The Rolling Stones were controversial from their inception, as was evident in 1964 when they first came to America during the initial wave of the British Invasion, following the Beatles. They performed covers of Chicago blues standards in a belligerent rock and roll style and had a scruffy appearance compared to the Beatles’ well-groomed image and family-friendly songs. When they began writing their own original compositions, the songs explored themes of sex, power, race, violence and rebellion, which frequently landed them in hot water with censors, critics, radio stations and, later, even newer generations of listeners.
The following ten songs are some of the best examples of the Rolling Stones’ most controversial work.
“Brown Sugar“
“Brown Sugar” appeared on the Rolling Stones’ 1971 ninth studio album, Sticky Fingers, and became a No. 1 hit. It was co-written by Mick Jagger and Keith Richards and recorded during the period when Mick Taylor had replaced founding member Brian Jones on guitar. The racially charged song contains lyrics about Gold Coast slavery and sex with a young Black girl in New Orleans. Pressure from the negative public reaction to the lyrics ultimately resulted in the band dropping the song from its setlist in 2021.
“Brown sugar, how come you taste so good?
Brown sugar, just like a young girl should”
“(I Can’t Get No) Satisfaction”
“(I Can’t Get No) Satisfaction” was co-written by the songwriting team of Mick Jagger and Keith Richards. It has been interpreted in multiple ways, ranging from ordinary teenage angst to sexually suggestive lyrics that many considered too explicit. The song was a blues rock classic that hit mainstream audiences right between the eyes and both reflected and influenced the coming-of-age baby boomer generation. It became a statement of liberation and rebellion against a system that restrained or limited artistic expression. Rolling Stone called its riff one of the greatest blues rock riffs ever recorded.
“But he can’t be a man ‘cause he doesn’t smoke
The same cigarettes as me”
“Let’s Spend the Night Together”
Another controversial Jagger/Richards composition is “Let’s Spend the Night Together.” The song was included on the American release of Between the Buttons, which was released in January 1967. Two days after the album’s release, the Rolling Stones appeared on The Ed Sullivan Show on January 15. At the time, the program was promoted as family entertainment and featured a variety of acts ranging from magicians and comedians to actors, ventriloquists and rock stars.
When the Rolling Stones appeared on the show, Ed Sullivan asked the band to change the lyrics to “Let’s Spend Some Time Together,” saying the original title was too sexually suggestive. The band complied and changed the lyrics, unlike Jim Morrison and the Doors, who refused to remove the word “higher” from “Light My Fire” nine months later.
“Let’s spend the night together
I’ll satisfy your every need, whoa my my”
“Midnight Rambler”
“Midnight Rambler” was penned by Mick Jagger and Keith Richards and appears on the Rolling Stones’ eighth studio album, Let It Bleed, released in 1969. The album title proved somewhat prescient, as the Rolling Stones’ next concert, just over a week later, was the violent and bloody Altamont Free Concert. The event resulted in four deaths, including the fatal stabbing of a concertgoer by a member of the Hells Angels. The song itself was inspired by violence, as it was based on the notorious Boston Strangler, who murdered 13 women.
“Go easy with your cold fanged anger
I’ll stick my knife right down your throat baby, and it hurts”
“Some Girls”
“Some Girls” was the title track of the Rolling Stones’ 14th studio album, recorded in Paris, France, and released in June 1978. Written by Mick Jagger and Keith Richards, the song drew accusations of racism from civil rights leader Rev. Jesse Jackson, who called it a sexist “racial insult” that demeaned Black and Chinese women. Jagger defended the song, explaining that it was intended to be satirical.
“Some girls give me jewelry, others buy me clothes
Some girls give me children, I never asked for”
“Star Star”
“Star Star” was originally titled “Starf**ker” and appeared on Goats Head Soup, the Rolling Stones’ 11th studio album, released in 1973. The Jagger/Richards composition uses crude lyrics about groupies, including explicit references to celebrity sex acts. The song’s overall vulgar and profane language has been considered offensive by many listeners.
“Yeah, Ali McGraw got mad with you
For givin’ head to Steve McQueen”
“Stray Cat Blues”
“Stray Cat Blues” appeared on Beggars Banquet, released in December 1968, and was once again co-written by Mick Jagger and Keith Richards. Over the past six decades, the song has been widely criticized for its underage themes and has been omitted from the band’s setlists at various times. The lyrics depict a sexual encounter with a 15-year-old girl, though Jagger has occasionally changed the age to 13 during live performances.
“You say you got a friend, she’s wilder than you
Why don’t you bring her upstairs?”
“Street Fighting Man”
“Street Fighting Man” was the last song that founding member Brian Jones participated in recording before leaving the Rolling Stones. It appeared on Beggars Banquet in 1968 and was written by Mick Jagger and Keith Richards. Its creation was inspired by the explosive political turmoil unfolding on the streets of the United States and Europe at the time. It is considered the band’s most radical and political song, addressing the violence surrounding the 1968 Democratic National Convention in Chicago, the escalating protests against the Vietnam War and the Civil Rights Movement.
“Hey, said my name is called Disturbance
I’ll shout and scream, I’ll kill the king”
“Sympathy For the Devil”
The title of the song alone elicited a negative reaction, as did the fact that the lyrics were written from Lucifer’s perspective. It reflected the same antihero approach to storytelling that became popular at the end of the 1960s. Films such as Easy Rider and A Fistful of Dollars, as well as the rock opera Jesus Christ Superstar, which was told from the perspective of the traitorous apostle Judas Iscariot, embraced a similar narrative style. It was also a period when rumors circulated that the Rolling Stones were dabbling in black magic, mysticism and even devil worship.
The song appeared on Beggars Banquet, released in 1968, and was written by Mick Jagger and Keith Richards. It was also performed at the tragic Altamont concert in December 1969, an event often regarded as the death knell of the hippie movement’s popularity.
“As heads is tails, just call me Lucifer (whoo-hoo, whoo-hoo)
‘Cause I’m in need of some restraint (whoo-hoo, whoo-hoo)”
“Under My Thumb”
The main source of controversy surrounding “Under My Thumb” is its blatant misogyny rather than any single shocking lyric. The song vividly illustrates a reversal of power in a relationship, with the male character asserting dominance over the female. It is another composition co-written by Mick Jagger and Keith Richards and appeared on the Rolling Stones’ fourth studio album, Aftermath, released in 1966.
“Under my thumb
Is a squirming dog who’s just had her day”
These ten songs illustrate the extent to which a blues-based band could court controversy and help redefine what a mainstream rock song could say. The Rolling Stones’ refusal to soften topics dealing with lust, power, violence, race and rebellion put them at odds with censors, parents and radio programmers, yet they still achieved tremendous success. Some of these songs remain controversial to this day and, in some cases, have been quietly retired from the band’s setlists. Whether the controversy stemmed from sexual, political, racial or misogynistic themes, the lyrics ultimately sparked debate and challenged cultural norms.
Tim Pope, The Cure‘s long-time video director, has revealed that working with disgraced Hollywood mogul Harvey Weinstein on gothic horror film The Crow: City of Angels left him with “mental scars I bear to this day”.
Pope, who shot 37 videos for The Cure, in addition to working with David Bowie, Paul McCartney, Queen, Rush, Neil Young, The Bangles, The The and more, signed up to direct the 1996 sequel to cult hit The Crow for Miramax, the hugely successful film and TV production company founded by brothers Harvey and Bob Weinstein. But the experience proved to be hugely frustrating, deeply humiliating and traumatic for the now 70-year-old Pope, to the extent that he didn’t make another film for 25 years.
Pope writes about his spectacular career in his forthcoming memoir I Shoot Rock Stars, and lays bare his painful memories of working with Harvey Weinstein in new interviews with British newspapers The Guardian and The Telegraph.
Having carved out a reputation as one of the most imaginative and innovative video directors of the MTV era, Pope was approached to direct the sequel to The Crow, a surprise commercial hit for Miramax, and a cult favourite film for a generation of goths and metal fans. Tragically, the film’s charismatic leading man, Brandon Lee – the son of martial arts legend Bruce Lee – died during the film’s production due to an on-set accident with a prop gun, which left Pope at an immediate disadvantage when seeking to follow up the film’s success.
“It was a tricky situation,” Pope admits to The Guardian, “but I’d loved [Quentin Tarantino’s award-winning Miramax films] Reservoir Dogs and Pulp Fiction. This was before we knew about [Harvey Weinstein] wanking into flowerpots and destroying women’s lives.
“He was still seen as ‘good old Harvey’, the most powerful man in Hollywood, but his other nickname was Harvey Scissorhands. He had a reputation for meddling in the cutting room and I suffered that really badly. I poured everything into that film and ended up with something I loathed.”
At a disastrous test screening, Pope learned that his original cut of the film had been completely reworked at Harvey Weinstein’s request. In The Telegraph Pope recalls that during this screening Weinstein threw popcorn at his head and shouted, “Call yourself a fucking director?” at him. Afterwards, at dinner, Weinstein told Pope, “Just cut the damn picture as we want it, or else, you fucking bastard… Remember, pal, we own you.”
Pope calls the whole experience of working with Weinstein “brutal”.
“There were times working with him when I thought I was going to end up at the bottom of the Hudson River wearing concrete wellington boots,” he told The List last year.
“I hope Harvey Weinstein reads my book” he tells The Guardian.
Weinstein is currently in prison in theUS after being found guilty of three counts of rape, plus sexual assault. More than 80 women made allegations of sexual harassment or rape against him.
Bruce Cockburn has announced the release of his new album, The Blood of Others, due out October 16 via Sunset Boulevard Records. The 39th album of his career features Cockburn interpreting songs that influenced him long before he began writing his own music.
Rather than focusing on original material, the album traces Cockburn’s musical roots through gospel, blues, jazz, folk and pop songs that helped shape his artistic voice.
“What began back in the eighties as a vague notion grew over time into a strong desire to put together a collection of material, written by others, that I found sticking to the edges of my musical landscape,” Cockburn explains. “The accumulation of these songs started in the sixties, before I’d even begun to try to create my own.”
The album takes its title from Simone de Beauvoir’s novel The Blood of Others.
“Among other things it deals with personal responsibility in the face of scary oppression, and the kinds of choices people make,” he says. “I have borrowed the title because it seems perfect for an album of songs I didn’t write.”
The collection opens with Robert Wilkins’ gospel classic “Wish I Was in Heaven Sitting Down,” a song Cockburn first discovered on a compilation in the early 1970s.
“Wilkins’ powerful bottle neck guitar and passionate singing made this conversation with God instantly memorable,” he says, noting he reworked the arrangement using the angular harmonies of his DADGAD tuning.
The album also includes Herman Hupfeld’s “As Time Goes By,” forever associated with the film Casablanca.
“Who doesn’t love the scene in Casablanca in which Dooley Wilson plays this song, Ingrid Bergman at his side?” Cockburn says. “I thought I should include the original preamble, which gives the familiar part of the song a context, but it seemed to want an update. Hopefully Herman approves.”
Cockburn revisits his early interest in ragtime and jazz on “Buddy Bolden’s Blues.”
“My friends were singing country blues and old timey music,” he recalls. “I was drawn to the somewhat more sophisticated style of ragtime and early jazz.”
Another childhood favorite appears in “You Belong to Me.”
“Jo Stafford’s gorgeously true voice was all over the radio with this when I was five,” Cockburn says. “The geographical references were exciting, awakening the travel bug in me years before ‘On the Road’ lit a fire under it.”
Elvis Presley also left a lasting impression on Cockburn, inspiring his interpretation of “That’s Alright.”
“Elvis Presley hit the radio in Ottawa right when I was hitting adolescence,” Cockburn says. “He was captivatingly charismatic of course, but the guitar. Scotty Moore’s leads, by turns raucous and tender, bred a burning desire to play the instrument.”
Cockburn notes that his version draws more heavily from Arthur Crudup’s original recording than Presley’s rendition.
The album also includes Ian and Sylvia’s “Four Strong Winds,” which Cockburn says reminds him of Ottawa’s Le Hibou coffeehouse.
“We were all very excited when their song showed up on the radio,” he says.
Several tracks are tied to significant memories from Cockburn’s life. Discussing “God Bless the Child,” he recalls first purchasing the song with his Sunday collection money.
“A couple of years later I got to hear Billie Holiday’s original version,” he says. “Theologically a bit off base, but a deeply moving expression of disappointment with the human species.”
He also reflects on discovering Mississippi John Hurt through “Louis Collins.”
“Barbie Luther invited me to her parents’ house to listen to music,” he recalls. “She opened a bottle of Mateus wine and put on Mississippi John Hurt’s rediscovery album. I was blown away by the sweetness, the idiosyncratic phrasing and the way he put voice and fingerpicked guitar together.”
On “Yellow Dog Blues,” Cockburn remembers first hearing Bessie Smith’s recording as a boy.
“Right away I fell in love with the lyrics,” he says.
“Fare Thee Well” also carries personal significance.
“It came back to mind when I got to perform it with the McGarrigle sisters at Pete Seeger’s ninetieth birthday event in NYC,” he says.
One of the album’s most personal moments comes on “I’ll Be Seeing You.”
“I thought that version ended with the line, I’ll be looking at someone, but I’ll be seeing you,” he says. “That’s not in the original lyrics. They only refer to the moon, but it hit me in a powerful way.”
Cockburn also recalls seeing blues guitarist Lonnie Johnson perform in Ottawa and requesting “Laplegged Drunk Again.”
“He shook his head and smiled, and said, Oh, I can’t play that song in a place like this,” Cockburn remembers.
The album concludes with “One for My Baby,” “Les Feuilles Mortes,” and “Peace in the Valley.”
Over a career spanning more than five decades, Cockburn has earned 13 Juno Awards and has been inducted into both the Canadian Music Hall of Fame and the Canadian Songwriters Hall of Fame. He has also received the Governor General’s Performing Arts Award for Lifetime Artistic Achievement, was named an Officer of the Order of Canada and has been awarded nine honorary doctorates, including one from Berklee College of Music.
Following the album’s release, Cockburn will embark on an extensive North American tour.
TOUR DATES Aug 7 — Los Angeles, CA — Ford Theatre ** Aug 26 — Iowa City, IA — Englert Theatre ** Aug 27 — Des Moines, IA — Hoyt Sherman Place ** Sep 8 — Omaha, NE — Astro Theater ** Sep 9 — Lawrence, KS — Liberty Hall ** Oct 3 — Eugene, OR — McDonald Theatre ** Oct 15 — Kitchener, ON — Centre in the Square Oct 16 — Ottawa, ON — National Arts Centre Oct 17 — Toronto, ON — Massey Hall Oct 18 — Montréal, QC — Gesù Salle Oct 20 — Plymouth, NH — Flying Monkey& Oct 21 — Portland, ME — State Theatre& Oct 23 — Boston, MA — Chevalier Theatre& Oct 24 — New York, NY — Town Hall& Oct 25 — Philadelphia, PA — Keswick Theatre& Oct 27 — Washington, DC — Warner Theatre& Oct 29 — Durham, NC — Fletcher Hall& Oct 30 — Charlotte, NC — Carolina Theatre& Nov 1 — Nashville, TN — CMA Theatre& Nov 2 — Knoxville, TN — Bijou Theatre& Nov 4 — Atlanta, GA — Variety Playhouse& Nov 6 — Ponte Vedra, FL — Ponte Vedra Concert Hall& Nov 7 — Fort Lauderdale, FL — Amaturo Theatre& Nov 8 — Key West, FL — Key West Theatre& ** With Judy Collins & With Livingston Taylor
Icelandic folk metal band Hrafnablót has released a new single and accompanying music video titled “Dísablót.” The track serves as the second preview from the group’s highly anticipated forthcoming debut album, Guðlaugar Saga, which is officially scheduled to arrive later this autumn. This new release directly follows the momentum of their previous sea shanty inspired single “Svartigaldur.”
Musically, the new track surges with heavy driving riffs, twin guitar harmonies, and powerful vocal interplay, capturing the signature blend of folk mysticism and dramatic metal intensity that defines the group. Thematically, “Dísablót” opens the narrative concept of the upcoming album. The overarching story follows a modern woman named Guðlaug who follows a beckoning fairy after midnight and awakens in the Icelandic settlement age, unsure if she was transported by a mystical ritual.
To visually complement the new release, the single artwork features illustrations by Ana Nikitina with layout design handled by guitarist Mara Birna Jóhannsdóttir. Operating out of Reykjavík, the sextet continues to channel the contrasting light and darkness of Icelandic folklore and magic into their immersive sound. The upcoming Guðlaugar Saga record will feature seven full songs alongside two spoken word pieces, weaving together Nordic folk traditions and extreme metal elements to create a cohesive epic.
Open chords give new guitar players an ideal starting point.
Most finger positions stay near the first three frets, while open strings add volume and create a full sound.
Seven essential chords provide a solid base for learning hundreds of popular songs:
C major
A major
G major
E major
D major
A minor
E minor
Beginner chord collections commonly include each of these shapes. Some larger collections add F major as an eighth chord, but its demanding finger position often makes it better suited to a later practice stage.
Clear notes matter more than speed during early practice.
1. E Minor
E minor chord diagram
E minor, written as Em, is one of the easiest full-sounding chords a beginner can learn. Only two fingers are needed, and all six strings can be played.
Use these positions to form Em:
Second fret of the A string
Second fret of the D string
Open low E, G, B, and high E strings
Strum all six strings in one smooth motion. A darker, emotional quality gives Em a natural place in ballads, rock songs, folk music, and slower pop progressions.
Flattened fingers cause one of the most common problems. Fingertips should press straight down so they do not touch nearby open strings. Playing each string separately will reveal any muted or buzzing notes.
Practice moving between Em and G. Both chords use all six strings, but G requires a wider hand position.
Slow repetition will help the fingers move as a group instead of finding each note separately.
2. A Minor
A minor chord diagram
A minor, written as Am, uses three fingers and has a soft, melancholy character.
Its emotional sound frequently appears in ballads, love songs, acoustic music, and minor-key progressions.
Place one finger on the first fret of the B string. Put another finger on the second fret of the D string, then place a third finger on the second fret of the G string.
Begin strumming on the fifth string and avoid the low E string.
Am has a close connection to the E major shape. Moving each finger one string toward the floor creates the Am position.
Strumming also changes, since E major uses all six strings while Am begins on the A string.
Two details will help the chord sound clean:
Curved fingertips that leave space for the open high E string
A controlled strum that does not contact the low E string
Practice changing between Am and C. Keep the finger on the first fret of the B string in place while moving the other fingers into the C position.
3. E Major
E major chord diagram
E major has a strong, bright sound and uses all six strings.
Its open bass note gives it plenty of power, making it common in rock, blues, country, folk, and pop music.
E major also plays a role in Coldplay’s “Yellow,” and beginners can see it in context with Chords for Yellow.
Finger placement follows a compact three-note pattern:
First fret of the G string
Second fret of the A string
Second fret of the D string
Strum all six strings with one controlled motion. Every note should sound clear when checked individually.
A finger leaning against the G, B, or high E string can mute an important part of the chord. Fingertips should stay curved, with firm pressure placed close to each fret.
Practice changing between E and A.
Start with four even down-strums on E followed by four on A. Gradually shorten any pause until the change fits naturally into the rhythm.
4. A Major
A major chord diagram
A major is a compact chord heard in countless popular songs. Its bright and confident sound works well in rock, country, blues, folk, and pop progressions.
Place three fingers across the second fret of the D, G, and B strings.
Keep the A and high E strings open. Begin each strum on the fifth string and avoid hitting the low E string.
Limited space on the second fret can make this chord feel crowded. Fingers may need to sit at a slight angle so every note rings clearly. Some players use three separate fingertips, while others eventually learn alternative fingerings.
Beginners should focus on whichever position produces clean notes without discomfort.
Listen for three specific problems while checking the strings individually:
Buzzing on the fretted D string
Muted notes on the G or B string
Accidental contact with the open high E string
Practice moving between A and D. Both shapes stay within a small area near the second fret, making the pair useful for building accuracy.
Keep each movement relaxed and avoid lifting the fingers too far above the strings.
5. D Major
D major chord diagram
D major has a bright, optimistic sound that appears frequently in pop, folk, country, and rock music.
Its compact triangle shape uses only the four highest strings.
Build the triangle with these positions:
Second fret of the G string
Third fret of the B string
Second fret of the high E string
Begin strumming on the fourth string, which is the open D string. Avoid the low E and A strings.
Accidentally striking the two lowest strings can make D major sound unclear. Careful strumming control is just as important as accurate finger placement.
Small downward motions can help the pick contact only the intended four strings.
Crowded fingertips may mute the high E string. Keep the fingers curved and press close to the frets without placing them directly on top of the metal.
Practice changing between D and A. Use four slow down-strums per chord at first.
Reduce the number to two strums per chord and eventually one strum per chord after the transition becomes reliable.
6. C Major
C major chord diagram
C major is one of the most popular and versatile guitar chords. Its balanced sound fits pop, rock, country, folk, worship music, and many other styles.
Place one finger on the first fret of the B string. Put another finger on the second fret of the D string, then place a third finger on the third fret of the A string.
Begin strumming on the fifth string and avoid the low E string.
A wider finger stretch makes C major more difficult than Em, E, or A.
Better hand positioning can make that stretch more comfortable:
Thumb resting behind the neck instead of wrapping tightly over it
Wrist moved slightly forward to create space for curved fingers
Fingertips placed close to the frets for cleaner notes
Muted notes often occur on the open G or high E strings. Check both strings separately and adjust any fingertip touching them.
Pressure should feel firm but not excessive.
Practice changing between C and Am. One finger can stay on the first fret of the B string during the entire change.
Using that finger as an anchor reduces unnecessary movement and makes the transition faster.
7. G Major
G major chord diagram
G major produces a broad, full sound across all six strings. Its bright character makes it a common choice in pop, rock, country, folk, and acoustic songs.
Place one finger on the second fret of the A string. Put another finger on the third fret of the low E string and a third finger on the third fret of the high E string. Strum all six strings.
Some guitarists use an additional finger on the third fret of the B string, but the three-finger shape described above is an accessible starting option.
Either fingering can work when every required note sounds clean.
G may feel difficult at first because its notes cover a wider area than several other open chords. Leaving the shape quickly can also be challenging.
Fingers often lift too far away, which adds unnecessary movement and slows the change.
A focused G, C, and D exercise can improve control:
Form G and hold it for four beats.
Change to C without strumming and check each note.
Hold C for four beats, then move to D.
Return to G and repeat the sequence slowly.
Accurate changes will gradually build muscle memory and smoother movement.
Easy Chord Progressions to Practice
Chord progressions teach the fretting hand to move while the strumming hand keeps a steady beat. Start with slow, even down-strums before adding up-strums or detailed rhythmic patterns.
Four progressions provide useful practice with different moods and hand movements:
G-C-D-G: Creates a strong sense of completion and develops accuracy during the wider G-to-C change.
G-D-Em-C: Combines major and minor sounds in a sequence common in pop and acoustic music.
A-D-E-A: Produces a bright, energetic sound suited to rock, blues, and country practice.
Em-C-G-D: Opens with a darker minor chord before moving through three bright major shapes.
Use one down-strum per chord when learning a progression. Move to four even down-strums after every shape can be formed without stopping.
A metronome set to a slow tempo can keep the rhythm steady.
Change chords every four beats, and increase the speed in small steps only after the notes sound clean.
Beginner Practice Tips
Reading chord diagrams correctly makes each shape easier to learn. Several symbols provide the essential instructions:
Vertical lines represent guitar strings.
Horizontal lines represent frets.
Numbers show which fingers to use.
An “X” means that a string should not be played.
An open circle means that a string should ring without being fretted.
Play every string separately after forming a chord. Such a check makes buzzing, muted notes, and unwanted strings easier to identify.
Adjust one finger at a time until every required note rings clearly.
Practice two-chord changes before playing complete progressions. Useful pairs include Em and G, Am and C, E and A, A and D, and G and C.
Perform the same change several times without strumming, then add a slow beat.
A simple practice routine can keep each session focused:
Spend two minutes forming individual chords.
Spend three minutes checking every string for clear notes.
Spend three minutes practicing two-chord changes.
Spend two minutes playing a complete progression.
Use a metronome at a comfortable tempo. One chord every four beats is enough at the beginning. Increase the speed only when each change feels controlled.
Short, regular practice sessions are more effective than an occasional long session. Repetition helps the hands remember each shape and makes chord changes smoother.
Ten focused minutes each day can produce better results than one rushed session each week.
Relax the fretting hand whenever possible. Excess pressure can cause fatigue and make movement slower. Only enough force to produce a clear note is needed.
Keep the fingers close to the strings during each change.
Large movements waste time and make accurate placement harder. Try moving all required fingers together instead of placing them one at a time.
Summary
Seven open chords give beginners a practical foundation for playing popular music: C major, A major, G major, E major, D major, A minor, and E minor. Each shape introduces useful finger positions, strumming targets, and chord-changing skills.
Clean notes and smooth transitions matter more than fast playing. Careful repetition will build accuracy first, followed naturally by greater speed.
Simple songs and progressions offer an effective setting for putting each chord into practice. Start slowly, listen closely, and give every note enough time to ring.
FOR IMMEDIATE RELEASE
Ola Englund Unleashes New Single and Video “Dogma Progma” Ahead of The Neverending Story
Acclaimed guitarist, songwriter, and content creator Ola Englund returns with another crushing preview of his highly anticipated solo album.
Metal Devastation PR is proud to announce the release of “Dogma Progma,” the brand new single and official music video from Ola Englund . The track is the latest offering from his upcoming solo album, The Neverending Story , arriving October 14, 2026 .
Following the enthusiastic response to previous singles including “The Ember Saga” and “The Guillotine,” Englund continues building anticipation for the album with another powerful display of soaring melodies, crushing riffs, and cinematic songwriting.
Watch the official video for “Dogma Progma” here:
Stream, listen, and pre-order The Neverending Story here:
https://olaenglund.com/dogma
Blending technical precision, memorable hooks, and Ola’s unmistakable guitar tone, “Dogma Progma” further showcases the ambitious scope of The Neverending Story . The album promises a dynamic journey inspired by fantasy, cinematic storytelling, and riff driven metal, while highlighting the musicianship that has made Englund one of modern metal’s most respected guitarists and creators.
Previous singles from the album campaign have earned praise from leading metal media outlets including Metal Injection, BraveWords, Burn, Lambgoat, Metal Anarchy, Metal War, Eternal Terror, The Metal Mag, and The Metallist, helping build excitement for what is shaping up to be one of the year’s most anticipated metal releases.
The Neverending Story features ten original tracks:
The Ember Saga Game Over The Astral Gate Dogma Progma The Guillotine Means to an End World Rift The First of its Kind Artax Reborn Sun & The Moon Part 2
Known worldwide as the founder of Solar Guitars, a member of Feared, and for his work with The Haunted and Six Feet Under, Ola Englund has become one of modern metal’s most recognizable guitarists. His massively successful YouTube channel and dedication to the global guitar community have earned him millions of followers and a reputation that extends far beyond the stage.
As anticipation continues to build toward the release of The Neverending Story , “Dogma Progma” stands as another powerful chapter in an album that promises to be Ola Englund’s most ambitious solo work to date.
Check out the previous videos below:
Connect with Ola:
https://olaenglundshop.com/ https://www.facebook.com/olaenglund https://www.instagram.com/olaenglund
I’ve always found solace in extreme music. In recent years, I’ve discovered similar comfort in different realms of non-Western sounds via sources like Excavated Shellac and Little Axe mixtapes. The unfamiliar sounds, timings and textures found within those and other portals have proven valuable. This is why I approached the video premiere of Untu’s “The Dukun’s Hand” with legitimate excitement. We’re hosting it ahead of its full release tomorrow.
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Based in Yogyakarta, Indonesia, Untu are an experimental fusion of old school thrash/death metal and classical Javanese gamelan. A six-piece unit featuring typical rock instrumentation, a gong, and two demung players. A demung, for those unfamiliar with gamelan, is a traditional Indonesian instrument similar to a xylophone with heavy metal (!) keys atop a wood base. Each instrument is prominent on “The Dukun’s Hand,” the first single from Untu’s forthcoming Yet, I Smile EP. The song tells the diabolical tale of Ahmad Suradji, a dukun, or shaman, who ritually murdered 42 Indonesian women. The stark, black-and-white video is a stunning, folk horror reel that conveys the menace and terror surrounding Suradji’s encounter with his final victim.
To set the scene and the macabre tableaux of “The Dukun’s Hand,” the demung tolls ominously. Soon, a foreboding vocal reminiscent of Ghost Reveries-era Opeth meanders in; its codeine lullaby dissolves into queasy, twisted metal. The intensity builds slowly, driven by the demung’s steady steel pulse and discarded Floridian death metal riffs, mirroring the dread of the doomed young woman walking through the plantation towards the dukun’s home. The steel pulse is rock-steady. The percussion both leads and leavens the carnage as the bloodlust erupts. As cinematic as it is disorienting, Untu’s metal and gamelan combination should appeal to all adventurous listeners.
Letters. It’s all about letters. A series of handwritten thoughts, captured in time. When Crystal Park sat down to write the lyrics for Initiate’s new EP, she saw it as a series of intimate conversations, each signed with the valediction ‘With Love // With Rage’.
In many ways writing letters seems at odds with circle pits, sticky floors and sweat-stained air but then Initiate aren’t your typical hardcore band. Their 2023 album ‘Cerebral Circus’ proved they had something to say while operating inside the genre’s confines. In 2025 they released the single ‘Too Much’. It was a promise, a note. It suggested a different direction, post-metal, but it was a sealed envelope. This EP takes a step back, revisiting the sounds and ideas the album was built around and tightens the screws. It’s signed with a kiss.
‘Burn After Reading’ is a passionate love letter written to hardcore. With a punchy introduction, and a rapid d-beat from drummer John Hodge, it feels like a classic, but with the tone established, it shifts into something quite different. The riffs change, the feel changes – it’s like using a new font within the same paragraph, but it works. This is, of course, because its secret is this; the guitarists Draven Carter and Manning Gray provide the melodies while Crystal Park barks over the top. This retains the vicious, slightly rabid feel of hardcore while giving the song personality and nuance. It’s a brilliant trick, and one they use throughout the EP.
While Park flirted with clean vocals on ‘Cerebral Circus’, here they’re consigned to a little atmosphere in the background of ‘Future Saving Grace‘. Her singing voice pales in comparison to her arresting, nuanced screams. It makes for a great choice, especially as the guitarists have melody covered, with the clearest example being the repeating lines on ‘Shadowboxing’ intertwining like a snake.
Zach Tuch has his producer’s fingerprints all over the record. It’s pleasingly raw and retains all the little smudges that give it personality – for example, making the pick slides and feedback on ‘Delusions’ into part of the song’s character. It also gives bassist Michael Morles’s work space to stand out amongst the playful lead guitar.
The EP’s greatest strength is the writing. The songs work so well because the music is built as a series of interlinked sections, paragraphs if you prefer, which create structure amongst the powerful riffs. This is why the false intro to ‘Numb The Pain’ feels earned, and why the strange timing and odd, lumbering meter makes ‘Shadowboxing’ a heavyweight. On ‘Future Saving Grace’, it feels like they’re peeling back through layers until they expose the song’s beating heart, a clicking drum track and beautiful piano motif. It’s a great note to end on.
‘With Love // With Rage’ is a love letter. It’s intimate, passionate and will leave you hot under the collar.
