Rotting Christ’s live show in Patras, Greece, was canceled due to the objections of the Greek Orthodox Monastery of Esfigmenou. The Greek black metal masters had scheduled a live concert today, with Vermingod and Meden Agan, in the city of Patras at the Aegli venue, but after the pressure of the aforementioned Monastery, it was decided that the concert would take place at another venue (MetroPolis), with the Municipality of Patras announcing that this would happen due to some technical problems. Nevertheless, despite the reaction of the band, its fans, other musicians and the press against the Monastery and its attitude, we learned today that the Rotting Christ show is finally canceled. According to the Greek Monastery accusations, Rotting Christ offend Christianity and the band’s satanic image is one of the reasons Greece is facing the social-economic crisis. Of course, several religious and political organizations took part in the debates, we must praise Yiannis Aggelakas (Greek rock singer) though, who said that if Rotting Christ weren’t allowed to play live, he would also cancel his concert in Patras – and so he did.
What happened show us how much fanatic, obsessed and regressive some people of religion are. We don’t live in the sixteenth century, we don’t need any Inquisition, art and the freedom of expression shouldn’t be restricted. Rotting Christ is just a music group, which wants to play its songs and the metal fans are just music lovers, who want to see their fave band on stage. Don’t let religion separate people. We will always serve music, art and our beliefs.
We live in the 21st century, Singapore is one of the most developed countries, but these don't mean that we have escaped the dark ages. An online petition has been launched to prevent metal bands (more specifically, Watain and Soilwork) from playing live in Singapore. Change.org has started this campaign, which is titled "Ban satanic music groups Watain and Soilwork performing in Singapore" and has been signed over 16,000 times. According to the statement, "these heavy metal bands do not represent the culture which we want in our youths. Their subliminal messages in their songs include death and suicide. Sign this petition to get our lawmakers to ban these bands from performing in Singapore". Watain were due to perform at the EBX Live Space in Singapore yesterday, but the concert was canceled and a meet and greet took place instead. Soilwork have programmed to visit Singapore for a live show this upcoming October. Let's see what finally happens.
Los Angeles based, US heavy/power metal legends Steel Prophet are back with a new massive sounding heavy metal album "The God Machine" out on April 26th, 2019 via ROAR! Rock of Angels Records. Today, the band reveals the first official lyric video for the song "Crucify". Five years after the release of their latest album "Omniscient" the band recruited the all-star heavy metal singer/producer R.D. Liapakis of Mystic Prophecy/Devil's Train and his uniquely ranged vocal skills to perfectly match the songs on "The God Machine". R.D. Liapakis is not just only the man behind the microphone though since he, alongside Steve Kachinsky is responsible for the songwriting and production process of the album. The voice of R.D. Liapakis sounds tough, bluesy and strong, with wide range, power and style. The high notes come effortlessly, and the lead vocals make you want to stand up and wail along with his singing.
It’s rare to find a ’60s legend still on trailblazing form in their eighth decade. The 73-year-old guitarist finds himself in a golden late-bloom of creativity. In recent years, his solo output has been championed by both press and public, with the impact of 2014’s ‘Something’s About To Change’, 2016’s ‘Where You Are Going To’ and 2017’s ‘Time & Emotion’ setting up some of his best-attended US dates since he conquered that continent with ‘Bridge Of Sighs’ in the mid-’70s.
The bluesman’s back pages leave no doubt of his towering contribution. Follow the thread back to ’50s Southend, where the teenage Trower lived and breathed a vinyl collection that left an indelible mark on him. Making his first mark in R&B hopefuls The Paramounts, he then forged his reputation over a five-album tenure with Procol Harum. His solo career exploded in 1974 with ‘Bridge Of Sighs’, the gold-selling masterpiece. Suddenly, Trower was a mainstream draw in the States, booming from prime-time radio, taking the stage at stadiums. That wave of popularity carried Trower into a series of celebrated collaborations with Jack Bruce that began with B.L.T. (1981), and even saw him guesting on tracks for Bryan Ferry’s acclaimed Taxi (1993).
With ‘Coming Closer To The Day’, his songcraft and soulful performances have never sounded more alive – even on an album whose title track acknowledges that life is short and time precious. “I’m saying that I’m nearer the end than the beginning,” he explains. “But that doesn’t scare me. Not at all. If I went tomorrow, I’d feel like I’d been blessed with being able to achieve an incredible amount as a musician.”
The album was recorded at Studio 91 in Newbury, with engineer Sam Winfield. “’Diving Bell’ is probably my favourite track on the album,” he says. “‘Truth Or Lies’, that one was quite hard to pull off. I love the song, but I recorded it once and wasn’t happy with it, so I started from scratch again. It’s got quite a strong early R&B flavour to it. That song is not really about me. I’m writing from the viewpoint of a guy whose loved one has been messing around. ‘Someone Of Great Renown’, again, that song isn’t about me, but it’s maybe someone that I’d like to be.”
“’Lonesome Road’,” he continues, “that’s about me touring and asking how long I can go on with it. That’s definitely coming from my heart and head. ‘Ghosts’ is about things from the past where you didn’t do right in your personal life. ‘Don’t Ever Change’ is an out-and-out love song: a very nice, easy vibe, but still quite soulful.”
The calibre of the songwriting on ‘Coming Closer To The Day’ is matched by Trower’s performances, with the bandleader handling all instruments except the drums. His basslines are supple and rhythmic, his vocals growl and the lead guitar work only adds to his reputation as an all-time-great soloist.
For Robin Trower, the next great song is always right there at his fingertips. For five decades, the iconic British bluesman has written the same way. The valves glow in his Marshall amplifier. Those fabled hands roam the neck of his Fender Stratocaster. Then the music starts to flow: raw and real, played with fire and skill, untainted by commercial aspirations, accompanied by lyrics that get to the guts of the matter.