Among the many recording aliases maintained by the artist best known as Jane Remover, Venturing tends to be the most rock-oriented. Last year saw the release of the project’s debut full-length Ghostholding, a guitar-oriented set that reminds me of Mk.gee’s work with Justin Bieber or a more lo-fi spin on the 1975 at their most emo. It’s loose, swooning, sweetly melodic music that feels retro while keeping one foot in the forward-leaning present, mostly thanks to the way Jane’s vocals maintain the elasticity heard in her electronic/hip-hop tracks.
I’ve been coming to shows in Manchester for decades – literally four of ‘em – so it’s always interesting when I get to go to some place new. Recently I sampled the delights of Soup, when Putrid Pile played there back in May; there was the Castlefield Bowl for the Sex Pistols a couple of weeks since; and now, The Boundary, part of Manchester Metropolitan University, for this year’s brutally slam-tastic two-and-a-half-day Offal Fest.
News hit Friday afternoon, just before the pre-show opened its doors, that Saturday headliner, Devourment, would be unable to play due to visa and permits, but did promise to be back in 2027 for Offal Fest 5. Replacement was to be found in Regurgitation and their commitment to playing as both headliner on Saturday and co-headliner on Sunday.
The pre-show starts on Friday evening, away from the Manchester rush-hour traffic with Scottish newcomers, Dissolving Entity who may be still finding their feet after barely a year or so but hit the stage at Offal Fest like seasoned professionals. The title-track of the Parasite Enthroned EP comes early with a fetid putrescence, vocalised with growls and grunts. Double Blind is schizophrenic and dissonant, filled with spastic riffing and a cacophonous barrage; Opium and the People is introduced as a fast one, as it stretches out fierce tentacles, to rip the early attendees asunder. A cover of Defeated Sanity’s Entity Dissolving Entity seems obligatory for the event and goes down a storm with the growing crowd.
Hartlepool quintet, Ovulating Cadaver, were the catalyst during last year’s UK Slamfest, with their appearance being the moment the day stepped up in intensity. Uncompromising and infectious, brimming with filthy riffs and squealing vocals, yet rarely breaking the speed limit as far as tempo is concerned, it’s heavy enough to possibly create its own gravitational force. Songs about sucking your own penis – One-Man Sixty-Nine – having your chips stolen by seagulls – Aviary Firing Squad – and sleeping with your eyes open – Corneal Decay – are just some of the topics addressed during the band’s set. The soundbite from Phoenix Nights that is the intro to Inflatable Filth and there’s even a flirtation with groove as the set comes to its close.
Mancunian slammers, Coprocephalic Mutation, have a large contingent of fans in early tonight, possibly due to the fact that the band is comprised of several members of Offal Fest’s organisational body. Dense, heavy and mercilessly face-ripping, CM might not be the fastest band on the bill tonight, but they do their damnedest to be the heaviest. Not a single head is left unbobbed anywhere in the room, as the band flirt with progressive passages amid their gut-punching riffs. It was at this point that anyone thinking differently would be certain that Offal Fest 4 means business.
Another band back in Manchester from Autumn’s UK Slamfest is Glasgow’s gore-obsessed Scordatura who’ve been solidly releasing material since back in 2008. But forget about the past as this show is all about the here and now and a run-through of this year’s Led Into Oblivion album. Barely much more than a month old, this fourth full-length has all the chops to send the Scot’s status into the stratosphere. The title track harbours something of a punky edge, Echoes of a Fractured Mind finds vocalist, Daryl Boyce snapping and snarling, while Oppressed/ Repressed stomps like Godzilla is about to make an appearance. Big, bold and abrasive, Led Into Oblivion is sure to be in contention when the end of year brutality is examined. World Devoured, from Mass Failure, breaks up the flow of …Oblivion, as does Sutured Flesh from the Torment of the Weak debut, which Daryl suggests is probably the oldest song Scordatura will ever play, and it still bristles with youthful exuberance. The set is rounded off with …Oblivion’s closing tune, Begging to Die.
There is something strangely familiar about brutal technicians, Infected Disarray, and, after checking a forgotten parchment in the Razor’s Edge Secret Archive, I realised I’d seen them a couple of times before, back in the mid-noughties, both times when Satan’s Hollow hosted multi-band death metal shows. The first time, in 2005, opening the show that included Skinned, Amputated and Deranged; and the second time, with Insidious Discrepancy in a show that was opened by Crepitation. More of them later… We get some early gremlins – par for the course – before the brutal technicality hits with slamming efficiency. Bass-tapping and word-count busting titles like ‘Prenatal Excavation of Diseased Ovarian Atrocity, Demonstrating the Necessity for Extreme Prejudicial Infanticide Within the Vomit Filled Womb’ play against a backdrop illuminated with blood red lights, and fretboard flailing fingers. It’s admitted that this is the band’s first show in thirteen years, so they’re doing swimmingly just to remember song titles like ‘To the Sorrow Filled Eyes and Pallid Bloated Corpulence of My Drowned Children’.
More gremlins make their presence known, resorting to a hardwiring rather than the freedom of wireless; The Opening to Her Torso opens the crowd up somewhat and the band appear to be having a blast, regardless of the technical difficulties; there’s a whole load of goodwill in this room for Infected Disarray tonight and nothing is going to derail that. Side Order of Flies has a distinctly old school vibe, and the set closes with an oozing Disseminating Obscenity, the title track of the debut which is due for a brand-new polish and re-release this very year.
Pre-party headliners, and all-round local heroes, Crepitation, were always going to bring the curtain down with a bang; and sure enough, Offal Fest is treated to a twin-vocal’d masterclass in brutal slamming death metal. With more songs about bodily fluids than you’d ever think to want to hear, Crepitation bring a whole new meaning to Caveman Slam; fat chugs and bombastic bass are at the core of the band’s sound, and the evening is filled with revellers getting themselves psyched up for the rigours of two full days of the heaviest music known to man. No one exemplifies the strangely good time vibes better than Crepitation in full flight, and that is how the night-before is concluded.
(written by Islander) The Indianapolis doom/sludge band Veilcaste took shape in 2010 under the name Conjurer, adopted their current name in 2020, and continued surging forward on their mission to crush the life out of listeners. With two albums released as Conjurer and three more as Veilcaste, they’ve assembled a very impressive (and very heavy) […]
Six years before Trevor Rabin was heard on Jason Becker’s 2018 album Triumphant Hearts, the former David Lee Roth guitarist and soundtrack composer – whose live career was cut short in 1989 by Lou Gehrig’s disease – told Prog about his passion for Rabin’s work, in and out of Yes.
My Cacophony bandmate Marty Friedman and I were driving to the studio to record our solo albums. I was 17 years old and had a little portable cassette player, and someone had made Marty a tape of Yes’ 90125 and Big Generator. We hit play, and the opening chords of Rhythm Of Love sounded exactly like the beginning of the first song on my album, Altitudes. I thought we’d stuck in the wrong tape!
We proceeded to go crazy over all Trevor Rabin’s tasteful, kick-ass, creative licks. We loved the songs and his beautiful tone, too. I was an instant fan. Marty and I loved doing weird and unpredictable shit, but we always wanted there to be some kind of melody in there too. So we really appreciated what Trevor did with Yes.
He’s definitely underrated. He has soul, and I love that he’s eclectic but still feels it all in his heart. On my song Electric Prayer For Peace, I borrowed one of his Yes licks for the end of a repeating horn section.
I have always loved it when players like Jeff Beck and Roy Buchanan played soft, sweet melodies with a beautiful, passionate energy and feel. Trevor can do that too – he can make me tear up! We have the soundtrack thing in common. So often, when I’m digging the music in a movie I’ll find out it is him.
I do love Steve Howe too, of course. I remember my friend in high school asked me to learn Roundabout. Damn, that was hard! Howe improved my chops and ears, but as for the tunes and what I prefer to listen to, it’s Trevor.
Unfortunately I haven’t seen him live, but I’d love to meet him! I think [2012 album] Jacaranda is brilliant. I’d have preferred a few more beautiful guitar melodies, but it’s still magnificent. His album Can’t Look Away is great too. I also think Yes’ Talk album is brilliant. Maybe that’s the one I’d recommend.
Wieder einmal hat sich die Welt in Wacken versammelt! Und das zeigt auch unser neues W:O:A 2026-Shirt. Mit diesem Crowd-Shot, aufgenommen vor dem Auftritt von Def Leppard am 30.07.2026, richten wir ein Spotlight auf die Menschen, die das Festival wirklich ausmachen – euch Fans!
Die Vorderseite zeigt die Zuschauermenge vor Faster & Harder. Auf der Rückseite befindet sich das diesjährige Lineup.
Wichtig: Das T-Shirt wird bis einschließlich den 09. August angeboten. Die Produktion der Shirts wird anschließend bis zum 11. August dauern.
Danach werden sie direkt von der Druckerei zu euch gesendet. Eine Mischbestellung aus diesem Shirt und weiteren Artikeln wird daher auf mehrere Sendungen aufgeteilt werden.
Silvertomb have announced their second album, The Interpretation Of Nightmares, arriving Friday, November 13 worldwide through Steamhammer. It’s the band’s first record since 2019’s Edge Of Existence — a seven-year gap. Silvertomb features former Type O Negative and Danzig members Kenny Hickey on vocals and guitar and Johnny Kelly on drums, alongside Joe James on guitar (ex-Agnostic Front), Hank Hell on bass (Sheer Terror) and Aaron Joos on guitar, keyboards and vocals. The debut single “No Way To Live” is out now, and the album runs eight tracks.
Silvertomb are back, and they picked their date carefully.
The Interpretation Of Nightmares lands Friday, November 13, 2026, worldwide via Steamhammer. Eight tracks. Atmospheric, dense, unapologetically doom. If you were hoping this band would lighten up in their time away, adjust your expectations now.
It’s the follow-up to 2019’s Edge Of Existence, a debut that got a genuinely warm reception from fans and press — and then went absolutely nowhere, through no fault of the band’s.
Here’s the tracklist:
Brain Matter / No God
Ascension
Graves In The Sky
You Know
Prayer For The Paranoid
Distorted
No Way To Live
When Will You Learn?
“Prayer For The Paranoid.” “Brain Matter / No God.” Nobody’s accusing these guys of going soft.
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No Way To Live: The First Single
The debut single is “No Way To Live,” and it’s out now.
It’s one of the quicker ones on the record — the band describes it as a counterweight to the slower, more brooding material sitting around it. Lyrically it’s about rejection and pain, which, given who wrote it and what the last few years looked like, tracks.
Leading with the fastest song on a doom record is a smart play. Get people in the door with momentum, then let the weight land once they’re already inside.
This is the real story, and it’s worth sitting with for a second.
Edge Of Existence came out in 2019. Silvertomb had a tour with Monster Magnet on the books. Momentum was real, the reviews were good, and everything was pointing up.
Then the world shut down.
Hickey has been direct about what came after. He says the pandemic and its long aftermath tied their hands for years — and on top of that, in his words: “I had a drinking problem that urgently needed sorting out.” He’s talking about the stretch from 2020 to 2024.
That’s four years of a five-man band frozen in place while their frontman fought something bigger than a scheduling conflict.
No spin on it. He said it plainly, so we’ll report it plainly: he dealt with it, and the band is standing here in 2026 with a record. Anybody who’s watched this scene long enough knows how often that story ends the other way.
Johnny Kelly — drums (Type O Negative, Danzig, Seventh Void)
Joe James — guitar (ex-Agnostic Front)
Hank Hell — bass (Sheer Terror)
Aaron Joos — guitar, keyboards, vocals
Photo above, left to right: Johnny Kelly, Hank Hell, Kenny Hickey, Joe James, Aaron Joos.
That’s Brooklyn gothic doom, Lower East Side hardcore and Sheer Terror’s brand of bad attitude in one room. On paper it shouldn’t cohere. It does.
Does It Sound Like Type O Negative?
Short answer: no, and Kelly’s been saying so since the beginning.
Back when the band launched, Kelly explained that Silvertomb grew directly out of Seventh Void — the project he and Hickey ran after Type O — but that the songs took on their own life once the material started coming together. He described it as more layered and textured than Seventh Void, though not to the extreme Type O Negative went to. More rock-oriented than Type O’s crawling, funeral-paced doom.
His honest caveat: with two guys from Type O Negative in the band, of course there’s a family resemblance. You can’t unhear those hands.
The thing that changed everything, by Kelly’s account, was adding a keyboard player. Once Aaron Joos came in, the writing shifted toward atmosphere, and they went back and layered keys into older songs that never had them. That’s when it stopped being a side project and started being a band.
Both of them also voiced the Type O Tuesday intros that run on the Loaded Radio stream every week. So when we say we’re glad these guys are making records again, that’s not a press-release sentiment.
Seven years is a long time to lose. Good to have them back.
TL;DR
Album: The Interpretation Of Nightmares, out Friday, November 13, 2026 via Steamhammer worldwide
First single: “No Way To Live,” out now — one of the faster tracks on the record
Track count: eight
Previous album: Edge Of Existence (2019) — a seven-year gap
Lineup: Kenny Hickey (vocals/guitar), Johnny Kelly (drums), Joe James (guitar), Hank Hell (bass), Aaron Joos (guitar/keys/vocals)
Pedigree: Type O Negative, Danzig, Seventh Void, Agnostic Front, Sheer Terror
Why the gap: the pandemic killed a planned Monster Magnet tour and stalled the band; Hickey has said he also had a drinking problem he needed to address between 2020 and 2024
Sound: atmospheric doom metal — related to Type O Negative but more rock-oriented, with heavy keyboard texture
FAQ
When does the new Silvertomb album come out?
The Interpretation Of Nightmares is out Friday, November 13, 2026 worldwide through Steamhammer.
Who is in Silvertomb?
Kenny Hickey on vocals and guitar, Johnny Kelly on drums, Joe James on guitar, Hank Hell on bass, and Aaron Joos on guitar, keyboards and vocals.
Are Silvertomb members from Type O Negative?
Yes. Kenny Hickey and Johnny Kelly were both in Type O Negative. They also ran Seventh Void together, which Silvertomb grew out of.
What is the first single from The Interpretation Of Nightmares?
“No Way To Live,” out now. It’s a faster track built as a counterpoint to the album’s slower material, with lyrics about rejection and pain.
Why did Silvertomb take seven years between albums?
The pandemic shut down a planned tour with Monster Magnet and stalled the band for years. Kenny Hickey has also said publicly that he had a drinking problem he needed to deal with during the 2020 to 2024 stretch.
How many songs are on the new Silvertomb album?
Eight: Brain Matter / No God, Ascension, Graves In The Sky, You Know, Prayer For The Paranoid, Distorted, No Way To Live, and When Will You Learn?
Does Silvertomb sound like Type O Negative?
Not exactly. Johnny Kelly has described it as more rock-oriented than Type O’s slow, doom-heavy approach, though with two Type O members in the band there’s an unavoidable resemblance. Adding a keyboard player pushed it toward heavier atmosphere and texture.
Seven years, a cancelled tour, and a frontman who had to fight his way back — and Silvertomb still came out the other side with eight tracks of Brooklyn doom. Are you picking this one up on November 13? Let us know in the comments.
CLUSTERFUX AND CONFLICT RESOLUTION UNLEASH EXPLOSIVE NEW SPLIT 7″ OUT NOW VIA CHAIN REACTION RECORDS
Denver Hardcore Crossover Veterans Keep the Thrash Alive Following D.R.I. Tour, Flatline Fest, and Decibel Magazine Pre-Fest Headlining Announcement
Denver, Colorado – Denver crossover hardcore veterans CLUSTERFUX continue their relentless assault on the underground with the release of their blistering new split 7-inch alongside Conflict Resolution , available now through Chain Reaction Records .
Released on July 3, 2026 , the four-track split captures everything fans have come to expect from CLUSTERFUX: razor-sharp riffs, relentless speed, crushing grooves, and the unmistakable energy that has made them one of Colorado’s longest-running and most respected hardcore crossover acts.
Featuring the tracks “Infected,” “Magats,” “Just Like That,” and “American Gestapo,” the release delivers a fierce blend of hardcore punk and crossover thrash that pays homage to the genre’s roots while sounding as urgent and aggressive as ever. Fans of The Exploited , D.R.I. , and Final Conflict will find plenty to ignite the circle pit.
Since forming in 1995, CLUSTERFUX have built their reputation through nearly three decades of uncompromising DIY dedication. Their explosive live performances have seen them tour alongside D.R.I. while sharing stages with legendary acts including Agnostic Front, Napalm Death, The Accüsed, Circle Jerks, Integrity, Subhumans, and countless others. Their latest full-length Defy , released through Beer City Records, further cemented their standing as one of the underground’s premier crossover forces.
Momentum continues to build for the band following their recent run on the D.R.I. tour and an appearance at Flatline Fest . The band has also been announced as the headliner for the Decibel Magazine Pre-Fest Party on December 3 in Denver, further proving that CLUSTERFUX remain a driving force in today’s hardcore and thrash scenes.
The new split has already earned enthusiastic praise from critics and fans alike.
“Get thrashed foos! In my opinion this is some of the best thrash out there right now. I’d put them up there with Dirty Rotten Imbeciles, and that’s saying a lot! Clusterfux have made a name for themselves with their skater, thrash, crossover badassness.”
– Subkult Dethwish
“This new split keeps the mosh pit going. The bass and drums sound massive. All four songs, ‘Infected,’ ‘Magats,’ ‘Just Like That,’ and ‘American Gestapo,’ are memorable and full of heavy riffage. The whole band is at the top of their game, and hopefully, we’ll see another full-length from these Denver heroes soon.”
– Signal and Noise PHX
The release was produced, mixed, and mastered by Bart McCrorey at Crash Pad Studios , delivering a crushing, high-powered production that perfectly complements the band’s raw intensity.
For fans of authentic crossover thrash, hardcore aggression, and old-school pit-starting chaos, CLUSTERFUX continue to prove why they’ve remained a staple of the underground for more than thirty years.
Listen and learn more: https://clusterfux.bandcamp.com/music
Release Information
Band: CLUSTERFUX Release: Split w/ Conflict Resolution Release Date: July 3, 2026 Label: Chain Reaction Records Genre: Hardcore / Crossover Thrash
About CLUSTERFUX
Since 1995, Denver’s CLUSTERFUX have forged their own path through the hardcore and crossover underground with blistering riffs, breakneck tempos, and an unwavering DIY spirit. Having toured with D.R.I. and shared stages with some of punk and metal’s most influential bands, they continue to deliver uncompromising crossover thrash to audiences everywhere. Their latest releases, including Defy and the new split with Conflict Resolution, showcase a band that refuses to slow down while continuing to inspire chaos in every pit they enter.
Welcome to this weeks edition of Devil’s Island! Every week we maroon a band or artist on the island and see what they get up to, how they cope with being all alone on a small island in the middle of the ocean. It’s not your average desert island and we’ll see just how each person copes with the extreme conditions.
This week when we arrived at Devil’s Island we find Metasoma sat on the beach. The island is far from their home, so how did they end up here and how did they cope with life on Devil’s Island?
Find out now…
Welcome to The Razors’e Edge and our somewhat lovely, warm desert island. Don’t worry about it’s name I’m sure it’s not as bad as that would suggest.
You’re marooned here on this island, but before you ended up shipwrecked you chose one album that you couldn’t live without. Which album did you each chose and why?
Vlad (vocals): In Flames – Sounds of a Playground Fading. Cool mix of nostalgia and enough energy to kick you in the balls and motivate you. Misiek (guitars): Death – Leprosy. And why? For a simple reason. Back in those days, when extreme metal was just being born, that was a “complete album”. Great, brutal tracks, but you could also, in a way, call it a very catchy album. Every song had a great chorus; despite being death metal, it was just really enjoyable to listen to. Artur (guitars): Metallica – The Black Album, 1991. Bolo (bass): Rainbow – Rising. Unskippable album, amazing production, amazing musicians, proto-heavy metal. Joe (drums): Slipknot – Vol. 3: (The Subliminal Verses). “Before I Forget”, “Duality” and “Vermilion” on one album? What more do you need?!
Just behind that palm tree is a shack for each of you to stay in, with enough space for you to put up a poster of one album cover. What album cover do you each choose?
Vlad: Coma – Unplugged Coma Light. Misiek: Megadeth – Rust in Peace. Artur: Metallica – Master of Puppets. Bolo: Rainbow – Rising. Joe: System of a Down – Toxicity.
There’s also a bar on this here island. But alas each of you only get to choose one drink for the entirety of your stay. What’s your tipple of choice?
Vlad: Beer – SuperStorm. Not ideal for this situation, I admit. Misiek: Vodka. Artur: Jack Daniel’s with a slice of lemon and Sprite Zero Sugar. Bolo: Jack Daniel’s with Sprite. Joe: Coffee, with milk.
Your suitcases were lost when your ship sank, but you each managed to salvage one item of band merch. What’s the merch and for what band?
Vlad: A cap from Sylosis. Misiek: A Metallica T-shirt. Artur: A black Lamb of God “Crow” T-shirt. Bolo: Rammstein dildos. Joe: A Forces of Sodomy mug.
You’re sat on the island thinking “I’m stuck here on this island with my bandmates for eternity”… who would you rather have been shipwrecked with?
Vlad: My bandmates, my wife and the rest of my friends. Let’s make it a party, WTF?! Misiek: My wife! Bolo: Prime Jane Darling. Artur: Just me, a guitar, an amplifier, speakers and access to electricity. Joe: My siblings.
There’s a walkman in your pocket, on the tape inside is the recording of the one live show that stands out for you. It could be any show, from any band, anywhere in the world. What show is on that walkman?
Vlad: Killswitch Engage – Set This World Ablaze. The one from the DVD they recorded at The Palladium in Worcester in 2005. Misiek: Judas Priest – Priest… Live! Artur: Lamb of God’s performance at Bloodstock Festival 2022. Bolo: Judas Priest – Priest… Live! (1987). Joe: Architects – Live at Alexandra Palace.
You’re getting desperate, you decide the only course of action is to put a message in a bottle and hope someone finds it. Your message could be to any member of any band, but should be the most suitable for a rescue attempt. Who is it?
Vlad: Randy Blythe. He seems like the guy who gets s*** done. Misiek: James Hetfield. Artur: Dave Mustaine. He’s got a pilot’s licence and his own helicopter! Bolo: Nathan Stanley from Forces of Sodomy. He will cross the ocean to get to me! Joe: Someone from Slipknot. Hopefully they will all come and have more chance, as there are so many of them.
You’ve been stuck here a while and food supplies are running low. There’s only one thing for it… which fellow band member gets sacrificed to help the others survive?
Vlad: A bit of each. No one gets left behind! Misiek: I think Artur. Big guy. Artur: Our beloved bassist’s answer to this question is to sacrifice himself, so to prevent further sacrifices, I choose him as well. Respect for such dedication to the band. We will remember him fondly. Bolo: Me. I’m the fattest. They will have enough food for months. Joe: I’m having me some Bolo ribs..
Finally, when the ship sank you each managed to save one person from the wreckage. That person is the one musician that has influenced your career the most, shaped your way of thinking and your outlook on life. Who did you save?
Vlad: Chester Bennington. Misiek: James Hetfield. Artur: Steve Vai. Bolo: Lemmy. Joe: Chris Adler.
Nuclear Winter Records proudly announces the release of DECONSEKRATED‘s sophomore album, The Inexorable Transcendence of Death, set for release on October 2, 2026 on LP, CD, and MC formats.
The first single “Under the Rotten Shroud” is now streaming HERE.
Over the past decade, Chile has established itself as one of the world’s premier breeding grounds for uncompromising death metal, and DECONSEKRATED are poised to further strengthen that reputation with an album that fully embraces the darkest corners of the genre. The Inexorable Transcendence of Death is a relentless collection of dense, hostile compositions built on crushing intensity, oppressive atmosphere and an abundance of memorable riffs.
While its roots firmly lie within the classic death metal tradition, the band’s songwriting reaches beyond mere homage, weaving intricate arrangements, unexpected tempo changes and subtle twists into every track. Rather than attempting to reinvent the style, DECONSEKRATED explore its vast creative potential, crafting songs that unfold organically and reveal new layers with each listen.
Powerful, immersive and meticulously constructed, “The Inexorable Transcendence of Death” stands as a bold new statement from one of Chile’s most promising death metal acts.
Track-list:
Purgative Procession
Drowned in the Deep Waters of Phlegethon
Terrifyng Manifestation of Malevolence
Towards the Veil of Heretic Plagues
Poisoned Flesh (Mark of the Sinister Path)
Under the Rotten Shroud
Oracula Sanguinis (Obsidian Mirrors)
Through the Graves’ Portals
DECONSEKRATED is an occult death metal band hailing from the cold, rain-soaked south of Chile. Founded in 2020 by guitarist Agorh Skullptor, the project initially began as the vision of three like-minded “black souls” before evolving into a full five-piece lineup. The band’s music explores themes of death, the desecration of Christian dogma, and spiritual transmutation, translating these concepts into a dark and uncompromising sonic identity.
Line-up:
Agorh Skullptor – Guitar and bass Gül Evokator – Vocals Padaviast – Guitar Rigor Mortis – Drums
In 2024, DECONSEKRATED released the EP Ascension in the Altar of Condemned, issued on CD by Iron Blood and Death (Mexico), on vinyl by Futhark Records (Canada), reissued on CD by Alkolik Holocaust Records (Argentina) and released on cassette by Ancient Sounds of Madness Productions (Poland) and Infernal South Productions (Chile).
The band has shared the stage with renowned acts such as Master, Malevolent Creation, and Morta Skuld, while also performing in Argentina and at the now legendary Ossum Total Death Festival in Mexico City. Drawing inspiration from the early masters of death metal, DECONSEKRATED continue to follow a path of darkness, death, and the desecration of humanity.
For fans of: Dead Congregation, Krypts, Grave Miasma, Rotten Tomb
This band presents a rendition of the famous song made popular by the late Patrick Swayze as part of the “Dirty Dancing” soundtrack. The first notable aspect of this version is its significantly faster tempo compared to the original. The approach is more rock-oriented, with an intense beat that adds urgency to the performance. The singer’s delivery brings a sense of mystery and night to the song.
This interpretation is generally more rock-infused and intense. It dresses the song in a fresh new outfit. Personally, I found this rendition to be quite enjoyable. It is clear that we are witnessing a band that is skilled at their craft. There is a strong chemistry among the members that enhances the overall experience.
The rhythm section, featuring bass and drums, is tightly locked in. The guitars push forward with energy, supported by pads that expand the auditory landscape. The vocal timbre of the lead singer stands out. He possesses a warm tone combined with an alternative singing style, which is characteristic of the UK music scene.
She’s Like the Wind – Sound and Atmosphere
This rendition breathes new life into the original track. It is a refreshing update that gives listeners a chance to experience the song in a different light. The end of the song features an epic outro complete with a fantastic guitar solo.
The arrangement emphasizes the urgency and intensity already pointed out. The driving force of the instrumentation complements the enigmatic vocals beautifully. The band successfully bridges the gap between nostalgia and a modern rock interpretation.
The energy brought forth by this approach resonates well. Despite being a cover, the song feels original thanks to the band’s distinct stylistic choices. The new arrangement retains the emotional weight of the original while shaking off its sentimental softness.
She’s Like the Wind – Performance and Production
The upbeat tempo works wonders for a song that many associate with a romantic and sentimental era. Boxing Club turns this classic into a thrilling experience that is perfect for longtime fans and newcomers alike.
There are elements of familiarity that unites the two versions. However, Boxing Club successfully claimed this song as their own. The blend of rock energy with the essence of the original creates a unique listening experience.
Enthusiasts of rock and classic films should definitely check this out. It stands as a brilliant example of how a band can reinterpret music history. This version does not merely exist in the shadows of the original; it shines in its own right.
With a stellar mix of elements, this single is sure to leave a mark. It’s a bold interpretation that will please both old and new fans alike.
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