My pleasure !
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In sad memory of Tomas Lindberg. I remember seeing At the Gates for the first time after they had been on a long hiatus. After listening to this album for years, I never thought I’d have the chance to see them live. They absolutely tore through the set with a fury that I have rarely seen before or since. Ended up seeing them 6 times over the years, and every set was an absolute masterclass performance.
RIP Tomas. 
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To lighten the mood, let me inflict some Saja boys on you, from the now ubiquitous KPOP DEMON HUNTERS:
Enjoy, and have fun expunging it from your brain today. The writers were truly diabolical (appropriately enough) when they sat down and wrote this. It’s Gaga worthy earworm.
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OOOOh Rachmaninoff always a good choice
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My most anticipated album of the year dropped this morning, Igorrr’s “Amen”. And oh my god… it does not disappoint. The album is is gloriously unhinged. The best descriptor of it came from the Blabbermouth review:
As ever, “Amen” is a wild ride through a disorientating world of what-the-f*ck. Plug it in, turn it up, and try to dodge the shrapnel. Head honcho Gautier Serre knows nothing of compromise or any notion of narrowing his vision, and IGORRR’s album is so righteously berserk that it defies rational analysis.
A swirling sh!tstorm of digital drums, electro-metal riffs, symphonic bluster, operatic vocals and delicate, faux-acoustic interludes, opener “Daemoni” provides instant confirmation that Serre is still a restless mind with a whole world of f_cked up sound at his fingertips.
Blastbeats are invaded by pristine, orchestral stabs, riffs are twisted into glitchy new shapes, and the tangled tropes of cutting-edge electronica are fired out like flaming skulls from a chrome-plated cannon. Nothing is off limits. Everything hurts.
High praise indeed.
“Blastbeat Falafel” is at or very near the top of my favorite songs of 2025.
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Pray tell, what is that thing?
The instrument? I believe it’s called a “rabab”, and is used primarily in music from Asia and the Middle East.
Igorrr uses a really insane number of instruments and, well, not-instruments to contribute to the overall chaos. The final chord in one of the songs is “played” by recording an excavator crushing a piano (no, really). Another song uses a blacksmith’s anvil as a percussion instrument.
It’s really insane stuff that somehow just…works.
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I wish I had saved the video or a URL, but I recently watched a vid of a BASSOON playing all the big riffs from “ENTER SANDMAN”.. It was cool AF.
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thats it! I was afraid I had misremembered
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As a young kid in the 60s, I was always fascinated with music and certain musicians, and there were a small group who I liked well enough that I would buy every album as it was released.
Simon and Garfunkel were one of those groups, and later Paul Simon.
When “Bridge Over Troubled Water” was released, the tune below had already been released as a single and I hated it to the point that I’d skip it when listening to the album.
It’s funny how time has a way of changing your attitudes about old music. I heard this tune recently and loved it; dinging along, singing both harmonies. As soon as I got home, I figured out the guitar changes.
It’s far from the only tune that has grown on me that way.
It may be nothing more than nostalgia, or perhaps personal growth, or something else, but it makes getting an old album out a new experience - not having to skip the third tune on the A side :).
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Another:
I was barely 17, when the Rhymin’ Simon album was released, and it still ranks as one of my favorite and most often played albums. At the time, the only song on the disk I didn’t like was the lullaby that Simon had written for his son (then about a year old), St. Judy’s Comet. I didn’t pay enough attention to tune to realize what it was, nor had I ever read about why he wrote the tune.
I regret that I didn’t rediscover it before my own son was born in the mid 90’s, but rather just a few years ago.
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The album came out today on the anniversary of Gavin Creel’s death. A HUGE LOSS for the Broadway community and one of the best tenor voices:
This was his live show about the Metropolitan Museum of Art.
Gavin Creel, composer, lyricist, and performer
Linda Goodrich, director
Justin Mendoza, piano
Madeline Smith, keyboards, vocals
Meg Toohey, guitars, vocals
Dominic Dorset, mandolin, violin, percussion, vocals
Chris Peters, acoustic guitar, vocals
Sherisse Rogers, bass
Marques Walls, drums
Laura Hirschberg, stage manager
Isabel Schwartzberg, assistant stage manager
Zach Crumrine, sound designer
Alban Sardzinski, lighting designer
Andrew Keenan-Bolger, video/photographer
Kyle Beckley, assistant photographer
Ryan Casey, projection designer
Ben Cullum, finale song producer
Audrey Rose Young, vocalist
Brandon Pearson, vocalist
Ryan Vasquez, vocalist
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My client has a new single before Album drops in November:
Actual recording:
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This is not something I expected. On top of everything else, I didn’t think Geddy’s voice was up to the task anymore.
Whatever the case, I’m all about it.
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Something I didn’t know I needed, but definitely do.
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@SkinyUte I got a family member who joined Fields of Niflheim band in England. As you know, I’m not a big metal/Goth fan per se, but I imagine you might be familiar since they seem to be sort of a legacy band over many years with a dedicated following.
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