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  • Sevendust’s 30-Year odyssey: Success, near-bankruptcy and new purpose: “It’s been tough. We survived what many people wouldn’t have survived.”

    Sevendust singer Lajon Witherspoon knew his band had made it when Ted Nugent turned up at one of their gigs with a live buffalo in tow. It was New Year’s Eve 1999, and the Atlanta five-piece were opening for Metallica at Detroit’s Pontiac Silverdome. The Nuge and fellow Motor City hero/future MAGA pitchman Kid Rock were also on the bill, as was the snorting 800lb hunk of meat Ted had brought with him.

    “It was crazy,” Witherspoon says now, sitting in a dressing room beneath London’s O2 with Sevendust drummer Morgan Rose a few hours before his band take the stage as support to Alter Bridge. “We were in our bus and this truck pulled up. It was Ted Nugent and a big old buffalo. They had to reinforce the stage because he was gonna ride that buffalo on stage.”

    That Metallica New Year’s Eve show was the result of a whirlwind couple of years that had taken Sevendust from unknown local band to national contenders. Their coronation would be complete at the end of Metallica’s set, when all four bands – Sevendust included – got on stage to jam on a cover of Kiss’s Detroit Rock City.

    “At the end, James Hetfield gives me his guitar,” says Witherspoon. “I do not know how to play guitar, but I was playing my heart out.”

    Have Sevendust spoken to any of the bands they shared the stage with that night since? Metallica, yes. Rock’s leading right-wing wingnuts? Not so much.

    “Uh-uh,” says the singer, with a ‘do you really have to ask?’ look on his face. “Not me.”

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    Sevendust are one of America’s most resilient bands. They weren’t as successful as contemporaries such as Limp Bizkit and Creed, although a run of three gold albums on the bounce between 1997’s self-titled debut and 2001’s Animosity is nothing to be sniffed at. But their greatest achievement came afterwards – surviving the worst the music industry could throw at them. “Yeah, we’ve had a few moments where it looked like it was game over,” Rose says drily.

    Atlanta wasn’t exactly a hotbed of hard rock and heavy metal in the mid-90s, but there were enough bands for Rose to cherry-pick musicians from to form Sevendust. As a teenager, the drummer had briefly been a member of local underground star and future Drag Race icon RuPaul’s new-wave band Wee Wee Pole. “I’m such a blip in that machine he’s run for the last forty years,” he says.

    Sevendust rehearsed and sometimes gigged in The Wreck Room. “A rat-infested shithole,” as Rose puts it.

    “There was a strip club next door,” Witherspoon adds. “You go in there you might not come out.”

    They bagged high-profile management in the shape of former Twisted Sister guitarist Jay Jay French, who also produced their self-titled debut album. That the union didn’t last much beyond that record says much about the relationship.

    Sevendust sold exactly 311 copies the first week. But it sold more the week after, and more the week after that, until it sailed past half a million copies. They were road dogs, and feral on stage too – one band they supported, long-forgotten alt.rockers The Nixons, threatened to kick them off the tour for being too aggressive live. Sevendust found a place in the nu metal scene, but even then they felt like outsiders.

    “They were cool kids from LA, we were hicks from Georgia,” says Witherspoon. “They kind of ignored us a little.”

    There were fuck-ups along the way, mostly from the people around the band. Such as the time their label, TVT, blocked a collaboration with Eminem, who Sevendust had got to know on the 1999 Warped Tour, just as the rapper exploded. “They didn’t think it was going to be a thing,” says Rose, rolling his eyes.

    Still, things seemed good. They opened for Metallica and Limp Bizkit and hung out at TV shows with a pre-megastardom Beyoncé. They were one of the best live acts around, and their records consistently sold. But it all came crashing down in the mid-2000s.

    “There was a lot of money coming through,” says Witherspoon, “and we were making nothing.”

    The reasons are complicated and a legal minefield. The short version is that a succession of managers and accountants didn’t necessarily have the band’s best interests at heart.

    At one point they were so broke that they had to leave in the middle of a European tour.

    “When you’re a week in and you hear: ‘You’ve lost seventy-five grand’, it’s bad,” says Rose. “We had to leave cos we couldn’t pay our rent back home.”

    Later, the band attempted to sue one of their ex-associates for mismanaging their money, only to end up having to pay them $40,000.

    “There were times we came close to going bankrupt,” says Morgan. “One of the people who was stealing from us is now in jail for stealing for somebody else.”

    It took nearly a decade, and a new manager, to pull themselves out of the hole. Even then, their trials weren’t over. In 2022, Rose gave a podcast interview in which he said the band were planning to quit at some unspecified point in the not-too-distant future. “Oh, that was a real thing,” he says.

    Today he admits that he and guitarist Clint Lowery were deadly serious about it. The pair were tired and frustrated that Sevendust seemed to be going in ever-decreasing circles. Tours had been confined to North America – their current European dates are their first in eight years, and their previous UK shows were nine years before that. They were ready to walk. The others?

    “Everybody else despised the idea,” says Witherspoon. “I stopped talking to him [Rose] for a while. I can tell you, if they’d have done it, you’d have seen a band called Threedust, cos we weren’t giving up.”

    The solution was to do what men of their age don’t do: talk about it. They re-examined their friendship and everything they’d been through. They emerged with new album, One, a record whose title underlines their rediscovered unity.

    “It’s been tough – we’ve been ripped off, we nearly went bankrupt,” says Rose. “We survived what many people wouldn’t have survived. I don’t know how we did it, but out of everything we’ve done, I’m proudest of that.”

    One is out now via Napalm Records. Sevendust are currently on tour in the US, and play the UK and Europe in November and December. For dates and tickets, check the Sevendust website.

  • Louisville Synthpop Trio Modiste’s “Nothing More Than a Machine” Finds the Human Heart Inside Vintage Synths

    All I know is that when I’m with you
    all the lines they seem to blur
    I meant it when I said we were through
    But my heart isn’t so sure

    MODISTE could have built Nothing More Than a Machine inside a laptop, but the Louisville trio instead surrounds itself with analogue synthesizers, drum machines, and digital instruments from the 80s and 90s – machines with temperaments, imperfect memories, and knobs that invite somebody to reach out and make a decision.

    “Using these old machines is a small personal rebellion against convenience culture and all the small ways technology is sterilizing the creative process. Also, they’re just more fun. They’re unpredictable and wobbly and alive and have a certain warmth and texture that you just can’t replicate,” vocalist Sydney Sleadd says.

    Those influences are easy enough to hear. Depeche Mode, Siouxsie and the Banshees, Book of Love, New Order, Metric, The Motels, Tennis, Weyes Blood, and Strange Boutique all provide useful coordinates at different moments, although MODISTE’s strongest songs are the ones where those references begin to blur together. Sleadd’s voice supplies a recognizable center, Stein approaches synthesizers with the curiosity of someone who enjoys their peculiarities, and Stallings introduces enough guitar to keep the electronic arrangements physically grounded. That sense of play gives the album much of its character.

    Nightmare opens as though the closing credits of a 1987 prime-time drama have suddenly become an invitation, with broad synthesizer chords, bright melodic flourishes, and the faint suggestion that something romantic and vaguely dangerous is waiting around the next corner. As an instrumental, it establishes the album’s affection for period equipment without turning the record into an exercise in museum preservation. There is too much movement in the arrangement, and too much pleasure in the tones themselves, for that.

    Breaking My Own Heart brings Sleadd forward with a song about the exhausting arithmetic of wanting somebody who disappears whenever intimacy becomes possible. The verses maintain a cool exterior while the chorus gives her considerably more room, allowing the vocal to stretch across the arrangement as frustration turns into self-preservation. Beneath her, the electronics maintain an elegant tension between pop immediacy and emotional unease. The song understands how desire can survive well beyond the point at which common sense has packed its bags.

    On Blur, Dennis Stein’s synthesizers rise and recede while Kyle Stallings sends guitar through the open spaces, leaving Sleadd room to sing with poise, attraction, and wary self-knowledge. “We wanted Blur to have this ebb and flow that tapped into the feeling of not being able to pull away even when something isn’t good for you,” says Sleadd. The arrangement follows that idea closely. Synth lines swell and withdraw, the guitar adds an occasional flash of abrasion, and Sleadd sounds increasingly aware that recognition offers very little protection against repetition. The chorus catches the contradiction beautifully, with certainty dissolving beneath attraction.

    My Love heads into power-ballad territory with complete confidence. Sleadd leans into the emotional scale of the song, while the arrangement allows the chords to widen around her rather than crowding every available space. Its euphoric bridge provides one of the album’s most openly romantic moments, the kind of passage designed for a singer to look toward the back of the room and hold the note a little longer than expected.

    The instrumental Nightmare Part 2 then clears the air. Its spacious electronic architecture brings Jean-Michel Jarre to mind, particularly in the way melody and atmosphere are allowed to develop patiently across repeating figures. Where the opening Nightmare feels connected to television themes and eighties synth-pop drama, its sequel reaches toward something more expansive and cinematic, giving the album a useful midpoint before the songs return to their various romantic complications.

    Shadows finds MODISTE at its most theatrical. “Shadows delves into themes of longing, forbidden love, repressed desire, and surrender,” says Sleadd. “We wanted it to feel like a slow descent, similar to giving into temptation, with the synths and rhythm building a kind of hypnotic gravity around the words.”

    The song carries that descent in its pacing. Sleadd sings as though every warning has already been received, considered, and quietly placed to one side. Desire becomes a question of reputation, restraint, and the private thrill of crossing a line while knowing precisely where it was drawn. Shame gets powdered, perfumed, and sent onto the dance floor with a couple of spritzes of Tabu. Beneath the drama, the band keeps a firm hand on the arrangement, allowing the tension to accumulate without burying the lyric beneath excess.

    Age of the Andy brings one of the record’s strongest rhythmic turns, with a backbeat that carries some of Depeche Mode’s physical economy while Sleadd delivers one of her most assured performances. The keyboards have a harder edge here, and Stallings’ guitar adds pressure around the beat rather than competing with it. The result suits MODISTE particularly well: stylish, muscular synth-pop with enough space for the vocal personality to remain at the center.

    Besotted returns to the scale of a power ballad, though its emotional engine is a struggle over desire and control. Sleadd understands that these songs become more interesting when love comes with leverage, pride, hesitation, and the possibility of somebody losing the upper hand. The larger arrangement gives those tensions room to breathe, making the track feel less like a declaration than an extended negotiation between two people who know exactly how much power attraction can surrender.

    “In creating this record, we really discovered how well we worked together and how much we enjoy working together. We’re each pulling from different influences but there’s an overarching shared vision that is the glue of this project,” Stallings says.

    Listen to Nothing More Than a Machine below, and order the album here.

    Their ambitions extend to the stage. “We’re really trying to create a full experience at our live show that allows everyone, including us, a reprieve from the day to day grind. While it’s a lot of work to pack out these big TVs, lights, and all of our stage production, it’s worth it to build an immersive world for people to come live in for a night,” Stein says.

    Nothing More Than a Machine earns its title through an affectionate contradiction. MODISTE loves machines because they can misbehave, drift, surprise, and require touch. Across the album, those machines become partners in songs about people behaving much the same way: losing control, guarding themselves badly, making familiar mistakes, and occasionally finding something beautiful in the trouble.

    Follow MODISTE:

    The post Louisville Synthpop Trio Modiste’s “Nothing More Than a Machine” Finds the Human Heart Inside Vintage Synths appeared first on Post-Punk.com.

  • Anthrax release “Everybody’s Got A Plan” video

    The third single from their upcoming album ‘Cursum Perficio’

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  • No Fire Alarm Needed. That Was Just Blackberry Smoke at The Steelhouse

    DEAN BIRKHEIMER | Go Venue Magazine

    The sounds of Georgia, (Go Dawgs), found a welcome home in OmahaNebraska on August 6, 2026, as Blackberry Smoke brought their signature blend of Southern rock to The Steelhouse. Before the headliners took the stage, guitar virtuoso Trey Hensley warmed up the crowd with a dazzling solo display.

    Some guitarists play fast. Others play with feeling. Trey Hensley does both. He delivered a performance that was as technically dazzling as it was deeply soulful. From the moment he stepped on stage with his signature Trey Hensley Gold Label 510e SE acoustic by Taylor Guitars, it was obvious the audience was in the presence of one of the finest acoustic musicians performing today. His set showcased material from his outstanding newest album, Can’t Outrun the Blues. The songs translated beautifully to the live setting, highlighting his exceptional songwriting while giving him plenty of opportunities to demonstrate the remarkable guitar work that has earned him widespread acclaim.

    Hensley’s career has been turning heads since he was just 11 years old, when he made his first public appearance on the Grand Ole Opry alongside Marty Stuart and bluegrass legend Earl Scruggs.  Since then, Hensley has built an impressive résumé, earned two International Bluegrass Music Association Guitar Player of the Year awards while also added a GRAMMY® Award to his accomplishments when, as a member of The Taj Mahal Sextet, Swingin’ Live at The Church in Tulsa won Best Traditional Blues Album at the 67th Annual GRAMMY Awards.  Throughout the performance, Hensley demonstrated why he is considered one of the premier acoustic guitarists of his generation. The crowd may not have been large, but the response they gave was gigantic.

    Blackberry Smoke created a loose, good-time atmosphere by providing a gritty Southern rock sound full of blistering guitar work and big harmonies.

    From the opening notes, the Atlanta based band had the Steelhouse crowd locked in. Frontman Charlie Starr and company moved effortlessly between hard driving Southern rockers, bluesy grooves and the band’s more reflective moments.

    One of the night’s most memorable moments came when the band decided to give the fans something they hadn’t necessarily planned on. “Son of the Bourbon” wasn’t on the original set list, but a group of persistent fans had brought a sign requesting the song. Blackberry Smoke noticed and rather than ignore the plea, they rewarded the dedication by playing it. It was a perfect example of the connection between the band and its audience. “Train Train,” the classic Blackfoot cover was arguably the song of the night, delivering the kind of raw, rowdy energy that makes a live cover memorable.

    The evening also featured a special collaboration with opening act Trey Hensley, who returned to the stage to join Blackberry Smoke for “White Freight Liner.” Hensley’s acoustic guitar picking and unmistakable bluegrass influence added another dimension to the performance.

    Omaha didn’t just get a Blackberry Smoke concert. It got a party and judging by the smiles leaving the building, nobody was in a hurry for it to end.

    Blackberry Smoke

    [See image gallery at www.govenuemagazine.com]

    Trey Hensley

    [See image gallery at www.govenuemagazine.com] All images © Dean Birkheimer


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    The post No Fire Alarm Needed. That Was Just Blackberry Smoke at The Steelhouse appeared first on Go Venue Magazine.

  • Mercyful Fate, Electric Callboy & Motionless In White headlining Bloodstock 2027

    Bloodstock has confirmed the first 27 bands for its 2027 fest, with around 100 more bands still to be announced

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  • THE PINEAPPLE THIEF Announce New Studio Album “Far And Wide” & Launches Video For Single “New World Order”

    Progressive art-rockers The Pineapple Thief are excited to announce that their brand new studio album Far and Wide will be released via InsideOutMusic on the 9th October 2026. On this latest record, The Pineapple Thief feel more like a rock band than ever. Still progressive. Still masters of spine-tingling atmosphere. Still attuned to the strange, troubled world around us. And now, a decade and seven albums on from the arrival of Gavin Harrison on drums – and newly signed to InsideOut Records – they capture the chemistry, road miles and bigger stages of the last few years.

    Coinciding with this announcement is the launch of the hard-hitting single “New World Order”, complete with a striking video by longtime collaborator George Laycock at Black Tide Productions.

    Far and Wide is the sound of a group with dreamlike complexity at their fingertips, channelling it into hard-hitting, incisive songs.

    “We realised, for instance, that you don’t need more than two guitar parts at any one time,” frontman/founder Bruce Soord says. “You know, ’why have we got four or five guitars? Why have we got six-part harmonies when there’s only three of us singing?’ We deliberately created those constraints, because we thought, ‘we’re a rock band, there’s five of us on stage, this is what we should be about in the studio.’”

    “You do start to imagine what a song would look like on a stage, and sometimes that does influence the arrangement,” Harrison adds. “Like, ‘this would be amazing live when we do this, if this section just went into this other thing’, and you can picture it with the lights and the atmosphere on stage.”

    It’s a fitting mindset for Far And Wide’s powerful, immersive tracklist. You’ll find vignettes of a society in turmoil here. Moral courage in the face of adversity. Personal loss and its ripples. Points that intensify the foundations laid by 2024’s It Leads To This, in which the band contemplated all that the next generation stood to inherit.

    Far and Wide will arrive on several formats, including a Ltd 2CD & Blu-ray artbook which includes the bonus track ‘Daylight’, as well as a second CD of instrumentals and a blu-ray featuring Dolby Atmos, DTS-HD 5.1 Surround Sound & 24/48 Stereo Mixes. The album will also be available as a Special Edition CD Digipak, Gatefold LP (in several colour variants) & digitally as both stereo & Dolby Atmos. All formats feature the striking cover image of an abstract sculpture by the late Michael Schoenholtz, father of Harrison’s longtime partner Hannah.

    The band will follow the release of the album with a headline North American tour to take place in late 2026. The full list of dates is as follows:

    Nov. 17th Washington DC – Howard Theater
    Nov. 19th Philadelphia PA – Theatre of Living Arts
    Nov. 20th New York City NY – Gramercy Theatre
    Nov. 21st Somerville MA – Somerville Theater
    Nov. 22nd Quebec City QC – Capitole
    Nov. 24th Montreal QC – Beanfield Theatre
    Nov. 25th Toronto ON – Danforth Music Hall
    Nov. 27th Chicago IL – House of Blues
    Nov. 28th Cleveland OH – House of Blues
    Nov. 29th St. Louis MO – Delmar Hall
    Dec. 1st Dallas TX – The Bomb Factory
    Dec. 3rd Denver CO – Summit
    Dec. 5th Phoenix AZ – Crescent Ballroom
    Dec. 6th San Diego CA – The Observatory North Park
    Dec. 8th Los Angeles CA – The Bellwether
    Dec. 9th San Francisco CA – August Hall
    Dec. 11th Seattle WA – Neptune Theater
    Dec. 12th Portland OR – Revolution Hall
    Dec. 13th Vancouver BC – Hollywood Theater

    Founded in 1999 by Bruce Soord, the band has long been one of the genre’s most successful and accomplished outfits, releasing 16 studio albums and touring worldwide. The band consists of Soord on vocals and guitars, Jon Sykes on bass, Steve Kitch on keyboards, and Gavin Harrison on drums.

    Far and Wide is available for pre-order here.

    The post THE PINEAPPLE THIEF Announce New Studio Album “Far And Wide” & Launches Video For Single “New World Order” appeared first on Sonic Perspectives.

  • (HED) P.E. launch Creator One Records, release “Violent Girl”

    The first single from their upcoming album ‘Relapse,’ due in October

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  • No Drinks For Jimmy Broken Review

    No Drinks For Jimmy Broken Review

    The rough guitar at the start of “Broken” instantly energizes the listener. Soon, the drums enter with driving riffs that create anticipation. The song then erupts with a powerful outburst, leading to an empty sound stage that highlights the intense snare drum beat. The drumming is fantastic, bold, and commanding. The vocalist delivers the lyrics with passion reminiscent of the Foo Fighters. As the guitars roar back to life, it’s pure rock bliss. The instrumentation evokes an exhilarating thrill.

    No Drinks For Jimmy Broken

    Occasionally, the vocals are accompanied by background harmonies that enhance the overall intensity. The band comes together in a way that unleashes tremendous energy. This track is a powerful motivator. The bridge around the two-minute-thirty-second mark presents a beautifully timed rhythm shift. The guitars establish a steady pulse while the lead guitar solos, drawing attention to the dynamic interplay of instruments.

    As the song progresses, it offers a crescendo that energizes the listener. The transitions, from the solid opening to the explosive sections, are executed. The variety keeps the audience engaged throughout the track.

    Broken – Sound and Atmosphere

    “Broken” stands out as a remarkable rock anthem. The arrangement allows each musician to shine while contributing to a unified whole. The sonic dynamics create an engaging flow, taking listeners on an exhilarating journey.

    Energy levels remain high through the use of varied tempos and hard-hitting ensemble sections. The rhythmic changes not only elevate the track but also showcase creative songwriting. Listeners will find themselves returning to this piece for its infectious energy.

    Broken – Performance and Production

    The final moments of the song serve as a climax. The gradual build-up results in an electrifying conclusion that leaves the audience breathless. It’s a fitting end to a song that captures the essence of rock music.

    The guitar riffs alone are worth experiencing repeatedly. Every element contributes to the song’s strong identity within the rock genre. The track invites participation, urging listeners to sing along. No Drinks For Jimmy has created an anthem that stands firmly on its own.

    The hard-hitting segments fly past, drawing in anyone looking for an energetic musical escape. It’s an album highlight that captures the essence of the band and the excitement of rock music. No Drinks For Jimmy has successfully delivered a song that resonates deeply with listeners, making “Broken” a must-listen track.



    Pure Rock

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    The post No Drinks For Jimmy Broken Review appeared first on Edgar Allan Poets – Noir Rock Band.

  • Anaal Nathrakh, Benighted, YOB & more added to Maryland Deathfest 2027

    More bands are expected to be announced in late August or early September

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