In January 2015, just eight months on from the May 2014 release of their self-titled debut album, Los Angeles ‘power trio’ California Breed announced that they were splitting up. Original drummer Jason Bonham had exited the band in June 2014, and although vocalist/bassist Glenn Hughes and guitarist Andrew Watt recruited ex-Queens of the Stone Age drummer Joey Castillo to replace Bonham for live shows, former Deep Purple legend Hughes decided that the project had run its course. At the time, the least-well known member of the band, Andrew Watt made it clear that he didn’t want the band to break up, and pledged to “continue the quest to bring rock n roll back to the people that are hungry for it.”
Eleven years on, it’s fair to say Watt has over-delivered on that promise. In the last year alone, the 35-year-old New Yorker has produced albums for The Rolling Stones and Paul McCartney, performed alongside Guns N’ Roses duo Slash and Duff McKagan as a tribute to his friend Ozzy Osbourne at the Grammys, played in Eddie Vedder’s backing band at his Ohana festival, and appeared on US TV alongside Michael Stipe (ex-R.E.M.). Dig a little further back, and he’s also produced albums for Iggy Pop (2023’s Every Loser), Pearl Jam (2024’s Dark Matter), and Elton John and Brandi Carlile (2025’s Who Believes in Angels?). Oh, and he also co-wrote and produced a couple of songs on the new Madonna album, Confessions II: chances are that he’s not pining too much for the days when California Breed supported Alter Bridge. Not that working with legends comes without a different type of pressure.
“If I make the shittiest Rolling Stones album of all time, it’s on me,” Watts admits in a new interview with The Times newspaper. “It’s not on them because they can play You Can’t Always Get What You Want for the rest of their lives. I put myself on the line to potentially get the shit kicked out of me.”
Watt reveals that he was working with pop star Dua Lipa when he got an invitation to tea with Mick Jagger, as a prelude to working with The Rolling Stones.
“If you talk to anyone who’s worked with the Stones, they’ll say the same thing: there’s always a point where it’s informal, but Mick is interviewing you,” Watt says. “We were chatting, listening to music, and suddenly Mick was grilling me: what my process was, what I would do with the band. I thought we were just having a cup of tea and some biscuits.”
Asked if the Stones are willing to be bossed around in the studio by a 35-year-old, Watt says, “I’m a New Yorker. I say what’s on my mind. I am here to produce, to give my opinion -otherwise what the fuck am I doing? So I do. On everything. And these guys were gracious enough to come down to my level and listen. They might not agree with me, though.”
In the interview, Watt also pays tribute to Paul McCartney’s tireless energy.
“Paul McCartney has more energy than you and I combined” he tells interview Will Hodgkinson. “Paul is playing two-and-a-half-hour shows each night, he gets on the bus with his boys afterwards, a margarita is poured for him – he’s unbelievable.”
I’ve been on a bit of a thrash bender in June, and Ruyned will conclude this month’s kick for ol’ Grin. The Romanian trio sends me deep into the heart of July with turbocharged, high-octane riffing and a moderate case of whiplash. Profanum Sacrificium, Ruyned’s sophomore LP, plays thrash the way the olde school intended—at furious speeds with the subtlety of an uppercut to the jawbone. My elevator pitch for Ruyned is, ‘Midnight but faster,’ yet the crew also channels Kill ‘Em All-era Metallica and a stripped-down Hellripper. With blistering paces in all the right places, does Profanum Sacrificium satisfy listeners’ need for speed?
Profanum Sacrificium is a tale of two halves, covering a pair of narrative arcs that relate accounts of violence and death. The front-end scorches with instantaneous shots of adrenaline and describes the heinous depravity of the Vampire of Düsseldorf. “Speedchain” and “Sex’n Speed” reek of OG Metallica, where “Hit the Lights” seems a major inspiration for both “Speedchain”‘s thunderous opening as well as the primary hook in “Sex’n Speed.” “Sex Commander 666” sprints into Motörhead territory, opening with a solo that Fast Eddie Clark would approve of before slinking into a funky swagger that reminds me of “Love Me Like a Reptile.” Where Ruyned plays a touch too close to influence on the first two, “Sex Commander 666” exudes a freshness that hints at touchstones without plaguing me with questions of where I’ve heard a riff before. Meanwhile, “Orgasm Through Death” slows proceedings down appreciably, with Bogdan Mateescu’s tortured, blackened rasps guiding listeners through a plodding march that amplifies the drama.
The second half of Profanum Sacrificium shifts to a separate narrative, describing centuries-long witch hunts from post-medieval Europe steeped in folklore and flames. Musically, this pulls Ruyned away from the straightforward ragers that define Profanum Sacrificium’s first half and into darker, more novel waters. The most immediate difference is that more time gets dedicated to instrumentation on the back half, with two instrumentals and less vocal focus towards the ends of tracks “Malleus Maleficarum” and “Witches Gallöw.” Originality flares here as well, where the instrumentation is reminiscent of bands like Bütcher and Toxic Holocaust, but the songs don’t blur with comparisons. “Profanum Sacrificium,” “Malleus Maleficarum,” and “Witches Gallöw” could pass for decade-old Kreator B-sides sung by Tapping the Vein-era Tom Angelripper, boasting snappy melodic riffing supported by Mihai Marinescu’s machine-gun blast drums and Tiberiu Olescher’s mid-range bass attack.
In all, Ruyned zips through half an hour of breakneck thrash with enough energy and grit that it’s unerringly easy to enjoy despite some bumps along the way. Even before I discovered Profanum Sacrificium’s two narrative arcs, the musical split between them stood out. While each half succeeds on its own, together they present a whole too disjointed to flourish without an interceding mixer. Ruyned’s instrumentals also undercut Profanum Sacrificium’s potential, where the three of them total four-and-a-half minutes of fluff. The remainder of Profanum Sacrificium barely contains enough meat to qualify for LP status, leaving the album longing for another well-developed song or two rather than three throwaway tracks.1 Still, the rest of the album supplies plenty of good thrashing, and with a little more consideration to songwriting cohesion, Ruyned possesses the pizzazz to set barns ablaze their next time out.
After several listens through Profanum Sacrificium, I’m convinced Ruyned can write first-class thrash. Rapidfire riffs and blackened edges give Ruyned a sense of familiarity, and if they can take care to push further away from genre greats and commit to more unified songwriting, they’ll menace listeners with an all-killer fusillade next time. Until then, Profanum Sacrificium serves as a fun diversion when time doesn’t allow for a longer dive, but it ultimately doesn’t threaten what other acts have done in the space this year.
Rating: Good DR: 8 | Format Reviewed: 320 kbps mp3 Label: Osmose Productions Websites: Bandcamp | Facebook Releases Worldwide: June 26th, 2026
Famous Strangers Track By Track Run Down of Their Self-Titled Album
This album brings together both Famous Strangers past and present work, weaving through a wide range of themes. It moves from inspiring words meant to uplift and energize the listener, to moments of space-travel escape, to deeply personal and subtly seductive reflections and beyond. As the bands first album, they’re incredibly excited to finally share our art with the world.
Fire Inside This began as a simple progressive metal riff but evolved right up to the studio, where the chorus and ending were finalized. After extensive preproduction, the song truly came together. Lyrically, it’s about grounding the listener in the moment and embracing mistakes to honor the journey that shaped you, while holding onto the peace within.
Far away from Home Written early on while we were still finding our sound. It started with a punk riff that everyone ran with, keeping the song fun and energetic a tribute to punk. The chorus evolved significantly from preproduction to recording. Lyrically, It’s about being abducted by Aliens! It came from a playful place, and having full creative freedom helped the song come together in a way that felt natural and true.
Ghosts of Men This began as one of the earliest songs written with the band and was later completely rewritten. Originally shelved, it resurfaced when we wanted a raw rock ripper and quickly morphed into its final form, coming together almost instantly and earning its place on the record. Lyrically, it’s a new and deeply personal track, drawn from real experiences and recurring patterns in my life. It’s raw, vulnerable, and unfiltered but that’s the point.
As Your Leader As Your Leader is one of the earliest songs written for the band and has been with us since the beginning, taking on new life as the lineup came together. While it carries a lot of anger and frustration, at its core it’s about community, connection, and the belief that we’re stronger when we come together, all wanting the same things in the end peace, health, and the freedom to live fully.
Please Her This started as a single rock riff and evolved through preproduction as arrangements shifted, especially once Amanda’s vocals came into the mix. The song eventually came full circle, landing as a straightforward hard rock ‘n’ roll track. The title seems to give it all away.. it’s playful and confident about staying true to yourself, knowing your worth, and making sure your cup is overflowing, because every person deserves to feel that way.
Desire A song was born from my first Bloodstock Festival in the UK a very rock ‘n’ roll, Mötley Crüe style night that sparked both the riff and the story behind it. Written by Jeff Kittlitz, the song captures that instant connection you feel when you lock eyes with someone special. What started as a wild night turned into something deeper – a love song with a bigger meaning. Amanda adds – Bringing it to life has been a blessing, and after taking the time to find the right vocal approach, it finally feels like I’m delivering the song the way Jeff intended.
Rain Rain was written in a small town in England on a rainy day, born from a quiet moment on the couch with an acoustic guitar. What started as a simple blues idea came together back in Canada, becoming the first song that truly pulled Amanda in her lyrics completed it in a way that felt almost magical. Lyrically, the song digs deep into fear, pain, and feeling trapped, and finding the strength to finally let go and choose yourself. It’s one of our softer tracks, showing another side of the band, and we’re excited to share it on the new record.
As long-serving co-vocalist and bassist with The Moody Blues, John Lodge helped keep the Moodies’ flame burning even after the band had stopped touring. Born on July 20, 1943, his distinctive falsetto harmonies and bass-playing helped shape the band’s iconic sound and cement their status. In addition to gigging right up to his unexpected death in October 2025 at the age of 82, he also released a handful of solo albums, including his 2023 updated version of Days Of Future Passed, which was praised by critics and fans alike.
Right to the very end, John Lodge, The Moody Blues’ bassist, co-vocalist and songwriter never lost his passion or drive for playing and recording music. “I play music every day,” he told this writer in 2024. “I’ve loved it since it took hold of me when I was 13. And I love writing songs and discovering something new all the while.”
It was precisely that sense of wonder and exploration, coupled with a technical finesse and melodic flair, that propelled Lodge from his earliest musical beginnings until his final days. And in anchoring The Moody Blues for 50 years, he helped the band become one of prog rock’s most pioneering, enduring and biggest-selling forces. His bass playing was never just about rhythm; it carried a tunefulness and emotion that set him apart from so many of his contemporaries.
Lodge’s story began in Erdington, Birmingham, where he was born on July 20, 1943 to working-class parents, Olive and Charles. While there were no instruments, gramophone or sign of Lodge’s future talents, his musical curiosity was piqued when his uncle made him a cat’s-whisker crystal radio just at the moment when electrifying new sounds came sweeping from across the Atlantic.
“My first real musical encounter was rock’n’roll on Radio Luxembourg 208,” he recalled. It was through that crackling static that a lifetime’s obsession began as Buddy Holly, Little Richard and Jerry Lee Lewis took up residence in the young Lodge’s imagination. By his early teens, his fascination evolved into active experimentation. During lunch breaks from Central Grammar School, he would sit in Eddie’s Café listening to those same artists belting out of a Rock-Ola jukebox.
Fascinated with the left-hand lines of the rock’n’roll pianists that he heard, he began translating them to the bottom four strings of his acoustic guitar – and so unwittingly developing the distinctive and melodic style that would come to define his playing.
But it was at a performance by local act The Tremors that Lodge experienced the revelation that would change his life – the sight of a real electric bass. Soon after, he made his way to Jack Woodruff’s music shop in Birmingham and bought a Tuxedo bass, which soon gave way to the sunburst Fender Precision bass that underpinned many of The Moody Blues’ most celebrated recordings.
His path to The Moody Blues was set in motion in the early 60s. Joining El Riot And The Rebels, he formed lifelong friendships with future Moodies bandmates Roy Thomas and Mike Pinder, while the band cut their teeth in a fiercely competitive local scene that also included The Spencer Davis Group and various factions of The Move such as Carl Wayne And The Vikings.
Though he turned down an offer of turning pro by joining The Moody Blues in favour of continuing his mechanical engineering studies at the Birmingham College Of Advanced Technology, Lodge never stopped playing, honing his craft with a variety of local bands.
In the wake of The Moody Blues’ struggle to follow the global success of their 1964 hit Go Now and the lukewarm response to their debut album The Magnificent Moodies the following year, the band began to lose momentum. Disheartened by their inability to recapture that early success, singer-guitarist Denny Laine and bassist Clint Warwick both left. It was then that Lodge – along with singer-guitarist Justin Hayward – accepted the invitation to join, marking the beginning of a bold new era for The Moody Blues.
After famously being told that they were the “worst fucking band in the world” by a disgruntled audience member after a show in Stockton, the band set about reinventing themselves. Recognising their core sparks of four voices, Hayward’s acoustic guitar, Thomas’ flute, Lodge’s melodic bass playing, Graeme Edge’s drumming and a desire to write their own material, their new direction was cemented with the introduction of Mike Pinder’s strange new tape-based keyboard, the Mellotron.
While many commentators have, over the years, cited that as the band’s secret weapon, it was the combination of these elements that truly created the magic for which the band became known. As Lodge later noted, regardless of who wrote a particular song, it would become a Moody Blues number by virtue of the individual members’ contributions in bringing it to life.
We weren’t thinking about being pioneers. We were just young and couldn’t believe our luck recording our own music
John Lodge
In 1967 that alchemy came into its own. When Decca asked them to fuse Dvořák’s New World Symphony with pop for their new Deram imprint – a label set up to show off the company’s advances in sound fidelity – the band saw their moment. Instead of following orders, they filled the studio with their own songs, resulting in their groundbreaking second album Days Of Future Passed. It’s widely acknowledged as one of the very first progressive rock albums.
“We weren’t thinking about being pioneers,” Lodge recalled. “We were just young and couldn’t believe our luck recording our own music.”
His early compositions were small in number but big in impact. His main writing credit on the album – the urgent, propulsive Lunch Break: Peak Hour – hinted at the energy and invention he’d soon bring to the band’s sound. He wasn’t content to simply hold down the bottom end. Treating the instrument as a melodic engine, he soon established himself as one of the true bass innovators of the era.
Graeme Edge, Ray Thomas, John Lodge, Mike Pinder and Justin Hayward in 1971 (Image credit: Getty Images)
His approach came fully into focus with Ride My See-Saw (1968), a song whose surging energy often brought their concerts to a euphoric close. By the following year, on Eyes Of A Child, Candle Of Life and Send Me No Wine, Lodge had broadened his palette as a songwriter, while keeping his bass lines rooted at the heart of his sound. And as his confidence grew, so did his voice – either blending harmonies or taking the spotlight – to stand with Hayward not as a foil, but as a true counterpart.
Fuelled by a combination of youthful exuberance and a formidable creative drive, The Moody Blues released three albums in short order – In Search Of The Lost Chord (1968), On The Threshold Of A Dream and To Our Children’s Children’s Children (1969). Between the recording sessions, the band also completed two successful North American tours. These were the heady days of flower power and psychedelia, and while Lodge’s bandmates and musical peers sought to find meaning via chemically-altered states of consciousness and Eastern philosophies, the bassist found comfort in his Christian faith.
They launched Threshold Records, one of the first artist-run labels and set about signing other artists
Notably, unlike many of the musicians of the time whose words were treated with almost mythical reverence, Lodge never claimed to hold the answers to the social, political and philosophical questions of the day. Indeed, The Moody Blues’ final two singles before their 70s hiatus – the Lodge-penned Isn’t Life Strange (1972) and 1973’s I’m Just A Singer (In A Rock’n’Roll Band) – found them sailing against the prevailing tide of The Big Artistic Statement, which, somewhat ironically, were both big statements to make while entirely in keeping with Lodge’s clear-eyed view of the world.
By the end of the 60s, The Moody Blues were looking to take full control of their destiny, a move precipitated by Decca’s marketing team suggesting a cover of Somewhere Over The Rainbow. With the blessing of Decca chair Sir Edward Lewis, the band launched Threshold Records, one of the first artist-run labels. Initially designed as a home for their own albums, the band set about signing other artists – with Lodge discovering and producing Trapeze, featuring Glenn Hughes and Mel Galley, who’d later find fame with Deep Purple and Whitesnake respectively.
Though he enjoyed the experience, the label’s success alienated Lodge. “It got too big,” he later recalled. “I remember later going to the Threshold Christmas lunch and, apart from the band, I didn’t really know anyone there!”
The passing of time has obscured just how huge The Moody Blues were as the 1970s began; this was a band so ambitious they ended up reshaping the sound of live music itself. Touring American arenas alongside Canned Heat and Jefferson Airplane, they found their lush, orchestral sound struggling to fill the space. Enter young Philadelphia engineer Gene Clair, whose ingenuity would change everything. He built the Moodies the world’s first hanging PA system – a breakthrough that brought power and precision to their live shows and became the blueprint for modern touring.
That newfound clarity was evident in the studio. On A Question Of Balance (1970), the band stripped things down, chasing the immediacy of the stage. The result was leaner and more direct – from Lodge’s driving Tortoise And The Hare to the lilting Minstrel’s Song, along with his bandmates’ contributions – a record that fused technical innovation with a human touch.
They brought together prog aficionados with mainstream pop fans, which Lodge would attribute to their ‘truthfulness’
The band’s six-year hiatus between Seventh Sojourn (1972) and Octave stemmed not from internal tensions but maturity. While Pinder wanted to move to the US, Lodge didn’t want to miss his children growing up, though he did find time to record Blue Jays with Hayward in 1975, while his solo album Natural Avenue two years later saw him cutting loose with Faces’ Kenney Jones, among others.
The Moodies’ renewed commercial success throughout the 80s found them in the unusual position of bringing together serious prog aficionados with mainstream pop fans, something that Lodge would later attribute to the “truthfulness” that lay at the heart of their music. But as the musical landscape shifted in the 1990s with the rise of MTV, they made the strategic choice of leaning into touring and releasing long-form live videos rather than pushing new albums. Their reputation as a live act grew – and Lodge’s role remained vital as his voice and bass playing continued to provide the band’s foundation.
Playing into his 80s, he never lost the enthusiasm and passion that music had given him since childhood; and his pride at being inducted into the Rock & Roll Hall Of Fame in 2018 was enormous. His final release, the EP Love Conquers All, was both a celebration and an acknowledgment of the health challenges he’d recently faced. With his wife Kirsten, son Kristian, and his son-in-law, Yes singer Jon Davison, all contributing, the record became a family affair.
Lodge’s passing leaves an undeniable void, but also a legacy for the ages. Unburdened by trends or sell-by dates, his songs remain timeless and his bass lines continue to burrow deep into both the ear and the heart. Through them, the joy, curiosity, and humanity that defined his music live on, resonating as vividly as ever.
ZZ Top created one of rock’s most recognizable catalogs by combining Texas blues, boogie rhythms, hard-rock guitar, sly humor, futuristic production, and an unmistakable visual identity. This complete A-to-Z guide brings together the band’s 15 studio albums, bonus tracks, live recordings, early singles, compilation exclusives, and the 2022 soundtrack album RAW. ZZ Top emerged from Houston, Texas, in 1969 and developed into one of America’s most durable rock bands. Guitarist and vocalist Billy Gibbons formed the original group after the breakup of his psychedelic band Moving Sidewalks. Bassist Lanier Greig and drummer Dan Mitchell were part of the earliest lineup,
Onslaught are pleased to announce ‘The Force From Hell Tour’, a string of headlining shows over Europe. Scheduled in October, this trek features support from The Prophecy²³ and Toranaga. Read more…
Thrash metal veterans Toranaga have joined forces with Fireflash Records for the release of their next full-length effort. On top of that, the Brits are also proud to announce that they will be heading out on tour over Europe this October, alongside Onslaught and The Prophecy²³. Read more…
The Hu were formed in 2016 in Ulaanbaatar with an aim “to show the versatility of Mongolian ancient instruments and traditional music culture to the world.” With their new album HUN due out on 24 July 2026 via Better Noise Music, the band decamped for a long weekend in the UK, including an impressive performance at EDDFEST in Knebworth House.
The Hu at EDDFEST, Buckingham Palace and The Mongolian Embassy
The Hu arrived in London in the week leading up to EDDFEST, heading straight to the city’s tourist attractions, including a visit to Buckingham Palace, Big Ben, and the British Army’s Household Cavalry in Whitehall.
The Hu in London. Photo: PHOTOGRAPHICGENIUS.COM
A Lance Corporal with the Life Guards Squadron recognised them on CCTV and persuaded his commanding officer to let them meet the horses and guards in the stables at Horse Guards Parade. The band were also introduced to Overlord, the biggest horse in the squadron.
“The other guys were asking who they were,” the Lance Corporal said, “and I knew immediately. I discovered them from their song Sugaan Essena in the game Star Wars Jedi: Fallen Order. I’ve been listening to their albums ever since.”
The Hu in London. Photo: PHOTOGRAPHICGENIUS.COM
The band then performed at the Mongolian Embassy in Kensington, treating an exclusive audience to intimate acoustic renditions of This Is Mongol, Black Thunder, and the newly released single Grey Hun.
“This album was made because of the great commitment of many, many people behind us also,” Galaa said. “We’re excited to be seeing you with the new album and on tour as well. We are The Hu!”
The Hu at the Mongolian Embassy. Photo: Aggie Anthimidou/MetalTalk
The Hu At EDDFEST
The Hu took the early evening slot at EDDFEST, landing right at the midpoint of the day, and they probably brought the heaviest edge of the afternoon with them.
They opened with Last Soul, its low, resonant throat singing rolling out over a thunderous sound driven by a crushing bass drum that you could feel through the ground.
The Hu – EDDFEST – 11 July 2026. Photo: Manuela Langotsch/MetalTalk
There was not quite as much singing along as there had been for Airbourne, but the crowd’s energy did not drop. Instead, people locked into the rhythm, responding physically rather than vocally, with huge waves of rhythmic clapping spreading across the field.
With much of the set built around new music from their upcoming album, HUN, the audience leaned into the atmosphere rather than familiarity, letting the weight and pulse of the songs carry them.
The Hu – EDDFEST – 11 July 2026. Photo: Manuela Langotsch/MetalTalk
The traditional Mongolian instruments added a raw, earthy texture that set them apart from everything else on the bill, while the band held a calm, almost immovable presence onstage.
By the time they closed, the audience was fully with them, chanting along to patterns many had never heard before and giving one of the day’s most distinctive sets a huge sendoff.
The Hu – EDDFEST – 11 July 2026. Photo: Manuela Langotsch/MetalTalk
The Hu – HUN
With a digital release on 24 July 2026 and vinyl to follow on 11 September, the excitement is building for new album HUN. The Hun means human being in Mongolian. The band were keen to emphasise that HUN in their album title rhymes with moon rather than pun, moving the emphasis away from the associations with Attila The Hun, although this will be hard to avoid for a Western Audience.
So far, Warrior Chant, The Men, The Real You, Lost Soul (featuring Jonny Hawkins of Nothing More) and Grey Hun have been released. To really appreciate these, it helps to watch the associated videos with English subtitles.
The HU draw heavily from Mongolian philosophy, and unless your Mongolian is good, the English subtitles really help.
HUN – The HU’s third offering is absolutely fantastic
The HU’s third offering is absolutely fantastic and, to our ears, their best so far. Thundering riffs and ethereal melodies mixing with galloping rhythms and the booming beauty and depth of the lead singer’s vocals take the listener on a journey into the Wild East.
The album pounds strength, resilience and fortitude into the listener’s heart. At the same time, this is done with good humour and passion for the positive side of mankind.
The Hu – EDDFEST – 11 July 2026. Photo: Manuela Langotsch/MetalTalk
The band’s work is grounded in the Mongolian worldview, played on some of the most beautiful traditional instruments and at the same time accessible to the Western rock and Metal audience.
The HU are carrying an important message to the world wrapped up in ground-breaking, brilliant and compulsively listenable music. This extended trip to the UK certainly endeared them to many more news fans.
The Hu are back in the UK for a tour at the end of September. For a full list of dates and tickets, visit the band’s website here. The HU’s third offering is out on 24 July 2026 via Better Noise Music and is available to pre-order from thehu.lnk.to/hun.
The Hu – EDDFEST – 11 July 2026. Photo: Manuela Langotsch/MetalTalk
MAIAH WYNNE ARRIVES ON KSCOPE WITH DEBUT SINGLE ‘BREATHE’
NEW ALBUM PENNED FOR AUTUMN 2026
Following the recent news of her signing to the Kscope, singer-songwriter and multi-instrumentalist Maiah Wynne is back with her new single and video ‘Breathe’. With a new album on the horizon for late-2026, ‘Breathe’ is the first glimpse into what promises to be an exciting new chapter for the rising star.
Speaking about her inspiration behind the new track, Maiah shared “I wrote this song in a moment of overwhelm. Music has always been a calming presence in my life and has helped guide me through some of the most difficult moments. I remember sitting down with a guitar on the verge of a panic attack, and playing harmonics and reaching an almost meditative state while writing this track. It’s all about breathing through and working through anxiety. I wanted the music to find a balance between that storm of energy and the release of a calming breath.”
As part of their recently announced new studio album Never A Prophet In Your Own Land, due on September 25th, British veterans Cloven Hoof now present a lyric video for the first single titled “Iron Mask”. Read more…
I’ve been on a bit of a thrash bender in June, and Ruyned will conclude this month’s kick for ol’ 
