#motorhead — Public Fediverse posts

#music #radio #zoo #Hellraiser #Motörhead
Рок на хвилях радіо Зоопарк: https://music.youtube.com/watch?v=1M4FG1UXH5w

А тут музикальний канал Радіо Зоопарк з усіма треками, які виходять кожен день: https://tinyurl.com/signal-music-wave

#music #radio #zoo #Hellraiser #Motörhead
Рок на хвилях радіо Зоопарк: https://music.youtube.com/watch?v=1M4FG1UXH5w

А тут музикальний канал Радіо Зоопарк з усіма треками, які виходять кожен день: https://tinyurl.com/signal-music-wave

Motorhead’s Album Debuts As A Bestseller Shortly Before Its Twentieth Birthday

Motörhead’s Kiss of Death debuts on one U.K. chart and returns at a new all-time high on another…
#NewsBeep #News #Music #Entertainment #KissofDeath #Motörhead #motorheadalbums #motorheadcharts #motorheadkissofdeath #motorheadkissofdeathanniversary #motorheadkissofdeathcharts #motorheadkissofdeathsales #motorheadkissofdeathvinyl #UK #UnitedKingdom
https://www.newsbeep.com/uk/696990/

https://www.europesays.com/ie/590715/ Motorhead’s Album Debuts As A Bestseller Shortly Before Its Twentieth Birthday #Éire #Entertainment #IE #Ireland #KissOfDeath #Motörhead #MotorheadAlbums #MotorheadCharts #MotorheadKissOfDeath #MotorheadKissOfDeathAnniversary #MotorheadKissOfDeathCharts #MotorheadKissOfDeathSales #MotorheadKissOfDeathVinyl #Music

Motörhead "Heroes" (David Bowie Cover)

https://www.youtube.com/watch?v=J06yQb4lbPk

#Motörhead #Motorhead #Heroes #DavidBowie #Music #Cover

Motörhead "Heroes" (David Bowie Cover)

https://www.youtube.com/watch?v=J06yQb4lbPk

#Motörhead #Motorhead #Heroes #DavidBowie #Music #Cover

https://www.europesays.com/es/640049/ Crítica de Motörhead: Kiss of Death (20th Anniversary Edition) #20thAnniversaryEdition #critica #Entertainment #Entretenimiento #ES #España #KissOfDeath #lemmy #MikkeyDee #Motörhead #MR2022 #Music #Música #PhilCampbell #Spain

#Motorhead - In the Name of Tragedy (Inferno, 2004)

#JukeboxFridayNight #PowerPlay

https://www.youtube.com/watch?v=Zn_s31suuJc&list=PLWZJmtzkDrcQtgXa_E-vMmKFMshLZ0Lkq&index=10

#Motorhead - In the Name of Tragedy (Inferno, 2004)

#JukeboxFridayNight #PowerPlay

https://www.youtube.com/watch?v=Zn_s31suuJc&list=PLWZJmtzkDrcQtgXa_E-vMmKFMshLZ0Lkq&index=10

#Motorhead - In the Name of Tragedy (Inferno, 2004)

#JukeboxFridayNight #PowerPlay

https://www.youtube.com/watch?v=Zn_s31suuJc&list=PLWZJmtzkDrcQtgXa_E-vMmKFMshLZ0Lkq&index=10

#Motorhead - In the Name of Tragedy (Inferno, 2004)

#JukeboxFridayNight #PowerPlay

https://www.youtube.com/watch?v=Zn_s31suuJc&list=PLWZJmtzkDrcQtgXa_E-vMmKFMshLZ0Lkq&index=10

My brother got me some awesome Motörhead gifts! He sent me the 2026 Steven Wilson Remix CD box set and a Lemmy figure. I already had the vinyl edition of the remix, but the CD box set includes so much more, including outtakes and an Atmos/surround mix.

Artist: Motörhead
Album: On Parole (1979)
Release: 2026 Steven Wilson Remix, CD/Blu-ray box set
Region: Europe
Label: Parlophone – 5021732623461

#nowspinning #motorhead #cd #remixalbum #boxset

My brother got me some awesome Motörhead gifts! He sent me the 2026 Steven Wilson Remix CD box set and a Lemmy figure. I already had the vinyl edition of the remix, but the CD box set includes so much more, including outtakes and an Atmos/surround mix.

Artist: Motörhead
Album: On Parole (1979)
Release: 2026 Steven Wilson Remix, CD/Blu-ray box set
Region: Europe
Label: Parlophone – 5021732623461

#nowspinning #motorhead #cd #remixalbum #boxset

My brother got me some awesome Motörhead gifts! He sent me the 2026 Steven Wilson Remix CD box set and a Lemmy figure. I already had the vinyl edition of the remix, but the CD box set includes so much more, including outtakes and an Atmos/surround mix.

Artist: Motörhead
Album: On Parole (1979)
Release: 2026 Steven Wilson Remix, CD/Blu-ray box set
Region: Europe
Label: Parlophone – 5021732623461

#nowspinning #motorhead #cd #remixalbum #boxset

My brother got me some awesome Motörhead gifts! He sent me the 2026 Steven Wilson Remix CD box set and a Lemmy figure. I already had the vinyl edition of the remix, but the CD box set includes so much more, including outtakes and an Atmos/surround mix.

Artist: Motörhead
Album: On Parole (1979)
Release: 2026 Steven Wilson Remix, CD/Blu-ray box set
Region: Europe
Label: Parlophone – 5021732623461

#nowspinning #motorhead #cd #remixalbum #boxset

27th June 1981 Motörhead are No1 in the UK album charts with
" No Sleep 'till Hammersmith"

#motörhead #lemmy ♠️ #80s #AlbumOfTheDay

27th June 1981 Motörhead are No1 in the UK album charts with
" No Sleep 'till Hammersmith"

#motörhead #lemmy ♠️ #80s #AlbumOfTheDay

https://www.europesays.com/uk/1050627/ “The epitome of rock and roll”, according to James Hetfield #Entertainment #JamesHetfield #Lemmy #Metallica #Motörhead #music #UK #UnitedKingdom

William Shatner may be bringing his heavy metal project to the stage. Meanwhile, legendary drummer Mikkey Dee joins the album on a cover of Judas Priest's "Living After Midnight."

Details: https://metalinsider.net/news/william-shatner-eyes-live-heavy-metal-stage-production

#WilliamShatner #HeavyMetal #MikkeyDee #Motörhead #Scorpions #JudasPriest

William Shatner may be bringing his heavy metal project to the stage. Meanwhile, legendary drummer Mikkey Dee joins the album on a cover of Judas Priest's "Living After Midnight."

Details: https://metalinsider.net/news/william-shatner-eyes-live-heavy-metal-stage-production

#WilliamShatner #HeavyMetal #MikkeyDee #Motörhead #Scorpions #JudasPriest

William Shatner may be bringing his heavy metal project to the stage. Meanwhile, legendary drummer Mikkey Dee joins the album on a cover of Judas Priest's "Living After Midnight."

Details: https://metalinsider.net/news/william-shatner-eyes-live-heavy-metal-stage-production

#WilliamShatner #HeavyMetal #MikkeyDee #Motörhead #Scorpions #JudasPriest

William Shatner may be bringing his heavy metal project to the stage. Meanwhile, legendary drummer Mikkey Dee joins the album on a cover of Judas Priest's "Living After Midnight."

Details: https://metalinsider.net/news/william-shatner-eyes-live-heavy-metal-stage-production

#WilliamShatner #HeavyMetal #MikkeyDee #Motörhead #Scorpions #JudasPriest

Today I am enjoying a Father's Day gift from my wife! It includes four shows from the same tour. I really wish they had included "I'll Be Your Sister" on one of them.

Artist: Motörhead
Album: No Sleep 'til Hammersmith (1981)
Release: 2021 deluxe CD box set, remastered
Region: Europe
Label: BMG – BMGCAT476QCD

#nowspinning #motorhead #cd #boxset #fathersday

Today I am enjoying a Father's Day gift from my wife! It includes four shows from the same tour. I really wish they had included "I'll Be Your Sister" on one of them.

Artist: Motörhead
Album: No Sleep 'til Hammersmith (1981)
Release: 2021 deluxe CD box set, remastered
Region: Europe
Label: BMG – BMGCAT476QCD

#nowspinning #motorhead #cd #boxset #fathersday

Today I am enjoying a Father's Day gift from my wife! It includes four shows from the same tour. I really wish they had included "I'll Be Your Sister" on one of them.

Artist: Motörhead
Album: No Sleep 'til Hammersmith (1981)
Release: 2021 deluxe CD box set, remastered
Region: Europe
Label: BMG – BMGCAT476QCD

#nowspinning #motorhead #cd #boxset #fathersday

Today I am enjoying a Father's Day gift from my wife! It includes four shows from the same tour. I really wish they had included "I'll Be Your Sister" on one of them.

Artist: Motörhead
Album: No Sleep 'til Hammersmith (1981)
Release: 2021 deluxe CD box set, remastered
Region: Europe
Label: BMG – BMGCAT476QCD

#nowspinning #motorhead #cd #boxset #fathersday

https://www.europesays.com/es/617107/ Mikkey Dee explica por qué rechazó las invitaciones de Lemmy para unirse a Motörhead durante muchos años: «Fueron dos razones, respetuosamente» #BadMagic #DOKKEN #DonDokken #Entertainment #Entretenimiento #ES #España #KingDiamond #LemmyKilmister #LEXLEGION #MikkeyDee #Motörhead #MR2022 #Music #Música #Spain

Gozu – Gozu VI Review

In my continuing exploration of Boston bands, the promo pit exhaled the latest from a stoner stalwart. Gozu…
#NewsBeep #News #Music #2026 #3.0 #BlacklightMediaRecords #CA #Canada #clutch #CorrosionofConformity #Entertainment #Gozu #GozuVI #May26 #MetalBladeRecords #Motörhead #review #reviews #Soundgarden #StoneTemplePilots #StonerMetal #StonerRock #USMetal
https://www.newsbeep.com/ca/713259/

In my continuing exploration of Boston bands, the promo pit exhaled the latest from a stoner stalwart. Gozu have been dispensing their hybrid strain of stoner rock/metal since 2007, with riffmeisters Marc Gaffney (vocals, guitar) and Doug Sherman (lead guitar) serving as the only consistent members. Current bassist Joseph Grotto joined Gozu for Revival (2016), and Seth Botos began helming the drums on Remedy (2023), the band’s most recent output. Since their move to Metal Blade Records for Equilibrium (2018), Gozu have increasingly poppified their sound as Gaffney grows into a more versatile vocalist. Still, these Boston veterans haven’t abandoned their identity; catchy choruses sweeten a familiar beanpot of droney riffs. Also intact is their tongue-in-cheek humor; this is a band that named a song “Charles Bronson Pinchot” in 2012 and another “Tom Cruise Control” in 2023. As the first Gozu album to be covered on AMG, Gozu VI will achieve ‘wicked pissah’ status by continuing the band’s trend of refining their sound while maintaining their signature charm.

On the stoner continuum, Gozu veers closer to rock than metal while straddling the line. Indeed, this Boston quartet pack Clutch’s shuffling grooves (“Corinthian Leatherface”), Corrosion of Conformity’s bluesy dirges (“Midnight Express”), and Motörhead’s straight-ahead speed (“Banacek”) into their musical chamber. Gaffney and Sherman’s simple yet satisfying riffs hit listeners by way of production as warm and fuzzy as a Bay State bruin. Sometimes, the riffing is just as ferocious. On the excellently titled (and almost certainly referential) “Gimme the Lute,” fretboard gymnastics mingle with driving chugs and soupy sludge that feels more metallic than geological. Though new to the Gozu crew, Grotto and Botos form a serviceable rhythm section that doesn’t necessarily shine, but that understands the assignment: let the riffs (and vocals) pop. Avoiding the monotony of stoner metal and the banality of stoner rock, Gozu VI strikes a salutary balance.

In his role as vocalist, Gaffney elevates Gozu by displaying a varied arsenal of skills. His voice recalls Neil Fallon of Clutch but with a grunge coloring that’s more nose than chin (think Weiland, not Vedder). Gaffney’s choruses shift between nimble croons suiting the livelier tracks (“Corinthian Leatherface”) and diaphragm-ed belts fitting the doomier cuts (“Midnight Express”). Throughout the album, he tucks falsetto harmonies into his main lines, blending major and minor tonality in a manner akin to Soundgarden and Stone Temple Pilots. ”Corner Lariat” stands as Gaffney’s most ambitious and arresting performance, threading tender verses through a big, wistful chorus, broaching power ballad territory. Not every verse and chorus on Gozu VI knocks it out of Fenway, but enough do to give Gozu a pure listenability that most stoner acts do not possess.

At 8 tracks in 46 minutes, Gozu VI mostly delivers a cohesive album experience. “Corinthian Leatherface” gets this Boston Tea Party started strong, effortlessly tossing energetic riffs and sugary hooks off the side of the Stoner Ship in a rebellious yet controlled demonstration.1 From there, the album intermittently slows down, culminating with the pensive power of “Corner Lariat.” This is a solid run of tracks, though “Killer Khan” comes off as a bit redundant (and has some ham-fisted profanities). “Banacek” picks the pace back up, adding a unique freneticism to the album via interplay between Gaffney’s chunky power chords and Sherman’s wild shredding. Closing out the album is a scattershot three-track run. “Gimme the Lute” doles out some of the finest riffwork on Gozu VI, but “They Did Know Karate”2 suffers from bloat, while closer “Corvette Summer” anticlimactically fades out.

Gozu VI is, undoubtedly, a pissah. Gaffney, Sherman, and crew are pros who know how to produce high-quality jams built around strong riffs and vocal hooks. Stoner rock/metal proves a challenging paradigm within which to produce truly standout material, but Gozu come as close as I could imagine with their sixth LP. There’s nothing really innovative about Gozu VI, but there’s also nothing terribly wrong with it, and a lot to enjoy. While I hesitate to qualify their latest offering as ‘wicked,’ I don’t at all hesitate to recommend Gozu VI to anyone looking for a familiar, fun time.

Rating: 3.0/5.0
DR: 7 | Format Reviewed: 256 kbps mp3
Label: Metal Blade Records | Blacklight Media Records
Websites: Official | Bandcamp | Facebook | Instagram
Releases Worldwide: May 15th, 2026

In my continuing exploration of Boston bands, the promo pit exhaled the latest from a stoner stalwart. Gozu have been dispensing their hybrid strain of stoner rock/metal since 2007, with riffmeisters Marc Gaffney (vocals, guitar) and Doug Sherman (lead guitar) serving as the only consistent members. Current bassist Joseph Grotto joined Gozu for Revival (2016), and Seth Botos began helming the drums on Remedy (2023), the band’s most recent output. Since their move to Metal Blade Records for Equilibrium (2018), Gozu have increasingly poppified their sound as Gaffney grows into a more versatile vocalist. Still, these Boston veterans haven’t abandoned their identity; catchy choruses sweeten a familiar beanpot of droney riffs. Also intact is their tongue-in-cheek humor; this is a band that named a song “Charles Bronson Pinchot” in 2012 and another “Tom Cruise Control” in 2023. As the first Gozu album to be covered on AMG, Gozu VI will achieve ‘wicked pissah’ status by continuing the band’s trend of refining their sound while maintaining their signature charm.

On the stoner continuum, Gozu veers closer to rock than metal while straddling the line. Indeed, this Boston quartet pack Clutch’s shuffling grooves (“Corinthian Leatherface”), Corrosion of Conformity’s bluesy dirges (“Midnight Express”), and Motörhead’s straight-ahead speed (“Banacek”) into their musical chamber. Gaffney and Sherman’s simple yet satisfying riffs hit listeners by way of production as warm and fuzzy as a Bay State bruin. Sometimes, the riffing is just as ferocious. On the excellently titled (and almost certainly referential) “Gimme the Lute,” fretboard gymnastics mingle with driving chugs and soupy sludge that feels more metallic than geological. Though new to the Gozu crew, Grotto and Botos form a serviceable rhythm section that doesn’t necessarily shine, but that understands the assignment: let the riffs (and vocals) pop. Avoiding the monotony of stoner metal and the banality of stoner rock, Gozu VI strikes a salutary balance.

In his role as vocalist, Gaffney elevates Gozu by displaying a varied arsenal of skills. His voice recalls Neil Fallon of Clutch but with a grunge coloring that’s more nose than chin (think Weiland, not Vedder). Gaffney’s choruses shift between nimble croons suiting the livelier tracks (“Corinthian Leatherface”) and diaphragm-ed belts fitting the doomier cuts (“Midnight Express”). Throughout the album, he tucks falsetto harmonies into his main lines, blending major and minor tonality in a manner akin to Soundgarden and Stone Temple Pilots. ”Corner Lariat” stands as Gaffney’s most ambitious and arresting performance, threading tender verses through a big, wistful chorus, broaching power ballad territory. Not every verse and chorus on Gozu VI knocks it out of Fenway, but enough do to give Gozu a pure listenability that most stoner acts do not possess.

At 8 tracks in 46 minutes, Gozu VI mostly delivers a cohesive album experience. “Corinthian Leatherface” gets this Boston Tea Party started strong, effortlessly tossing energetic riffs and sugary hooks off the side of the Stoner Ship in a rebellious yet controlled demonstration.1 From there, the album intermittently slows down, culminating with the pensive power of “Corner Lariat.” This is a solid run of tracks, though “Killer Khan” comes off as a bit redundant (and has some ham-fisted profanities). “Banacek” picks the pace back up, adding a unique freneticism to the album via interplay between Gaffney’s chunky power chords and Sherman’s wild shredding. Closing out the album is a scattershot three-track run. “Gimme the Lute” doles out some of the finest riffwork on Gozu VI, but “They Did Know Karate”2 suffers from bloat, while closer “Corvette Summer” anticlimactically fades out.

Gozu VI is, undoubtedly, a pissah. Gaffney, Sherman, and crew are pros who know how to produce high-quality jams built around strong riffs and vocal hooks. Stoner rock/metal proves a challenging paradigm within which to produce truly standout material, but Gozu come as close as I could imagine with their sixth LP. There’s nothing really innovative about Gozu VI, but there’s also nothing terribly wrong with it, and a lot to enjoy. While I hesitate to qualify their latest offering as ‘wicked,’ I don’t at all hesitate to recommend Gozu VI to anyone looking for a familiar, fun time.

Rating: 3.0/5.0
DR: 7 | Format Reviewed: 256 kbps mp3
Label: Metal Blade Records | Blacklight Media Records
Websites: Official | Bandcamp | Facebook | Instagram
Releases Worldwide: May 15th, 2026

In my continuing exploration of Boston bands, the promo pit exhaled the latest from a stoner stalwart. Gozu have been dispensing their hybrid strain of stoner rock/metal since 2007, with riffmeisters Marc Gaffney (vocals, guitar) and Doug Sherman (lead guitar) serving as the only consistent members. Current bassist Joseph Grotto joined Gozu for Revival (2016), and Seth Botos began helming the drums on Remedy (2023), the band’s most recent output. Since their move to Metal Blade Records for Equilibrium (2018), Gozu have increasingly poppified their sound as Gaffney grows into a more versatile vocalist. Still, these Boston veterans haven’t abandoned their identity; catchy choruses sweeten a familiar beanpot of droney riffs. Also intact is their tongue-in-cheek humor; this is a band that named a song “Charles Bronson Pinchot” in 2012 and another “Tom Cruise Control” in 2023. As the first Gozu album to be covered on AMG, Gozu VI will achieve ‘wicked pissah’ status by continuing the band’s trend of refining their sound while maintaining their signature charm.

On the stoner continuum, Gozu veers closer to rock than metal while straddling the line. Indeed, this Boston quartet pack Clutch’s shuffling grooves (“Corinthian Leatherface”), Corrosion of Conformity’s bluesy dirges (“Midnight Express”), and Motörhead’s straight-ahead speed (“Banacek”) into their musical chamber. Gaffney and Sherman’s simple yet satisfying riffs hit listeners by way of production as warm and fuzzy as a Bay State bruin. Sometimes, the riffing is just as ferocious. On the excellently titled (and almost certainly referential) “Gimme the Lute,” fretboard gymnastics mingle with driving chugs and soupy sludge that feels more metallic than geological. Though new to the Gozu crew, Grotto and Botos form a serviceable rhythm section that doesn’t necessarily shine, but that understands the assignment: let the riffs (and vocals) pop. Avoiding the monotony of stoner metal and the banality of stoner rock, Gozu VI strikes a salutary balance.

In his role as vocalist, Gaffney elevates Gozu by displaying a varied arsenal of skills. His voice recalls Neil Fallon of Clutch but with a grunge coloring that’s more nose than chin (think Weiland, not Vedder). Gaffney’s choruses shift between nimble croons suiting the livelier tracks (“Corinthian Leatherface”) and diaphragm-ed belts fitting the doomier cuts (“Midnight Express”). Throughout the album, he tucks falsetto harmonies into his main lines, blending major and minor tonality in a manner akin to Soundgarden and Stone Temple Pilots. ”Corner Lariat” stands as Gaffney’s most ambitious and arresting performance, threading tender verses through a big, wistful chorus, broaching power ballad territory. Not every verse and chorus on Gozu VI knocks it out of Fenway, but enough do to give Gozu a pure listenability that most stoner acts do not possess.

At 8 tracks in 46 minutes, Gozu VI mostly delivers a cohesive album experience. “Corinthian Leatherface” gets this Boston Tea Party started strong, effortlessly tossing energetic riffs and sugary hooks off the side of the Stoner Ship in a rebellious yet controlled demonstration.1 From there, the album intermittently slows down, culminating with the pensive power of “Corner Lariat.” This is a solid run of tracks, though “Killer Khan” comes off as a bit redundant (and has some ham-fisted profanities). “Banacek” picks the pace back up, adding a unique freneticism to the album via interplay between Gaffney’s chunky power chords and Sherman’s wild shredding. Closing out the album is a scattershot three-track run. “Gimme the Lute” doles out some of the finest riffwork on Gozu VI, but “They Did Know Karate”2 suffers from bloat, while closer “Corvette Summer” anticlimactically fades out.

Gozu VI is, undoubtedly, a pissah. Gaffney, Sherman, and crew are pros who know how to produce high-quality jams built around strong riffs and vocal hooks. Stoner rock/metal proves a challenging paradigm within which to produce truly standout material, but Gozu come as close as I could imagine with their sixth LP. There’s nothing really innovative about Gozu VI, but there’s also nothing terribly wrong with it, and a lot to enjoy. While I hesitate to qualify their latest offering as ‘wicked,’ I don’t at all hesitate to recommend Gozu VI to anyone looking for a familiar, fun time.

Rating: 3.0/5.0
DR: 7 | Format Reviewed: 256 kbps mp3
Label: Metal Blade Records | Blacklight Media Records
Websites: Official | Bandcamp | Facebook | Instagram
Releases Worldwide: May 15th, 2026

In my continuing exploration of Boston bands, the promo pit exhaled the latest from a stoner stalwart. Gozu have been dispensing their hybrid strain of stoner rock/metal since 2007, with riffmeisters Marc Gaffney (vocals, guitar) and Doug Sherman (lead guitar) serving as the only consistent members. Current bassist Joseph Grotto joined Gozu for Revival (2016), and Seth Botos began helming the drums on Remedy (2023), the band’s most recent output. Since their move to Metal Blade Records for Equilibrium (2018), Gozu have increasingly poppified their sound as Gaffney grows into a more versatile vocalist. Still, these Boston veterans haven’t abandoned their identity; catchy choruses sweeten a familiar beanpot of droney riffs. Also intact is their tongue-in-cheek humor; this is a band that named a song “Charles Bronson Pinchot” in 2012 and another “Tom Cruise Control” in 2023. As the first Gozu album to be covered on AMG, Gozu VI will achieve ‘wicked pissah’ status by continuing the band’s trend of refining their sound while maintaining their signature charm.

On the stoner continuum, Gozu veers closer to rock than metal while straddling the line. Indeed, this Boston quartet pack Clutch’s shuffling grooves (“Corinthian Leatherface”), Corrosion of Conformity’s bluesy dirges (“Midnight Express”), and Motörhead’s straight-ahead speed (“Banacek”) into their musical chamber. Gaffney and Sherman’s simple yet satisfying riffs hit listeners by way of production as warm and fuzzy as a Bay State bruin. Sometimes, the riffing is just as ferocious. On the excellently titled (and almost certainly referential) “Gimme the Lute,” fretboard gymnastics mingle with driving chugs and soupy sludge that feels more metallic than geological. Though new to the Gozu crew, Grotto and Botos form a serviceable rhythm section that doesn’t necessarily shine, but that understands the assignment: let the riffs (and vocals) pop. Avoiding the monotony of stoner metal and the banality of stoner rock, Gozu VI strikes a salutary balance.

In his role as vocalist, Gaffney elevates Gozu by displaying a varied arsenal of skills. His voice recalls Neil Fallon of Clutch but with a grunge coloring that’s more nose than chin (think Weiland, not Vedder). Gaffney’s choruses shift between nimble croons suiting the livelier tracks (“Corinthian Leatherface”) and diaphragm-ed belts fitting the doomier cuts (“Midnight Express”). Throughout the album, he tucks falsetto harmonies into his main lines, blending major and minor tonality in a manner akin to Soundgarden and Stone Temple Pilots. ”Corner Lariat” stands as Gaffney’s most ambitious and arresting performance, threading tender verses through a big, wistful chorus, broaching power ballad territory. Not every verse and chorus on Gozu VI knocks it out of Fenway, but enough do to give Gozu a pure listenability that most stoner acts do not possess.

At 8 tracks in 46 minutes, Gozu VI mostly delivers a cohesive album experience. “Corinthian Leatherface” gets this Boston Tea Party started strong, effortlessly tossing energetic riffs and sugary hooks off the side of the Stoner Ship in a rebellious yet controlled demonstration.1 From there, the album intermittently slows down, culminating with the pensive power of “Corner Lariat.” This is a solid run of tracks, though “Killer Khan” comes off as a bit redundant (and has some ham-fisted profanities). “Banacek” picks the pace back up, adding a unique freneticism to the album via interplay between Gaffney’s chunky power chords and Sherman’s wild shredding. Closing out the album is a scattershot three-track run. “Gimme the Lute” doles out some of the finest riffwork on Gozu VI, but “They Did Know Karate”2 suffers from bloat, while closer “Corvette Summer” anticlimactically fades out.

Gozu VI is, undoubtedly, a pissah. Gaffney, Sherman, and crew are pros who know how to produce high-quality jams built around strong riffs and vocal hooks. Stoner rock/metal proves a challenging paradigm within which to produce truly standout material, but Gozu come as close as I could imagine with their sixth LP. There’s nothing really innovative about Gozu VI, but there’s also nothing terribly wrong with it, and a lot to enjoy. While I hesitate to qualify their latest offering as ‘wicked,’ I don’t at all hesitate to recommend Gozu VI to anyone looking for a familiar, fun time.

Rating: 3.0/5.0
DR: 7 | Format Reviewed: 256 kbps mp3
Label: Metal Blade Records | Blacklight Media Records
Websites: Official | Bandcamp | Facebook | Instagram
Releases Worldwide: May 15th, 2026

In my continuing exploration of Boston bands, the promo pit exhaled the latest from a stoner stalwart. Gozu have been dispensing their hybrid strain of stoner rock/metal since 2007, with riffmeisters Marc Gaffney (vocals, guitar) and Doug Sherman (lead guitar) serving as the only consistent members. Current bassist Joseph Grotto joined Gozu for Revival (2016), and Seth Botos began helming the drums on Remedy (2023), the band’s most recent output. Since their move to Metal Blade Records for Equilibrium (2018), Gozu have increasingly poppified their sound as Gaffney grows into a more versatile vocalist. Still, these Boston veterans haven’t abandoned their identity; catchy choruses sweeten a familiar beanpot of droney riffs. Also intact is their tongue-in-cheek humor; this is a band that named a song “Charles Bronson Pinchot” in 2012 and another “Tom Cruise Control” in 2023. As the first Gozu album to be covered on AMG, Gozu VI will achieve ‘wicked pissah’ status by continuing the band’s trend of refining their sound while maintaining their signature charm.

On the stoner continuum, Gozu veers closer to rock than metal while straddling the line. Indeed, this Boston quartet pack Clutch’s shuffling grooves (“Corinthian Leatherface”), Corrosion of Conformity’s bluesy dirges (“Midnight Express”), and Motörhead’s straight-ahead speed (“Banacek”) into their musical chamber. Gaffney and Sherman’s simple yet satisfying riffs hit listeners by way of production as warm and fuzzy as a Bay State bruin. Sometimes, the riffing is just as ferocious. On the excellently titled (and almost certainly referential) “Gimme the Lute,” fretboard gymnastics mingle with driving chugs and soupy sludge that feels more metallic than geological. Though new to the Gozu crew, Grotto and Botos form a serviceable rhythm section that doesn’t necessarily shine, but that understands the assignment: let the riffs (and vocals) pop. Avoiding the monotony of stoner metal and the banality of stoner rock, Gozu VI strikes a salutary balance.

In his role as vocalist, Gaffney elevates Gozu by displaying a varied arsenal of skills. His voice recalls Neil Fallon of Clutch but with a grunge coloring that’s more nose than chin (think Weiland, not Vedder). Gaffney’s choruses shift between nimble croons suiting the livelier tracks (“Corinthian Leatherface”) and diaphragm-ed belts fitting the doomier cuts (“Midnight Express”). Throughout the album, he tucks falsetto harmonies into his main lines, blending major and minor tonality in a manner akin to Soundgarden and Stone Temple Pilots. ”Corner Lariat” stands as Gaffney’s most ambitious and arresting performance, threading tender verses through a big, wistful chorus, broaching power ballad territory. Not every verse and chorus on Gozu VI knocks it out of Fenway, but enough do to give Gozu a pure listenability that most stoner acts do not possess.

At 8 tracks in 46 minutes, Gozu VI mostly delivers a cohesive album experience. “Corinthian Leatherface” gets this Boston Tea Party started strong, effortlessly tossing energetic riffs and sugary hooks off the side of the Stoner Ship in a rebellious yet controlled demonstration.1 From there, the album intermittently slows down, culminating with the pensive power of “Corner Lariat.” This is a solid run of tracks, though “Killer Khan” comes off as a bit redundant (and has some ham-fisted profanities). “Banacek” picks the pace back up, adding a unique freneticism to the album via interplay between Gaffney’s chunky power chords and Sherman’s wild shredding. Closing out the album is a scattershot three-track run. “Gimme the Lute” doles out some of the finest riffwork on Gozu VI, but “They Did Know Karate”2 suffers from bloat, while closer “Corvette Summer” anticlimactically fades out.

Gozu VI is, undoubtedly, a pissah. Gaffney, Sherman, and crew are pros who know how to produce high-quality jams built around strong riffs and vocal hooks. Stoner rock/metal proves a challenging paradigm within which to produce truly standout material, but Gozu come as close as I could imagine with their sixth LP. There’s nothing really innovative about Gozu VI, but there’s also nothing terribly wrong with it, and a lot to enjoy. While I hesitate to qualify their latest offering as ‘wicked,’ I don’t at all hesitate to recommend Gozu VI to anyone looking for a familiar, fun time.

Rating: 3.0/5.0
DR: 7 | Format Reviewed: 256 kbps mp3
Label: Metal Blade Records | Blacklight Media Records
Websites: Official | Bandcamp | Facebook | Instagram
Releases Worldwide: May 15th, 2026

Last night in Zabok was insane. Our fastest set ever (13 songs in 20 minutes) earned us the nickname "hardcore Motörhead".

https://POPIK.bandcamp.com for tunes. Soon on Subvert too.

Can't complain.

#punkrock #motorhead #popik

Last night in Zabok was insane. Our fastest set ever (13 songs in 20 minutes) earned us the nickname "hardcore Motörhead".

https://POPIK.bandcamp.com for tunes. Soon on Subvert too.

Can't complain.

#punkrock #motorhead #popik

Mit #sepultura s #motörhead Cover gehts eigentlich. #orgasmatron

Mit #sepultura s #motörhead Cover gehts eigentlich. #orgasmatron

#PhantastikPrompts 07.05.2026
Stell dir vor, deine Geschichte wird verfilmt: Wer würde den Soundtrack dazu beisteuern, wenn du dir das aussuchen dürftest?

Bei einem Roman über eine Metalband natürlich jede Menge Bands aus verwandten Genres, z.B.: AC/DC, Ratt, Judas Priest, Mötley Crüe, Metallica, Megadeth, Motörhead, Kiss, Iron Maiden, Twisted Sister, Thin Lizzy, aber auch Michael Jackson (z.B. Dirty Diana oder Smooth Criminal)

Außerdem dürften einige Songs von Everlasting Roaring Thunder nicht fehlen:
https://songs.everlastingroaringthunder.de

#ACDC #Ratt #JudasPriest #MötleyCrüe #Metallica #Megadeth #Motörhead #Kiss #IronMaiden #TwistedSister #ThinLizzy #MichaelJackson #KissArmy #EverlastingRoaringThunder #Soundtrack

#PhantastikPrompts 07.05.2026
Stell dir vor, deine Geschichte wird verfilmt: Wer würde den Soundtrack dazu beisteuern, wenn du dir das aussuchen dürftest?

Bei einem Roman über eine Metalband natürlich jede Menge Bands aus verwandten Genres, z.B.: AC/DC, Ratt, Judas Priest, Mötley Crüe, Metallica, Megadeth, Motörhead, Kiss, Iron Maiden, Twisted Sister, Thin Lizzy, aber auch Michael Jackson (z.B. Dirty Diana oder Smooth Criminal)

Außerdem dürften einige Songs von Everlasting Roaring Thunder nicht fehlen:
https://songs.everlastingroaringthunder.de

#ACDC #Ratt #JudasPriest #MötleyCrüe #Metallica #Megadeth #Motörhead #Kiss #IronMaiden #TwistedSister #ThinLizzy #MichaelJackson #KissArmy #EverlastingRoaringThunder #Soundtrack

\_____Black Leather Jacket (1989)

nachhörbar ⟶ https:/cba.media/758918

#RadioOrange #Filmmusik #Soundtrack #BlackLeatherJacket #Motörhead #DennisHopper #Elvis #Clash #Farren #Girlschool #Wallis

Now playing #Vinyl...
I started with #Motorhead then moved to #MSG live and finally we have #JacksonCFrank.

#JukeboxFridayNight

Now playing #Vinyl...
I started with #Motorhead then moved to #MSG live and finally we have #JacksonCFrank.

#JukeboxFridayNight

Second Lemmy Added to Mount Rushmore of Bassists

https://web.brid.gy/r/https://thehardtimes.net/music/second-lemmy-added-to-mount-rushmore-of-bassists/

Second Lemmy Added to Mount Rushmore of Bassists

https://web.brid.gy/r/https://thehardtimes.net/music/second-lemmy-added-to-mount-rushmore-of-bassists/

Second Lemmy Added to Mount Rushmore of Bassists

https://web.brid.gy/r/https://thehardtimes.net/music/second-lemmy-added-to-mount-rushmore-of-bassists/

Second Lemmy Added to Mount Rushmore of Bassists

https://web.brid.gy/r/https://thehardtimes.net/music/second-lemmy-added-to-mount-rushmore-of-bassists/

Second Lemmy Added to Mount Rushmore of Bassists

https://web.brid.gy/r/https://thehardtimes.net/music/second-lemmy-added-to-mount-rushmore-of-bassists/

https://www.europesays.com/es/522347/ Accept regraba sus canciones más míticas por su 50º aniversario con músicos de Judas Priest, Metallica, Motörhead, Scorpions, Ghost, Pantera, Blind Guardian y muchos más en «Teutonic Titans 1976-2026” #50ºAniversario #Accept #BLINDGUARDIAN #Entertainment #Entretenimiento #ES #España #ghost #JudasPriest #Metallica #Motörhead #MR2022 #Music #Música #Pantera #Scorpions #Spain #TeutonicTitans19762026 #WolfHoffmann

Manilla Road, Motörhead, and Megaton Sword walk into a bar—Lemmy’s pick, if that helps you picture the place. Someone yells, “cops outside!” The word “cops” clears the room faster than napalm ever could. Stampede. The bands are swept up in the deluge of bodies, bewildered and sweaty. Amidst the chaos, several shuffle into a nearby van. Driving off, they realize that 1) these aren’t their bandmates, 2) this is Di’Anno-era Iron Maiden’s van with their keys and all their equipment left inside, and 3) they picked up Dropkick Murphys somewhere along the way. If this hypothetical group decided to run with it, they would sound like Chariots Overdrive. Hailing from Beijing, China, and currently residing in Atlanta, Georgia, these adherents of the NWoBHM sound old as dirt on their debut, The End of Antiquity, injecting fantastical lyricism inspired by Chinese history and folklore into their mix. But can this van/chariot go the distance, or has this ride seen its last mile?

The End of Antiquity is driven by allegiance to metal in the purest form, and Chariots Overdrive wield it with punk-like tenacity. Speed and belligerence rule The End of Antiquity, embodied in the full-band gang vocals of “Marching Maniacs” and the Dead Kennedys-like discordance of “Parasite.” The belts and snarls singer G.H.Z uses on “A Taikonautic Alchemist” and “Chariots Overdrive”1 would fit as well with Rancid as they do here, and their guitars and bass evoke the aforementioned early Maiden years in the punkish bite (“The End of Antiquity”). Bassist Z.Z.Y lays down aggressively clicky, highly melodic lines across The End of Antiquity, giving Chariots Overdrive a burly-yet-catchy streak akin to Steve Harris’ playing and bolstering G.H.Z and Y.Z’s gnarly dual guitars and W.R.C’s punchy drums into a full-bodied declaration of victory. Chariots Overdrive feel rooted in the simple joy of throwing ragers with the boys, and The End of Antiquity is, if nothing else, a rager.

Chariots Overdrive don’t overcomplicate anything, which is a boon and bane to The End of Antiquity. Most songs play around simple melodies over two to four chords. Guitar solos aren’t flashy on The End of Antiquity, but they’re incisive. When the outcome is exhilarating like “Chariots Overdrive” or Judas Priest-levels of catchy like “Marching Maniacs,” it’s hard to argue. But it also puts the onus of The End of Antiquity’s success on Chariot Overdrive’s performances, which can falter. G.H.Z isn’t a powerhouse vocalist and sounds downright rough at times, especially where Chariot Overdrive attempt harmonization, such as the chorus of “A Taikonautic Alchemist.” It also means that, despite the album’s lean runtime, The End of Antiquity sounds somewhat exhausted by the time “Nomadic Warfare” and the title track appear, as their hooks are comparatively weaker to the rest of the record. I’m all for simplifying something for the sake of effectiveness, but what’s left has to be as tight as you can make it. In this regard, Chariots Overdrive can improve.

What Chariots Overdrive need is a more refined identity. Like early Iron Maiden, Chariots Overdrive seem to strive towards a dirty-yet-sophisticated sound and theming, evidenced by the fingerstyle guitar and serene bass-and-piano interludes of “Where Dust Reigns” and “Sunken Throb,”2 but these instrumentals’ moods aren’t matched or mirrored by the rest of the album and feel tacked-on as a result. The standout, 12-minute song “A Bizarre Pilgrimage to the Cubik Mansion” hints at what Chariots Overdrive can do, as the band navigates artfully between Motörhead’s hyped-up rock n’ roll and Black Sabbathian gloomy doom.3 But the track buckles a bit under its weight by the end and feels done a few minutes before it’s over. Chariots Overdrive are engaging by grit and energy, but without a solid grasp on what exactly they are doing, The End of Antiquity can only be a fun-but-flawed work when taken as a whole.

The End of Antiquity has some flaws, but I still like where the Chariots Overdrive van is going. If you like any of the bands mentioned above it’s a safe bet you’ll get something out of this. There’s obvious chemistry between the band, and their debut has plenty of good moments throughout that are both fun in the present and hint towards a stronger future. I don’t want Chariots Overdrive to give up on what they’re doing, but if they can merge their punk hooliganism with the finesse they aspire towards in the next album, it’ll be a hit. There’s a lot of highway ahead, but this chariot’s got tread to spare yet.

Rating: Mixed
DR: 84 | Format Reviewed: 320 kbps MP3
Label: Gates of Hell Records
Websites: chariotsoverdrive.bandcamp.com | facebook.com/chariotsoverdrive
Releases Worldwide: April 3rd, 20265