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After Ozzy Osbourne was let go at the end of the 1970s, Black Sabbath went through a bit of an identity crisis. The remaining band members — guitarist Tony Iommi, bassist Geezer Butler, and drummer Bill Ward — brought in Ronnie James Dio and made two well received studio albums before separating. After that, Sabbath spent the rest of the 80s with a rotating lineup that never quite lived up to the band’s glory days. To many, Black Sabbath’s original lineup was the only lineup that mattered.

Sabbath with Dio was a different band. They did one more album as Black Sabbath together in the 90s that failed to gain much momentum. It wasn’t until 2007 — after numerous reunions with Osbourne — when Iommi, Butler, Dio and drummer  Vinny Appice realized a name change was in order if they wanted to work together again. As the title of their first album together, Heaven & Hell made perfect sense. For the next two years, as documented by the Breaking Out Of Heaven 2007-2009 multi-disc retrospective, the group began to etch out a place of their own before Dio’s unfortunate passing in 2010.

Breaking Out Of Heaven 2007-2009 offers a thorough overview of Heaven & Hell brief run with a four-CD/ Single Blu-ray and a seven LP box set. Both feature  2009’s The Devil You Know, the group’s only studio album under the new moniker, plus  two live performances — Live From Radio City Music Hall and Neon Nights: 30 Years Of Heaven & Hell – Live At Wacken. Both editions include an illustrated book with liner notes, replica tour book. and poster. The Blu-ray includes the previously released videos of Live From Radio City Music Hall and Neon Nights: 30 Years Of Heaven & Hell – Live At Wacken, plus additional bonus footage with band interviews, a short documentary about Radio City, and a tribute to Dio. The live performances are also on the CDs, as well as on vinyl for the first time.

The Devil You Know cannot be judged on the merit of your typical debut album because the only thing different is the name. The  guitar and bass work have that Sabbath ring, and Dio brings his unique voice and words to the mix. That being said, it could be held to the standard set by Heaven & Hell, the album. But that’s where, like Mob Rules and 1992’s Dehumanizer, it doesn’t have a fighting chance.

On the first pass, you won’t hear anything here that grabs your balls with the guttural clutch of “Neon Knights.” The first two, “Atom And Evil” and “Fear,” fire up the furnace, plodding along without much snap, crackle or punch. It isn’t until “Bible Black” that the band harnesses a firm foundation and gets down to serious crunching. Even so, it’s an initial indication of an heir apparent lick from Iommi’s arsenal of riffs, and half-hearted at best.

Dio’s ephemeral lyrics, as usual, dabble in despair and darkness, suitably aligned with the rumble of Iommi, Butler and Appice. “Double The Pain” ups the stakes and delivers one of the record’s more memorable choruses and chord progressions. “Rock And Roll Angel,” brought to life by a piercing, stinging lead from Iommi, basks in shades of light and heavy, giving rise to the rigid potential of this fine group of musicians. “The Turn Of The Screw,” “Eating The Cannibals” and “Neverwhere” are headbanger fests that pile drive the muscle without furthering an agenda into unfamiliar territory. Then, at one point, the record trips and falls into “Follow The Tears,” catapulted by a jagged, growling sustain that assures Iommi’s preeminence as the one and only king of heavy metal guitar.

The version of The Devil You Know on Breaking Out Of Heaven 2007-2009 includes three additional bonus tracks that first appeared on the 2007 compilation Black Sabbath: The Dio Years — “The Devil Cried,” “Shadow Of The Wind,” and “Ear In The Wall.” Definitely not throwaways, all three are heavy, dripping with trademark Iommi riffs and Dio’s hieroglyphic lyrics. Though they flew under the Sabbath banner, they became the launching pad for Heaven & Hell.

Live From Radio City Music Hall is what followed The Dio Years release, which is why the set list includes “The Devil Cried” and “Shadow Of The Wind.” This was the very first performance of the tour, so the crowd was as anxious as the band was psyched to be on stage together again. Two years later, Neon Nights: 30 Years Of Heaven & Hell – Live At Wacken came along on the heels of The Devil You Know. To have both live performances on vinyl, CD, and a single Blu-ray with brighter video and improved sound truly ties the box set together.

Amazingly, there are few overlaps when it comes to song selection. Of course, you get a double dose of “(The) Mob Rules,” “Children Of The Sea,” “Die Young,” “Heaven And Hell,” and “Neon Knights.”  In addition to the wealth of material from the first two Sabbath records with Dio, there’s a few from Dehumanizer, including Radio City opener “After All (The Dead),” :Computer God,” “I,” and a chunky run-through of “Time Machine” at Wacken.

Appice relieved the other members with an explosive solo around his 18-piece DW set at both shows. Otherwise, it was all hands-on deck with Iommi, Dio, and Butler, on the frontline at the top of their game. From standouts like “Lady Evil” and “The Sign Of The Southern Cross” right on through to their then-new songs like “Bible Black” and “Fear,” Heaven & Hell rose to the challenge of  winning over new and old fans before Dio fell ill and the band came to a sudden end. Breaking Out Of Heaven 2007-2009 captures that short span of two years when the group picked up after their Sabbath records of the 80s and 90s solidified their legacy. For Sabbath, Dio, and Heaven & Hell fans, this is one set you’ll want to add to your collection.

~ Shawn Perry

Purchase Breaking Out Of Heaven 2007-2009

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Tonight
Windows down
We try to find a way
Got to hide away

Jae Matthews (Boy Harsher) gets hold of Buzz Kull’s Man on the Beat like somebody slipping out a switchblade hidden in a garterbelt; cool hands, bad intent, and perfect timing. A cult track to begin with, the song already carries its own hard stare, but Matthews reimagines it as a dark, hypnotic late-night anthem, and suddenly that stare turns cinematic. Her unmistakable voice hangs over a cold synth pulse with the kind of poise that suggests she has seen the room, sized up every soul in it, and chosen exactly how much danger to bring.

Matthews inhabits the material: there is glamour and a sly kind of severity in her delivery, a little poison slipped into the lipstick. She sings with the cool confidence of somebody who understands that desire and dread often share the same address. The track moves with nightclub discipline, each beat stepping forward like a polished boot on a sticky floor, while the electronics smear and gleam around her in long, lean lines. It feels sleek, severe, and gloriously indecent.

The song lives in its sense of after-hours inevitability, the feeling that the city has finally emptied enough for its worst ideas to begin to look elegant. Matthews turns restraint into tension, letting every phrase land clean and dangerous.

The B-side sweetens the trouble. Spike Hellis takes the tune and stretches it into a longer, harder, synth-charged club cut, something built less for staring across the room than for surrendering to the floor. Between the two versions, Man on the Beat gets to exist as both cool seduction and dance-floor compulsion.

Listen to Jae Matthews’ cover of “Man On The Beat” below:

Jae Matthews’ cover of Man On The Beat is out digitally everywhere now, with the vinyl due April 17 for the Buzz Kull Deep Hate / Void Vision show in Los Angeles, where Jae will be DJing at Pacific Electric.

Listen to Man On The Beat and the Spike Hellis remix below and order the 12-inch single via Heartworm Press here:

Listen to the original Buzz Kull version here:

Follow Boy Harsher:

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Follow Buzz Kull:

• Facebook
• Instagram
• Spotify

The post Boy Harsher’s Jae Matthews Shares Cover of Buzz Kull’s “Man On The Beat” — 12 Inch Single With Spike Hellis Remix Out in April appeared first on Post-Punk.com.

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There is a particular kind of warm loneliness that only a city in late winter can produce: not the theatrical kind, nor the sort that begs for witness, but the quieter condition of moving through vast public spaces while feeling privately sealed inside yourself, while the numbness in your fingers warms around a coffee during that icy commute. The City Gates understand that sensation well. On Capitol Hill, the Montreal outfit turns it into something graceful and grand, letting driving post-punk rhythms, gauzy shoegaze textures, and distant vocals gather into a song that feels like a long exhale against a freezing pane of glass.

The single arrives as the latest glimpse into the band’s forthcoming third LP, due May 15 via Icy Cold Records and Velouria Recordz. The record promises a deeper push into cold, expansive terrain, and Capitol Hill makes good on that premise straight away. A propulsive bassline keeps the track moving with real purpose while icy synth drones hang overhead and the vocals drift in from somewhere just out of reach. When the harmonies gather, the effect lands with unusual force: tender, remote, and unmistakably human. Produced & Mixed by The City Gates at Velouria Studio, Montreal, the release was mastered by Francesco Giuliano at Innerwood Music Mansion in Succivo, Italy.

The video, produced and edited by TWEAX & The City Gates, gives the song a fitting visual counterpart. Shot on Montreal’s cold streets, in the Metro, and throughout the city’s concrete arteries, it turns the urban landscape into a study in stark geometry, motion, and estrangement.

Rendered in severe black-and-white, the clip moves through snow-choked sidewalks, brutalist overhangs, circular wall forms, station corridors, escalators, revolving doors, and the blur of a Metro train streaking past in bands of light and shadow. Men in dark coats drift through these spaces like half-remembered thoughts. Faces appear in overexposed close-up, then dissolve again into glass reflections, scratched surfaces, and passing bodies. Elsewhere, the band gathers in interior spaces that offer brief shelter without ever fully dispelling the chill outside, culminating in scenes shot at restarant, where the city’s social warmth feels momentary, almost provisional. Even the most ordinary elements, a tunnel of ceiling lights, the ribbed metal teeth of an escalator, a revolving door catching figures in fragments, take on a strange emotional pressure. The result feels less like a literal narrative than a sequence of urban impressions: transit as ritual, architecture as mood, companionship as something glimpsed between departures.

What makes the video work so well is its trust in atmosphere, repetition, and place. Montreal becomes both setting and state of mind: a city of thresholds, underpasses, stairways, passing trains, café windows, and brief encounters, where movement never quite guarantees arrival. That suits Capitol Hill perfectly. The song carries a steady forward motion, yet everything around it seems caught between memory and disappearance.

Watch the video for “Capitol Hill” below:

The City Gates’ latest single, Capitol Hill, is out now via Icy Cold Records and Velouria Recordz. Order Here

The City Gates, based in Montreal, have built an international following on the strength of their dark, melodic, emotionally charged sound, first through Age of Resilience and then Forever Orbiter. Their work has landed on year-end charts across the globe and brought them coverage from outlets including Post-Punk.com, Sonic Seducer, Orkus, and Sanctuary.cz. Over the years, they have toured Europe, the UK, the US, and Canada, appearing at festivals such as Dark Spring Berlin, Return to the Batcave, Kalamashoegazer, Dark Spring Boston, and Focus Wales, while sharing stages with acts including The Chameleons, A Place to Bury Strangers, The March Violets, Trisomie 21, Ductape, Traitrs, Selofan, Vision Video, Forever Grey, Nothing, Solar Fake, Actors, The Foreign Resort, and Hapax.

To support the release, the band will head out on a Canadian East Coast mini-tour in April alongside Golden Apes, followed by a European run beginning May 29 in Berlin and continuing through early June.

 

THE CITY GATES THE GREAT DEVOURER TOUR:

CANADIAN EAST COAST MINI TOUR 2026

• April 09 Montreal, CA – Cabaret Foufs /w Golden Apes + Scene Noir
• April 10 Québec, CA – Centre Hub Creatif /w Golden Apes + Palissade
• April 11 Toronto, CA – BMST 254 /w Girlfriends and Boyfriends + Golden Apes

EUROPEAN TOUR 2026

• May 29 Berlin, DE – Wild at Heart /w Cataphiles
• May 30 Holzminden, DE – Horstberg 76 /w Golden Apes
• June 02 Paris, FR – QG103
• June 03 Gent, BE – The Crossover /w Fragment
• June 04 TBC
• June 05 Wuppertal, DE – Loch /w Us and I
• June 06 Modave, BE – Deux-Ours

Follow The City Gates:

• Bandcamp
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The post The City Gates Trace a Wintry Commute Through Brutalist Montreal in Video for Icy Post-Punk Single “Capitol Hill” appeared first on Post-Punk.com.