STEELY DAN’S Album AJA Turns 45 Years Old

Aja is the sixth studio album by the American jazz rock band Steely Dan. Its regarded as a masterpiece and way ahead of their time complete with cryptic lyrics and very progressive jazz flavored rock. It was released on September 23, 1977, by ABC Records. Recording alongside nearly 40 musicians,. Donald Fagen and Walter Becker pushed Steely Dan further into experimenting with different combinations of session players while pursuing longer, more sophisticated compositions for the album.

Becker and Fagen masterminds had 5 albums behind them but they felt like something was amiss in their collection. They auditioned the best session musicians available at the time to piece together the magnum opus that would be titled Aja. Weeks of sessions were held, but on more than one occasion, no music was recorded at all. Becker and Fagen were looking for the best.

legendary drummers like Bernard Purdie and Steve Gadd rubbed elbows with jazz greats like Wayne Shorter and Plas Johnson. Doobie Brothers vocalist Michael McDonald lent his signature voice to the stacked harmonies of ‘Peg’ while future Eagles bassist Timothy B. Schmidt contributed to tracks like ‘Home at Last’ and ‘Josie’. Chuck Rainey, who incorporated funk and R&B grooves into the band’s arrangements, held down the bass on every track except ‘Deacon Blues’. It was a who’s-who of the best players at the time, collected onto one vinyl record. Walter and Becker might have been impeccable in their craft, but they weren’t above a very basic rule: make it sound good.

No other Steely Dan album is as naturally appealing or easy on the ears as Aja. It’s a masterclass in the pursuit of perfection.

The songs on Aja (pronounced Asia) have been dissected and examined countless times over the last 45 years, so I’m giving this great artwork its due. According to Wikipedia, the name Aja belonged to the Korean wife of Donald Fagen’s friend’s brother. I’m not sure if that’s true but it sounds plausible, so I’ll pretend it is.

Credit for the cover image goes to Hideki Fujii, who took this striking photo of model/actress Sayoko Yamaguchi.

The Cult Release New Music ‘A Cut Inside’

Ian Astbury of The Cult. Credit: Mariano Regidor/Redferns

The Cult share new single “A Cut Inside” which follows the recently released debut single “Give Me Mercy,” from their new album Under The Midnight Sun.

Its been six years since The Cult put out anything new. Their latest work titled ‘Under The Midnight Sun. The album is set to be released October 7 tbrough Black Hill Records. Pre-order Under The Midnight Sun here. News of the album came out with the release of the single, ‘Give Me Mercy’, which guitarist Billy Duffy said in a press release “has all the hallmarks of the new classic Cult to my ears”.

Ian Astbury said: “I was absolutely enamoured with this piece of music Billy had written, and it perfectly fit these thoughts I’d been having about our culture’s need to move past assumptions of duality. We need new language because words can’t express where we’re going.”

Astbury recalls: “It’s three in the morning in Finland, the sun’s up, and there’s all these beautiful people in this halcyon moment. People are laying on the grass, making out, drinking, smoking. There were rows of flowers at the front of the stage from the performances earlier that evening. It was an incredible moment.

“When the world stopped, I had this moment to write in real time, to calculate. I was compelled by this vision, this anomaly, this memory, of being under the midnight sun.”

Track Listing:

1. Mirror
2. A Cut Inside
3. Vendetta X
4. Give Me Mercy
5. Outer Heaven
6. Knife Through Butterfly Heart
7. Impermanence
8. Under the Midnight Sun

Stay tuned for more from The Cult and this album — and catch the band on the road in the coming weeks:

July 8 – Palace Theatre – St Paul, MN
July 9 – Cellular Stage at Summerfest- Milwaukee, WI
July 10 – The Factory at The District – Chesterfield, MO
July 12 – Riviera Theatre – Chicago, IL
July 14 – PNC at Riverbend – Cincinnati, OH
July 15 – Rose Music Center at The Heights – Dayton, OH
July 16 – Stage AE – Pittsburgh, PA
July 19 – The Anthem – Washington, DC
July 20 – The Rooftop at Pier 17 – New York, NY
July 22 – Metropolitan Opera House – Philadelphia, PA
July 23 – Leader Bank Pavillion – Boston, MA
July 24 – College Street Music Hall – New Haven, CT
July 26 – Crouse Hinds Theater – Syracuse, NY
July 27 – Meadowbrook Amphitheater – Detroit, MI
July 29 – Hogs for Hospice Charity Event at Seacliff Park – Leamington, ON
July 30 – Casino Rama – Orilla, ON

THE JIMI HENDRIX EXPERIENCE: ‘Los Angeles Forum: April 26, 1969’ To Be Released In November

Experience Hendrix L.L.C. in partnership with Legacy Recordings, a division of Sony Music Entertainment, will release THE JIMI HENDRIX EXPERIENCE “Los Angeles Forum: April 26, 1969” this November 18 on 2LP vinyl, CD and all digital platforms. Recorded in the spring of 1969 before a raucous, sold-out audience, the captivating performance of the original lineup (singer/guitarist Jimi Hendrix, drummer Mitch Mitchell, bassist Noel Redding) has never before been released in its entirety. This album comes out in time for the 80th anniversary of Jimi Hendrix‘s birth (November 27). An advance track from the album, “I Don’t Live Today”, is now available below.

Following the massive success of THE JIMI HENDRIX EXPERIENCE‘s 1967-68 studio album trifecta (“Are You Experienced”, “Axis: Bold As Love”, “Electric Ladyland”),the trio had developed into the most popular international touring attraction in rock music. This widescale public interest coincided with the construction of new arenas for sporting events, among them the Forum in Inglewood, California. Designed by famed architect Charles Luckman (who also designed New York’s rebuilt Madison Square Garden),this multi-purpose venue opened in 1967 as the home of the Los Angeles Kingshockey team and Los Angeles Lakersbasketball team, but also began to serve as a music venue. Among the earliest concerts held there was Aretha Franklinin January 1968 and the CREAM farewell tour with opening act DEEP PURPLE in October of that year. THE JIMI HENDRIX EXPERIENCE were booked to perform on April 26, 1969 with opening acts CHICAGO TRANSIT AUTHORITY (soon-to-be renamed CHICAGO) and CAT MOTHER & THE ALL NIGHT NEWSBOYS, the latter of whom shared management with the headliners. Floor seats cost $6.50 ($51.20 adjusted for inflation).

By the time THE JIMI HENDRIX EXPERIENCE took the stage to blaze through a spirited set, live concert sound had drastically improved from the time of THE BEATLES baseball stadium tours, but crowd control was still a major concern. Between songs, Jimi pled with audience members to stop rushing the stage. A heavy police presence is felt; lyrics for their hit “Purple Haze” are altered (“‘Scuse me while I kiss that policeman!”) and Jimi dedicates “Spanish Castle Magic” to “the plain clothes police out there and other goofballs.” Hendrixtreated each performance as a unique event. He never relied on a standard set list comprised only of his biggest commercial hits. This approach was on full display at the Forum performance, blending more familiar tunes such as “Foxey Lady” with “I Don’t Live Today”from “Are You Experienced” and his signature blues original “Red House”(“Everybody want to know what America’s soul is; everybody think it’s Motown . . . America’s soul is something more like this here”) which had still not yet been released in the U.S. at this time. Furthermore, the group opened their set with a cover of “Tax Free” — an obscure 1967 instrumental by Swedish duo HANSSON & KARLSSON (consisting of Bo Hansson and Janne Karlsson),with whom the EXPERIENCE had previously shared bills in Stockholm. Another unique highlight featured within the Forum performance was an early reimagining of “The Star Spangled Banner”, which Jimiwould canonize four months later at Woodstock. “Here’s a song we was all brainwashed with,” Jimi trenchantly declares, at a time when the nation was in a state of great political unrest. The group closed their performance with a unique, extraordinary medley of “Voodoo Child (Slight Return)” and CREAM‘s “Sunshine Of Your Love”. The song was an EXPERIENCE favorite and a perfect live vehicle for the trio’s unparalleled improvisational skill.

“Los Angeles Forum: April 26, 1969” was recorded by Wally Heider and Bill Halverson contemporaneously, and recently remixed by longtime Hendrixproducer/engineer Eddie Kramer for maximum audio fidelity. It was produced by Janie Hendrix, CEO of Experience Hendrix, L.L.C. and the sister of Jimi HendrixKramer and John McDermott, who manages the Hendrix music catalog on behalf of Experience Hendrix. The package’s liner notes are by former Los Angeles Times staff writer/critic Randy Lewis with a preface by ZZ TOP‘s Billy Gibbons who attended the HendrixForum show, having toured with the EXPERIENCE, as part of the MOVING SIDEWALKS, his pre-ZZ band.

Also coming out during the month of Hendrix‘s 80th birthday is the book “Jimi”. Published by Chronicle Books imprint Chroma for a November 15 release, this comprehensive visual celebration is an official collaboration with Janie Hendrixand John McDermott. “Jimi” significantly expands on the authors’ previously published titles, including “An Illustrated Experience”, and features a new introduction by Janie, extensive biographical texts, and a trove of lesser known and never-before-published photographs, personal memorabilia, lyrics, and more. Additionally, “Jimi”includes quotations by legendary musicians such as Paul McCartney, Ron Wood, Jeff Beck, Lenny Kravitz, Eric Clapton, Drake, Dave Grohl and others who have spoken about Hendrix‘s lasting influence.

I Think That You Got The Blues Too

It was the 70’s. Life was pretty easy for me back then. I was really young, no responsibilities other than school. It was a warm summer day in Florida back in May of 1977. Im impatiently awaiting summer break from school and my birthdays coming up. My parents were in an argument, about what I had no clue. It was hard for my very young mind to focus on such adult things at the time. I was frightened every time they argued. This one was more intense than usual. I went into my room, closed the door and turned on the radio to drown out the yelling. Suddenly this song came on the radio that blew my mind. It was Heart’s new one, Barracuda. It was heavy, loud and angry and I found myself escaping into the music. I turned the radio all the way up to max volume. This song was fire. I was in love. This song spoke to me and I could relate completely on many levels. It was a total banger for the time.

When a piece of music is paired with a very emotional event, it can be an effective cue to bring back the strong emotion that was felt at that moment and this is what the song Barracuda does for me every time only in a positive way. For me Barracuda was my gateway song into heavier music and I began collecting vinyl and going down the rabbit hole of all the coolest rock bands out at the time and eventually metal. My journey into music became very meaningful and its still going.

Barracuda is on Heart’s third studio album, Little Queen, and was released as the album’s lead single. It was written by Ann and Nancy Wilson together with guitarist Roger Fisher and drummer Michael DeRosier. Ann Wilson revealed in interviews that the song was about Heart’s anger towards Mushroom Records, who as a publicity stunt released a made-up story of an incestuous affair involving Ann and her sister Nancy Wilson. “Barracuda” is a sonic barrage of instrumental release in response, bludgeoning any lingering inappropriateness to a pulp.

On This Day in History five months after its release on September 3rd, 1977 – HEART’s song Barracuda peaked at number eleven on the Billboard Hot 100 Singles chart. This was HEART’s third top forty single in the United States at that time.

On This Date in History Featuring Ice Nine Kills, Motionless in White, Black Veil Brides and Lilith Czar

Written By Braddon S. Williams aka “The Concert Critic”

On this date in history, 4/8/2022, my stepdaughter and I attended The Trinity Of Terror Tour at Blue Ribbon Pavilion on the Indiana State Fairgrounds. This show featured a trio of bands with three-word names: Ice Nine Kills, Motionless In White, and Black Veil Brides, with opener Lilith Czar.

Originally booked at a smaller venue, this triple headliner tour had to be relocated to the much larger State Fairground location due to aggressive ticket sales. I’m the first to admit that I was not the target demographic for this one, but my stepdaughter Emma has been developing a taste for heavier music and I am both proud and supportive of her growing love of attending live shows. Having said that, I had previously seen Motionless In White and Black Veil Brides, and I knew there would be some high energy entertainment and I wouldn’t automatically hate being there. Taking one for the team is one thing, but Emma knew I wasn’t going against my will. Not too long ago her musical taste was obsessively consumed with K-pop, so anything hard rock or metal related feels like victory.

I knew next to nothing about Lilith Czar prior to the show, and I’m certainly not going to lie and say I became a big fan, but she proved to have a strong vocal presence and a genuinely grateful attitude that built a visible excitement in the crowd as her set progressed. I didn’t hear anything revolutionary going on musically, but after doing a bit of research I learned that she has been steadily building her career for the past decade and that she is married to the Black Veil Brides’ singer, Andy Biersack.

Lilith Czar appears to be a band on the rise. Speaking of Black Veil Brides, they confirmed what I had already determined from my previous experience of their live performance; these guys are an extension of the best qualities of glamorous L.A. hard rock that ruled the late ’80’s. With singalong choruses, gigantic riff fueled anthems, blazing guitar solos (both singular and harmonized), and endless energy, Black Veil Brides collectively never stop moving and absolutely never forget why they are on that stage…they are there to entertain the predominantly young female fanbase and they do it with enthusiastic excellence.

Front man Andy Biersack has charisma to spare and doesn’t stray from his comfort zone vocally, which allows him to stay on pitch and full voiced. The rest of the band are adept with support vocals and are definitely great players. I knew going into this show that they would likely be the highlight for me and indeed they were.

Motionless In White followed and arguably had the most rabid crowd response of the evening. Some of that comes from having the best time slot, but a lot of it was due to the performance of Chris Motionless, who (like Biersack) knows his audience and relentlessly involves them in the gang choruses and hype points of his band’s music. I had last seen Motionless In White on a package tour in support of Slipknot and Lamb Of God in 2015. Clearly, MIW have grown enormously in the past seven years and absorbed lots of lessons from some of the heavyweights in the extreme metal community.

Overall, I think I enjoyed them more when they were an up-and-coming band. Back then they felt like a more wholesome alternative to Marilyn Manson. This time around they felt a little too derivative of Manson to me, but once again, I’m not their target and their target was ravenous, so hats off to them for their growth. Ice Nine Kills performed the final set of the night and I have both good and bad opinions concerning the horror lyric based metalcore band. First of all, I love the staging, the visuals, and the horror stuff. Everything happening on stage looked so good to me, unfortunately (as is usually the case with bands I don’t like) the vocals just killed the vibe for me.

Ice Nine Kills have been described as symphonic metal at times, but to me it was almost more appropriate to label them opera metal…and I just couldn’t get around my inability to ignore all that high pitched (i.e., whiny) sound.

Emma and I decided to call it a night and leave early, both concluding that we had enjoyed a tremendously entertaining evening of heavy music with great theatrics, visuals, energy, and production values.

Blue Ribbon Pavilion doesn’t have ideal sound, but it was certainly packed with all the elements of a rock show that featured young bands that are carrying the torch for heavy music and helping spread the fire to a hungry young audience. I applaud Ice Nine Kills, Motionless In White, Black Veil Brides, and Lilith Czar for their efforts and their continued success.

Tour Dates:

Aug. 30 – Denver, CO – Red Rocks Amphitheatre#
Sep. 03 – Omaha, NE – Liberty First Credit Union Arena (buy tickets)
Sep. 04 – Pryor, OK – Rocklahoma*
Sep. 06 – Fort Wayne, IN – Allen County War Memorial Expo Center (buy tickets)
Sep. 07 – Cleveland, OH – Jacobs Pavilion at Nautica (buy tickets)
Sep. 09 – Scranton, PA – Toyota Pavilion at Montage Mountain (buy tickets)
Sep. 10 – Alton, VA – Blue Ridge Rock Fest*
Sep. 11 – Asheville, NC – Exploreasheville.com Arena (buy tickets)
Sep. 13 – Milwaukee, WI – Eagles Ballroom (buy tickets)
Sep. 14 – Sterling Heights, MI – Michigan Lottery Amphitheatre at Freedom Hill (buy tickets)
Sep. 16 – Bonner Springs, MO – Azura Amphitheater (buy tickets)
Sep. 17 – Saint Charles, MO – The Family Arena (buy tickets)
Sep. 18 – Cincinnati, OH – ICON at The Andrew J Brady Music Center (buy tickets)

Watch Black Sabbath’s Ozzy Osbourne, Tony Iommi play at the Commonwealth Games

Ozzy Osbourne and Tony Iomi made a surprise reunion in their hometown of Birmingham, England, on Monday night with a performance at the city’s Commonwealth Games. They performed their classic “Paranoid” alongside two musicians who joined them on their final tour, The End: Adam Wakeman, who played bass and keyboards, and drummer Tommy Clufetos.

Osbourne and Iommi performed versions of ‘Iron Man’ and the complete ‘Paranoid’, the latter of which ended with a spectacular firework display. The performance apparently disrupted the BBC’s 10 O’Clock news broadcast, but nobody seemed to mind.

News of Osbourne’s performance comes ahead of the release of his new album, Patient Number 9, on September 9th. The new studio effort features guest appearances by the likes of Iommi, Zakk Wylde and Chad Smith of Red Hot Chili Peppers. Guns N’ Roses bassist Duff McKagan, Metallica’s Rob Trujillo, Pearl Jam guitarist Mike McCready, and former Foo Fighters drummer Taylor Hawkins are also all rumoured to have contributed.

WACKEN OPEN AIR 2023: 80,000 Tickets Sold In Six Hours; Fastest Sellout In Festival History

The 2022 edition of Wacken Open Air just less than two days ago and the promoters are already able to confirm that next year’s installment of the annual metal festival has sold out. Within six hours, 80,000 tickets to the 2023 Wacken Open Air were sold. This marks the fastest sellout in Wacken‘s history.

The Wacken Open Air organizers said in a statement: “Metalheads! We absolutely cannnot believe what just happened: The Wacken Open Air 2023 is completely sold out after a record time of 6 hours — all 80,000 tickets are sold out! Thanks for your incredible loyalty, support and the trust you give us!”

They added: “You are the best fans in the world! So we can’t wait to celebrate another superlative metal party with you next year. Look forward to many more great bands and a festival with which we will take you back to the age of the Vikings — officially on four days instead of three!”

Promoter Thomas Jensen added: “A sold-out festival in that amount of time — unbelievable. And especially in these times, the backing of the community is enormously important.

“We are still knocking off the dust of this year’s Open Air and now, thanks to the trust of our fans, we can continue to fully concentrate on the program in 2023 under the motto ‘Vikings’, which will have one or two highlights in the bag in addition to the great IRON MAIDEN!”

“This is an enormous proof of confidence from our fans and we appreciate it very much,” said promoter Holger Hübner. “This allows us to push Wacken Open Air forward and develop various projects and themes alongside the billing, which we will announce during the year.”

As previously reported, British heavy metal legends IRON MAIDEN will headline next year’s edition of Wacken Open Air, set to take place August 2-5, 2023.

Wacken Open Air takes place annually in the village of Wacken, which has a population of just about 2,000.

Up to 85,000 people attend the event, which is 32 years old.

The first Wacken Open Air event in 1990 drew less than 800 people, but it has since grown to become the biggest open-air festival of its kind.

Around 30 percent travel from other countries to the festival, which over recent years has been growing in popularity.

So far the following artists have been confirmed for the 2023 edition of Wacken Open Air:

IRON MAIDEN
MEGADETH
THE DROPKICK MURPHYS
WARDRUNA
JINJER
BEARTOOTH
TWO STEPS FROM HELL
ENSIFERUM
DEICIDE
PENTAGRAM
NERVOSA
BURNING WITCHES

200 bands performed at this year’s Wacken Open Air, including headliners SLIPKNOT, POWERWOLF and JUDAS PRIEST.

Wacken Open Air was forced to take a break for two years due to coronavirus restrictions.

Wacken Open Air normally does not announce the names of its headliners before tickets go on sale. Still, the festival usually sells out within hours.

The festival also doesn’t sell VIP access or upgrades and all purchases are for all the days without a single-day ticket option, something they did away with nearly two decades ago.

New Alter Bridge Song With Animated Video, Silver Tongue Released Today and its HEAVY!

The band’s seventh full-length album is set for release this October. Kennedy and Tremonti – plus bass guitar player Brian Marshall and drummer Scott Phillips – have teamed back up for a new Alter Bridge album called Pawns & Kings. The band’s seventh album, Pawns & Kings was helmed by longtime collaborator/producer Michael “Elvis” Baskette, and is set for an October 14 release via Napalm Records.

The animated music video for the LP’s second single “Silver Tongue” can be seen below and its heavy! The clip, which was created and directed by Ollie Jones of Better Feeling Films (Myles Kennedy, PRODIGY, PSYCHEDELIC PORN CRUMPETS), follows victims who fall prey someone beautiful but turns demonic under a dark spell of a painting that pulls them into an alternate universe and traps them inside forcing them to fight for survival. My personal interpretation of the song is that its a euphemism for the mysterious power of attractive people who are evil on the inside and how you can fall victim to external beauty and to never judge a book by its cover. Watch the video and decide for yourself.

ALTER BRIDGE will be touring in support of “Pawns & Kings”. The band has announced a tour of Europe for November and December that will make 25 stops. The tour starts November 1 in Germany and will go to Denmark, Sweden, Spain and more before it ends December 12 at O2 Arena in the United Kingdom. HALESTORM and MAMMOTH WVH will be part of the tour.

Alter Bridge – Pawns & Kings:

1. This Is War
2. Dead Among The Living
3. Silver Tongue
4. Sin After Sin
5. Stay
6. Holiday
7. Fable Of The Silent Son
8. Season Of Promise
9. Last Man Standing
10. Pawns & Kings

On This Date in History

Written By Braddon S. Williams aka “The Concert Critic”

On this date in history, 4/6/2022, my wife and I attended a highly entertaining show at The Vogue featuring The Brian Jonestown Massacre. Led by the wildly prolific and consistently unpredictable Anton Newcombe, The Brian Jonestown Massacre has produced a truly impressive amount of music since its inception in San Francisco in 1990.

The band has sustained a staggering fluctuation of members with many leaving and returning seemingly at will and all revolving around the only constant member, Newcombe. An award-winning documentary entitled Dig! provides a lot of insight into why there are so many lineup changes. Definitely check it out if you can. Apparently, Anton Newcombe is kind of difficult to work with, but he is certainly a man who knows what he wants and refuses to compromise his art. Knowing all of this, we went to the concert with an understanding that we would either see a visionary performance or possibly a massive trainwreck. Thankfully, I feel we saw hints of the visionary and a small bump in the road where Anton stopped a song not once, but twice, because he didn’t like the tempo. He seemed on the edge of an outburst as he admonished his bandmates and told them he didn’t have time to be their babysitter. After they locked into the tempo he was looking for, everything went smoothly from then to the end of the show.

Being unfamiliar with the genre of the band’s music (kind of misguidedly thinking it would be grunge due to their birth in the ’90’s) I was pleasantly surprised that they touched on psychedelia, country, blues, garage rock, folk, and a heaping amount of shoegaze. The band (or the touring version circa 2022) were laid back but reactive to each other, with no-one really standing out, including Anton, who stood at the far end of stage left. The songs performed at our show were all excellent, but the one that really stood out for me personally was the finale. It was just over twenty minutes long, but the actual song ended around eleven minutes when the guitar players set up some warm feedback on their respective instruments and left the stage, followed by the bass player and drummer. As the guitars continued to feedback most gloriously, Anton got behind the drumkit and started playing a simple but hypnotic drum pattern, accompanied by some random sound manipulations from the keyboard player. During the next nine or so minutes, these elements all just grew to an enormous wall of sound that was further enhanced by some cosmic rear screen projections of deep space and subliminal faces that perfectly complimented the psychedelic shoegaze symphony that this band effortlessly set in motion.

That twenty-minute demonstration of the genius of The Brian Jonestown Massacre guaranteed that I will at the very least always be a fan of this quirky and magical band that has survived against some pretty crazy odds. Hopefully we will see them again sometime, but this show will live on in my memory for that monumental final song at the very least.

Rockshots Records – Cosmic Metal VANDERLUST Take You On A Journey To Mars w/ New Music Video “High Hopes”

Cosmic metallers VANDERLUST (ft. members of S91, Dreal) invited fans into their galaxy of wonder with the release of their self-titled debut album released this past April via Rockshots Records.

Today, they share their next video adventure with “High Hopes”, a heavy-power metal song, that is fast and powerful. It mixes technical riffs with a melodic and catchy vocal line; it’s one of the band’s most Iron Maiden-oriented songs. The lyrics speak about the first human travel to Mars and the great hopes that this mission inspires.

Listen and watch “High Hopes” – https://youtu.be/jI1_XHZnorg

Birthed to travel the cosmos, Italy’s Vanderlust is a power-heavy metal band with prog-thrash influences that tells tales of space travels, astronomy, space engineering, and sci-fi adventures.

“We tried to mix a prog-thrashy riffing in the roots of Megadeth, Vektor, and Tool with epic vocal parts like Iron Maiden, Helloween, Angra, and Lione’s Rhapsody. We also put sci-fi elements in our songs, so you can hear also something from Voivod.” adds the band.

This debut recording is like a stellar system with 12 different planets. The star at the center of the system represents the heavy-power metal around all the songs revolving. Despite all the tracks being irradiated by the same light, they are all different from each other. Vanderlust has fast thrash, slow and doom, shiny and brilliant to grunge, and darker songs. Like planets, which appear like simple small bright spots, but in reality, are all big worlds, Vanderlust‘s songs are more complex than they sound at first listen. In fact, you can easily sing along to some of the choruses even if there are complex riffs in the background. Vanderlust is particularly proud of the participation of opera singer Letizia Cappellini who does vocals on select tracks and helps the band further expand the vocal register of their compositions. The band also adds the presence of synths and electronic elements to the compositions to set the sci-fi mood of the lyrics.

“The main goal was to start a metal band that could be an inspiration for young people, a band that could tell them stories from the future when mankind will have overcome its limits and the solar system will be an entire human colony. This idea came to mind to founding members Francesco and Santo when they began their search for other members that could fit. Drummer Giacomo Mezzetti joined the space odyssey right before the covid-19 outbreak. Vocalist Riccardo Morello joined the band during the first lockdown in Italy, so the first song was entirely composed online, using videocalls and file sharing.” adds the band.

For their live aspect, Vanderlust is currently working hard to create a thrilling spectacle, giving all their energy to the fans and letting them join them on the space journey.

Vanderlust is recommended for fans of Iron Maiden, Angra, Tool, Helloween, and Vektor.

CD – https://bit.ly/Vanderlust_CD

Digital – https://bfan.link/vanderlust

Track Listing:
1. Intro (0:58)
2. High Hopes (3:34)
3. Orphan Planet (3:41)
4. Forgotten Breed (5:13)
5. The Last Ganymedian (3:45)
6. Scavengers Of Kuiper Belt (4:02)
7. Mass Effect Destruction (2:04)
8. Requiem For An Ancient World (4:59)
9. 3 Suns (4:44)
10. Dyson’s Swarm (4:00)
11. Ringworld (3:26)
12. Ten Years Back (3:38)
13. Zima Blue (4:39)
Album Length: 48:49

More info:
Rockshots.eu
Facebook.com/vanderlustofficial
Instagram.com/vanderlustband

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