prelude to the rest of the album, as it takes place in the distant past and plants the seeds for the future. The track contains a more aggressive vocal delivery than usual, which was born out of the need to match the driving intensity of the music. 

Sun Below’s heavy stoner doom is recommended for fans of Black Sabbath, Sleep, and Electric Wizard.


The album will be available on November 19, 2021.

Album pre-order at Sunbelow.bandcamp.com.

Track Listing:
1. Chronwall Neanderthal – 4:34
2. Holy Drifter – 14:24
3. Shiva Sativa – 4:11
4. Green Visions – 5:56
5. Bong Psalm – 3:56
6. Kinetic Kief – 4:24
7. Doom Stick – 3:35
8. Twin Worlds – Part I & II – 18:00
9. Solar Burnout – 14:24
Album Length: 1:11:28

Album Band Line Up:
Jason Craig – Guitars and Lead Vocals
Will Adams – Drums and Backing Vocals
Garrison Thordarson – Bass and Backing Vocals

Live Band Line Up:
Jason Craig – Guitars and Lead Vocals
Will Adams – Drums and Vocals
Liam Gray – Bass

For more info:

Sun Below is a heavy stoner/doom power trio from Toronto. Playing a signature brand of self-described Sativa rock, a combination of fuzz, volume, and heavy grooves, Sun Below seeks to spread their infectious, rollicking sound to the masses.

Starting as a humble seedling in 2018, the trio formed with a desire to create heavy rock with stoner/doom elements in a groovy Sabbath style, and through constant improvisation, the material is grown organically first with the music and then with the lyrics.

Engaging, extended tracks compiled with a crushing amount of volume touch on topics including cannabis, the occult, Lovecraft, unexplained occurrences, the infiniteness of space and the Holy Drifter. Even at length, each track is an exceptional sonic journey through space and time. Inviting their listeners to get into the groove and the headspace of the music, Sun Below is the perfect combination of a mellow trip with an energetic Sativa boost.

The trio of Jason Craig (guitars/vocals), Garrison Thordarson (bass/backing vocals) and Will Adams (drums/backing vocals) specialize in loose, long burning jams that worship at the altar of tone, riffs, and smoke, but also brim with raw bombastic heavy metal rock to keep the energy up high. Smoke up, tune down, play loud, burnout.

Still relatively new, but reaching towards the light and maturation, Sun Below have been hard at work sharing the stage with the likes of Black Mastiff and Chron Goblin; releasing three EPs: Black Volume EP (2018); Black Volume EP II (2019); Black Volume EP III (2019) and a music video into the haze. With a new stoner sun set to rise in 2021, the power trio will release their first full-length debut on November 19th to keep the fuzzy momentum going.

Sun Below Presents A Fuzzy Stoner Soundscape In “Chronwall Neanderthal” Off Upcoming Album

Montreal, Canada’s Thrash La Reine is sharing their second single “La Cage de Fer”in support of their new album “Notre-Dame-de-l’Enfer” being released via Quebec metal label Bam&Co. Heavy (Anonymus, BARF,  Dizzygoth, Nova Spei) on October 29, 2021.

“Notre-Dame-de-l’Enfer” is the third release from the band following “La Foi, La Loi, La Croix”(2019) and “Le Métal Est Notre Langue” (2018). It is the band’s attempt to make a metal opera about French Canadian stories, which will shine some light on francophone folklore presented in an energetic and catchy fashion.

The track “La Cage de Fer” is inspired by the Québécois folklore of Marie-Josepht Corriveau. A woman who lived in New France during the 18th century and was sentenced to death by a British court-martial for the murder of her second husband along with speculation of witchcraft. She was hanged for her crime along with her body hanged in chains. 

“This is another really important story that is part of French Canadian folklore,” says vocalist/guitarist Renaud Baril. “This song is really slower and darker than the rest of the album with mellow verses and a more aggressive chorus. It has a more of a ‘doom metal’ feeling.”

“La Cage de Fer” can be heard via its lyric video :


For “Notre-Dame-de-l’Enfer”, Thrash La Reine worked closely with producer Francis Perron (Voivod – The Wake) to create an album of 13 tracks: 9 full songs and 4 instrumental interludes, taking the band on a hard turn from their classic metal/thrash roots and into folk metal territory. Overall, the concept album will connect with many local Quebec fans, but the band’s goal is to also expose French Canadian culture to more metalheads around the globe.

“‘Notre-Dame-de-l’Enfer’ is an album about French Canadian folklore. Most of these folk tales occur at night, in the cold countryside of the province of Quebec. We made an album that reflects this cold and dark atmosphere. For example, we used down-tuned guitars and bass to create a sonic atmosphere that seems to come from the depths of the Appalachian Mountains. Many of these stories happened in the 18th century during festivities; we also tried to capture the festive aspect of these legends, including a lot of gang vocals. We incorporated some traditional instruments to this album like mandoline, acoustic guitar, strings, accordion, and cowbell! The kind of singing and harmonies we use on this album are also reminiscent of traditional chants. 

These French Canadian folk tales are all about ghosts, witches, sins, and the devil himself! It fits really well with the metal imagery! The album touches on a lot of different styles: fast, slow, sad, happy songs with either coarse or clean vocals. This album captures different colours and emotions.

As the themes of the album are really similar, we did a conceptual album with an epic introduction and some transitions between the songs.”

Thrash La Reine is recommended for fans of Alestorm, Powerwolf, and King Diamond.

Album pre-order – https://thrashlareine.bandcamp.com

Track Listing:
1. La Plainte de l’Alouette (0:36)
2. L’Étranger (4:32)
3. La Chasse-Galerie (4:29)
4. Le Rigodon de l’Enfer (0:25)
5. Au Chant de l’Alouette (3:00)
6. Wendigo (3:36)
7. La Cage de Fer (4:02)
8. Une Heure Avant l’Aube (1:06)
9. Operation Neptune (3:25)
10. Les Trois Diables (4:42)
11. Le Diable En Personne (0:33)
12. Le Fantome de l’Avare (4:35)
13. Legende d’Antan (7:27)
Album Length: 42:34

For more info:

THRASH LA REINE Shares Next Tale of Quebec Folklore w/ Metal Fans In New Video “La Cage de Fer”

Venus Syndrome‘s sophomore album “Cannibal Star” is out now as of October 22nd via Rockshots Records. For its release day, the band is sharing a visualizer for their third single “Dark Side Of The Sun”

“This song is more in a prog metal feeling. He’s a man who dreams of living on another planet without the human race. He can’t stay with the human race anymore…” adds the band.

Formed originally as a Dream Theater cover band under the moniker MetroTheater, it wasn’t too soon after that drummer Thibaud Pontet (Eternal Flight), guitarist Ayman Mokdad (Alien Encounters), keyboardist Rodolfo Lima Sproesser (Goiana, Tahra, Heretic, Floyd Rose cover Pink Floyd), bassist Florian Guidat and vocalist Emmanuelson (Ellipsis, Rising Steel, Hydroflame) were keen to create something more.

It came under the suggestion of main composer and guitarist Ayman Mokdad to the rest of the band that he had written original material inspired by the concept of the “Venus Syndrome”, in which the Earth undergoes runaway warming and the oceans boil off and is viewed as the greatest threat to humanity’s existence (more info here).

From those lyrical and musical ideals, Venus Syndrome offered up their self-titled debut album during April 2020 all while being an international collaboration between musicians on two sides of the globe. Rodolfo Lima Sproesser is based in Brazilian while the rest of the group is in France. 

Carefully crafting power melodies, intricate hard rocking rhythms and soaring vocals inspired by the likes of Russell Allen (Symphony X), Warrel Dane (Nevermore) and Ray Adler (Fates Warning), the band is ready to introduce their next recording and the sophomore full-length “Cannibal Star”.

Recruiting Simone Mularoni (Domination Studio, Ultra-Violence, T/L Rhapsody, Eternal Idol, Eldritch, Elvenking) for mixing and mastering, the new album is a more mature production compared to their self-recorded effort. On “Cannibal Star”Venus Syndrome showcases eleven tracks for fans to not just enjoy its melodic progressive metal groove, but also go beyond the listening experience and understand the message behind their music. 

“Humanity will disappear if each one of us, each individual do not contribute to safeguarding it. Art, and particularly music is a healer and can help us reach the target and build something strong for our kids and their kids hopefully.” says guitarist and composer Ayman Mokdad.

The band decided on the tracks not just on record, but how they would be best performed for a memorable live experience and the importance of its messaging for saving our planet and humanity.

“There’s an amazing live show that goes with these songs, that’s why there is an instrumental ouverture, an instrumental interlude, and an ending part on the song “Contaminate Me” that we can play with the audience for several minutes. They can expect all the energy and power of the universe. We want them to sing our songs long after the show.”

“Cannibal Star” is available from Rockshots Records at the following links:

Album CD – https://bit.ly/CannibalStar_DIGICD
DIGITAL Stream or Download – https://bfan.link/cannibal-star

Track Listing:
1. Ouverture 2040 (2:41)
2. Sideral Groove (5:33)
3. Sun Inside Me (4:53)
4. Dark Side of The Sun (4:07)
5. Golden Mind (4:37)
6. Empire of The End (4:12)
7. Cannibal Star (3:11)
8. Breaking The Black Stars (4:23)
9. Tunnel of Light (3:31)
10. Like A Monster (4:08)
11. Contaminate Me (4:40)
Album Length: 46:01

For more info:

Rockshots Records – Out Now! VENUS SYNDROME’s New Album “Cannibal Star”

Welcome to our “Psychedelic Lunch” series “Spooktober Edition,” where we find out how deep the rabbit hole really goes and explore tunes from the 60’s to today. Enjoy the trip! 🎃

One of, if not “The” most disturbing 10 minute recorded songs of destitution and insanity that culminates in total tragedy, ‘Frankie Teardrop’ is considered by many to be one of the most disturbing songs ever made, with High Fidelity writer Nick Hornby famously describing it as ‘a song you only want to hear once’.

Complete with jarring synth loops from Martin Rev and and Alan Vega’s twisted, contorted vocal performance, ‘Frankie Teardrop’ sees the electro-punk pioneers at their most insidious, and more than 40 years since its release, it still sounds just as ghastly.

Dominating most of the album’s second side, “Frankie Teardrop” is the dark, pulsating heart of Suicide’s self-titled debut of 1977, the most extreme statement on a record many listeners already found too extreme. With Alan Vega delivering lyrics like cut-ups from a Pop Art catalogue in his rockabilly hiccup, and Martin Rev sculpting droning washes of future-noise and bubblegum echoes from cheap keyboards and rudimentary rhythm machines that sounded like they were about to catch fire, Suicide sounded like nothing on Earth.

Formed in New York City in 1969 from a background of avant-garde jazz (Rev) and visual art (Vega), they were against the grain from the first. Their early shows were as much confrontational performance art as music performance, Vega attacking the walls of venues with a bike chain, when he wasn’t himself being attacked by the audience.

In retrospect, their two-guys-and-some-machines set-up drafted the analogue blueprint for music’s digital future, but at the time people reacted as though they were assaulting the very spirit of rock and roll. “We were breaking a lot of sacred rules,” says Rev today. “The amount of people in a group; the instrumentation; the theatre of it. And, of course, the fact we were called Suicide.”

“Frankie Teardrop,” though, was the song that sent people over the edge. A hissing, two-note, proto-industrial nightmare of hypnotic monotony, punctuated by Vega screaming like a man with thorns in his soul, it’s the ten-minute-plus tale of a 20-year-old factory worker who can’t afford to feed his family, cracks up, and kills them and himself: Bob Dylan’s “Hollis Brown”, reimagined by Travis Bickle.

“Yeah,” says Vega. “It got the reaction it was supposed to get. Frankie, Frankie…”

Suicide: Frankie Teardrop. Album: Suicide Released 1977

Psychedelic Lunch

Welcome to our “Psychedelic Lunch” series “Spooktober Edition,” where we find out how deep the rabbit hole really goes and explore tunes from the 60’s to today. Enjoy the trip! 🎃

CARACH ANGREN is a Black Metal band from the Netherlands that was formed back in 2003. Their style is characterized by a prominent use of orchestral arrangements and Horror stories.

The band draws inspiration from books, movies, and general discussions about these topics when trying to form a new haunting story. As the story is a main element in all our releases, we really try to work hard on this and be fresh and innovative without losing our identity. I think the fans deserve something spectacular and new every time.

Today’s Psychedelic Lunch, Spooktober Edition featured track comes from the record, “This is No Fairytale.” Check out the official video for the killer track “When Crows Tick On Windows.”

Carach Angren: “When Crows Tick On Windows” Album: ”This is No Fairytale” Release Date: February 23rd, 2015

Psychedelic Lunch

Welcome to our “Psychedelic Lunch” series “Spooktober Edition,” where we find out how deep the rabbit hole really goes and explore tunes from the 60’s to today. Enjoy the trip! 🎃

With Ending Life Slowly being inspired by death and decay that takes place during the latter part of Fall, starting the album with a song dedicated to Halloween was a natural first step. It marks an end to the most hallowed month of the year, and celebrates its macabre mayhem before we enter the cold void of November.

Autumn’s Eyes: Ending Life Slowly. Release Date October 31st 2017

Psychedelic Lunch