Vanilla Fudge - The doomed out heaviness of 1967

"This has no right going as hard as it does. Vanilla Fudge was something else, man." - YouTube comment by @heyheyhey33351

Vanilla Fudge

Vanilla Fudge

1967

ATCO

side one

1. "Ticket to Ride" John Lennon, Paul McCartney 5:40

2. "People Get Ready" Curtis Mayfield 6:30

3. "She's Not There" Rod Argent 4:55

4. "Bang Bang" Sonny Bono 5:20

Side two

5. "Illusions of My Childhood-Part One" Carmine Appice, Tim Bogert, Vince Martell, Mark Stein 0:20

6. "You Keep Me Hanging On" Brian Holland, Lamont Dozier, Eddie Holland 7:26

7. "Illusions of My Childhood-Part Two" Appice, Bogert, Martell, Stein 0:23

8. "Take Me for a Little While" Trade Martin 3:27

9. "Illusions of My Childhood-Part Three" Appice, Bogert, Martell, Stein 0:22

10. "Eleanor Rigby" Lennon, McCartney 8:24

The American band Vanilla Fudge specialized in a very particular style of rock music in the 1960s. They took rock music and transformed it into a slowed-down heaviness that captured the attention of rock audiences. For a long time, they have been recognized as pioneers in taking psychedelic rock toward a new form of heaviness. It's actually pretty crazy when you think about it. For example, their 1967 debut album opens with a cover of The Beatles' cheerful song "Ticket to Ride," which Vanilla Fudge slowed down to the most extreme degree imaginable in 1967. If they had slowed it any more, they would have had to almost stop the music altogether. So, Vanilla Fudge took a fantastic Beatles song, and made it into something very different in 1967, and people said it was "heavy" because it was hard to verbalize what they were hearing. Wikipedia points out that according to Classic Rock Magazine, the album's cover tracks "were all slowed down to near doom pace, and given a hard-style treatment." The publication also stated, "Released a year before Led Zeppelin blasted into action, the Fudge are one of those crucial bands who mixed heavy blues, psychedelia, and raucously progressive musicianship in a way that helped pioneer what we now regard as metal." Wikipedia describes the album as: "It consists entirely of half-speed covers and three short original instrumental compositions."

Wikipedia also observes: Vanilla Fudge's 1967 psychedelic rock remake titled 'You Keep Me Hanging On' reached number six on the Billboard Hot 100 chart a year after the release of the Supremes' recording. While the edited version released on the 45 RPM single was under three minutes long, the album version was 7:26 and features a markedly slower and more aggressive interpretation of the song. The recording, done in one take, was Vanilla Fudge's first single. Vanilla Fudge drummer Carmine Appice talked about the band's decision to record the song in a 2014 interview:

That was Mark and Timmy [the band's keyboardist and bassist]. We used to slow songs down and listen to the lyrics and try to emulate what the lyrics were dictating. That one was a hurtin' song; it had a lot of emotion in it. "People Get Ready" was like a Gospel thing. "Eleanor Rigby" was sort of eerie and church-like ... like a horror movie kind of thing. If you listen to "Hangin' On" fast ... by the Supremes, it sounds very happy, but the lyrics aren't happy at all. If you lived through that situation, the lyrics are definitely not happy.

Legendary guitarist Ritchie Blackmore (Deep Purple/Rainbow) has stated about this period of rock music history, according to the publication called Far Out, in an article published in 2025:

“Back in the late ’60s, there were few organists who could play like Jon,” he said of his prog-pioneering pal. “We shared the same taste in music. We loved Vanilla Fudge – they were our heroes,” he told Guitar World in 1991.

The same article, by Tom Taylor, has the following excerpt:

The potent group from Long Island, New York, were renowned for their on-stage ferocity. While their drummer, Carmen Appice, obviously he had a vested interest in singing his own group’s praises, he told Songfacts, “We played with Hendrix, Cream, The Who, and at times, we blew everybody off the stage. We were a very hard act to follow. We were known for being very aggressive live and different from anyone else. We were wondering who was going to blow us off the stage – it was Led Zeppelin.”

Blackmore’s assessment ratifies his claim. “They used to play London’s Speakeasy and all the hippies used to go there to hang out – Clapton, The Beatles – everybody went there to pose,” he recalled. “According to legend, the talk of the town during that period was Jimi Hendrix, but that’s not true. It was Vanilla Fudge.”

They weren’t just fierce and ferocious, they were also innovative, too. As Blackmore concludes, “They played eight-minute songs, with dynamics. People said, ‘What the hell’s going on here? How come it’s not three minutes?’ Timmy Bogert, their bassist, was amazing. The whole group was ahear of its time.”

They might not have had huge commercial success beyond ‘You Keep Me Hangin’ On’, which may well be the greatest Motown cover of all time, and they stuttered in and out of periods of inactivity, but they certainly had a big influence.

As Appice concludes, “So, initially we wanted to be a Vanilla Fudge clone. But our singer, Ian, wanted to be Edgar Winter. He’d say, ‘I want to scream like that, like Edgar Winter’. So that’s what we were – Vanilla Fudge with Edgar Winter!”

The Beatles - Ticket To Ride

Vanilla Fudge - Ticket To Ride (Beatles cover)

The Supremes - You Keep Me Hangin' On (Lyric Video)

You Keep Me Hangin' On | Stereo Unedited Version | Vanilla Fudge

Vanilla Fudge "Keep Me Hangin' On" on The Ed Sullivan Show

Vanilla Fudge live | Rockpalast | 2004

Vanilla Fudge live 2013

https://www.facebook.com/VanillaFudgeOfficialSite

REVIEW - Fates Messenger - aggressive metallic hardcore from the U.K.

Fates Messenger

Eternal War

Greyline Records

22 August 2025

First of all, let me say that I am not an expert on British metalcore and metallic hardcore at all, and I can say very little that is truly useful about the U.K. metalcore scenes. There is an interesting history involving this band, but I will not pretend to know all the details. I’ll provide the basics and then focus on the music. As I mentioned, there is an interesting story behind Fates Messenger, a metallic hardcore band that started in 2023. It seems that Paul Fletcher on bass, Will Romain on drums, and Aaron “Ron D” Darling on guitar used to be in a band called Romeo Must Die. Therefore, this is a six-song EP created by musicians who have spent years in the UK underground scenes.

Fates Messenger has an aggressive sound. It’s quite heavy, comparable to death metal, groove metal, or a chunky thrash style. It’s essentially mosh pit music. Sometimes fast, but often at tempos suitable for hardcore breakdowns. Some segments resemble thrash/death metal, so it makes sense that metal fans would enjoy this recording, not just hardcore fans. Overall, it’s characterized by an abrasive heaviness. Some riffs are catchy and slightly melodic, but don’t expect many melodies. It’s all about intensity and harsh vocals.

They cover the song “Master Killer” by Merauder, a well-known name among fans of post-1990 New York hardcore, though I do not know the music of Merauder in any knowledgeable way. What I can tell you is that this new version reflects the style of Fates Messenger: heavy, intense metallic hardcore with caustic vocals, which is also true of the original. Merauder was raw, angry, savage, New York street hardcore-metal. Frankly, their 1995 debut album still sounds impressive in 2025. Through their cover, Fates Messenger clearly and unequivocally shows where their roots are. The style of the other Fates Messenger songs remains intense, with the band delivering growling screams, pounding drums, and in-your-face, ugly-groove riffs that invite listeners into the mosh pit. It’s the rough, scathing sound of energy-driven hardcore blended with a metallic edge. It’s a compelling combination!

A warning for some audiences: I do not have the lyrics, as the information overlords did not provide access to me, but it appears there may be some profanity. Just an FYI.

Fates Messenger - "Doomloop" (OFFICIAL VIDEO)

https://www.facebook.com/fatesmessenger666

back in 2012: Wytch Hazel - "The Truth"

Recently, I have been studying the 2012 debut EP titled The Truth by the British band vintage heavy metal band Wytch Hazel. According to the information found on Metal Archives, the EP was released independently. This time around, I would first like to focus on the second song on the EP, the title track. Second, I would like to share with you, dear reader, some information that I think you may find of interest, given that this particular band elicits reactions of surprise and curiosity. It is common to ask or wonder whence this music really originates. Therefore, I believe that it may be illuminating to hear from the band how this music went from being an idea in the mind of Colin Hendra to being brought to life. To put it in simple terms, Wytch Hazel makes people ask questions because (1) the music sounds like it is from another time, you could say, and (2) the songwriting is very memorable, paired with lyrics based on the Bible, as well as the band wearing what most people seem to consider medieval clothing of some type, perhaps battle-like clothing or something along those lines.

Lyrics for the song "The Truth."

Able judge of Joy

He will save, destroy

It forever more

It's your mess he bore

Beware Satan he

Will entagle thee

Purify your heart

Oh how wise thou art

You'll bow down, surrender now

It's your life, so sacrifice

Time is running short

Let no truth distort

It is pure and bare

For he loves thee so

Unto death he'll go

There's no greater thing

Oh tis why I sing

Damn you Satan, slave to you I'll never be

Fight the Gospel, of truth you will never see

COMMENTARY on the song "The Truth"

As you see above, there is a lot of contemplation going on, even though the lyrics are pretty straightforward. Wytch Hazel’s songwriting often reflects a thoughtful approach. Vocally, the song is warm and heartfelt, with a style that is gentle and confident. One doesn't get the feeling of vocal aggression, but that doesn't mean that listeners won't feel the conviction of the singing. The melodies are gentle and also memorable, sounding very smooth, and fitting very well with the overall feel of the song. (Well, maybe a bit of aggression, as there is a tiny bit of screaming!)

The guitars on "The Truth" feature that vintage tone, that vibe that makes people do a double take, that makes people think of classic folk and rock sounds. The rhythm section remains pretty steady, with a moderate tempo that fosters a feeling of calm in some way. The bass is a warm, grounding presence, while the drums keep a simple, unobtrusive beat. I would say that the measured rhythm section allows the focus to remain on the lyrical and melodic elements.

Overall, in my view, "The Truth" creates an atmosphere of introspection. It combines sincere vocals, warm guitar, and a gentle rhythm to evoke a sense of spiritual yearning. The mood feels peaceful and also uplifting.

THE ORIGINS OF WYTCH HAZEL

One insightful interview that I have come across on the topic of the origins of Wytch Hazel is a 2020 interview with the publication Old Man's Mettle. You could say that the foundations of Wytch Hazel were there early for singer, guitarist, and songwriter Colin Hendra:

I started playing guitar at 15 so that’s nearly 14 years I’ve been playing now! Drums is my main instrument and I’ve been playing since the age of 6. I also had Piano lessons when I was young but I didn’t really work hard like I did with Drums and Guitar! It makes so much difference if you really want to get better, however I do wish I had just worked harder on my piano playing so I could play more proficiently. I wouldn’t say that I was inspired by a particular guitarist at the beginning, I was always more interested in bands and the songs than the players. Iron Maiden was a big influence and was the main reason I wanted to play Electric Guitar!

Colin explained how this all began to take some shape more concretely, and his role in the band.

Wytch Hazel was formed whilst Josh Winnard and I were at university around 2010/2011. The focus was to start a heavy metal band with early music and folk influences. Josh and I were listening to NWOBHM bands and I think Pagan Altar and Ashbury were probably the closest to what we were thinking for Wytch Hazel. I was also influenced by classic rock music too such as Uriah Heep, UFO, Deep Purple etc. One unusual thing for a Heavy Metal band was that as the songwriter, I was getting into Early Music (which sort of covers Medieval, Renaissance and Baroque music). Melodically that’s where I was thinking, but stylistically it had to be a proper Heavy Metal band. Dressing sort of Robin Hood meets Knights Templar became the thing and we stuck with it! We self-released a Demo and an EP between 2011 and 2012. We’ve been signed to Bad Omen Records since 2014 and we’ve released two studio albums with them.

We’re fairly unusual in the sense that I have always been the songwriter for the band. This tends to immediately prompt people to ask why any of the members or past members have not been involved in the song writing! I’ve never said that I’m the only one that can write songs, I just think it’s how it’s panned out for us as a band. You’ve got to remember that once you start a band with a sound and style so specific, it’s difficult for someone else to bring something that a.) Isn’t too stylistically different from the original intention of the band or b.) Sounds like a parody of that style. That said I’ve always been open to it but no-one has come up with any songs so far apart from myself! I mean, I’m writing Early Music inspired Classic Hard Rock with lyrics from the bible! The way the band have described has been along the lines of: “this is your creative project really” and “we’ve got our own specific things going on, people should focus on what they’re best at”.

On the topic of The Truth EP's vintage sound, which has been described as charming:

‘Charming’ is a nice way to put it! I think it was more ‘DIY’ and not really knowing what we were doing to be honest! I’m regularly surprised by how many people really like the production on those first two recordings! It’s a matter of taste I suppose. I’ve always tried to make sure the production doesn’t sound too contemporary as I just feel that it wouldn’t age well, whereas a ‘classic’ sounding recording should age much better and it just really goes with the classic rock thing.

The Truth (EP) by Wytch Hazel

https://www.facebook.com/wytchhazel

back in 1986: Alice Cooper - "Teenage Frankenstein"

Alice Cooper

Constrictor

September 22, 1986

MCA

Alice Cooper reached great heights in the 1970s, but the first half of the 1980s, by his own account, was not a great period in his career and his personal life, despite continuing to make albums at the beginning of the new decade. However, "Teenage Frankenstein," the opening song from the 1986 return-to-form album "Constrictor," feels like Alice Cooper has found his footing and this time he means business big time.

Lyrically, "Teenage Frankenstein" feels like a misunderstood outsider at school and at home. It's not super serious, it's kind of fun and a bit quirky at the same time, like his patented horror-inspired music but with lots of melodies. It's like music that is sweet and scary at the same time.

The chorus of "Teenage Frankenstein" is so catchy. With a memorable hook—"I'm a teenage Frankenstein"—it makes you want to join in and sing, too. The melody is fun and straightforward and stays in your memory after it stops playing. In my opinion, the singing style in "Teenage Frankenstein" is totally his own. It's kind of rough and has an attitude, a certain edge, if you will. His voice sounds kind of snarling (like something got him angry, maybe!), so it grabs your attention. The music has a driving beat that keeps the song moving. It's like classic rock and heavy metal at their best, I think. It sounds like 1980s rock and roll heavy metal Americana. It sounds so 80s, in a good, fun way.

"Teenage Frankenstein" was a big comeback for Alice Cooper, I would say. It shows how good he is at hard rock and heavy metal, and it seems like he has the right personnel around him for this style. The lyrics are cool, the music is loud and fun, and Cooper’s singing is very energetic, isn't it? The song is a mix of old-school style, like Alice Cooper being himself again in the new decade. Great song, in my opinion.

I'm the kid on the block

With my head made of rock

And I ain't got nobody

I'm the state of the art

Got a brain a la carte

I make the babies cry

I ain't one of the crowd

I ain't one of the guys

They just avoid me

They run and they hide

Are my colors too bright

Are my eyes set too wide

I spend my whole life

Burning, turning

I'm a teenage Frankenstein

The local freak with the twisted mind

I'm a teenage Frankenstein

These ain't my hands

And these legs ain't mine

Oh no!

Got a synthetic face

Got some scars and a brace

My hands are rough and bloody

I walk into the night

Women faint at the sight

I ain't no cutie-pie

I can't walk in the day

I must walk in the night

Stay in the shadows

Stay out of the light

Are my shoulders too wide

Is my head screwed on tight

I spend my whole life

Burning, turning

I'm a teenage Frankenstein

The local freak with the twisted mind

I'm a teenage Frankenstein

These ain't my hands

And these legs ain't mine

Alice Cooper - Teenage Frankenstein

https://www.facebook.com/AliceCooper

Fear Factory: The Renewal of the Machine -- A Legacy of Innovation, Turmoil, and Rebirth

In the big world of heavy metal music, Fear Factory have carved out a legacy that is as enduring as it is tumultuous. Formed in Los Angeles, California in 1989, the band pioneered a fusion of industrial sound and extreme metal that put them in a rather unique niche. While albums like Demanufacture and Obsolete are considered classics, behind the scenes, their struggles and internal conflicts, legal battles and personal sacrifices sometimes took the band to what seemed to be the end. Many times the news from the metal press led readers to think that the end had perhaps finally arrived.

The Dawn of a Machine

In various interviews guitarist Dino Cazares has explained what motivated Fear Factory like: “Burton and I just wanted to make something never heard before,” Dino says. “We wanted to sound like the future, like machines taking over, but with a human element." Burton’s voice was the perfect vehicle for the job because it was aggressive yet melodic. "That was the magic," Dino says. “We were just a couple of kids with big dreams. We spent nights in the studio, pushing ourselves to the limit, trying to create something revolutionary. I remember the first time we played ‘Replica’ live—seeing the crowd’s reaction, that’s when I knew we’d made something special.”

Their debut, Soul of a New Machine (1992), was raw and experimental, but it did more than enough to give real insight into what was being built. Demanufacture (1995) truly established their legacy and fans recognized it as a great album immediately. As Burton has said about this period, “When we recorded Demanufacture, I felt like we were capturing something that would change the game forever. But I also knew that it wouldn’t come without pain.”

The Human Cost Begins to Show

As Fear Factory’s popularity increased, so did the pressure and problems. Burton’s vocal health began to decline. “I pushed myself too hard,” Burton admits softly. “Performing those intense vocals night after night, I started to feel the toll. I remember a night in Europe when I nearly lost my voice mid-show. That scared me. I realized I couldn’t keep this pace.” He has spoken about a particularly difficult moment for him. “I was singing ‘Linchpin,’ and suddenly my voice just cut out. I had to fake it for a few seconds until I could recover. That night, I knew I was pushing my body too far, and I had to make a tough choice, continue risking permanent damage or step back.” Moments such as that really affected Burton on many levels, forcing him to reflect.

The toll on the band was personal and it was rather scary. “There were nights I’d lie awake questioning everything. Feeling like I was losing myself, losing my voice, my passion. The sacrifices—being away from my family, my health—sometimes it felt like I was carrying a heavy weight I couldn’t bear anymore.” At the same time, Dino was coming to grips with the situation. “I remember seeing Burton backstage after a show during the Obsolete tour,” Dino says, “and he looked exhausted, like he’d been through a war. I pulled him aside and told him, ‘You need to take care of yourself, man. No show is worth your health.’ But I knew he was already fighting a lot internally.”

The Breaking Point

The cracks in their relationship widened. By 2020, Burton’s patience wore thin. “It was a long, painful decision,” Burton says quietly. “I loved the band, but I couldn’t keep fighting a losing battle. The legal battles, the egos, everything was draining me. I realized I had to walk away before I lost myself completely.” He remembers the moment he told Dino: “It was during a phone call. I told him, ‘I can’t do this anymore. I’m done.' I was devastated. I felt like I was abandoning a part of my soul. But I knew I had to protect what little sanity I had left.”

For his part, Dino admits, “It was heartbreaking. I remember feeling like I’d lost a brother. Seeing Burton hurting, knowing I couldn’t fix it, that was the hardest thing. I still love him, and I hope someday we can heal those wounds.” For Burton, those were tough days: “After I left, I’d sit in my studio, staring at the wall. I felt like I’d lost my purpose. That’s when I realized I needed to find myself again, away from the chaos.”

Behind the Headlines: Personal Anecdotes The legal battles and disputes over the band’s name and rights have been well-publicized, but behind those headlines are raw, personal stories. Burton shares one that sticks with him: “After a show in Japan, I sat backstage alone, tears streaming down my face. I realized I’d sacrificed my health, my voice, my happiness, all for Fear Factory. And at that moment, I knew I had to step away for good.”

Dino recalls a night during the Obsolete tour when he saw Burton struggling to sing. “He was pale, exhausted, and trying to hit those high notes,” Dino says. “I remember pulling him aside and saying, ‘You’re more important than any show. Take care of yourself, or you’ll lose everything.’ It broke my heart to see him like that.”

Fan stories also reveal the emotional toll. One longtime fan recounts meeting Burton backstage in 2019: “He looked exhausted, like he’d been through hell. He told me, ‘I love this band, but it’s killing me. I don’t know how much longer I can keep doing this.’ That moment really hit me.”

The Nightmare of the Legal Battles Another aspect that should be taken into account in the story of Fear Factory is the legal battles. Things got extremely nasty, to say the least. There are different versions of the story, but as Fear Factory became more successful there were more problems related to the business entity of the band. Dino has given his version of these problems.

"A lot of tension came around the writing process of [2001's] 'Digimortal' because the record label wanted us to be a more commercial band. They wanted to bring in outside producers to help us write these radio songs. I wasn't having it, I was against it, the other three were for it. There was a battle on that record - that was behind the scenes. Eventually, on tour in 2002, it blew up between me and Burton [C. Bell, vocals], we've gotten into an argument, we've gotten into a fight... I thought we patched it up, but apparently, he felt otherwise, so we decided to quit the band in 2002. We quit, the band broke up, I went on to do other things...

"Next thing you know, they decided to put the band back together [in 2003] but without me. I was never asked to leave, I was just cut out of the rebranding of Fear Factory. They put out two records - [2004's] 'Achetype' and [2005's] 'Transgression.' I put out 5 records. I was pretty busy, and I'm actually kind of thankful to be out of the band at the time because I wouldn't have been able to do all these other accomplishments.

"I was able to prove I was able to go out and start my own band and be successful and do other styles. I had Brujeria, Asesino, Divine Heresy - so that's a lot of records, a lot of music I put out at the time. So I was thankful to be out of the band. Then I came back into the band in 2009."

Anyway, at some point bassist/guitarist Christian Olde Wolbers and drummer Raymond Herrera were out of the band, and Dino and Burton began to talk again. "Burton and I ran at each other at a concert and he asked for my phone number - I gave him, he gave me a call, and he wanted me to come back with the band, and what did I think about that. "I said, 'I don't know, I have to think about it.' Months go by, he said, 'I wanna put all four members of the band back. The classic lineup that most people know.' I said, 'I don't know...'

Burton said he will come to California so we could talk to the other two members because he had some problems with them. This was before I came back to the band. He wanted to work out those issues with them. One of the issues was that - and I'm quoting Burt's words here, 'Raymond was having an affair with Christian's wife, who was managing the band at the time.' So he wasn't happy about that and he wanted to address this issue before he moved further with these guys."

"A part of the thing was he wanted them to fire her and go with a different record company, and have me back into the band. They disagreed on all of these three things. That was when the first lawsuit came about - Burton sued those guys in court to bring them to a negotiation table. So we all sat down, negotiated that Burton and I would be the sole owners of the trademark, and those two guys would be paid a percentage every month. Later on down the line, the other two members ended up suing us for a breach of contract because we got ripped off in Australia during the Soundwave Festival. Because of that, we got into the breach of contract lawsuit, sued by them for one million dollars. I had to go bankrupt, I didn't have any money to pay that. And then I ended up going to trial in my bankruptcy because Ray and Christian were trying to say that my bankruptcy was filed fraudulently."

"But I beat them in court and I was able to regain my half of the trademark, and it didn't necessarily work out for Burton that way because his half of the trademark went off for auction. You had to bid on it, anybody could do it. I happened to be the highest bidder, I won it, that's how I regained the name."

Dino summarizes the situation with legal battles this way: "It's been crazy, very stressful, definitely put strains on our relationships, probably one of the reasons why Burton is not here. He stated that in his departure speech that he blames the jurisdiction system, he blames the other three members - me, Christian, and Raymond, he takes no responsibility. In reality, it's all four of our responsibility. It's all four of the things that we had to go through. So we all played a big part in the blame for what happened here." As to his relationship with Raymond or Christian, he says that there is no relationship: "I don't know what Raymond is doing right now, I haven't spoken to him in maybe 18 years. It's been a long time. Sure, we saw each other in court but it was like a battle.

Dino seems to believe that things could have different with Burton: "It still boggles my mind the way Burton decided to quit the band, all the drama he caused in media was all uncalled for. He didn't need to do that, he didn't need to quit. But for whatever reason, those are his decisions."

The Human Cost of Reinvention

In 2021, Dino Cazares announced a new lineup with vocalist Milo Silvestro, which was a decision driven by necessity. “Milo’s energy is incredible,” Dino states. “He’s a true fan who understands what Fear Factory is about. He’s talented, dedicated, and he learned our songs by listening to Burton. If you close your eyes, you’d think it’s him singing.”

Milo remembers his feelings: “It was like a dream come true. I grew up listening to Fear Factory, and now I was standing on stage singing their songs. Every show gives me chills. I feel like I’m carrying the torch for something legendary.”

Their first headlining show at the Whisky A Go Go in May 2023 was an emotional milestone. “Walking onto that stage, I felt overwhelmed,” Milo says. “I thought, ‘This is everything I ever wanted and I don’t want to let anyone down.’”

Dino admits, “It’s about healing. We had to accept that change is necessary. I still love the band, but I also know that evolution is vital for survival.”

Burton’s Personal Rebirth

Meanwhile, Burton C. Bell has been carving out his own artistic path. His singles “Anti-Droid” and “Technical Exorcism,” released in 2024, reveal a darker, introspective side. “Making my own music,” Burton explains, “has been incredibly freeing. I finally found my voice again, not just as a singer but as an artist.”

He ponders the impact of his solo work: “After I released ‘Anti-Droid,’ I got messages from fans telling me it helped them through dark times. That’s the real reward—knowing my art can connect with others and make a difference.”

Things have not been easy for Burton: “Leaving Fear Factory was one of the hardest things I’ve ever done. I mourned that band. It’s like losing a part of my identity. But I knew I had to do it to find peace and rebuild myself.” Burton says about a solo show in Los Angeles: “I was nervous, but when I saw the crowd singing along to my new songs, I felt a wave of relief. That’s why I make music—to connect, to survive, to be true to myself.”

The Human Toll of the Machine

The stories of Burton and Dino reveal the human cost of Fear Factory’s legacy. Burton’s voice, once the scream of the dystopian world of Fear Factory, now focuses on pain and perseverance. “I’ve moved on,” Burton explains. “I cherish what we created, but I had to let go of the past to find peace.”

Dino also summarizes the story so far: “I still love Fear Factory,” he says, “but I realize now that growth means evolving, sometimes painfully. We had to tear down the old to build something stronger.”

Their stories illustrate that behind the songs there are human beings fighting, suffering, and surviving through the decades.

What Is Next In 2025, Dino Cazares confirms the new album, their first with Milo Silvestro, will arrive in 2026. “We’re tuning lower and exploring new sounds,” Dino states. “It’s about redefining ourselves without losing what makes us Fear Factory.”

For Burton, the future is bright with solo projects. “I want to inspire others,” he says. “To show that even in darkness, there’s hope—that we can all find our voice again.”

And so, the machine continues to roll on, with creativity, with reinvention, with pain. Fear Factory is more than just a band. It has become a story that grabs our attention, the drama, the fighting, the splits, the reunions, the reinvention as their fans await to see what Fear Factory with a new vocalist will sound like. Do we want them to sound the same? Do we want them to sound different? Either way, we're about to find out.

Fear Factory - Replica [OFFICIAL VIDEO]

Fear Factory - Replica (Live @ Essen, Turock) 18.07.2025

Burton C. Bell – Replica (Fear Factory) LIVE in Sydney | Factory Theatre 2025

REVIEW - Vindicator: Whispers of Death (thrash from Ohio, USA)

Vindicator

Whispers of Death

22 August 2025

Crazy, man. Metal Archives shows that there are at least five bands named Vindicator. Therefore, to make things clearer, this is the Vindicator from Ohio, from South Amherst in the state of Ohio, in the United States. Anyway, Metal Archives does show that all the other bands named Vindicator are now split up, so that helps. There is only one left standing! You're looking at 'em, kid.

This album lives by riff. Vindicator's guitar riffs are a hot cauldron of intensity, skill and bang-your-head rifforama. Sharp and fast, this is what thrash fans want in guitar playing. The guitar solos leap out from many places, trying to grab your attention, trying to convince you, and I am convinced.

Besides the speed and shredding, there are good melodies. Granted, Vindicator is not a melodic band, but I am telling you that there are melodies, you just have to listen more attentively to notice them. This is thrash metal, so the melodies are created with guitars, not with keyboards, synths, or samples. Also, it’s a little more work to notice the melodies when you're getting excited by fast rhythms and dazzling velocities. For example, "Bleed Between the Lines" has some real heavy metal/rock-and-roll melodies that you can't miss. They even slow down the speed a little to help you hear those melodies better before speeding up again.

Don't forget the drumming. Nobody told this drummer to take it easy, so he doesn’t. This is the beat that's going to take you straight down to the mosh pit. There are lots of little things going on with the drums for listeners to be entertained. I would like the bass guitar to be more active and a bit louder in the mix, but I definitely hear it on this album. Sometimes, like during the less frenetic passages, the bass lines really work well for filling out the sound. The vocals for Vindicator are probably closer to black or death metal than to typical thrash. In reality, Vindicator's music fits well with the black thrash style. Of course, it also pairs nicely with classic thrash.

I don't have the lyrics, but I think I hear some potty-mouth moments; therefore, if you’re driving on the freeway taking your kids to the soccer game, this band might not be appropriate due to the cursing (if I am not mistaken about hearing it here). The bottom line is that if you have a metal band, you want people to listen to your music. Thus, it's not wise to shoot yourself in the foot by limiting who listens to your music, limiting your audience. Things are already hard enough for metal bands, with no radio airplay and with the negative stereotypes (at school, church, work, and other places) about metal bands and fans.

Let me ask this: If a band takes out the bad words, is the thrash less intense? Does it become slower? Does the music become any less metal? No! All that metal bands have done is shut the door on potential listeners. For example, do metal musicians understand that many fans have children and have their kids in the car when they press play? So, why would metal bands shut the door on those young children potentially becoming fans of the music from an early age? Okay, so without the curse words, would the music be on television or radio? Probably not! So, what’s the point?!

This. This is the point: Metal fans grow up, have children, and want metal they can play. If the children hear it, all the better! What makes metal musicians think that an eight- or nine-year-old won't like thrash?! How do you know that?! Some kids do like fast, sharp, energetic and skilled music like Vindicator, too.

https://www.facebook.com/vindicatormetal

At the Gates - New Album on the Way; Update on Health Problems

Earlier today At The Gates posted on Facebook an informative update about the new album and the health challenges that they are confronting. See the statement below.

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We want to take a moment to update you on what’s been happening with At the Gates, and to do so, we need to take you back about a year and a half.

Below, you’ll find a message from Tomas, written this past March 2025, where he reflects on the past 15 months and the reasons for the radio silence. However, in early May, Tomas experienced a health setback. Since then, he has been hospitalised and has been receiving dedicated care in a specialized ward where he is being closely monitored around the clock.

While this is a challenging time, we’re staying positive but, even in a best-case-scenario we know the recovery will take a long time.

We kindly ask that you respect Tomas’ and his family’s privacy during this period.

We know how much the band and the music mean to him — Tomas is incredibly proud of the new At the Gates album we've been working on, and we will try to get you more details on this upcoming release very soon.

Thank you for your ongoing support, patience, and understanding.

At the Gates

August 15, 2025

Tomas:

“Hello everyone. I guess some of you may have been wondering why it has been so silent on the At the Gates front lately.

Well, in December 2023, I was diagnosed with Adenoid Cystic Carcinoma (a cancer in the mouth and pallet) and have since then gone through a lot, it has been a very tough year. First there was a major surgery, where they took away a big part of the roof of the mouth. This was followed by radiation therapy for two months, and ever since it has been a long hard path towards recovery.

Now, in the beginning of 2025, they have found some remains of the cancer, and it is inaccessible by surgery or radiation. So, we will see what the next step is, but probably some form of chemo therapy, to keep the cancer in check.

Luckily, we recorded vocals for the demos for the new album before all of this happened. The last version of the vocals, the ones that will end up on the album, were recorded in ONE day, mostly one takes, the DAY before the surgery, just to make sure we HAD the album, so to speak. So the vocals were actually recorded BEFORE the rest of the album.... a bit different, but it felt good to have it done.

We have now decided to not wait any longer to release this new album. We had first planned to wait with the release until we knew if/when I would be able to sing again, and we were able to support the release with shows.

Now when everything about the future is a bit more unsure it feels good to deliver this album. It is an album that we all are very proud of, and it's the first time in 10 years that Jonas and I have worked together with Anders writing an albums’ worth of music. It is a bit more of a return to the "roots", probably best described as a mix between the two last albums we did with Anders (Slaughter of the Soul and At War with Reality).

Hope you all will enjoy it!

Please respect that we don't want to make a big thing about all this, and that I won't be answering interviews concerning the cancer, the treatment or the recovery. We just wanted this to be out in the open, as we wanted to explain to our fans why we have been quiet for such a long time.

I hope you all are well. Take care of yourself, your loved ones and the time you have on this earth.

Tomas Lindberg / Gothenburg / March 2025”

Megadeth Announces Final Album and Farewell Tour

This morning Megadeth announced their final album and a farewell tour. Below is the announcement.

Megadeth is:

Dave Mustaine Guitars, Vocals (1983-2002, 2004-present)

James LoMenzo Bass (2006-2010, 2022-present)

Dirk Verbeuren Drums (2016-present)

Teemu Mäntysaari Guitars (2023-present)

FINAL ALBUM + GLOBAL FAREWELL TOUR

AUGUST 14, 2025

“There's so many musicians that have come to the end of their career, whether accidental or intentional. Most of them don't get to go out on their own terms on top, and that's where I'm at in my life right now. I have traveled the world and have made millions upon millions of fans and the hardest part of all of this is saying goodbye to them.

We can't wait for you to hear this album and see us on tour. If there was ever a perfect time for us to put out a new album, it's now. If there was ever a perfect time to tour the world, it's now. This is also a perfect time for us to tell you that it's our last studio album. We've made a lot of friends over the years and I hope to see all of you on our global farewell tour. Don't be mad, don't be sad, be happy for us all, come celebrate with me these next few years. We have done something together that's truly wonderful and will probably never happen again. We started a musical style, we started a revolution, we changed the guitar world and how it's played, and we changed the world. The bands I played in have influenced the world. I love you all for it. Thank you for everything.”

- Dave Mustaine

REVIEW - Reinforcer (German power metal)

Reinforcer

Ice And Death

Scarlet Records

22 August 2025

Previously I have read some lukewarm opinions about this band, but after having listened to the album, it seems to me that "Ice and Death" by Reinforcer (Germany; 2015-present) is a cool addition to the heavy and power metal scene. The band is dedicated to crafting a big, myth-inspired sound, in line with power metal standards. The album’s production results in a clear yet heavy tone that emphasizes sharp riffs, harmonies, and double-bass rhythms. The singing does a good job of conveying epic storytelling. The music highlights the band’s ability to blend melodies with fist-raising choruses, creating an engaging listening experience that invites fans to sing along or to move in some way. Lyrically, the album takes listeners through a time of legends, plagues, and shadowy heroes, drawing heavily on fantasy, legends and myths. The album’s narrative approach can feel like a chapter from a book. The mix of fantasy and drama is executed with a romantic or poetic flair. The guitar riffs and solos are consistently good quality, adding good vibes throughout. I believe it will be a fun listen for fans who enjoy storytelling in their power metal.

However, despite its strengths, "Ice and Death" does face some critique from certain quarters in terms of originality. The album adheres closely to traditional heavy and power metal conventions. That's not a bad thing, is it? While I think the negative critique is a bit too harsh, I do agree that it feels somewhat familiar for those longtime metal fans that are seeking a completely fresh take on metal. However, this is only their second album. They are just getting warmed up. So far, things are looking bright. Overall, "Ice and Death" is a well-produced album that reveals Reinforcer’s strengths in melodic storytelling power metal. I think it fits well for dedicated fans of upbeat and happy European power metal. I believe the album’s melodies, heroic spirit, and atmospheric storytelling make it a worthwhile listen. If you're a fan of traditional, energetic power metal, I think you'll find plenty to enjoy here, as I did.