COUCOU CHLOE started off the year with “Venom.” Now, the London-based artist has returned with “Candyland,” a hype-heavy and woozy nightmare of a single. The sound is terrifying, but so is the video: there’s clown masks, blurred out faces, and strobe-lighting that screams homemade slasher film than club. Self-produced and sonically unhinged, “Candyland” pushes COUCOU…
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With the news of Alissa White-Gluz joining DragonForce, fans have gone wild on the internet with excitement, confusion for some, doubt for others, and generally high expectations for the new union. Here is a collection of some of our favorite reactions to the news from X.
The post Fans React: Alissa White-Gluz joins DragonForce | The internet weighs in first appeared on FemMetal – Goddesses of Metal.
I wish being kinder to myself were something I could set an alarm for, something I could check off like a simple to-do list task. But it isn’t. It’s hard. It’s a process, something you work at slowly, tracking the progress the way you would work toward a personal best. Montréal-based artist Magi Merlin bottles…
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Puerto Rican artist RaiNao has returned with her first single of the year. The sublime new track is called “GRIS.” Last year, RaiNao released a few singles, including “sofocón” and collabs “MiuMiu” and “Suerte.” She also featured on Bad Bunny’s DeBÍ TiRAR MáS FOToS for the track “PERFuMITO NUEVO.” She hasn’t put out a larger project since…
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He’s overseen countless memorable albums throughout his career.
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Over the past fifteen years, multi-platinum Southern California outfit Young The Giant have flourished through distinct sonic eras, progressively solidifying themselves as one of the most consistent and influential rock bands of the 21st century. On their sixth full-length album and Fearless Records debut, Victory Garden (out now), Young the Giant reconnects with the core […]YouTube has many dark sides, the comment section of every video for example, however, it’s also the undisputed launchpad for some of the best modern rock and metal acts. We are firmly in the fucking YouTube era, where skipping the sweaty, empty local club circuit in favor of uploading a well produced cover from your bedroom is actually a viable career strategy. Instead of waiting around for some label executive to notice them, these acts hijacked the algorithm, built massive audiences by putting heavy spins on established tracks, and then successfully bait and switched those viewers into listening to their own original anthems.
Here are six bands that mastered the pivot.
Led by vocalist Audra Miller, First to Eleven figured out exactly how to game the system: take a massive pop song, inject it with heavy guitar riffs, and watch the subscriber count explode. But instead of being stuck as a human jukebox forever, they spun off an entirely new project called Concrete Castles. Now they drop original alt rock tracks that maintain the high-energy production of their covers without relying on someone else’s songwriting.
Before they were touring the world and collaborating with Riot Games for the League of Legends World Championship, Against The Current built their foundation on YouTube. Fronted by Chrissy Costanza, they initially exploded by dropping highly polished pop rock covers of everything from Bruno Mars to Kelly Clarkson, often collaborating with other huge creators. They leveraged that massive digital footprint to land a label deal with Fueled By Ramen, effortlessly transitioning their millions of cover hungry subscribers into a dedicated fanbase for their original pop punk and synth rock anthems.
Halocene essentially built their own independent record label out of YouTube and Twitch. Fronted by Addie Nicole, they cranked out high quality covers and collaborated with every other rock creator on the platform. It wasn’t just for views; it was a calculated move to fund and push their own original hard rock and pop punk records, completely bypassing traditional industry gatekeepers in the process.
The Villarreal sisters, Daniela, Paulina, and Alejandra, didn’t just go viral; they went viral as kids playing a surprisingly flawless cover of Metallica’s “Enter Sandman.” Rather than peaking as a cute internet novelty, they used that massive early spotlight to fund their own studio releases. Now, they’re one of the hardest working original rock trios out there, proving that a viral cover can actually translate into global tours.
Daria Zaritskaya and Sergey Sershen built their channel by giving 80s metal and classic rock a heavy, pristine facelift. Zaritskaya’s raw vocal power and their high fidelity production pulled in the audience, and they recently cashed in on that dedicated fanbase to launch NOAPOLOGY. It’s a modern metal project that takes the technical chops they proved on their covers and applies them straight into their own heavy material.
LILIAC marketed themselves as a vamp metal family band, building their initial momentum by playing Dio and Iron Maiden covers on the Santa Monica Pier and uploading the footage. They used the viral traction of playing classic heavy metal to pivot into their own original studio albums, proving that if you give metalheads a solid cover of a classic, they might just stick around to hear what you write yourself.
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Well that likely killed his holiday cheer.
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