The album opens with its title track, “Shadow.” This song begins with an exhilarating rhythm that inspires a desire to drive through the city at night. Charlie Coupland, the mastermind behind these tracks, collaborated with talented musicians to create an engaging listening experience. Influences from Johnny Cash and John Mellencamp blend seamlessly into this compositional style, combining alternative rock with hints of desert and Western motifs.
Next, “Lost Boy” features beautiful guitar riffs. Its rhythm is steady and inviting. The voice evokes nuances reminiscent of Neil Young. The intuitive songwriting envelops the listener, creating an immediate connection. The composition feels spontaneous, enhancing the overall experience.
Following this, “Long Distance Blues” adds another layer to the album. It resonates with classic rock vibes, transporting the listener to distant places. The melodies are infectious, pulling the audience into a nostalgic realm. This track also incorporates country elements, defining the artist’s unique style.
Shadow – Sound and Atmosphere
“Halls of History” stands out with its guitar and keyboard interplay. This song creates an expansive and airy atmosphere. It evokes the sensation of soaring over the vast Australian landscapes. The music embodies the immensity and beauty of the Australian terrain.
The album concludes with “One in a Million.” This introspective and ethereal piece invites deep listening. It encourages one to close their eyes and be swayed by its metaphysical allure. The listener is swept away into a parallel limbo, where a sense of hypnotization occurs.
This final song showcases Charlie Coupland’s compositional abilities once again. It carries an almost dreamlike quality that fittingly concludes the album. Each track is a beautiful discovery, making “Shadow” a recommended experience for all music enthusiasts.
Shadow – Performance and Production
The project reflects an impressive synergy of talent. Coupland’s vision shines brightly, accompanied by the skill of fellow musicians. Each track is unique yet interconnected, constructing a cohesive narrative throughout the album. The influences of classic rock artists enhance the depth and richness of the work.
“Shadow” is an engaging exploration of sound and emotion. With its blend of rock, country, and introspective lyrics, the album is a worthwhile listen. Coupland’s artistic flair is evident throughout, marking a significant achievement in his musical journey.
Listeners searching for a profound experience will find much to appreciate in “Shadow.” The combination of rhythm, melody, and lyrical depth creates a memorable offering. Whether driving at night or enjoying quiet reflections at home, this album suits various moods.
“Shadow” is a fantastic body of work. It showcases a distinct sound while paying homage to timeless influences. The Northside Pleasure Club has successfully crafted an album that resonates with the heart and soul of music lovers everywhere.
This song opens with a truly unique and refined guitar riff that hooks you from the start. Accompanying this intricate melody, the drums deliver a syncopated rhythm. Soon, a female voice joins, introducing a beautifully crafted melodic line. This band clearly enjoys experimenting with music, creating smooth yet intriguing harmonic progressions.
The fusion of influences can be likened to a blend of Dave Matthews Band and the avant-garde qualities found in the music of Angine de Poitrine. This combination results in a sophisticated rock sound that also explores melodic intuitions. The music is not solely focused on technicality and rhythm; it also pays keen attention to melody.
One notable moment occurs around 2:10, where the guitar takes center stage, playing arpeggios while the drums and bass create a moment of suspension. This interlude provides a refreshing pause before the grand finale ignites the song once more. The transition highlights the band’s ability to build anticipation, engaging the listener in a dynamic musical experience.
Why She Goes – Sound and Atmosphere
Throughout the track, the interplay between the instruments showcases the band’s musicality. Each component, from the guitar to the rhythm section, creates a cohesive unit that flows seamlessly. The female vocals add a layer, enriching the overall texture of the piece.
The attention to detail is evident in the arrangement of the song. There are moments where the rhythm shifts in unexpected directions, keeping the listener engaged. The complexity of the harmonic structures is balanced by the melodic elements, making the song both sophisticated and accessible.
Listeners will appreciate how the song manages to merge various stylistic elements while maintaining a clear identity. The blend of rock and melodic intuitions results in a refreshing listening experience. There are no moments of sonic redundancy; each section of the song serves a purpose and adds to the overall narrative.
Why She Goes – Performance and Production
The band does not shy away from pushing musical boundaries. Instead, they embrace them, using intricate compositions to tell a story. The rhythmic variations and melodic explorations create an engaging journey for the listener.
The musical journey is punctuated with various textures, ensuring that there is always something new to discover within the track. Each listen reveals a different layer, making it a rewarding experience for anyone willing to engage deeply with the music.
What is particularly impressive is the band’s ability to create a rich atmosphere without overwhelming the listener.
This track is a beautiful and intricate creation that I recommend to everyone. It encapsulates the essence of artistic exploration while remaining accessible and enjoyable. In a world filled with predictable music, this band shines brightly, demonstrating their unique approach to songcraft.
Sámi multi-instrumentalist, songwriter and joiker EMIL KÁRLSEN has released ‘Hokkis-vilba’, the final single from his forthcoming solo debut album, Nannámii. Due September 25 through By Norse Music, the album explores identity, belonging and the continuing place of Sámi culture in contemporary music. Built around the personal luohti—or yoik—of Kárlsen’s cousin Hokkis, the new song brings […]
The song begins with an anthem-like chorus that engages the listener. This energetic introduction paves the way for what follows. As the voice enters, it displays a striking personality. The vocal performance features elements of pop that resonate well with the song’s core message. This track explores perhaps the most significant theme: the relationship with life itself. It reflects on a journey from birth to the creation of a family and the legacy one leaves behind.
The lyrics convey that time flies, and while it seems extensive, it ultimately concludes quickly. This dichotomy of perception adds depth to the song’s narrative. The beauty of this track lies in its energy and the hopeful message it delivers. It encourages acceptance of life as the wondrous experience it is. This acceptance brings forth a bittersweet feeling, recognizing that while time may soar, life remains precious.
The production of the song is artistically intelligent but does not overshadow its human significance. The layers in music combine effectively to create a holistic experience. CAPSAICIN has crafted a piece that genuinely reaches the listener, evoking true feelings. Every instrument works in harmony, enhancing the message of the lyrics.
Time Flies – Sound and Atmosphere
In terms of instrumentation, the arrangement showcases a blend of pop influences and traditional elements. Even though the track was produced with artificial intelligence, it sounds human and emotional. The rhythmic patterns and melodic lines intertwine to create a lively atmosphere. The combination of beats and harmonies promotes a sense of joy that aligns with the song’s themes. At the same time, it acknowledges the reality of life’s transience.
The song does not shy away from the complexities of life. Instead, it embraces them openly, reminding listeners of the beauty found within those experiences.
Time Flies – Performance and Production
There is a shared acknowledgment of the fleeting moments that define our lives. The song offers no unrealistic expectations; rather, it aligns closely with the human experience.
What stands out is the balance between production quality and emotional authenticity. The artistry does not compromise the raw feelings conveyed throughout the track. This is vital for establishing a genuine connection with listeners.
CAPSAICIN has undoubtedly captured the essence of life’s complexities in “Time Flies.” The invigorating energy of the track supports its deeper narrative. The production is polished but retains an emotional core that resonates deeply.
“Time Flies” is a multifaceted piece that offers musical enjoyment and emotional engagement. CAPSAICIN successfully encapsulates the essence of life’s journey. It urges audiences to embrace the temporal nature of existence while finding joy within it.
On November 30, 1984, Slayer played their very first gig in San Antonio, Texas. The up-and-coming LA thrashers been booked in at the Villa Fontana, an old country music dancehall with a wooden balcony and a classic desertscape painted on the wall behind the stage. The band on before them that night were a bunch of local San Antonio kids who had carved out a name for themselves in their hometown’s vibrant metal scene. Their name? Well, that was Slayer too.
This wasn’t the first time two different bands had used the same name, and it wouldn’t be the last, but it’s the only time identically named bands have shared the same bill. These days, the night Slayer went head-to-head with Slayer at the Villa Fortuna has passed into legend as 80s metal’s ultimate Battle Of The Bands, a fight for the name – and the soul – of Slayer. After the dust settled, there was a clear winner: the LA Slayer stood victorious, ready to consign their Texan rivals to obscurity and write their own name in the history books. Except what really happened is a little more complicated.
“There were all sorts of rumours and stories – that we’d got a cease-and-desist letter, that this was a battle for the Slayer name,” Don Van Stavern, bassist with the San Antonio version of Slayer, tells Classic Rock. “None of which was true. But it was a crazy gig.”
The teenage Van Stavern formed his version of Slayer with 15-year-old drummer Dave McClain in 1981. The name was a shortened version of Dragonslayer – ironically, exactly same thing the other Slayer called themselves at first.
“We played backyard parties, community colleges, even this indoor mini-golf place,” Dave McClain tells Classic Rock. “There’s really early footage of us playing For The Future by Raven, and Angel Witch’s Dr Phibes and Angel Of Death, which is kind of ironic given Slayer had a song called Angel Of Death later.”
SA Slayer’s Steve Cooper and Don Van Stavern (Image credit: Don Van Stavern)
By early 1983, the line-up consisted of Van Stavern, McClain, guitarists Bob Catlin and Art Villareal, plus singer Steve Cooper. “He was the Rob Halford of San Antonio, because he sang super-high,” says McClain of Cooper. “He was older than the rest of us – he was 22, 23. He seemed like a grandpa to us.”
Texas was a hotbed of metal at the time. Houston had Helstar and Austin had future prog-metal trailblazers Watchtower, though Van Stavern says his band were bigger than both. They were also the first of the three to put out a record, namely 1983’s Prepare To Die EP, six tracks of unpolished but energetic early 80s power metal released via local label Rainforest Records. It was around that time that they heard about another band calling themselves Slayer, 1300 miles away in California.
Van Stavern: “We got a call: ‘Hey, do you guys know there’s another Slayer in LA, and they’re about to put out an album too?’ We were totally unfamiliar with them. At first, we thought, ‘Well, there can be two Slayers – they’re the LA Slayer, we’re the SA Slayer. Then it started getting a little weird. They called us and said, ‘Hey, we need to do something about this.’ We said, ‘We came out first.’ And they said, ‘Well, we’ve been recording for a year.’”
Steve Cooper and guitarist Bob ‘Mad Dog’ Catlin (Image credit: Don Van Stavern)
Some low-level back and forth between the bands followed, though Van Stavern denies his Slayer were ever sent a cease-and-desist letter by the other Slayer’s label, Metal Blade, telling them to stop using the name (in an email to Classic Rock, Metal Blade founder Brian Slagel confirms that no cease-and-desist letter was ever sent). Still, Prepare To Die would ultimately be overshadowed by the LA Slayer’s debut album, Show No Mercy.
“Metal Blade had better distribution, so we kind of started getting squashed,” says Van Stavern. “But we were like, ‘Well, we wanna keep going.’”
Except it didn’t quite play out like that. The Prepare To Die EP had done well enough for the San Antonio Slayer to go into the studio in early 1984 to record a full-length album, Go For The Throat (hotshot guitarist Ron Jarzombek had replaced Art Villareal the previous year).
There was just one problem. Between starting the album and finishing it, Van Stavern, McClain and Steve Cooper had begun jamming with Mark Reale, guitarist with 80s metal hotshots Riot. There was talk that the pair would join a new band Reale was putting together, named Narita.
“The other guys from Slayer were saying, ‘What’s going on? Are we gonna continue this?’” says Van Stavern. “We were, like, ‘We wanna jam with Mark, see how this goes.’ So Slayer was kind of put on hiatus.”
With the band out of action for the foreseeable future, Rainforest Records saw no point in releasing Go For The Throat and shelved it. And that was that for San Antonio’s Slayer. Or at least it was until the Fall of 1984, when a local promoter friend approached them with a proposition. He was booking a show at the the Villa Fontana theatre by the Los Angeles Slayer – and he wanted the San Antonio Slayer to get back together to play.
“He said, ‘How about Slayer with special guests Slayer?’” says Van Stavern. “We were like, ‘Wow, that would be crazy.’ We figured it was a good idea – we were all in metal together.”
Future Sacred Reich/Machine Head drummer Dave McClain in Slayer (Image credit: Don Van Stavern)
“When Show No Mercy came out, we were, like, ‘OK, cool, whatever,’” says McClain “Then when the Haunting The Chapel EP came out [in August 1984], we were, like, ‘Whoah, this is sick.’ We’d drive around in our friend’s car like Beavis & Butt-head, with the windows down, just cranking the EP.”
A friend in San Antonio made a flyer for the show. Like a home-made boxing poster, it featured the names of the two bands and their respective hometowns (“Los Angeles, CA” and “San Antonio, TX”) under the none-more-thrash slogan “1000 mph or death!”
“They played Austin the night before we were playing with them, so we went down to hang out and say hello,” says Dave McClain. “They weren’t dicks, but we went, ‘Hi, we’re in the other Slayer’, and they were, [nonchalantly], ‘Uh, OK, cool…’” (Things couldn’t have been that tense – Don Van Stavern recalls introducing the Californian band).
The day of the San Antonio show, the LA Slayer turned up at La Villa Fortuna in drummer Dave Lombardo’s Trans-Am, with their equipment in a trailer hooked to the back. “I remember them making fun of us cos we had my mom’s Cadillac with a U-Haul on it,” says McClain.
Despite the piss-taking, the local Slayer helped the out-of-towners bring their equipment into the venue. “We shared a dressing room backstage,” says Van Stavern. “We were hanging out with them. The only one that didn’t talk a lot was [guitarist] Kerry King. The rest of the guys were cool.”
The gig had sold out, partly on novelty factor but mostly on the strength of the bill. The LA Slayer had a growing underground buzz around them, while the SA Slayer were genuine hometown heroes, even if they’d been out of action for the past few months.
“It was a sold-out show, there were kids literally hanging off the balcony,” says Van Stavern. “It was a big deal.”
A couple of local bands, Syrus and Militia, opened up the show before the San Antonio Slayer came on. “We went out there and said, ‘Let’s play the heaviest show we can play, the best show we can play,’” says Van Stavern. “When you’re playing a show like that, you’re gonna give it your all. Plus we had the hometown advantage, so all our people were going nuts.”
“The show was crazy,” says McClain. “It was mayhem – there was stage diving, screaming, everything. We felt like we owned the town.”
The other Slayer were no slackers when it came to serving up a spectacle of their own. “They had a great reaction too,” says Van Stavern. “But it was a different style – power metal against thrash metal.”
The San Antonio Slayer onstage at the Villa Fortuna during the ‘Slayer vs Slayer’ show (Image credit: Don Van Stavern)
Amid the heat and flailing bodies, any potential rivalry between the namesake bands failed to materialise. “We hung out after, maybe even helped them pack up,” says McClain. “I think Lombardo may have even taken off with a couple of my cymbal stands. I’ve never asked him about it.”
And what of the whole ‘Battle Of The Bands’ angle? It wasn’t even a consideration, according to Don Van Stavern. “The whole ‘versus’ thing came out afterwards, about how it was a contest for the name. It was nothing like that. It wasn’t a battle for the name – we were already on our way out.”
That much is true. The San Antonio version of Slayer played one more show before going their separate ways. Van Stavern reconnected with Mark Reale and helped get a relaunched version of Riot off the ground; the bassist is on his third stint with the band, now rechristened Riot V, with new album Mean Streets out on February 16, 2024 (Reale died in 2012). McClain is currently on his second run with Arizona thrashers Sacred Reich, with a 23-year stretch in groove metallers Machine Head in between (he crossed paths with the other Slayer many times over the years, but says he’s never brought up the San Antonio show). Guitarist Ron Jarzombek went on to join Watchtower, while Bob Catlin stayed active in the Texas metal scene. Singer Steve Cooper passed away in 2006 at the age of 47.
Go For The Throat, the debut album they recorded and shelved in 1984, was finally released in 1988. It was credited to S.A. Slayer. “Some guy put it out independently,” says Van Stavern. “We just said, Put ‘S.A.’ in front of it so they know it’s not the other Slayer. But the original artwork just said ‘Slayer’.”
That album would become a cult favourite among underground metal afficionados. “I get people coming up to me all the time and asking me to sign it,” says McClain.
Tom Araya of the ‘other’ Slayer onstage in San Antonio in 2018 – note the ‘Slayer vs Slayer’ T-shirt (Image credit: Gary Miller/Getty Images)
Van Stavern and McClain briefly regrouped with Catlin, Jarzombek and ex-Watchtower singer Jason McMaster in 2022 to re-record a couple of old songs, though they have yet to be released. When Classic Rock speaks to Van Stavern at the end of 2023, he says there has been interest in a potential full reunion from festivals. “It’s not out of the question to see the band reform again and go out with a bang,” says the bassist. “The way we should have gone out first time around.”
There’s one more amusing wrinkle in the story. On August 15, 2018, the LA Slayer played San Antonio as part of their farewell tour. Frontman Tom Araya took to the stage that night wearing a T-shirt featuring the original ‘Slayer vs Slayer’ flyer – a sweet nod to their shared history.
“Am I jealous of the other Slayer? That’s a no-brainer,” says Van Stavern with a laugh. “Even though I’m in Riot and the other guys have gone on to do other things, I’d love to have had their career.”
Founded in 2016, Global Scum is a solo project brought to life by Austrian musician Manuel Harlander. So far the projet hs released two albums and aims to blend groove metal, death metal, and nu metal into a cohesive sound. Drawing from artists like Sepultura, Slipknot, and Soulfly, Global Scum's latest single, "In Fear I Die" was released on July 10th, 2026.
The track starts with a lofi intro as distant-sounding guitar and drums begin to glitch out with distorted clarity before Global Scum kicks in with full clarity, creating a hard-hitting build-up. Drop-tuned chugging, screeching pinch harmonics, and slamming drums build a wildly heavy sound before the tempo picks up into a more thrash-esque sound as screaming and deep growls are introduced in traditional death metal fashion.
After 2 minutes of explosive heaviness, the song cuts out to isolated spoken vocals before launching back in with eerie ambience and brutally low guitar chugging, creating an equally groovy and heavy breakdown. Clocking in at just under 4 minutes, Global Scum keeps an intense sound that blurs the lines between groovy, death, and nu metal genres. From start to finish, the song stays brutally heavy and captures an explosive sense of energy.
Following Global Scum's previous albums "Odium" and "Hell Is Home", the project returns with renewed determination after a 7-year hiatus. Fans of death metal, groove metal, beatdown, and nu metal should check out "In Fear I Die". You can stream it on all platforms below!
Out now on vinyl for the first time ever, Kurt Baker’s Got It Covered was one of the most important power pop releases of the 2010s. It was Baker’s first solo record, released at a time when his band The Leftovers were coming to an end. The choice of songs made the mission completely clear. Baker set out to cover a bunch of his favorite new wave and power pop songs from the late ’70s and early ’80s. This was his way of paying tribute to the songs and artists that would ultimately shape his own direction as a lead artist. This is where it all started. Before there was Brand New Beat, Play It Cool, and After Party, there was Got It Covered. The track list (“Let Me Out” by The Knack, “Hanging on the Telephone” by The Nerves, “Pump It Up” by Elvis Costello, “I’ve Done Everything for You” by Sammy Hagar {and reinterpreted by Rick Springfield)}, “Is She Really Going Out with Him?” by Joe Jackson, “Cruel to Be Kind” by Nick Lowe, and “Turning Japanese” by The Vapors) is absolutely bulletproof. Those are some of my favorite songs ever! Any place with those songs on a jukebox would be my idea of a slice of heaven. In marrying those influences with ’90s/2000s pop-punk, Baker would write a new chapter in the history of power pop. 16 years later, I can really appreciate the way he injected these classic tunes with new energy. For this release, Justin Perkins has remastered the original recordings. And there’s new cover art that definitely nails the vibe Baker was going for on this release. Got It Covered will be an essential addition to your vinyl collection if you’re a Baker fan or a fan of power pop in general. The first 90 copies were personally signed by Baker. Get it from Oglio Records!
Besides thrash, heavy metal played a pivotal role in shaping my relationship with metal. Black Sabbath and Rainbow informed my earliest dalliances with the genre, and soon after my listening plate was laden with Maiden and greased with Priest. These bands and others set my sacred heart aflame with heavy metal thunder, and since then I’ve stood atop a gleaming watchtower forged from iron and steel in a greedy watch for MOAR. During one such vigil years ago, I read Holdeneye’s missive about Blood Red Victory, Ironflame’s third LP. Afterwards, I’ve paid close attention to whatever Andrew D’Cagna offers when he pens chest-thumping, blood-pumping heavy metal, and I haven’t been disappointed yet. Does sixth album Worlds to Conquer see Ohio’s Ironflame prevail once more?
Fans should think so, as Ironflame stays the course and reliably delivers beefy ear nuggets. Throughout, Worlds to Conquer furnishes grandiose verses that swell to anthemic choruses, all with riffcraft slick enough to oil bare-chested hordes Worlds over. More than ever, Ironflame eases off the accelerator to focus on constructing an epic aura that permeates the album. Iron Maiden, Judas Priest, and Dio still reign supreme as prime influences, however the towering builds on “Where Cauldrons Burn,” “Valhalla Is Calling,” and the title track slather Worlds to Conquer in so much Grand Magus magnificence that I’m urged to grab my sword and take up a quest.
More than any of Ironflame’s previous albums, Worlds to Conquer leans into efficient songwriting whetted for maximum hooks and belt-along choruses. “Night Closes In”1 kicks off proceedings with a delicate, piano-led intro that transitions into a stately guitar swell, reminding me of a more fantasy-forward version of Priest’s “The Hellion” before locking into Piece of Mind-era Maiden worship. Unsurprisingly for longtime listeners, Ironflame manages this without ever feeling disjointed or too reliant on inspirations, hopping between tracks and forebears to forge heavy metal at once familiar and all their own. Vocally, D’Cagna channels Dio’s legendary swagger during “Shadow Slave” and Russell Allen on “Legion of Fire,” evoking pitch-perfect splendor throughout Worlds to Conquer. Seriously, the man’s pipes are golden, and he takes listeners on a journey through varied deliveries across eight mighty tracks. And if that’s not enough, D’Cagna wrote and recorded all instruments besides the guitar solos2, a burden that can drag down music in lesser hands, but here sounds sharp and vibrant.
The performances across Worlds to Conquer please and tease with infectiously catchy riffs and choruses, although I wish there was a bit more diversity in the pacing department. To be fair, Ironflame wields different tempos throughout, but the range here is narrower compared to earlier works. The chief ingredient I find missing on Worlds to Conquer is the breathless barrage of more aggressive numbers like Kingdom Torn Asunder’s “Blood and Honor” and Where Madness Dwells’ “Ready to Strike.” At forty-one minutes, there’s room to squeeze in a sub-four-minute barnburner that would help break up the pacing just enough to elevate it. My only other gripe is that closer “Worlds to Conquer” runs a tad too long to support the reliance on the main riff that drives the song. In the context of an otherwise very strong album, though, these comments amount to piddly quibbles as Ironflame ultimately drops a satisfying slab of heavy metal majesty.
Rest assured that six albums in, Ironflame still fires on all cylinders. The vocals and guitar melodies are sweet as honey and just as sticky. D’Cagna’s dependability in producing quality metal is a rare treasure, and one I’ve thoroughly enjoyed since discovering Ironflame.3Worlds to Conquer may not sit atop the band’s discography; however, it’s one of the best pure ‘n’ trve heavy metal releases I’ve heard all year. Now lace up your boots and grab your gear, you’ve got Worlds to Conquer.
Courtney Love has been teasing a new solo album since 2020. It would serve as the followup to 2010’s Nobody’s Daughter, which was billed as a Hole record despite Love being the only member of the band involved. When she first mentioned the LP, she said it was “the longest record that’s ever been written in the history of rock, so it better fuckin’ be good, no filler.” Then, in 2024, she shared that Michael Stipe and Will Sergeant were featured on it. Today, she offered another update on the album, while also explaining the health struggles she endured in 2019 that almost resulted in her death.
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Besides thrash, heavy metal played a pivotal role in shaping my relationship with metal. Black Sabbath and Rainbow informed my earliest dalliances with the genre, and soon after my listening plate was laden with Maiden and greased with Priest. These bands and others set my sacred heart aflame with heavy metal thunder, and since then I’ve stood atop a gleaming watchtower forged from iron and steel in a greedy watch for MOAR. During one such vigil years ago, I read 