A strong beat and strobe lights. Those were the constants of last night’s sold-out performance from IDLES at The National. Whether it was Joe Talbot directing the crowd into two sides, or the band dancing on stage to the percussion, the strong beat and strobe lights kept going on stage for over an hour in Richmond, VA.
From that opening beat, there was a quick energy that lasted through the night. Only two songs in and there were crowd surfers and a guitarist playing on the barricade. A long setlist and even more sweat were given out at the venue. This was my first time seeing IDLES and the most noticeable feature was how good the band sounded live. This is a group that can match their clarity and performance from the studio to a live audience without needing any assistance.
Along with that clear sound, it also sounded raw. This was a concert from talented individuals who felt the music and were able to provide the experience without a heavy backtrack. It proves that punk (or whatever classification you want to give to a band like IDLES) can still exist in a time where AI-assisted music and laptop-created backtracks are taking over stages. If anything, IDLES proved last night why a raw performance stands out better than something artificial.
From Google Bard: “IDLES are a British rock band formed in Bristol in 2009. The band consists of Joe Talbot (vocals), Mark Bowen (guitar), Lee Kiernan (guitar), Adam Devonshire (bass) and Jon Beavis (drums). They have released four albums: Brutalism (2017), Joy as an Act of Resistance (2018), Ultra Mono (2020), and Crawler (2021).
IDLES are known for their energetic live performances, their politically charged lyrics, and their blend of post-punk, hardcore, and electronica. They have been praised by critics for their originality, their raw energy, and their ability to connect with audiences on a personal level.”
Panic. Labored breathing. An overbearing ominous feeling. Seconds later, VEXED drops in with an intensity to reel you in on their album opener, “PTSD”. For the Napalm Records signees, the three-piece is one of the fresher bands on the scene, but one that commands attention to every new listen. After sharing the stage with the likes of Spiritbox, Static Dress, Caskets, and more, with only four years under their belt so far, VEXED have risen from up-and-comers and have plenty of eyes and ears on them in 2023. With sophomore LP Negative Energy finally arriving, their year’s set to be a big one, with Tech Fest and Misery Loves Company shows on the way.
Lead single “Anti-Fetish” bends the hell out of some notes in its opening riff before we get the first taste of Megan Targett with a voracious vocal delivery. Of the single, the band shares: “Anti fetish is us confronting the constant comparisons and ungrounded hate that bands receive. It’s become completely accepted in the scene to cross the line of constructive criticism and just dive bomb into hatred and prejudice. This song is us setting the record straight by calling out the blatant discrimination.” In a scene obsessed with calling records “mid” and punching down, VEXED stands tall and content in supreme metallic hardcore form. Lyrically, “We don’t talk about it” paints a picture of suppression vs. the necessitation to have an outlet. Sonically, it benefits from an accompanying hi-hat ride to not just be a straight up -core track.
“X my <3 (Hope to die)” shows off some range from Targett and continues the groove well, but perhaps leans into its theme a bit too comfortably. Alternatively, “Panic Attack” sounds just like that with a monstrous riff from the opening seconds and a blistering vocal speed in its verse; verbalizing the loss of control with a chaotic instrumental backdrop feels accurate and succinct. VEXED’s best breakdown on Negative Energy goes to “Lay down your flowers” which gave me a swift kick to the teeth right before a Sabian Lynch (Alpha Wolf) feature that fits like a glove. “There’s no place like home” throws in some record scratches aplenty, so don’t be shocked to see this banger hit the “nu_metal moment” rotation.
VEXED is at their peak when they’re pumping out fast-paced, virulent tempos, and that’s the stage set on “Extremist”. On the other hand, in the back half of Negative Energy, songs like “Default”, where singing and melody sneaks its way in, there’s certainly some depth that the group could serve to explore more instead of a non-stop onslaught. There’s no too much of a good thing, but variety is the spice of 13-track albums – and I was surprised to see this vulnerability come to fruition after eight straight heaters. Single “Trauma Euphoria” has the chorus fans will be shouting back live, still bringing the heavy everywhere else in the track, including a well-placed guitar solo to close it out. A six-minute procedural in “It’s not the end” makes it the highlight song on Negative Energy, stretching out VEXED’s creativity and scope into a stellar listen.
VEXED wraps up Negative Energy with a soft instrumental “DMT” ahead of closer “Nepotism”. Not afraid to showcase their brutality one last time, it’s the lyrical icing on the cake, taking privilege to task and making a mockery of it. The track placement is curious, as I would have placed this with the heavy front-end of the album and had “DMT” end the flow more smoothly, but at the end of the day, there’s no weak tracks on Negative Energy. It’s evidence that VEXED may be young, but they’re hungry and show a talent that meets and can even exceed bands who have been doing it three or four times as long as them. I’m excited for VEXED’s future, as Napalm Records has found a gem and has well-put faith in them.
UK Alt-Metal Act VEXED Releases Dynamic Third Single “Trauma Euphoria” & Official Music Video | Watch HERE!
New Album, Negative Energy, out this Friday, June 23 via Napalm Records | Pre-Order NOW!
UK alt-metal band VEXED have revealed their third new single, the dynamic “Trauma Euphoria”, together with an official music video! This Friday, the fast-rising act will drop their aggressive new offering, Negative Energy – the successor to their disturbingly honest, highly-lauded debut, Culling Culture.
Standout track “Trauma Euphoria” features some of the most impressive guitar work on the new album – heavier than ever before. Gifted lead vocalist Megan Targett’s brutal growls and beautiful, crystal clear clean vocals create an impactful contrast, captivating the listener.
Vexed “Trauma Euphoria”
Megan Targett on “Trauma Euphoria”: “Experiencing a traumatic event or grieving a major loss comes with a myriad of feelings. Denial, depression, anger and sadness are the most common ones you hear about. However, there is one that I’ve found nobody speaks of; Euphoria. Small moments of time where you forget that you’re grieving and slip back into the person you were before the event. It’s like a euphoric experience that’s heightened by the fact your brain hasn’t felt any hit of dopamine in such a long time.
However, that sudden realization when you remember the trauma and snap out of the high has you crashing 10X harder. Feelings of guilt and shame take over and you fall deeper into the dark depths of your depression and grief. This dark place becomes a safe space in your mind, as leaving it can cause more pain and isn’t worth the fall. You can become addicted to suffering and this song is a love letter to it.”
Negative Energy Tracklisting: 1. PTSD 2. Anti-Fetish 3. We don’t talk about it 4. X my <3 (Hope to die) 5. Panic attack 6. Lay down your flowers 7. There’s no place like home 8. Extremist 9. Default 10. Trauma Euphoria 11. It’s not the end 12. DMT 13. Nepotism
Haunting intro track “PTSD” sets a stage of dread for the carnage to come, building up to the all-consuming, panic-stricken lead riff of crushing single “Anti-Fetish”. Blistering with disorderly intensity, VEXED confront the constant comparisons and ungrounded hate that bands receive. “We don’t talk about it” – featuring pitch-shifted verses emulating a disguised voice – explores childhood trauma and survivor’s guilt. “Panic attack” centers on mental health issues, representing terror and frustration through heavy riffs and grooving vocals. Furious “Lay down your flowers” (feat. Alpha Wolf vocalist Lochie Keogh) showcases extreme vocals and bombarding drums, while disturbingly groovy following track “There’s no place like home” draws inspiration from ‘The Wizard of Oz’. The unbelievably heavy “Extremist” gets straight to the point, kicking off with fast and demanding vocal rhythms, while “Default”, on the other hand, displays multifaceted lead singer-to-watch Megan Targett’s high-soaring clean vocals juxtaposed against her menacing deep growls. The album’s most emotional offering, “It’s Not The End”, serves as a magnificent dedication to a loved one passing away while manifesting their legacy, before sliding into instrumental interlude “DMT” – cradled by lo-fi beats with hints of 808, delivered in fresh VEXED style. Intense album finale “Nepotism” wraps up Negative Energy with a knot of rage before slowly fading out into darkness. Negative Energy proves itself as a stunning, devastating musical conduit – ventilating the band’s pain-stricken burdens and breathing life into their fresh approach, delivered with a vengeance.
Negative Energy achieves pinnacle musicianship and gripping, profound and brave lyricism. Instead of opting for forced positivity like many of their contemporaries, the Hertfordshire three-piece channel every ounce of their Negative Energy into these 13 tracks – recharging themselves for an uphill battle.
The band states: “We are so proud to present to you our second album. Since our first release, we have each endured traumatic experiences, surrounded by death, betrayal, pain and grief. In order to find any strength, we first had to accept that we weren’t okay, then take our trauma and face it head on, sharing our vulnerability, fears and weaknesses. Instead of forcing ourselves to try and be positive we put all our negative energy into the album in order to begin our own repair and to overcome.”
VEXED is: Megan Targett – Vocals Jay Bacon – Guitar Willem Mason-Geraghty – Drums
From Google Bard: “Vexed is a British alt-metal band from Hertfordshire, England. They formed in 2016 and released their debut album, Culling Culture, in 2021. The album was met with critical acclaim, with many reviewers praising the band’s brutal sound and honest lyrics.
Vexed’s music is a fusion of heavy metal, hardcore, and alternative rock. Their sound is characterized by their aggressive guitars, pounding drums, and raw vocals. Their lyrics often deal with dark themes such as death, betrayal, and pain.
The band’s current lineup consists of vocalist and guitarist Ben Carter, bassist Matt Wilkinson, and drummer Tom Ashton. They are signed to Napalm Records and have toured extensively throughout Europe and the United States.
In 2023, Vexed released their second album, Negative Energy. The album is even heavier and more aggressive than their debut, and it continues to explore the band’s dark and personal themes. Negative Energy has been met with critical acclaim, and it has been praised for its brutal sound and powerful lyrics.
Vexed is one of the most exciting new bands in heavy music. They are a force to be reckoned with, and their music is sure to leave a lasting impression.”
Your favorite punked-up, black metal-adjacent, classic rock-worshipping Norwegian group KVELERTAK are back! Their new album Endling arrives on September 8 via Rise Records/Petroleum Records. Pre-order it here.
The band has shared the lyric video for “Skoggnagr.” Watch it here.
“‘Skoggangr’ was the first song we wrote for Endling. It’s a song about Helmut Von Botnlaus, whose life history and written records have inspired many of the lyrics on the album,” the band explains. “It all takes place in the heathlands and mountain area of the south-west coast of Norway, where Helmut was born. This is where he spent most of his secluded life, living off what the earth can provide him with while fighting anyone trying to destroy the surrounding nature. Wind turbine and real estate developers, look out!”
“From Lindtjørnsknuten I keep watch, looking towards Bjerkreim where the war is lost. String my bow, sacrifice a tick, stomping to the beat of an old slått.” —Helmut
Thematically, the album continues on the path of 2020’s critically acclaimed Splid — which received press accolades from Stereogum, MetalSucks, Kerrang!, Revolver, Invisible Oranges, Blabbermouth, Guitar World, and more — by delving further into local lore and legend, though guitarist Vidar Landa summed it up best. “On Endling, we tell the stories of the extinct and dying men and women of Norway. Old and new myths, culture, and rituals come to life — the folklore that doesn’t fit a TV series concept. Vikings and trolls are for television. This is the real deal.”
“As the sun fell, at the time when oxen are unyoked, following the trail cut by the footsteps of Rasmus Vardal, the marauders of rock came riding again, screaming Kielland is dead, long live Kielland!,” exclaims the band.
BARONESS RETURN WITH STONE (SEPTEMBER 15, ABRAXAN HYMNS)
PRE-ORDER/PRE-SAVE HERE WATCH THE “LAST WORD” VIDEO NOW “SWEET OBLIVION TOUR” BEGINS OCTOBER 13
Baroness return with their highly-anticipated sixth album, STONE, on Sept. 15 via Abraxan Hymns.
“An important through line in Baroness is we don’t like to repeat ourselves,” John Baizley explains. “It’s all about the willingness to take risks. When I was younger, the whole point of music was to be different, not to do the same thing, and not to listen to parents or play by the rules. That’s kind of goofy, but in practice, it works. It’s really sort of terrifying to be at the sixth record in your career and think that you’ll have to keep up with your history rather than continually invent. So, we doubled down on continuously inventing to see where it takes us. I think this record is a good reflection of that. STONE is a lot more alive, more direct.”
That voluntary evolution brought the now Philadelphia-meets-Brooklyn based band to the border town of Barryville, N.Y. Electing to self-produce STONE, Baroness spent a month shrouded amidst the pines, holed up in a vacation rental that became an impromptu recording space replete with big, vaulted ceilings, hardwood floors, and brick/glass walls. While they wrote STONE, Baizley recorded and pre-mixed it in real time, giving each song on STONE its own sonic treatment. After the group finished tracking drums, guitars, and bass, they took everything back to Baizley’s basement studio to record vocals before handing the album off to mix master Joe Barresi (Kyuss, Tool) and mastering guru Bob Ludwig (Led Zeppelin, Nirvana).
“The recording process was completely self-contained,” adds Sebastian Thomsen. “Having just the four of us in a rented house in the mountains for a month resulted in not only a cohesive and authentic sound, but also an intense collective mentality.”
“I think we were able to strip everything away on this record,” Gina Gleason shares. “We were unified in that. So, we just jumped in and did our best. That felt really good. It was a really cool, empowering, creative experience.”
Baroness “Last Word”
The band offer a preview of the stirring new album with today’s release of “Last Word,” and its accompanying Nick Jost-directed video. “I had been developing this process for video and animation, and this being our first self-produced album, we thought ‘why not extend that ethos to the video, too?’” explains the Baroness bass player. “It was really nerve racking to direct and create my first music video, but having a lifetime of nightmares and a love for strange animation turned out to be very useful.”
Baroness Return! | “Last Word” Song Reaction
STONE pre-orders and pre-saves are available now (https://baroness.lnk.to/STONE). The album features original cover art by John Baizley and is available on a variety of formats, including an indie exclusive LP and ten limited-edition custom vinyl variants themed after each song on the album and designed by Baizley himself, as well as CD, a limited-edition deluxe CD featuring a bonus disc of live tracks recorded on the “Your Baroness” tour, and a limited blue cassette.
STONE album cover; original painting by John Baizley
STONE track listing: 1. Embers 2. Last Word 3. Beneath the Rose 4. Choir 5. The Dirge 6. Anodyne 7. Shine 8. Magnolia 9. Under the Wheel 10. Bloom
Baroness have simultaneously announced the “Sweet Oblivion Tour,” a seven-week trek that sees the band traversing North America this Fall. Tickets are on-sale Friday, June 23, at 10 am local time, with Baroness bringing along some of their favorite bands including Jesus Piece, Portrayal of Guilt, Primitive Man, KEN Mode, Wayfarer, Chat Pile, Vile Creature, Soul Glo, Sheer Mag, Escuela Grind, Midwife, Hoaxed, Empire State Bastard, Cloud Rat, Imperial Triumphant, Uniform and Agriculture, with more support acts to be announced. More information and ticket pre-sales available at yourbaroness.com.
October 13 – Baltimore, MD – Baltimore Sound Stage
-With special guests Jesus Piece and Escuela Grind
October 14 – Richmond, VA – Canal Club
-With special guests Jesus Piece and Escuela Grind
October 15 – Asheville, NC – The Orange Peel
–With special guests Jesus Piece and Escuela Grind
October 17 – Tampa, FL – The Ritz Ybor
–With special guests Jesus Piece and Escuela Grind
October 18 – Atlanta, GA – The Masquerade
-With special guests Jesus Piece and Escuela Grind
October 20 – Dallas, TX – The Echo Lounge & Music Hall
-With special guests Portrayal of Guilt and Escuela Grind
October 21 – Houston, TX – House of Blues
-With special guests Portrayal of Guilt and Escuela Grind
October 22 – Austin, TX – Empire Control Room & Garage
-With special guests Portrayal of Guilt and Escuela Grind
October 24 – Albuquerque, NM – Sunshine Theater
-With special guests Primitive Man and Midwife
October 25 – Mesa, AZ – Nile Theater
-With special guests Primitive Man and Midwife
October 27 – Santa Ana, CA – The Observatory
-With special guests Primitive Man, Midwife and Agriculture
October 28 – Los Angeles, CA – The Bellwether
-With special guests Primitive Man, Midwife and Agriculture
October 29 – Berkeley, CA – UC Theater Taube Family Music Hall
-With special guests Primitive Man, Midwife and Agriculture
October 31 – Portland, OR – Hawthorne Theatre
-With special guests KEN Mode and Hoaxed
November 3 – Seattle, WA – The Crocodile
-With special guests KEN Mode and Empire State Bastard
November 4 – Vancouver, BC – Rickshaw Theatre
-With special guests KEN Mode and Empire State Bastard
November 6 – Edmonton, AB – Union Hall
-With special guests KEN Mode and Empire State Bastard
November 7 – Calgary, AB – The Palace Theater
-With special guests KEN Mode and Empire State Bastard
November 9 – Salt Lake City, UT – The Depot
-With special guests Wayfarer and Empire State Bastard
November 11 – Denver, CO – Summit
-With special guests Wayfarer and Empire State Bastard
November 12 – Omaha, NE – The Waiting Room Lounge
-With special guests Wayfarer and Empire State Bastard
November 14 – Minneapolis, MN – First Avenue
-With special guests Chat Pile and Empire State Bastard
November 15 – Chicago, IL – The Vic Theatre
-With special guests Chat Pile and Empire State Bastard
November 17 – Columbus, OH – The King of Club
-With special guests Vile Creature
November 18 – Detroit, MI – St. Andrews Hall
-With special guests Vile Creature and Cloud Rat
November 19 – Toronto, ON – The Danforth Music Hall
-With special guests Vile Creature
November 20 – Montreal, QC – Théâtre Beanfield
-With special guests Vile Creature
November 22 – Albany, NY – Empire Live
-With special guests Soul Glo
November 24 – Cleveland, OH – Agora Theater & Ballroom
-With special guests Soul Glo and Cloud Rat
November 25 – Pittsburgh, PA – Roxian Theatre
-With special guests Soul Glo
November 26 – Buffalo, NY – Town Ballroom
-With special guests Soul Glo
November 28 – Boston, MA – Royale
-With special guests Sheer Mag and Imperial Triumphant
November 29 – New York, NY – Webster Hall
-With special guests Sheer Mag and Imperial Triumphant
The rock ‘n’ roll traveling burlesque troupe, Little Miss Nasty, was at Brooklyn’s House of Yes with a provocative, jaw-dropping performance. The two-night residency featured performances by some of the most incredible dancers to ever set foot on a stage. These women did it all during the three-part show: crawling on walls, performing aerial stunts, singing, and dancing to a fantastic setlist of rock and metal tunes. Little Miss Nasty founder, Gina Katon, has created a space that uses entertainment, unabated rebellion, and seduction to uplift and empower women.
Walking into House of Yes was an experience in and of itself. When you first walk in, you’re greeted by multitudes of statues, disco balls, and oversized eyeballs hanging from the circus tent-painted ceiling. Despite the mismatched and quirky décor, the unconventional venue is quite inviting. Once inside the seating area, you could hear the theater buzzing with excited patrons waiting for the spectacle to commence.
Throughout the night, the multi-talented artists went through a multitude of costume changes and kept the audience guessing. They used songs from artists such as Korn, Nine Inch Nails, Combichrist, Rage Against The Machine, Pantera, In This Moment, Rob Zombie, and “Sippin’ On A Forty” from the Little Miss Nasty crew, Gina and the Eastern Block. Along with an excellent music selection, the acrobatics performed by each of the members present were outstanding. For her debut with Little Miss Nasty, Julia DiPretoro scaled a wall like a natural-born spider and made it look effortless. Sylvana Cecilia Tapia mesmerized with an aerial routine in which she used chains to support herself from the ceiling. Kyla Bullings choreographed three of the numbers of the night and was an unstoppable dancing machine. Bringing modern interpretative dance to life was Taliya Winecoff, while SabinaLundgren led the uprising of the sinful goddess. Singer and dancer extraordinaire, SaTiva, took to the air with a remarkable aerial piece.
A night filled with beauty, talent, and, most importantly, the powerful message that will transcend generations, borders, and the masses. Little Miss Nasty stands for women’s empowerment, and last Sunday night proved it. If you get a chance to witness these wonderful women on a stage near you, do it. You won’t regret it.
Upcoming show dates: JUNE 29 – LOS ANGELES JULY 8 – LONG BEACH JULY 15 – LAS VEGAS JULY 27 – LOS ANGELES AUG 3 – SAN DIEGO AUG 18 – LAS VEGAS SEP 16 – LAS VEGAS
The 2000s were filled with breakout stars and huge bands making amazing music. Time to see how AI processes that decade. This video looks at the Top 10 BEST 2000s Rock Bands (from Google Bard).
From Google Bard: “Here is my ranking of the top 10 rock bands of the 2000s, based on their commercial success, critical acclaim, and influence on the genre.”
Thank you to everyone who has been supporting and engaging with these Google Bard, or “Bardy”, videos. They are fun to work with and what I feel is a comical use of AI. All I know is that if there is ever an AI uprising, we just have to start playing Linkin Park and the bots will start having arguments with their own internal processing.
Coldplay are a British rock band formed in London in 1997.
Foo Fighters is an American rock band formed in Seattle in 1994.
Green Day is an American rock band formed in the East Bay of California in 1987 by lead vocalist and guitarist Billie Joe Armstrong, together with bassist and backing vocalist Mike Dirnt.
The Killers are an American rock band formed in Las Vegas in 2001 by Brandon Flowers (lead vocals, keyboards, bass) and Dave Keuning (lead guitar, backing vocals).
A sludgier version of Queens Of The Stone Age. This was much grittier than I was expecting. The amount of sludge and grit defines In Times New Roman from the opening of Obscenery to the nine-minute Straight Jacket Fitting. Overall it works with the many grooves that run through the album. The issue is that it’ll take a few listens for the flow to sink in. Getting through some of the tracks and endless slow jamming causes things to blend, but the guitar work is creative with different effects. In Times New Roman… feels appropriate for long-time Queens fans who have grown with the band. I’m not sure it’ll win new fans over but it should satisfy fans who want some sludgy new times. 7/10.
Queens Of The Stone Age In Times New Roman Album Review
Queens of the Stone Age (commonly abbreviated as QOTSA) is an American rock band formed in 1996 in Seattle, Washington. The band was founded by vocalist and guitarist Josh Homme, who has been the only constant member throughout multiple lineup changes. Since 2013, the lineup has consisted of Homme alongside Troy Van Leeuwen (guitar, lap steel, keyboard, percussion, backing vocals), Michael Shuman (bass guitar, keyboard, backing vocals), Dean Fertita (keyboards, guitar, percussion, backing vocals), and Jon Theodore (drums, percussion). The band also has a large pool of contributors and collaborators. Queens of the Stone Age are known for their blues, Krautrock and electronica-influenced style of riff-oriented and rhythmic hard rock music, coupled with Homme’s distinct falsetto vocals and unorthodox guitar scales.
In Times New Roman… is the eighth studio album by American rock band Queens of the Stone Age, released on June 16, 2023, through Matador Records. It was announced in a video teaser on May 11, 2023, and is the band’s first album since Villains (2017). The announcement occurred alongside the release of the lead single, “Emotion Sickness”. The band will tour North America and Europe in support of the record.
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From Google Bard: “Queens of the Stone Age (commonly abbreviated as QOTSA) is an American rock band formed in 1996 in Seattle, Washington. The band was founded by vocalist and guitarist Josh Homme, who has been the only constant member throughout multiple lineup changes. Since 2013, the lineup has consisted of Homme alongside Troy Van Leeuwen (guitar, lap steel, keyboard, percussion, backing vocals), Michael Shuman (bass guitar, keyboard, backing vocals), Dean Fertita (keyboards, guitar, percussion, backing vocals), and Jon Theodore (drums, percussion). The band are known for their blues, Krautrock and electronica-influenced style of riff-oriented and rhythmic hard rock music, coupled with Homme’s distinct falsetto vocals and unorthodox guitar scales. They have been praised by critics for their innovative sound and Homme’s songwriting.”
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Queens Of The Stone Age In Times New Roman Album Review
The Podcast That Rocked for 6/16/23. Rammstein allegations, Mammoth WVH on backtracks, President Biden VS Ticketmaster, and more.
Rammstein Allegations | The Podcast That Rocked on YouTube
The Podcast That Rocked on Spotify
Discussion Topics: 0:00 – Intro 4:33 – Mammoth WVH VS Backtracks 5:53 – President Biden VS Ticketmaster 7:04 – Dolly Parton & Rob Halford 7:52 – Upcoming on Rocked 8:28 – Billboard Mainstream Top 3 8:58 – Thank you YouTube Members and Patrons!
“Rammstein is a German Neue Deutsche Härte band formed in Berlin in 1994. The band’s lineup—consisting of lead vocalist Till Lindemann, lead guitarist Richard Kruspe, rhythm guitarist Paul Landers, bassist Oliver Riedel, drummer Christoph Schneider, and keyboardist Christian “Flake” Lorenz—has remained unchanged throughout their history, along with their approach to songwriting, which consists of Lindemann writing and singing the lyrics over instrumental pieces the rest of the band has completed beforehand.
Rammstein’s music is characterized by its heavy use of electronic sounds, industrial beats, and distorted guitars. The band’s lyrics are often dark and provocative, dealing with themes of violence, sex, and religion. Rammstein’s live shows are known for their elaborate pyrotechnics and stage shows.
The band has released seven studio albums, all of which have been commercial successes. Their most successful album, Sehnsucht, was released in 1997 and has sold over 11 million copies worldwide. Rammstein have also released two live albums, one compilation album, and two video albums.
Rammstein have won numerous awards, including the MTV Europe Music Award for Best German Act, the World Music Award for World’s Best Selling German Artist, and the Echo Award for Best National Rock/Alternative Group. They have also been nominated for a Grammy Award for Best Metal Performance.”
Foo Fighters, The Cure, The Postal Service, Death Cab for Cutie and Queens of the Stone Age Headline September 15-17th at Douglass Park in Chicago
Riot Fest announces the single-day lineups for 2023, featuring headliners Foo Fighters, The Cure, The Postal Service, Death Cab for Cutie, and Queens of the Stone Age. This stellar array of top-billed talent will be rounded out by Turnstile, The Mars Volta, Mr. Bungle, Tegan and Sara, 100 Gecs, The Gaslight Anthem, Death Grips, AFI and dozens of other fan favorites (full list below). 1-Day, 2- Day and 3-Day Tickets are on sale now. https://t.co/BdIApfuA5y
Line-up Friday Foo Fighters, Turnstile, Tegan and Sara, Say Anything, The Breeders, Kim Gordon, The Interrupters, Bayside, Ani DiFranco, I’m Silverstein, Parliament Funkadelic ft. George Clinton, Code Orange, Fake Names, Quicksand, The Wrecks, Hawthorne Heights, Braid, Yard Act, Screaming Females, Sludgeworth, Quasi, Just Friends, Bearings, Pinkshift, Olivia Jean, Calva Louise, The Aquadolls, FEA, The Bobby Lees, Young Culture
Saturday The Postal Service/Death Cab for Cutie, Queens of the Stone Age, Mr. Bungle, 100 Gecs, Death Grips, 070 Shake, Viagra Boys, PUP, Sleep Token, Frank Turner and the Sleeping Souls, Pennywise, Insane Clown Posse, Head Automatica, Nothing,Nowhere., White Reaper, Eshu Tune, Enter Shikari, Bowling for Soup, Spitalfield, Jehnny Beth, Drain, Snapcase, The Exploited, Plosivs, Steve Ignorant Band/Crass, Warpaint, High Vis, Rival Schools, Corey Feldman, Enola Gay, Casyette, Pool Kids, CK Vassi, Total Chaos
Sunday The Cure, Mars Volta, The Gaslight Anthem, AFI, The Used, The Dresden Dolls, Flogging Molly, Finch, Godspeed You! Black Emperor, L.S. Dunes, Gorilla Biscuits, Ride, Cults, Balance and Composure, Thursday, H2O, The Bronx, Microwave, Oso Oso, Origami Angel, The Black Angels, Nothing, Caroline Rose, Free Throw, Just Mustard, Hotline TNT, Earth Crisis, Empire State Bastard, Fleshwater, Fade ‘em All
Riot Fest has presented nearly 20 years of incredible musical performances, exclusive reunions, and more—including freak shows, Lucha Libre, panel discussions and late night shows, creating unique annual weekend experiences in one of the world’s greatest cities. For 2023, along with the return of carnival rides and last year’s hugely popular wedding chapel, Logan Arcade will be on hand with free vintage arcade games, hosted by Riot Pop!!. Riot Fest takes place in Douglass Park, a scenic, historic park easily accessible on Chicago train and bus lines. In addition to Riot Fest’s music, rides and other attractions, Douglass Park is surrounded by diverse neighborhoods rich in culture, excellent food and drink options and more.
