As I walked into the Belasco, I saw many people wearing CHVRCHES merch from different eras. The energy was palpable, a shared excitement for seeing Lauren Mayberry live as a solo performer for the first time after more than a decade in a Scottish synth-pop trio. As the very last show of the US leg of her tour in support of her debut album Vicious Creature (EMI Records, 2024), Mayberry brought grandiosity and theatricality to songs that explore themes of darkness and feminism, the latter being a well-known cause for the soprano singer-songwriter.
She brought along Cult of Venus as the opener—undoubtedly a fellow feminist powerhouse! A New York native, Cult of Venus performed solo, alternating between electric guitar and synth while filling the room with a clear, impactful voice that soared in an almost angelic way. There was introspection and elegance in an electric performance that at times blended the ambient, soothing sounds of Vancouver Sleep Clinic with the wandering energy of Bon Iver. They retraced a seemingly lonely journey—an anonymous one—since nobody truly knows their identity or what they really look like. Their face is always obscured by long blonde hair, making them a mystery. Even as a photographer in the photo pit, I found it nearly impossible to capture more than an inch of their face—at first, it made me question my own skills.
After waking up to the smoke and fires in Los Angeles, Cult of Venus wrote "Mountains", a song about rebellion and desperation—a call for help, even as they sang, “There ain’t no savin’ me.” It wasn’t the first time their music transcended into themes of strength and resilience; they have previously performed across many all-female prisons and detention centers. They closed their set with their latest single, "Algorithm", a powerful electronic track that gave me "Nightcall" by Kavinsky vibes, setting the perfect energy for Lauren Mayberry’s entrance.
Mayberry opened with her latest single, "Crocodile Tears", announcing herself with an "ultra-catchy eighties inspired tune sprinkled with jittery synths". As a self-proclaimed villain, she found it thrilling to see men's tears. Throughout the show, she danced and invited the crowd to clap along to the heavy synth and beats, with fans singing and moving in sync. Mayberry was radiant, glowing under the blue lights in her fairy-like red dress, commanding the stage with the confidence of a veteran performer. Beyond delivering a five-star performance with her distinctive, emotional vocals and magnetic stage presence, she was also highly entertaining during intermissions.
She recounted the story of the red megaphone she brought on stage for "Something in the Air"—one she had ordered online, only to receive it with a photo of Donald Trump using it and a message thanking her for her purchase. In shock, she stepped back, thinking, “Don’t touch it!!” Her story triggered waves of laughter and boos from the audience before she quipped, “Okay, I gotta shut up before they deport me.” As it turns out, the megaphone also doubled as a powerful light, adding a striking annonciateur energy to the stage, alongside vintage white telephones she used as props.
A breathtaking surprise during her set was Mayberry’s cover of "Bittersweet Symphony" in her signature style—grandiose, expansive, focused, and magnetic. I had to stop and take it all in. But Mayberry didn’t stop there. She created quiet, deeply personal moments too, like with "Oh, Mother", a piano ballad and ode to her mom. Singing “Oh, mother, I couldn’t do it without you” and “What would I do without you?” brought a hush over the crowd. In a Reddit AMA, Mayberry admitted that this song made them all weepy and sad in the studio because it’s “a depressing song”—one that wouldn’t have fit within CHVRCHES’ emotionally and sonically different direction.
The show ended with "Sunday Best"—the perfect closer for her final US show, which happened to be on a Sunday. Mayberry had previously explained that the song’s bridge was the hardest to write on the album, but finally cracking it felt “extra-euphoric.” The crowd felt that way too—extra euphoric. Thank you for the music, Lauren Mayberry!
- Lio
During the pandemic, Deleon “Pele” Hamilton had an urge to create something new, something from his heart and soul. His creative juices were churning. With the help of guitarist Nicolas “Nico” Groskopf and singer Elton Earlington, the trio got to work on a new project, a new journey, a new album. The album and concept revolve around the themes of love, struggle, upliftment, and resilience.
“What started with simple voice-note recordings, pen and paper, and an acoustic guitar has now blossomed into the truest and purest reflection of how I was feeling and what I was going through, as well as what I wanted to share with the world. The songs on this album are very special to me, and I do hope that you’ll find the same solitude when you listen,” Pele recently said about the work. While this was created out of Pele’s thoughts and desires, with the help of Nico and Elton, this project also came together with other amazing musicians. Among them are Wayne “C-Sharp” Clark, Oral Brown, Aston Barrett Jr., Kirk Bennett, and Peter Samaru on drums; Llamar “Riff Raff” Brown, Andrew Marsh, Kevon Webster, and Koriq Clarke on keys; and Hector “Roots” Lewis, Robert Malcolm, and the late Denver Smith on percussion. This is a truly Jamaican roots reggae band and album.
“This project is my life’s testimony and the philosophy by which I live,” shared Pele. “Once there’s life, it’s more than enough reason to keep giving your best.”
The album opens in the most perfect way with help from Steel Pulse on “Freedom Fighter.” This is a fast-paced rhythm with such a great sound and a powerful message about systemic injustice and liberation. David Hinds is at his best on this groove that perfectly blends the styles of F.Y.A.H. and Steel Pulse. Pele was recently quoted saying about the album, “Four years ago, while at one of my lowest points, I had no choice but to surrender my all to music.” That is the perfect quote for the next track, “Never Give Up.” This is another fast, upbeat song, and Elton sounds fantastic.
“Oh Oh Oh” comes at us next, with a carefree reggae riddim that just puts a smile on your face. The band hits us with “Free Your Heart,” a song that dives deep into mental health and taking care of yourself, with Nico delivering some nice guitar work to guide us through.
Next, it’s time for a nice rocksteady groove and a chill love song, “Cool Down.” The harmonies on this track are so sweet, with some great horn play by Sheldon Palmer. Love this song. Hollie Cook joins them on “When I’m With You.” Another love song and a sweet duet between Hollie and Elton—they sound so incredible together, going back and forth, sharing harmonies and a beautiful message. Another song I love “Live My Life” is a plea to start all over again with the one you love after making a mistake:
"Baby forgive me please and forget that/
Please set that all aside/
Life without you is a set-back/
Please step back in my life/
I was a fool but now I realize/
How could I lose the best part of my life.”
We stay with the love songs with a really funky groove in “Love Got A Hold.” This is a really fun song—you just want to dance and have a good time! We get some self-reflection with “Where You Gonna Run.” Another great track with Elton once again sounding amazing, but this is also about the instrumentalists: Nico on guitar, Pele on bass, and the percussion and drums walking us through this voyage.
We have reggae and jazz great Glen Browne, the world-famous bassist and guitarist, joining F.Y.A.H. on “Hold Up I Head.” Glen has been making music since the ’60s and is an amazing addition to this song, with nyabinghi drums carrying us through. Glen brings us his warm, calming voice, passing on his wisdom with the inspiring lyrics. This is a sweet, soothing song for the heart.
Next brings us another collaboration, but not like we would expect. “I Believe” features Alborosie, but not joining Elton on the mic. The song was recorded at his Schengen Studio, and he adds his expertise on keyboard, percussion, and guitar, while also working on the production of the song.
The song that probably shows off Elton’s range and beautiful voice the most is the final track, “Brighter Day.” This is a multi-dimensional song that really steps away from the reggae sound and brings us a nice mix of styles and genres. Nico finishes it off with a sweet guitar solo, a perfect way to conclude this journey that Pele, Nico, Elton, and all their friends have taken us on.
One Love,
Todd Judd
Vybz Kartel’s firstborn, Jaheim Palmer, aka Likkle Vybz, released his first solo EP, Love Lane, on Valentine’s Day on his Uptown Gaza Records label. He said he wanted to release something dedicated to the ladies: "I just want the work to speak for itself, honestly. [It's] four songs for the ladies, because you know that you cannot leave the ladies out. I really want them to resonate well with anyone who takes the time out to listen to what I have to say," Likkle Vybz said.
This EP is a different vibe, a different style than we are used to hearing from Likkle Vybz. He has been doing music for a while now—when your father is one of the most popular Jamaican artists ever, that will happen—first as a duo known as PG13, starting in 2014 with his younger brother Likkle Addi, and then releasing tracks over the years such as “Fully Gaza,” “No Cap,” “Lemonade,” and “Rich Off.” There is real growth we hear from Likkle Vybz with this 4-track EP.
"I've been wanting to drop a solo EP for a while now, so I have been putting in the work to build myself musically,” he recently told The Star. “I was at home looking for some rhythms, and I found one by Kahtion Beatz, and instantly I was hooked and started the hook. I wrote that song (“Ready”) the same night. I eventually went back to it and fixed it, and then we perfected it in the studio, and the same for the other tracks where perfection is concerned; some songs took longer than some naturally,” the deejay told the Jamaica Observer.
“Ready” is the first track, and the first thing that hit me was how different this song was from his others. Not in a bad way at all, just not expecting to hear what I was hearing. It’s an appealing beat and groove, and I can understand why he got hooked. He has a great flow throughout; you can hear the maturity and growth in his voice and lyrics. Loving the flute at the end, just taking the rhythm to another level.
He follows up with “Miss Independent,” an infectious, silky beat. The blending of rhythmic patterns makes it a perfect song to get up on your feet and hit the dancefloor. Likkle Vybz brings charmingly catchy lyrics with an energetic melody.
Vybz Kartel joins his son on “Secret” with a nice, solid beat and rhythm. The guitar flows over the beat, flowing right along with Likkle Vybz’s vocals. While this song is a slow and chill groove, Vybz Kartel comes in HARD—no surprise—and it adds another level to the song. They really complement each other with their styles, cadence, and voices.
The EP is finished with what is probably my favorite track, “Best Friend.” I just really love Likkle Vybz’s sound and lyrics in this. His flow is great, taking us along this journey, flowing through the beat with melodious vocals and harmonious phrases. The rhythm just has me grooving and bobbing my head.
This is a really good EP, one that makes me want more and will have me waiting for more from Likkle Vybz. When your parent is such a huge name in music—not just in Jamaica but worldwide—it can be hard to find your own style and break away on your own. I think we are seeing the maturity of Jaheim, but also him finding his own way, his own style, while still keeping close to the “family business.” His father has been a huge influence on his life and career, of course: “He has had a great impact and, even during the creative process, I took some time out to appreciate the influence on my style, especially for this project. It’s a great feeling, honestly, it reassures me that I’m progressing and going in the right direction,” he recently told the Jamaica Observer.
This is for the ladies, but it is really for everyone—great rhythms, lyrics, and beats.
One Love,
Todd Judd
Hall of Fames are a touchy subject for me. When it comes to sports Hall of Fames, it feels almost liberating because members are voted in based on merit, talent, and impact. The Rock ‘N’ Roll Hall of Fame, however, is a completely different beast. Artists are voted in based on what the old elitists of music like and who they like, not on what the people want or appreciate. This is especially true for metal bands and artists, who often do not get the respect they deserve.
Luckily for them, there’s the Heavy Metal Hall of Fame, which takes place during NAMM week. It’s a ceremony where artists and contributors in the genre are recognized and respected. Rabit and I have covered the last three or four ceremonies, and we once again showed up for the 2025 inductions. This year, the following were honored as inductees: Pantera’s Dimebag Darrell, Arch Enemy’s Alissa White-Gluz, guitarist Doyle Wolfgang von Frankenstein, Megadeth guitarist Jeff Young, Poison drummer Rikki Rockett, former Fear Factory vocalist Burton C. Bell, Dangerous Toys, and radio station KNAC.
Normally, there’s a red or black carpet to welcome attendees, but that wasn’t the case this year. This event typically takes place in the ballroom of the Marriott Delta in Garden Grove, but for 2025, it was held at the Grand Theater in Anaheim. There was no carpet—just a simple entrance where journalists and photographers improvised, creating a make-shift carpet experience for the arriving artists. It was different but creative, as we wanted to grant the artists the respect they’ve earned. Many journalists, including myself, had to fight for interviews, but I was lucky enough to snag six or seven of them (check out the YouTube audios below).
During the ceremony, we were treated to stellar metal performances by the Jeff Young Band, Wicked, the Alibis, and an all-star jam. The inductees expressed heartfelt thanks to their fans and to the writers who promote them with intense passion.
I’d say this year’s Heavy Metal Hall of Fame was interesting in a unique way. While it lacked the traditional red carpet, we improvised, creating our own walkway—much like the Stitch Riot fashion show had done before. Through this, we actually gained more access to the ceremony itself and got to witness some incredible sets, including an unforgettable performance by Wicked, who we had the pleasure of seeing again the next night with Metal Allegiance.
As for the inductees, while most couldn’t attend, their presence was still felt throughout the night, and we cheered on those who could make it. It was a great celebration of the genre and an overall fantastic night for metal lovers. I’m already looking forward to next year’s event. To the class of 2025 inductees into the Heavy Metal Hall of Fame, I salute you. Horns up!
Photos by: Matt 'Rabit' Martinez
There are a lot of different music genres in the world—good old-fashioned Rock ‘n’ Roll, Heavy Metal, and Pop—but the one genre that stands apart from all others is Progressive Rock (Prog Rock). Its non-traditional song structures, unconventional time signatures, and experimental sounds make it truly unique. Bands such as Yes, King Crimson, Rush, and Pink Floyd pioneered and popularized this musical style in the ’70s and ’80s. However, in the ’90s, Dream Theater combined the sounds of these innovators, added a bit more heaviness to the mix, and elevated themselves as the modern-day kings of Progressive Rock, never looking back.
2025 is an exciting year for Dream Theater and their fans. The band is out on tour in North America celebrating their 40th anniversary, and they made a stop in Los Angeles at The YouTube Theater on Saturday night, February 22, for a SOLD-OUT show. Adding to the excitement, original drummer Mike Portnoy rejoined the band in 2023. This marks the first Dream Theater tour with him in over 15 years. If that weren’t enough, the tour is also in support of their critically acclaimed new album, Parasomnia, released on February 7. The album features Portnoy’s first appearance on a Dream Theater record since 2009’s Black Clouds & Silver Linings. That’s a lot to celebrate!
“An Evening With Dream Theater” kicked off at 7:40 p.m. with no opening act, and for the next three hours, Los Angeles witnessed five of the most talented musicians on planet Earth dazzle their eyes and ears. The night began with the 9+ minute “Metropolis Pt. 1: The Miracle and the Sleeper.” Drummer Mike Portnoy, guitarist John Petrucci, keyboardist Jordan Rudess, and bassist John Myung blasted the song's powerful intro before vocalist James LaBrie took the stage, belting out, “The smile of dawn arrived early May,” marking the start of a magical night of celebration. Although this was technically a seated show, everyone in attendance was standing and remained on their feet for the entire performance once the music started.
Three huge video screens provided the stage's backdrop along with additional video displays on the edges of Jordan Rudess' massive keyboard setup and beneath Portnoy’s colossal drumkit. The visual spectacle, complete with lasers shooting into the crowd, was perfectly synchronized with the music and its themes. LaBrie welcomed the audience to the 40th Anniversary tour and made it clear he expected the crowd to match the energy of the band's performance. Spoiler alert—they did.
With many Dream Theater songs spanning significant lengths, there was no need for dedicated solos, as each musician already had ample opportunity to demonstrate their incredible skills. The musicianship in this band is unparalleled. Petrucci seamlessly moved between his six- and seven-string guitars, Myung expertly wielded his six-string bass, and Portnoy’s colossal drumkit seemed to have more cymbals and components than any stage could hope to contain. Rudess’ keyboard might as well have been a device from another dimension, producing sounds and atmospheres that transported the crowd. During these extended instrumentals, LaBrie would often step offstage, only to reappear just in time for the next vocal part.
About 75 minutes into the show, after a crushing rendition of “The Dark Eternal Night,” LaBrie announced a 15-minute intermission. Upon returning for Act II, the show resumed with a video montage spanning Dream Theater's entire catalog before the band launched into two songs from Parasomnia: “Night Terror” and “Midnight Messiah.” Both tracks were standouts, featuring heavy, groove-driven guitar riffs and showcasing some of the finest music the band has crafted in years.
The song selection for the evening was the perfect blend of fast, slow, new, old, and everything in between. Act II climaxed with the haunting soundscapes of Jordan Rudess’ keyboard introducing the marathon 24-minute masterpiece, “Octavarium.” This epic track encapsulates everything Dream Theater embodies as a band. Of course, no Dream Theater show would be complete without an encore. And what an encore it was—three songs totaling about 27 minutes. The grand finale came with the iconic “Pull Me Under,” delivering the ultimate capstone to a phenomenal concert. For all the reasons this tour feels so special, as highlighted early in this review, this night in Los Angeles may have been the most memorable Dream Theater performance to date—beyond incredible. THANK YOU, Dream Theater. Keep on ROCKING!
A special note on the performance: With all due respect to Mike Mangini, who is an extraordinary drummer and an even better human being (thank you for your incredible contributions to the band), seeing Mike Portnoy back behind the drumkit was nothing short of epic. He belongs there—as a founding member of the band and a vital ingredient in the Dream Theater machine. This is what the fans have been hoping for, and it’s everything we could have dreamed of.
Act I
“Metropolis Pt. 1: The Miracle and the Sleeper”
“Act I: Scene Two: I. Overture 1928”
“Act I: Scene Two: II. Strange Déjà Vu”
“The Mirror” (with “Lie” solo outro)
“Panic Attack”
“Barstool Warrior”
“Hollow Years” (‘96 demo version)
“Under a Glass Moon”
“The Dark Eternal Night”
Act II
“Night Terror”
“Midnight Messiah”
“This Is the Life”
“Vacant”
“Stream of Consciousness”
“Octavarium”
Encore
“Act II: Scene Six: Home”
“Act II: Scene Eight: The Spirit Carries On”
“Pull Me Under”
Munga Honorable, whose given name is Damian Rhoden, has released his latest album, a 15-track collection of songs that are straight-up classic Munga, with a little growth and newness. He’s been doing this for 20 years, though it doesn’t seem like he’s been around that long, consistently bringing great beats and hard lyrics from day one. The veteran deejay recently shared, “I’m beyond excited to share this album, G.R.E.A.T., which stands for Gangsta, Rasta, Entrepreneur, Artistic, Tenacity, which you will notice as the characteristics of this album and my 20-year-long career.”
The album starts off with a nice, chill introduction-type track, “Toast Life,” a groove that sets the tone for what’s to come. The title track follows and is 100% classic Munga. With its strong dancehall beat and Munga’s powerful lyrics flowing over the rhythm, he hits incredibly hard on this. Up next is one of the standout tracks, “Riches,” which features Demarco. Both Munga and Demarco bring their A-game on this one; their chemistry is undeniable, and their styles complement each other flawlessly. “In Vain” slows it down with a more relaxed rhythm, but the lyrical flow remains sharp. Then comes “Leggo,” moving back into a faster tempo as Munga dominates this lively track.
Previously released, “50 Caliber,” featuring Bounty Killer, keeps the energy high with an excellent back-and-forth between Munga and Bounty, both owning the mic. “Bad People” follows, bringing us back to classic Munga vibes. This track easily stands out as one of the best on the album. “Rev” kicks in with an infectious repeat of “Rev Rev Rev Rev,” hitting you in the face with its bold rhythm. Another gem, “Rifle Man,” comes next, delivering vivid storytelling about the gangsta life. Its dynamic drums and flowing riddim pull you into the narrative. We then get “Pretty and Smart,” another high-energy track showcasing Munga’s faster cadence and command over the beats.
The album shifts gear with a trio of slower songs. “Heart and Soul” is a standout—another one of my favorites—that gives us a refreshing glimpse of Munga’s emotional range. “People Things” follows with a slower flow paired with a harder beat. The balance here is fantastic, with its exceptional lyrics and vocals. “Avoid People” keeps the slower pace but adds a groove that’s easy to connect with. I especially love how Munga plays with his voice and cadence throughout this track, making it personal and relatable. This section of the album is all about pure vibes and heartfelt performances.
The energy picks up again with “Free,” a party anthem designed to get you moving. “I want to drink some rum, smoke some trees, have some fun,” Munga sings, capturing the track’s carefree, celebratory spirit. He closes out the album with “System Fail,” a powerful closer featuring more poignant lyrics. “The system is a failure, and Rastafari is the savior, it’s a parliament traitor, no not them listen to Bunny Wailer.” The message is impactful, and Munga’s delivery is as strong as ever.
Munga Honorable’s latest project highlights his signature blend of Reggae and Dancehall, offering a deep, varied listening experience. The album embraces the classic Munga sound with high-energy anthems while also slowing it down for expressive, touching ballads. Despite 20 years in the game, Munga remains authentic, evolving while staying true to his roots. His description of G.R.E.A.T. couldn’t be more accurate—it brings that gangsta flow, Rasta vibes, entrepreneurial spirit, artistic grooves, and remarkable tenacity. This is a solid album that will stay in rotation for a long time.
One Love – Todd Judd
Sacramento music enthusiasts were treated to a night of pure, unfiltered rock and roll with Myles Kennedy, Tim Montana, and Sons of Silver. The line snaking around the Ace of Spades was a clear indicator that the night was going to be unforgettable. Let’s break it down.
Kicking off the evening were the Los Angeles-based rockers, Sons of Silver. They’ve been on the road in support of their debut album, Runaway Emotions, which has been a resounding success so far. Their music skillfully blends tragedy, punk, and harmony, creating something truly unique. The band's lineup boasts former members from renowned '90s bands like Candlebox, Skillet, and Pearl Jam. Known for their energetic performances and neo-classical rock influences, Sons of Silver bring an engaging stage presence that sets them apart in today’s rock scene. The band's album Doomsday Noises was released in 2020, followed by Ordinary Sex Appeal in 2022, and their new album Runaway Emotions released in January 2025. With a growing fan base and increasing acclaim, they continue to captivate audiences as they share the stage with Myles Kennedy on this tour.
Next up was the dynamic performer and direct support act, Tim Montana, a country-rock artist hailing from Montana. Dubbed the "single-wide survivor" and an "off-grid wonder," Montana fired up the crowd alongside his band, affectionately known as the “Shrednecks.” While he’s widely celebrated for his collaboration with Billy Gibbons of ZZ Top, Montana proved that he’s more than capable of holding his own. His sound mixes country, heavy metal, and raw rock and roll, drawing from personal tragedies to craft deeply resonant songs. His performance included tracks from his upcoming 2024 release, Savage, featuring songs like "The Devil You Know." He also surprised the audience with a unique take on 2Pac’s "California Love." Lyrically, Montana doesn’t shy away from heavy subjects such as domestic violence, addiction, and abuse, giving his songs a weighty, authentic feel. Backed by his incredible stage presence and a tight-knit band, Tim Montana delivered a performance that solidified his place as a rising star.
Finally, the highlight of the evening arrived—Myles Kennedy took the stage. The packed house eagerly awaited the rock maestro himself, and he delivered as expected. Performing solo, without Slash, Kennedy commanded the crowd with ease, a testament to his prowess as a performer. This tour, in support of his third solo album The Art of Letting Go, has been a success across the board, and Sacramento was no exception. Known for his powerful vocals and dynamic stage presence, Kennedy impressed with deeply soulful guitar tones and vocals that were both soothing and mesmerizing.
The performance showcased Kennedy both as a solo artist and as the frontman of Alter Bridge, backed by the talented Zia Uddin on drums and bassist-manager Tim Tournier. This power trio delivered some of the most electrifying rock and roll I’ve seen in a long time. The setlist was expansive, including a cover of Alter Bridge’s "Lover," older tracks like "Say What You Will," and new music such as "Nothing More to Gain" from his latest release. His emotional delivery and connection to the audience shone brightly, leaving no doubt that Myles Kennedy is in a league of his own.
This high-caliber performance made for an unforgettable evening. If this tour comes to your town, don’t miss your chance to experience the magic of Myles Kennedy and his incredible band live.
Released on February 17, 2025, “You Know Better” is the latest sonic masterpiece from The Ritualists, serving as a tantalizing preview of their forthcoming full-length album, Too Pure to Cure. This striking single not only showcases the band’s distinct musical identity but also reinforces their reputation as boundary-pushers within the alternative and post-punk genres. Paired with a visually stunning cinematic video, this release elevates The Ritualists' artistry to new heights.
The video itself is a marvel. From start to finish, it grabs your attention with its seamless interplay of light, shadow, and color. It’s as if each frame was pulled from a dream—haunting yet beautiful, nostalgic yet otherworldly. The infusion of vintage-inspired aesthetics, from retro costumes to warm film-style filters, contrasts perfectly with the modern-day precision of the visuals. There’s an intentionality here, a sense that every shot was designed to amplify the emotional weight of the song. It’s a rarity to encounter a music video where the imagery feels as deeply evocative as the music—and “You Know Better” nails that balance with poise.
Musically, the single is quintessential Ritualists, blending their signature alternative edge with lush post-punk influences. The track’s eerie melodies and layered instrumentation pull you in, creating an immersive soundscape that lingers long after the first listen. Vocal layers courtesy of Christian Dryden weave introspective lyrics through the meticulously arranged sonic textures, creating a relationship between the narrative and sound that feels both intimate and universal. It's music that doesn’t just ask to be heard—it demands to be felt.
What really stood out to me, though, is the dual storytelling at play here. The music and video feed off each other, each enhancing the other’s message in a way that few artists manage to achieve. The song’s haunting introspection pairs flawlessly with the video’s evocative visuals, pulling the viewer into an emotional, almost cathartic experience. It's not just entertainment—it's art.
The Ritualists have always excelled at walking that fine line between the past and the present, paying homage to the greats who influenced them while forging an identity that's unmistakably their own. “You Know Better” is no exception. It’s an exquisite showcase of their ability to tap into the raw, emotional core of their art and transform it into something meaningful and unforgettable.
From the hauntingly poetic lyrics to the cinematic visuals, “You Know Better” is the perfect teaser for what's to come on Too Pure to Cure. If this single is any indication, the full album (set for release on April 22nd on Suite 484music) is going to be nothing short of spectacular. The Ritualists have once again proven themselves to be true visionaries—musicians and storytellers who understand the deeper connection between sound and vision. For fans, both new and old, this is a must-watch, must-hear release that solidifies their place among the contemporary music elite.
Simply put, “You Know Better” isn’t just another music video—it’s an experience. One worth taking in over and over.
Cruel World Festival will return in 2025 with headliners New Order and Nick Cave & the Bad Seeds.
The festival returns to the Rose Bowl in Pasadena, CA on Saturday May 17, with additional performances from legendary acts Devo, Orchestral Manoeuvres in the Dark, Death Cult, Garbage, Madness, She Wants Revenge, Alison Moyet and more.
The 2025 festival will mark the final stop of Nick Cave & The Bad Seeds’ North American the Wild God Tour in support of their highly acclaimed 18th studio album of the same name.
Standout reunions for the festival will include Rock and Roll Hall of Fame honorees The Go-Go’s and the trailblazing new wave band ‘Til Tuesday, performing for the first time in 35 years with its original members.
Fans can also look forward to the return of Death Cult (later The Cult in 1984) as frontman Ian Astbury and guitarist Billy Duffy plan to revive the band’s original discography for their only confirmed California performance of the year. Additionally, Valley legends She Wants Revenge declared they will only play at Cruel World in 2025.
Get your tickets now at: https://cruelworldfest.com/
TICKETS
GA: $249
GA+: $349
VIP: $479
Payment plan options available.
There has been no shortage of well put together Death Metal tours in the last couple of years, in 2024, Amon Amarth toured with Cannibal Corpse and Obituary, I Am Morbid toured with Suffocation, Death to All and Cryptopsy are just a few and 2025 is keeping the momentum going with the Revenge of the Underworld Tour. This KILLER tour consists of Death Metal giants Nile and Six Feet Under along with Psycroptic and Embryonic Autopsy. The six-week trek made the first of two Southern California stops at The Observatory in Santa Ana on Friday February 7 to a packed venue of extreme music maniacs. This was sure to be a night to remember as with due respect to all bands, the anticipation for Six Feet Under was off the charts as this was their first tour in 12 years, and with this being many in attendance’s first-time seeing Chris Barnes and Six Feet Under Live.
The night started early as Embryonic Autopsy took the stage at 6:30pm sharp with a brutal 25-minute set of old school mid-tempo Death Metal. The band is led by Tim King from the mid 90’s alternative rock band Soil. Tim was in another Death Metal band Oppressor with two of his Soil bandmates back in the early 90’s prior to Soil and he has returned to his roots with Embryonic Autopsy providing some killer low-pitched growling vocals. The band is out supporting their 2024 release Origins Of The Deformed and they quickly owned the early crowd with their ferocious set and accomplished the goal of getting all in a Death Metal state of mid.
This tour is all killer and no filler as Psycroptic hit the stage next led by brothers Joe Haley on guitar and Dave Haly on drums. Opening the show with “Cold” off 2015’s self-titled album, the first thing you notice is Jason Keyser (Origin vocalist, former Skinless vocalist) is fronting the band on this tour and that is not a bad thing. Keyser has a radiant stage presence and was deeply connected with the crowd in between songs asking for some head banging and circle pit action.
Psycroptic songs contain that brutal technical riffing from Joe Haley providing that Death Metal gallop throughout the set in sync with his brother on drums. The band played a 40-minute eight song set that ended with Keyser politely pleading with the crowd to get some crowd surfing going since this was their last song as they blasted through “Enslavement” – and the crowd came through as the first crowd surfers of the night made Keyser happy.
The anticipation for Six Feet Under was off the charts as that is all you could hear fans talking about during the set change. After 12 long years the “God-Father of Death Metal vocals” is back on the stage – yes all were chomping at the bit to see and hear Chris Barnes who infamously fronted Cannibal Corpse on their first four albums and who set the standard for guttural Death Metal vocals and violent, horror inspired lyrics.
The band took the stage with Barnes on vocals and original Cannibal Corpse guitarist Jack Owen on rhythm guitar with Jeff Hughhell on bass, Marco Pitruzzella on drums and playing lead guitar Ray Suhy and they began their 60 minutes of brutality with “Torn to the Bone” then into “Return of the Zombie” that had the capacity crowd in a frenzy right from the start. While Barnes obviously looks a bit older as he is sporting a full white beard, his vocals are as strong as ever as he sounded spot on all night long with his guttural delivery, gurgles and pig squeals.
It was obvious Barnes was thrilled to be back onstage and thanked the crowd many times for the continued support. The setlist was sprinkled with songs from throughout the Six Feet Under catalog and featured such tracks as “Know-Nothing-Ingrate” off 2024’s Killing for Revenge, “Feasting on the Blood of the Insane”, “Seed of Filth”, “Human Target” and many more. Fans were screaming at Jack Owen all night and he was also having a blast with all the smiles and crowd interaction – hey 2/5 of the original Cannibal Corpse was onstage – pretty awesome when you think about the performance like that and well the band sure ended the night in the most EPIC way as the last two songs of the set were not only Cannibal Corpse songs but two of the most iconic Death Metal songs that gleam with Barnes’ violent songwriting and extreme musical delivery.
Six Feet Under ended their set with “Stripped, Raped and Strangled” and the finale being the monster track that was featured in the 1994 Jim Carrey film Ace Ventura: Pet Detective – “Hammer Smashed Face”. The crowd response was off the hook for these two songs with moshing, hair whips and crowd surfing. Barnes and band thanked the crowd and all in attendance just experienced 60 minutes of Death Metal euphoria.
Now about 9:30pm, Nile had the difficult task of following the epic Six Feet Under performance, it is unclear if Nile is closing the show every night but playing after Chris Barnes’ return to the stage is no easy task. The band hit the stage and opened the set with the killer tune “Stelae of Vultures” off their 2024 release The Underworld Awaits Us All. Now there are a few new faces in Nile as they again went through some personnel changes with the addition of Dan Vadim Von (formerly of Morbid Angel) on bass and vocals and Zach Jeter (Hideous Divinity) on second guitar and vocals while Karl Sanders and George Kollias remain the anchor of the band.
Next up was “To Strike with Secret Fang” and then “Sacrifice Unto Sebek” and this new lineup works really well live as Sanders, Von and Jeter all trade off vocals with Sanders providing the deepest guttural growls known to man all while Kollias creates the most insane drum patterns that a human being can ever imagine – just incredible. The band was certainly in sync and kicking ass, but the crowd seemed a bit reserved, maybe due to releasing all their energy for Six Feet Under? Also the stage lights for Nile were faint plain white lights that seemed to take away some of the vibe of the show based on the lighting from the previous bands.
Nevertheless, Nile remains King of Egyptian themed technical Death Metal and kudos to Sanders for being able to shout out the incredibly long song title off their new album “Chapter for Not Being Hung Upside Down on a Stake in the Underworld and Made to Eat Feces by the Four Apes” – WOW, what a mouthful but a seriously killer song. Of course, in typical Nile fashion the set ended with the brutal title track off 2000’s Black Seeds of Vengeance. What an incredible night of Death Metal and for many a somewhat religious experience witnessing Chris Barnes back on stage. The Revenge of the Underworld Tour makes a stop in Los Angeles at 1720 on February 15 and then ends on February 22 in Houston, TX. Horns Up!
Six Feet Under Set List:
Torn to the Bone | Revenge of the Zombie | Silent Violence | Lycanthropy | Know-Nothing Ingrate | Murdered in the Basement | The Day the Dead Walked | The Enemy Inside | Feasting on the Blood of the Insane | Victim of the Paranoid | Seed of Filth | Death or Glory (Holocaust cover) | Human Target | Beneath a Black Sky | Stripped, Raped and Strangled (Cannibal Corpse cover) | Hammer Smashed Face (Cannibal Corpse cover)
Nile Set List:
Stelae of Vultures | To Strike With Secret Fang | Sacrifice Unto Sebek | The Black Flame | Smashing the Antiu | Kafir! | In the Name of Amun | Sarcophagus | Long Shadows of Dread | Chapter for Not Being Hung Upside Down on a Stake in the Underworld and Made to Eat Feces by the Four Apes | Invocation of the Gate of Aat-Ankh-es-en-Amenti | Black Seeds of Vengeance
