British new wave legends Squeeze are currently on a North American tour with fellow ’80s veterans Adam Ant and Haircut 100, but they had to cancel last night’s Vienna, Virginia show for tragic reasons. Before the show, a tour bus collapsed on a man, killing him.
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Candiria are often regarded as a cross-genre band, although many listeners don’t include prog rock among those genres. Hailing from New York City’s borough of Brooklyn, their first two albums were impressive enough. But 1999’s The Process of Self-Development remains the best example of their prowess, power – and progressive tendencies.
Though it was a famously difficult decade for traditional heavy metal, the 90s still managed to spark several fresh revolutions. Echoing the groundbreaking efforts of Tool, Meshuggah and Devin Townsend, New York City produced one of the most inventive and original bands in heavy music history.
Candiria were the living embodiment of all those clichés about the Big Apple being a perennial melting pot,. The emerged from the streets of Brooklyn with a sound that incorporated almost everything the city had to offer.
Built upon wild, intricate riffs and liberated jazz sensibilities, their songs were both challenging and thrillingly visceral, with elements of hip-hop, bebop and abstract noise woven through a central core of out-there riffing and brutish, hardcore punk vocals courtesy of livewire frontman Carley Coma.
Very much a work in progress on 1995 debut album Surrealistic Madness, Candiria swiftly evolved into something extraordinary. Beyond Reasonable Doubt (1997) was a significant step forward – but it was their third album that gleefully blew the doors off.
Released at the arse-end of the decade, The Process Of Self-Development was the mindblowing antithesis of the knuckleheaded rap-rock that was dominating the airwaves. Ferociously intelligent and utterly fearless, it still sounds ahead of its time.
If prog metal has a tendency to rely on well-worn, decades-old tropes, nobody told Candiria. The Process Of Self-Development is dominated by punishingly heavy but irrevocably weird songs that are driven by obtuse, freewheeling riffs that often make Meshuggah’s bewildering polyrhythms seem neat and straightforward.
Infused with the head-nod spirit of urban rap, and prone to sudden, surreal embellishments sent from deep leftfield, songs like Three Times Again, Temple Of Sickness and Elevate In Madness turned metal inside-out, reimagining it as a logical progression from Miles Davis’ electric era as well as the gritty clangour of New York hardcore.
Elsewhere, on the perverse, psychedelic Pull, and particularly on the smoky, brass-led Matter. Anti. Matter, Candiria explored their jazz influences with a casual authenticity that cannot be faked.
In contrast, Method Of Expression and Down To The Last Element were brooding, edgy hip-hop cuts, and an impressive demonstration of Coma’s rhyming skills.
Concluding with the esoteric funk grooves and tribal percussion of the title track along with the spaced-out dub of Leaving The Atmosphere, Candiria’s farewell to the 20th century boasted more smart ideas per square inch than most bands could muster in a lifetime.
Later albums continued the New Yorkers’ ambitious approach to varying degrees of underground success, but it was The Process Of Self-Development that most accurately defined their boundary-shattering bravery, and proud stewardship of the musical city that never sleeps.
‘The track is for anyone who’s sick of being controlled and manipulated. It questions how much we’re willing to sacrifice to stay on the path of least resistance, when really it’s time to resist.’
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From its upcoming album All The Shadows, classic swords and sorcery heavy metal band Cirith Ungol has released its first single, the title track. Hit the play button below to check it out.
Today is Bandcamp Friday, that blessed holiday in which previously unknown new records from underground artists seem to fall on our heads unbidden, like rain from the sky. Dig, if you will, the latest LP from London electronic producer Loraine James. Just a few months ago, James released Detached From The Rest Of You, an LP that included collaborations with Tirzah, Anysia Kym, and Low’s Alan Sparhawk, and Cibo Matto’s Miho Hatori. Today, James follows that one with a brand new Bandcamp-only surprise LP.
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Our favorite DJ named after a ’90s TV show has returned with another phantasmical new track. The new single “Junior Beat” continues DJ Sabrina The Teenage DJ’s prolific streak as the follow-up to July’s “Still Standing.”
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Their first single with vocalist Tommy Roulette.
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Evanescence has dropped the official music video for “Tell Me When You’ve Had Enough.” Directed by Eric Richter and shot during the band’s recent North American tour run, the clip backs a track written for anyone who’s had enough of being controlled and manipulated, questioning how much people are willing to give up just to avoid conflict when it’s really time to push back. The song was co-written and produced by Zakk Cervini (Bad Omens, Yungblud, Bring Me The Horizon, Spiritbox) and Jordan Fish (Bring Me The Horizon, Poppy, House Of Protection, Architects).
The band’s previous single, “Who Will You Follow,” became the fastest-moving rock radio track of its career, cracking the Top 10 at U.S. rock radio in under a month and eventually topping Billboard‘s U.S. and Canadian Mainstream Rock charts and its Rock & Alternative chart, while also landing Evanescence‘s first-ever No. 1 on the Hard Rock chart. Meanwhile, “Bring Me To Life” recently picked up diamond certification from the RIAA, making it just the 14th song ever to reach that mark off a diamond-certified album.
During the North American leg of its 2026 world tour, Evanescence partnered with PLUS1 to help widen access to health resources across the continent, with the run raising close to a quarter-million dollars for Direct Relief and Help Hope Live, organizations supporting people facing poverty, emergencies and unmanageable medical costs.
Evanescence launches the European arena leg of the tour Sept. 8 at First Direct Arena in Leeds. Poppy supports on all European dates, K-Flay, who features on “Fight Like A Girl,” Evanescence‘s end-title song from last year’s Ballerina, from the John Wick universe, opens the U.K. shows, and Nova Twins open the rest of the European run.
Evanescence‘s latest album, Sanctuary, is out now as a digital release, standard CD, deluxe CD and limited-edition box set, with a double vinyl pressing arriving Sept. 4. The deluxe CD, exclusive to the band’s webstore, comes with a Blu-ray featuring the Live In São Paulo concert documentary from the band’s 2023 South America tour, plus a behind-the-scenes look at the making of the “Who Will You Follow” video. The deluxe vinyl edition is also webstore-exclusive.
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The state of Minnesota has a pretty incredible musical legacy, and that legacy is the focus of a new digital compilation from the people at Sub Pop. The label is using the term “mixtape” to refer to Maximum MN, but we already know that it’s the kind of classic compilation that Sub Pop might’ve release decades ago. This particular release is a benefit for the International Institute Of Minnesota, an organization that aids immigrants and refugees, in the wake of ICE’s murderous raids on the state.
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