System of a Down

System of a Down (formed in 1994) is an American alternative-metal four-piece rock band hailing from Glendale, California, in the U.S.

Deftones

Deftones have always defined boundless creativity in the music space. Across nine studio albums, they have carved out an unmistakable sonic identity — ferocious yet dreamlike, while making space for constant refinement and surprise. Now, decades on from the groove-forward sound of their era-defining debut, Adrenaline, and following a long line of masterpieces including 2000’s White Pony, 2010’s Diamond Eyes and 2020’s Ohms — an album that earned them their second and third Grammy nominations — they return with one of the most focused statements of their career: private music. Joining the band’s creative core of Chino Moreno, Stephen Carpenter, Abe Cunningham and Frank Delgado (as well as touring bassist Fred Sablan, who appears on the album) is producer Nick Raskulinecz, who previously worked on Diamond Eyes and 2012’s riveting Koi No Yokan. The result is a lean, masterfully paced 11-song set that plays like a new Deftones benchmark. Meditating on the beauty and peril of nature, the challenge of cultivating a positive mindset and visions of a journey beyond the physical realm, private music showcases Deftones at their most evolved. At once a psychedelic voyage and a skull-rattling wallop, it’s the latest peak in a catalog filled with immersive, emotive triumphs.

Slayer

The motion picture and live album, The Repentless Killogy, out worldwide via Nuclear Blast Records. Order at https://www.slayer.net/killogy

Evanescence

Evanescence (formed in 1995) is an American gothic influenced rock/metal band, best known for their breakthrough single “Bring Me to Life” and accompanying album “Fallen”, hailing from Little Rock, Arkansas, U.S.

Marilyn Manson

https://linktr.ee/marilynmanson

The Prodigy

Rising out from Essex, UK, The Prodigy have become one of the biggest electronic acts for over the past 20 years.

Knocked Loose

A Tear In The Fabric Of Life

Mastodon

Art is a cyclical beast. The same can easily be said of Grammy Award nominated hard rock juggernaut Mastodon. The group’s four members recognize the importance of life’s omnipresent cycles on their sixth full-length album, Once More ‘Round the Sun. The band orbits around themes of loss and rebirth, twirling a sonic spiral of its signature robust riffing, hypnotically haunting soundscapes, triage of dynamic voices, and thundering seismic grooves. At the same time, this particular collection proves personal for Brann Dailor, Brent Hinds, Bill Kelliher, and Troy Sanders. The very title says something slightly different for each member.

"Quite literally, Once More 'Round the Sun means a year-in-the-life," explains Dailor. "Lyrically, we were discussing things that happened to us recently, whereas in the past we looked further back for inspiration. It's about 365 days in this band. It was a tough and strange journey. We happened to be in the middle of completing a full rotation musically as everything else was going on."

"It's about being a man and trying to survive in the world. You’re facing all of the crazy shit that goes along with it," adds Hinds. "You've got to just keep rolling. It's the daily grind everybody deals with. It's grinding and rewarding."

Kelliher concurs, “A lot of crazy and epic things have happened in the nutshell of the past year. For me, I had recently gotten sober. I really focused my time on writing music instead of drinking and being hung-over. We were in a different space here. Another year has gone by, and we wrote this record.”

Sanders smiles, “The title itself deals with a cycle. Writing, recording, and touring are kickass experiences that we get to relive over and over again. We’ve got the ability to strap it on and go out another time. I look forward to riding this out once more with my three friends.”

Mastodon’s own collective cycle encompasses a staggering string of accolades. Whether it’s the public endorsement of peers as diverse as Metallica, Pearl Jam, Queens of the Stone Age, CeeLo Green, and Feist or unanimous praise from the likes of Time and Rolling Stone, the band continue to make an impression at every turn. 2011’s The Hunter saw them achieve their highest chart debut yet, reaching #10 on the Billboard Top 200, while the single “Curl of the Burl” notched their second Grammy Award nomination in the category of “Best Hard Rock/Metal Performance”. In between scorching stages everywhere from Sonisphere and Download to Bonnaroo and Coachella, they scored the Josh Brolin sci-fi western Jonah Hex and have been sought out for soundtracks including Pixar’s box office smash Monsters University. As far as rock ‘n’ roll goes, their legacy irrefutably stands alone. However, that legacy expands yet again with Once More ‘Round the Sun.

In order to uphold a modus operandi of experimentation and evolution, the boys enlisted the talents of super producer Nick Raskulinecz (Foo Fighters, Rush, Alice In Chains, Deftones, etc.) for the very first time. They holed up in his Falcon Rock studio in Nashville throughout the fall of 2013, cutting what would become Once More ‘Round the Sun. Given his passion for the band, Raskulinecz immediately clicked with the musicians.

“He was very hands-on,” says Sanders. “We were fans of the Deftones and Alice In Chains records he’d done, and we initially met him during the BlackDiamondSkye tour. He literally called Brann every six months reminding us that he was on the hunt to work with us when we were ready. This was the right time.”

“He was like a coach,” Kelliher goes on. “He brought some energy to the band. I remember he was like, ‘You guys are Mastodon. You’re one of the biggest bands in metal. Give me some of those chunky and thick riffs!’ He let us be who we are.”

It’s indisputable that Once More ‘Round the Sun is Mastodon through and through. Kelliher’s twelve-string acoustic guitar ominously heralds the record’s onset during album opener “Tread Lightly” just before crashing into an unmistakable roar from Sanders. Hinds churns out a psychedelic slide guitar solo during the title track that entwines with Dailor’s drums in entrancing, yet enigmatic union. The Kelliher-penned first single “High Road” pummels with an intense polyrhythmic guitar groove before snapping into another unshakable refrain from Dailor.

Kelliher explains, “I wrote that on a day off while we were on tour in Luxembourg. I was sitting in this rainy city on a Sunday. Nothing was open. I felt like I needed to write something to reflect how I was feeling. I started banging on a guitar. I was thinking Neurosis and The Melvins low-tuned with a little more pop sensibility for the chorus.”

“You can headbang to that one for days,” grins the drummer. “I love the simplicity of it. Lyrically, it’s an angry number where you want to see someone destroyed. It’s heavy-handed in that sense, but it’s the fantasy I felt at the time.”

Then, there’s “The Motherload”. Sharring vocal duties between Dailor and Sanders the track cruises from a propulsive six-string onslaught into an riveting chorus—one of the band’s biggest to date. “That one is personal for me,” Dailor admits. “It’s not wanting to lose someone and the powers-that-be are trying to take that person away, or the world is just against it. You’re doing everything you can and scrambling to hold on and salvage it.”

Nodding to their roots, “Chimes At Midnight” sees Sanders call out the words “Hearts Alive”, making a connection to the centerpiece of the band’s critically acclaimed 2004 breakout Leviathan. He reveals, “I never repeated a line on purpose, but I felt like it was time to!”

On the other end of the spectrum, Hinds delivers a raucous and raw departure in the form of “Halloween”. Wielding a thrashed-up punk riff, the song eventually explodes into incendiary soloing from the axeman in homage to his favorite holiday. However, the biggest surprise comes during “Aunt Lisa”, an anthemic send-off to Brann’s late aunt featuring Atlanta femme punks The Coathangers on a rousing gang vocal.

“This one came out pretty effortlessly. It’s about Brann’s Aunt Lisa, her wild spirit, and free personality. I love what The Coathangers did. They’re good friends of mine, and they owed me a favor because I got the Mastodon guys to dance around like girls in their video,” chuckles Hinds.

Brann continues, “My aunt liked anything I did. She definitely lived life to the fullest. If she walked in the room, all eyes were on her. I loved it. I don’t think I’ve ever come across energy like that before, and I don’t know that I will. You never knew what was going to happen when she was around. She had a huge impact on my life. I didn’t get to say goodbye to her properly. This is me trying to say goodbye.”

Everything culminates on the expansive finale “Diamond in the Witch House”. Boasting a vocal call-and-response between Sanders and Neurosis’s Scott Kelly, on his fourth Mastodon collaboration, the track unfolds in cinematic fashion over eight minutes punctuated by Kelliher’s hulking riffs. “It’s about the fragility of taking responsibility,” admits Sanders. “That’s what happens when you have kids. Precious lives are in your hands and dependent upon your actions. The idea spun from that. It’s about proving your worth and prevailing.”

Mastodon continue to prevail artistically, and this particular rotation, Once More ‘Round the Sun, upholds that tradition of progression. “We’ve built a band that’s been able to morph, evolve, and change,” Dailor concludes. “Our fan base expects greatness, but they also expect things to be weird and different. I feel confident that we’ve risen to that challenge.”

Hinds leaves off, “It would be nice if people walk away enjoying the listening experience. That’s the ultimate goal. It’s interesting to see. One thing I know for sure.they can’t walk away and say it’s not original.

Power Trip

Ministry

Born in 1981 in Chicago. In its early days, Ministry was identifiable by its heavy synth-pop material in line with the new sounds and technology that were being developed in the ‘80s. Ministry’s output began with four 12” singles on Wax Trax! Records in 1981 before the first LP With Sympathy in 1983 via Arista Records. As time progressed however, so did Ministry, quickly developing a harsher, and more stylized sound that the band soon became infamous for on seminal Sire/Warner albums Twitch (1986), The Land of Rape and Honey (1988), and The Mind Is A Terrible Thing To Taste (1989). With the release of Psalm 69: The Way to Succeed and The Way to Suck Eggs (1992), Ministry hit an all-time high in the mainstream musical realm and received its first Grammy nomination (the first of six). Eight more albums would follow on various labels including their own 13th Planet imprint. After a break in 2013, the band reformed, toured and signed to Nuclear Blast with three releases. AmeriKKKant (2018), Moral Hygiene (2021), and HOPIUMFORTHEMASSES (2024). Late 2024, Ministry signed with Cleopatra Records and released The Squirrely Years Revisited. Celebrating the early synth pop years with new studio takes.

A.F.I.

AFI are leaders, not followers. A collective in a perpetual state of creative evolution as fluid as the evocative figures contorting on the cover of Bodies, their newest collection of songs. The record is a snapshot of unrelenting artists in motion, unconcerned with compromise or outside demands.

The band initially summoned a steady subcultural groundswell in the mid-90s, devoid of careerist ambitions. The band first made music as teenaged misfits in an obscure Northern California town, steadily assembling a dense catalog over the years marked by its diversity and authenticity.

The platinum success of Sing the Sorrow blazed a path for a generation of hardcore-punk weaned bands to similarly crossover. 2006's Decemberunderground upended expectations again and earned AFI a second platinum plaque. Crash Love was another adventurous turn, with expansive and almost optimistic-sounding melodies, glistening with emotion. The haunting Burials arrived four years later, debuting in the Top 10 of the Billboard 200. The self-titled follow-up, commonly referred to as "the Blood Album," became AFI's second-highest charting album since their inception, debuting at No. 5 in 2017.

Underoath

TEETH. OUT NOW. tpato.com

They’re Only Chasing Safety World Tour // Tix on sale now ⬇️

http://underoath777.com/pages/tour

Clutch

Official page of the rock band Clutch.

Down

Coal Chamber

Coal Chamber are a band hailing from Los Angeles, California, U.S who formed in 1993. They are one of the most acclaimed Nu-Metal bands around, exploring the darker side of the genre with a pronounced Goth influence as opposed to hip-hop, and have released four albums since 1997.

Poison the Well

LOUD

She Wants Revenge

Boy Harsher

Wage War

If you think that you've already heard it all when it comes to heavy music, you just haven't heard Wage War. The group which is composed of vocalist Briton Bond, guitarist/vocalist Cody Quistad, guitarist Seth Blake, bassist Chris Gaylord and drummer Stephen Kluesener formed in Ocala, Florida, in 2013 and instantly started playing all over the area, quickly getting signed to Fearless Records the old fashioned way: By sending a song to the label. From there the group linked up with the production team of Andrew Wade (Neck Deep, Motionless In White) and A Day To Remember vocalist Jeremy McKinnon who produced their 2015 debut Blueprints together and returned to produce the sophomore full-length Deadweight, which the band started writing immediately after they finished their debut. "I'm very proud of Blueprints but a lot of those songs were written seven years ago so who we are as people and musicians these days is drastically different," Quistad explains -- and a listen to Deadweight confirms that statement. "I think a big strength of this new record is the continuity of sitting in a room together and playing instead of trying to send files back and forth," he continues. "We were truly grinding out songs and I think this album still sounds like Wage War but at the same it has some of our most melodic moments as well as some of the heaviest." The latter is evidenced on songs like "Stitch" which is certain to incite frenzied mosh pits for years to come and displays an aggression that the band have only hinted at in the past. "We really tried to not overthink things on this record and just do whatever worked for the song, even if it was something that people might not necessarily expect," Quistad says. For this reason the band decided it made sense to enlist the aforementioned producers who truly understood Wage War on a deep level. "There were so many early mornings and late nights making this record and it was such a pleasure to work with Andrew and Jeremy again because you could tell that they really cared about it and would go to any ends to make it the best that it could be." From the explosive production to the alternately screamed and sung vocals of "Don't Let Me Fade Away," all seven of the people involved in the making of TBA worked as one unit in working toward the same collective goal. Lyrically, Deadweight sees the band exploring both personal to political issues in a way that's as raw and honest as the music that supports them. "This record is very much a snapshot of the past year; we are all very positive people but in 2016 we went through so much from seeing the world for the first time to scraping the bottom at some point emotionally or with relationships," Quistad admits. From 3 a.m. run-ins with refugees in Europe to flying home only to be confronted with the aftermath of the Pulse nightclub shooting in Orlando, there was no shortage of content to draw from this time around. "We didn't hold anything back when it came to this record, so hopefully it's as therapeutic for listeners as it was for us." In a heavy music scene that's increasingly formulaic, Wage War pride themselves on the fact that they listen to a diverse range of music. "I'm a big fan of country music which surprises a lot of people and other guitarist Seth is really into pop music," Quistad explains. "We have an appreciation for all kinds of stuff and I think that all of it bleeds into the album in some way even if it's not always blatant." Take the song "Johnny Cash" which recalls the country tradition of paying homage to a pioneer of a genre while still retaining the heaviness of the act. "We get called metalcore a lot but we've never pledged allegiance to any genre because we always want to do something beyond that in the sense that we just listen to what we love and try to incorporate that into Wage War." More than anything though, the band can't wait to get back on the road and start playing the songs from Deadweight live. "We played three hometown shows at the end of last year where we would include a new song and it was so cool to see the crowd react to the new material," Quistad says – and it's obvious that palpable excitement goes both ways. "This album is the truest representation of Wage War in the sense that we wanted to put every part of us under the microscope and come up with something that we're not only proud of but also encompasses what we want to be as a band and the kind of musical statement we want to lay down," he summarizes. "I would say this is a defining album for our band." Second album Deadweight featuring 'Witness' available now on Fearless Records. Watch the new 'Witness' music video and listen to the album at wagewarband.com!

Terror

Deez Nuts is the rap/hardcore solo project of JJ Peters, ex-I Killed The Prom Queen drummer.

KMFDM

KMFDM (originally Kein Mehrheit Für Die Mitleid, loosely translated by the band as "no pity for the majority”) is a multinational industrial band from Hamburg, Germany, led by Sascha Konietzko, who founded the band in 1984 as a performance art project in Paris, France.

The band's earliest albums were recorded in Germany before they moved to the United States, where they found much greater success with seminal record label Wax Trax! out of Chicago. Throughout the 90’s KMFDM constantly evolved with a revolving door line-up, becoming a household name in the US music scene. Their 1995 hit “Juke Joint Jezebel catapulted KMFDM into the Billboard charts and got them onto many movie soundtracks, notably Bad Boys and Mortal Kombat. Bands such as Rammstein or Korn had their humble beginnings opening up on KMFDM’s tours. KMFDM took a brief hiatus in early 1999 after having recorded their 10th album for Wax Trax Records which had run afoul in the hands of TVT Records.

Konietzko resurrected KMFDM in 2002 on Metropolis Records with a partially new line-up that included among others American singer Lucia Cifarelli from the band DRILL, and Tim Skold who later on joined Marilyn Manson. Releasing studio albums and touring frequently throughout the 2000’s Konietzko and Cifarelli moved back to Germany in 2008.

Dozens of musicians have worked with the group across its 22 studio albums and countless singles, with sales totaling in excess of two million records worldwide. Critics consider KMFDM one of the first bands to bring industrial music to mainstream audiences, though Konietzko refers to the band's music as "The Ultra-Heavy Beat". The band incorporates heavy metal guitar riffs, electronic music, and both male and female vocals in its music, which encompasses a variety of styles including industrial rock , electronic body music and even reggae and dub.

The band is fiercely political, with many of its lyrics taking stands against violence, war, and oppression. KMFDM is known to tour after every major release, and band members have a reputation for their accessibility to and interaction with fans, both online and at concerts.

KMFDM celebrates their 40th anniversary this year with a fall '24 US tour! Tickets one sale now at KMFDM.NET

KMFDM’s current incarnation consists of:

Lucia Cifarelli

Andy Selway

Andee Blacksugar

Sascha Konietzko

The Melvins

American alternative metal/hardcore punk band, Melvins, originally formed in Montesano, Washington, and currently consists of Buzz Osborne, Dale Crover, Jared Warren and Coady Willis.

Glassjaw

making things since 1993

P.O.D.

Deafheaven

DEAFHEAVEN.COM

Kittie

Thrust into heavy metal stardom as teenagers since their debut release, Kittie has thrashed and conquered the heavy metal world for more than twenty years. With six albums, over two million in sales and OzzFest co-headliners on their resume, Kittie has defied industry norms, fought back against women in rock stereotypes, and inspired generations around the globe since they appeared.

Now for the first time, they are sharing their untold story about the importance of family, perseverance, and the upside-down hurricane of rock n roll that includes a rotating line up of bandmates, on-going lawsuits and the pressure to live up to the expectations that put them on the map. Kittie Origins/Evolutions is generously peppered with archival footage shot by the band, which gives you an honest and brutal look at what it takes to survive in the music industry and the price of following your dreams.

Alien Ant Farm

Orgy

Superheaven

superheaven.net

Norma Jean

Filter

Richard Patrick’s career is a vision of multifaceted creativity, which he has delivered throughout his 30+ years producing music professionally through his band Filter, various collaborations, side projects, super groups, scoring films and writing for soundtracks.

Patrick’s initial foray into the public eye was as Nine Inch Nails’ first touring guitarist. Patrick had met NIN’s founder Trent Reznor in the late ‘80s in a music store in Cleveland. The two became close friends and then bandmates. Patrick played with the band from 1989-1993, appearing in numerous music videos including “Down in It,” “Head Like a Hole, “Wish” and “Gave Up.”

Filter was formed in Cleveland, OH in 1993 when Patrick left Nine Inch Nails.

Filter’s debut album Short Bus was released in 1995 and went platinum, largely due to the success of their first single “Hey Man Nice Shot.” The follow up, 1999's Title of Record, also went platinum driven by the huge crossover success of the song “Take a Picture.”

Filter’s third album, The Amalgamut, was released in 2002, though sales stalled when Patrick checked into rehab after years of heavy alcohol and drug abuse just as touring and promotion began for the album. The album still spawned such classic songs as “Where Do We Go from Here” and “American Cliché.”

After rehab in 2006, the Army of Anyone project - a supergroup led by Patrick with Dean and Robert DeLeo of Stone Temple Pilots and Ray Luzier of Korn – came to light, releasing one album and a tour before each went back to their respective bands. Patrick refocused on Filter, releasing Anthems for the Damned in 2008, The Trouble with Angels in 2010, The Sun Comes Out Tonight in 2013 and Crazy Eyes in 2016, and two singles in 2020.

Now 20+ years sober, Patrick is more prolific than ever.

Celebrating 30 years of Filter, 2023 saw the much-anticipated release of a new Filter album The Algorithm. Singles “Face Down” and “Obliteration” both had innovative music videos which garnered attention from new and long-time fans alike.

Filter began an extensive worldwide campaign, including The Freaks on Parade tour featuring Rob Zombie, Alice Cooper and Ministry, which continues this year with shows in the UK, EU, Australia, Canada and back to the U.S. again.

Failure

Everything: www.failureband.com

twitter.com/failure

https://www.youtube.com/c/FailureBand

Lords of Acid

THE SHOCKING STORY OF A WEIRD GROUP OF MUSICIANS!

TIX and Meet And Greets to the "Praise The Lords" tour here!:

https://www.lordsofacidofficial.com/

Haywire

Ego Kill Talent

Sick New World

Sunami

Scowl

Speed

Snot

Twin Tribes

Pain of Truth

VIOLENT VIRA

VIOLENT VIRA is a female rock vocalist and writer of Mexican-American descent. She has received major attention with the release of her single "God Complex" and "I Don't Care" both amassing millions of streams. She excels in her vocal abilities and has often been compared to artists such as Hailey Williams of Paramore and Morgan Landers of Kittie. This coupled with her broody and dark sound that radiates throughout her musical works makes her stand out from her peers in today’s alt-rock scene.