Category: news

Launching in early September.

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In February 2025, Ben Folds resigned his position as Artistic Advisor to the National Symphony Orchestra in response to Donald Trump taking over the Kennedy Center. It only got worse from there; by the end of the year, it was announced that the historic performing arts establishment was being renamed the Trump-Kennedy Center. Backlash ensued, and just last week a federal judge ordered Trump’s name off the building. Today, Ben Folds shared an open letter regarding the fate of the National Symphony Orchestra.

The post Ben Folds Shares Open Letter About The Fate Of The National Symphony Orchestra appeared first on Stereogum.

So, what’s happening here is Australian symphonic metalers Ana and their debut record, Motivated by Death are set on pioneering a new sub-sub-genre. “Couture metal.” For the blue-jeans-and-band-tees wearers among us, couture fashion is all about expressive, customized statements in clothing, often expensive and always personalized. This is an evident visual influence for Ana, and musically the band cites their style as “a sophisticated, upscale evolution of the craft that prioritizes high-fashion theatricality alongside punishing sonic precision.” Fewer corsets, more spandex. One thing’s for sure, Ana have bought into themselves: they have a series of comics in the works written in tandem with their music,¹ as well as a documentary film titled Watch Me as I Rise.² But what about Motivated by Death? Their album, for their music band? Does it live up to the hoo-ha, or is Ana’s rising star a premature liftoff?

Ana are banking on the power of Y2K nostalgia on Motivated by Death. Early-aughts goth, symphonic, and nü metals comprise the core of Ana’s sound, with choruses sounding like Nightwish taking on Evanescence and Evanescence taking on Powerman 5000. Guitarist Josh Mak’s riffs shift between metalcore chugs, nü/alt-rock power chords, and gallops while drummer Andres Osorio and bassist Cody Lamb keep Motivated by Death consistently groovy and moving. There’s a smörgåsbord of synth sounds at keyboardist Mark Shi’s disposal, and when shredding alongside Mak Ana have a surprising knack for showy solos (“Shadow of Life,” “Papa”). Vocalist Anna Hristenko is, predictably, the crux of Ana’s sound, layering Motivated by Death with sultry, classically-inspired but pop-informed bars. She brings gravity to Ana along with unquestionable showmanship, and when Motivated by Death is kicking it recalls not only this millennium’s early rock/metal scene but a time when pop music was more audacious and bombastic.

But Motivated by Death often feels too overly calculated for its own good. Ana make sure to hit all of the beats of a radio hit on Motivated by Death. There’s the booming opener with “Hate Me” followed by the cyber goth panache of “Shadow of Life,” its one-two punch showing listeners that they got both the riffs and hooks they crave. There are two ballads, one power in “You Loved Me More than I Loved Myself” and one Evanescence’s “My Immortal” in “Sick Love” so radio has a choice in what they want play to death. Ana even outsourced a closer by covering System of a Down’s “Aerials,” safely assuring Motivated by Death ends well (in theory). What makes this mathematical approach especially jarring is that Motivated by Death is a very short album, barely hitting thirty-five minutes. Ana just fly through the motions, the listener’s every emotion carefully road-mapped along the way. Motivated by Death feels like a proof-of-concept for Ana, not their debut.

Motivated by Death is also just messy. Ana’s core symphonic sound is imbued with so many Y2K-era rock stylings that there’s hardly enough time spent on one thing to figure out what Motivated by Death is. Its diversity works against memorability; “Eyes of a Child” features a sitar riff in its bridge, and Hristenko breaks out her operatic chops on “Papa,” and yet I forget these things even happen every time. Hristenko is a powerful singer, but clumsy phrasings in the verses of “Sick Love” and “Aerials” leave them feeling awkward, while her declaration of “Listen up you motha fuckeeeeeers!” in “Following the Wind” isn’t aggressive or cheeky enough to land convincingly. Motivated by Death is not helped by Ana’s insistence on loudness and its radio-made production that makes the drums sound like plastic cans and robs any of the dynamics songs like “You Loved Me More than I Loved Myself” and “Aerials” need.³ Motivated by Death sounds like Ana were throwing things at the wall and seeing what stuck. Not enough stuck, and what did doesn’t work too well together.

I fear that Motivated by Death isn’t the statement Ana were hoping for. Ana are a talented, driven bunch, and there’s no doubt there’s a market for what they do. It’s not all bad—”Shadow of Life” slaps and “Sick Love” can be pretty moving at times⁴—but both playing it safe and half-baking your album is a bad combo. Despite its truncated runtime Motivated by Death proves a slog to get through. I could see a world where I stick up for Ana, one where they’re more bold-faced and adventurous, and I’m getting wedgied for liking “couture metal.” Right now, that’s not this one.

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Rating: Bad
DR: 6 | Format Reviewed: 320 kbps MP3
Label: Eclipse Records
Websites: anaband.com.au | facebook.com/ana.band.0fficial
Releases Worldwide: May 29th, 2026

The post Ana – Motivated by Death Review appeared first on Angry Metal Guy.

In 2020, just before the pandemic, Kendrick Lamar and his longtime business partner Dave Free launched their “multi-lingual, at service company” pgLang. Officially, pgLang is more than a record label — it’s also a film production company, an ad agency, and maybe more — but it certainly has released records. Thus far, other than jointly…

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The Heavy Eyes return with Focus, their fifth studio album and a reaffirmation of everything that has made the Memphis outfit a respected name in modern heavy rock. Following a difficult period marked by frontman Tripp Shumake’s battle with chronic kidney disease and a life-saving transplant in 2022, Focus finds the group continuing to build on the blues-infused hard/stoner rock foundation that has defined their sound for more than a decade.

Formed in Memphis, Tennessee, The Heavy Eyes are comprised of Tripp Shumake (guitar and vocals), Matthew Qualls (guitar), Wally Anderson (bass), and Eric Garcia (drums). The band built its reputation on a potent blend of heavy blues, hard rock, stoner rock, and psychedelia. Drawing inspiration from acts such as Black Sabbath and Led Zeppelin while maintaining a distinctly Southern grit of their own, The Heavy Eyes have spent more than a decade crafting riff-driven monsters. Focus fits comfortably within that lineage.

The album opens with “That Cold Goliath,” an atmospheric, acoustic-driven piece that favors mood over heaviness. Dark and mysterious, it serves as an effective introduction before “Concrete Halloween” crashes through the door. Built around a massive, fuzzed-out riff and an irresistible rhythm, it immediately establishes the record’s direction and stands among its strongest cuts.

The middle portion of the album delivers a steady stream of strong material. “It’s All Simone” stands out thanks to its punchy bass work, while “Corporal Upham” keeps the momentum moving with another dose of blues-infused stoner riffage. Another highlight is “Troublesome Priest,” which grows from a bass-led introduction into a crushing staccato riff before erupting into a swaggering rocker packed with attitude. The title track maintains the pace, while “Words” slows things down with a heavier, sludgier riffage that makes it one of the record’s weightiest moments.

Another standout arrives with “That Cold Goliath (Might Return)”, which revisits the atmosphere of the opening track and transforms it into one of the album’s fiercest rockers. Driven by a planet-sized riff and blazing, feedback-laced lead guitar work, it ranks among the strongest songs here. The closer and instrumental piece “Holy Envy” brings things full circle with a more psychedelic and atmospheric approach.

Overall, the record’s strength lies in its execution. Sharp songwriting, memorable riffs, and a balance between heavy rockers and atmospheric passages keep it engaging throughout. At the same time, the band’s bluesy roots are never far from the surface, giving even the heaviest material a sense of swing and groove.

In short, Focus does not attempt to drastically reshape The Heavy Eyes’ formula, nor is there much reason for it to. The band’s distinct, well-established sound remains highly effective, and Focus is another strong showcase for those qualities. For listeners with an appetite for heavy blues, fuzzed-out guitars, and groove-laden hard rock, this is an easy record to recommend.

The Review: 8.5/10

Can’t Miss Tracks

– That Cold Goliath
– That Cold Goliath (Might Return)
– Concrete Halloween
– Corporal Upham
– Troublesome Priest
– Words

The Big Hit

– That Cold Goliath (Might Return)

The post The Heavy Eyes: Focus Review appeared first on Blues Rock Review.

Though one member declared the band as being “nuked”.

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Two open-air stages, an indoor stage, and full details for Szczecin’s metal and punk weekend

HELLS BELLS FESTIVAL 
26-27 June 2026
Plac Gryfitów, Łasztownia

Hells Bells Festival hhas unveiled the running order and stage times for its inaugural edition on 26-27 June 2026. Heavy music fans can now plan their weekend as 31 international and domestic acts prepare to descend upon Plac Gryfitów on Szczecin’s historic Łasztownia island.

Concerts will run across three distinct areas. The Main Stage and Frozen Stage will dominate the outdoor waterfront, while the Illusion Stage will find its home indoors within the atmospheric walls of the CKE Stara Rzeźnia cultural centre. 

The event also has a great visual identity, with Rafał “Too Many Skulls” Wechterowicz responsible for the design and logo.

The Szczecin festival is located on Łasztownia, specifically at Plac Gryfitów—a square best known for its Paprykarz monument. This waterfront area is accessible via beautiful boulevards, and visitors will also have easy access to the Holiday Park amusement park and the beach on Grodzka Island. The festival grounds will feature a restaurant with a substantial menu (including pork chops and paprykarz) as well as food trucks. There will be plenty of additional attractions, such as a tattoo zone and a merch market. 

VIP tickets are still available, which, in addition to gifts, provide access to the VIP area with a separate bar and VIP restrooms. It’s also worth noting the family pass option and discounted tickets for minors. 

For more details and more weekend and day ticket options, visit: 
https://hellsbells.pl/en/tickets/

Hells Bells Fest boasts a line-up that covers heavy metal, punk, rock and extreme metal.  Across three stages, the festival will deliver everything from the traditional heavy metal of Dirkschneider and Grave Digger to the extreme of Possessed, Vader, NunSlaughter, and Dead Congregation. The thrash metal contingent is bolstered by the technical assault of Gama Bomb and the legendary FrankBlackfire, while the fuzz-drenched riffage of Belzebong provides a stoner-doom counterpoint. 

The punk and hardcore legacy of Discharge, UKSubs, Cockney Rejects, TheLastResort, and local icons TheAnalogs and Dezerter stands alongside the horrorcore energy of Słoń and the avant-garde darkness of Furia and Dola. Furthermore, the festival remains a vital platform for the new generation, showcasing the rising power of The Materia, The Stubs, Owls Woods Graves, Hamulec, My Own Abyss, Seks W Czasach Wojny, Pretensje, Drowned In Silver and Diving Stove. 

Tickets: https://hellsbells.pl/

Hells Bells online 
FB: https://www.facebook.com/hellsbellsfestival

FB Event: https://fb.me/e/7cujCjrCo

IG: https://www.instagram.com/hellsbellsfestival

Source: 3nation

https://www.metalourgio.com/wp-content/uploads/2026/05/PHARMACIST-Vertebrae-After-Vertebrae-album-cover-768×768.jpg

Their new album “When Does This Place Become Our Scene” is due out this Friday.

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