Symphonic metal outfit Liva unveil the official music video for ‘O Roma Nobilis‘, bringing a centuries-old Latin hymn into the band’s distinctive world of orchestral arrangements, operatic vocals, and heavy guitar work. The track is taken from the band’s album ‘Ecce Mundus‘, out via Wormholedeath. Written in praise of Rome, the hymn presents the Eternal […]
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Posted on September 30th 2026, 11:30am
Tulsa trio Doctor Nez whip up the fuzz on their new record, Nothing Short Of Silver.
Currently quartered in Colorado, Doctor Nez began in Tulsa, Oklahoma. Nothing Short Of Silver is said to be “the first installment in a dark fantasy journey of an individual in the throes of a curse, changing the very nature of their soul. Listeners will experience the fear of change, the shame of bloodshed, the desperation of unrequited love, a lust for power, and a determination to spread misery unto the world. Under the full moon, the curse changes everything…no matter how hard you try to resist.” The band is Doctor Nez (guitar, vocals), Luke Prentice (bass), and Brett Wutzke (drums).
There are six songs in the set. “Dusk” is cautious and creepy, rolling in with effects before a groaning guitar is finally heard. The guitar disappears and the noises fade out. “Last” is a great roadhouse song. Heavy blues and fuzzy riffs put a beer in your right hand and a shot in your left. “Pale Full Moon” is more of a rambler, the kind of song you want to hear when you are driving lonely country roads late at night. Statements sound like questions and answers aren’t really needed. It is a fantastic heavy song.
“Find Familiar” is a rumination, slow, heavy, and merciless in its soaking emotion. “Nothing Short of Silver,” our title track, is extremely heavy and somehow buoyant as well, breathing under water and spinning on the breach. It is a great werewolf song. “Perfectly Human” finishes the record off. It sounds like a single, ripping through its three minutes with singability and snappiness. This song is good at the end, and it would have started the album off well, too. Either way, give this sixpack a listen. Recommended.
Nothing Short Of Silver is out on Thursday, October 1st. Listen and buy at the links below.
Links.
Bandcamp, https://doctornez.bandcamp.com/
Facebook, https://www.facebook.com/doctornezmusic
© Wayne Edwards
Posted on September 30th 2026, 11:18am
Hard rocking guitarist Jack J Hutchinson releases his third single, ‘Solar Fire’, from his upcoming new album ‘Soul Believer’. Co-written with producer Josiah J Manning and featuring Billy Hammett on drums, the track follows Jack’s recent support tour with legendary guitarist Robin Trower, including his biggest ever London show at Shepherd’s Bush Empire. Download/Stream – here […]
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Crown Lands formed in Southwestern Ontario in 2015 after Cody Bowles and Kevin Comeau bonded over a shared love of classic rock and progressive music. The duo built its sound around an unusually large musical footprint for two people, with Bowles handling lead vocals, drums, percussion, and flutes while Comeau covers guitars, bass, keyboards, and synthesizers. Early Crown Lands music drew heavily from blues, folk, hard rock, and psychedelic rock, while the influence of Rush gradually pushed the pair toward increasingly ambitious progressive arrangements. The duo’s first releases were the Mantra EP in 2016 and Rise Over Run in 2017.
The post Complete List Of Crown Lands Songs From A to Z appeared first on ClassicRockHistory.com.
Tom Morello has spoken about Rage Against The Machine‘s legendary and infamous naked protest onstage at Lollapalooza 1993.
On July 18, 1993, as the opening act on Lollapalooza’s main stage, Morello and bandmates Zack de la Rocha, Tim Commerford, and Brad Wilk walked onstage naked at the JFK Stadium site in Philadelphia with black tape over their mouths and the letters P-M-R-C written in paint on their chests: the initials were a reference to the Parents Music Resource Center, a coalition of politicians’ wives who campaigned against violent and sexual imagery in music, and pressured record companies to flag up releases featuring ‘Explicit Content’. The group stood onstage for 15 minutes without playing a note of music, to make a statement against censorship and right-wing politicians’ attempts to erode First Amendment rights.
In a new interview with NME, Morello shares his memories of the landmark protest.
“We were going to do it in Washington, DC,” he recalls, “but there was disagreements about what the protest was going to be, so we did it in Philadelphia. The record company had brought down everybody to be like, ‘Here’s Rage Against The Machine’. Lollapalooza was a phenomenon – that year, it had sold-out before they announced the bill. We were the first band on.
“Our tour manager was the only person who knew what we planned to do, and he’d worked out we had 15 minutes before the cops arrived, and we’d have to get the hell out of there,” he continues. “Backstage, we have our clothes on, and Layne Staley – whose band Alice in Chains is headlining – said to me: ‘I came early today. I heard you guys are great. I can’t wait to see you.’ I reply: ‘You’re going to see us all right!’ [Laughs].”
Looking back on the band’s provocative protest, Morello says, “We stripped, walked out and the crowd goes bananas. ‘Cause one: it’s Lollapalooza, two: it’s naked guys, some of whom are fairly well-hung. Three: it’s a protest. The guitars are squealing back.
“For the first five minutes, it’s euphoria. For the next five minutes, it’s a strange stand-off as the audience realise we’re now in minute seven, eight, nine… that’s a long-ass time to be standing buck-naked in a football stadium. During the last five minutes, it’s hostile – they’re throwing quarters at our dicks! People are booing. They now realise they’ve stepped into a pile of political art. Then we leave without playing a single song, and there’s a murderous outpouring from the crowd!”
Morello recalls that, as the Philadelphia police came looking for the band, he hid out on Fishbone’s tour bus, still naked, and watched Stars Wars.
“The point was you cannot take controversial music for granted,” he concludes.
Morello’s solo album Everyone Gets Everything They Want is out now.
In many quarters, the rise of Amon Amarth to festival headliners remains something of a mystery. Thirteen albums and over 30 years under their belt, the band that burst out of Sweden in 1992 and plays a repetitive style of melodic Death Metal. They still mystify me with some of their music.
Release Date: 2 October 2026
Words: Paul Hutchings
It is almost a parody, a laughable pastiche and a topic that is surely wearing thin. But no, there is still ample in the tank, and the lake of Odin and Norse mythology continues to provide lyrical content aplenty.
Underneath it all, the twin guitar attack, melodious Death Metal and hammering rhythm section that underpin Johann Hegg’s gravel-throated roar still appeal. Stand in a crowd of thousands in front of these Swedish Vikings, and it is almost impossible to refrain from punching the air, banging that head or, dare I say it, joining in on the rowing which has become traditional at their shows.
I will freely admit that their last few albums have merely grazed me as they passed by. Shield Wall on 2019’s Berserker is one of the few tracks I could name.
But such is their catalogue between their origins on Once Sent From The Golden Hall through to Twilight Of The Thunder Gods that it does not really matter.
Album 13 then, The Allfather Awakens has arrived, and as the band prepare to set sail on another tour (three paltry UK dates is disappointing), it is time to explore what the Swedes have to offer this time round.
There is a god-awful elephant in the room which needs euthanising immediately. Upphaf is a stanza from the poem Völuspá, and the band’s first attempt at an acoustic offering. It is truly dreadful and highlights Hegg’s vocal limitations even more than their dreadful cover of Aerials many years ago.
Upphaf is a stinker of a song, and a reminder that there are times when you should really stay in lane. It is sandwiched between the anthemic if ropey We Rule The Waves and Die With A War Cry, something that will no doubt get the muscle-clad fans punching the sky in homage.
The latter is more distinctive Amon Amarth and the drumming is intense. Kudos to Jocke Wallgren, who hammers with anvils, not sticks!
Opener Gjallarhorn is another epic tale and sure to be the song that starts each night on their tour. There is a massive riff that kicks things off with assured power, and although the initial singalong is a bit cheesy, once the song gets moving, it is one of the best on the album. A truly pounding track, Hegg is in his best form here as he roars his lyrics.
It had taken two sets of recording sessions to create The Allfather Awakens, stretching across Spring 2025 and then March 2026. You can hear the effort that has been poured into the album.
“We worked on one song at a time and made each song as good as possible,” says guitarist Olavi Mikkonen. “Then we recorded one song at a time until each track was totally finished, drums, guitars, and vocals. Only then did we start on the next one.”
I will be honest, there are times when Amon Amarth’s style blends into one. The songs have a similarity that is both expected and predictable. We Rule The Waves could sit on any of their last five or six albums. The bounce, the tempo and the melody are recycled from a million other songs.
Perhaps that is part of their charm. Rehash the same song time and again, slight tweaks and then it’s another Viking anthem to sing along to. Tell me that you have not heard Raven God before and I think your honesty needs checking.
34 years since the band emerged from their Swedish home Tumba, it is unlikely that you would want them to change. In fact, the one effort to switch style is so bad that you demand they resort to thick riffs and bronchial rasps.
If you like Amon Amarth, then The Allfather Awakens will please you. Big thumping anthems include the chugging title track and the second song, Eight Legs Of Thunder, which will get the drinking horns raised high in the air. The artwork by Tom Thiel grabs the attention, another piece of quality from the band’s trusty artist.
It certainly was an album I was comfortable listening to several times in preparation for this review, even if my sinews overall remained unmoved and my urge to order it on vinyl was diminished.
Amon Amarth do what Amon Amarth do. They have carved a Viking-sized niche in the Metal world and remain atop that spot. Little will change. And in a world of constant change, that may be okay.
Amon Amarth release The Allfather Awakens on 2 October 2026 via Metal Blade Records. Available in a host of variants, visit lnk.to/TheAllfatherAwakens for more details.
