Hecate Enthroned is arguably one of the most celebrated bands to come out of the UK’s oft-forgotten ’90s black metal scene. It’s a shame the scene gets overlooked, as they pumped out some of the most theatrical albums of that time. Where would we be without the early ’90s offerings of Bal-Sagoth or the much-maligned (but incredible in their heyday) Cradle of Filth? Sure, it wasn’t as “trve” as what emerged from Scandinavia, it wasn’t as primitive as what was coming out of the States, but it had a unique penchant for melodrama and gothic romance. I mention Cradle of Filth as a reference point, and considering that Jon Kennedy (former Hecate Enthroned vocalist, RIP) briefly played bass for the band in 1994, it should come as no surprise that Hecate’s early material sounded similar to Cradle. Yet, what Hecate Enthroned accomplished in the latter half of the ’90s, at times, surpassed their big label peers. Does that still hold up in the modern age? Are they still lowkey doing the Cradle of Filth sound better than Cradle themselves?
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No… but, maybe, also yes (but that’s not me praising Hecate Enthroned; it’s me criticizing everything Cradle of Filth has done since 2000’s Midian). I’m not sure if The Corpse of a Titan, A Lament Long Buried, Hecate Enthroned’s seventh full-length, should exist, and the group doesn’t either. After multiple listens, I’m left scratching my head about it. Have you ever been in a meeting and thought “this could have been an email?” Well, that’s this album. The 54-minute runtime starts to show around the album’s midsection, because that’s when it starts dragging. It takes us until the seventh track (“The Gallery of Rotting Portraits”) before it sounds like the band actually wanted to record and release something. Hecate Enthroned don’t know who they are anymore, in that The Corpse of a Titan, A Lament Long Buried sounds like it could be the debut record for a hundred wannabe symphonic acts that will be here today and gone tomorrow because they don’t have a solid identity. It does not sound like a release by a band with over 30 years of history and legitimately legendary albums in their back catalogue.
To begin, the production is awful. I had to download my promo copy twice because I thought that my first download got corrupted, but no. It sounds like plastic trying to be something it isn’t. Much like mainstream modern metal slop bands like Lorna Shore and Slaughter to Prevail, The Corpse of… is laughably over-produced. Nothing sounds organic; the vocals are so processed they lose any human element they might have originally had. I don’t want to disparage the work that Joe Stamps put in vocally, he knows proper technique and his screams and howls sound good for what they are, but much like the instrumentals, there’s no humanity. Blame shouldn’t fall entirely on the band’s shoulders, as mixing/mastering/production duties were handled by Dan Abela, whose previous credits behind the board include the metalcore bands Bleed From Within and Silent Descent, so that’s just what this guy thinks heavy music should sound like. He’s wrong, mind you, but the band hired him, and he gave them what he was paid for.
I can’t pin my dislike for The Corpse of… entirely on the production work, as the songwriting itself is average at best. I can think of 10 to 20 other bands who play this same style of black metal, and if you were to put their logo on the album cover, I wouldn’t be able to tell the difference. It’s almost paradoxical; this sounds like everything else while sounding like nothing else at the same time because it’s just so run-of-the-mill and spiritless. Even the moments I enjoy, the strings and vocals amidst atmospheric passages, happen too often to really get me into the mood. The first two minutes of “Steed of the Still Water,” featuring sweeping orchestration with harsh vocals underneath it, create a nice vibe before the rest of the song kicks in. Unfortunately, that promising idea gets undone one song later (with the oddly titled “Pwca.” Is it Welsh? An Acronym? Who knows) because Hecate Enthroned use the exact same strategy again, this time with a female vocalist tossed into the mix. That’s fine, you can do two parts that sound like that, just spread it out a little, not one song right after the other.
The heavy music cliché we call “beauty and the beast” is usually applied to vocals, when pretty vocals are contrasted with “super scary metal vocals” that makes your grandma tinkle in her Depends? Well, that’s The Corpse of…’s problem, except it isn’t in the vocals; it’s in the music. Too many songs try so hard to have majestic, sweeping, and grand orchestral moments, purely to juxtapose against how br00tal the instrumental is about to be whenever these guys remember “Oh yeah, we’re a metal band, let’s play metal.” Their aspirations of being Summoning-esque fall flat. It feels like there’s no purpose for anything they do symphonically, considering most tracks would benefit from being more stripped down.
After five or six listens, I had to go back to Upon Promethean Shores (1996) and The Slaughter of Innocence (1997) to make sure that I didn’t experience a traumatic head injury because I could have sworn this band used to be fucking awesome. Turns out they used to be, but time is a cruel mistress, and eventually she comes for us all (I felt another grey hair come in as I typed that sentence). I don’t know what else I can say, other than like, you don’t have to do this. You can do the legacy act thing and tour on the strengths of your old albums and rake in the nostalgia bucks. You don’t need to contribute new material to the modern scene if you don’t have anything else to say. No one’s going to be mad at you for taking a victory lap and revisiting your glory days before you ride off into the sunset, but unfortunately I think the sun set a long time ago. It’s midnight now, the fire’s dying out, there’s no more kindling in the pile, and I can hear the wolves howling.
John Howard 2025 Focusing on purity of expression, British musician locates resonant affinity for passion in the psyche of our world. In recent years, quite a few listeners compared this singer-songwriter to a certain Reginald Dwight, and though they undoubtedly … Continue reading →
Blues rock has produced countless memorable songs over the decades, but only a select few continue to resonate generation after generation. These are the tracks that remain staples of classic rock radio, inspire new guitarists to pick up an instrument, and still electrify audiences decades after their release. Whether through unforgettable riffs, emotional performances, or groundbreaking musicianship, these songs have transcended their era and become timeless classics.
Here are 10 blues rock songs that truly stand the test of time.
Free – “All Right Now”
Few songs capture the spirit of classic rock quite like “All Right Now.” Released by Free in 1970, the song became an international hit and remains one of the most recognizable blues rock anthems ever recorded.
Paul Kossoff’s guitar work is a masterclass in restraint and feel. Rather than overwhelming listeners with speed or technical fireworks, Kossoff built the song around memorable phrases and perfectly placed bends that continue to influence players today. His tone remains one of the most admired in blues rock history.
The song’s simple structure and infectious chorus helped make it a staple of FM radio throughout the 1970s and beyond. More than fifty years later, audiences still sing every word. That enduring popularity speaks volumes about its timeless appeal.
While many songs from the era have faded from public consciousness, “All Right Now” remains as energetic and engaging as ever.
Stevie Ray Vaughan & Double Trouble – “Pride and Joy”
When Stevie Ray Vaughan burst onto the scene in the early 1980s, blues rock desperately needed a spark. “Pride and Joy” helped provide exactly that. Built around a Texas shuffle groove, the song showcased Vaughan’s remarkable ability to blend traditional blues influences with modern rock energy. His rhythm guitar work alone is enough to leave players shaking their heads in disbelief. Every note feels alive and perfectly placed.
Lyrically, the song is straightforward and heartfelt, but the real magic comes from Vaughan’s performance. His playing is aggressive yet controlled, and his vocals carry an authenticity that perfectly complements the music.
More than four decades after its release, “Pride and Joy” remains one of the definitive blues rock recordings and a gateway song for countless new fans discovering the genre.
ZZ Top – “La Grange”
Inspired by the legendary Texas brothel known as the Chicken Ranch, “La Grange” became one of ZZ Top’s signature songs and one of the most recognizable guitar-driven tracks ever recorded. Billy Gibbons crafted one of the greatest riffs in blues rock history. It is instantly identifiable within seconds and remains a favorite among guitarists of every skill level. The groove is hypnotic, driven by the seamless chemistry between Gibbons, Dusty Hill, and Frank Beard.
Part of what makes “La Grange” timeless is its simplicity. The band never overcomplicates things. Instead, they focus on feel, groove, and attitude. Those qualities age far better than trends or production techniques.
Today, the song remains a staple of classic rock playlists and continues to energize audiences whenever it is performed live.
Johnny Winter – “Rock and Roll, Hoochie Koo”
Before Rick Derringer turned it into a major solo hit, “Rock and Roll, Hoochie Koo” first appeared on Johnny Winter And’s album Johnny Winter And. The song remains one of the great examples of blues rock’s ability to bridge the gap between hard rock energy and blues-based musicianship.
Winter’s version crackles with raw intensity. His blazing guitar work helped establish him as one of the most exciting players of his era, while the song’s driving rhythm made it impossible to ignore.
What continues to make the track effective is its pure sense of fun. There is no pretension here. It is simply a band firing on all cylinders and capturing lightning in a bottle.
More than fifty years later, the song still sounds fresh, energetic, and rebellious.
Gary Moore – “Still Got the Blues”
Not every timeless blues rock song has to be an up-tempo rocker. Gary Moore proved that with “Still Got the Blues,” a song that remains one of the most emotionally powerful recordings in the genre.
The song marked a turning point in Moore’s career as he fully embraced his blues roots. His guitar tone is breathtaking, and the solos rank among the finest of his career. Every note feels deeply personal and emotionally charged.
Moore’s vocal performance is equally effective. He delivers the lyrics with genuine heartbreak, making the song relatable even for listeners who know little about blues music. “Still Got the Blues” continues to captivate audiences and serves as a reminder that technical brilliance means little without emotional connection.
Gov’t Mule – “Soulshine”
Few songs have become as universally beloved within the blues rock community as “Soulshine.” Written by Warren Haynes, the song first appeared on Larry McCray’s 1993 album Delta Hurricane before being recorded by The Allman Brothers Band the following year on Where It All Begins. While both versions helped establish the song’s reputation, it has since grown into one of the defining anthems of modern blues rock.
Built around a message of hope, perseverance, and finding strength during difficult times, “Soulshine” connects with listeners on a deeply personal level. Haynes’ heartfelt lyrics are matched by soaring guitar work and a melody that feels timeless. Unlike many blues rock classics that rely primarily on a memorable riff, “Soulshine” endures because of the emotional impact it leaves on audiences.
Over the years, the song has become closely associated with Haynes himself. Whether performing with Gov’t Mule, The Allman Brothers Band, or as a solo artist, he continues to bring “Soulshine” to audiences around the world. The song has become a centerpiece of his live shows and often serves as one of the most anticipated moments of the night.
Soulshine” remains as relevant and inspiring as ever. Its enduring popularity, powerful message, and continued presence on concert stages prove that it has earned its place among the blues rock songs that truly stand the test of time.
Kenny Wayne Shepherd – “Blue on Black”
Few blues rock songs from the 1990s have achieved the staying power of “Blue on Black.” Released on Trouble Is…, the song became Kenny Wayne Shepherd’s signature hit and helped introduce an entirely new generation to blues rock.
Built around a haunting melody and memorable lyrics, the track showcased a level of songwriting that extended well beyond guitar heroics. Shepherd’s tasteful playing perfectly serves the song, demonstrating maturity and restraint while still delivering plenty of emotional impact.
The song’s popularity has only grown over time. It remains a fixture on classic rock radio and streaming playlists, while a star-studded 2019 re-recording featuring Brantley Gilbert, Brian May, and Jason Bonham introduced it to an even wider audience.
Nearly thirty years after its release, “Blue on Black” remains one of the most recognizable blues rock songs of the modern era.
Michael Burks – “Empty Promises”
Michael Burks may not have achieved the mainstream recognition of some of his contemporaries, but among blues rock fans, “Empty Promises” stands as one of the genre’s finest songs of the 21st century. Originally appearing on Iron Man, the track perfectly captured his ability to blend searing guitar work with soulful vocals and deeply emotional songwriting.
The song builds around a powerful groove and a memorable chorus, but it is Burks’ guitar playing that elevates it to another level. His solos are filled with passion, intensity, and the kind of authenticity that cannot be manufactured. Every note feels earned, reflecting a musician who poured his heart into every performance.
Despite Burks’ passing in 2012, “Empty Promises” has continued to reach new audiences through a new generation of blues artists. Christone “Kingfish” Ingram has become one of the song’s most visible champions, regularly performing it live and introducing Burks’ music to younger fans. The track has also been covered by Eric Steckel, further demonstrating its lasting impact within the blues rock community.
“Empty Promises” remains a modern blues rock classic. Its combination of heartfelt songwriting, unforgettable guitar work, and continued presence on concert stages today proves that truly great songs never fade away.
Joe Bonamassa – “Sloe Gin”
Modern blues rock has produced its share of standout songs, and few have had the lasting impact of Joe Bonamassa’s interpretation of “Sloe Gin.” Although originally written by Tim Curry, Bonamassa transformed the song into something entirely his own. His version became one of the defining recordings of his career and helped establish him as one of the leading figures in contemporary blues rock.
The slow-burning arrangement allows Bonamassa’s guitar work to shine. Rather than relying on speed, he focuses on phrasing, dynamics, and emotional expression. The result is a performance that grows more powerful with each passing minute. Nearly two decades after its release, “Sloe Gin” is a centerpiece of Bonamassa’s live shows and one fans always want to hear.
Freddie King – “Going Down”
Few songs have become as deeply woven into the fabric of blues rock as “Going Down.” Written by Don Nix and popularized by Freddie King on his 1971 album Getting Ready…, the song quickly became one of the defining showcases for electric blues guitar and remains a staple of the genre more than fifty years later. Built around a driving riff and relentless groove, “Going Down” perfectly captures the power and swagger that helped bridge traditional blues and hard rock. Freddie King’s commanding vocal performance is matched by fiery guitar work that still sounds fresh and exciting today. The song’s energy is impossible to ignore, making it a favorite among both musicians and audiences.
Part of the song’s enduring legacy comes from the countless artists who have embraced it over the decades. Few songs can claim that level of influence across multiple generations of guitarists. More than five decades after its release, “Going Down” remains one of the ultimate blues rock standards. Its combination of memorable songwriting, electrifying guitar work, and continued presence in live performances around the world makes it a perfect example of a song that truly stands the test of time.
Marshall have announced the details of their ‘MADE OF LOUD’ tour, with three very wonderful bands hitting the road together.
Making it’s way across the UK, the tour will be headlined by none other than Cancer Bats. And they will be joined by melodic hardcore legends Ignite and Bristol chaotic noisemakers KNIVES.
So that’s loads of this:
Then loads of this:
And then loads of this:
Basically, it’s going to get rowdy.
Cancer Bats had this to say about the announcement, stating, “We are beyond excited to announce this Marshall Made Of Loud Tour!! Playing all our favourite independent venues across the UK, with Ignite and Knives, and we end it all with a Halloween show in London!! This is going to be an insane tour!!!”
Here are all the dates:
12 – DOVER The Booking Hall 13 – BRIGHTON Chalk 15 – EXETER Cavern 16 – FALMOUTH Princess Pavilion 17 – SOUTHAMPTON Joiners 18 – PLYMOUTH The Depo 20 – BRISTOL The Fleece 21 – CARDIFF Clwb Ifor Bach 22 – MILTON KEYNES Craufurd Arms 24 – BIRMINGHAM Asylum 25 – MANCHESTER Gorilla 26 – NEWCASTLE Anarchy Brew Co 28 – GLASGOW King Tuts Wah Wah Hut 29 – LEEDS The Key Club 30 – NOTINGHAM Rescue Rooms 31 – LONDON Electric Brixton
Tickets for the tour will be going on sale from June 05 at 10am.
Michael Stipe is getting more and more comfortable doing stuff in public again, and that’s good news for us. Earlier this year, Stipe returned for his second Simpsons guest voice role and sang R.E.M. songs with Michael Shannon and Jason Narducy’s all-star tribute band. In April, Stipe debuted a new song on a late-period Colbert episode. On Tuesday night, Stipe was back on late-night TV, singing his Rooster theme song on Kimmel.
The late folk-prog bassist’s compendium of collaborations came about through a creativity and commitment that – as he admitted himself – had a dangerous downside
Friday night has always been a great time to party, the end of the working week for many, giving the excuse to let their hair down and potentially enjoy a few drinks while they are at it. Certainly, the soundtrack for the evening could not be better, and both Star Circus and headliner Chez Kane do their very best to bring smiles to the faces of every soul present in a way that shows that there is no hype necessary, just good people playing great songs.
As part of their current Destiny’s Door UK tour, openers Star Circus have already built up quite the reputation as rising names on the scene, their ability to knock out high-octane and irresistible numbers finding an ever-growing audience.
Star Circus – The Brickmakers, Norwich – 29 May 2026. Photo: Steve Ritchie/MetalTalk
There is a confident swagger here that is well justified by the strength of material shown, some technical difficulties threatening to but never derailing the momentum.
The ballsy Over & Over is a great opener, its big riff and groove setting the tone for everything to come, and Times Get Tough is a gloriously old school slice of premium hard rock that could have been written any time over the last thirty years.
Coming on like a cross between Thin Lizzy and SAHB, One Hit Wonder again shows the songwriting skills of the band can stretch beyond the cliché-ridden efforts of some around, and Love Is The Enemy dips its toe nicely into more melodic rock territory.
Star Circus – The Brickmakers, Norwich – 29 May 2026. Photo: Steve Ritchie/MetalTalk
Alongside singer and guitarist Dave Winkler, bass player Sophie Aurelia Young and drummer Reuben O’Donoghue, new guitarist Joel Chalk has slotted in perfectly, and the twin fretwork during The Wreckage and Destiny’s Door proves to be some of the biggest highlights of the set.
Forget the outlandish promo and slavish adherence to templates that other acts are pushing, Star Circus are doing their own thing and giving modern rock music the injection of originality, class and excitement that is going to last.
A band to truly believe in.
Star Circus – The Brickmakers, Norwich – 29 May 2026. Photo: Steve Ritchie/MetalTalk
Chez Kane
Flying in the face of all that the elitist elements in the industry preach, Chez Kane not just survives but thrives, her take on lycra-clad ’80s hard rock unstoppable.
Given that she has enough energy to light up a large town, possesses one of the finest voices around, and the material is all killer, no filler, it is no wonder that she is lighting up everywhere she plays.
Chez Kane – The Brickmakers, Norwich – 29 May 2026. Photo: Steve Ritchie/MetalTalk
There is an honesty here that is born from a genuine love of the music she and the band play, all of it shorn of any cynicism or artfully crafted pretence, and it shows in the infectious way that everyone is drawn in, the whole show more a shared celebration than a performance.
An antidote to all that is going on in the world, this is escapism at its finest and a way to forget everything outside of the walls of the venue, offering the chance to just smile and move to the music.
Chez Kane – The Brickmakers, Norwich – 29 May 2026. Photo: Steve Ritchie/MetalTalk
To write this off as purely good-time music would do Kane and company a disservice, as each number is a perfect slice of melodic rock with more than enough grit to rub pleasingly against the bubblegum rush.
Adrenaline-soaked numbers like Personal Rock ‘n’ Roll and All Of It are sure-fire party starters and stand nicely alongside the Heart-style power ballad I Just Want You, and there is more than a touch of Vixen in the pneumatic rocker Nationwide.
Adding an extra bit of muscle, the three guitar attack of Midnight Rendezvous is a beefy punch to the face, and Bodyrock rides that heavy wave with no compromise, perfectly illustrating that the band can certainly lay down something with the ability to crush when they want to.
Chez Kane – The Brickmakers, Norwich – 29 May 2026. Photo: Steve Ritchie/MetalTalk
This is very much Chez Kane’s world, and her ability to embody both strength and sensuality is a superpower that has seen an increasingly large number of female fans back into her gigs. It is a mantle she wears lightly but confidently, in control of her image and the music equally.
Labelling a run of numbers the steamy part of the set, it is done with equal parts humour and soul that conveys the mood with a feline grace and a real depth of emotion in the storytelling.
This ability to switch from muscular melodic rock and the seductive show a quality that will develop nicely in time as she sets herself up for the long run, and with writing of the level of Love Gone Wild, Get It On and Tongue Of Love, there is huge promise to come.
Chez Kane – The Brickmakers, Norwich – 29 May 2026. Photo: Steve Ritchie/MetalTalk
Set closers Rocket On The Radio and Powerzone bring the night to a blazing end, and the long queue for the merchandise desk tells its own story.
The music and image may be something of a throwback to more carefree times, but there is nothing wrong with that, and it could just be the antidote we all need.
Chez Kane – The Brickmakers, Norwich – 29 May 2026. Photo: Steve Ritchie/MetalTalk
However you look at it, Chez Kane has all she needs to bring the good times and hard rocking gems of the past back to the future. This is a reminder as to exactly why we fell in love with rock ‘n’ roll in the first place. Long may she continue.
