Browse 74139 Reviews & Comments (Page 251)

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 Alpoh Nostromo + Blockheads Grindcore RENAISSANCE Formé en 1996 à Genève, Nostromo reprend la route après onze années d’absence et l’emblématique Hysteron-Proteron ! Apparu sur la scène alternative genevoise au milieu des années 1990, Nostromo (nom de vaisseau des films Alien) représente « un truc sombre, lointain, dans lequel se passe pleins de trucs laids… ». Proches de groupes comme Fragment, Préjudice et Knut, partageant la scène avec des formations comme Napalm Death, Turmoil et Anand, Nostromo est devenu une référence dans le metal extrême. Le groupe nancéen Blockheads retrouvera à La Souris Verte, Jerôme, guitariste Genevois de Nostromo et précieux soutien pour l'enregistrement de leur dernier album This World is dead. Brutalité, conscience, obstination, voilà quelques-uns des nombreux termes adaptés pour décrire la musique et l’histoire de Blockheads. Depuis une vingtaine d’années, le combo écrase la France et l’Europe, lançant continuellement un grindcore furieux aux auditeurs Blockheads / Nostromo Mar 01, 2026
 Alpoh REMIÈRE SOIRÉE METAL AU STUDIO SAGLIO ! Asthénie (post-black/post-metal/post-hardcore de Strasbourg) à 21h30 Asthénie a l'honneur de vous annoncer un concert dédié à la sortie de son nouvel album, enregistré courant janvier au Kid Studio et mixé au LSD Studio à Lübeck. Nous sommes prêts à vous présenter en live le travail qui nous a tant occupé durant notre long silence de ces derniers mois ! Nous vous espérons nombreux à venir partager avec nous la mélancolie de ce dimanche soir. https://asthenique.bandcamp.com/ Absynth (doom/sludge de Charleroi, Belgique) à 20h00 C'est sans surprise que nous y convions nos amis d'Absynth ! Après avoir joué une première date avec cette pointure belge des infrasons, nous avions envie de savoir si nos amis strasbourgeois ont les estomacs bien accrochés ! Après un premier EP en 2017 dont la qualité n'est plus à débattre, le groupe prépare la suite des événements, et profitera de la soirée pour vous montrer du neuf ! https://absynthdoom.bandcamp.com https://www.youtube.com/watch?v=DNrRD9dEB8A Ouverture des portes à 18h30, possibilité de restauration sur place. Absynth / Asthénie Mar 01, 2026
 Alpoh Hello les copains, retour bruyant pour votre collectif de vieux meubles dijonnais. Nous vous accueillerons le 9 mars prochain dans notre Cinoche des Tanneries II préféré, en compagnie de trois orchestre distillant chacun leur définition du mot "Bruit". Salò qui nous viennent tout droit de la région lyonnaise, ramèneront leurs guitares pattes d'eph et leur plus belles fuzz pour nous concocter une bonne grosse ambiance (toujours salle bien évidemment) garage et psychédélique. Tu regardes : https://www.youtube.com/watch?v=mOcT7IpsJzw Tu écoutes : https://romanokrangkingofdimensionxmagueule.bandcamp.com/... Un groupement d'acolytes bruyant répondant au doux nom d'Henchman viendra depuis Paris en nous proposant un gros Rock Noise des familles. Doit-on s'attendre à voir plus d'amplis que de membres du groupes? Il faudra venir le vérifier avec nous ! Tu regardes : https://www.youtube.com/watch?v=nKniDLsj-_E Tu écoutes : https://henchman.bandcamp.com/ Et pour finir ce trio gagnant larsen/larsen/larsen, rien de tel qu'encore plus de larsen. On accueille LMDA en direct de Strasbourg qui débarque avec ses amis Blast-Beats et guitare tronçonneuse pour le plus grand bonheur de petit et grand. Ici pas le temps de niaiser on parle Amour, Mafia et Satan. Rapide direct et précis. Tu regardes : https://www.youtube.com/watch?v=O38YmJHy9so Tu écoutes : https://lmdapowerviolence.bandcamp.com/.../darkest-days... Ton plus beau sourire à l'envers est le bienvenue, tes pas de danses hasardeux également. Mais les potes relous n'ont pas leur places ici. Concert à 5€ pour défrayer les groupes. Coeur avec les doigts, venez nombreu(x)ses Henchman / SALÒ / LMDA Mar 01, 2026
 Alpoh Click here for more info and for tickets http://venues.meanfiddler.com/the.../listings/featured/7563 PLEASE NOTE THAT THE DOORS ARE EARLY FOR THIS GIG - 6PM. Virginia extreme sound nihilists PIG DESTROYER deliver savage grindcore that is both intentionally confrontational and thoroughly pummeling. PIG DESTROYER formed in 1997, when vocalist J.R. Hayes and AGORAPHOBIC NOSEBLEED guitarist Scott Hull decided to unite in their efforts to create utterly destructive grindcore. The trio began rehearsing and immediately found that their common musical interests produced intelligent and incendiary music. This lineup meshed well and recorded their self-titled demo, which met to a rousing response. PIG DESTROYER was growing in name and sound, a CD entitled 'Explosions in Ward 6' was released. Great reaction to the 'Explosions in Ward 6' album established PIG DESTROYER as one of the best new grind acts to emerge worldwide in the last decade. Relapse signed the band and in 2001 PIG DESTROYER took listeners on a rampaging journey through an unsettling, psychotic world with their album, 'Prowler In The Yard.' Melding an insane musical attack with similarly jarring lyrical prose and an unmatched propensity to incite, 'Prowler In The Yard' hit listeners like a coal-black monolith of nihilism. The record stunned music fans, garnering lavishing praise, and becoming one of the more talked about extreme music releases in recent history. Headlining performances at the 2002 New England Metal and Hardcore Festival and 2002 Relapse Records CMJ Showcase, alongside a hi-profile set at the Relapse Records Contamination Festival in Philadelphia, cemented PIG DESTROYER place among the new goliaths of heavy music. PIG DESTROYER then continued work on the follow-up to 'Prowler In The Yard.' In what would turn out to be an exhausting, lengthy creative process, the band assumed the ambitious goal of creating a multi-media monster (CD / Audio-DVD package) with their next release. Choosing to name the album 'Terrifyer,' the album saw its release in the Fall of 2004, embodying a frighteningly compelling mix of metal, grind, thrash and punk rock that seethes with intensity. PIG DESTROYER's vicious attack set out to envelop the listener in a cocoon of grisly nihilism. 'Terrifyer' featured 32 minutes of unrelenting sonic battery as well as the 37-minute Audio-DVD track "Natasha," mixed in glorious 5.1 Surround Sound. 2007 saw the release of Phantom Limb, which received acclaim from critics and listeners worldwide, cementing their legendary status. For the album, the band drew inspiration from all that was around them and with it, PIG DESTROYER boil metal down to its muscle, sinew, and bone - razor-sharp guitar, percussive pummeling, and a lone, stark howl. Upon the album's release, PIG DESTROYER embarked on their first Australia headlining tour with BLOOD DUSTER, TERRORUST, FUCK I'M DEAD along with a US tour featuring shows with CARCASS, SUFFOCATION, MISERY INDEX, GENGHIS TRON and CAR BOMB. In 2009, the band made festival appearances at Hellfest, Maryland Deathfest, CMJ Fest, and Scion Rock Fest. In 2012, PIG DESTROYER began recording their brutal follow-up to Phantom Limb with new MISERY INDEX drummer, Adam Jarvis. The as-of-yet-titled album is a return to a raw, primitive sound and will feature 19 songs of their signature misanthropic grind with a late 2012 release expected via Relapse Records. So far, a festival appearance at UK's Damnation Festival has been announced for this November with numerous other dates and festivals to be announced shortly. Pig Destroyer / Blacklisters / Dripback Mar 01, 2026
 Alpoh EARLY SHOW - MUSIC at 7pm - Origami Phase, Ladyship Warship, and Dr. Wolf at Trixie's. Doors at 6pm. $10 Origami Phase https://origamiphase.bandcamp.com/album/quadrants Ladyship Warship https://ladyshipwarship.bandcamp.com Dr. Wolf https://drwolf.bandcamp.com/album/came-so-easy-acceptance Ladyship Warship / Origami Phase Mar 01, 2026
 Alpoh LE TROKSON PRESENTE SAMEDI 21 JANVIER - 20H45 - GRATOS RANK Trio, qui a fait ses armes sur les scènes Indie lyonnaises, RANK distille depuis quatre ans son interprétation personnelle d’une forme post-punk aux influences cold-wave de la fin des 70’s. Le premier album très réussi offrait des morceaux tout en tension, alliant riffs froids à un vrai talent de composition au lyrisme évoquant parfois The Sound, Interpol ou le The Cure des meilleurs jours. https://www.facebook.com/wearerank/ https://rank.bandcamp.com/ ICE SUN Cold rock de Paris https://icesun.bandcamp.com/ https://www.facebook.com/icesunmusic/ Ice Sun / Rank Mar 01, 2026
 Alpoh "NO BLASTBEATS - NO FUN" FINALLY back home in Trier! Birdflesh https://birdflesh.bandcamp.com/ Burt https://burthighspeedpunk.bandcamp.com/ Captain Caveman https://captaincaveman.bandcamp.com Chiens https://chiensgrind.bandcamp.com Document 6 https://document6.bandcamp.com Dysmorfic https://dysmorfic.bandcamp.com Endless Swarm https://endlessswarmpv.bandcamp.com Facepalm Nation https://facepalmnation.bandcamp.com False https://falserawhardcore.bandcamp.com/ Fusion Bomb https://fusionbomb.bandcamp.com/ Gummo https://gummogrind.bandcamp.com Haexler https://haexler.bandcamp.com Hordür https://hordur.bandcamp.com Illegal Corpse https://illegalcorpse.bandcamp.com Lady Gaza https://ladyxgaza.bandcamp.com LickSpit https://lickspit.bandcamp.com/ Marto https://marto59.bandcamp.com Matrak Attakk https://matrakattakkcrust.bandcamp.com/ Possible Damage https://possibledamage.bandcamp.com Röt Steward https://rotstewart.bandcamp.com Sickrecy https://sickrecy.bandcamp.com/ Take Dead https://takedead.bandcamp.com Teething https://teething.bandcamp.com Terminator X https://terminatorx.bandcamp.com Tina Turner Fraisur https://tinaturnerfraiseur.bandcamp.com TFB https://tfb-grind.bandcamp.com Trepan`Dead https://trepandead.bandcamp.com Unsu https://unsugrindcore.bandcamp.com WillXSmic https://willxsmic.bandcamp.com Grind Here Right Now 2024 Mar 01, 2026
 Noreen Williams Hi I was at the tower theater may 13 1977 upper Darby pa to see the bay city rollers. I was in creem magazine it was a pic of me and my friend who fainted in the lobby. Does anyone maybe have that edition with me in the picture? It would be so greatly appreciated if anyone has that. Thank you 👍 ♥ Bay city rollers Mar 01, 2026
 Acey68 DON WAS & THE PAN-DETROIT ENSEMBLE REIMAGINE THE GRATEFUL DEAD CLASSIC BLUES FOR ALLAH by photojournalist Jeffrey Moellering Don Was is a true musical chameleon. Widely known throughout the industry as producer to the stars, working with everyone from Bob Dylan, Elton John, Willie Nelson, Bonnie Raitt, Rolling Stones, to the quirky B-52s, he is also president of the prestigious Blue Note Records jazz label, a 6-time Grammy winner, and collaborated for years as bassist with the recently passed Bob Weir of the Grateful Dead, in their Wolf Brothers band. On a crisp February evening, Was brought together a powerhouse 9-piece lineup of slick Detroit musicians to the Capitol Theatre in Clearwater for a bold, soulful 50th anniversary tribute to the Grateful Dead’s “Blues for Allah”, while also in support of their newly released “Groove in the Face of Adversity” album. Rather than replicate the Dead’s 1975 album, the Pan Detroit Ensemble reshaped it through the city’s signature blend of jazz, funk, and groove. The show became even more poignant with the recent death of Bob Weir and Don Was highlighted this at the outset of the show, quoting a passage that new age Eastern spiritualist Ram Dass wrote for Jerry Garcia upon his passing in 1995, which Bob Weir read at the time and decided to go on with their scheduled show. It was with that spirit that Was vowed to carry on with his new project, much to the appreciation of the grateful Clearwater crowd. The 9-piece band are all Detroit natives, most of whom possess serious jazz chops, but are also anchored with abiding reverence to Motown soul. The first few numbers featured a Hank Williams cover along with Don Was compositions, done in a very jazz-infused fashion, allowing the band to get their jazz fingers fluidly flowing. The “Blues For Allah” opener “Help on the Way / Slipknot! / Franklin’s Tower” made the group’s intentions clear: smooth improvisation, fresh arrangements, and an emphasis on interplay over imitation. Steffanie Christi’an lit up “Crazy Fingers” with gospel charged vocals, while guitarist Wayne Gerard nodded to Garcia’s style without simple mimicry. Was’s warm, steady bass anchored the entire night. A highlight came with an expansive, cosmic take on “King Solomon’s Marbles,” pushing into Miles Davis / Bitches Brew style territory, as John Douglas and Dave McMurray traded electrifying lines on the trumpet and sax. The closing “Blues for Allah” suite wrapped the evening in a haze of mysticism and Detroit soul grit. Each band member was given a chance to shine, including a dance off featuring the vocalist and trombone player, with alternating steps and staccato punctuations. The band finished off the evening with a fittingly appropriate cover of funk and soul great Curtis Mayfield and his “This is My Country”, encapsulating a feeling of communion and the message that our diverse talents truly bind us together as one nation. No simple Grateful Dead garage band nostalgia trip, the performance revived the experimental heart of “Blues for Allah” and revealed how alive the music still is. After the show, the lobby was jammed by enthusiastic fans waiting to give their regards to the band members and snap up the merchandise. It was like a church revival, complete with a 3-piece horn section, percussionist and vocalist that would have made Mahalia Jackson beam with pride. The Pan-Detroit Ensemble presented a uniquely vibrant, joyful night and a reminder of Motown’s unmatched ability to reinvent the classics. Don Was and the Pan-Detroit Ensemble Mar 01, 2026
 Girl at the Rock Shows https://girlattherockshows.com/2026/03/01/baby-lets-be-saboteurs/ Dave Hause and The Mermaid / William Elliott Whitmore / Adeem the Artist Mar 01, 2026
 Dolores Worrell We were sitting in front of the stage. No seats sat on the wood floor inside the roller rink. We shared a joint with a couple of the band Bob The Bear Hite & Alan Blibd Owl Wilson. Canned Heat / B.B. King Mar 01, 2026
 Acey68 GENESIS GUITARIST STEVE HACKETT DELIVERS A MASTERCLASS IN CINEMATIC ROCK VIRTUOSITY by photojournalist Jeffrey Moelleringng Steve Hackett is practically a living embodiment of the cheeky idiom how “reports about the death of progressive rock have been greatly exaggerated”. His latest Clearwater tour stop titled “Best of Genesis & Solo Gems” was like stepping through a portal into the most vital eras of prog rock, with no trace of shame or apologies for excess required. Performing with a band as sharp and expressive as Genesis itself, Hackett delivered a two-hour plus show that balanced nostalgia, virtuosity, and weighty emotional resonance. Hackett is every bit the well-mannered English gentleman; humble, understated, almost monk like. He doesn’t waste time and gets right down to business, fully respecting the musical IQ of his audience. And when his guitar begins to sing, the room becomes almost like a cathedral. His tone, still hauntingly lyrical after decades, filled the venue with the same clear sustain and majestic phrasing that first defined his Genesis years. Each solo was carefully sculpted, never becoming indulgent. Hackett plays not to show off his clearly impressive technique, but to elevate the music’s message, and that restraint remains one of his superb gifts. It’s clear that Hackett has been an influence on many modern metal gods, with his nod to two-handed tapping and sweep-picking. With Steve, it’s not about how many notes are played, but rather, about playing the right notes, which is the hallmark of a true musician. This current tour features a first set of carefully curated Hackett originals, selected from throughout his voluminous 30 album solo catalog, from 1975 to the present. Hackett played on the first 6 Genesis albums but left the band in 1977 to pursue broader musical horizons and has never looked back. He is always creating, and is no musical prude, dabbling and absorbing all genres, from classical, to world modalities, unorthodox instruments and scales. Each of these varied interests finds an outlet for expression in his compositions, which always challenge the listener to expand what they thought was possible, and to break out of conventional modes of appreciating art. Hackett is almost child-like in his insatiable curiosity, and he brings that to every aspect of his show, which is meticulous in its presentation and execution. Theatrical and state-of-the-art lighting mixes with the sound in a stunning display for the senses that truly present a kaleidoscopic multi-media experience. While Steve’s solo material is captivating, of course the crowd came to hear the classics, and for that Hackett indeed delivered in spectacular fashion. It’s astonishing to consider that he was in his early 20s creating such heady music during those early Genesis years, and that now decades later, new generations of fans approach it anew with the same wonder and appreciation. We are certainly fortunate that Steve has remained so intensely dedicated to his craft, because he is the only original Genesis band member that still plays from the early catalog, treating it with the respect of a curator handling rare art. Vocalist Nad Sylvan evokes the Peter Gabriel and Phil Collins passages with passion, grace and the appropriate emotional intensity. Bassist and 12-string guitarist Jonas Reingold provides supple accompaniment and counterpoint for Hackett, while Rob Townsend added sonic depth on woodwinds and keyboards, Lalle Larsson was an absolute wizard on keys, and Felix Lehrmann did Phil Collins proud on the drum kit. They are truly an international outfit, hailing from the UK, Germany, the US, and Sweden. “Firth of Fifth” was a highlight; Hackett’s signature solo soared, with the audience hanging on every sustained note. The Clearwater crowd became hushed with amazement in their appreciation of such rare artistry. These classic songs didn’t feel like dusty museum pieces; they felt alive, reenergized, and performed with genuine affection. Despite what the grunge years predicted about the demise of prog-rock, Hackett is still a proud progenitor of the craft, one of the few remaining who still create original music, performing it in such a way which is consistently captivating and creative. He is truly an artist’s artist, and it’s why we saw so many local musicians taking the night off to attend his show! I often liken Steve’s shows to “White people’s church”. We ain’t got gospel, but by God we got prog! There is a real care and craft to what Hackett does, and it radiates in every aspect of an evening that is a proper theatrical spectacle. Of course, no Hackett show would be complete without a “Dance on a Volcano”, performed with all the precision that such a dance might entail. Steve Hackett’s shows provide a celebration of some of the most imaginative popular music ever crafted, delivered by artists who play with authenticity, warmth, and ferocious skill. It was a reminder that progressive rock, at its best, is timeless. A superb, heartfelt performance that honors the past while proving Steve Hackett remains a creative force in the present. As we’re reminded by that famous “Dance on a Volcano” refrain - “The music's playing, the notes are right Put your left foot first and move into the light The edge of this hill is the edge of the world And if you're going to cross you better start doing it right Better start doing it right!” Steve Hackett Mar 01, 2026
 RICHARD 13 À la espera 2 Minutos Mar 01, 2026
 Bill McArthur ZP Threat was singer Skid Row Mar 01, 2026
 Martin Hizer Please note, all the videos above were not from this concert, but from the following night! Roger Waters Mar 01, 2026
 GOOTS! This was a part of KROQ's Kevin & Bean Show's "Breakfast with..." series. Listeners who won tickets to the Hollywood Bowl show also gained exclusive access to an intimate performance and a Q&A with the band inside one of the recording studios inside the Capitol Records building. Fans were seated on the floor in front of the band as well as seated in chairs. Radiohead Mar 01, 2026
 GOOTS! As I remember, they came out wearing pajamas for the first half of the show, then an intermission/ costume change before returning and playing a harder second half of the set Grant Lee Buffalo / The Smashing Pumpkins Mar 01, 2026
 GOOTS! Perry Farrell was in the crowd Lush / The Flaming Lips Mar 01, 2026
 johnfcolletti I can tell you SOUTHSIDE got booed off long before he played any more than 3 songs off his Setlist listed here. Rush headlined , not Foghat and I remember Boogie Shoes as part of their Setlist. RUSH never played Dragonfly or whatever the song listed here is. There’s a full Setlist ON Setlist. Foghat / Rush / The Tubes / Southside Johnny / Roadmaster Mar 01, 2026
 Katherine Amy Vega If I recall correctly, Adam Panic and Peachcake performed together here. I have photos of them performing together, but I've been trying to pin down which festival it was. Does anyone else know? Vans Warped Tour 2005 Mar 01, 2026