David Fair, co-founder of the influential long-running experimental rock band Half Japanese, has died. David co-founded Half Japanese with his brother Jad Fair in the mid-’70s. On Sunday morning, David’s late-’00s label Thick Syrup Records and his longtime friend Jeff Feuerzeig, director of the 1993 documentary Half Japanese: The Band That Would Be King, announced his passing on social media. Jad posted a childhood photo of the brothers on Facebook, and friends are sharing condolences in the comments. No cause of death has been reported.
(We begin a new week at NCS with Daniel Barkasi’s review of a new album by the UK black metal band Fen, recently released by Prophecy Productions.) The UK black metal scene is one of vibrance and diversity in approach. Of the long-standing members of that geographical scene, Fen stands alongside Saor and Winterfylleth as […]
Live Review: Accept – KK’s Steel Mill, Wolverhampton
27th August 2026 Support: Tailgunner Words & Photos: Tim Finch
Tonight was on for the story books, a night that will go down as an “I was there moment”. Heatwave after heatwave has cooked this country to a crisp, but that all broke tonight as the heavens opened – as the cliche goes – biblically. As a river ran down Frederick Street in Wolverhampton KK’s steel Mill was flooded, under litterally a foot of storm water. Where other venues may have thrown in the towel, the team battled the elements and opened, albeit two hours late. We won’t mention the frustration of the fans who were literally soaked to the skin by that time, but the show went on and all credit to them for that.
Despite the late doors the support band still took their place on stage with just two songs cut from their set. It was a great opportunity to drop Tailgunner from the show, but sadly it didn’t occur. The band have hit controversy recently with their bassist being accused of sexual assault by the bands former photographer/stand in guitarist. The accusation saw him step back from the band, yet tonight he’s sadly on stage once more. Atop that, the treatment of their former guitarist Rhea Thompson (who left so as to not be associated with those allegations) has been pretty appalling, and the fact the music industry is still dealing with these creting both baffles and disappoints in equal measure.
In the UK, 878,000 sexual assaults occurred in the 12 months ending March 2025. Of those, only 15,700 ended up in court, just 1.75%! Some of the reasons why are explained incredibly well in that victim statement. Please do read it and take a step back from that appalling band!
At 10:10, a full hour and twenty five minutes after they were originally due on stage, Accept finally arrive, the fans still moist but eager enough to stay and watch their heroes.
They waste no time reminding Wolverhampton exactly why they have been one of heavy metal’s most enduring forces. ‘Metal Heart’ crashes into life with Wolf Hoffmann’s instantly recognisable guitar work, the band sounding as powerful as ever as Mark Tornillo takes command of the stage. He jokes “this is the first time we’ve delayed an indoor show because of the rain”.
The performance gets an early visual boost too, with a confetti cannon exploding at the end of the opening song before ‘Teutonic Terror’ arrives with a burst of pyro. ‘Restless and Wild’, ‘London Leatherboys’ and ‘Midnight Mover’ keep the momentum high, with the band moving effortlessly between eras while the crowd respond to every familiar riff and chorus. ‘Run If You Can’ and a medley of ‘Monster Man’, ‘Aiming High’ and ‘Wrong Is Right’ demonstrate just how deep Accept’s catalogue runs.
The set continues to lean heavily into Accept’s classic material, with ‘Love Child’, ‘Fight It Back’, ‘Up to the Limit’ and ‘Breaker’ all delivered with the same muscular precision. Hoffmann remains the focal point, his guitar work cutting through the mix while Tornillo brings plenty of energy to the stage. ‘Princess of the Dawn’ proves to be a particularly strong moment, its slower, more dramatic build providing a change of pace before another extended medley brings together ‘Demon’s Night’, ‘Starlight’, ‘Losers and Winners’ and ‘Flash Rockin’ Man’. The lighting and production add plenty to the spectacle, but it is the songs themselves that remain the focus.
As the set heads towards its conclusion, Accept show no signs of easing off. ‘Pandemic’ arrives with another burst of pyro, followed by the blistering speed of ‘Fast as a Shark’, while ‘Son of a Bitch’ generates one of the evening’s biggest responses. The inevitable ‘Balls to the Wall’ is every bit as huge as expected, with the crowd taking over the vocals as the band deliver one of their defining anthems. Another pyro burst punctuates the latter part of the set, adding further impact to an already imposing production that complements rather than distracts from the music.
‘I’m a Rebel’ brings the night to its conclusion, and Accept save one final visual flourish for the closing moments as another confetti cannon erupts across the venue. It is a fitting end to a performance built around the band’s longevity, with five decades of material condensed into a set that never feels like a history lesson.
Plenty has already been written about Dolly Parton, and the stories and praise will continue to flow. All are glorious tributes to an artist whose impact spanned generations and will continue to do so across those that follow. Twangville Shawn already shared his memories of Dolly. Here’s one of mine — a night at SXSW […]
The Vallejo, California rap group SOB x RBE broke up in 2019, the same year that former member Lul G was arrested for murder. In July, the group returned with the reunion single “Ten Summers,” their first in seven years. The group gave their first reunion performance at the Back 2 The Bay fest on Aug. 13, and they were supposed to give their second on Saturday at the New West Coast Festival, a one-day fest in Salt Lake City. But the group’s set was canceled hours before it was slated to happen, with festival organizers citing “threats made to our team.”
The song begins in a chaotic whirlwind, driven by a powerful and intense guitar riff. This energy establishes a sense of urgency. The vocals enter with a strong presence. The delivery has a theatrical quality, pulling the listener into a vivid narrative. The approach engages with the lyrics and the instrumental arrangement, creating a robust auditory experience.
The composition unfolds organically. There is an impressive attention to detail throughout the track. Each change is well-executed, ensuring that listener interest is maintained. The use of alternative instruments sets the song apart, giving it a unique character. Despite these unconventional choices, the production remains authentic, emphasizing clarity in the message.
At the core of “Make Me The Villain” lies a narrative about a love gone awry. The lyrics give voice to someone grappling with the remnants of a broken relationship. This individual seeks to redefine the story to their advantage. It’s clear the singer acknowledges past mistakes but is determined to narrate their version authentically.
Make Me The Villain – Sound and Atmosphere
The emotional arc is compelling. This connection to the story enhances engagement with the listeners. The intricacies in the performance reflect a level of craftsmanship that should not go unnoticed. Noteworthy is the guitar solo, which serves as a high point in the arrangement. It is a moment of relief amid the song’s overall intensity.
There are also deliberate pauses where the instrumentation quiets down. These interludes create a sense of space, allowing the listener to absorb the weight of the narrative. Such dynamics enrich the experience, marking the track with depth and sophistication. This thoughtful construction displays a keen understanding of musical flow.
Make Me The Villain – Performance and Production
The production choices complement the song’s themes effectively. Instead of sounding artificial, the instrumentation feels raw and genuine. Each note and chord strikes with purpose, investing the track with passion. The emotional delivery of the singer enhances this realism, connecting the audience deeply to the content.
Listening to this track can evoke a range of feelings. You might find yourself reflecting on personal relationships and misunderstandings. It’s a reminder that tales of love, regardless of their endings, are worth telling with clarity. The artistry involved in this piece proves that music continues to be a vital source of expression.
“Make Me The Villain” is an emotional journey that brings listeners along. It combines raw energy with a narrative drive, ensuring the message is heard loud and clear. Fans of heartfelt music should make room for this gem in their playlists.
DEKO ENTERTAINMENT PRESENTS THE TRIFECTA OF ’80s HARD ROCK LIVE DOKKEN, SLAUGHTER, AND WARRANT, ALL LIVE, ALL THE HITS, ALL ON REMASTERED 180G COLORED VINYL […]
German thrashers Space Chaser have debuted a lyric video for “8 Minutes”, another new track in advance of their soon-to-be-released fourth long player Razorblade Bay. Read more…
Finnish doom metal representatives Cardinals Folly have announced that they will play three shows in Baltic states and one in Poland in the first half of October. Confirmed dates and venues are available via flyer below. Read more…
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