A couple years back we published a We’ve Got A File On You interview with Dale Crover from Melvins, occasioned by his solo album Glossolalia. This allowed us to ask Crover about the time he starred as a young Neil Young in the 1992 “Harvest Moon” video. Here’s what he told us:
The post Dale Crover Shares “Harvest Moon” Cover Decades After Playing Young Neil Young In The Video appeared first on Stereogum.
Reviewed by Eric Clifford
From the wastes it stalks, ice-rimed eyes weeping molten permafrost in rivulets a-shimmer like fishscales. Ice gilds it, It’s heart a HM-2, flaying winds a shrieking choir through mazes of stalactites that freeze it’s fur into weapons of themselves. Hold the blizzard’s storm-eye, and it’s gaze falls upon you. Snowdrifts are whipped asunder, churned into pale holocausts so far below zero that no fire within the arts of man to make might presume to thaw it. It’s growl is the calving of continents, thunder wrenched up from the earth as entrails clasped and hauled forth to pool steaming. How fast need the inevitable move? In the end you cannot outrun what you cannot outlast, and so it’s movements are moderate, a crushing roll of creeping stormfronts swallowing what falls exhausted before it. The swirling detritus of disembowelled glaciers marches to the fore like a herald, the bass thrum of collisions within the frozen melee the pulse of a living end, Armageddon writ in the tongue of endless winters.
One Day in Pain. Formed as a supergroup by members of grindcore masters “30 Seconds of Moderate Discomfort” and doom/drone monarchs “A Calendar Month of Complete Fucking Agony”, One Day in Pain (ODIP from this point on) are Swedish, and they play death metal. Impossibly heavy guitars strung with strips peeled from Fenris’ jugular, weaponised punk drum beats from the Discharge arsenal snatched to hollow the landscape with saturation bombing, vocals like orc war-chants, bellowed vows to slaughter for Sauron, and the bass…oh, this glorious bass. Heavier than generational trauma it blows chunks out the planet’s crust with each tide-shifting punch of it’s strings. It blasts out the mix in a deranged kamikaze of low-end grunt, taking an already filthy guitar tone and turning it into a bioweapon of a listening experience. It – the album entire – just sounds revolting in that quintessentially Swedeath way, vomiting pestilent lungfuls of the same grotesque miasma that sullied the air about those early classics from the likes of Grave or Entombed. Yet of the “big four” Swedeath bands (Grave, Entombed, Dismember and Unleashed. More like big five if you want to include At the Gates, which, to be fair, you probably should) the one ODIP most remind me of are my personal favourite: Unleashed.
It’s in the groove and the melody, I think. Tracks like “Let it Bleed” ooze with pox-ridden, unnatural thrash riffs from the same unspeakable phylum that so much of latter-day Unleashed marauds from (which is to say nothing of the uptempo sway the song skins alive at 1.27, which could’ve handily sat on, say, “Shadows in the Deep”). Mid-paced spearhead divisions of tracks like “Be Dead” slam the supine vanquished beneath pounding jackboot heels, urged on by the militaristic 4-count marching beat of a drumkit being beaten to within an inch of its life. That bass comes through, implacable, unstoppable, massed armour manoeuvres and there’s you in front of it all with a loincloth and a sharp stick to try make them think twice about burning the earth to it’s core. The game here is ultimately very conventional, even if it is played very well. “Ferocious Consumption” poisons it’s arrowheads with tight harmonies and a little Gothenburg warpaint to it’s song-craft; it’s one of the more overtly melodious cuts present, yet still digs in the siege weaponry with rolling rhythms and a production that – not to overstate the case – feels like being in a cage fight with a hormonal polar bear.
Things never quite reach for the peregrine dive velocities – the album obviously has it’s moments where it decides it’s got somewhere to be and floors the accelerator, but overall it generally seems more comfortable leveraging it’s weight to deliver goliath swings and grooves. That’s arguably to it’s benefit – “Emptiness” (one of the more spritely in the brood) conducts it’s hostilities with two of the more technical solos among the track list and corrupts it’s gene pool further with an intriguing time signature switch in the midsection, though overall if I had to pick which track was going to torch my home and drive my people into the sea, I think I’d still opt for the mountain-crumbling “Ashen Soul”. A walking bass line patrols the outer perimeter, and it’s verse riff is a simple yet inarguably effective sledgehammer straight to the temple. I think it might be clear by now, but there’s nothing particularly revolutionary afoot here; had any of the four Swedish national treasures I blathered on about earlier released this album at any point during their initial period in the early 90’s I imagine few would have complained. And while I do mean that in a complimentary sense, there is a slight sting in tail about its anachronistic nature nonetheless. I’ll never get tired of Bolt Thrower, though it does feel a bit as though ODIP agree with me a bit too much for their own good. The omnipresent double time / not quite tremolo picking on riffs, frequent mid-tempo sections and bleak yet evocative melodies on, say “Garrotterad” or “Conquering the Void” make the link as clear as it could be without straight up pilfering the riff from “World Eater”.
I guess then the main question is: are you in the market for something obscenely heavy that prowls the midground between Unleashed and Bolt Thrower (or even Unleashed homaging Bolt Thrower on “The Bolt Thrower” from the “Dawn of the Nine” album)? The answer – which should obviously be yes – will determine whether you should open your wallet or ask someone with big hands and a hateful heart to slap some sense into you. Frozen Soul have a fair bit of buzz to their name now – fans of them would, to nigh certainty, find much to love here. Between it’s gross heaviness (my god, that fucking bass, I love how PRESENT it is), it’s litany of gleefully sociopathic grooves, and the sheer unbeatable fun of a good old school death metal record, whatever you had in mind for the change in your pocket, cancel your plans and spend it on this instead.
To the wastes it returns, drool flash freezing in spindle crowns of daggers lining it’s maw. The cold front wanders with it, as though leashed to it’s haunches, an unceasing avalanche ever grinding, ever crushing, a heaving white sepulchre for countless human souls smashed to atoms in the howling torrents of it’s guts. It’s footprints shall never warm; years from now, as the sun bloats and boils the seas and bakes green land into a gnarled, flaking nothingness there will yet be these lone steps, claw-gouged cruel into long-dead soil, frost-webbed and lingering even as all starlight fades from the sky.
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The post Album Review: One Day In Pain – Devouring the Gods appeared first on The Razor's Edge.
After spending the last ten years away from the stage, Edguy have confirmed their first live appearance in a decade.
The German melodic metal veterans will return to perform in their hometown of Fulda, Germany, on June 25, 2027. Tickets for the concert go on sale on June 17 at 10:00 a.m. CET through Eventim.
The announcement arrived via the band’s social media channels, where Edguy shared a brief message with fans: “Some stories deserve a final chapter. Let’s write ours together.”
The news marks a significant development for a band that has largely remained inactive while frontman Tobias Sammet concentrated on Avantasia, the ambitious metal opera project that has occupied much of his attention over the last decade.
Back in March 2025, Tobias Sammet spoke with Metal Hammer about the possibility of reviving Edguy and offered a candid assessment of the band’s situation.
“Good question. I have no idea, really. It’s not that I don’t care; that’s a misconception. The truth is we got together as 14-year-old kids. Nobody could sing, nobody could play an instrument, nobody could write songs… and we developed, side by side, at the same pace. But at a certain point we were going in different directions. Everyone has a different work ethic and a different approach to how things should be done, and people started to argue. After a while, 90% of the energy was going into trying to find compromises, and that’s not easy, especially if you’re the one who does really everything. With Avantasia, I can produce an album in two months. With Edguy, in two months we haven’t even agreed what key the first song should be in. We still get along, but everybody has found different ways to make their living. The book is not shut yet. God knows what’s going to happen or when, but it won’t be soon. I wouldn’t mind singing those songs onstage again, but right now I don’t miss it enough to bear the stomachache I had going to the rehearsal room every day.”
At the time, Sammet suggested that a reunion was unlikely in the near future. The newly announced Fulda concert indicates that circumstances have changed, at least enough for the band to share a stage once again.
The last major Edguy release arrived in 2017 with Monuments, a career-spanning 25th-anniversary package issued through Nuclear Blast. The collection featured new material, a selection of the band’s most notable songs, and previously unreleased rarities. It also included a DVD containing a full performance from the band’s Hellfire Club tour in 2004 along with the complete archive of Edguy music videos. A limited-edition version came bundled with an extensive coffee-table book documenting the band’s history.
As for studio material, Edguy‘s most recent album of original songs remains Space Police – Defenders Of The Crown, which was released in April 2014.
For longtime fans, the Fulda show will be the first opportunity in years to see Edguy perform live. Whether it leads to additional concerts or something more remains unknown, but the band’s return has officially begun.
The post TOBIAS SAMMET Reunites EDGUY For First Live Performance In A Decade appeared first on Sonic Perspectives.
FemMetal was present at In Nomine Matris festival, where Lili Refrain headlined a special night, where her ritual met with the special atmosphere of the festival. Enjoy our photo report!
The post PHOTO REPORT: Lili Refrain at In Nomine Matris, a ritual journey through sound and spirit first appeared on FemMetal – Goddesses of Metal.
Ariel Pink is once again asking for your attention. Pink and John Maus attended the Jan. 6, 2021 Trump rally in Washington, DC that ended when his supporters stormed the Capitol, and Pink was dropped from Mexican Summer in the immediate aftermath. That same month, Pink’s ex-girlfriend accused him of physical and sexual abuse in a court case. Since then, Pink has made multiple appearances on Tucker Carlson to talk about being canceled. Now, he’s at it again.
The post Ariel Pink Says He’s The “Most Banned Artist,” Still Supports Donald Trump appeared first on Stereogum.
Skillet have added another major achievement to their career as their signature hit “Monster” has now surpassed four billion streams worldwide. The six-times-platinum track has also earned a place in Spotify’s Billions Club, further cementing its position among the most-streamed rock songs ever released.
The milestone comes shortly after Skillet completed a fully sold-out European headline tour. The run moved 90,000 tickets across 23 cities and brought the band in front of some of the largest crowds they have ever played to outside North America.
Throughout the tour, Skillet packed venues in cities including London, Glasgow, Paris, Munich, Warsaw, Bucharest and Barcelona. Several locations also posted record-breaking ticket sales, including Paris’s historic Zenith venue.
More than two decades into their career, the band’s international appeal continues to grow. Beyond the touring circuit, Skillet recently gained additional exposure when “Legendary” was selected as the featured theme song for a historic UFC event held at the White House.
The group’s momentum also carried into the holiday season. At the end of 2025, Skillet released its first Christmas recording, “O Come, O Come Emmanuel”. The track quickly gained traction and reached No. 1 on five Billboard charts, introducing the band’s music to additional listeners around the world.
With more than 23 million albums sold globally, over 12 million monthly Spotify listeners and billions of streams across digital platforms, Skillet remains one of hard rock’s most commercially successful acts.
The band’s accomplishments include multi-platinum, platinum and gold certifications from the RIAA for 12 singles and four studio albums. Skillet has also received two Grammy Award nominations, earned a Billboard Music Award and scored three Top 5 debuts on the Billboard 200 chart.
Outside of music, the band expanded its creative reach through the launch of the graphic novel series Eden in partnership with Z2.
Looking ahead, Skillet has indicated that new material is on the way. The group has suggested that some of its heaviest music to date could arrive later this year.
Fans already received an early preview during Skillet‘s headlining performance on May 14 at Arena 8888 in Sofia, Bulgaria, where the band debuted a new track titled “Scream”. A studio version of the song is expected to be released in the near future.
The post SKILLET’s “Monster” Passes Four Billion Streams As Band Continues Global Rise appeared first on Sonic Perspectives.
Insomnium have released “Shadowlife”, the first single from the Finnish melodic death metal band’s upcoming tenth studio album, which is scheduled for release in October.
The new track offers an early look at the direction of the forthcoming record and finds Insomnium continuing to expand its sound while maintaining the elements that have defined the band throughout its career. “Shadowlife” balances heavy riffs and melodic passages, combining darker moods with more reflective moments. The song is accompanied by a new music video produced by Coldstore Productions.
Speaking about the track’s role within the larger album, Niilo Sevänen explained: “As a story, “Shadowlife” can be seen as a thematic gateway to the entire record — an elegy not only for a lost beloved, but also for the fading belief that anything beautiful can remain untouched by time. It is a realization that love, youth, summer, and warmth cannot be preserved forever. Thus, we are left suspended between longing and acceptance, lingering in the liminal spaces of sleep, shadow, and night.”
Guitarist and clean vocalist Markus Vanhala described the single as the opening step into the band’s next chapter.
“‘Shadowlife” opens the dreamy next chapter of Insomnium with a certain self-aware catchiness. I set out to write an obvious hit — perhaps even a so-called ‘banger’ — to kick things off, but don’t worry: The deeper cuts will follow. Album No. 10 is truly a defining milestone for us, so we wanted to honor our history while also introducing some new nuances. Living on the edge.”
For a band now preparing to release its tenth full-length album, Insomnium continues to avoid repeating itself. While rooted in the melancholic melodies and aggressive edge that helped establish its reputation within melodic death metal, the group is still looking for new ways to evolve its songwriting.
Since emerging from Joensuu in the Finnish region of Karelia, Insomnium has built a loyal following through its blend of atmosphere, melody and heaviness. With “Shadowlife” serving as the first preview of the upcoming record, the band is once again exploring themes of loss, reflection and mortality while pushing its sound into new territory.
More details on Insomnium‘s tenth studio album are expected in the months leading up to its October release.
The post INSOMNIUM Unveils “Shadowlife” As First Taste Of Upcoming Tenth Album appeared first on Sonic Perspectives.
