Search Results for “Rumour Den” – Rock Era Magazine

Multiple Bands Raise Serious Concerns About Unfulfilled Commitments by Darkside Records and Its Founder Saïd Chebacheb

REM News Team — Thu, 17 Sep 2026 20:34:38 +0000

Rock Era Magazine — the music publication operated by Naqada Music Management — is publishing this statement in full solidarity with the growing number of independent bands and artists who have come forward with serious, documented concerns about their experiences with Darkside Records and its founder Saïd Chebacheb.

These are not rumours. These are the accounts of multiple bands who tried to resolve their concerns privately, in good faith, and at length — and who have now chosen, as a collective, to speak.

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A group of bands — including Antiquus Infestus, Galloglaigh, DUSK, Maddox Theory, Mythos, Hëllridër, Catharsis, Anemoya, Obscured Violence, and others — have issued the following statement:

“We are a group of bands who have all experienced serious problems with Darkside Records and its representative, Saïd Chebacheb. We were repeatedly given promises and deadlines that were not fulfilled — regarding physical releases, payments, distribution, promotion and live shows. Some bands paid money and did not receive what was promised, while others were not paid for performances.

We tried to resolve these issues privately for months. Instead, we received excuses, delays, broken promises and, in many cases, silence.

We are no longer willing to remain silent. This is our collective statement. We have the messages, agreements and evidence to support what we are saying.

Please share this post so that no other band or artist becomes another victim of the same situation.”

Egyptian band Hëllridër have added their own detailed account, which Rock Era Magazine reproduces here in full:

“We’d like to highlight our experience with DSR. We were ignored the whole time — miscommunication was the norm. We felt that the label took advantage of our work. We contacted fellow bands Catharsis and Anemoya, who are signed to the same label. We contacted the venues ourselves and booked them, and at the end of the day someone else took the credit.

Agreed funds were either late — and we mean two hours before a gig type of late — or stalled entirely. The private group that included the band members was deleted.

Promotional material was generated using AI, despite an abundance of real video footage — to the point where we ended up making our own promotional content to post ourselves.

As per contract, DSR was required to commit to the artist’s online fan community for up to 20 hours per week, with a $300 monthly budget. The label has not posted any content related to the band since February.

And we will note: the engagement on the label’s posts appears to come from purchased bot activity — with zero organic reach.”

Independent music is built on trust. Artists invest their time, their money, their work, and their reputations when they enter into an agreement with a label or management entity. When that trust is broken — and when the same pattern of broken promises, missing payments, uncredited work, and sustained silence is reported by multiple independent bands across multiple countries — it becomes a matter of wider concern for the entire music community.

Rock Era Magazine stands unequivocally with the artists who have come forward. We encourage any additional affected bands to share their documented experiences publicly. We encourage the wider music industry — journalists, promoters, booking agents, distributors, and fellow artists — to take note.

The bands involved have stated clearly that they hold documentation: messages, contracts, and evidence. We take them at their word, and we believe the community deserves to know.

To Darkside Records and Saïd Chebacheb: the artists you work with are not without voice, and they are not without support.

AN UNFLINCHING LOOK AT A DIVIDED WORLD!

Cherine Abulwafa — Sun, 19 Jul 2026 13:11:12 +0000

Rock has long served as a vehicle for confronting uncomfortable truths, and Rumour Den‘s “All In This Together” embraces that tradition with conviction. As the Northern Irish duo’s third single, the track explores themes of ideological division, conformity, and personal freedom through a sound that favours raw expression over studio perfection, making for an immediate and emotionally engaging listen.

Driven by gritty guitar work, energetic percussion, and AJ Gilmore’s commanding vocal performance, the song captures the spirit of ’90s alternative rock without becoming dependent on nostalgia. Hints of Soundgarden emerge through its brooding atmosphere, while layered harmonies subtly evoke Alice in Chains. Rather than imitating these influences, however, Rumour Den channels them into a sound that feels cohesive and, still, absolutely their own.

The production is one of the track’s greatest strengths. Instead of polishing away every rough edge, it preserves the warmth of the guitars, the pulse of the rhythm section, and the live-band energy that gives the performance its authenticity.

“All In This Together” extends beyond personal reflection to examine a society grappling with competing ideologies and the allure of authoritarian certainty. Rather than prescribing solutions, Gilmore encourages listeners to question the cost of sacrificing individuality in pursuit of security, allowing the song’s message to resonate through thoughtful observation instead of overt rhetoric.

With “All In This Together,” Rumour Den delivers a compelling blend of purposeful songwriting and organic musicianship. Balancing emotional intensity with topical relevance, the band continues to build creative momentum, making “All In This Together” another confident addition to their evolving catalogue.

THE MOMENT CLARITY HITS HARDER THAN HEARTBREAK..

Cherine Abulwafa — Mon, 22 Jun 2026 08:24:39 +0000

Not every love story ends in heartbreak, some end in realization. “Part of the Problem” by Rumour Den sits right in that moment, where clarity lands heavier than loss, and Rumour Den’s “Part of the Problem” refuses to soften the truth.

Built on a steady pulse of alt-rock grit and melodic restraint, the track unfolds with quiet confidence. The guitars carry a textured, almost 90s-tinged weight; raw yet controlled, while the rhythm anchors the emotional tension beneath it all. AJ Gilmore’s voice feels lived-in, never reaching for effect, just delivering the narrative with a kind of honesty that lingers.

The verses stay contained, reflective, almost hesitant, before the chorus opens into something more urgent. Not an explosion, but a shift. A realization. Steve Simms shapes the sound around that turning point, allowing the music to follow the truth of the lyric rather than overpower it.

The release cuts through illusion. It’s about that difficult recognition: that what felt like love, or even healing, was something else entirely. There’s no attempt to resolve it, no neat ending, just acceptance.

“Part of the Problem” by Rumour Den does something very subtle: it shifts something in the listener. Not loudly, not immediately, but in the way certain thoughts feel a little less avoidable afterward..

Rock Rebels in the Halls of Power: Politicians Who Shredded Before They Governed

Mena Ezzat — Fri, 24 Oct 2025 15:04:03 +0000

In a world where politics often feels as scripted as a stadium encore, it’s refreshing to remember that some of nations leaders once traded suits for stage lights, microphones for Marshall stacks, and policy debates for power chords. The recent election of Sanae Takaichi as Japan’s first female Prime Minister on October 21, 2025, brought this crossover into sharp focus—not just for her conservative platform, but for her secret life as a heavy metal drummer in a college cover band belting out Black Sabbath and Iron Maiden riffs. Takaichi’s story isn’t an anomaly; it’s part of a vibrant tradition where rock and metal musicians have stormed the barricades of government, channeling the raw energy of rebellion into real-world reform. From death metal anthems protesting colonialism to yacht-rock harmonies advocating for veterans, these trailblazers prove that the beat of a drum—or a blistering guitar solo—can echo far beyond the concert hall. This article spotlights every notable politician and government official worldwide who moonlighted (or daylit) as rock or metal performers, drawing from historical records, elections, and firsthand accounts to paint a global portrait of melody meets mandate.

Asia: Where Metal Meets the Mandate

Asia’s political rockers often fuse cultural activism with headbanging fury, turning stages into soapboxes for independence and identity.

Sanae Takaichi (Japan, Prime Minister, 2025–present): Elected leader of the Liberal Democratic Party and Japan’s PM at age 64, Takaichi’s rock roots trace back to her university days in a heavy metal cover band. She still unwinds with an electronic drum kit, blasting tracks by Metallica and X Japan to “clear her mind.” Her “Heavy Metal Lady” nickname underscores how this hobby fueled her resilience in a male-dominated field, where she champions economic revival and national security—much like a riff that refuses to fade.

Freddy Lim (Taiwan, Legislator, 2016–present): As frontman for symphonic black/death metal band Chthonic since 1993, Lim has woven Taiwanese folklore and anti-colonial themes into albums like Takasago Army (2005), which toured with symphonic metal giants like Epica. Co-founding the New Power Party, he won a seat in Taiwan’s Legislative Yuan in 2016 (re-elected 2020 and 2024), surviving a 2022 recall. He’s dubbed the “world’s first metal politician,” proving extreme music can drive moderate reform.

North America: From Grunge Grooves to Congressional Jams

The U.S. and Canada boast a roster of rockers who pivoted from festival circuits to Capitol Hill, often using fame to amplify overlooked causes.

Photo: Ron Galella/Ron Galella Collection via Getty Images

Sonny Bono (United States, U.S. Congressman, 1995–1998; Mayor of Palm Springs, 1988–1992): Half of the iconic pop-rock duo Sonny & Cher, Bono co-wrote and sang on hits like “I Got You Babe” (1965), blending folk-rock with psychedelic edges on albums like Inner View (1967). After a mayoral stint revitalizing Palm Springs’ economy, he served as a Republican Congressman for California’s 44th District until his 1998 death. Bono’s legacy? The Sonny Bono Copyright Term Extension Act (1998), extending artist protections—a direct riff from his music industry battles.

John Hall (United States, U.S. Congressman, 2007–2011): Guitarist and co-founder of soft rock band Orleans, Hall penned yacht-rock staples like “Still the One” (1976), which sold millions and became an NFL anthem. As a Democrat representing New York’s 19th District, he co-sponsored the Veterans Claims Modernization Act (2008), streamlining benefits for service members. Hall’s harmonious style translated to bipartisan environmental advocacy before he retired in 2010.

Jon Huntsman Jr. (United States, Governor of Utah, 2005–2009; U.S. Ambassador to China, 2009–2011; Ambassador to Russia, 2017–2019): Bassist in the progressive rock cover band Wizard during his youth, Huntsman jammed on classics by Yes and Genesis. Rising through diplomatic ranks under both parties, he governed Utah with a focus on trade and education, later running unsuccessfully for president in 2012 and 2016. His band’s exploratory sound echoed his globalist foreign policy.

Jon Fishman at Madison Square Garden with Phish, Thursday, December 3, 2009

Jon Fishman (United States, Selectman of Lincolnville, Maine, 2017–present): Drummer for jam-rock legends Phish since 1983, Fishman powers marathon sets blending funk, psychedelia, and bluegrass on albums like A Picture of Nectar (1992). In his low-key town role, he tackles local environmental issues, from zoning to conservation—applying Phish’s improvisational ethos to community governance.

Europe and Oceania: Protest Anthems to Parliamentary Thrones

Down under and across the pond, rockers have long used music as a megaphone for social change, storming parliaments with the same fervor as mosh pits.

Peter Garrett (Australia, Minister for the Environment, 2007–2010; Minister for Education, 2010–2013; MP, 2004–2013): Lead singer of post-punk rockers Midnight Oil (1976–2002), Garrett belted protest anthems like “Beds Are Burning” (1987), railing against Indigenous dispossession and uranium mining. As a Labor Party MP, he shaped climate policies and Indigenous reconciliation, retiring to reform the band in 2017 for The Makarrata Project (2020). Garrett’s arc shows rock’s protest roots seeding policy fruit.

Tony Blair (United Kingdom, Prime Minister, 1997–2007): Guitarist and singer in the rock cover band Ugly Rumours at Oxford (late 1970s), jamming on Fleetwood Mac and Chuck Berry tunes. As Labour PM, Blair modernized the economy and devolved powers to Scotland and Wales, though his Iraq War legacy remains divisive. His band days hint at the charisma that won three elections.

Africa and Beyond: Fusion Rhythms in Ministerial Chambers

African leaders blend traditional sounds with rock edges, using global stages to elevate cultural diplomacy.

Photograph by Henryk Kotowski

Youssou N’Dour (Senegal, Minister of Tourism and Leisure, 2012–2013; Minister of Culture and Communication, 2017–2021): A mbalax pioneer fusing Senegalese griot traditions with rock and pop, N’Dour‘s hits like “7 Seconds” (1992, with Neneh Cherry) earned a Grammy and UNESCO ambassadorship. Appointed by President Macky Sall after a 2012 presidential bid, he promoted tourism and cultural exports, turning Senegal’s music scene into soft power gold.

While runners like Jello Biafra (Dead Kennedys frontman, 1979 San Francisco mayoral candidate) and Kinky Friedman (country-rock satirist, 2006 Texas gubernatorial hopeful) electrified campaigns without victory, the true office-holders above form a eclectic lineup. Notably absent: any sitting or former presidents with verified rock/metal performance histories—Bill Clinton’s saxophone leaned jazz, not shred.

From Tokyo’s drum kits to Canberra’s cabinet rooms, these rock-rooted rulers remind us that governance, like a killer solo, thrives on passion and improvisation. In an era of polarized playlists, their stories bridge divides, showing how the thunder of amps can harmonize with the gavel’s strike. As Takaichi taps her sticks in the PM’s residence, one wonders: Who’s next to trade distortion pedals for diplomatic cables? The stage is set—let the riff begin.

Interview with Wes McClintock

Hazem Mahani — Wed, 13 Sep 2023 12:18:02 +0000

With the release of his second record Open Dream, Singer, songwriter, producer and multi-instrumentalist Wes McClintock takes us on a unique sonic experience that cleverly mixes diverse approaches, and today we’re gonna have a chat with him to dig deeper into his world.

1st of all we’re happy to have you with us on Rock Era Magazine.

You have a surprising, diverse sound with different elements, what were your early influences? And which ones were on your mind while writing Open Dream?

Thanks so much for taking the time to speak with me. I was about 14 when I really started appreciating music. Myy first real obsession was Simon and Garfunkel and the first song I fully fell in love with was The Boxer. I then became obsessed with classic rock and would spend full days in my room playing bass along to any song I found had an interesting bass line. It started with Black Sabbath and soon went into playing full Beatles albums start to finish. When writing this album I was constantly thinking of the late 60’s – 70’s style production that is still my favourite. I feel you can’t beat the production of Abbey Road, The Wall or Rumours so I tried attaining that sound as best I could.

Your sound shows musical maturity, how did your journey as a musician start?

Before playing guitar or bass I had a set of drums. While jamming with a few friends I soon realized I wanted more control over the sound so I sold the drums and bought a Squier Stratocaster and a tiny amp. My friends and I started a band as two guitarists and a drummer but soon realized a bass was necessary for our trio. I sucked it up, bought a Danelectro Longhorn and fell in love immediately. After that I was always the bassist in any band I played in.

As a multi-instrumentalist, which instrument took you so long to learn? And are there any you are willing to start playing?

The longest any instrument took me to learn was and is definintely the piano. Stringed instruments always made more sense to me but the piano mystified me. I’m still trying to improve my playing and recently bought an actual piano which is very inspiring. Anytime I drop a big amount of money on an instrument I know I’m going to play it as I’d feel pretty foolish if I didn’t. I recently found out about this fairly new instrument called the Harpejji which I really want to get my hands on. It’s a cross between a piano and guitar so it’s right up my alley.

You have a unique way of forming your compositions and arrangements, how usually does your writing process go?

I always write on my acoustic guitar, It’s the easiest way for me to come up with ideas. I just play around with chord progressions and if something sounds good I immediately record it as ideas can disappear fast. I then start humming melodies around these chords until I’ve found something that works. The lyrics come last as I write the words according to my melody. I feel my writing grew with this album as I never used to spend so much time finding the melody and would often write words to match the chords which was less interesting.

Review – Album: Open Dream by Wes McClintock

Can you tell us more about No Service and Open Dream‘s concept? And how do the sound differences reflect the album’s concept?

No Service wasn’t initially going to have my name associated with it as it was more of a fan-fiction album. I was originally calling myself Roger Floyd as most the album is a rip-off of Pink Floyd songs. At the time I was finding myself struggling with our obession with technology and thought a great way to let off steam would be to make a concept album. I’ve done a lot of comedy through the years and always loved parodying artists so I wanted to challenge myself to see if I could make a modern day Pink Floyd concept album about the downfalls of technology. Looking back I wished I just made an original album but at least I feel I got my point across.

Open Dream was once again me trying to prove to myself I could make an even better album but this time by being authentic. This one wasn’t meant to have a concept at the beginning but I realized as the lyrics began to form it too had a message. The overall concept is life – being born, trying to make art, having too many distractions, not understanding jobs, falling in love, escaping cities, feelings about religion, lying to each other, loneliness, capitalism and death. For a fairly upbeat album these lyrics are kind of sad sounding but all came down to my own personal truth.

The two albums sound totally different as I upped my production quality in the time between. That in itself really helped Open Dream shine brighter than No Service.

If you could pick a song from your catalog so far to introduce someone to your music what would it be?

I’d say Imaginary Songs from Open Dream. That song probably took me 300 hours to figure out. I have 50 versions of my many attempts to get it where it needed to be and feel very proud of the final version. I knew if I couldn’t get this song to a place I was happy with I wouldn’t have the right to release my album at all.

Are you planning any future releases? Can you give us some exclusives?

I’m currently writing a third album and have about 5 songs and many more ideas on the way. I’d love to share them with you but like Open Dream I’m going to keep it a secret until the whole thing is done.

Do you have any gigs/tours planned to support Open Dream‘s release?

Sadly I do not. If there is enough interest I would definitely form a band and start touring again as I miss playing live shows and really want to play these tunes in front of an audience.

Thanks for your time, wishing you the best of luck. Cheers!

Thank you for having me!

Rumours by Songs for Sabotage

Mercedes Thomas — Tue, 01 Mar 2022 14:17:39 +0000

An ode to everyone who has wrongly crossed your path –the latest release from Songs for Sabotage ‘Rumours’ is out, and is all about telling that one person to piss off.

A faded vocal intro gives way to the natural sound of Lina Sophie’s voice, singer of the band.

“For Rumors we pulled out all the cliches… 808 bass, trap hats and percussion, and a lyrical narrative.” –says the band. “We wrote most of it in early 2020 during the recording of our first album.”

The beat and speed of the song both work well together, encouranging unconscious foot tapping to the listeners.

The acoustics accompanying the vocals have a fade, distant effect as well that give a dreamy, trippy feeling, as if emotions were so strong that you can’t think straight.

This Alt-Pop band based in LA are no strangers to Rock Era Magazine. We have had the pleasure to interview them in the past and reviewed their song ‘Loaded’ feat Blood Handsome.

“Fast forward to summer 2021 (after not playing live for 18 months) when we performed Rumors for the first time (live). Perhaps it was the euphoric rave vibe of the event caused by being inside for the previous year and a half, but Rumors got a great response.”

A faded outro ends the song abrutly as in literally *mic drop*, transmiting the feeling of anger that evoques talking and thinking of someone who has done you wrong.

Besides their obvious skills in composing and playing music, they are aesthetically pleasing artists to watch perform, who know how to keep things elegant, classy and just plain great.

For more, find their music on Spotify and Soundcloud. Visit their website or their profile in Bandcamp, and follow them on social media on Twitter, Instagram and Facebook.

Interview with Stay for Tomorrow

Jaylan Salah — Thu, 30 Dec 2021 19:00:20 +0000

With a post-grunge and alternative rock sound, Stay for Tomorrow’s “The One” is a melodic indie rock song that brings to mind 3 Doors Down vibes with a hint of Anathema’s vocals. We had the chance of interviewing the artists:

● What was the inspiration behind “The One”?

‘The One’ is a motivating melodic indie rock song that talks about battling negative thoughts and overcoming your demons.
Mental health is such a serious topic and needs to be talked about. We wanted to write something that people will be able to relate to but also to inspire and deliver a message of hope that things get better; you are capable, you are good enough and you will come out the other side of this fight – you are the one.
‘I’ll be ready to turn this around, my head is heavy but I can’t break now!’ Musically, this song allows us to show a different side to the band, proving that we aren’t just a one trick pony. This has been a key focus that has been at the centre of SFT since the very beginning.

● How does the role of music help move the mental health conversation forward?
We believe that music and all art for that matter can and has been used as gateways to explore issues that we often ignore or don’t openly discuss, including mental health. Music can be very healing for lots of people for many different reasons and if anyone can find some solace in our music that helps them in any way then that can only be a positive.

● We enjoyed the feel of the music, how did you create the unique guitar sound?
First of all, thank you so much for describing the guitar sound as “unique”! With the amount of guitar music there is out there, creating a ‘unique’ guitar sound is definitely a challenge and not necessarily something that has been a focus but instead something that has happened organically.
The track features 3 main guitar parts, Joe on acoustic guitar and Nic playing the clean and distorted lead parts as well as the slide guitar parts. For this song Nic used his PRS SE 245 2012 model with its stock pickups along with a Blackstar HT Stage 100 MKII. Extra effects came from a Boss MS-3 multi-fx switcher and for the slide guitar parts he used the Rodenberg TB Drive Shakedown Special.
An overall goal of the band has been to make each song sound unique in terms of styles and sounds used so that we don’t just create songs that all sound the same. This is such a core goal as well for Nic when it comes to writing his guitar parts. If he feels like he has heard or played the guitar part before then it immediately becomes dull and uninteresting to him. This forces him to push himself out of his comfort zones in an attempt to constantly develop his abilities to ultimately benefit the song being written.
Keep an eye on our YouTube channel where we plan to do song breakdowns soon and discuss the equipment and things that we use.

● How has your music evolved from the first single until “The One”?
First of all, the quality of our recordings (we hope) has improved. We recorded and mixed our first single “Kings and Queens” that we released at the beginning of 2019 on our own using a very old version of Pro Tools, Pro Tools 8 from 2008 to be precise. So not only were we working within the limitations of the technology we were using but also within our own limitations of knowledge and skills in recording.
For our second release, “Rumours”, which came out at the end of 2019, we recorded with Mark Morrow in Edinburgh. One of the first differences you hear is an acoustic drum kit being used rather than the electronic one we used for “Kings and Queens”. “Rumours” overall just sounds more slick and polished, partly because our creativity wasn’t being suppressed by our lack of recording tech knowledge.
We took our music in a different direction with 2020’s ballad “Criminal” which featured Aveleen Rose on guest vocals. In this track you can hear our first explorative footsteps into the world of production with the introduction of strings and synth pads.
We continued this development of our sound through 2020 and we feel like we have stepped things up another level, not just in terms of production but also songwriting with all three of 2021’s releases, “I Don’t Need You To Save Me”, “Non Applicable (Na Na)” and “The One”.
More than anything we are excited to hear how other people think our music has evolved since our first release and we can’t wait for you to hear what we have in store next.

● What does your music bring to the Scottish rock scene?
We are hoping that our music brings a fresh sound to the Scottish rock scene as well as a message of positivity. There is so much doom and gloom everywhere we look right now and we want to take that and turn it into something positive. It might sound strange perhaps to some people but one of our core goals is almost to actively not sound like other bands that are part of the Scottish rock scene. There are a number of acts that we admire but we don’t simply want to just try and do what they are doing, we want to create something different.

● Who are your artistic influences and how have they tapped into your music?
Some of our favourite bands are; Paramore, Black Stone Cherry, Creed and Stereophonics! We could spend a whole interview just talking about all of our musical influences as they are vast and varied. We feel a unique thing about us as a band is that we all have very individual musical interests with not too much crossover. The reason we see this as a positive is that our music becomes a melting pot of loads of different styles and artists which is what we think helps us to create our own unique sound.
As for non-musical influences, our families are all so supportive of what we do and their love and support is definitely something that spurs us on to do what we love and follow our dreams.
The biggest influence on what our songs are about are things we experience in our day to day lives, we want our music to be as real and raw as possible.

● How has COVID impacted your artistic journey?
The main impact it has had is that it simply delayed our plans and so in that case we have been quite lucky. Pre-pandemic, we weren’t at the place yet where the band was our livelihood and as frustrating as it was to somewhat put the brakes on things, we are so aware that other musicians and industry professionals have been hit much harder. The thing that the pandemic gave us was a lot of time to work on our live show behind the scenes and develop many new musical ideas, time that we may not have had if we were busy gigging last year.
Now we are just itching to get out and play more and more gigs and start broadening our horizons by venturing outside Scotland.

● What are your upcoming projects?
We may or may not have a new single and music video coming out at the start of the year… We are being vague because at the moment of writing this we
genuinely don’t know if we are going to be able to finish the video with threats of lockdowns looming again.
We are currently planning dates to head to the studio and record a bunch of new songs and the diary is already starting to get filled in with gigs for next year that we will be announcing very soon.
If you want more of Stay For Tomorrow in your life, earlier this year we started dipping our toes into the wonderful world of Twitch. We stream a variety of games and have plans to start doing some musical performances as well. Follow us at https://www.twitch.tv/stayfortomorrow to find out when we are streaming next and to get involved in the chat.