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10 New Albums You Should Listen to Now: FKA twigs, Colter Wall, and More
Music

10 New Albums You Should Listen to Now: FKA twigs, Colter Wall, and More

by jummy84
written by jummy84

Fans of grizzled country vignettes would be hard-pressed to find a safer pair of hands than Colter Wall, the Saskatchewan-raised singer-songwriter whose traditional approach to the song form has alienated him from the modern country establishment, but, ironically, won a loyal underground following. As the title suggests, his Little Songs follow-up, Memories and Empties, treads lightly into the big questions with a series of drinking songs and musings of plainspoken existentialism. Longtime collaborator Pat Lyons co-produces with Wall, and the Scary Prairie Boys assist.

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Buy at Rough Trade

Summer Walker: Finally Over It [LVRN/Interscope]

Summer Walker is hosting a cordial party and everyone’s invited—at the very least to balk. Finally Over It, the R&B singer’s third studio album, is split into two parts, paying homage to the crucial words of a wedding ceremony: For Better and For Worse. As she wades through the trials and tribulations of love, Walker turns to the evening’s guests of honor—Mariah the Scientist, Chris Brown, Anderson .Paak, Latto, Bryson Tiller, 21 Savage, Brent Faiyaz, Glorilla, Sexyy Red, Teddy Swims, and Monaleo—for toasts, words of advice, and helping hands to make it through.

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Taking Back Sunday. (Credit: Elena De Soto)
Music

5 Albums I Can’t Live Without: Shaun Cooper of Taking Back Sunday

by jummy84
written by jummy84

Name  Shaun Cooper 

Best known for  Bassist of Taking Back Sunday.

Current city: Long Beach, NY.

Really want to be in  Like Dorothy said, there’s no place like home! I’m currently at an orthodontist appointment with my son. No place I’d rather be.

My current music collection has a lot of  Billy Joel.

And a little bit of  Yacht rock.

Preferred format  I love streaming music on Tidal for the convenience and sound quality.

5 Albums I Can’t Live Without:

1

Rocket to Russia, Ramones

It introduced me to punk rock at a young age. Timeless melodies, clever and humorous lyrics and simple chord progressions.  

2

Appetite for Destruction, Guns N’ Roses

These guys seemed like rock and roll aliens to my 7-year-old self. I found them endlessly fascinating and the music connected deeply. It still does.

3

Sgt. Pepper’s Lonely Hearts Club Band, The Beatles

I didn’t get deep into this album until I was 12-13 years old. Paul’s bass playing blew me away. His sense of melody was so inspiring to my bass playing. I remember sitting for hours with the Complete Transcriptions book trying to learn every song.

4

…And Out Come the Wolves, Rancid

I loved their album Let’s Go but the songwriting and depth of …And Out Come the Wolves makes it a very special record. From the jump, Matt Freeman takes a bass solo on “Maxwell Murder” that is just mind melting! The record takes you on a great ride and lyrically Lars and Tim paint a very vivid picture of their lives that really moved me.  

5

Nevermind, Nirvana

This album really changed my world. It made so much of the hair metal I grew up on instantly irrelevant. I had just started playing bass when this came out and you could hear every note Krist Novoselic was playing. It wasn’t too complicated and with some help I could learn every song and play them with my friends in the basement. This made the dream of playing in a band seem possible. The rock gods I loved as a kid were beyond my reach and ability. This! This was something I could do!!!

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The Best Metal Albums of November 2025 » PopMatters
Music

The Best Metal Albums of November 2025 » PopMatters

by jummy84
written by jummy84

Nearing the end of the year, and as is usually the case, November is loaded with excellent best metal releases. Black metal masters Blut Aus Nord continue to explore the dream space, while Deogen and Tatterdemalion adhere to the genre’s raw, lo-fi character, yet still incorporate further elements. On the death metal edge, Qrixkuor continue to showcase ambition and vitality, while the Ominous Circle use blackened steel to embellish their barbaric essence. Then you have Uranium, dripping venomous chaos into their industrialized structures.

On the faster side, Barren Path rise from the ashes of Gridlink to unleash an exhilarating ride with Grieving. On the slow side, Old Year drop a monolith of a record with their droning doom/death in No Dissent. Finally, as part of the last releases from Gilead Media, Yellow Eyes produce a creative peak in an already stellar discography. There is something for everyone, so dig in! – Spyros Stasis

Best Metal Albums of November 2025

Barren Path – Grieving (Willowtip)

The unexpected return of Gridlink with the fantastic Coronet Juniper was unfortunately short-lived. Thankfully, all Coronet Juniper members, minus Jon Chang, have now regrouped as Barren Path, with Mitchell Luna (Maruta/Shock Withdrawal) taking over vocal duties.

As is expected, Barren Path carry forward much of Gridlink’s lineage in their debut, Grieving. The chaotic energy is still the guiding force, immediately taking over from the start of “Whimpering Echo”. The tumultuous ride does not cease. Barren Path showcase an unhinged resolve as “Subversion Record” twists and turns and “Lunar Tear” storms ahead at lightning speed.

Where Barren Path diverge from Gridlink is by trading their sense of playfulness for a more determined, in-your-face approach. The feeling of exhilaration still carries over, lending an epic quality to the underlying melodies of “No Geneva”. It also navigates aptly through the maze-like structures of their song, as if navigating a sonic labyrinth, each turn narrowing like a corridor in House of Leaves.

Luna’s dual vocal delivery further distinguishes Barren Path from their predecessors. Here, the approach leans more towards the death metal style, with cutthroat vocals interacting with deeper growls that result in monstrous moments, as seen in “Primordial Black”. It is a warranted departure from the path, one that echoes with towering figures from mid-to-late 2000s grindcore, and especially Nasum. No karaoke mode this time, just 13 relentless minutes of down-to-business grind. Exactly as it should be. – Spyros Stasis

Blut Aus Nord – Ethereal Horizons (Debemur Morti)

Few bands operate in chapters as Blut Aus Nord do, each new phase anchored by a record that serves as both point of origin and a stylistic guide. Ultima Thulée and Memoria Vetusta I: Fathers of the Icy Age opened the black metal path. The Work Which Transforms God would reach its peak through the 777 trilogy. In their current phase, the origin point is undoubtedly Hallucinogen, a work that moved Blut Aus Nord toward a post-black metal interpretation, with a rich psychedelic backbone.

The mirror image of Hallucinogen, the Disharmonium cycle, reverted the melodic inclinations for a more bitter, nightmare-invoking quality. Now, Ethereal Horizons performs a balancing act, tapping into melodic inclinations without completely succumbing to their sugary quality.

Here, the psychedelic essence is not used to either invoke Lovecraft-ian horror or to craft overbearingly sentimental constructs. The result instead manifests as an alien landscape, monstrous in its form, yet still strangely beautiful. Off-kilter arrangements aid this transformation, the keyboards and synths lending “Seclusion” its otherworldly hue. Similarly, the ritualistic quality emerges with a towering form, rather than a disfigured manifestation, in “The Ordeal”, where the repeating background vocals echo an unknown mantra through the vast space.

Similar to their use of psychedelia, Blut Aus Nord draw on the post-metal and post-black metal genres to add fluidity to their progression. Subdued riffs fill the space with a sense of flux and continuity, yet can erupt at any moment into something immediate and exhilarating. “The Fall Opens the Sky” exemplifies this demeanor, while the discordant, tremolo-picking of “The End Becomes Grace” completes the picture.

In this sense, Ethereal Horizons aligns with the spirit of Memoria Vetusta III: Saturnian Poetry, less through its black metal core than through its melodic devotion. The hooks are excellent and memorable, drawing on classic metallic tropes (“What Burns Now Listens”) to amplify their emotional weight. And so the record stands as both a solid addition to their discography and a bridge between the parallel chapters. – Spyros Stasis

Calvary – White Ruins (Into Endless Chaos)

JW has consistently delivered high-quality extreme music, from the raw, punk-inspired black metal of Grinning Death’s Head to the noise-drenched aggression of Crooked Cross and other projects. Many of these elements are also present in Calvary and their debut White Ruins, but while the punk spirit is undeniable in moments like “Bone Helm”, JW aims for a different interpretation.

The endeavour instead shifts to an early punk/gothic hybrid state, a quality that shines through the melodic inclinations of the record, evident from the outset with “Sanguine Crest”. This further ties into the vocal delivery, which is clean and direct, and drenches the record in a gloomy sense. “Manifest Destiny” carries this demeanour, and ties neatly into doom-laden passages, especially with the mid-tempo parts of “Unto the Morrow”.

The black metal character remains dominant, every riff and lead steeped in raw, lo-fi grit. “Grand Vestige” radiates with this well-known grimness, but it is usually contorted, drawing it closer to Circle of Ouroboros territory, especially with “Lame Deer”.

However, despite its breadth, two key elements stand out for White Ruins. Firstly, the intricate sense of melody, which is present in all different Calvary states, regardless of whether JW is after a black metal riff, a punk breakdown, or a post-punk progression. The other part is the momentum. Whether fast and exhilarating or mid-paced and deliberate, White Ruins feels unstoppable. – Spyros Stasis

Deogen – The Graves and Ghosts of Yore (Iron Bonehead)

Symphonic black metal is nowadays associated with the more mainstream expression of the genre.

However, some understand its original, raw potential, represented by the early works of Limbonic Art, Obtained Enslavement, and Odium. That was further contorted by names long buried in the underground, such as Maldoror, Midgard, and Winter Funeral. Deogen align themselves with this later expression, producing an excellent first specimen in their 2023 debut, The Endless Black Shadows of Abyss.

Deogen understand that two pillars are required for a successful traditionalist expression of symphonic black metal. That was true of their debut and remains the defining trait of The Graves and Ghosts of Yore. On one hand, they produce a work that is filled with atmosphere, sorrow, and drama. Symphonic black metal demands a storytelling quality, and they grip you from the mysterious entrance of the “Pernicious Prayer” intro.

Once the main course arrives, the piano and synths remain central, their icy touch taking an active part in the proceedings. “Desolation Bestowed” unleashes beautiful melodies that define the progression. At the same time, they evoke a romantic quality, each line conjuring scenes of an ancient castle and its endless, dark passageways.

On the other hand, Deogen require their black metal to be raw, not succumbing to the melodic pull of the symphonic side. That is precisely what they deliver, with the start of “By Torchlight” establishing this unyielding approach. The traditional grim riffing is found throughout, its purest and most staggering expression in “Clawing Into Sphere and Sun”, where it overpowers the tasteful piano.

What makes these two pillars come together is the production. At first glance, this might appear to be a standard, lo-fi, and minimalist 1990s throwback. While on the surface that is true, Deogen have made sure that it complements the diverging elements of their work. The harshness is thus increased, but at the same time, the symphonic backbone shines. It is the final catalyst that ensures their bitter brew does not lose any of its edge to the naturally sweet quality of their symphonic side. – Spyros Stasis

Old Year – No Dissent (Apocalyptic Witchcraft)

It is generally rare for a debut record to present itself with a sense of maturity. Yet, Old Year’s No Dissent possesses both compositional vigour and an extensive genre knowledge that moves it past your standard doom/death release. Following in the footsteps of their 2023 self-titled single, the Boise act now return with a more ambitious offering.

Old Year unearth much of the off-kilter doom spirit of the late 1990s and early 2000s. “Death Frequency” echoes with the early Khanate’s feedback technology, an enveloping technique where the amorphous guitars dominate the frequency spectrum. It is an asphyxiating affair, one that also channels the Burning Witch spirit in their more extravagant moments, but this is where Old Year exploit their breadth.

The combining factor here is a death metal undercurrent. That informs much of the composition, as it moves toward dissonant guitar ideas, even when these are presented through the slow doom lens. Still, when combined with the slow and determined pace, its ceremonial quality begins to echo with touches of Evoken and Esoteric, minus the melancholic inclinations. In its most devastating moments, it even conjures the tortured spirit of Wormphlegm, with all the grimness of existence echoing through “Lock Step”. From this vantage point, the psychedelic fumes are expected, making “Mechanical Birth” manifest like a trip gone very bad. It also unveils the post-metallic inclinations, with moments of “Rotting Illusion” embracing a Neurosis-like progression.

Constructing such a multi-faceted record can lead to the different parts feeling disjointed, but No Dissent oozes with a sense of fluidity and cohesion. That is the most striking part: Old Year’s ability to not only coalesce these attributes but also use them to add flourishes and variety to their work. It is a core point that many artists on the slower side of extreme metal often overlook. Playing just slow and heavy is not enough. The greats understood this, and so do Old Year. – Spyros Stasis

Qrixkuor – The Womb of the World (Invictus/Dark Descent)

Within the occult death metal revival and the black/death rejuvenation, many acts lose their identity. Amid chaotic structures and cavernous spaces, it’s all too common to forget the starting goal. That has never been a problem for the UK’s Qrixkuor. Since their early days, they have pursued a grand vision, one rooted in heavy layering and dissonance, yet guided by a quasi-classical sense of order. It resulted in the creative culmination of Poison Palinopsia, a work whose spectral ambition finds new expression in The Womb of the World.

Their death metal, like Mitochondrion’s, is informed by the dissonant revelations of Deathspell Omega, but where those acts tend toward the cerebral, Qrixkuor balance with the carnal, channeling the same fire into Teitanblood’s kind of ritual violence. The result is a vast expression of devilish forms, from the ritualistic descent of “Slithering Serendipity” and the murmuring echoes of “And You Shall Know Perdition As Your Shrine”, to blasphemous black/death assaults.

Across the record’s four long-form tracks, the stylistic shifts are impressive yet all orbit a hidden core—a classical perspective that dictates the progression. At times, this will rise to the surface, the instrumentation changing from the metal form to something alien. The sudden drops of Stravinsky-ian madness into the metallic form further expose this foundation. It is the defining aspect for Qrixkuor, and what imbues ambition into their work.

In many cases, the application of classical music to metal is either sloppily added or feels pompous and bloated. Fortunately, that is not the case here. Qrixkuor have distilled the grand perspective from that genre, understanding how it can provide the guiding light through the cavernous depths. That alone would be an achievement, but what elevates The Womb of the World is how, amid its maze-like structures, Qrixkuor still summon moments of unmistakable power and immediacy. It is a record that requires patience, but will return the effort tenfold. – Spyros Stasis

Tatterdemalion – Ultraterrestrial (Wergild)

Wergild is one of the more interesting underground black metal labels and collectives to watch. With most bands hailing from Washington, Wergild’s sound bridges the early Cascadian scene and the raw origins of black metal. One of their latest releases is Tatterdemalion’s sophomore record, Ultraterrestrial, an uncanny combination of ambient music and lo-fi black metal.

The project of Krieger, who is also involved in other Wergild bands, such as Iron Firmament, Lander, Runeblade, and Astral Gauze, Tatterdemalion prioritize mood and atmosphere. “End Carrier” opens in kosmische musik fashion, a dreamy essence that rises from the deep, unexplored edges of space. These stripped-down moments possess an inherent ceremonial quality (“Teak”), and they can also open gateways to similar hallucinatory dimensions. So, “Tharsis – Phobos” leans toward the progressive side, the smooth solos and leads adding depth. On the other hand, “Tharsis – Olympus Mons” retreats to a harsher, psychedelic reality, the noise piercing through and channelling otherworldly fumes.

Still, beneath these excursions lies a foundation of raw black metal energy, its lo-fi tremolo picking grounding the record’s cosmic wanderings. Even in these moments, Tatterdemalion can morph and change. At times, they arrive with an exhilarating force, an unhinged drive that causes devastation. In other moments, they become heavier, their monstrous form complete when the deeper growls combine with the cutthroat vocals.

Yet, as is the case with Iron Firmament, more pleasing elements pierce through. Melodic additions are one of Ultraterrestrial‘s pillars, radiating with a sense of melancholy and sorrow. Similarly, their explosiveness radiates a post-black metal quality, likely inherited from their Cascadian lineage, but it is executed tastefully, one that retains the necessary rough edges.

Like other Wergild acts, Tatterdemalion excel at walking that fine line of channeling more approachable textures without ever compromising the raw, devout ethos at the heart of their black metal. – Spyros Stasis

The Ominous Circle – Cloven Tongues of Fire (Osmose)

The Ominous Circle is a prime example of a band that deeply understands genre heritage. Formed in 2014, the Portuguese act are likely to have grown up listening to the underground death metal revival hailed by bands such as Dead Congregation, Necros Christos, and Cruciamentum. Yet, their 2017 debut record, Appalling Ascension, found them unearthing the earlier malice that gave rise to the 2000s scene. With Incantation’s defining groove and Immolation’s devastating discordance, the record is an absolute gut punch. It is an experience that they now look to repeat with Cloven Tongues of Fire.

Attempting to match the impact of Appalling Ascension after eight years of silence is daunting, but The Ominous Circle hit the ground running. Incantation’s doom bedrock establishes a torturous progression, with the latter half of “Lowest Immanations” producing a psychotropic nightmare through the blackened inclusions. At the same time, their dissonant phrasing unleashes contortions that echo through the dark space of “Through Tunnels Ablaze”. That is where the early Immolation quality shines, with a sense of malice oozing through the death metal structure.

With their foundation established, the Ominous Circle offer some fitting deviations from the norm. Proto-death metal madness seeps in through the schizoid lead work, a feature that naturally clicks with their 2000s underground death metal aspirations, uniting the two strands. Similarly, they lash out from their doom-laden form to produce some brutal moments of war metallic inclination, with “Black Flesh, Sulfur and All In Between” channeling the intense brutality of Diocletian.

Yet, these are fleeting moments, and the return to the slow, brutal centre is inevitable. However, that is precisely the allure of Cloven Tongues of Fire, a record that revels in its traditionalism, more interested in perfecting craftsmanship than offering innovation. – Spyros Stasis

Uranium – Corrosion of Existence (Sentient Ruin)

There has always been a method to Uranium’s madness. The one-person project thrives in the intersection of industrial, power electronics, and extreme metal, a combination that has produced a series of exquisite works in An Exacting Punishment, Pure Nuclear Death, and their Wormboiler compilation. Throughout these endeavours, Uranium’s releases displayed a tightness, a sense of utter and inhuman control over the compositions. Despite the chaos, it is the rigid sense of order that makes the music so punishing.

Corrosion of Existence carries this trajectory to a certain point. The early Godflesh-ian DNA provides weight and precision, a bulldozer energy that runs through the dystopian corridors of “Bliss and Void”. The electronic applications further evoke this past, with “Descent Into Entropic Death” providing a futuristic groove, while simultaneously delivering an utterly barbaric beatdown. Both expressions carry that same unyielding architecture, excruciating yet logical.

That is where the coming divergence hits hardest. The precision of “Traffic Warden” begins to fade, the rhythmic pattern letting go of its familiar repetition. It is the sound of a machine spiralling out of control, malfunctioning in ways that seem impossible. Losing themselves in this strange trance comes in various forms. The black/death explosion near the end of the opening track is such an expression, but the most terrifying moments come in the loss of self.

The power electronics allure is augmented in Corrosion of Existence, and now not only unleashes a barrage of noise, but also descends to newfound depths. “Concrete Tombs” sees all structure dissipate, melting into a state of dark nothingness. It is a deformed ritual, unrecognisable and unknowable, and something that Uranium revisit with their darkest moment in the 12-minute-long opus that is the title track.

It is here that Uranium’s vision is complete, where industrial mechanics meet the deafening void, and the blackened primitivism stands side by side with the futuristic electronic grooves. In this moment Uranium have understood that they no longer need to depend mainly on order and structure, but that they can also embrace chaos and its endless possibilities. That is the moment when mechanical precision gives way to transcendental entropy. – Spyros Stasis

Following 2023’s Master’s Murmur, a descent into industrial folk territory, it has been six years since Yellow Eyes last released a black metal record. The seasoned, New York-based act are a trusted force in the scene, boasting a substantial discography, and yet their new record, Confusion Gate, is a revelation. Not in the sense that Yellow Eyes deviate from the path, but in that they are doing everything better.

Their black metal is dense, heavily layered, resulting in a thick sonic wall. The unified front of riffs overwhelms from the outset through “Brush the Frozen Horse”, yet never at the expense of definition or melody. It is a technique inherited from a lineage of acts, such as Ash Borer and Fell Voice. Still, Yellow Eyes further unravel these abstracted forms, adding an erratic sense of unpredictability and vigor that echoes the early Krallice days. 

From there, they can gaze into a darker abyss, with the textural quality of the guitar work taking inspiration from their sister band Ustalost. In moments like “I Fear the Master’s Murmur”, they explode with triumphant rage, while in “The Scent of Black Mud”, they radiate cold grimness. And yet, they can still turn this around into a deep, hallucinatory sense of unease. Their dissonant inclinations greatly help here, with the cacophonous quality of “The Thought of Death”, the mysterious sorrow of “Suspension Moon”, and the chilling effect of “A Forgotten Corridor” depicting a reality as dead as dreams.

Their overarching tendencies do not cease. On one hand, they traverse into the folkloric, more confidently in the record’s interludes, but also in their main structures. In doing so, they invoke a latent, primordial Cascadian spirit alongside an early Ulverian form. The beautiful guitar lines in the final moments of the title track fully expose this deep communion with nature. Similarly, they channel the teachings from Master’s Murmur to further establish a deep, ambient sense, highlighted through detailed field recordings, as well as the impressive synthesizers and choirs tastefully placed in key moments.

In a robust discography, Confusion Gate stands apart. It feels like this is the record that Yellow Eyes were working towards all along. The album that required 15 years of practice and experience to reach. It is also part of the final releases from Gilead Media, and although there is still one more record to come, if this were the label’s final chapter, it would be a great way to go. – Spyros Stasis

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From West End Girl to Sour, the 10 Best Revenge Albums of All Time
Fashion

From West End Girl to Sour, the 10 Best Revenge Albums of All Time

by jummy84
written by jummy84

The common adage may dictate that revenge is a dish best served cold, but—luckily for us—musicians tend to serve it piping hot, with a side of pettiness. And though plenty of standalone clap-back tracks have emerged from celebrity break-ups, it takes a certain level of passion, skill, and audacity to commit to an entire revenge album.

Lily Allen’s West End Girl—a scathing, no-holds-barred album allegedly at least partly inspired by the dissolution of her marriage to Stranger Things star David Harbour—takes the idea of airing your dirty laundry to a level that few others would dare to, even by today’s oversharing standards. Reportedly written and recorded in Los Angeles over the course of just 10 days, it has the feel of someone setting their diary entries and voice notes to music, and has spawned a thousand reaction videos since being released in October.

Rosalía’s Lux, meanwhile, sees pop’s most sonically ambitious star working through themes of sex, regret, heartbreak, and, yes, revenge. Though much of the press around the album—as well as its artwork, in which Rosalía dons a nun’s-habit-slash-straightjacket—has focused on the singer’s path to emotional salvation, there are plenty of shots fired throughout, perhaps most overtly on “La Perla,” in which she calls a former partner a “peace thief,” “emotional terrorist,” a “walking red flag,” and “huge disaster.”

Here, find 10 of the best to ever go long-form with revenge.

Lemonade, Beyoncé

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The Church. (Credit: Adam Nicholas)
Music

5 Albums I Can’t Live Without: Steven Kilbey of The Church

by jummy84
written by jummy84

Name  Steven John Fucking Kilbey

Best known for  Idiot savant (perhaps more of the former) behind Australian band The Church. A prolific renaissance bloke, knocking out records, paintings, poems, books, and now even comics. Still haven’t choreographed a ballet, but who knows?

Current city  Coogee Beach, Sydney, Australia 2034.

Really want to be in  Bali. Sitting on a deck chair, sipping pineapple juice and trying to forget about being on my phone answering questions like this! (wink emoji)

Excited about  The Church have a new album coming out soonish and I think it’s bloody amazing. Recorded in Austin, TX and it’s a double. Thinking that people are gonna love it and it’ll go to number one and all of that!

My current music collection has a lot of  Prog and glam and a bit of uncategorizable stuff.

And a little bit of  No country or western.

Preferred format  Sadly, I prefer streaming, not because it sounds good but because it’s just easy (damn!).

5 Albums I Can’t Live Without:

1

Diamond Dogs, David Bowie

I love it inexorably even though it’s now 51 years old. It still sounds futuristic. I love the cover. I love “Sweet Thing.” It’s the ultimate Bowie song wherein he delivers on everything he ever implied before. I love his singing and guitar playing and his Mellotron and I love Mike Garson’s theatrical piano flourishes. I love the lyrics. All the songs on this album are right up my alley (except maybe “Rebel Rebel,” which I probably skip now due to overexposure). The last track is brilliant too, showing Bowie always ahead of the pack.

2

Any Album By, Sigur Ros

I love all Sigur Ros. I love the idea of the singing in a non-language. I love the way they’ve tossed all the usual rock clichés out the window and just ebb and flow with the spirit. The most original rock band ever. Real teenage symphonies to God!

3

T. Rex, T. Rex

This album came out in 1970 and it slayed me. It’s rock. It’s pastoral. It’s folk. It’s English whimsy. It’s Tolkien and Lewis. It’s cosmic. It’s fey. It’s studly. It’s still unbelievably new after all these years! 

4

Systems of Romance, Ultravox

Underrated and misunderstood in its day. It still is the sound of the future. Produced by Conny Plank in Germany, it has krautrock wallop. The lyrics are brilliant and John Foxx is a lesson in detachment and modernity. The bass sounds are huge and fat! It’s still a record I listen to a real lot!

5

Together Alone, Crowded House

It has so many beautiful songs on it that are all the last word in lyrical and musical prowess in songwriting terms. A true masterpiece that stands up well after all this time. 

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EMF. (Credit: Phil Hunt.)
Music

5 Albums I Can’t Live Without: James Atkin of EMF

by jummy84
written by jummy84

Name  James Atkin

Best known for  Singer for the band EMF.

Current city  Yorkshire Dales, U.K.

Really want to be in  Back in the tour van visiting a new town or city every day.

Excited about  The new EMF releases and heading back to the U.S. for Spring tours.

My current music collection has a lot of  The wife jokes that I struggle to discover new music, often waiting for her or someone in our family to champion a new band, then I jump on the bandwagon. Recently, I’ve enjoyed new music by Geese, Rio Kosta, and Chalk, and like Syd Minsky from Working Men’s Club’s solo stuff.

And a little bit of  Very broad, from guitars to acid house.

Preferred format  We’ve recently moved the turntable out of the studio and set it up in the living room. Each family member has a crate of vinyl. There are often arguments on who gets to choose the day’s music. I love the convenience of streaming, but vinyl all the way.

5 Albums I Can’t Live Without:

1

Technique, New Order

My first real experience of music that used both electronics and guitars whilst capturing perfectly formed pop songs. The emotion from Bernard Sumner’s voice on this album connected with me instantly. 

They recorded it in Ibiza in 1989, obviously influenced by their surroundings and the hedonistic club lifestyle of the island. You can almost feel sunshine when you listen to it. There are songs of romance, partying a little too hard, regret, honesty, and self-doubt. A definite blueprint for our own EMF journey.

2

The Queen is Dead, The Smiths

Before discovering acid house music, it was all about the guitars. Johnny Marr’s musical melodies just blew our young minds. 1986 was probably the most important year for me personally getting influenced by music, discovering the Smiths changed everything. I can most definitely recite more Smiths lyrics off the top of my head than any other band. I remember when I was a kid people would say, ‘Why do you listen to that miserable music?’ I’d point them in the direction of this album as it’s full of irony, humor, and lyrical joy. 

3

Blue Lines, Massive Attack

One of those albums that still gets played in our house relentlessly. So much depth that you never tire of.  Born out of the mild-mild west of Bristol, incorporating reggae sound system culture, the U.K.’s take on slowed down hip-hop and samples from scratchy old ’60s records. It’s totally infectious and the perfect choice on the decks for those morning comedowns. I can’t imagine a life without this record, it’s definitely stood the tests of time.

4

Blue, Joni Mitchell

It’s good to have different albums for different moods or states of mind. If calmness is needed, this is my go-to album. I think perhaps it’s the nostalgia or the place it transports me back to. I first heard it drifting up the stairs when I was a small child when my parents used to play it. Her angelic voice can lift your spirits and purify your soul. I could happily listen to this record repeatedly. In fact, I think I’m on my third copy as I’ve worn it out so much over the years. 

5

Homework, Daft Punk

I adore electronic dance music. This album is so raw and is pretty punk rock. From start to finish, it’s full of repetitive grooves and hypnotic vocals that take you on a journey. I remember this album sounding so fresh and exciting when it came out. Daft Punk had a very unique French disco/acid-funk sound. Since arriving in 1997, their influence can be heard in other bands I love, like Justice, but for me, Daft Punk are the original purveyors of this style of music.

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11 New Albums You Should Listen to Now: Snocaps, Florence and the Machine, and More
Music

11 New Albums You Should Listen to Now: Snocaps, Florence and the Machine, and More

by jummy84
written by jummy84

While touring behind her last album, Dance Fever, Florence Welch was hospitalized for an ectopic miscarriage; the singer channeled the effects of that life-altering, traumatic event into work for a follow-up. For the resulting Everybody Scream, Welch dove into medieval and renaissance studies and the history of witchcraft and mysticism, shrouding her characteristically vivid chamber pop with even deeper pathos and psychodrama. Welch worked on the new Florence and the Machine LP with Idles’ Mark Bowen, Danny L Harle, the National’s Aaron Dessner, and Mitski, who helped pen the title track.

Listen on Apple Music
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Buy at Rough Trade

KeiyaA: Hooke’s Law [XL]

KeiyaA’s second studio album is named after the law of elasticity, which states that the extension of a spring is directly proportional to the load applied to it. The Chicago-born, New York–based singer and producer puts that law to the test with an expansive, head-spinning collage of R&B, electronic, jazz, and experimental music that threatens to uncoil at any minute. KeiyaA wrote, recorded, and produced the new material over the past five years, playing every instrument on the album, with one feature from rapper Rahrah Gabor. Hooke’s Law is “an album about the journey of self love, from an angle that isn’t all affirmations and capitalistic self-care,“ KeiyaA explained in press materials. “It’s not a linear story with a moral at the end. It’s more of a cycle, a spiral—it’s Hooke’s law.”

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The Best Metal Albums of October 2025
Music

The Best Metal Albums of October 2025 » PopMatters

by jummy84
written by jummy84

We are gearing up toward the end of the year, and October packs quite a punch. This month, many heavyweights make their return. Tristan Shone with Author & Punisher continues his industrial trajectory while not completely distancing himself from the humane. Primitive Man descend into the abyss, their sludge/death/noise combination going strong, while Evoken plunge into sorrowful and harsh gloom with Mendacium.

Hooded Menace carry their newfound heavy metal-inspired path, and the long-awaited return of Coroner lives up to expectations. Finally, a newer band with a lot of promise, One of Nine expand their majestic black metal, drawing inspiration from the ever-fertile subject matter of Middle-earth.

Deeper in the underground, Gates of Dawn make an astounding return with the psychedelic rock of III, Grole continue their relentless march through punk-infused black metal, Binah open up their death metal to cosmic extensions, and Sum of R produce a fantastical, dark trip through Spectral. This month really has everything, so dig in! – Spyros Stasis

Best Metal Albums of October 2025

Author & Punisher – Nocturnal Birding (Relapse)

Author & Punisher have always been pulled by different forces. Tristan Shone’s fascination with the artificial is well established. By building his own drone and dub machines to articulate his industrial vision, Shone proves his complete dedication to his craft. On the other hand, he has always balanced his mechanical harshness with an unmistakable human core. His music might collapse into brutal breakdowns and sonic debris, yet beneath it lies an unmistakable emotional resonance. Case in point, his latest work, Nocturnal Birding, where he draws inspiration from birdsong for his compositions, forcing his machines to abide by their sonic quality and rhythmic structure.

Following an excellent record in Krüller, Shone does not look to repeat the recipe. Krüller might have been the epitome of Shone’s organic/inorganic approach, but Nocturnal Birding takes a different route. The record is condensed, clocking at just over 30 minutes. The compositions themselves are much more immediate, heard in the devastating Godflesh-ian breakdowns of “Black Storm Petrel” and “Rook”.

Similarly, the hooks here feel less intricate, more immediate, than those on Krüller. “Meadowlark” pushes toward a Nine Inch Nails subtleness, the desolate vocal delivery creating an encompassing space. Even more impressive is the ending to “Mute Swan”, where the final ascent carries a hypnotic and otherworldly quality. It ties the urban to the transcendent in fascinating equilibrium, the sound design intricately mirroring the background bird chirps.

In many ways, Shone has not changed his ways. His vision remains unwavering, but still, he finds places to experiment. If Krüller was the culmination of his hybrid vision, Nocturnal Birding shows how potent his sound can be when stripped back to its most direct, primal form. – Spyros Stasis

Binah – Ónkos (Osmose)

Listening back to Binah’s debut, Hallucinating in Resurrecture, it is easy to see how the UK band could be lumped in the old-school death metal revival of the 2010s. Their heavy groove and obsession with Sunlight Studios’ guitar timbre alone sufficed. However, even then, something more complex was brewing beneath, highlighted by the atmospheric qualities, especially prominent in the title track. This atmospheric dimension further flourished in 2018’s Phobiate, which incorporated additional progressive elements and off-kilter ideas to set Binah apart from the herd. “Dream Paralysis” is a perfect example of this evolution, its discordant quality colliding with a contorted rhythmical structure.

Ónkos is another leap forward for Binah, who forge stronger connections to their experimental side. Ambiance sits at the core, shifting forms throughout. The electronic component might have existed before, but here it feels more immersive. The introductions and interludes it offers have a cosmic quality. 

This widening scope feeds directly into the psychedelic and progressive components of Ónkos. Amid a punishing death-metal form, their intricate guitar work opens another dimension amid the brutality. It channels the early spirit of Timeghoul, balancing beauty and horror.

While this might suggest that Binah might have made a more rigid turn outside of death metal, that is not true. Their old-school Swedish death metal adoration is still there, palpable in every heavy groove, identifiable through the guttural distortion. However, they move from the raw churn of classic Clandestine toward the expansive, narrative approach of Crimson.

The melodic guitar lines, the intricate solos, the immersive ambiance, and the bravery of experimentation all reveal this, but even more so is the fact that, much like Edge of Sanity, they do not forget their past. That refusal to abandon death metal’s core is precisely what makes Ónkos Binah’s most daring and accomplished work to date. – Spyros Stasis

I never thought I would see Coroner release a new record, and yet here we are. Twenty-two years after the monumental Grin, the Swiss act makes its long-awaited return with Dissonance Theory. Coroner pushed thrash to new dimensions, harnessing its raw aggression through a technical lens. Their first single from the new record, “Renewal”, reaffirmed this lineage, taking on a Kreator-esque hostility, but patching it through the trio’s relentless precision and heavy groove.

However, Coroner’s vision was more ambitious. I always viewed them as a reflection of Voivod, both bands tapping into the same discordant stream. However, where the Canadians reveled in chaotic exhilaration, the Swiss worshipped an unyielding force of precision. The breakdowns of “Transparent Eye” show this rhythmic dedication, a relentless order that slowly twists the mind. That same structural rigor injects the heavy groove that has always been Coroner’s hallmark. It is hard to believe that a band founded in 1983 could unleash the industrial coating of “Sacrificial Lamb”, the tremendous momentum of “Symmetry”, or the mid-tempo application of “Trinity”.

It is a truly forward-thinking mindset, separate from any pointless progressive term. How many thrash bands can you name with atmospheric passages? The aforementioned Voivod, maybe Depressive Age, aspects of Mekong Delta, and Sabbat. It is a slim list, right? Yet, Coroner did exactly that through the discordant lead of “Paralyzed, Mesmerized” in Grin, and they still unearth this otherworldly sense in “Sacrificial Lamb” and “The Law”. Still, through all this technical aptitude, the relentless rhythm, the discordance and atmosphere, Coroner remain extremely straightforward and catchy.

The opening track, “Consequence,” and its chorus alone will have you tapping frantically on the repeat button. It makes the ride through Dissonance Theory that much more rewarding, an ambitious work that retains a direct perspective. It proves that Coroner were not just ahead of their time back in the 1980s and 1990s, they still are to this day. – Spyros Stasis

Evoken – Mendacium (Profound Lore)

Part of the extreme doom/death pantheon, Evoken have amassed a near flawless discography. Embrace The Emptiness, Quietus, and Antithesis of Light established an unyielding sense of dread and sorrow. However, starting with A Caress of the Void, Evoken began to soften slightly (very, very slightly), enveloping their dread in a sense of melancholy. Hypnagogia and Altra Mors joined that tradition, but their new record, Mendacium, looks to unravel this.

Mendacium acts as a hybrid point. Opener “Matins” rekindles the old hopelessness, its riffs breaking in slow waves, vocals lamenting as though everything is destined to be swallowed by the abyss. It is a sad procession, a task that must be completed to achieve some form of catharsis. The continuation with “Lauds” follows this paradigm; here, the guitars and keyboards drip with venomous intent, their discordance enhancing the already uneasy sense of the ritual.

This is where the record twists, with Evoken tapping into their latter-day self. In this mode, they augment their majestic quality, confidently walking toward despair rather than being dragged into it. To that end, they evoke (see what I did there?) the melancholic spirit of the Peaceville Three, adorning their ceremony with a tangible, sorrowful essence. Then it all comes crashing down again. “None” channels Esoteric’s psychedelic endeavors, and the grand finale with “Compline” results in the final, unavoidable devastation.

Here doom contorts into something harsher, as death metal brutality tears through the funereal veil. It is an excellent structure, paying homage to the band’s evolution over the years and collecting all its individual components into a unified form. Thus, Mendacium does not just retrace Evoken’s past; it refracts it, proving that their command of extreme doom/death’s language remains as devastating and as essential as ever. – Spyros Stasis

Gates of Dawn – III (Death Hymns)

One of the most exciting acts in underground black metal, Gates of Dawn possess an uncanny ability to mix psychedelia into their black metal brew. True, others have pursued similar experiments, most notably Oranssi Pazuzu, but Gates of Dawn retained much of the black metal rawness in both their debut, I, and their more experimental sophomore, II, which at times embraced a kosmische outlook.

With III, the balance nearly collapses, with Gates of Dawn giving themselves over almost entirely to psychedelic rock. As “Screaming Skin” comes in, it is still the majestic black metal side that pierces through. The synthesizers create a vast space, while the guitar work stays in the metallic domain with galloping rhythms and even a quasi-romantic, medieval-esque passage. Yet, under the surface, the guitars lay catchy licks, more akin to psych rock. The second half of the track establishes the shift as the dreamy melodies take on a 1960s surf-rock perspective.

While black metal persists in parts, the foundation has shifted. Garage rock becomes a driving force in “Magewind”, with the guitars acquiring more grit as the drums perform their circular krautrock-inspired procession. Funk ideas bloom within this setting, the second half of “Faces In Flames” coming alive with a 1960s groove. And then the intricate guitar playing in “Trembling Gaze” has more in common with Eric Clapton than with Snorre Ruch.

With III, Gates of Dawn display a similar mindset to Ved Buens Ende in Written in Waters, a willingness to transcend the genre’s perimeter, while still haunted by its presence. Though sonically these two records are very different, they both mark a step away from the black metal space toward psychedelia, but there is always some pull that remains.

“Fell Specter” is the most obvious example —an excellent track that sees Gates of Dawn momentarily retreat into tremolo-picked black metal. What is even better is the moment when that riff collides with the intense audio effects, combining the cold grimness with a spaced-out feeling. It encapsulates Gates of Dawn’s creativity and opens a world of potential for what comes next. – Spyros Stasis

Grole – Come Here at Your Own Peril (Tour de Garde)

Jordan Kelly, aka Illusory, is best known in the Canadian black metal scene for his work with Spectral Wound and Profane Order. With Grole, Illusory descends to the primal depths of black metal, relishing its lo-fi qualities and harsh structures, and also finds a place to excavate his interests in Newfoundland history, tradition, and heritage. The first specimen in With a Pike Upon My Shoulder is a raw and uncompromising piece, defined by harsh production and lead lines that cut through the murk.

Where the debut carved out Grole’s raw foundations, Come Here at Your Peril refines them. Here, Illusory places the punk and proto-extreme metal heritage on equal ground with the raw black metal side. “Sheila’s Brush” feels like a blackened crossover track, while “Dubh Dóite” delivers a Celtic Frost-ian groove and deathgrunts. Further heavy metal tropes appear, with the sharp riffs of “I Went Home Today” echoing with a blackened edge.

Despite these excursions, the black metal presence is strong. “Talamh An Éisc” is the most prominent expression, with its traditional riffing radiating the icy feel of the genre, while the howling vocals echo through the abyss. Even the acoustic guitar inclusion in “I Went Home Today” reaffirms its lineage, a technique associated with the folky side of the Norwegian scene.

What this results in is a record that is more immediate and catchier than its predecessor. Tracks like “Moratorium” and its insane chorus, or “The Anti Confederation Song” with its powerful hooks, will be embedded in your mind for days to come. There is, however, a touch of the earlier romanticism that has subsided, mainly due to the less cavernous production, which moves away from the mystical and into the confrontational. If With A Pike Upon My Shoulder is the descent to the abyss, then Come Here At Your Peril is where Illusory sharpens the blade, combining immediacy with rawness to deliver a memorable result. – Spyros Stasis

Hooded Menace – Lachrymose Monuments of Obscuration (Season of Mist)

Hooded Menace’s trajectory appeared set. The Finnish ghouls’ career was defined by the rotten ambition of Autopsy and the towering forms of Winter. Yet, in a surprising twist, 2021’s The Tritonus Bell saw them ingest classic heavy metal tropes. It was not so much the early Peaceville Three bleakness that guided them, but rather the fiery steel of Mercyful Fate and King Diamond. With Lachrymose Monuments of Obscuration, this transformation is solidified, with the trio stepping back into 1980s glory. This is immediately apparent as the expressive lead work to “Pale Masquerade” settles in. NWOBHM collides with the fiendish essence of Melissa, and a touch of proto-thrash through bursts of undisciplined guitar solos.

However, if it were a complete shift from death/doom into heavy metal, the result would be ridiculous. This is where Hooded Menace show their quality. They do not forget their past; instead, they reconfigure it. “Portrait Without a Face” is telling, the track alternating between its Iron Maiden fascination and the My Dying Bride and Paradise Lost gloom (cello and all). Similarly, “Into Haunted Oblivion” awakens the Celtic Frost specter, its vile demeanor as unforgiving as ever.

Further classic doom tropes surface: the melodic essence of Candlemass shines through “Daughters of Lingering Pain”, and Cathedral’s playful, circa The Carnival Bizarre, invocations define “Lugubrious Dance”. In that way, Lachrymose Monuments of Obscuration is a record that knows its past, thrives in its present, and even finds room for a sly wink with a Duran Duran cover to close the casket. – Spyros Stasis

One of Nine – Dawn of the Iron Shadow (Profound Lore)

One of Nine enter a rich tradition of black metal bands finding inspiration in the works of J.R.R. Tolkien. This is a subject that requires balance. On the one hand, they must lean into atmosphere and heroic poetry; on the other, they must retain the aggression and vigor of the genre. This tension pushes One of Nine to evolve from their debut style into something more ambitious.

Dawn of the Iron Shadow builds on Eternal Sorcery, but it is a deeper, more complete work. The ambient passages are more descriptive, serving as immersive introductions with monologues and narration. Much like Summoning, the band also weave these elements into the songs themselves. The result is a richer tapestry, with “Age of Chains” layering choirs and bells over a black metal backbone. Their fast-paced, expressive core has also stepped into majestic territory. Stormblåst-era Dimmu Borgir is the reference point, shining through the meticulous arrangements of “Behold the Shadow of My Thoughts” and “Of Desperate Void”.

Yet One of Nine balance this mainstream symphonic style with darker shades. Emperor’s influence fuels the fury of “Dreadful Leap”, while sharpened, melodic leads in the Sacramentum mold echo through “Death Wing Black Flame”. They also glance at their contemporaries, with Wormwitch’s recent pointed aggression informing “Quest of the Silmaril” and lending a modern edge to the Tolkienian tapestry.

Through these extensions, One of Nine live up to their ambition rather than becoming just another Middle-earth-inspired act. They project atmosphere and storytelling with both emotion and compositional strength. The only blemish is that Dawn of the Iron Shadow does not yet uncover wholly new ground. But if their evolution continues, that breakthrough might only be a matter of time. – Spyros Stasis

Primitive Man – Observance (Relapse)

In Primitive Man’s world, there is no room for hope. There is barely room for breathing. They view the world not as collapsing, but as already collapsed, and the rest of us are catching up to that fact. This running thread defines their discography and is the key component of their latest work, Observance. Many in extreme music have tried to capture this outlook, but Primitive Man stand apart in the way they join different lineages.

The slow, collapsing pace owes to the drone/doom pioneers, with the punishing minimalism of Khanate and the annihilating essence of early Unearthly Trance defining “Seer”. This is punishment delivered in sparsity. Riffs crash down, separated by gulfs of silence, while despairing vocals echo through cavernous depths. This feeling is enhanced via a funeral essence, a sense of melancholy that radiates with dread. The melodic touches of “Devotion” channel this energy, making for a heartbreaking turn. It is a foundation that is complete through the post-metallic influence of Neurosis, breathing a dissonant air into the grandeur of “Water”.

However, much like all their points of reference, Primitive Man understand that slow pace and towering form are not enough. To that end, they are on point with their sound design and noise textures, channeling the adventurous essence of Wolf Eyes to uncompromising effect, with even the interlude “Iron Sights” standing out with its chaotic form. Similarly, touches of punkish energy offer a pummelling alternative to the slow-moving dread of “Social Contract”.

The more subdued noise-rock applications are contorted, but they still arrive with the distinct Swans-ian touch in “Transactional”, and the blackened aesthetic is ever-present in “Natural Law”. And of course, none of these offer any respite, any deviation from the end goal of Observance. Seventy minutes of suffocation, ending not with relief but with obliteration. – Spyros Stasis

Sum of R – Spectral (WV Sorcerer / Dusktone)

Reto Mäder’s project, Sum of R, has always circled around one foundation: ritual. Through the years, Sum of R have changed their perspective multiple times. Their early experimental doom machinations reached a peak with 2013’s Lights on Water. This was followed up by a surprising retreat to a minimal, dark ambient form with the excellent Orga. 

In 2022, Sum of R released Lahbryce, which featured the addition of Jukka Rämänen and Marko Neuman of Dark Buddha Rising, injecting a new psychedelic dimension. In many ways,  Lahbryce was a return to the pre-Orga sound. Here, the drones were subjected to the doom riffs, but unlike Lights on Water, Sum of R injected a further psychedelic twist. A successful experiment, they now return to it with Spectral.

The droning progression and hypnotic movements mirror Lahbryce, where weaving melodies and free-flowing rhythmic patterns create a trance-like atmosphere that can lead to uneasy moments. “Null” exemplifies the latter, as the percussive structure becomes unwieldy and out of control. Like their Finnish kin, they embrace the doom dimension, unleashing excruciating processions of nihilistic torture in “Waltz of Death”.

At the same time, Sum of R return to their past. The post-metal and post-rock elements return in “Beer Cans in a Bottomless Pit”, where the electronic backbone slowly shifts toward krautrock-style repetition. Similarly, they again retreat to a minimal state, with echoes of Orga pulsing through the strange percussive structures of “Null” and the malicious abstractness of “Violate” and “Cold Signature”.

If Spectral falters, it’s in its closeness to Lahbryce. Though it refines the album’s approach—making it more focused, more controlled—it does not quite transcend it. The ritual remains, dark and glorious, but its circle feels familiar. However, as with rituals, repetition is not so much a sign of stagnation as of devotion, and this can lead to strange new places in the future. – Spyros Stasis

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Biggest No. 1 Country Albums Ever
Music

Biggest No. 1 Country Albums Ever

by jummy84
written by jummy84

Male solo artists dominate, though three female solo artists and two groups have also achieved the feat.

Top Country Albums

Designed by Lyanne Natividad

Morgan Wallen’s I’m the Problem leads Billboard‘s Top Country Albums chart (dated Nov. 1) for the 23rd consecutive week. This ups Wallen’s career tally of weeks at No. 1 to 209, allowing him to extend his lead as the artist with the most weeks at No. 1 in the chart’s 61-year history.

Wallen’s achievement is especially impressive because he has amassed this hefty total of weeks at No. 1 in such a short amount of time. He first topped the chart on Aug. 15, 2020.

Top Country Albums originated as Hot Country Albums in the Jan. 11, 1964 issue of Billboard. Johnny Cash’s Ring of Fire (The Best of Johnny Cash) headed the inaugural chart. The compilation was well-timed: “Ring of Fire” had headed Hot Country Songs for seven weeks the previous summer and had crossed over to reach the top 20 on the Billboard Hot 100.

The chart was named Hot Country LP’s from 1968 to 1984, when vinyl LPs were king.

Twenty-one artists have logged 50 or more weeks at No. 1 on Top Country Albums. Male solo artists dominate, as you might expect, though three female solo artists have achieved the feat, as have two groups. (One of those groups is an all-female group.) Only one Black artist has amassed 50 or more weeks at No. 1, though that may change as country becomes more inclusive.

Here’s a look at all artists who have topped Top Country Albums for 50 or more weeks.

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Slim JIm Phantom. (Credit: Russ Harrington)
Music

5 Albums I Can’t Live Without: Slim Jim Phantom of the Stray Cats

by jummy84
written by jummy84

Name  Slim Jim Phantom

Best known for  Drummer for the Stray Cats, DJ “Little Steven’s Underground Garage,” Owner of the Cat Club at 8911 Sunset Blvd., and providing a place to play for 5,000 bands you’ve never heard of.

Current City  Los Angeles, CA.

Really want to be in  Jamaica At Goldeneye with my beautiful and rocking wife Jennie Vee.

Excited about  The Stray Cats upcoming tour of the U.S.A. with some new music on the way, Las Vegas show with the Midnight Cowgirls on the bill, we’ll be playing on Long Island for the first time in a long time!

My current music collection has a lot of  Rockabilly, Elvis Presley.

And a little bit of  Jump blues.

Preferred format  Vinyl has always been the coolest, CDs were convenient, Sirius XM is the greatest thing ever!

5 Albums I Can’t Live Without:

1

The Sun Sessions, Elvis Presley

This is the record that changed my life. The first time I heard it and saw that famous hillbilly cat photo of Elvis, the world stopped spinning for a minute and I knew what the rest of my life was going to look and sound like. He is definitely the King of Rock ‘n Roll.

2

Gene Vincent & His Blue Caps, Gene Vincent

All these years later, I was trying to look up the exact title of this album and the best I could come up with is just the band name. Everyone just calls this the second Gene Vincent album. This one was probably the most influential record for me musically. It swings and it rocks which is the trickiest of all things to do as a drummer and a band. It’s got the perfect blend of chops and feel. It still sends me every time I hear any of the cuts. The drummer Dickie “Be-Bop” Harrell is a hero to me. When we first starting meeting all of our classic rock heroes like Jeff Beck, Jimmy Page, the Stones, and George Harrison, they all told me how this album was their one, too!

3

Singin’ to My Baby, Eddie Cochran

Eddie Cochran was the best rock star ever. He played great, he sang great, he looked great, was way ahead of the curve technologically and left behind a timeless image and beyond-impressive catalog. This may have been his only official complete LP. We benefitted from compilations that included all the singles. Not many of the rockabilly stars had complete albums, just singles. We had to get the compilations on import as many of our original American rock ‘n roll stars’ records had gone out of print and many were re-issued by British and French labels. The records were expensive for young rockabilly boys, so we leaned towards the compilations with 20 tracks on each one.

4

Miss Etta James: The Complete Modern and Kent Recordings, Etta James

If anyone listens to my radio show “Rockabilly Rave Up” on “Little Steven’s Underground Garage,” then they know that I love Etta James. The early R&B numbers had a big impact on me. When we first got turned on to them in London in 1981, I didn’t know this style of music and it connected immediately with me in a big way. Jump blues and R&B from the mid-‘50s is the “rock” part of rockabilly, original Grand Ole Opry “hillbilly music” being the big part of the beautiful equation. “Good Rockin’ Daddy” is a stand out and Etta is the rockin-est gal in any galaxy.

5

Infinity, Journey

Does this tick the “hmmm…I had no idea they would listen to that” box?! My buddy Steve Perry is one the best singers ever. He hits all those notes full voice and makes it look easy. It’s not! He’s working really hard but makes it look and sound effortless.  That’s a whole other gift. The whole band shreds on this album. I didn’t know until we became friendly that Steve is a Ricky Nelson fan. I shouldn’t have been surprised. When we first met Robert Plant, I was surprised when he told us he was such a big Gene Vincent fan. Of course, now, it all makes sense. The influence of the original American rock stars and R&B artists is everywhere and always will be.

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