#powerman5000 — Public Fediverse posts
Live and recent posts from across the Fediverse tagged #powerman5000, aggregated by home.social.
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♬️ POWERMAN 5000 at DNA Lounge starting now!
https://www.dnalounge.com/calendar/2026/04-26.html?utm_source=sp_ma
#dnalounge #powerman5000 #makesmyblooddance #diamantide #hardrock #metal #numetal #electrometal #livemusic #concert #sanfrancisco -
♬️ POWERMAN 5000 at DNA Lounge starting now!
https://www.dnalounge.com/calendar/2026/04-26.html?utm_source=sp_ma
#dnalounge #powerman5000 #makesmyblooddance #diamantide #hardrock #metal #numetal #electrometal #livemusic #concert #sanfrancisco -
♬️ POWERMAN 5000 at DNA Lounge starting now!
https://www.dnalounge.com/calendar/2026/04-26.html?utm_source=sp_ma
#dnalounge #powerman5000 #makesmyblooddance #diamantide #hardrock #metal #numetal #electrometal #livemusic #concert #sanfrancisco -
♬️ POWERMAN 5000 at DNA Lounge starting now!
https://www.dnalounge.com/calendar/2026/04-26.html?utm_source=sp_ma
#dnalounge #powerman5000 #makesmyblooddance #diamantide #hardrock #metal #numetal #electrometal #livemusic #concert #sanfrancisco -
♬️ POWERMAN 5000 at DNA Lounge starting now!
https://www.dnalounge.com/calendar/2026/04-26.html?utm_source=sp_ma
#dnalounge #powerman5000 #makesmyblooddance #diamantide #hardrock #metal #numetal #electrometal #livemusic #concert #sanfrancisco -
♬️ POWERMAN 5000 at DNA Lounge tonight: Sun Apr 26, 7pm!
https://www.dnalounge.com/calendar/2026/04-26.html?utm_source=sp_ma
#dnalounge #powerman5000 #12stones #makesmyblooddance #diamantide #hardrock #metal #numetal #electrometal #livemusic #concert #sanfrancisco -
♬️ POWERMAN 5000 at DNA Lounge tonight: Sun Apr 26, 7pm!
https://www.dnalounge.com/calendar/2026/04-26.html?utm_source=sp_ma
#dnalounge #powerman5000 #12stones #makesmyblooddance #diamantide #hardrock #metal #numetal #electrometal #livemusic #concert #sanfrancisco -
♬️ POWERMAN 5000 at DNA Lounge tonight: Sun Apr 26, 7pm!
https://www.dnalounge.com/calendar/2026/04-26.html?utm_source=sp_ma
#dnalounge #powerman5000 #12stones #makesmyblooddance #diamantide #hardrock #metal #numetal #electrometal #livemusic #concert #sanfrancisco -
♬️ POWERMAN 5000 at DNA Lounge tonight: Sun Apr 26, 7pm!
https://www.dnalounge.com/calendar/2026/04-26.html?utm_source=sp_ma
#dnalounge #powerman5000 #12stones #makesmyblooddance #diamantide #hardrock #metal #numetal #electrometal #livemusic #concert #sanfrancisco -
♬️ POWERMAN 5000 at DNA Lounge tonight: Sun Apr 26, 7pm!
https://www.dnalounge.com/calendar/2026/04-26.html?utm_source=sp_ma
#dnalounge #powerman5000 #12stones #makesmyblooddance #diamantide #hardrock #metal #numetal #electrometal #livemusic #concert #sanfrancisco -
Ted Tocks Covers
Relax
Originally posted on January 14, 2024
On this day in 1984 the BBC banned ‘Relax’ by Frankie Goes to Hollywood.
“Live those dreams
Scheme those schemes
Got to hit me
Hit me
Hit me with those laser beams”#frankiegoestohollywood #HollyJohnson #andyrichards #blondie #BrianNash #donknottsoverdrive #jjjeczalik #markotoole #paulrutherford #petergill #powerman5000 #thedandywarhols #TheMollyRingwalds
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Ted Tocks Covers
Relax
Originally posted on January 14, 2024
On this day in 1984 the BBC banned ‘Relax’ by Frankie Goes to Hollywood.
“Live those dreams
Scheme those schemes
Got to hit me
Hit me
Hit me with those laser beams”#frankiegoestohollywood #HollyJohnson #andyrichards #blondie #BrianNash #donknottsoverdrive #jjjeczalik #markotoole #paulrutherford #petergill #powerman5000 #thedandywarhols #TheMollyRingwalds
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Ted Tocks Covers
Relax
Originally posted on January 14, 2024
On this day in 1984 the BBC banned ‘Relax’ by Frankie Goes to Hollywood.
“Live those dreams
Scheme those schemes
Got to hit me
Hit me
Hit me with those laser beams”#frankiegoestohollywood #HollyJohnson #andyrichards #blondie #BrianNash #donknottsoverdrive #jjjeczalik #markotoole #paulrutherford #petergill #powerman5000 #thedandywarhols #TheMollyRingwalds
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Photos/Review: raw, fun, and blatantly weird: Powerman 5000 ROCK SoCal – 8/1/2025:
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Photos/Review: raw, fun, and blatantly weird: Powerman 5000 ROCK SoCal – 8/1/2025:
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When Bodies Collide (Powerman 5000 X Kapote mix) - DJ Torchmantis | #powerman5000 #kapote #torchmantis
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This week's Thursday Five List is run by @Lemniscata and has a theme of "The 5 Ws" - Who, What, Where, When, Why
Who: Nirvana - The Man Who Sold the World (Cover) https://song.link/us/i/1440892680
What: Dreamcatcher - What https://song.link/us/i/1700421895
Where: Fort Minor - Where'd You Go? https://song.link/us/i/95786586
When: Powerman 5000 - When Worlds Collide https://song.link/us/i/1440799713
Why: Liz Phair - Why Can't I? https://song.link/us/i/724537432
Let's go.
#Music #ThursdayFiveList #The5Ws #Nirvana #FortMinor #Dreamcatcher #KPop #Powerman5000 #LizPhair
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This week's Thursday Five List is run by @Lemniscata and has a theme of "The 5 Ws" - Who, What, Where, When, Why
Who: Nirvana - The Man Who Sold the World (Cover) https://song.link/us/i/1440892680
What: Dreamcatcher - What https://song.link/us/i/1700421895
Where: Fort Minor - Where'd You Go? https://song.link/us/i/95786586
When: Powerman 5000 - When Worlds Collide https://song.link/us/i/1440799713
Why: Liz Phair - Why Can't I? https://song.link/us/i/724537432
Let's go.
#Music #ThursdayFiveList #The5Ws #Nirvana #FortMinor #Dreamcatcher #KPop #Powerman5000 #LizPhair
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This week's Thursday Five List is run by @Lemniscata and has a theme of "The 5 Ws" - Who, What, Where, When, Why
Who: Nirvana - The Man Who Sold the World (Cover) https://song.link/us/i/1440892680
What: Dreamcatcher - What https://song.link/us/i/1700421895
Where: Fort Minor - Where'd You Go? https://song.link/us/i/95786586
When: Powerman 5000 - When Worlds Collide https://song.link/us/i/1440799713
Why: Liz Phair - Why Can't I? https://song.link/us/i/724537432
Let's go.
#Music #ThursdayFiveList #The5Ws #Nirvana #FortMinor #Dreamcatcher #KPop #Powerman5000 #LizPhair
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This week's Thursday Five List is run by @Lemniscata and has a theme of "The 5 Ws" - Who, What, Where, When, Why
Who: Nirvana - The Man Who Sold the World (Cover) https://song.link/us/i/1440892680
What: Dreamcatcher - What https://song.link/us/i/1700421895
Where: Fort Minor - Where'd You Go? https://song.link/us/i/95786586
When: Powerman 5000 - When Worlds Collide https://song.link/us/i/1440799713
Why: Liz Phair - Why Can't I? https://song.link/us/i/724537432
Let's go.
#Music #ThursdayFiveList #The5Ws #Nirvana #FortMinor #Dreamcatcher #KPop #Powerman5000 #LizPhair
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This week's Thursday Five List is run by @Lemniscata and has a theme of "The 5 Ws" - Who, What, Where, When, Why
Who: Nirvana - The Man Who Sold the World (Cover) https://song.link/us/i/1440892680
What: Dreamcatcher - What https://song.link/us/i/1700421895
Where: Fort Minor - Where'd You Go? https://song.link/us/i/95786586
When: Powerman 5000 - When Worlds Collide https://song.link/us/i/1440799713
Why: Liz Phair - Why Can't I? https://song.link/us/i/724537432
Let's go.
#Music #ThursdayFiveList #The5Ws #Nirvana #FortMinor #Dreamcatcher #KPop #Powerman5000 #LizPhair
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They like to lie and cheat
And then pretend it's real
...
They want it all
Then want some more
And when it's gone, it's gone
And then they'll start a war
...
This is how to be a human
🤘🤘🤬Powerman 5000
How To Be A Human -
They like to lie and cheat
And then pretend it's real
...
They want it all
Then want some more
And when it's gone, it's gone
And then they'll start a war
...
This is how to be a human
🤘🤘🤬Powerman 5000
How To Be A Human -
They like to lie and cheat
And then pretend it's real
...
They want it all
Then want some more
And when it's gone, it's gone
And then they'll start a war
...
This is how to be a human
🤘🤘🤬Powerman 5000
How To Be A Human -
They like to lie and cheat
And then pretend it's real
...
They want it all
Then want some more
And when it's gone, it's gone
And then they'll start a war
...
This is how to be a human
🤘🤘🤬Powerman 5000
How To Be A Human -
They like to lie and cheat
And then pretend it's real
...
They want it all
Then want some more
And when it's gone, it's gone
And then they'll start a war
...
This is how to be a human
🤘🤘🤬Powerman 5000
How To Be A Human -
See how much time you spend thinking you are watching the wrong video! 😂
Powerman 5000
Black Lipstick -
See how much time you spend thinking you are watching the wrong video! 😂
Powerman 5000
Black Lipstick -
See how much time you spend thinking you are watching the wrong video! 😂
Powerman 5000
Black Lipstick -
See how much time you spend thinking you are watching the wrong video! 😂
Powerman 5000
Black Lipstick -
See how much time you spend thinking you are watching the wrong video! 😂
Powerman 5000
Black Lipstick -
https://youtu.be/K8oHIyD3NxM?si=8lAy_k6d0DskLA4A
La meva #CançóDelDia per al dimarts 26 de novembre és aquesta dels #Powerman5000 #Boston #MètalIndustrial #HardRock #NuMetal 💀!
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https://youtu.be/K8oHIyD3NxM?si=8lAy_k6d0DskLA4A
La meva #CançóDelDia per al dimarts 26 de novembre és aquesta dels #Powerman5000 #Boston #MètalIndustrial #HardRock #NuMetal 💀!
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https://youtu.be/K8oHIyD3NxM?si=8lAy_k6d0DskLA4A
La meva #CançóDelDia per al dimarts 26 de novembre és aquesta dels #Powerman5000 #Boston #MètalIndustrial #HardRock #NuMetal 💀!
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https://youtu.be/K8oHIyD3NxM?si=8lAy_k6d0DskLA4A
La meva #CançóDelDia per al dimarts 26 de novembre és aquesta dels #Powerman5000 #Boston #MètalIndustrial #HardRock #NuMetal 💀!
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https://youtu.be/K8oHIyD3NxM?si=8lAy_k6d0DskLA4A
La meva #CançóDelDia per al dimarts 26 de novembre és aquesta dels #Powerman5000 #Boston #MètalIndustrial #HardRock #NuMetal 💀!
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Mushroomhead – Call the Devil Review
By Dear Hollow
The problem with nu-metal is that the aesthetics overpower the music. Taking the machismo of rap and combining it with metal’s most knuckle-dragging moments, its “hard as fuck” image has combined with adrenaline and testosterone in some sort of raging divorced dad Frankenstein’s monster with Red Bull in hand. While the likes of Powerman 5000 or Static-X have toyed with its mania in a silly vibe, others have embraced the style’s over-the-top aesthetic. Cleveland’s Mushroomhead,1 in line with the “dark” theatrics and special effects of Slipknot, Mudvayne, or Insane Clown Posse, has juiced this style dry with even more over-the-top themes and costumes, amplified by industrial, symphonic, and more straightforward hip-hop influences. After nearly thirty years and eight full-lengths of excessive self-indulgence guided by the oh so twisted mind of Steve “Skinny” Felton, we’re faced with Call the Devil.
For Mushroomhead, Call the Devil follows the recent trend of the much-needed incorporation of newer vocalist Jackie LaPonza to compensate for utter lack of charisma. Vocalists Steve Rauckhurst and Scott “xtriker” Beck trade grungy cleans, growls, and raps, while guitarists, bassists, and percussionists are tossed around like a swarm of attacking bees to round out the lineup to a whopping nine members. Groove remains a nu-metal priority throughout and Call the Devil benefits from LaPonza’s more pronounced presence. However, the glaringly inconsistent palettes of over-the-top, largely failed experimentation with the more straightforward and direly boring metal riffs lands Mushroomhead in one of the more bafflingly obnoxious and misguidedly ambitious listens of the year.
Mushroomhead’s best moments are rooted in two things: rad groove and LaPonza’s vocals. “We Don’t Care” is likely the closest union, with its pulsing guitar riffs touched by southern rock colliding with her hypnotic and sultry verses. Meanwhile, opener “Eye to Eye,” “Torn in Two,” and “Hallelucination” feature a nice groove that hits hard for a little while. “Fall in Line,” “Hallelucination,” “Hideous,” and “Shame in a Basket” are solid if not tragically limited exposés on LaPonza’s vocals, her range showcased from a sirenic and haunting mezzo-soprano to a smoky and femme fatale alto. However, as solid as these isolated moments are, they are surrounded by a deep sea of testosterone and a Vaudeville carnival theme so over the top, that it would make Avatar blush. The fanfare surrounding LaPonza’s vocals in “We Don’t Care,” for instance, quickly dissipates due to Rauckhurst and Beck doing their best worst impressions of Five Finger Death Punch’s Ivan Moody. Even the riffs in Call the Devil’s solid moments, although initially a welcome jolt of energy and pummel, begin to feel anticlimactic and limp after so many iterations and lack of variation. All attacks are done through a solid mix, provided by Matt Wallace (Faith No More, 3 Doors Down), so the guitars have a solid crunch, the drums are aptly pummeling, and the melodic elements shine across. It’s just a bummer that the attacks are toothless.
Perhaps most baffling about Call the Devil is Mushroomhead’s inability to keep a consistent sound, particularly when it benefits them to do so. LaPonza is a rare beam of light but is used far too sparingly, often disappearing entire. The band’s riffs get tired over so many dad-rock repetitions, while Rauckhurst and Beck are indistinguishable and as dangerous as a sub sandwich at a Baptist potluck. Tracks like “Emptiness” and “Grand Gesture” try to take on the heavy ballad approach but end up bland, and the full immersion of the spooky carnival music sees tracks like “UIOP (The Final Reprieve),” “Decomposition,” and “Prepackaged” fall into just a weird muck. Like Slipknot, Mushroomhead features a veritable legion of members, but aside from the industrial atmosphere and Vaudeville vibes, what exactly are the nine musicians doing at any given moment? They have a bevy of potential talent, but choose to waste it on an excessive version nu-metal, one that furthermore hasn’t changed much since the ’90s in spite of every opportunity to do so.
Mushroomhead tried really hard with Call the Devil. They’ve got a seed of hope in LaPonza and some killer riffs, but if Skinny and Company haven’t tried anything new aside from batshit unnecessariness since ’93, this review won’t change any minds. It’s self-indulgent, painfully pretentious, and its hour length feels like being dragged through broken glass at a carnival devoted to masculinity. Slipknot has long been accused of stealing Mushroomhead’s look, but when that’s more important than creating quality music, there’s a problem. Yeah, call the Devil, Mushroomhead – he’ll make a better album than this.
Rating: 1.0/5.0
DR: N/A | Format Reviewed: STREAM
Label: Napalm Records
Websites: mushroomhead.com | facebook.com/mushroomheadofficial
Releases Worldwide: August 9th, 2024#10 #2024 #3DoorsDown #Aug24 #Avatar #CallTheDevil #FaithNoMore #FiveFingerDeathPunch #HardRock #IndustrialMetal #InsaneClownPosse #Mudvayne #Mushroomhead #NapalmRecords #NuMetal #Powerman5000 #Review #Reviews #Slipknot #StaticX #SymphonicMetal
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Mushroomhead – Call the Devil Review
By Dear Hollow
The problem with nu-metal is that the aesthetics overpower the music. Taking the machismo of rap and combining it with metal’s most knuckle-dragging moments, its “hard as fuck” image has combined with adrenaline and testosterone in some sort of raging divorced dad Frankenstein’s monster with Red Bull in hand. While the likes of Powerman 5000 or Static-X have toyed with its mania in a silly vibe, others have embraced the style’s over-the-top aesthetic. Cleveland’s Mushroomhead,1 in line with the “dark” theatrics and special effects of Slipknot, Mudvayne, or Insane Clown Posse, has juiced this style dry with even more over-the-top themes and costumes, amplified by industrial, symphonic, and more straightforward hip-hop influences. After nearly thirty years and eight full-lengths of excessive self-indulgence guided by the oh so twisted mind of Steve “Skinny” Felton, we’re faced with Call the Devil.
For Mushroomhead, Call the Devil follows the recent trend of the much-needed incorporation of newer vocalist Jackie LaPonza to compensate for utter lack of charisma. Vocalists Steve Rauckhurst and Scott “xtriker” Beck trade grungy cleans, growls, and raps, while guitarists, bassists, and percussionists are tossed around like a swarm of attacking bees to round out the lineup to a whopping nine members. Groove remains a nu-metal priority throughout and Call the Devil benefits from LaPonza’s more pronounced presence. However, the glaringly inconsistent palettes of over-the-top, largely failed experimentation with the more straightforward and direly boring metal riffs lands Mushroomhead in one of the more bafflingly obnoxious and misguidedly ambitious listens of the year.
Mushroomhead’s best moments are rooted in two things: rad groove and LaPonza’s vocals. “We Don’t Care” is likely the closest union, with its pulsing guitar riffs touched by southern rock colliding with her hypnotic and sultry verses. Meanwhile, opener “Eye to Eye,” “Torn in Two,” and “Hallelucination” feature a nice groove that hits hard for a little while. “Fall in Line,” “Hallelucination,” “Hideous,” and “Shame in a Basket” are solid if not tragically limited exposés on LaPonza’s vocals, her range showcased from a sirenic and haunting mezzo-soprano to a smoky and femme fatale alto. However, as solid as these isolated moments are, they are surrounded by a deep sea of testosterone and a Vaudeville carnival theme so over the top, that it would make Avatar blush. The fanfare surrounding LaPonza’s vocals in “We Don’t Care,” for instance, quickly dissipates due to Rauckhurst and Beck doing their best worst impressions of Five Finger Death Punch’s Ivan Moody. Even the riffs in Call the Devil’s solid moments, although initially a welcome jolt of energy and pummel, begin to feel anticlimactic and limp after so many iterations and lack of variation. All attacks are done through a solid mix, provided by Matt Wallace (Faith No More, 3 Doors Down), so the guitars have a solid crunch, the drums are aptly pummeling, and the melodic elements shine across. It’s just a bummer that the attacks are toothless.
Perhaps most baffling about Call the Devil is Mushroomhead’s inability to keep a consistent sound, particularly when it benefits them to do so. LaPonza is a rare beam of light but is used far too sparingly, often disappearing entire. The band’s riffs get tired over so many dad-rock repetitions, while Rauckhurst and Beck are indistinguishable and as dangerous as a sub sandwich at a Baptist potluck. Tracks like “Emptiness” and “Grand Gesture” try to take on the heavy ballad approach but end up bland, and the full immersion of the spooky carnival music sees tracks like “UIOP (The Final Reprieve),” “Decomposition,” and “Prepackaged” fall into just a weird muck. Like Slipknot, Mushroomhead features a veritable legion of members, but aside from the industrial atmosphere and Vaudeville vibes, what exactly are the nine musicians doing at any given moment? They have a bevy of potential talent, but choose to waste it on an excessive version nu-metal, one that furthermore hasn’t changed much since the ’90s in spite of every opportunity to do so.
Mushroomhead tried really hard with Call the Devil. They’ve got a seed of hope in LaPonza and some killer riffs, but if Skinny and Company haven’t tried anything new aside from batshit unnecessariness since ’93, this review won’t change any minds. It’s self-indulgent, painfully pretentious, and its hour length feels like being dragged through broken glass at a carnival devoted to masculinity. Slipknot has long been accused of stealing Mushroomhead’s look, but when that’s more important than creating quality music, there’s a problem. Yeah, call the Devil, Mushroomhead – he’ll make a better album than this.
Rating: 1.0/5.0
DR: N/A | Format Reviewed: STREAM
Label: Napalm Records
Websites: mushroomhead.com | facebook.com/mushroomheadofficial
Releases Worldwide: August 9th, 2024#10 #2024 #3DoorsDown #Aug24 #Avatar #CallTheDevil #FaithNoMore #FiveFingerDeathPunch #HardRock #IndustrialMetal #InsaneClownPosse #Mudvayne #Mushroomhead #NapalmRecords #NuMetal #Powerman5000 #Review #Reviews #Slipknot #StaticX #SymphonicMetal
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Mushroomhead – Call the Devil Review
By Dear Hollow
The problem with nu-metal is that the aesthetics overpower the music. Taking the machismo of rap and combining it with metal’s most knuckle-dragging moments, its “hard as fuck” image has combined with adrenaline and testosterone in some sort of raging divorced dad Frankenstein’s monster with Red Bull in hand. While the likes of Powerman 5000 or Static-X have toyed with its mania in a silly vibe, others have embraced the style’s over-the-top aesthetic. Cleveland’s Mushroomhead,1 in line with the “dark” theatrics and special effects of Slipknot, Mudvayne, or Insane Clown Posse, has juiced this style dry with even more over-the-top themes and costumes, amplified by industrial, symphonic, and more straightforward hip-hop influences. After nearly thirty years and eight full-lengths of excessive self-indulgence guided by the oh so twisted mind of Steve “Skinny” Felton, we’re faced with Call the Devil.
For Mushroomhead, Call the Devil follows the recent trend of the much-needed incorporation of newer vocalist Jackie LaPonza to compensate for utter lack of charisma. Vocalists Steve Rauckhurst and Scott “xtriker” Beck trade grungy cleans, growls, and raps, while guitarists, bassists, and percussionists are tossed around like a swarm of attacking bees to round out the lineup to a whopping nine members. Groove remains a nu-metal priority throughout and Call the Devil benefits from LaPonza’s more pronounced presence. However, the glaringly inconsistent palettes of over-the-top, largely failed experimentation with the more straightforward and direly boring metal riffs lands Mushroomhead in one of the more bafflingly obnoxious and misguidedly ambitious listens of the year.
Mushroomhead’s best moments are rooted in two things: rad groove and LaPonza’s vocals. “We Don’t Care” is likely the closest union, with its pulsing guitar riffs touched by southern rock colliding with her hypnotic and sultry verses. Meanwhile, opener “Eye to Eye,” “Torn in Two,” and “Hallelucination” feature a nice groove that hits hard for a little while. “Fall in Line,” “Hallelucination,” “Hideous,” and “Shame in a Basket” are solid if not tragically limited exposés on LaPonza’s vocals, her range showcased from a sirenic and haunting mezzo-soprano to a smoky and femme fatale alto. However, as solid as these isolated moments are, they are surrounded by a deep sea of testosterone and a Vaudeville carnival theme so over the top, that it would make Avatar blush. The fanfare surrounding LaPonza’s vocals in “We Don’t Care,” for instance, quickly dissipates due to Rauckhurst and Beck doing their best worst impressions of Five Finger Death Punch’s Ivan Moody. Even the riffs in Call the Devil’s solid moments, although initially a welcome jolt of energy and pummel, begin to feel anticlimactic and limp after so many iterations and lack of variation. All attacks are done through a solid mix, provided by Matt Wallace (Faith No More, 3 Doors Down), so the guitars have a solid crunch, the drums are aptly pummeling, and the melodic elements shine across. It’s just a bummer that the attacks are toothless.
Perhaps most baffling about Call the Devil is Mushroomhead’s inability to keep a consistent sound, particularly when it benefits them to do so. LaPonza is a rare beam of light but is used far too sparingly, often disappearing entire. The band’s riffs get tired over so many dad-rock repetitions, while Rauckhurst and Beck are indistinguishable and as dangerous as a sub sandwich at a Baptist potluck. Tracks like “Emptiness” and “Grand Gesture” try to take on the heavy ballad approach but end up bland, and the full immersion of the spooky carnival music sees tracks like “UIOP (The Final Reprieve),” “Decomposition,” and “Prepackaged” fall into just a weird muck. Like Slipknot, Mushroomhead features a veritable legion of members, but aside from the industrial atmosphere and Vaudeville vibes, what exactly are the nine musicians doing at any given moment? They have a bevy of potential talent, but choose to waste it on an excessive version nu-metal, one that furthermore hasn’t changed much since the ’90s in spite of every opportunity to do so.
Mushroomhead tried really hard with Call the Devil. They’ve got a seed of hope in LaPonza and some killer riffs, but if Skinny and Company haven’t tried anything new aside from batshit unnecessariness since ’93, this review won’t change any minds. It’s self-indulgent, painfully pretentious, and its hour length feels like being dragged through broken glass at a carnival devoted to masculinity. Slipknot has long been accused of stealing Mushroomhead’s look, but when that’s more important than creating quality music, there’s a problem. Yeah, call the Devil, Mushroomhead – he’ll make a better album than this.
Rating: 1.0/5.0
DR: N/A | Format Reviewed: STREAM
Label: Napalm Records
Websites: mushroomhead.com | facebook.com/mushroomheadofficial
Releases Worldwide: August 9th, 2024#10 #2024 #3DoorsDown #Aug24 #Avatar #CallTheDevil #FaithNoMore #FiveFingerDeathPunch #HardRock #IndustrialMetal #InsaneClownPosse #Mudvayne #Mushroomhead #NapalmRecords #NuMetal #Powerman5000 #Review #Reviews #Slipknot #StaticX #SymphonicMetal
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By Kenstrosity
Long time readers understand that I like damn near any kind of metal. If it’s got heavily distorted guitars and big, bloodied hooks, I’m on board. My eclecticism inside the metalverse affords me a rare kind of versatility when it comes to review duties, too. Anything that falls into my lap has a chance to get a proper sponge bath. However, sometimes a band does a bunch of stuff that I normally enjoy and yet, my enthusiasm falters. Most of the time, that’s a simple conflict. I just don’t like the songs, even if I like the format. That, dear readers, is precisely the case for German “wedon’tgiveafuckmetal”1 outfit Soulbound and their fourth LP, obsYdian.
Does anybody remember Powerman 5000? I do. They had some straight-up bangers in their time, like “When Worlds Collide” and “Bombshell.” Sadly, their legacy is one of pure novelty and nostalgia. Undeterred by such circumstances, Soulbound cut their sound from the same cloth, interweaving pop metal elements reminiscent of Amaranthe; creepy gothic industrial rock similar to some of Marilyn Manson’s work; and stompy riffs and a genuinely vicious scream pulled straight from the Static-X playbook. With obsYdian, Soulbound integrated a new, updated thread of synthwave influence into their Eurovision-ready bops, which happens to be a major draw for this reviewer in 2024. And yet, obsYdian still grinds my gears.
Frustration floods my system every time I spin obsYdian. From the start of its overlong instrumental intro to a bizarre two-part closer, Soulbound make questionable choices that keep me listening almost entirely out of morbid curiosity. Starting off with a powerful dose of cringe, opener “Burn” serenades my inner angsty teen with shouts of “BURN, MOTHERFUCKER” against a backdrop of base chuggery. In fact, “motherfucker” features an egregious number of times for a band claiming to give no fucks to begin with. Other missteps include “Lioness,” which I hypothesize speaks on struggling with mental illness, heartbreak, or uncontrolled drug use. Any one of those holds potential for a great theme, but “Lioness” kicks off on a confusing note—a howling wolf—and further befuddles with chorus lyrics that muddle the message beyond easy deduction. Outside of those memorably unfortunate moments in the first half, the bulk of obsYdian fails to make any impression one way or the other. Inoffensive tracks like “Insane” and “Isolate” fight hard for my attention with superficially hooky licks and aggressive bounce. Yet, I remain wholly unmoved. Finally, I reach a real head-scratcher with obsYdian’s bewildering closing duo. “Remain (Part 1),” an ill-fated, three-minute, sappy sadboi ballad, wasn’t the best choice for a late album tuck-in to start with, but Soulbound paired it with a truly puzzling consort: “Remain (Part 2).” After “(Part 1)” ends, “(Part 2)” reprises the main theme of “(Part 1),” at half-time, with orchestral bombast, ad nauseam for a whopping seven minutes of mind-numbing buzzkillery. What the hell is even that?
In all fairness, Soulbound do know their way around a sharp hook once they find one. Top selections like the synthwave worshipping “Forever in the Dark,” the anthemic “Saint Sinner,” and the dance party-ready “Paralyzed” might be cheesy and somewhat oversimplified, but they get my head bobbing and I can’t help but hum each one absentmindedly while out and about. On the sonic front, Soulbound’s shift into synthwave territory suits their particular use of melody wonderfully, especially compared to the more industrial crunch of past records. I hope they capitalize on that further going forward. However, the increased volume of moody ballads like “Heartless” in the back half significantly brings the album’s energy down—enough to discourage replays. My suggestion would be to either revisit and develop those ballads into incontrovertibly captivating showstoppers, or cut them entirely in exchange for one or two more infectious bops like “Forever in the Dark” and “Paralyzed” instead.
Soulbound adopted a sonic palette and a poppy songwriting approach that should’ve wholly resonated with me. It checks a lot of my more superficial boxes. However, I’ve been listening to this kind of music for decades now, and demand more hype and substance than what obsYdian offered. Ultimately, I’m hard-pressed to recommend all but a scant three songs to this readership, and even those come with caveats. That said, you’ll hear no judgment from me should you like Soulbound more than I. It’s just not for me.
Rating: Bad.
DR: 6 | Format Reviewed: 320 kbps mp3
Label: Metalville
Website: facebook.com/MusicSoulbound
Releases Worldwide: July 26th, 2024#15 #2024 #Amaranthe #ElectronicMetal #GermanMetal #GothicMetal #IndustrialMetal #Jul24 #MarilynManson #Metalville #obsYdian #PopMetal #Powerman5000 #Review #Reviews #Soulbound #StaticX #Synthwave
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By Kenstrosity
Long time readers understand that I like damn near any kind of metal. If it’s got heavily distorted guitars and big, bloodied hooks, I’m on board. My eclecticism inside the metalverse affords me a rare kind of versatility when it comes to review duties, too. Anything that falls into my lap has a chance to get a proper sponge bath. However, sometimes a band does a bunch of stuff that I normally enjoy and yet, my enthusiasm falters. Most of the time, that’s a simple conflict. I just don’t like the songs, even if I like the format. That, dear readers, is precisely the case for German “wedon’tgiveafuckmetal”1 outfit Soulbound and their fourth LP, obsYdian.
Does anybody remember Powerman 5000? I do. They had some straight-up bangers in their time, like “When Worlds Collide” and “Bombshell.” Sadly, their legacy is one of pure novelty and nostalgia. Undeterred by such circumstances, Soulbound cut their sound from the same cloth, interweaving pop metal elements reminiscent of Amaranthe; creepy gothic industrial rock similar to some of Marilyn Manson’s work; and stompy riffs and a genuinely vicious scream pulled straight from the Static-X playbook. With obsYdian, Soulbound integrated a new, updated thread of synthwave influence into their Eurovision-ready bops, which happens to be a major draw for this reviewer in 2024. And yet, obsYdian still grinds my gears.
Frustration floods my system every time I spin obsYdian. From the start of its overlong instrumental intro to a bizarre two-part closer, Soulbound make questionable choices that keep me listening almost entirely out of morbid curiosity. Starting off with a powerful dose of cringe, opener “Burn” serenades my inner angsty teen with shouts of “BURN, MOTHERFUCKER” against a backdrop of base chuggery. In fact, “motherfucker” features an egregious number of times for a band claiming to give no fucks to begin with. Other missteps include “Lioness,” which I hypothesize speaks on struggling with mental illness, heartbreak, or uncontrolled drug use. Any one of those holds potential for a great theme, but “Lioness” kicks off on a confusing note—a howling wolf—and further befuddles with chorus lyrics that muddle the message beyond easy deduction. Outside of those memorably unfortunate moments in the first half, the bulk of obsYdian fails to make any impression one way or the other. Inoffensive tracks like “Insane” and “Isolate” fight hard for my attention with superficially hooky licks and aggressive bounce. Yet, I remain wholly unmoved. Finally, I reach a real head-scratcher with obsYdian’s bewildering closing duo. “Remain (Part 1),” an ill-fated, three-minute, sappy sadboi ballad, wasn’t the best choice for a late album tuck-in to start with, but Soulbound paired it with a truly puzzling consort: “Remain (Part 2).” After “(Part 1)” ends, “(Part 2)” reprises the main theme of “(Part 1),” at half-time, with orchestral bombast, ad nauseam for a whopping seven minutes of mind-numbing buzzkillery. What the hell is even that?
In all fairness, Soulbound do know their way around a sharp hook once they find one. Top selections like the synthwave worshipping “Forever in the Dark,” the anthemic “Saint Sinner,” and the dance party-ready “Paralyzed” might be cheesy and somewhat oversimplified, but they get my head bobbing and I can’t help but hum each one absentmindedly while out and about. On the sonic front, Soulbound’s shift into synthwave territory suits their particular use of melody wonderfully, especially compared to the more industrial crunch of past records. I hope they capitalize on that further going forward. However, the increased volume of moody ballads like “Heartless” in the back half significantly brings the album’s energy down—enough to discourage replays. My suggestion would be to either revisit and develop those ballads into incontrovertibly captivating showstoppers, or cut them entirely in exchange for one or two more infectious bops like “Forever in the Dark” and “Paralyzed” instead.
Soulbound adopted a sonic palette and a poppy songwriting approach that should’ve wholly resonated with me. It checks a lot of my more superficial boxes. However, I’ve been listening to this kind of music for decades now, and demand more hype and substance than what obsYdian offered. Ultimately, I’m hard-pressed to recommend all but a scant three songs to this readership, and even those come with caveats. That said, you’ll hear no judgment from me should you like Soulbound more than I. It’s just not for me.
Rating: Bad.
DR: 6 | Format Reviewed: 320 kbps mp3
Label: Metalville
Website: facebook.com/MusicSoulbound
Releases Worldwide: July 26th, 2024#15 #2024 #Amaranthe #ElectronicMetal #GermanMetal #GothicMetal #IndustrialMetal #Jul24 #MarilynManson #Metalville #obsYdian #PopMetal #Powerman5000 #Review #Reviews #Soulbound #StaticX #Synthwave
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It’s 2024 and Powerman 5000 Just Released a New Single
Yes, they're still around.https://www.metalsucks.net/2024/04/26/its-2024-and-powerman-5000-just-released-a-new-single/
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It’s 2024 and Powerman 5000 Just Released a New Single
Yes, they're still around.https://www.metalsucks.net/2024/04/26/its-2024-and-powerman-5000-just-released-a-new-single/
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It’s 2024 and Powerman 5000 Just Released a New Single
Yes, they're still around.https://www.metalsucks.net/2024/04/26/its-2024-and-powerman-5000-just-released-a-new-single/
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It’s 2024 and Powerman 5000 Just Released a New Single
Yes, they're still around.https://www.metalsucks.net/2024/04/26/its-2024-and-powerman-5000-just-released-a-new-single/
