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  • VMAs Introduce New Award For Taylor Swift

    Back in 2009, Taylor Swift and Kanye West were responsible for what might be the single most famous moment in the history of the MTV Video Music Awards, with apologies to Madonna’s bridal dress, Britney Spears’ bigass snake, and the Miley Cyrus/Robin Thicke situation. Every year, the people at MTV do whatever they can to get Swift to attend their ceremony. When Swift agrees to show up, she has a bunch of drinks and sings along with everyone else’s songs. She becomes the show.

    The post VMAs Introduce New Award For Taylor Swift appeared first on Stereogum.

  • New World Man Announce Debut LP I Am The Machine: Hear The Title Track

    Hudson Valley guitar monster Mike Shaw has crafted some of the sickest riffs in recent hardcore history for Mindforce, and he has kept busy in recent years with side projects like Sentinel and Colossus. Right now, Shaw’s death metal-influenced band Fatal Realm is killing on the festival landscape, just as he’s announcing the first-ever full-length from New World Man, possibly the most berserk of all his bands.

    The post New World Man Announce Debut LP <em>I Am The Machine</em>: Hear The Title Track appeared first on Stereogum.

  • Ohmicron Addicted to You Review

    Ohmicron Addicted to You Review

    The song begins with an electrifying rock guitar riff that energizes the listener. As the track unfolds, it shifts to create space for the vocals, which enter with an intense and expressive swagger. The verse initially retains a lower dynamic, but then elevates, creating a build-up of energy. At this point, the song erupts into a powerful chorus that is memorable and impactful. The overall composition reveals similarities to artists like Rob Thomas, merging rock elements with a heartfelt lyrical approach.

    Ohmicron Addicted to You

    “Addicted to You” resonates deeply within the context of today’s societal issues. With addiction affecting numerous lives, the track steers clear of glorifying drug use. Instead, it places emphasis on emotional experiences and relationships. This thoughtful angle adds depth to the narrative, transforming a potentially heavy theme into something relatable.

    Intriguing dynamics characterize the track, ensuring that listeners remain engaged throughout. The use of AI in the composition is noteworthy; however, it does not detract from the song’s sense of authenticity. The performance feels human, infusing the work with genuine emotion.

    Addicted to You – Sound and Atmosphere

    The contrast between the energetic instrumentals and the reflective lyrics is skillfully executed. Moments of intensity are tempered by softer, more introspective interludes. This balance enhances the song’s emotional weight, making it a high-energy anthem and a reflective anthem.

    Audience members may find the track ideal for various contexts, such as road trips, where the blend of driving beats and thought-provoking lyrics could set the tone for an adventurous outing.

    Addicted to You – Performance and Production

    The narrative of addiction serves as a critical theme, revealing the heart’s struggles while avoiding unnecessary sensationalism. By focusing on the emotional aspects related to addiction, the song connects with listeners who may relate to its themes of love and loss.

    The guitar riffs punctuate the vocal lines effectively, providing melody and rhythm. Bass lines enhance this foundation, grounding the song and adding depth.

    “Addicted to You” stands out as a dynamic representation of modern rock. It strikes a balance between energetic and thoughtful, all while maintaining a sincere connection to its audience.

    Listeners will likely appreciate the authenticity embedded within the music, as it reflects real-life experiences and emotions. This single serves as a reflective piece that prompts listeners to explore their own relationships and encounters with love and addiction.



    Energetic

    🔥 If you love this music: Discover More


    Find Ohmicron here:
    Spotify

    For fans of:

    Rob Thomas


    The post Ohmicron Addicted to You Review appeared first on Edgar Allan Poets – Noir Rock Band.

  • Cosmic Horror and a New Lineup Shape ARTIFICIAL BRAIN’s Antillia

    A move to Richmond, Virginia, and the arrival of two new members mark the next chapter for ARTIFICIAL BRAIN, who have announced their fourth album, Antillia. Due November 13, 2026, via Profound Lore Records, the nine-track release is introduced by the first single, “Quantum Malignancies.” Vocalist Mike Paparo of INTER ARMA and drummer Alex Tomlin […]

    Source

  • 14 Flamingos Habsburg Chin Review

    14 Flamingos Habsburg Chin Review

    This track is something truly unique. It features desert-inspired vibes blended with psychedelic atmospheres from the 1970s. The combination creates an intriguing experience for listeners. The song exhibits a theatrical structure. The baritone voice narrates the story effectively. It maintains an engaging rhythm that feels immediate and sly. The composition consists of multiple layers, enriching the overall dynamic of the song. Background vocals add depth, providing variety and camaraderie to the piece.

    14 Flamingos Habsburg Chin

    The use of the Hammond organ, clarinet, and cornet enhances this experience. These instruments evoke a sense of the iconic Woodstock era. They transport listeners to a nearly kaleidoscopic dimension. It feels like a fantastic creation, inspiring a sense of creative freedom. The way these elements interact is amazing.

    The song’s orchestration draws listeners into its dramatic arrangement. The intricate layers create an environment that feels rich and full. Each instrument plays its part, contributing to a larger narrative. The subtle variations in vocal harmony elevate the piece even further.

    Habsburg Chin – Sound and Atmosphere

    Throughout the song, the intricate guitar work stands out, providing a sonic foundation. Each note feels deliberate yet free-spirited. The transitions between the various sections keep the audience engaged. These shifts create moments of tension and release, enhancing emotional resonance.

    As the track continues, it reveals hidden depths within its structure. It encourages listeners to explore its various components. There’s a sense of discovery in each chorus and verse. The fusion of genres feels fresh yet nostalgic at the same time. The artistry displayed in the arrangements sheds light on the band’s creative vision.

    14 Flamingos has crafted a piece that challenges conventional boundaries. It juxtaposes familiar elements in new and exciting ways. The boldness in its expression encourages individual interpretation. Each listen offers something new, making it a rewarding experience.

    Habsburg Chin – Performance and Production

    The baritone vocalization guides the listener through an imagined journey. It tells stories that resonate deeply, inviting emotional connection. The driving force behind the track ensures that the tempo remains lively.

    The lyrical content complements the musical elements beautifully. It’s as if the words and sounds are in a constant dialogue. The song becomes a living entity, breathing with each performance. The synergy of instruments and vocals creates an organic feel. It’s the kind of music that resonates long after the last note fades.

    Listening to this single feels like stepping into a vivid dream. Each chord strikes a balance between excitement and tranquility. This duality reflects the band’s artistic intent. They invite listeners to engage with the deeper meanings woven into the sound.

    This new release by 14 Flamingos marks an important step in their journey. It represents a bold exploration of identity and creativity. The fusion of desert and psychedelic elements sets this track apart. A sense of authenticity permeates every aspect of the song.

    Fans and newcomers alike will find something to appreciate in this release. It sparks imagination and invites reflective listening.



    Unique

    🔥 If you love this music: Discover More


    Find 14 Flamingos here:
    Spotify | Instagram

    The post 14 Flamingos Habsburg Chin Review appeared first on Edgar Allan Poets – Noir Rock Band.

  • The Salem Witch Trials of 1692: History, Fear, and the Birth of an American Nightmare

    The Salem Witch Trials of 1692: History, Fear, and the Birth of an American Nightmare

    Few events in American history have become as deeply embedded in the cultural imagination as the Salem Witch Trials of 1692. The trials have inspired novels, horror films, Gothic art, folklore, and countless legends. Yet many of the most familiar images associated with Salem—burning witches, black pointed hats, and supernatural rituals—bear little resemblance to what actually happened.

    Behind the mythology lies a far more disturbing story. The Salem trials were not simply a witch hunt. They were the product of fear, religious extremism, political instability, personal rivalries, and a legal system that accepted invisible evidence as proof of guilt.

    More than three centuries later, the events of 1692 continue to fascinate historians because they reveal how quickly ordinary communities can descend into collective panic when fear replaces reason.

    Dark vintage illustration of the Salem Witch Trials of 1692 showing Puritan villagers gathered near the gallows, a colonial church, stormy skies, and symbols of fear and justice in colonial Massachusetts.


    Life in Puritan New England

    To understand the Salem Witch Trials, it is necessary to understand the world in which they occurred.

    Late seventeenth-century Massachusetts was governed by Puritan beliefs that shaped every aspect of daily life. Religion was not simply a matter of personal faith. It determined laws, politics, education, and social behavior.

    Puritans believed Satan actively sought to corrupt human souls. Misfortune rarely appeared random. Disease, crop failures, infant mortality, Native American attacks, and unexplained illnesses were often interpreted as signs of spiritual warfare.

    Life itself was uncertain. Epidemics spread quickly, frontier conflicts created constant anxiety, and many families had experienced devastating personal losses. Within this environment, belief in witchcraft appeared entirely plausible rather than extraordinary.

    The Salem community therefore entered 1692 already living under extraordinary psychological pressure long before the first accusations emerged.


    How the Accusations Began

    The crisis began during the winter of 1692 when two young girls living in the household of Reverend Samuel Parris started displaying unusual behavior.

    Nine-year-old Betty Parris and her cousin Abigail Williams suffered violent convulsions, screaming fits, strange body contortions, and episodes during which they claimed invisible forces were tormenting them.

    Unable to identify a medical explanation, local ministers increasingly suspected supernatural causes.

    Under pressure to identify those responsible, the girls accused three women from very different positions within Salem society. The first was Tituba, an enslaved woman from the Caribbean who lived in the Parris household. The second was Sarah Good, a homeless beggar whose poverty made her an easy target for suspicion. The third was Sarah Osborne, an old woman involved in local property disputes who rarely attended church.

    Although their lives differed greatly, each woman already occupied the margins of Puritan society. Their social isolation and unconventional circumstances made the accusations easier for frightened neighbors to believe. Instead of calming fears, the arrests triggered a chain reaction that rapidly spread throughout Essex County.


    The Dangerous Power of Spectral Evidence

    One of the most extraordinary aspects of the Salem Witch Trials was the acceptance of what became known as spectral evidence.

    Accusers claimed they could see invisible spirits or ghostly apparitions attacking them. They insisted the specter of an accused individual had appeared in dreams or visions while their physical body remained elsewhere.

    Modern legal systems reject such testimony immediately because it cannot be verified. In 1692, however, many judges accepted these invisible experiences as legitimate evidence.

    This decision fundamentally changed the trials. Defendants found themselves attempting to disprove supernatural events that no one else could observe.

    Once spectral evidence entered the courtroom, ordinary standards of proof largely disappeared. Suspicion alone could become enough to justify imprisonment.


    The Trials Spiral Out of Control

    As accusations multiplied, fear spread through Salem with astonishing speed.

    Neighbors accused neighbors. Children accused adults. Servants accused employers. Entire families became entangled in the growing hysteria.

    Confessing to witchcraft sometimes improved a person’s chances of survival because those who admitted guilt could claim repentance. Those who insisted upon their innocence often faced harsher treatment.

    Even respected members of the community eventually fell under suspicion. Rebecca Nurse, known for her piety and good reputation, shocked Salem when she was accused despite widespread belief in her innocence.

    The accusations no longer followed social status or personal reputation. Once fear began governing the legal process, almost anyone could become a suspect.


    The Executions and the Death of Giles Corey

    Between June and September 1692, nineteen people were executed after being convicted of witchcraft.

    Contrary to one of the most widespread myths, none of the accused witches in Salem were burned at the stake. Burning was commonly associated with certain European witch trials, but English law prescribed hanging for those convicted of witchcraft. Every execution in Salem took place on Gallows Hill.

    The victims came from different social backgrounds, ages, and occupations. Fourteen were women and five were men, demonstrating that accusations were not directed exclusively toward women, even though women were more frequently targeted.

    One of the most extraordinary victims was Giles Corey, an eighty-one-year-old farmer who refused to enter a plea when charged with witchcraft.

    Under English law, a trial could not proceed unless the accused pleaded guilty or not guilty. Corey remained silent, knowing that a conviction would likely result in the confiscation of his property, leaving his family with nothing.

    To force a plea, authorities subjected him to peine forte et dure, a punishment in which heavy stones were gradually placed upon the prisoner’s chest.

    For two days Corey endured the crushing weight without surrendering. According to tradition, each time officials demanded a plea, he answered only, “More weight.”

    His defiance became one of the most enduring acts of resistance in American legal history. Because he never entered a plea, his property remained with his heirs exactly as he intended.


    Lesser-Known Facts About the Salem Witch Trials

    Although the Salem Witch Trials have become one of the most studied events in American history, several important details are often overlooked. One of the most common misconceptions concerns the location itself.

    The trials occurred primarily in Salem Village, now the town of Danvers, rather than in the commercial settlement known as Salem Town. Modern visitors frequently associate every event with today’s city of Salem, even though many of the original sites lie elsewhere.

    Another widespread misconception is that only a small number of people faced accusations. In reality, more than two hundred individuals were formally accused of witchcraft, while around one hundred fifty were imprisoned before the hysteria subsided.

    Nor were all of the accused social outcasts. Respected church members such as Rebecca Nurse also found themselves standing trial, demonstrating that once fear took hold, reputation offered little protection.

    The panic extended beyond human beings. Contemporary records describe dogs being killed because they were believed to serve witches as demonic familiars.

    Men also became victims of the prosecutions, including the former minister George Burroughs, whose flawless recitation of the Lord’s Prayer moments before his execution caused members of the crowd to question his guilt.

    Finally, one of Salem’s greatest mysteries concerns Tituba herself. After confessing under intense pressure and spending months imprisoned because she could not pay her jail fees, she disappeared from the historical record. No one knows with certainty what became of the first person whose accusation helped ignite the crisis.


    Why the Hysteria Finally Ended

    By the autumn of 1692, increasing numbers of influential ministers and political leaders began questioning the legitimacy of the proceedings.

    The use of spectral evidence, once accepted without hesitation, came under growing criticism. If invisible visions could convict one person, then no one was truly safe from accusation.

    Governor William Phips eventually intervened after accusations began reaching members of prominent families, including individuals connected to his own administration.

    He dissolved the Court of Oyer and Terminer in October 1692 and prohibited the continued use of spectral evidence in future proceedings.

    Without its most powerful form of testimony, the prosecutions rapidly collapsed. Most remaining prisoners were gradually released, and new accusations largely ceased.

    The nightmare that had consumed Salem for months ended almost as suddenly as it had begun, leaving behind devastated families and a community struggling to understand how fear had gained such extraordinary power.


    Apologies, Pardons, and Historical Legacy

    The end of the trials did not immediately erase their consequences.

    In the years that followed, several judges and jurors publicly acknowledged their mistakes. Judge Samuel Sewall became one of the few officials to issue a public confession of guilt, standing before his congregation to ask forgiveness for his role in the proceedings.

    Massachusetts gradually overturned many of the convictions, restored civil rights to victims’ families, and offered financial compensation to some relatives.

    Yet complete exoneration of every accused person required centuries of additional legislative action, and repairing the legal record could not erase the human cost of the hysteria—leaving later generations to confront one of the darkest chapters in colonial American history.


    The Legacy of Salem

    More than three centuries have passed since the Salem Witch Trials, yet their influence extends far beyond colonial New England.

    The events of 1692 have become a lasting symbol of what can happen when fear overrides evidence and suspicion replaces justice. Although the accusations centered on witchcraft, the deeper forces behind the crisis were far more familiar: social division, religious extremism, personal rivalries, political instability, and the human tendency to seek simple explanations during uncertain times.

    For this reason, the phrase witch hunt has entered everyday language as a warning against false accusations driven by panic rather than proof.

    The trials have also inspired generations of writers, filmmakers, historians, and artists. Nathaniel Hawthorne, whose ancestor John Hathorne served as one of the judges, explored inherited guilt throughout his fiction. Arthur Miller later transformed Salem into a powerful allegory for political persecution in The Crucible, ensuring that the tragedy would continue speaking to new generations.

    Modern Gothic culture likewise continues returning to Salem because the story contains many of the themes that define the genre: paranoia, hidden fears, religious obsession, moral ambiguity, and the terrifying consequences of collective hysteria.

    The Salem Witch Trials endure not because they prove the existence of witches, but because they reveal how fear itself can become one of history’s most destructive forces.


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    Frequently Asked Questions

    How many people were executed during the Salem Witch Trials?

    Nineteen people were hanged after being convicted of witchcraft, while Giles Corey died after being pressed with heavy stones for refusing to enter a plea. Several others died in prison awaiting trial.

    Were witches burned at the stake in Salem?

    No. This is one of the most common myths about Salem. The convicted were executed by hanging, following English law. Burning at the stake was associated with some European witch trials, not the Salem prosecutions.

    Who was Tituba?

    Tituba was an enslaved woman living in Reverend Samuel Parris’s household. She became one of the first people accused of witchcraft after confessing under intense pressure. Her life after the trials remains one of Salem’s greatest historical mysteries.

    What was spectral evidence?

    Spectral evidence was testimony claiming that the spirit or apparition of an accused person had appeared to torment someone. Although impossible to verify, it was accepted by the court during much of the trials, contributing significantly to the hysteria.

    Why do the Salem Witch Trials still matter today?

    The trials remain a powerful lesson about mass hysteria, the dangers of unreliable evidence, and the importance of due process. They continue to influence literature, film, politics, and discussions about justice more than three centuries later.


    The post The Salem Witch Trials of 1692: History, Fear, and the Birth of an American Nightmare appeared first on Edgar Allan Poets – Noir Rock Band.

  • Track Premiere: Troll Mother – ‘Fucked by Trolls’

    Stoner metal crew Troll Mother have an important story to tell you in the form of “Fucked by Trolls,” the first peep of their new album, A Tale for Two, set for release this winter. Hailing from West Sussex, England, Troll Mother perform music that’s far more listenable than the song title “Fucked by Trolls” implies. 

    “Troll Mother would like to invite you to your Tale For Two,” the band members (trolls?) tell Decibel. “Commencing with ‘Fucked By Trolls,’ we begin our journey through toil and despair, triumph and victory, love and loss…Shut your doors, close your curtains and ready yourself… for this is only the begging of a harsh tale.’

    You can listen to “Fucked by Trolls” below and head to Bandcamp to own it yourself.

    The post Track Premiere: Troll Mother – ‘Fucked by Trolls’ appeared first on Decibel Magazine.

  • MONDAYSUCKS with JOHN GOBLIKON – NO ONE SURVIVES: An Uber?!

    MONDAYSUCKS UBER

    HERRRRRRRE’S JOHNNY! 

    That’s a new, original phrase I am trying out. 

    That’s right, Gob Squad; THIS THURSDAY it is time for me to make my long-anticipated return to the big screen. Well, I guess the size of the screen depends on your laptop or phone, and my phone is a Nokia flip phone with a tiny screen, spotty service, and a permanent chocolate stain, but I did manage to get to level four on Snake yesterday, so EAT IT, iPhone freaks! That begs another question: if movie theaters call it the silver screen, what do you call it when your short film will mostly be viewed on a phone screen? I guess you could say I am going to be back on the black mirror, which does sound pretty friggin’ metal! 

    We will be releasing our first of THREE shorts, aptly titled: No One Survives… THE SERIES. Yeah, an ode to where it all began, and much like the original music video, a camera crew followed me around, documenting my every move; only this time, they didn’t want to see me at work, which may or may not be because my life-insurance company said that it would “legally and morally be a terrible idea” since during said original “No One Survives” shoot I allegedly attacked my boss, Brad. An event my company now refers to as “The great HR disaster of 2012.” This time, they wanted to get more of a peek behind the peeking behind-the-ears and follow me on my journey to and from work. In this first of three episodes, titled “No One Survives: an Uber,” which drops this Thursday on Nekrogoblitube! Let me tell ya, this Uber driver I had was terrible. Quite possibly the worst! I don’t wanna spoil the ending, but let’s just say Ubers are a RIP-OFF… literally. 😉 

    THAT’S NOT ALL, FOLKS!

    Another new, original phrase I am trying out – what do you think so far?

    My band decided, in honor of this new chapter of No One Survives, that maybe it was time to revisit the song, so guess what? WE DID. The premier goblin-metal band Nekrogoblikon went into the studio with its current, rockin’ lineup and re-recorded “No One Survives,” with my best friend Dickie Allen on growls and the majestic, golden-green vocals of a little goblin you might have heard of, singing the epic choruses… that’s right, ME. Can you believe it? From being the subject of a music video to singing on the new, reimagined track of that very same song, which will be available wherever you stream your tunes – ALSO THIS THURSDAY!!! 

    You should be green with envy, cause, hand to Gob, I am living the dream! 

    You may be wondering, “John, did you always know you were going to be a star?” Thank you for asking, GQ Magazine… I did, actually. My earliest gobhood memory was at my village’s annual “Gobs & Ghouls Talent Show,” hosted by our most famous green guy, GARY GOBLIN (pictured below). What a legend. 

    My name was called; I stepped into the spotlight, hit my mark, and… that’s when we were invaded BY TROLLS. So no, I didn’t get to perform my interpretive dance set to the soundtrack of 2001: A Space Odyssey… but one could say, I caught the bug… the acting bug… in addition to a nasty cold, trolls are disgusting and never was their hands so I definitely caught some kind of sinus bug that put me out for a few weeks. After my parents decided my planet was no longer safe to live on, they sent me to the one place they knew their budding star would blossom: Los Angeles. They strapped me to a rocket with one granola bar and my iPad, and fired me straight at LA… and missed it by like six exits. That’s how I ended up in the second entertainment capital of the world, Reseda, CA. Years of struggling with crappy day jobs while taking expensive acting classes at night. Eventually, they kicked me out for “never remembering my lines” and “biting my scene partners.” But I knew I was destined to become Daniel Gob–Lewis one day! Anthony Gobkins! OR at the very least, Gobrey Plaza! 

    THERE’S NO TIME LIKE THE PRESENT! 

    The third, original phrase I am toying with. 

    Here I am, starring in not one, but THREE horror-comedy shorts, playing the most complex, sexy, heroic role of a lifetime: Myself. The least you could do is watch it on Thursday the second it’s released, 600 times should do, then, like it, comment something nice, and then share it with 2 million of your friends! Thank you, humans; you’re doing Gob’s work. 

    Next stop: THE ACADEMY AWARDS, or at the very least the MTV Movie Awards, or at the very, very least, we’ll end up on Tubi. 

    The post MONDAYSUCKS with JOHN GOBLIKON – NO ONE SURVIVES: An Uber?! appeared first on MetalSucks.

  • Ozzfest confirms US return for 2027

    Ozzfest will return to the US in 2027.

    The reactivating heavy metal festival, founded by Sharon Osbourne and her late husband Ozzy in the mid-90s, has confirmed that it will make its way Stateside next year.

    The news follows the announcement of a UK edition for 2027, which will take place at Villa Park in Ozzy’s hometown of Birmingham, where he played his last show before his death in July 2025. No performers have been announced for either edition at time of publication.

    Sharon, 73, has spoken multiple times about bringing Ozzfest back following her husband’s death last July, aged 76. Talking to Hammer earlier this year, she said that the upcoming UK edition will be one or two days long, depending on fan interest. She promised more details “soon”.

    In addition, she told Billboard in January that the event will return with a lineup that transcends its past niche of rock and metal, with a focus on young talent.

    “It was something Ozzy was very passionate about: giving young talent a stage in front of a lot of people,” she said. “We really started metal festivals in this country. It was [replicated but] never done with the spirit of what ours was, because ours was a place for new talent. It was like summer camp for kids.”

    The Osbournes started Ozzfest after fellow travelling festival Lollapalooza refused to give Ozzy a spot on their lineup. The inaugural edition was a two-day tour with dates in Phoenix, Arizona and San Bernardino, California. Ozzy headlined with support from Slayer, Danzig, Biohazard, Sepultura and more.

    As nu metal began to gather steam in the late 90s, Ozzfest became famous for putting up-and-coming artists on its bill. Such acts as Slipknot, Limp Bizkit and System Of A Down performed at the festival around the release of their debut albums.

    Ozzfest expanded to have international offshoots in markets including the UK, Germany, Belgium and Japan before hosting its final incarnation – a single show in Inglewood, California – in 2018.

    In 2023, Sharon explained why Ozzfest went away, saying on her family podcast The Osbournes that other managers got greedy.

    “It was a very weird beast,” she said, “because all the bands were our mates, but the managers were greedy, and for some reason they thought that we were making billions on it and we weren’t. We made a profit. But it was not like – we couldn’t retire on it. And managers and agents wanted more and more and more, and it just wasn’t cost-effective anymore. We stopped because it just wasn’t cost-effective.”

    However, the following year, she added that “of course” Ozzfest can return one day. “You can do it for a baby stage, but you still need the headliners,” she said. “It’s always great to have the baby stage, I mean, that’s what it’s all about – breaking new bands. That’s why we did it.”

    Ozzy’s retirement show, Back To The Beginning, took place at a sold-out Villa Park and was live-streamed by more than five million people worldwide. Ozzy performed both with his solo band and Black Sabbath: the heavy metal pioneers’ first show since 2017, and their first with their all-original lineup since 2005. The support lineup included Metallica, Guns N’ Roses, Tool, Gojira, Anthrax and Mastodon. Proceeds from the event went to the charities Cure Parkinson’s, Birmingham Children’s Hospital Charity and Acorns Children’s Hospice.

    A Back To The Beginning concert film will hit cinema screens later this year.