It Might Not Be Metal But It Makes Metal What It Is

It Might Not Be Metal But It Makes Metal What It Is
By Dark Juan

It might surprise you all to hear that you are just as likely to find me listening to Cabaret Voltaire or Siousxie And The Banshees or some obscure Disco classic, as you are to discover me spinning the latest Metal platter. This is because it took me rather a long time to understand that most forms of music have some redeeming qualities, and that it furthers and broadens your understanding of the righteous faith and the One True Path that is Heavy Metal to listen to other styles and forms of music – as an example, all round superb gentleman, rock singer extraordinaire and my musical hero Mr. Graham Bonnet, a man whose CV is peerless and includes stints with Rainbow, Alcatrazz, Impellitteri, and MSG as well as being a solo artist beyond compare, started his musical career being a backing vocalist for the Bee Gees as well as performing in the decidedly not Metal The Marbles, before finding the One True Path. 

I have frequently trumpeted my thoughts about the Metal fan who confines him / her or their self only to Metal missing out on some of the things that made Metal what it is (the likes of Sir Lord Baltimore and Coven, Free and The Doors, Ten Years After and Atomic Rooster, Blue Oyster Cult and Iron Butterfly) and form the bedrock for everything that is Metal today – whether or not that might be Five Finger Death Punch or Anaal Nathrakh. This music of the past is still relevant because it is the living history of Metal and without it, and the bands and performers who played it, Metal would not exist.

There’s hardly any species of music out there which has had close to zero, or at least a marginal influence on Heavy Metal, and I am here to tell you that all forms of music are just as viable and exciting as Metal if you listen with an uncritical ear. Disco and Funk are ridiculously complex compositions that require incredible dexterity and skill from the musicians playing them. Disco and Funk is where the bass player shines, as some of the basslines are phenomenally complicated and they are what drives the whole platform-soled shebang. 

Synthwave is the neon-dripping sound of the 80’s action movie and the musclebound lead man quipping his way through the thousands of enemies he is mowing down with his M60 machine gun and leads you down paths of nostalgia for early 80’s TV shows involving customised helicopters / cars / motorcycles or soldiers of fortune being captured and fortuitously imprisoned in a large metal barn with a fully functional vehicle and all the scrap metal and welding and cutting gear (including masks and gauntlets) you could ever wish for if you had a requirement to escape said capture in an armoured battlewagon. And they are left alone to do this without any form of check on them because they are making so much noise while they do a bit of frontier metalwork. 

Psychedelia took the basic building blocks of the Blues and Rock ‘N’ Roll, then ingested a bath-load of LSD and then recorded the subsequent, cosmic, rainbow-hued results and used them to foment social change in an America that was rooted in traditional values and violently opposed to any form of social development that didn’t involve women knowing their places and a shirt and tie being worn. See McCarthyism. Without the hippie, you wouldn’t have the Metalhead, so remember that the next time you’re sparking up a joint and having a beer and give thanks for free love and respect. After all, they are still values that the Metalhead cherishes, otherwise the mosh pit would be a brutal and anarchic place where injury and suffering would be commonplace, rather than the good-natured bump-a-thon where everyone helps if someone goes down. Apart from pit killers. Those tiny-dicked buttnuggets can get to fuck. 

Without the Post-Punk, the Goth Rock and New Wave, you wouldn’t have the entire Gothic or Emo aesthetic and love of exploring the darker side of humanity and feelings that are a central plank of just what this thing called Heavy Metal is. Without the initial explorations into electronics that Delia Derbyshire, Kraftwerk, Throbbing Gristle and Whitehouse pioneered there would be no Industrial, no Nu-Metal, no Neue Deutsche Harte, no Stadium Rock, no Limp Bizkit (granted, this would not be a bad thing. Dammit, Delia Derbyshire, why couldn’t you have picked up a skillet instead of a Moog?) or Linkin Park, or Ministry. 

Even Pop has its place within Metal, when you hear backing vocals or a particularly perfect melody – Bon Jovi, for example, and to a lesser extent Ghost owe lots of their sound to Pop music – ABBA are a pervasive influence on those worthy Swedish Satanists as they are to Bon Jovi and other stadium-friendly rockers and metallers. Roky Erickson is an influence on any Metal band who has listened to guitar music at any point in the past fifty years – Even Yusuf Islam (Cat Stevens) can be proved to have had an impact on contemporary Metal at some point when Ugly Kid Joe of all people covered ‘Cats In The Cradle’. Just look at some of the Metal covers of classic Pop songs:

  • Rammstein covering Depeche Mode’s ‘Stripped’.
  • Ghost covering ABBA’s ‘I’m A Marionette’ and Roky Erickson’s ‘If You Have Ghosts’.
  • Disturbed butchering…. I mean covering Simon and Garfunkel’s ‘The Sound Of Silence’ and Genesis’ ‘Land Of Confusion’ and very famously, Tears For Fears’ ‘Shout’.
  • Marilyn Manson covering every Pop song ever written – Soft Cell’s ‘Tainted Love’, Eurythmics’ ‘Sweet Dreams (Are Made Of This)’, Depeche Mode’s ‘Personal Jesus’.
  • Nine Inch Nails covering Adam Ant’s ‘Physical’.
  • Urge Overkill covering Neil fucking Diamond’s ‘Girl, You’ll Be A Woman Soon’.
  • And, of course, the best cover version of all time, being a gloriously over-the-top Scandinavian Folk Metal band covering a British/ German Disco Funk song – this being Turisas doing their barnstorming version of Boney M’s ‘Rasputin’.

Even the more extreme side of Metal has got on the Pop bandwagon – Surely the absolute, arse-puckering horror that was the cover version of Heaven 17’s ‘Temptation’ by Cradle Of Filth and their priapic little howler monkey of a vocalist is burned on the psyche of every Metal fan, never to be spoken of again? My Dying Bride turning Simon and Garfunkel’s version of  ‘Scarborough Fair’ into a miserable Yorkshire dirge? Well, my friends, I can easily fucking top that psychological torture for you – Even The Berzerker, erstwhile hyperextreme Australian blenders of Grindcore and Gabba Techno decided to hop on to the Pop cover bandwagon with a most esoteric choice of song. 

Yes, The Berzerker elected to do a cover version of ‘All The Things She Said’ by Russian faux-teen, school uniform-wearing pretend lesbians T.a.T.u. This went exactly as you might imagine. It sounded like someone putting up a metal shed really quickly with a man grunting in a most inappropriate fashion considering the subject matter of teenage schoolgirl lesbian shenanigans.

My point, then, is that Metal has a lot of diverse and, upon initial inspection, undesirable influences. The ultimate point is that there are NO undesirable influences, regardless of what your viewpoint is on Trap Metal. If you want Metal to not be stagnant, then you must accept that Urban music is going to creep in there, as well as other styles. I mean, hell, if you’re prepared to accept a bunch of shrieking Japanese fake-teen idol girls battering the senses with a mix of kawaii J-Pop antics and Metal, and I know a lot of you are, you can accept Nik NXK or Sam Astaroth roaring at you over Urban beats. 

Metal EVOLVES. Metal has sucked in everything from the Blues to Classical music over the decades (Whitesnake, The Quireboys, The Black Crowes, Guns N’ Roses to Yngwie J. Malmsteen, Nightwish, Dream Theater, Rhapsody Of Fire), twisted them out of all recognition (Stoner and Doom have strong links to Blues music) and they have become new versions of Metal. Look at the explosion of Rap Metal in the 90’s – Public Enemy and Anthrax discovered that the two styles can mix and mix explosively, leading to a flurry of copyists, but with a few unique and viable bands coming out of it. Thrash Metal is Metal and Punk colliding and the likes of Carnivore and Nuclear Assault amply demonstrate this by sounding distinctly different from traditional Metal bands like Accept, Iron Maiden or W.A.S.P. Hell, even the band that supposedly started it all, Black Sabbath, don’t believe that they are all that Metal, with Tony Iommi himself describing their sound as “Heavy Blues”.

It is instructive to listen to music other than Metal in order to further your understanding of Metal and Extreme music. Henceforth, I would like to share with you a few of the songs that I enjoy, that aren’t anything to do with Heavy Metal per se, but have had an influence upon it, but most importantly, they are just absolutely brilliant music.

‘Gimme Gimme Gimme (A Man After Midnight)’ – ABBA. The absolute pinnacle of 70’s Pop music. Lushly produced with an absolutely earth-shaking chorus and hook and performed with gusto and enthusiasm by a bunch of people who had raided the bonus bins of Nylon clothes manufacturers for their stage outfits.

‘Young Girl’ – Gary Puckett & The Union Gap. Listen to the lyrics. They are well dodgy and a precursor to Dark Angel’s ‘The Death Of Innocence’. It’s also a superb vocal performance throughout the song and it has uncommon power and presence. Even if it is slightly uncomfortable listening to the protagonist contemplating boffing jailbait, but as a misguided but ultimately well-meaning attempt to drag the horror of paedophilia into mainstream thought it’s a good one.

‘Animal’ – Aurora. Neurodiverse Norwegian semi-feral pixie is dragged out of her native forests, still with leaves in her hair, and proceeds to beguile and panic the listener with cheerful-sounding tinkly-bop Dance Pop with a lyric that could only be described as “Fucking Metal”. Should be well known to the Metal fan because of her contributions to Wardruna. See also ‘In Boxes’ and listen carefully to the lyrics there too. The lass is a bit of a dangerous one.

‘Girl, You’ll Be A Woman Soon’ – Neil Diamond. A powerhouse vocal performance on this song, again about a young lady not yet being legal for shenanigans of a sexual nature, shows the versatility of a simple melody and guitar line intertwining and clearly demonstrates that less really can be more when it comes to composition.

‘One Night In Bangkok’ – Murray Head. An utterly batshit song from a batshit musical (Chess), performed in a batshit fashion by Murray Head, and written (incredibly) by ABBA’s Benny and Bjorn, this is an absolutely out to lunch song about playing chess around the world set to some of the most danceable Electro-Pop the Eighties had to offer. A proto Hip-Hop Rock crossover because of Head’s vocal performance on the verses, it’s a curiosity that absolutely has a grip on my musical tastes.

‘Tokoloshe Man’ – John Kongos. A clear contender to show just where Rock music and Psychedelia first crossed over, this is a muscular and dynamic tune that is a close, yet utterly different contemporary to the Jimi Hendrix Experience, with a strong Folk and Blues bent underneath the amplification, yet it is clearly a bona-fide attempt to create Hard Rock.

‘Baker Street’ and ‘Night Owl’ – Gerry Rafferty. The eight-bar sax line on the former by Raphael Ravenscroft is well known, but I wish to draw your attention to the absolutely incendiary guitar solo by Hugh Burns. A man who brought emoting on that instrument to a whole new level, it is an absolute piece of guitar mastery that showed that even Rock music had oodles of soul and feeling, and the lyrics occupy a very bleak place in the human psyche. ‘Night Owl’ is similar. The subject of the lyrics is a lonely soul indeed looking for an indefinable SOMETHING and is therefore easily able to elucidate the alienation that most fans of Extreme music have suffered at some point in their lives.

‘Whip In My Valise’ – Adam Ant. A song that is sleazy and scary in equal measure. The influence on Metal of the album ‘Dirk Wears White Sox’ is small yet pervasive. Without Adam Ant, there would be no Nine Inch Nails, Society 1 or Genitorturers. Lo-fi Punk production plus the limitations of Ant’s voice limit the impact of the whole thing until you listen to it carefully.

‘Das Modell’ – Kraftwerk. The starting point of all modern German Pop music and the precursor to all Neue Deutsche Harte, along with NEU! Experimental and curiously detached from humanity, yet still capable of surprising warmth, Kraftwerk were true innovators in music and their influence is still heavy in Electronica of most forms.

‘House Of The Rising Sun’ – The Animals. I don’t need to tell you about this all-time classic that has been covered by many a Metal band with varying degrees of success. Even Five Finger Death Punch have had a stab at it. Poorly.

‘California Dreamin’’ – The Mamas And The Papas. When hippies finally went proper Rock ‘N’ Roll and created a song that transcended itself in so many ways it was comfortable with a mainstream audience, rockers, hippies and even parents.

There are many, many more songs and artists in my collection that I could tell you about that have had some form of influence on our beloved Metal, but I shall leave you with this – 

“There’s so much music for you to choose, so don’t just be a Metal dude. It’s cool, fool.”

This from American Thrash maestros Sacred Reich, on their clunky, ham-fisted but ultimately well-meaning Funk song, ‘31 Flavors’ that was released on their classic album “The American Way”. They said it better than I ever could.

Go and expand your minds and you’ll find a new appreciation of Metal sitting at the end of your musical rainbow. Goodnight.

Disclaimer: This article is solely the property of Dark Juan and Ever Metal. It is strictly forbidden to copy any part of this review, unless you have the strict permission of both parties. Failure to adhere to this will be treated as plagiarism and will be reported to the relevant authorities.

Exclusive Video Premiere – Playhouse – Dancing At Funerals

Exclusive Video Premiere
Playhouse – Dancing At Funerals
RFL Records
Release Date: 12/08/2022

Today, Playhouse, Canada’s melodic hard rock masters, drop a new video for ‘Dancing At Funerals,’ the title track from their brand new album that released on July 22nd. And here at Ever Metal, we are privileged to have the exclusive video premiere!

The video offers a deep and emotional look into the fine line between life and death. It encompasses everything about this album, and it is best explained by Playhouse vocalist Peter Cat: “The Song Is About Death Celebrating Life.” It is a dark, yet well-conceived video that touches plenty of emotions. 
And here it is!

‘Dancing At Funerals’ Official Video

About the band:

Formed in 1987, five high school friends set out to be the biggest rock band to ever come out of Canada. With a reputation for their high-energy shows and big anthems, they quickly began filling every club & theater that they played.  The band was destined for global success, selling thousands of copies of their two EPs; 1988’s “Little Monster” and 1990’s “Tongue, Tied & Twisted.” Just like so many bands in the early ’90s, the success that seemed to be theirs for the taking never fully manifested, and after almost a decade of decadence and steady touring in support of such bands as ExtremeKiller DwarfsLee Aaron and Harem Scarem, the band decided to call it quits. It was an end of an era………but some things never fully come to an end.
Fast forward to 2016, and the band reunited and entered the studio with veteran producer and guitarist of Slaves on Dope; Kevin Jardine, to record new songs. In 2017, for the 1st time in 25 years, Playhouse returned to the stage with a sold-out comeback show in Montreal, Canada. Many high-profile shows followed, including opening slots for The Dead Daisies, L.A. Guns, Buckcherry, Dizzy Reed’s Hookers & Blow, Helix, and Warrior Soul. The band also releases their first album “The Rock N’ Roll Circus” to critical acclaim in 2018 and followed that up with a single and video, “Revolution Tonight,” in 2020!
The band has joined forces once again with legendary Canadian producer Kevin Jardine(Faith No More, Mastodon, Run DMC, Cypress Hill, Anthrax, Korn, Sepultura, Beastie Boys, 3rd Bass, Men Without Hats). This album is sure to turn a lot of heads and will open the ears of the core fans as well as new listeners alike.

About the album:

The album “Dancing At Funerals” presents a mature and classic-sounding Playhouse, and a very diverse ride through 13 original, yet different tracks; it’s a musical journey through life.
Peter Cat explains: “Dancing At Funerals” is a beautifully-crafted, dark record. Inspired by the dead and written for the living. It’s our best record so far!
The album release has been preceded by the release of 3 singles, ‘The Storm,’ ‘Hell’s A Long Way Down’ and ‘Champagne,’ all have which have been receiving critical acclaim from media and fans alike. ‘Hell’s A Long Way Down’ is a great example of a more mature Playhouse and has been a front-runner for the album. 
Peter Cat gives some background about the track:  
“Danny sent me chords and music to a beautiful country song. I wrote a melody and lyrics about a sinner in Memphis, Tennessee who confesses on his death bed to a priest who also happens to be his younger brother. “Hell’s a long way down,” the priest says!
The track was recorded between September 2020 and May 2021 at Uplift Studios and produced by Kevin Jardine, written and performed by Playhouse. The video was filmed and directed by Jared Pollack of Jared Pollack Media.
Peter Cat: “This is a beautiful country rock song and we are really proud that it’s tasty like a Tennessee Whiskey”
The video for ‘Hell’s A Long Way Down’ can be viewed here:
The most recent single from the album, “Champagne,” features rapper Annakin Slade who delivers a cool and subtle piece to the song. The latest single switches gears from the band’s usual hard rock vibe and throws an emotional twist into a cool, summer, classic. The band offers some incite into the single:
Bassist, Danny Williams: “Pete came over to my place one night, we had some wine and ended up writing Champagne. Our producer Kevin Jardine suggested we get Annakin Slayd to lay down a rap and when all was said and done, we ended up with a feel-good summer song.”
Video for ‘Champagne’ can be viewed here:
Peter Cat: ‘Champagne’ is a quirky summertime love song inspired by a Greek goddess and written for the lovers and dreamers.”
“Dancing At Funerals” is now available in all digital formats at:
 Order The CD Now at:

Tour dates are being announced for the “Too Old To Die Young” Tour. Updates for everything that is Playhouse can be found at the links below.

Peter Cat – Vocals
Danny Williams – Bass
KK – Guitar
Eric “Freak” Westergard – Guitar
Steve Creep – Drums


Disclaimer: This article is solely the property of RFL Records, released to Ever Metal for the purposes of the video premiere of ‘Dancing At Funerals.’ It is strictly forbidden to copy any part of this article, unless you have the strict permission of both parties. Failure to adhere to this will be treated as plagiarism and will be reported to the relevant authorities.

Pressure – ‘Pressure’ Single Premiere – 03.12.2021

Pressure Single Cover Art

Pressure – ‘Pressure’ Single Premiere

Swedish Rock band, Pressure unleash another explosive track, premiering here, on Ever Metal!

This new self-titled single features on the upcoming self-titled album, “Pressure”, which is due out in June 2022.

What is the first thing that hits your mind when you hear the word Pressure?

We all live under different kinds of pressures,  and we all handle it differently! A thing that usually makes us feel beaten or feel that it’s hard to carry is the feeling of loneliness. The soul crushing emotion that you are fighting the world alone, no one gets you, no one has your back!

Well PRESSURE are here to tell you that you’re wrong! In every pressure, in every single hardship. They will help you handle the Pressure! And the song ‘Pressure’ is about just that! A reminder that you are never alone. “Just call out our name, put on a hard and heavy hitting Pressure song and soon you will feel better!”

Who are Pressure I hear you ask? Well, if you had to tag them with a genre, the one that fits best is Melodic Rock, but they are so much more than that. Hailing from Stockholm, Sweden, and with vocalist Olof Jönsson, you can always guarantee soaring, athletic and committed vocals. And this joins together with a twin guitar sound, coming from songwriter and lead guitarist Simon “Siirpo” Forsell, and Emil Salling. And the addition of vocalist Olli Violet is a definite asset to the band. 

“We at Pressure have welcomed the beautiful and mesmerizing, succumbing and metal voice of Olli Violet, from the Republic of Belarus, to the band and the Pressure family. Have you seen the dark mistress of the Shadows? The one who commands the darkness with her burning eyes and enchanting voice? Olli Violet – the Shadowess of Pressure is our beautiful and strong female vocalist! With her fantastic talent and spellbinding voice, she brings soul and a dimension that are unmatched in the metal scene!”

And the future of Pressure has forever changed. Their work often focuses and embraces the pressures felt from everyday existence. Their lyrics ably demonstrate that there are two sides to every story – the good and the bad. Every song has a double meaning, and they truly see music as a tool to handle the different pressures thrown at us from the modern world.

The band began their journey together in 2018, and since then they’ve worked tirelessly developing their sound and live performance. Their aim? To make memories with their fans and to an epic musical soundtrack. A quote that can summarize their lyrics is: “How can you tell a story about life if you haven’t dared to live life to its fullest! Pressure is all about every story, every moment, every Pressure!”

‘Pressure’ Official Lyric Video

Pressure are:
Guitars, drums, backing vocals–Simon Forsell
Lead vocals–Olof Jönsson
Guitar–Emil Salling
Vocals – Olli Violet
Bass – Ignacio Arrúa

Check Out Pressure on: 

PR: Samantha Dodson at

Cover Art by Cigdem Keser
Written and composed by Pressure

Pressure Promo Pic

Disclaimer: This article is solely the property Samantha Dobson at SamBonePR, created for the purpose of the video premiere on Ever Metal. It is strictly forbidden to copy any part of this, unless you have the strict permission of both parties. Failure to adhere to this will be treated as plagiarism and will be reported to the relevant authorities.


By Maggy Von

GW Productions and Killsound Productions in collaboration present this amazing online festival with great bands from all over the world.

The purpose of the festival is it’s a big union between countries and combinations of different metal genres, no divisions.

With big names and new projects such as CRS, Savanth, Hada de Beng, Rithiya Khiev, Parazit and more.

The festival will take place on December 4th and 5th, 2020, and there will be much metal intensity.

Metal Heroes Online II bring and support many groups with women like: IOG, Young Lust, la Cattrina, La Leyenda de Eva and many more.


YouTube Channel:

FB Event:


Here is the list of bands who will give life and power to the Fest:

SCURYTALES – Thrash/Death Metal – San Luis Potosí/Mex

La Leyenda de Eva – Folk Metal – Zacatecas/Mex

Cigarette Band – Hard Rock/Heavy Metal – San Luis Potosí/Mex

Nexoasis – Post Grunge/Rock Alternative – Valencia/Venezuela

Getcha’ PULL – Hard Rock/Groove Metal – Guanajuato/Mex

BAGHEERA – Melodic Death Metal – San Luis Potosí/Mex

DØGMA – Heavy Metal – San Luis Potosí/Mex

Godless In Grace – Metalcore/Nu-Metal/Rock/Blues – Oruro/Bolivia

The Hero’s Rise – Post-Hardcore/Metalcore – Querétaro/Mex

Miniatures – Progressive/Death Metal – Aguascalientes/Mex

Arturo Ocampo Music – Classic Rock/Heavy/Power Metal – Tijuana/Mex

Enertron – Instrumental/Progressive/Fusion/Djent – Tulancingo Hidalgo/Mexico

Fecalator Mexico – Porno Grind Gore – Orizaba Veracruz/Mex

Anorexia Isan – Rock – Caracas/Venezuela

Hada de Beng – Rock Fusión – Ciudad de México/Mex

Next – Metal – Nezahualcoyótl, State of Mexico

Alma Eterna – Metal – Potosí/Bolivia

CRS – Death Metal – Obregón, Sonora/Mex

Parazit – Instrumental Prog Rock/Metal – Guadalajara, Jalisco/Mex

Rithiya Khiev – Solo Artist – Epic/Symphonic/Progressive/Instrumental Metal – Boston/US

Alexx Mattey and the Freak Show – Rock/Industrial/Metal – Venezuela/US

Dräven – Gothic Rock/Industrial Metal – Barcelona/Spain

Berzerk- Metalcore – Tijuana/Mex

Back – Hard Rock – Salta/Argentina

She No More – Hard Rock/Metal – State of Mexico /Mex

Sefirot – Melodic Metal – Santiago del Estero/Argentina

La Cattrina – Folk Metal/Mexican Folk Metal – Ciudad de México/Mex

Sotako Anime Rock Band – JRock/Anime – San Luis Potosí/Mex

Rebel – Power Metal – Budapest/Hungary

Red Calling – Hard Rock/Metal – Tampa, Florida/USA

Victory Or Death – Metalcore/Metal – Burzaco/Argentina

Young Lust – Hard Rock – Monterrey/Mex

Postnecrum – Symphonic Black Metal – Zacatecas/Mex

SilentEnd – Melodic Thrash Metal – Monterrey/Mex

The Outsider – Avant-Garde Symphonic  Extreme Metal – Mexico City /Mex

Savanth – Rock/Hard Rock/Heavy Metal – San Luis Potosí/Mex

Corners of Sanctuary – New Wave of Traditional American Heavy Metal – Philadelphia/US

Illusions Of Grandeur- Theatrical Hard Rock – Philadelphia/Lancaster Pennsylvania/US

Disclaimer: This article is solely the property of Maggy Von, Killsound Productions, and Ever Metal. It is strictly forbidden to copy any part of this review, unless you have the strict permission of both parties. Failure to adhere to this will be treated as plagiarism and will be reported to the relevant authorities.

A Response to Misogyny

A Response to Misogyny (By Association, On The Grounds Of Being Female)
By Beth Jones

If you had “Blatant and Inexcusable Misogyny in Printed Media” on your 2020 Armageddon Bingo Card, then you can now cross it off, as the year that just keeps on giving has done it again! This month’s issue of a fairly well followed print format rock and metal magazine, who shall remain nameless, have firmly cemented that entry into the “Turned The World Off and On Again, It Seems to be Fucked” annual; With their editor using incredible lack of judgement, and outdated views of what is acceptable, clearly clouded by unsatisfied testosterone running wildly though his system.

His two-word article title faux pas has not only managed to degrade, demean, and undermine the integrity of women in music, especially Rock and Metal; It has also incensed me, the least feminist person I know, to write this. Regardless of the content of the article, or indeed the accompanying editorial which ‘championed women in rock and metal’, this act of disregard brings, once again, to the forefront an ‘ism’; an inequality that all women experience. But this is the tip of the iceberg.

For women in many walks of life, being met with surprise and disbelief that they can do something competently, other than cook and clean, is a daily occurrence. And it’s also a regular occurrence for assumptions to be made as to our roles, purely based on the lack of external appendages within our trousers.

In the Rock and Metal world, women are used to being looked at when they turn up with their band, and the assumption being made that they’re a girlfriend of a male band member, rather than an  accomplished musician, and integral part of the band. When performing on stage, women are used to being seen as ‘only there for a bit of eye candy’, and dealing with being groped, manhandled, or commented upon, because of what they choose to wear, or simply the fact that they’re a female in a band. They’re also used to getting plenty of hate regarding their size, hair colour, choice of makeup, etc, etc, ad infinitum. When they start playing or singing, women are also used to being met with surprise that they can actually do it just as well as their male counterparts. And they’re also used to it being pointed out in articles that they are female, or that the band is ‘female fronted’. I will hold my hands up, it’s something I have done on one occasion in the past, because it was ‘the done thing’ and I failed to question it. Rookie error. But why was it, and why is it still, the done thing? What is its benefit? There are only two reasons I can think of – for the benefit of those poor souls who may get confused, and wonder why a prepubescent teenage boy is being exploited in a band full of bigger boys, or so that the Neanderthals can prepare their “fun sock” before they check out the band’s videos on YouTube.

As women, we’re used to all those things, and we’re used to rising above them. But that doesn’t make any of them right, and it doesn’t make any of them grate our gears any less.

Inequality is everywhere. Inground into, and accepted in, every fabric of society. And despite the efforts of activists, and the apologetic agreement, whilst attempting to hide the problem under the carpet, of governments globally, these problems are getting worse. Racial inequality, gender inequality, homophobia, transphobia, and every other inequality or phobia aimed at making someone feel smaller than the perpetrators of hate. And the only way we can stop it is for everyone to just get real. Like any problem, the first step to curing it is admitting that it’s a problem. That has started to gain momentum, but to actually accomplish anything, EVERYONE has to get on the bus.

Pulling it back to our subject matter here, the intrenched, low-level misogyny that women are forced to endure through every step of their lives is not something that women alone can solve either, sadly. As the old saying says, “You can lead a horse to water, but you can’t make it drink.” It’s going to take every man, and I do mean EVERY MAN, to step up to the plate, and start thinking with their brains. YOU need to make the ones who refuse to see it feel like the outsiders, in the same way that women are made to feel all. The. Time.

So come on chaps, put your big boy pants on and let’s work on making everyone equal, regardless of what’s hanging between their legs, (or whatever driving force is behind every ‘ism’) yeah? Have the courage that so many are forced to employ every day, in order to survive in the global dominant patriarchy. Because no matter how much anyone tries to talk it down or laugh it off, that’s what it is. And we’ve had enough.

And before you ask, I’m not blowing things out of proportion because I’m a feminazi/ hormonal/ menopausal/ too emotional/ a woman*. This is reality.

*Delete as appropriate to indicate which one makes you feel better about your reasons for continued ignorance.

Disclaimer: This article is solely the property of Beth Jones and Ever Metal. It is strictly forbidden to copy any part of this review, unless you have the strict permission of both parties. Failure to adhere to this will be treated as plagiarism and will be reported to the relevant authorities.

Article – Illusions Of Grandeur: The Siren Saga

Illusions Of Grandeur: The Siren Saga
By Maggy Von

Illusions Of Grandeur is a Theatrical Hard Rock/Fantasy Metal band based in Lancaster, PA.

The band is now part of Killsound productions as their booking agency.

I.O.G. took the PA and NJ scenes by storm, starting in 2015, and debuting “The Siren Saga” live show.

The Siren Saga is a story of the journeys, perils, and triumphs of the Siren and her warriors. The story mixes facts and fiction combining Greek and Norse Mythology, Sirens, Viking Warriors, Archangels and Kharon “The Ferryman”. The first part, “The Songs of the Siren”, was released on Pavement Records in 2019.

Since their formation, Illusions of Grandeur have toured in the United States as well as across the UK and Europe, and made appearances at various festivals including Sav Fest, Dewey Beach Music Festival and Witney Music Festival. I.O.G. has shared the stage with artists as varied as DOPE, Motograter, September Mourning, New Year’s Day, Puddle of Mudd and Otep. Illusions of Grandeur’s fierce and energetic live show has gained them a legion of fans dubbed “The Siren Nation” who follow them worldwide, at live shows, and on social media.

New video ‘Crossing Over’

The Story of The Siren:

The Siren was a winged creature with the body of a woman, feet and arms of a bird. She perched high on the flowery hilltops where she watched over and protected the Goddess Persephone, daughter of Zeus and Demeter. From the tops of Mount Olympus, the Siren soared as a God. One warm, sweet spring solstice, Persephone innocently wandered off through a field of flowers. Intrigued by one in particular, a magical glowing flower, she reached out with both hands. The ground beneath her began to quake and opened into a large hollow. Confused from the fall, Persephone did not see Hades, God of the Underworld, until he was already upon her. Her screams echoed out of reach as Hades pulled her back to the Underworld where he intended to marry her.

The Siren failed in her sworn duty to protect Persephone. She was stripped of her wings by Goddess Demeter and banished from Mount Olympus to a tiny island off the coast of Sicily. She would remain on earth until she found Persephone and returned her home safely. This is now the Sirens journey. She must venture the Underworld and take Persephone from Hades. Frightened and unsure of her powers, she was lured to the seas, like a longing, calling to her soul. Once she reached the rocky cliffs, the mists from crashing waves, shown the shine of her new flesh, the scales and fins of a mermaid, a water Siren. Bound by this new skin, she must determine her new-found abilities and set forth to the task ahead. The Siren would learn that when she sang, she was irresistible to mortal men. She pillaged for their lives and used them to build an army, facing peril and surprises along the way. The challenge was unlike any she had faced before. Alone and haunted by her past, if she was to have any chance of success, it would mean pushing herself towards her own self-destruction.

The Siren – Maggie Carlton – Vocals
Archangel Michael – CM Carroll – Bass
Julian Yeager – Guitar
Ares – Ted Domzalski – Drums