#weezer — Public Fediverse posts

Download Festival 2025 Friday

We weren’t planning on going to this year’s Download Festival, but when we saw how cheap they were on re-selling sites a couple of days before the festival, it was rude not to and saved £180.

We got ourselves to the arena and noticed that it was a lot busier than the previous year, we reckon this was mostly down to the weather as it was the complete opposite to the downpour we endured last year, as we had clear skies and a scorching sun. It was nice that we could actually see grass rather than the thick slippy mud of last year.

We tried to get hold of Mr Fox but the internet connection was non existent so trying to get a hold of each other was impossible, on the bright side we managed to catch a bit of Rise Against on the main stage, where we got to hear one of our favourite songs ‘Savior’.

https://open.spotify.com/track/1vcxF91pWs9uNwDROuiCPB?si=L9mo-MqQSpK7cYjilYvoNQ%0A

The first band we planned to see was Jimmy Eat World as we have never seen them before so we got a good spot to watch them. They opened up with ‘Pain’ & ‘Just Tonight…’ but the crowd really got going when they played their hit ‘Sweetness’. The rest of the 14 song set was a bit flat but picked up again with their last two songs ‘Bleed American’ & the massive ‘In the Middle’.

Overall We were a bit disappointed as they seemed a bit boring live and it felt a bit flat except when they played their hits, it was epic when they did play ‘In the Middle’ which is a song we always wanted to hear played live.

https://open.spotify.com/track/6GG73Jik4jUlQCkKg9JuGO?si=TWELm_tGS6yx9CzBDnX36A

During the break on the main stage we wandered around the festival  and got some food and drink before Weezer. This is the third time we’ve seen them and they were a lot better than the last time, when they went on tour with Smashing Pumpkins.

They opened their set with ‘Hash Pipe’ and ‘My Name Is Jonas’ which was awesome and the crowd loved it!

As the sun rays continued, Rivers (Lead Singer & Guitarist) jokingly asked if we have this weather all the time in England, we don’t think he could even believe the nice weather we were having.

Weezer rocked out with ‘Undone – The Sweater Song’, ‘Island In The Sun’ and our favourite ‘Pork and Beans’

https://open.spotify.com/track/7wclPheMJAUKn2njmO2s3A?si=P1kW8dxVQ4SLMweuZ-N5CQ

Unfortunately we had to miss the end of Weezer to get to the avalanche stage and get into the tent for McFly, good job we did as it filled up very quickly. Similar to Busted the previous year, Mcfly burst onto the stage sounding more heavier for the download vibe, which was fun to see, they were shouting and swearing and even started to play Rage Against The Machine’s ‘Killing In The Name of’, they had a lot of  fun and so did the crowd.

They performed ‘Where Did All the Guitars Go?’ and ‘Star Girl’ but we soon left as the temperature in the tent was getting ridiculously hot, so we walked back to the main stage and waited for the main headline for the night Green Day!

https://open.spotify.com/track/4XJgkeu052kEf1AIfXDlHQ?si=6zTeUsWjTz2ZmN0p0WRIaA

This is the 4th time seeing them in as many years after previously watching them in Dublin, Las Vegas and Arnhem, so we decided to stay further back rather than struggling to get closer.

As the sun was setting Green Day started with their usual intro where Queen’s ‘Bohemian Rhapsody’ plays before The Ramones ‘Blitzkrieg Bop’ where Green Days Mascot ‘Drunk Bunny’ runs around and dances on stage before the band comes out rocking to the iconic ‘American Idiot’ to get the punk rock party started.

Green day performed an outstanding 21 set list full of hits from the last 4 decades, including ‘Holiday’, ‘Basket Case’ and ‘Minority’, they also did a couple of different songs as per usual like ‘Revolution Radio’ and an old song ‘J.A.R. (Jason Andrew Relva)’ which was really nice.

Something magical happened when they performed ‘Wake Me Up When September Ends’, a reminder that we had a scorching hot summers day, Billie Joe (Vocalist & Guitarist) made it rain when he sang the lyrics “Here comes the rain again” which really was surreal to watch. You can find videos online of this happening.

Green Day finished the set with the usual ‘Good Riddance (Time of Your Life)’ finishing the first day of Download perfectly.

https://open.spotify.com/track/3oqYMRKQcwyNmFn1VD2ukD?si=nbReBgUDSeSqsLMOLsqYuw

St. Jimmy and Rex 🖤☠️

All rights to the songs in this review are retained by the relevant artists and this site claims no rights over them.

Download – From A Different Perspective [Part 3]

Download Festival 2025 Review: Standouts, Disappointments & Future Headliners

Download Festival 2026: Limp Bizkit, Guns N’ Roses & Linkin Park Headline DLXXIII At Donington Park

Download Festival 2025 Friday

We weren’t planning on going to this year’s Download Festival, but when we saw how cheap they were on re-selling sites a couple of days before the festival, it was rude not to and saved £180.

We got ourselves to the arena and noticed that it was a lot busier than the previous year, we reckon this was mostly down to the weather as it was the complete opposite to the downpour we endured last year, as we had clear skies and a scorching sun. It was nice that we could actually see grass rather than the thick slippy mud of last year.

We tried to get hold of Mr Fox but the internet connection was non existent so trying to get a hold of each other was impossible, on the bright side we managed to catch a bit of Rise Against on the main stage, where we got to hear one of our favourite songs ‘Savior’.

https://open.spotify.com/track/1vcxF91pWs9uNwDROuiCPB?si=L9mo-MqQSpK7cYjilYvoNQ%0A

The first band we planned to see was Jimmy Eat World as we have never seen them before so we got a good spot to watch them. They opened up with ‘Pain’ & ‘Just Tonight…’ but the crowd really got going when they played their hit ‘Sweetness’. The rest of the 14 song set was a bit flat but picked up again with their last two songs ‘Bleed American’ & the massive ‘In the Middle’.

Overall We were a bit disappointed as they seemed a bit boring live and it felt a bit flat except when they played their hits, it was epic when they did play ‘In the Middle’ which is a song we always wanted to hear played live.

https://open.spotify.com/track/6GG73Jik4jUlQCkKg9JuGO?si=TWELm_tGS6yx9CzBDnX36A

During the break on the main stage we wandered around the festival  and got some food and drink before Weezer. This is the third time we’ve seen them and they were a lot better than the last time, when they went on tour with Smashing Pumpkins.

They opened their set with ‘Hash Pipe’ and ‘My Name Is Jonas’ which was awesome and the crowd loved it!

As the sun rays continued, Rivers (Lead Singer & Guitarist) jokingly asked if we have this weather all the time in England, we don’t think he could even believe the nice weather we were having.

Weezer rocked out with ‘Undone – The Sweater Song’, ‘Island In The Sun’ and our favourite ‘Pork and Beans’

https://open.spotify.com/track/7wclPheMJAUKn2njmO2s3A?si=P1kW8dxVQ4SLMweuZ-N5CQ

Unfortunately we had to miss the end of Weezer to get to the avalanche stage and get into the tent for McFly, good job we did as it filled up very quickly. Similar to Busted the previous year, Mcfly burst onto the stage sounding more heavier for the download vibe, which was fun to see, they were shouting and swearing and even started to play Rage Against The Machine’s ‘Killing In The Name of’, they had a lot of  fun and so did the crowd.

They performed ‘Where Did All the Guitars Go?’ and ‘Star Girl’ but we soon left as the temperature in the tent was getting ridiculously hot, so we walked back to the main stage and waited for the main headline for the night Green Day!

https://open.spotify.com/track/4XJgkeu052kEf1AIfXDlHQ?si=6zTeUsWjTz2ZmN0p0WRIaA

This is the 4th time seeing them in as many years after previously watching them in Dublin, Las Vegas and Arnhem, so we decided to stay further back rather than struggling to get closer.

As the sun was setting Green Day started with their usual intro where Queen’s ‘Bohemian Rhapsody’ plays before The Ramones ‘Blitzkrieg Bop’ where Green Days Mascot ‘Drunk Bunny’ runs around and dances on stage before the band comes out rocking to the iconic ‘American Idiot’ to get the punk rock party started.

Green day performed an outstanding 21 set list full of hits from the last 4 decades, including ‘Holiday’, ‘Basket Case’ and ‘Minority’, they also did a couple of different songs as per usual like ‘Revolution Radio’ and an old song ‘J.A.R. (Jason Andrew Relva)’ which was really nice.

Something magical happened when they performed ‘Wake Me Up When September Ends’, a reminder that we had a scorching hot summers day, Billie Joe (Vocalist & Guitarist) made it rain when he sang the lyrics “Here comes the rain again” which really was surreal to watch. You can find videos online of this happening.

Green Day finished the set with the usual ‘Good Riddance (Time of Your Life)’ finishing the first day of Download perfectly.

https://open.spotify.com/track/3oqYMRKQcwyNmFn1VD2ukD?si=nbReBgUDSeSqsLMOLsqYuw

St. Jimmy and Rex 🖤☠️

All rights to the songs in this review are retained by the relevant artists and this site claims no rights over them.

Download – From A Different Perspective [Part 3]

Download Festival 2025 Review: Standouts, Disappointments & Future Headliners

Download Festival 2026: Limp Bizkit, Guns N’ Roses & Linkin Park Headline DLXXIII At Donington Park

For progressive death metal acts, the shadow of the masters, Opeth, looms large. Yet some recent progressive death acts, like Iotunn, Tómarúm, and Dvne, have carved their own paths in the genre. When Dyed in Grey released their debut, The Abandoned Part, in 2013, Opeth was charting a course into pure prog sans death metal. I only mention Opeth because Dyed in Grey’s brand of prog death sees clear influences in the titans of the genre, though with a more technical, improvisational imprint. Harbinger marks only their third full-length album in thirteen years. These years have seen inconsistency in the lineup, with 2018’s Anguish and Ardor losing the vocalist and going full instrumental. Now with a new vocalist, Harbinger sees a return to Dyed in Grey’s roots with a more honed vision from founder Adam Edgemont.

Unlike Soen’s cleaner approach to prog, Dyed in Grey is much rawer and rougher around the edges, utilizing plenty of off-key notes. There’s a greater sense of urgency and authenticity in this approach, and songs are carefully crafted to sound improvisational rather than intentional and overly polished. At times, Dyed in Grey plays it light and breezy, such as on the intro track “Sunbird” and the first few minutes of “Ascent,” where you could almost mistake them for a happy-go-lucky Weezer. At other times, they play a rough and tumble of ’90s grunge, with “Silent Symmetry” taking on an Alice in Chains-esque gruffness. Yet behind each arpeggio and light strum lurks an Opethian turn, which can rear its head suddenly with an eruption of heavy guitars and monstrous death growls. These turns prove an effectively cathartic release of emotion; “Mirrored Ruins” in particular takes a brilliant turn with some of the coolest riffs on Harbinger. While Opeth is a clear influence, Dyed in Grey take a novel enough approach to avoid being a mere clone.

Descent by Dyed In Grey

Dyed in Grey cite jazz as one of their musical styles, and this is most apparent in the improvisational turns that songs take. Unlike Opeth’s more developed passages of death metal or prog, Dyed in Grey can flip on a dime. “Static Tides” best demonstrates this as it transitions from growls to cleans, arpeggios to blasting riffs, all within short spans of time. Similarly, “Descent” plays off-tune riffs one moment and a sudden melodic lead the next before erupting into death metal with some impressive technical fretwork. I don’t mean to make this sound like a random jumble of song parts. Harbinger still has enough structure for it to contain well-defined tracks. Riffs from the beginning of a tune return at the end (“Ascent,” “Silent Symmetry”) and catchier passages, such as the chorus of “Tempest,” repeat throughout the course of each song. The unpredictable nature of the music keeps you on your toes and provides new surprises with each spin.

As much as there is to enjoy, there’s plenty on Harbinger that makes it a confounding listen. The angular, sometimes atonal, music is certainly off-putting and proves an obstacle to appreciating Dyed in Grey’s strengths. The vocal performances, particularly the cleans, also leave something to be desired.1 The cleans have a gruffer, grungier resonance that fits what Dyed in Grey is going for, but the vocalist struggles with his pitch at times. Despite the strong production values, another issue is that the death metal riffs sound flat and lack the muscular punch needed to truly make these portions pop. The growls, however, deliver enough power to offset this shortcoming. The rougher elements of the band’s sound fit in with their rugged character, yet there’s a fine line in the atonal approach between enjoyable and cringe-worthy music, and fortunately, Dyed in Grey fall on the enjoyable side more often than not.

What started off for me on initial spins as disappointing has since turned into something more interesting, rewarding, and even catchy with repeat and closer listens. Dyed in Grey don’t quite stand with the bands listed in my opening paragraph, but for fans of prog death, Harbinger is a worthy exploration. It also represents a growth in Edgemont’s songwriting. This proves to be a pretty cool amalgamation of styles that doesn’t play it safe yet feels assured in its performances and compositions.

Rating: 3.0/5.0
DR: 9 | Format Reviewed: WAV
Label: Self-Released
Website: Bandcamp | Facebook
Releases Worldwide: January 23rd, 2026

For progressive death metal acts, the shadow of the masters, Opeth, looms large. Yet some recent progressive death acts, like Iotunn, Tómarúm, and Dvne, have carved their own paths in the genre. When Dyed in Grey released their debut, The Abandoned Part, in 2013, Opeth was charting a course into pure prog sans death metal. I only mention Opeth because Dyed in Grey’s brand of prog death sees clear influences in the titans of the genre, though with a more technical, improvisational imprint. Harbinger marks only their third full-length album in thirteen years. These years have seen inconsistency in the lineup, with 2018’s Anguish and Ardor losing the vocalist and going full instrumental. Now with a new vocalist, Harbinger sees a return to Dyed in Grey’s roots with a more honed vision from founder Adam Edgemont.

Unlike Soen’s cleaner approach to prog, Dyed in Grey is much rawer and rougher around the edges, utilizing plenty of off-key notes. There’s a greater sense of urgency and authenticity in this approach, and songs are carefully crafted to sound improvisational rather than intentional and overly polished. At times, Dyed in Grey plays it light and breezy, such as on the intro track “Sunbird” and the first few minutes of “Ascent,” where you could almost mistake them for a happy-go-lucky Weezer. At other times, they play a rough and tumble of ’90s grunge, with “Silent Symmetry” taking on an Alice in Chains-esque gruffness. Yet behind each arpeggio and light strum lurks an Opethian turn, which can rear its head suddenly with an eruption of heavy guitars and monstrous death growls. These turns prove an effectively cathartic release of emotion; “Mirrored Ruins” in particular takes a brilliant turn with some of the coolest riffs on Harbinger. While Opeth is a clear influence, Dyed in Grey take a novel enough approach to avoid being a mere clone.

Descent by Dyed In Grey

Dyed in Grey cite jazz as one of their musical styles, and this is most apparent in the improvisational turns that songs take. Unlike Opeth’s more developed passages of death metal or prog, Dyed in Grey can flip on a dime. “Static Tides” best demonstrates this as it transitions from growls to cleans, arpeggios to blasting riffs, all within short spans of time. Similarly, “Descent” plays off-tune riffs one moment and a sudden melodic lead the next before erupting into death metal with some impressive technical fretwork. I don’t mean to make this sound like a random jumble of song parts. Harbinger still has enough structure for it to contain well-defined tracks. Riffs from the beginning of a tune return at the end (“Ascent,” “Silent Symmetry”) and catchier passages, such as the chorus of “Tempest,” repeat throughout the course of each song. The unpredictable nature of the music keeps you on your toes and provides new surprises with each spin.

As much as there is to enjoy, there’s plenty on Harbinger that makes it a confounding listen. The angular, sometimes atonal, music is certainly off-putting and proves an obstacle to appreciating Dyed in Grey’s strengths. The vocal performances, particularly the cleans, also leave something to be desired.1 The cleans have a gruffer, grungier resonance that fits what Dyed in Grey is going for, but the vocalist struggles with his pitch at times. Despite the strong production values, another issue is that the death metal riffs sound flat and lack the muscular punch needed to truly make these portions pop. The growls, however, deliver enough power to offset this shortcoming. The rougher elements of the band’s sound fit in with their rugged character, yet there’s a fine line in the atonal approach between enjoyable and cringe-worthy music, and fortunately, Dyed in Grey fall on the enjoyable side more often than not.

What started off for me on initial spins as disappointing has since turned into something more interesting, rewarding, and even catchy with repeat and closer listens. Dyed in Grey don’t quite stand with the bands listed in my opening paragraph, but for fans of prog death, Harbinger is a worthy exploration. It also represents a growth in Edgemont’s songwriting. This proves to be a pretty cool amalgamation of styles that doesn’t play it safe yet feels assured in its performances and compositions.

Rating: 3.0/5.0
DR: 9 | Format Reviewed: WAV
Label: Self-Released
Website: Bandcamp | Facebook
Releases Worldwide: January 23rd, 2026

Doubtsower – The Past Melts Away with a Sneer Review

By ClarkKent

It’s amazing how quickly November, and my month of doom, has flown by. It seems the constant exposure to slow-paced music has made the days move faster, not slower. For my final November doom promo, what could be more appropriate than one described as “one long song funeral doom?” While the Welsh doom band containing this descriptor, Doubtsower, is new to me, the man behind the project, Matt Strangis, has three previous releases dating back to 2021. Although most of these earlier albums cross the one-hour mark, none of the songs run longer than fifteen minutes 1, so this is new territory for Doubtsower. Strangis describes his own songwriting process as “punk DIY,” and he does much of his recording at home, with some mastering help from Greg Chandler of Esoteric. For insomniacs, one long funeral doom song sounds like the perfect cure, but be careful, this doesn’t backfire and instead keeps you hooked and wide awake.

While the premise of a 48-minute funeral doom song brings to mind other ambitious projects from Bell Witch and Oak, Doubtsower’s The Past Melts Away with a Sneer turns out to be one weird beast. Doubtsower isn’t exactly a funeral doom band, but an experimental doom band. Strangis keeps his one song’s tempo slow—funeral doom slow—yet it has much more in common with the avant-garde music of John Cage than My Dying Bride or Esoteric. It makes use of syncopated riffs that cut short and disorient listeners, as well as some unusual noises, such as static scratches and the clicking and rattling of ratchets. “The Past Melts Away with a Sneer” also makes use of silences, though they’re not as lengthy as “4’33,” largely as a transitional tool. This use of odd sounds, silent moments, and suspenseful repetitions of short riffs creates an unsettling mood early on, and with the mix of sludge, I couldn’t help but think of experimental sludge/horror/doom outfit When the Deadbolt Breaks.

Over the course of its 48 minutes, The Past Melts Away with a Sneer is an ever-shifting amalgamation of styles, an amorphic blob that somehow holds everything together as a cohesive whole. Sounds often shift minute-by-minute despite the glacial pacing. While the early goings have the John Cage thing going, at the 8-minute mark, the track breaks out into the one segment that sounds like traditional funeral doom, with plodding drum beats, crushing guitars, and a low, harsh growl. Yet just as you think this is the direction it’s going, the song goes silent and then shifts into a new form. The extensive use of silence and light droning makes the sudden bursts of energy peppered throughout all the more striking. About 20 minutes in, “The Past Melts Away with a Sneer” morphs into industrial dance, snapping you awake and commanding your body to move. The song morphs yet again, this time into something hopeful and poppy, with light, Weezer-like strums. However, even this segment doesn’t last long, and somehow Strangis is able to convince us that these disparate sounds all form one coherent tune.

It’s pretty impressive how “The Past Melts Away with a Sneer” is able to remain engaging for its entire run, but some moments of repetition do derail portions of the track. This is most egregious at 29 minutes as Doubtsower transitions into a lengthy portion of sludge/doom. Throughout this approximately eight-minute segment, there’s a consistent, repetitive riff that grows tiresome over time. Still, the song rights itself for the finale with the return of a catchy piano/synth melody from the beginning. As this melody begins to fade into silence and lulls you into a sense of closure, the track gains a second wind and hurls forth an energetic set of industrial riffs and blast beats. There’s an unpredictability that catches you off guard and keeps the record fresh.

If the album I described above sounds like a nightmare, that’s the whole point. It’s meant to be a “disorienting descent into a nihilistic free-for-all,” and Strangis succeeds in making that vision come to fruition. It may not always be easy listening, but it’s rarely boring. Having spent some time with the prior Doubtsower records, this one stands out as Strangis’s most engaging and best-written. The Past Melts Away with a Sneer has caused me to question my usually negative relationship with experimental metal. It has left me feeling disoriented, but in a good way, and it’s an experience that I recommend for the curious and lovers of the weird.

Rating: 3.0/5.0
DR: 7 | Format Reviewed: WAV
Label: Self-Release
Website: Bandcamp
Releases Worldwide: November 28th, 2025

#2025 #30 #avanteGarde #bellWitch #doomMetal #doubtsower #esoteric #experimentalMetal #funeralDoom #industrialMetal #johnCage #myDyingBride #nov25 #oak #review #reviews #selfReleased #sludgeMetal #thePastMeltsAwayWithASneer #weezer #welshMetal #whenTheDeadboltBreaks

Doubtsower – The Past Melts Away with a Sneer Review

By ClarkKent

It’s amazing how quickly November, and my month of doom, has flown by. It seems the constant exposure to slow-paced music has made the days move faster, not slower. For my final November doom promo, what could be more appropriate than one described as “one long song funeral doom?” While the Welsh doom band containing this descriptor, Doubtsower, is new to me, the man behind the project, Matt Strangis, has three previous releases dating back to 2021. Although most of these earlier albums cross the one-hour mark, none of the songs run longer than fifteen minutes 1, so this is new territory for Doubtsower. Strangis describes his own songwriting process as “punk DIY,” and he does much of his recording at home, with some mastering help from Greg Chandler of Esoteric. For insomniacs, one long funeral doom song sounds like the perfect cure, but be careful, this doesn’t backfire and instead keeps you hooked and wide awake.

While the premise of a 48-minute funeral doom song brings to mind other ambitious projects from Bell Witch and Oak, Doubtsower’s The Past Melts Away with a Sneer turns out to be one weird beast. Doubtsower isn’t exactly a funeral doom band, but an experimental doom band. Strangis keeps his one song’s tempo slow—funeral doom slow—yet it has much more in common with the avant-garde music of John Cage than My Dying Bride or Esoteric. It makes use of syncopated riffs that cut short and disorient listeners, as well as some unusual noises, such as static scratches and the clicking and rattling of ratchets. “The Past Melts Away with a Sneer” also makes use of silences, though they’re not as lengthy as “4’33,” largely as a transitional tool. This use of odd sounds, silent moments, and suspenseful repetitions of short riffs creates an unsettling mood early on, and with the mix of sludge, I couldn’t help but think of experimental sludge/horror/doom outfit When the Deadbolt Breaks.

Over the course of its 48 minutes, The Past Melts Away with a Sneer is an ever-shifting amalgamation of styles, an amorphic blob that somehow holds everything together as a cohesive whole. Sounds often shift minute-by-minute despite the glacial pacing. While the early goings have the John Cage thing going, at the 8-minute mark, the track breaks out into the one segment that sounds like traditional funeral doom, with plodding drum beats, crushing guitars, and a low, harsh growl. Yet just as you think this is the direction it’s going, the song goes silent and then shifts into a new form. The extensive use of silence and light droning makes the sudden bursts of energy peppered throughout all the more striking. About 20 minutes in, “The Past Melts Away with a Sneer” morphs into industrial dance, snapping you awake and commanding your body to move. The song morphs yet again, this time into something hopeful and poppy, with light, Weezer-like strums. However, even this segment doesn’t last long, and somehow Strangis is able to convince us that these disparate sounds all form one coherent tune.

It’s pretty impressive how “The Past Melts Away with a Sneer” is able to remain engaging for its entire run, but some moments of repetition do derail portions of the track. This is most egregious at 29 minutes as Doubtsower transitions into a lengthy portion of sludge/doom. Throughout this approximately eight-minute segment, there’s a consistent, repetitive riff that grows tiresome over time. Still, the song rights itself for the finale with the return of a catchy piano/synth melody from the beginning. As this melody begins to fade into silence and lulls you into a sense of closure, the track gains a second wind and hurls forth an energetic set of industrial riffs and blast beats. There’s an unpredictability that catches you off guard and keeps the record fresh.

If the album I described above sounds like a nightmare, that’s the whole point. It’s meant to be a “disorienting descent into a nihilistic free-for-all,” and Strangis succeeds in making that vision come to fruition. It may not always be easy listening, but it’s rarely boring. Having spent some time with the prior Doubtsower records, this one stands out as Strangis’s most engaging and best-written. The Past Melts Away with a Sneer has caused me to question my usually negative relationship with experimental metal. It has left me feeling disoriented, but in a good way, and it’s an experience that I recommend for the curious and lovers of the weird.

Rating: 3.0/5.0
DR: 7 | Format Reviewed: WAV
Label: Self-Release
Website: Bandcamp
Releases Worldwide: November 28th, 2025

#2025 #30 #avanteGarde #bellWitch #doomMetal #doubtsower #esoteric #experimentalMetal #funeralDoom #industrialMetal #johnCage #myDyingBride #nov25 #oak #review #reviews #selfReleased #sludgeMetal #thePastMeltsAwayWithASneer #weezer #welshMetal #whenTheDeadboltBreaks

Salió el cartel por día de Fauna Primavera 2025

Los artistas principales de cada día:

Viernes 7 de noviembre: Weezer, James, Mogwai, Stereolab.

Sábado 8 de noviembre: Massive Attack, Aurora, Bloc Party, Tash Sultana.

🔗 https://faunaprimavera.cl/

@musica
#FaunaPrimavera #FaunaPrimavera2025 #Weezer #MassiveAttack #James #Mogwai #Stereolab #Aurora #BlocParty #TashSultana

Weezer, Massive Attack, Aurora, Stereolab y James entre los artistas confirmados para Fauna Primavera 2025

https://lahora.cl/entretencion/2025/06/26/un-cartel-de-lujo-fauna-primavera-2025-revela-su-esperado-line-up/ @musica

7 y 8 de noviembre en el mismo lugar que las ediciones anteriores, el Parque Ciudad Empresarial.
La preventa comienza el 1 julio y la venta general el miércoles 2.

#FaunaPrimavera #Weezer #MassiveAttack #Aurora #Stereolab #James #ParqueCiudadEmpresarial #Conciertos #FaunaPrimavera2025

Weezer, Massive Attack, Aurora, Stereolab y James entre los artistas confirmados para Fauna Primavera 2025

https://lahora.cl/entretencion/2025/06/26/un-cartel-de-lujo-fauna-primavera-2025-revela-su-esperado-line-up/ @musica

7 y 8 de noviembre en el mismo lugar que las ediciones anteriores, el Parque Ciudad Empresarial.
La preventa comienza el 1 julio y la venta general el miércoles 2.

#FaunaPrimavera #Weezer #MassiveAttack #Aurora #Stereolab #James #ParqueCiudadEmpresarial #Conciertos #FaunaPrimavera2025

rockin’on sonic、出演アーティストに関する特別番組がYouTubeで配信されることが決定
https://nme-jp.com/news/148575/
#nmejp #NEWS #Death_Cab_For_Cutie #Festivals #Japan_Tour #Jimmy_Eat_World #Manic_Street_Preachers #Primal_Scream #Pulp #St_Vincent #The_Lemon_Twigs #Weezer

Selected influences (part 4)

#TearsForFears #Chapterhouse #Hatchie #WolfAlice #JaccoGardner #Levitation #ScarletChives #SmithWesterns #TheHouseOfLove #HouseOfLove #BradfordCox #DIIV #Vetiver #MWard #Seasurfer #SnailsHouse #Soundgarden #Blueboy #Jonti #PalaceWinter #CrashTestDummies #JimiHendrix #TheRollingStones #RollingStones #JapaneseBreakfast #KishiBashi #Halcyonaire #TheSugarcubes #SimonAndGarfunkel #Weezer #Shack #Tripwires #ArcadeFire #JamesBrown #JonathanWilson #LittleDragon #Maheekats

Selected influences (part 4)

#TearsForFears #Chapterhouse #Hatchie #WolfAlice #JaccoGardner #Levitation #ScarletChives #SmithWesterns #TheHouseOfLove #HouseOfLove #BradfordCox #DIIV #Vetiver #MWard #Seasurfer #SnailsHouse #Soundgarden #Blueboy #Jonti #PalaceWinter #CrashTestDummies #JimiHendrix #TheRollingStones #RollingStones #JapaneseBreakfast #KishiBashi #Halcyonaire #TheSugarcubes #SimonAndGarfunkel #Weezer #Shack #Tripwires #ArcadeFire #JamesBrown #JonathanWilson #LittleDragon #Maheekats

This week’s digest of punk rock, alt rock and indie music news and writing features English Teacher, Green Day, New Order, Frank Turner, TV On The Radio.

Plus Future Islands, Weezer, Foals, Dropkick Murphys, A.R.Kane, and much more

https://tangleofwires.substack.com/p/english-teacher-green-day-new-order

#music #punk #PunkRock #AltRock #AlternativeRock #indie #IndieMusic #EnglishTeacher #GreenDay #NewOrder #FrankTurner #TVOnTheRadio #FutureIslands #Weezer #Foals #DropkickMurphys #ARKane

So "Oakley makes the shades to transform a tool", but not "Oakley makes the shades for Transformer 2"? Fine. #badlyrics #porkandbeans #weezer

#music #musica #musik #musique

#Weezer - #PorkAndBeans (Closed Captioned)

REMASTERED IN HD!What’s your favorite Weezer video? Vote here: https://www.udiscovermusic.com/stories/best-weezer-videos/Listen to more from Weezer: https://...

https://www.youtube.com/watch?v=PQHPYelqr0E

#music #musica #musik #musique

#Weezer - #PorkAndBeans (Closed Captioned)

REMASTERED IN HD!What’s your favorite Weezer video? Vote here: https://www.udiscovermusic.com/stories/best-weezer-videos/Listen to more from Weezer: https://...

https://www.youtube.com/watch?v=PQHPYelqr0E