Swedish hard-rock risers Velveteen Queen’s ‘Too Far Gone’ is the third single from their eagerly anticipated sophomore album, ‘The Greater Good‘, set for release on September 18th via Silver Lining Music. Pre-orders are available here. ‘Too Far Gone’ bursts to life with an infectious rock ’n’ roll guitar riff, driving into crunching riffs before exploding […]
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Artur Menezes joins the Blues Rock Show to discuss his journey from Brazil to the United States, the six words that launched his music career on his first night in America, performing at Eric Clapton’s Crossroads Guitar Festival, whether 2026 is a good time to be a musician, and more.
The post The Blues Rock Show with Artur Menezes appeared first on Blues Rock Review.
Our Top 10 Joan Jett Songs list celebrates a musician whose career connects the hard-edged glam and punk of the 1970s with the anthemic rock of the 1980s and the independent spirit of later generations. Joan Jett first became widely known as a guitarist, singer, and songwriter in the Runaways, where she stood beside Cherie Currie on “Cherry Bomb” and helped define the band’s tough, direct sound. After leaving the Runaways, Jett began working with producer, songwriter, and business partner Kenny Laguna. Major labels repeatedly rejected her first solo record, so the pair pressed copies themselves and sold them directly
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Prog legends King Crimson will release 2014 (The Complete US Tour) as a double Blu-ray set on October 30.
It was the band’s first tour for six years and one which introduced the now-famous three-drummer line-up, featuring Gavin Harrison and Pat Mastelotto, both members of previous Crimson line-ups, and Bill Reiflin, who had worked with Ministry and REM.
Robert Fripp‘s e-mail to his fellow bandmates ahead of the tour read, “dear brother crims, we have one year to prepare for action of the savage variety, and be in Go! mode for september 2014… but essentially, King Crimson is in motion.”
The two-disc set features the complete 19-date 2014 King Crimson USA tour as well as a never-before-seen pre-tour show at The Egg, Albany, NY for friends and family, in 24/48 and presented in 1920×1080 (HD).
The new concert recordings are presented in 24/96 Hi-Res Stereo taken from the Front of House live mix, sourced from the band’s multi-track recordings and incorporating both the audience and hall sounds for each venue.
The two-disc set will be packaged in a miniature gatefold sleeve with 24-page booklet and new sleeve notes from King Crimson biographer and Prog writer Sid Smith.
Pre-order 2014 (The Complete US Tour).
King Crimson: 2014 (The Complete US Tour)
Blu-Ray I
SEPTEMBER 2014
8th Sept – Albany, NY The Egg (Friends & Family show) video*
9th Sept – Albany, NY The Egg
10th Sept – Albany, NY The Egg
12th Sept – Philadelphia, PA Verizon Hall
13th Sept – Philadelphia, PA Verizon Hall
15th Sept – Boston, MA Colonial Theatre
16th Sept – Boston, MA Colonial Theatre
18th Sept – New York, NY Best Buy
19th Sept – New York, NY Best Buy
20th Sept – New York, NY Best Buy
Blu-Ray II
SEPTEMBER2014
21st Sept – New York, NY Best Buy
23rd Sept – Madison, WI Barrymore Theatre
25th Sept – Chicago, IL The Vic Theatre
26th Sept – Chicago, IL The Vic Theatre
27th Sept – Chicago, IL The Vic Theatre
30th Sept – Los Angeles, CA Orpheum Theatre
OCTOBER 2014
1st Oct – Los Angeles, CA Orpheum Theatre
3rd Oct – San Francisco, CA The Warfield
4th Oct – San Francisco, CA The Warfield
6th Oct – Seattle, WA Moore Theater
Critique requires work. This is a truth understood by the AMG reviewer, Hegel, and Labor of the Negative. An international black metal project, Labor of the Negative derives its name from Hegel’s Phenomenology of Spirit, which posits said labor as a cognitive antidote to romantic truths found via intuition. Not content to let Hegel be the only George Friedrich they cite, the band references The Triumph of Time and Disillusion, a Händel oratorio, for the title of their debut. Arriving via I, Voidhanger Records—the perfect home for Labor of the Negative’s heady brand of avant-garde black metal—the album draws philosophical inspiration from more than Hegel: Nietzsche, Kierkegaard, and especially Durkheim (as we’ll see).1 But I’ll be sticking with Hegel, letting his infamous dialectic—thesis, antithesis, synthesis—guide my analysis and evaluation of The Triumph of Time and the Disillusioned.
But first, some context. Boasting members from Portugal, the UK, Norway, and Egypt, Labor of the Negative cross-reference genre luminaries in assembling their own bizarre bricolage. Claiming roots in the avant-garde black metal of Virus, Arcturus, and Dødheimsgard, guitarist S. and drummer T.Z. lay a foundation of trem riffs and blast beasts, phaser-drenched disso-melodies and double-bass-fueled tom-work. Thankfully, bassist J.H. doesn’t get lost in the mix, especially in making pulsating shifts from menacing to jazzy gears. In these softer sections, brass instrumentation (presumably from guest musician S.L.) takes the spotlight, giving this otherwise chaotic album a counterbalancing sultriness.2 The artsiness of The Triumph of Time and the Disillusioned, however, primarily stems from the deranged vocals of M., who screams, howls, shouts, grunts, and coughs. M.’s performance, wielding the human voice as an abrasively multifaceted instrument, reminds me of how A Forest of Stars and Portal similarly embrace alienating vocals. Not as alienating as one might expect is the production, feeling legibly claustrophobic during the black metal maelstroms and organically spacious during the jazzy reprieves. The guitars do get a little buried at times, and snare pops occasionally prickle the ear. Nevertheless, The Triumph of Time and the Disillusioned succeeds at sounding like sculpted estrangement.
Turning now to my Hegelian thesis means turning to The Triumph of Time and the Disillusioned as a whole. Holistically, the album provides a mostly enjoyable experience, considering its subgenre. At 7 tracks in 34 minutes, Labor of the Negative smartly chose to make their debut a concise burst of avant-garde black metal. Six successive “Epoché”s structure The Triumph of Time, each being of similar, digestible lengths (4–6 minutes). An instrumental interlude (“151 – The Eternal Present and the Endless Dream”) breaks up the procession of epochs with feedbacky noise and variegated drumming. The album consistently ebbs and flows between scathing black metal and soothing jazz breaks that open (“Epoché II”), close (“Epoché IV”), and bridge (“Epoché III”) the madness. While this interplay keeps the album sonically dynamic, it also becomes a bit formulaic.
This holistic predictability leads us to my antithesis. When pressed upon, none of the individual tracks on The Triumph of Time and the Disillusioned stand out. Pre-release single “Epoché III” comes closest, with its eerie guitar shimmers and adventurous key changes. But ultimately, the album feels less like a sequencing of memorable songs and more like a collection of cool moments: the squealing brass solo in opener “Epoché I” comes to mind, as does the concluding drumroll of “Epoché VI.” One might think that diving into The Triumph of Time’s concept can clarify how the parts contribute to the whole. Alas, my exploration of the lyrics created more confusion. According to my research, “Epoché IV” twice cites Durkheim to convey crises of belonging and aimlessness. How this relates to a succession of epochs, or a fourth epoch in particular, I am unsure.3
Synthesizing the good album experience and the disappointing songwriting, The Triumph of Time and the Disillusioned ultimately landed for me as a mixed affair. While I never truly disliked any time I spent with Labor of the Negative’s debut, I also never found myself desiring to further unpack this album that, seemingly, invites unpacking. Fans of avant-garde black metal, however, should give The Triumph of Time a go. M.’s maniacal vocals strike me as a worthy intervention into the genre, as does T.Z.’s dexterous drumming. With more ears, perhaps the fruit of this international collective’s labor might positively reveal itself.
Rating: 2.5/5.0
DR: 10 | Format Reviewed: 256 kbps mp3
Label: I, Voidhanger Records
Website: Bandcamp
Releases Worldwide: August 7th, 2026
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What do you do after seven albums as Canada’s hardest band? Take a break of course, and after two decades of head-banging, Cancer Bats surely deserved their time off. ‘Give Me Dirt’, their latest album, is supposedly inspired by nature and travel, but that’s like saying ‘Blood Meridian’ is a book about cowboys. Yes, it technically is, but with the harshest, most unrelenting nightmare-adrenaline poured on top so that the summary doesn’t even seem to encompass half of what really happens. The side of nature that vocalist and lyricist Liam Cormier channels into ‘Give Me Dirt’ is red in tooth and claw, monumental and awe-inspiring, and mostly a loose ribbon to tie together Cancer Bats’ most ambitious album to date.
We knew what was coming, as ‘Stay Stuck’, last year’s single drop, feels like an avalanche in itself, a song for seizing the day and letting the pit take you wherever it wants to. ‘Don’t Trip’ contains the same rush: the sensation of your muscles tensing, ready for fight-or-flight to kick in. That’s what Cancer Bats do so incredibly well, and they’ve turned that quality up to the maximum on ‘Give Me Dirt’. Just take the title track, for instance. Clanging shifts into stripped down riffs into chanted ferocity and a sensation of being dared to respond like we’re each being personally challenged to go harder. It’s a magnificent four-minutes, and having a clear vision of what Cancer Bats wanted to accomplish helps us see through the fuzz of distortion and out the other side.
While we’re here for Cancer Bats, we’re loving that they’ve brought their friends along for the party. Nate Newton of Converge joins the gang for the blistering opener ‘World Wild Fire Death Race’. It’s a song of devastation and surviving by the skin of your teeth, stacked with endless guitar laid down at a breakneck pace. ‘Bright Eyes Of Gold’ sees Chris Cresswell of The Flatliners digging in for a song of resistance against all forms of oppression, and Brooklyn Doran steps away from her usual queer indie scene to lend her vocals to ‘Long Tooth’, a song that swerves between desolate beauty and near-painful ferocity. If you’ve been wondering what Efrem Schulz of Manic Hispanic and Death By Stereo has been up to recently, now you know: he’s been adding a layer of solidarity via vocal cameos. ‘Fools Like You’, the track where Schulz take the lead, drags the punk end of the Cancer Bats sound to the forefront, and it’s just as incendiary as you might imagine.
While the special guests make all these tracks, well, special, the real surprise on ‘Give Me Dirt’ is ‘Ocean Crash’. It’s a narrative of a journey to destruction, with an unexpectedly clear vocal from Cormier and a slow, pulsing bass that feels like it could be a movie on it’s own in the right hands. The way that Cancer Bats can make a song feel like the end of the world is inevitable is masterful, and shows how far they’ve evolved. Search beneath the fuzz and fury and you’ll find that this is a deeply personal record that comes from the heart via the strong core muscles needed to headbang and scream through it. “I’d rather be a dreamer than dying inside,” yells Cormier on ‘Positive Grid’, and his sense of ambition and resolution is what makes ‘Give Me Dirt’ such an exciting record. This is a new step for Cancer Bats towards a destination that has yet to be revealed, but wherever it is, we’ll have a damn good time reaching it with them.
Kate Allvey
Posted on August 4th 2026, 12:29pm