A five CD box set of Scottish New Wave of British Heavy Metal band Holocaust’s output between 1989 and 2003 is due for release on 24 April 2026 by Cherry Red Records. Whilst it is titled as Dance in to the Void on the cover, I wonder if it should be Dance Into The Vortex […]
A strong sea breeze is rising as Full Metal Holiday once again invites fans to a metal vacation under the Spanish sun in 2026. From October 12–19, 2026 (Part 1) and October 20–27, 2026 (Part 2), fans will gather in Mallorca for a unique combination of festival and getaway. Act fast, as tickets are now only available for the second festival […]
The landscape for 1990s punk rock in Southern California was vast and diverse. Coming up in a time with fast guitars and double bass pedals, Nerf Herder carved out a niche that teeters on a lot of different lines. Yet, Parry Gripp and crew have endured for over thirty years playing a brand of punk rock that is musically and lyrically their own. With songs teeming with great hooks and more nerd references than you can shake a stick at, Nerf Herder was able to stand out in a sea of sometimes carbon-copied punk rock bands.
In between Nerf Herder’s active times, lead singer, Parry Gripp has made a career out of making the same types of silly songs for a younger audience, but also jingles for brands like Wawa Food Markets and Hallmark Cards. Gripp has written themes and songs for a number of TV shows including The Super Hero Squad Show, Ben 10: Omniverse, and StoryBots Super Songs. In 2017, he won a Daytime Emmy for the song “I’m not Very Nice” from the Disney TV show the 7D based on Snow White and the Seven Dwarfs.
This year Nerf Herder celebrates thirty years of their self-titled LP. We talked to Parry about the record that started it all, its legacy and how it is still finding new fans three decades later.
(Edited for clarity)
Parry Gripp: Sorry it took so long for us to finally talk, but here we are.
Dying Scene (Forrest Gaddis): No worries, man. Thank you for doing this. I’ve met you a couple of times at shows and you’re always so fun and cool to talk to.
That’s very flattering. Thank you. What town do you live in?
I’m in Orange County. I saw you at Chain Reaction years ago. You guys played with Peelander Z.
OK, that’s going way back. That was 2006, I think.
Then we saw you about ten years ago at Slide Bar.
Oh, right. OK, yeah. Yeah, right. I remember that.
I do have to say my daughter was really excited that we are talking because she liked the StoryBots when she was younger. I played a little bit of Nerf Herder. She’s a teenager now, and getting into punk rock, I told her you wrote “Walk Like A Camel.”
I think “Walk Like A Camel” is my favorite song I’ve ever written. So I’m glad you referenced that.
It was funny because she was watching the show, and I’m like, “Are they ripping Parry from Nerf Herder off?” And then I look, and I’m like, “Oh, it’s Parry from Nerf Herder.”
That’s so funny.
How did Nerf Herder initially come together?
We’re from Santa Barbara, which is a small town, and at the time, it was the mid to late 90s. Every person you knew was in a band. There was no Googling or anything like that. You just had to do something. And what do you do? Oh, you’re in a band. That’s kind of what everyone was doing. Steve and I went to the same high school; we had known each other for a while. Charlie was just a guy in other bands from around town. We just started playing together.
It’s a natural thing. Really, it’s unbelievable we’re still playing because at the time it was just a way to hang out with other people in bands. I don’t know if you’ve ever been in a band. It’s just a way to have a social life. We were just excited to be playing at the Mexican restaurant with all the other bands around town. We weren’t super serious about it. I was really hoping that my girlfriend would be impressed and not dump me. So, that was a big motivator, too.
Who were the bigger bands in Santa Barbara at the time?
Lagwagon was from Santa Barbara, and they had been somewhat bigger at that point. There were touring bands. Toad the Wet Sprocket earlier was a huge band from Santa Barbara. Other bands that came out of that scene, like Summer Camp, who we’re playing with at this 30th-anniversary show in Santa Barbara, they got signed. Dishwalla was a big band that came out of that scene. They were just guys we all knew. It was kind of a small town, and still kind of a small town. It just was something to do. Everyone was in a band.
Was there ever a weird bill or a strange lineup that you were on in those early days that didn’t make sense, or was it just those bands essentially rotating out?
Because it was a small town, you ended up playing with just whoever was standing around. So, there were all kinds. I mean, I think the 90s was just this weird experimenting time for bands. There were grunge bands, punk bands, there were still metal bands, and there were folk rock bands. I think that you would play with weirdos all the time, but you didn’t really think about it.
What do you remember about the early shows?
Yeah, I mean, they were chaotic, and we just wanted to play. I think we had like six songs when we played our first show. It wasn’t like a full set. We basically just wanted to have enough songs to be able to get on stage for a little bit.
One thing I remember, we had been playing for a few months, and after a while, we came up with a cassette tape that had “Sorry” on it, and the local radio station played it. I remember at that point we were playing at Alex’s Cantina, which is a Mexican restaurant downtown. There were high school kids who couldn’t get in because it was a bar, standing outside and watching us through the window. I remember thinking, “Oh, that’s kind of neat that these kids had heard it on the radio.” Here they were, going downtown to watch us through the window at the Mexican restaurant.
Was there a moment you realized the band was working better than you thought?
Yeah, I guess when Joey Cape from Lagwagon had us record our debut record, I mean, that seemed like a big step. We thought maybe it would be like playing L.A. and San Francisco and stuff like that. It happened really fast. We were signed to Arista, this big label, and we had a video on MTV. That was like, wow, this is it, it just seems insane. It’s still crazy to me. You sort of assume anything can happen at that point.
What was the time between you guys starting the band and you guys signing and getting on MTV?
I think it was a couple of years. It seemed fast. I mean, we were just having fun, playing different things, and then doing the record with Joey. That was really exciting. We didn’t know it would happen. Then “Van Halen,” our song, which is really dumb and goofy, was picked up by radio, and that just seems unbelievable. We just wrote that song to be funny for the people that were at the Mexican restaurant. We didn’t ever think that Sammy Hagar, Van Halen, or anyone like that would hear the song. That just seems crazy. It still seems crazy.
I know Sammy Hagar wasn’t initially enthused about the song. Has he ever said anything about it since then, or have you run into him?
I can imagine if someone sang that song about me, I would be really mad and bummed, too. So I totally understand that. The point of a lot of Nerf Herder songs is that the guy singing the song is kind of crazy. I call it a relatable idiot type person. I mean, I don’t really dislike Sammy Hagar, but the character singing the song does. He’s really mad about it. I don’t know, but I still don’t want to meet Sammy Hagar.
Although Sammy Hagar was on this PBS show, Finding Your Roots, I don’t know if you’ve ever seen the show, but he was on that show and my wife watched it. She’s like, “Oh, you’ve got to watch this show about Sammy Hagar. You will love him after you watch it. Your heart will go out to him.” He had kind of a crazy life and a hard upbringing. I might have written a different song if it came out before we wrote Van Halen. I still think it’s a funny song.
Do you feel any different about any of the songs that you wrote outside of “Van Halen” since that time?
Not really, no. I mean, they’re all kind of satirical. They were kind of ridiculous when we wrote them. I still feel that way about them. It’s weird looking back at something you wrote thirty years ago. It’s sort of like you’re thinking about a different person, but I still like them. I think they’re funny. I think they’re silly.
I know you write a lot more kid-friendly stuff now. Have any of those kids become Nerf Herder fans?
It’s funny. People bring their little kids to Nerf Herder shows. When I can, I explain, “Hey, Nerf Herder is different.” They’re always like, “We know.” The parents know they shouldn’t bring their kid to this thing. Recently, we’ve had a lot of younger people, like high school kids, coming to see Nerf Herder. I think it’s because they found How To Meet Girls. It’s weird to me. I’ve even asked them, “What are you doing here? You’re in high school.” They really like “Feeling Bad” and “Pervert.” They love the song “Pervert.” I can’t really advocate for that. It’s kind of strange, but I’m glad people are there.
I feel like everyone looks at things superficially and sometimes doesn’t get satirical references.
It’s really different the way people take things, but I feel like these people get it. I think people understand satire. Maybe they think it’s something new. The 90s were sort of an “anything goes” kind of era with what you could say. It was understood that it was satirical or you were kind of making fun of a certain culture or something like that, but now it hasn’t been like that. So, I don’t know. What can you do?
When you write a song, especially thirty years ago, you didn’t think about how things would change. It’s just out there. What can you do? You can’t change that.
Are there any tracks you don’t play anymore for any reason, whether content-wise or because it’s not your favorite song in general?
I try not to play any songs that are difficult. We came out with this album, Rockingham. The song, “The Girl Who Listened to Rush,” is just hard to play. I try to avoid playing that. Those other guys, Linus, Ben, and Steve, they’ll want to play it. I try to veto that, but sometimes we do anything that’s difficult to play or difficult to sing.
Is there anything you felt was a personal song off this album?
“Golfshirt” is kind of personal. I think a lot of the songs I would write from a personal perspective, and then I would change the lyrics. They were kind of more ridiculous. Like “Sorry,” it’s really over the top. If you toned it down, it would be like a guy really whining. So you bump it up and then it’s sort of funny. I think that they all have kind of personal elements to them.
Do you feel “Golfshirt” is an outlier on this record compared to some of the other songs?
It’s a little more serious, but it’s also ridiculous. The sound of it is a little different, right? I guess there isn’t a song quite like that on there.
Have you changed any of the lyrics over the years to keep the pop culture references up to date, or do you keep them as they are?
We use the same references. Until recently, it was kind of the same people coming to see us. They would all get the reference.
What song from the album has surprised you the most that people love the most off that album?
Probably, “Nosering Girl,” just because it was really like a toss-off thing, with kind of ad-libbed lyrics, but people love that song; we always play it.
Were there any songs from these sessions that didn’t make the album but found a home later?
We had a song called “Hospital,” but I don’t think we recorded it that session.
How do you think the album fits into the larger pop-punk or nerd rock landscape in general?
I don’t know. I think it was sort of an earlier pop-punk record, but it has Weezer-y influences. We were really listening to NOFX, but we couldn’t play that fast. I think it fits in with the Fat Mike, NOFX-type stuff, the Weezer-type stuff, but a lot of it just has a Ramones thing. I don’t know how it fits. I hope it fits in; I don’t really know.
What’s the most unexpectedly cool thing that happened because of this album?
Oh, well, of course, having Mark Hamill in the video for “Sorry” was huge, but our whole having a record deal and getting to tour. I don’t think that would have happened without this record kind of starting it all for us. It’s weird to be thirty years later and still playing it; you just never imagine that you’ll be doing that.
How was it having Mark Hamill for the video for “Sorry”?
Oh, it was amazing. Oh, my God. It was great. That’s still like a high point in all of our lives. We were all such Star Wars fans, and to have Mark Hamill and Miguel Ferrer, he was amazing. I wish that we could have just hung out with Mark Hamill for the rest of our lives. I still can’t believe it. I look at the video. I’m like, I can’t believe Mark Hamill’s there yelling at us.
Did you figure this record would lead to a music career in general?
I don’t know, with a career in music, a lot of luck is involved in that. I think the whole time I was thinking, “Oh, this is going to stop and I’ll end up doing something else.” It’s been really lucky and strange.
My friends and I love For Those About The Shop…
I’m glad you got that.
We listened to that a lot.
Oh, I’m glad someone did.
Was that just you trying to show that you could do a bunch of different types of music?
I was just goofing around. Nerf Herder had kind of stopped, and it was just something to do for fun, the way you might take up woodworking or something. I was just like, “Oh, I’m going to write these songs.” When I had 50 of them, I thought, “I’ll see if someone will put this out.” “Do You Like Waffles?” is still a popular kids’ song. I don’t know how that happened, but it’s still getting played.
Was “Buffy the Vampire Slayer” your first musical work for TV? Like your first TV theme?
It was just a random thing. Some of the actors on the show liked our band, and they had us come up with something. They asked a bunch of bands, actually, and they liked what we came up with. It was again, sort of a luck kind of thing.
How long into Nerf Herder did that come out?
It was right when our record was being made and we were getting signed. Our first tour was with Weezer. We have a song about that. People back home were like, “Hey, we’re watching this TV show. You guys did the theme song.” It wasn’t like now where you just bring up YouTube or watch it online. There was none of that. You kind of relied on someone calling you on their landline.
Are there any elements from old material that you find yourself returning to in music now?
All of it. I mean, we try to regain that. The first record was so organic, and there was no real thought put into it. You try to mine that stuff again because it seemed like magic at the time. I think a lot of that, if you listen to Nerf Herder records, you’re like, “Whoa, these all sound kind of similar.”
Especially when you added the keyboard, was it the second or third record?
Yes, that’s the second record we did. We couldn’t play the keyboard too well.
You’re doing an anniversary show in Santa Barbara, a European tour, and an acoustic version of the album.
There’s some debate about whether it’s acoustic or not. All the guitars are acoustic, but the drums… I guess drums are normally acoustic. It’s kind of the same energy as the first record, just done with acoustic guitars. There are a few surprises in there, but I don’t know. It’s interesting. The initial idea was just for it to be like one microphone and us playing around the microphone. It’s turned into a produced version of the first record with acoustic guitars. You wouldn’t mistake one for the other.
Is it, for lack of a better term, like a Violent Femmes version of the first album?
Yeah, it’s kind of like a Violent Femmes version. Maybe not as out of control as that, but that was sort of the idea. Ben Pringle is playing his acoustic bass. Linus and I both play acoustic guitars. It was really fun to do. It’s fun to work on a record where you already have these songs so you don’t have to worry about messing with them, though we did mess with them a little bit. I’m excited to hear it when it comes out.
It’s coming out on Fat Wreck Chords. When we first started, Fat distributed the record. They were kind of there from the beginning. We’ve always been friends with them. It’s very exciting. The guy who kind of masterminded that was our drummer, Steve Sherlock. It was really his idea. He took it to Fat and they were like, “We’ll put this out.” I didn’t really think that would happen, but now that it’s happening, it’s great.
Are you guys incorporating these versions into the set?
We don’t really know. We’re going to get together at some point and figure out what we’re doing for these shows. We’re definitely playing the whole first record. I can’t imagine we would do some of it acoustically; we’ll see.
Are you guys working on any new music, or just focusing on the first record right now?
We’re really focusing on the first record. We have a lot of half-written songs where the bands played all the backing tracks, and they just need words and stuff like that. There are definitely things being worked on, slowly though.
Through her work across five Vastum albums, LEILA ABDUL-RAUF has been a sonorous contributor to 20 Buck Spin’s discography for more than fifteen years now. Concurrent to that, she’s also amassed an impressive body of solo work whereby she could showcase the full range of her multi-instrumental artistic and vocal talents. 20 Buck Spin now welcomes that […]
When the spearhead of German Dark Power Metal joins forces with one of Europe’s most influential folk metal bands, an extraordinary live experience is guaranteed: With two consecutive Top 3 entries in the official German album charts, ORDEN OGAN have firmly established themselves as one of the dominant forces in the European metal scene. For their biggest […]
Jonas Carping’s Lean On Me feels deeply personal, like a quiet conversation with grief that hasn’t quite found its resolution. His warm, slightly weathered vocals carry a fragile honesty, floating over gentle guitars and soft piano lines that slowly unfold with understated emotion. Rather than dramatizing loss, the song lingers in that vulnerable space where memories, longing, and the hope of moving forward coexist uneasily. Subtle harmonies add warmth, but the emotional core remains raw and intimate.
Lean On Me resonates as a heartfelt confession—tender, reflective, and profoundly human.
The Gathering are one of the greatest bands of all time. My first interview, in spite of being a seasoned writer for MetalTalk, should not have come with a band of such musical pedigree. And then, to have my 17-year-old daughter Raya on the interview, whose fandom goes deep into their catalogue, the whole experience felt truly surreal.
A large part of the greatness of The Gathering is that their music, especially their live performances, is a surreal experience of the mind. Raya, in her teenage exuberance, even blurted out, “That this is what being on acid must be like.” Ah, youth. Invariably honest with their emotions.
Given that their music is a deep exploration of human emotions and experiences, and that many of their tours have featured art/visuals/film with a dreamy, not-of-this-world feel, one can understand Raya’s quick leap into a hallucinogenic description.
In fact, The Gathering is beyond a listening experience. It is a feeling experience. And, in no uncertain terms, the band wants you to, much like the classic Peter Frampton song, “feel like the way we do.”
I have a license to speak about The Gathering with such loftiness, and this interview preamble you are reading is absolutely necessary. You want something short and concise? I am not giving it to you. I am not giving it to you because the band’s music doesn’t give it to you and never has.
I am 61. I know the catalogues of all the classic rock bands inside out. I saw every band of the alternative/Seattle scene on their first tour, except for Nirvana.
I wrote a 400+ page book tracing the history (ongoing) of the 30+ year stoner/desert/doom scene, the same amount of time The Gathering has been around.
It was important for Raya and me to frame our interview with them with the musical reckoning of the opening sentence of this piece, with the band being perched on the summit with any musical force you want to mention.
But, what sets this Dutch treasure apart from any band that I know of that has that kind of legacy is their unbridled devotion to leveraging mystery and mystical ideas of space and time and how it marinates with themes like our human wonder of the natural world that are both big and small.
The Gathering possess lyrical lenses that are metaphorically both telescopic and microscopic. And, sandwiching these lyrics are often moments of uncompromising heavy music. The healing power of nature and how we need to be aligned with its philosophical gifts are found in so many of their songs.
“It is all there The earth and the ocean Contain the power of our lives.” Great Ocean Road (1999).
“I am the snow falling on your face.” On Most Surfaces (1999)
“Mother Earth, look at her closely She looks at her baby and she sighs The slight breathing pause that she takes it builds her and Makes her strong She refuses to give her up” – The Earth Is My Witness (1997)
Their music is a testament to the motivation to explore, create, and connect while using every colour available to them.
“You have to learn to be strong and be glad to be alive. You have to take every colour available in the palette and make the best painting you can, while you can.” – Nancy Wilson
The Gathering has, staying with metaphorical wisdom of one of the most creative artists of our time and the artist who sang my favourite song of all time, Nada One, created some of rock music’s greatest masterpieces.
So, with all that, you can imagine Raya and I were openly grateful for the opportunity to spend 45 minutes with Anneke Van Giersbergen and Hans Rutten of the band, as 2026 is special for them and their fans.
The Gathering. The Mandylion Anniversary Tour 2026 is making its way to London.
The band has reunited with their wildly adored singer, whose vocal range and interests are unmatched by any other vocalist on the planet, to celebrate the album that brought them together 30 years ago, Mandylion. They performed a run of five sold-out shows at the historic Doornroosje venue in Nijmegen, The Netherlands, last August
The Gathering’s live performances have become a yardstick for me and many others as to the sonic, visual, and emotional potential of a rock concert performance, stretching the experience of light and heavy in every song.
The quiet/moody moments rival those created by Pink Floyd or Genesis, and the heavy/doom moments land just as hard as any Nine Inch Nails or Soundgarden performance. And nobody dances, bangs their head, and makes beautiful hand movements, all fluidly, I might add, to this spectrum of music like Anneke Van Giersbergen.
It is in that statement of how Raya and I decided to couch our initial questions for the band.
Sunil: What is the inspiration/passion to have duality of emotions and sounds consistently in so many of your songs?
Raya: What have been your non-musical influences?
Anneke: Good question. I think it’s just all your experiences of everyday life, conversations, and travel give you this kind of inspiration. You are always taking a little bit of your life every day.
Without answering directly, Hans smiled and nodded in quiet approval.
Raya: What are some of your favourite songs to perform live?
Anneke: That’s so hard. It’s like asking to choose your favourite children. They are all special to us.
Hans: (after a delay, affirming Anneke’s response) Travel.
We thought it was cool that the band offered one song, after understandable resistance to offering any.
Raya and Sunil: We have to ask, who is the creative genius behind the visuals/films that are used in your live performances?
Hans: That would be my brother’s [Rene, the guitarist] wife, who is from Chile, Gema Perez.
Sunil: Mandylion is such a groundbreaking album, for all the reasons I stated. Did the band ever consider just playing the whole album live as other bands have done?
Hans: To be honest, no. We thought it would be boring to play the whole album. But we are playing many songs from it.
I really loved the candour in this answer, highlighting an idea of playing and creating music for themselves first and foremost. This was brought up a few times in the interview, which really felt more like a conversation by the end.
I shared with the band a few quotes that I knew would resonate with them.
“Never play to the gallery, other people’s expectations, as you will produce your worst work that way.” – David Bowie
“An intense obligation to the truth of your innermost self.” – Glenn Friedman, when asked to define punk.
Unfortunately, we had technical issues recording the interview, so the whole, robust affirmation of these quotes from Rene and Anneke is something you will just have to imagine, as I don’t want to shortchange their affirmation for those words of wisdom.
However, as I look back, I am kind of glad there is no recording, and that all these answers are from human recall and there is still mystery left with what is npt included here. And, this brings me to a more of a comment I gave the band to respond to.
Raya and I both contributed here:
I know we are more than 20 minutes into the interview, but I want to share something that Raya and I discussed prior to coming on with you. We both feel that we don’t want to know too much about the band, as so much of its music is filled with complexity and mystery. I just want to enjoy the band’s ‘soup’ without knowing how it’s made.
Anneke: It’s like they say, ‘never meet your heroes’. I completely understand that idea of wanting to keep your appreciation of the band at a certain distance.
Sunil: Who are some of your musical heroes?
Anneke: Mike Patton, Madonna, and Barbara Streisand.
Hans: Bands like the early U2, Rush, and out of the box Metal bands like Voivod were my heroes, and still are. I prefer to choose bands instead of individuals, as I like the synergy between bandmembers. 1 + 1 + 1 = 4. The sum is greater than the parts themselves.
Sunil: What was your first Metal show!?
Hans: That would be seeing Dio in 1986″ (personal note: my first Metal show as well in 1985)
Anneke: When I was younger, I went to see a few local bands in the town where I grew up. But the first Metal concert that truly left a mark on me was Dynamo Metal Fest in Eindhoven, the Netherlands, in 1991. The lineup was great, and that day, a few of my favourite bands stood out above the rest: Primus, Obituary, and Morbid Angel. Little did I know that one day, I would stand on that stage, singing with the Gathering.
Raya: Is there a concert or tour experience that had a lasting impact on you as artists?
Anneke and Hans: We have so many great memories of our early tours when we were first starting out. The 1996 tour with Moonspell and 1998 tour with Lacuna Coil and Seigmen were very special.
Sunil: I know that Rene has a close affiliation with Roadburn, one of the greatest heavy music festivals in the world. Did anyone go to this festival as fans, given the fact that it is in your home country of the Netherlands?
Anneke and Hans: We actually know Walter Hoeijmakers(founder) very well, but strangely, we never attended the festival ourselves. However, we are quite aware of the cultural and global significance of Roadburn.
O2 Shepherd’s Bush EmpireShepherd’s Bush Green, Shepherd’s Bush, London W12 8TT
The Gathering’s long-awaited 2026 Reunion Tour is making its way to London, and for fans of transcendent live music, this is a rare opportunity to
Event Details
The Gathering’s long-awaited 2026 Reunion Tour is making its way to London, and for fans of transcendent live music, this is a rare opportunity to witness one of the most emotionally resonant bands of the past three decades.
With Anneke van Giersbergen back at the helm, the band’s return feels less like a comeback and more like a revival of something that has been deeply missed. The O2 Shepherd’s Bush Empire’s iconic atmosphere is the perfect setting for their layered, atmospheric sound, equal parts heavy, ethereal, and emotionally devastating in the best way possible.
Expect a setlist that blends the best of their landmark 1995 album Mandylion with fan-favourite deep cuts and newer sonic explorations, all delivered with a live intensity that proves The Gathering have lost none of their power.
For longtime followers and curious newcomers alike, this will be a cathartic, immersive experience that reminds us why live music still matters. If you are in London and The Gathering are coming through, missing this show is not an option.
The Gathering play O2 Shepherd’s Bush Empire on 19 May 2026. Tickets are available from gathering.nl.
It is fitting that our conversation concluded with a heavy music festival and the relationship that the band has with Walter, who is so well known by bands and fans, that “Walter” is all he goes by, because warmth and kindness became the lasting idea.
I brought up the idea that listening to the heaviest music must have this neuroplasticity effect on our brain to not only become more open to all kinds of music and experiences, but to be gentler humans.
If there is ever any serious scientific study undertaken, the first case study should be the music of The Gathering and the impact that it has on their worldwide fans.
And the fans are all eagerly awaiting this magical and mystical energy on this very special tour, continuing the celebration of the 30th anniversary of the release of Mandylion.
The heavy music world changed forever with that album, which sounds as potent and relevant today as it did all those years ago.
There was a large, cloth sign that was draped over the balcony at The Capolican Theatre in Santiago, Chile, in 2007, when the band played their final show with Anneke, who was departing to pursue a very successful solo career, and had just released the first EP of an ambitious trilogy, La Vie, La Mort, L’Amour.
On that cloth sign were the words honouring the song Travel.
“Your Musical Will Last Forever”
Indeed, it will.
The Gathering will play their second 2026 show on 19 May at O2 Shepherd’s Bush Empire. Tickets are available from gathering.nl.
Luxembourg-based melodic black/death metal band ÆoniK is proud to announce that their new album “The Roamer of Heaven and Hell” will be released on April 30th via Fetzner Death Records. The album is anticipated by the song “Where the Light Fades to Ash,” available as lyric video: https://youtu.be/bULhgPoT0ro Pre-order the new album Digipak: https://tinyurl.com/5bj7cnyb Cassette: https://tinyurl.com/8dhyaxsr Bandcamp: https://tinyurl.com/52dmx637 “The Roamer of Heaven and Hell” tells the story of a […]
New Jersey-based, Melodic Death/Thrash Band, Legionary, have released new album, Never-Ending Quest for Purpose. Music and merch below! legionary.bandcamp.com/album/never-ending-quest-for-purpose ditto.fm/never-ending-quest-for-purpose bonfire.com/store/legionary-1 “An enthralling, captivating and spellbinding record, this one needs to be heard to be believed.” (9/10) – Metal Noise “Superb, quite technical, and quite melodic guitar work. The guitar solos, in particular, are absolutely top-notch, sure […]
