She followed that up with “Fading Into Silence” earlier this year. “Lust” explores passion at its most dangerous and intoxicating. The song captures all-consuming desire, the kind that thrives despite the risk of burning out. Sophia Mengrosso has been vocal about using honesty in her process, examining her experiences and struggles as inspiration for her lyrics rather than seeing them as limitations.

Musically, the song has an epic melodic motif that is repeated across different instrumentation combinations like a character theme in a movie or play. The dramatic theater-like presentation courses through the veins of every element of this song, especially the vocal delivery. It has the sensibilities of symphonic metal but is a bit softer around the edges.

Sophia Mengrosso has carved out space where opera training and metal intensity meet without one undermining the other. “Lust” shows she’s not backing away from the heavier side of her sound while keeping the vocal sophistication that sets her apart. She’s planning to collaborate with like-minded artists and continue building a discography around strength and perseverance. For someone using music to process pain and create space for empowerment, “Lust” fits that mission without being heavy-handed about it.

Born John Michael “Ozzy” Osbourne on December 3, 1948, in the industrial grit of Birmingham, England’s Aston neighborhood, Ozzy grew up in a working-class family of six siblings. His father, John Thomas, was a toolmaker, and his mother, Lillian, a homemaker, instilled values of perseverance amid post-war poverty. School was a nightmare for the dyslexic and ADHD-afflicted boy, who endured bullying, sexual abuse at age 11, and multiple suicide attempts as a teen. Expelled for truancy, Ozzy left education at 15, cycling through dead-end jobs: laborer, car horn tuner, slaughterhouse worker, and even a brief prison stint for burglary in 1965.

Music became his escape. Inspired by The Beatles’ “She Loves You” at 14, Ozzy declared, “I’m going to be a rock star the rest of my life.” He bought a guitar on hire-purchase, forming his first band, Rare Breed, in 1967 with future Sabbath bassist Geezer Butler. After it fizzled, they recruited guitarist Tony Iommi and drummer Bill Ward, initially as Polka Tulk Blues Band, then Earth—renamed Black Sabbath after a horror film marathon sparked Ozzy’s dark lyrical vision.

Black Sabbath’s self-titled 1970 debut, recorded for £500, unleashed down-tuned riffs, occult imagery, and Ozzy’s haunting wail on tracks like the title song and “The Wizard.” Paranoid (1970) followed, topping UK charts with anthems “War Pigs” (a Vietnam protest), “Iron Man,” and the title track—written in 25 minutes about anxiety. Albums like Master of Reality (1971) and Vol. 4 (1972) delved deeper into doom and drug-fueled introspection, with “Snowblind” a cocaine ode.

Tours were grueling, amplifying Ozzy’s substance abuse—alcohol, cocaine, and pills—as the “Madman of Rock” persona emerged. By Never Say Die! (1978), internal tensions peaked; Ozzy was fired in 1979 for unreliability, replaced by Ronnie James Dio. Devastated, he attempted suicide, but Sharon Arden—daughter of his manager Don Arden—saw potential, becoming his wife in 1982 and steering his solo path.

Reunions followed: 1997 Ozzfest co-headlines, 2012’s 13 album (Grammy for “God Is Dead?”), and a 2017 farewell tour. Sabbath’s influence birthed metal, inspiring Metallica, Slayer, and beyond.

Ozzy’s 1980 solo debut Blizzard of Ozz, with guitar virtuoso Randy Rhoads, exploded with “Crazy Train” and “Mr. Crowley,” selling 5 million in the US alone. Tragedy struck in 1982 when Rhoads died in a plane crash; Ozzy mourned by dedicating Diary of a Madman (1981) to him. Hits like “Bark at the Moon” (1983) and “Mama, I’m Coming Home” (1991, with Zakk Wylde) followed, alongside albums No More Tears (1991) and Ozzmosis (1995).

His stage antics—snorting ants, biting a bat’s head (thinking it fake, requiring rabies shots), and urinating on the Alamo—fueled tabloids and lawsuits, including from parents blaming “Suicide Solution” for teen deaths. Ozzfest (1996–2018), co-founded with Sharon, launched stars like Slipknot and launched Ozzy’s empire. By 2022’s Patient Number 9, his 13th solo album, he’d outsold Sabbath’s post-Ozzy output.

Ozzy’s personal life mirrored his music’s turmoil. Married to Thelma Riley from 1971–1982, he adopted son Elliot and had Jessica and Louis; drugs strained the union. With Sharon, he welcomed Aimee (1983), Kelly (1984), and Jack (1985), adopting Elliot later. Infidelity led to a 2016 separation, but they reconciled; Sharon’s 2021 cancer battle and Ozzy’s 2023 home invasion added trials.

Addiction ravaged him—decades of excess culminated in 2019 rehab and a 2020 Parkinson’s diagnosis (known since 2003). A 2019 quad bike accident fused vertebrae; by 2025, he couldn’t walk unaided, yet quipped, “I’ve got more f—ing metal in me than a scrap merchant.” Sober by May 2025, he embraced homebody life.

The Osbournes (2002–2005) humanized him, earning an Emmy and introducing his bumbling dad charm to millions. Memoirs I Am Ozzy (2009) and posthumous Last Rites (2025) chronicled his nine lives.

Ozzy’s swan song was the July 5, 2025, “Back to the Beginning” benefit at Birmingham’s Villa Park—a 10-hour spectacle with Metallica, Guns N’ Roses, Slayer, Tool, and Pantera. Delayed from 2024 by health woes, it reunited Sabbath’s original lineup (Iommi, Butler, Ward) for the first time since 2005. Rising on a throne, Ozzy delivered solo hits “I Don’t Know,” “Crazy Train,” and “Mama, I’m Coming Home,” his voice defying frailty amid rigorous therapy.

The Sabbath finale—”War Pigs,” “N.I.B.,” “Iron Man,” “Paranoid“—drew 40,000 fans and global livestream tears. “This is my full stop,” Sharon said, as murals, a museum exhibit, and Freeman honors celebrated his roots. Seventeen days later, Ozzy died peacefully at home, surrounded by family.

Ozzy’s shadow looms eternal. With Black Sabbath, he co-invented heavy metal—tritone riffs, minor keys, and apocalyptic lyrics birthing a genre that spawned Metallica, Pantera, and Slipknot. Solo, his power ballads and shock rock redefined the “Madman” archetype, outselling Sabbath’s later eras and earning dual Rock Hall inductions (2006 with band, 2007 solo).

Ranked among Rolling Stone‘s greatest singers, Ozzy’s wail—melancholy yet defiant—influenced five decades, from grunge to nu-metal. Ozzfest launched icons; The Osbournes bridged metal to pop culture. Amid controversies—Satanism accusations, PMRC censorship—his authenticity empowered outcasts.

Posthumous tributes flood in: exhibitions extended to 2026, a BBC documentary, and murals immortalize him. As Lars Ulrich said, Ozzy gave “permission to five decades of miscreants” to rage loudly. Grammy winner, icon, survivor—his nine lives reshaped music’s dark heart.

Rest in power, Ozzy.

The darkness you chased burns brighter for it.

James Marshall “Jimi” Hendrix was born Johnny Allen Hendrix on November 27, 1942, in Seattle, Washington, to parents Al Hendrix, a U.S. Army veteran, and Lucille Jeter. His family faced hardships: Al was deployed during World War II shortly after their 1942 marriage, leaving Lucille to raise young Jimi amid poverty and instability. The couple divorced in 1951, and Al gained custody of Jimi and his brother Leon, while other siblings entered foster care. Jimi’s childhood was marked by frequent moves, family fights, and the profound loss of his mother to cirrhosis in 1958 when he was 15—a tragedy that deeply affected him, as he later expressed a longing to “see my mother again.”

A shy, sensitive child nicknamed “Buster” after actor Buster Crabbe, Jimi found solace in music. He mimicked guitar playing with a broom, inspired by Elvis Presley records, and saw Presley perform live in Seattle in 1957. Self-taught and unable to read music, he started with a one-string ukulele salvaged from garbage, learning Elvis’s “Hound Dog” by ear. In 1958, his father bought him a second-hand acoustic guitar, and by 1959, Jimi had his first electric—a Supro Ozark—joining bands like The Velvetones and The Rocking Kings. Influenced by blues giants like Muddy Waters, B.B. King, Howlin’ Wolf, and Robert Johnson, he practiced relentlessly, developing techniques that would later redefine guitar playing.

Jimi attended Washington Junior High and Garfield High School but dropped out due to poor grades and attendance, focusing instead on music. He later confided about childhood sexual abuse, adding layers to his sensitive persona.

In 1961, at 18, Hendrix enlisted in the U.S. Army to avoid jail after being caught in stolen cars. Stationed at Fort Campbell, Kentucky, with the 101st Airborne Division, he completed paratrooper training but disliked military life, neglecting duties to play guitar. He formed The King Kasuals (later Casuals) with fellow soldier Billy Cox, performing at base clubs. Discharged honorably in 1962 after about a year—officially for “unsuitability,” though he claimed an ankle injury from a parachute jump—Hendrix moved to Clarksville, Tennessee, and then Nashville, playing low-paying gigs on the Chitlin’ Circuit.

Post-discharge, Hendrix worked as a session guitarist under the name Jimmy James, backing icons like the Isley Brothers (“Testify,” 1964), Little Richard (“I Don’t Know What You Got (But It’s Got Me),” 1965), Ike & Tina Turner, Sam Cooke, Wilson Pickett, and Jackie Wilson. He clashed with bandleaders over his flashy antics—playing with his teeth, inspired by Butch Snipes—and was fired from Little Richard’s band. In Harlem and Greenwich Village, he won amateur contests, recorded with Curtis Knight, and formed Jimmy James and the Blue Flames in 1966, featuring future Spirit guitarist Randy California. Struggling financially, he honed his style at Cafe Wha?, where Chas Chandler of The Animals discovered him covering “Hey Joe” in 1966.

Chandler convinced Hendrix to move to London, where he adopted “Jimi” and signed a management deal. There, he jammed with Eric Clapton, stunning the British rock elite.

In late 1966, Hendrix formed The Jimi Hendrix Experience with bassist Noel Redding and drummer Mitch Mitchell. Signed to Track Records, their debut single “Hey Joe” hit UK No. 6 in 1967. The album “Are You Experienced” (1967) blended blues, R&B, and psychedelia with tracks like “Purple Haze,” “Foxy Lady,” and “Fire,” peaking at UK No. 2 and US No. 5. Hendrix’s innovations—feedback, distortion, wah-wah pedal, and stereo phasing—shone through.

At the 1967 Monterey Pop Festival, introduced by Brian Jones, Hendrix’s set ended with him burning his guitar during “Wild Thing,” catapulting him to US fame. *Axis: Bold as Love* (1967) followed, with experimental sounds like “Little Wing.” Electric Ladyland (1968), a double LP he produced, topped US charts with “All Along the Watchtower” (his only US Top 40 hit) and “Voodoo Child (Slight Return).” Guests included Jack Casady and Steve Winwood.

The band disbanded in 1969 amid tensions. Hendrix formed Gypsy Sun & Rainbows for Woodstock 1969, delivering a feedback-laced “Star-Spangled Banner” evoking war sounds. He then created Band of Gypsys with Cox and Buddy Miles, releasing a live album in 1970. In 1970, he opened Electric Lady Studios and reformed the Experience with Mitchell and Cox, working on First Rays of the New Rising Sun (released posthumously in 1997).

Hendrix’s personal life was chaotic. He had a long relationship with Kathy Etchingham from 1966 to 1969, living at 23 Brook Street, London (now a museum next to Handel’s home). He believed in Cherokee heritage through his grandmother but had no documented tribal ties. Struggling with drug use, including LSD and barbiturates mixed with alcohol, he faced legal issues like a 1969 overdose and contract disputes with manager Mike Jeffery. Hendrix was prolific, leaving vast unreleased material, and tuned his guitar down a half-step for easier bending.

On September 18, 1970, Hendrix died in London at girlfriend Monika Dannemann’s flat from asphyxiation on vomit after taking barbiturates—an accidental death ruled by the coroner. He was 27, joining the infamous “27 Club.” A memorial service in Seattle drew 150 attendees; he was cremated.

Hendrix’s four-year meteoric career pioneered electric guitar innovations: controlled feedback, distortion as a “vocabulary,” wah-wah in rock, and thumb-fretting for simultaneous rhythm and lead. Synthesizing blues, R&B, soul, British rock, folk, 1950s rock ‘n’ roll, and jazz, he birthed hard rock, heavy metal, funk, post-punk, grunge, and hip-hop. As the preeminent Black rocker, he empowered Black musicians creatively.

Ranked No. 1 guitarist and No. 6 artist by *Rolling Stone*, he influenced Prince, George Clinton, John Frusciante, Kurt Cobain, Stevie Ray Vaughan, Miles Davis, and bands like Black Sabbath, Metallica, and Aerosmith. His albums rank in Rolling Stone‘s 500 Greatest: Are You Experienced (No. 15), Axis (No. 92), Electric Ladyland (No. 53); “Purple Haze” is No. 17 in Greatest Songs.

Posthumous honors include Rock and Roll Hall of Fame induction (1992), UK Music Hall of Fame (2005), Lifetime Achievement Grammy (1992), Hollywood Walk of Fame star (1991), US postage stamp (2014), and memorials like Jimi Hendrix Park and a Seattle statue. Documentaries like Jimi Hendrix – Electric Church (2015) and over 40 years of posthumous sales surpassing his lifetime figures underscore his timeless impact.

Happy heavenly birthday, Jimi.

Your riffs still echo through eternity.

Early Life: Roots in Chaos and Creativity

Born on November 18, 1962, in San Francisco, California, Kirk Lee Hammett grew up in the working-class town of El Sobrante. His mother, Teofila “Chefela” Oyao, was of Filipino descent, while his father, Dennis L. Hammett, a merchant mariner, brought a mix of English, German, Scottish, and Irish heritage to the family. Hammett has openly described his upbringing as turbulent, marked by his father’s love for drinking and fighting, creating what he called a “toxic soup of masculinity.” Despite the challenges, young Kirk found solace in two worlds: horror films and music.

At just five years old, after a playground scuffle left him with a sprained arm, his parents sat him in front of the TV, where he encountered The Day of the Triffids. This sparked a lifelong obsession with horror, leading him to collect magazines, figures, and memorabilia. By his teens, he was trading those horror mags for records from his brother Rick’s collection—albums by Jimi Hendrix, Led Zeppelin, and UFO that ignited his musical fire. Attending De Anza High School in Richmond, California, Hammett befriended future Primus bassist Les Claypool, a connection that would weave through his career. He picked up his first guitar at 15—a cheap Montgomery Ward special with a shoebox amp—and soon upgraded to a customized 1978 Fender Stratocaster copy and a 1974 Gibson Flying V.

Hammett’s entry into the music scene was explosive. At 16, in 1979, he co-founded Exodus with vocalist Paul Baloff, guitarist Tim Agnello, bassist Geoff Andrews, and drummer Tom Hunting. Naming the band after Leon Uris’s novel, Hammett contributed to their 1982 demo and the 1983 Die By His Hand, helping shape the Bay Area thrash metal movement. During this time, he honed his skills under guitar legend Joe Satriani, absorbing techniques that would define his style.

Exodus‘s raw energy caught eyes, but Hammett’s big break came in 1983. Metallica, fresh off firing lead guitarist Dave Mustaine for substance issues and volatility, called Hammett for an audition while recording Kill ‘Em All on the East Coast. Flying to New York on April 11—the same day Mustaine was ousted—Hammett nailed “Seek & Destroy” with a standout solo, impressing frontman James Hetfield. He joined immediately, becoming Metallica’s lead guitarist and a cornerstone of the band.

The Metallica Era: Riffs, Solos, and Global Domination

Hammett’s impact on Metallica was immediate and profound. Starting with Ride the Lightning (1984), he contributed riffs that became metal staples, like the bridge in “Creeping Death,” originally an Exodus piece he brought over. His solos—fast, melodic, and infused with wah-wah pedal flair—elevated albums like Master of Puppets (1986) and the self-titled Black Album (1991), where his riff kicked off the chart-topping “Enter Sandman.” That song alone landed on Rolling Stone‘s list of the 500 Greatest Songs of All Time.

Tragedy struck during the 1986 Master of Puppets tour when bassist Cliff Burton died in a bus crash in Sweden. Hammett later reflected that a card draw for bunks could have put him in Burton’s place instead. Through highs and lows, including Hetfield’s rehab during St. Anger (2003)—where Hammett pushed for solos that were ultimately omitted—he remained a creative force. Albums like Load (1996) and Reload (1997) showcased his “blues period,” influenced by jazz studies at San Francisco State University, adding depth to Metallica’s sound.

Metallica‘s induction into the Rock and Roll Hall of Fame in 2009 honored Hammett alongside his bandmates, including the late Burton. His contributions extend to tours, where his taped picking hand (to prevent abrasions from palm muting and fast picking) became a signature sight. Even in 2025, Hammett continues to tour with Metallica‘s M72 World Tour, and he’s hinted at not feeling fully challenged by the band’s music anymore, sparking speculation about future directions.

Beyond Metallica: Solo Ventures, Horror, and Collaborations

Hammett’s creativity spills far beyond Metallica. In 2022, he released his debut solo EP, Portals, blending classical, soundtrack, and horror influences with nods to Ennio Morricone. His horror passion birthed the 2012 book Too Much Horror Business, showcasing his vast collection of memorabilia, from Bela Lugosi costumes to Frank Frazetta paintings. He founded Kirk Von Hammett’s Fear FestEvil convention in 2014, featuring music, panels, and horror icons.

Collaborations abound: guest spots on tracks by Orbital, Pansy Division, Carlos Santana, and K’Naan; voice work on The Simpsons and Metalocalypse; and even a role in the 2022 film Metal Lords. In 2025, Hammett partnered with Gibson for the limited-edition Raven acoustic guitar, inspired by Edgar Allan Poe, and hosted “The Collection: Live” events during Metallica‘s tour weekends. Items from his collection, including guitars, hit the auction block at Julien’s in October 2025.

On a personal note, Hammett has navigated two marriages—first to Rebecca (ending in 1990), then to Lani (1998–2020)—and is now engaged to Monikka De La Zerda, with whom he shares a child. He’s battled addictions but channeled energy into healthier pursuits like surfing and comics.

Hammett’s influence transcends Metallica. Ranked 23rd (with Hetfield) on Rolling Stone‘s 2023 Greatest Guitarists list and 15th in The 100 Greatest Metal Guitarists (2009), he’s lauded for pioneering thrash metal’s speed and aggression. His complex scales, theoretical knowledge, and memorable solos—like those in Ride the Lightning harmonies—have inspired generations. As a shredder who helped birth thrash with Exodus and Metallica, he’s set standards for metal guitarists worldwide, blending speed with melody and innovation.

His tech-savvy side shines through co-founding KHDK Electronics for pedals and signature ESP guitars, influencing gear trends. Fans and critics alike praise his ability to craft “memorable solos on much better songs” than many technically superior players, proving influence isn’t just about speed—it’s about impact. Even his longtime tech notes Hammett’s contest-winning prowess in the ’80s and ’90s, underscoring his overlooked technical mastery.

As Hammett reflects on his career—recently naming Motörhead‘s “Ace of Spades” as their best song in a 2025 interview—his legacy endures. He’s not just a guitarist; he’s a cultural force who fused horror’s darkness with metal’s fury, inspiring countless axe-wielders to pick up a Flying V and shred.

Happy birthday, Kirk.

Cheers to more riffs that rattle the world.

From the very first riff, “Sudden Death” burns forward like a runaway train. The guitars slice through with razor-edge precision, while the rhythm section crushes beneath them like tectonic plates in motion. Helladdict’s chemistry is explosive, each player feeding the other in a surge of speed and defiance that channels the spirit of ‘80s and ‘90s thrash without ever sounding trapped in time.

There’s a controlled chaos to their sound. The vocals: gritty, rebellious, and unyielding, drive home the sense of unrest that defines the track’s essence. You can feel the band’s lived experience here: a maturity that sharpens rather than softens. Their decades in the scene translate into discipline, and that discipline fuels the ferocity.

Produced at Rockfels Studio, “Sudden Death” is built like a live performance bottled in voltage. It captures the rawness of a garage jam and the precision of a band that knows exactly where it wants to strike. Every beat, every scream, every shred hits with conviction.

And while the sound pays tribute to legends: Metallica, Slayer, Megadeth; Helladdict adds their own Chilean grit and social pulse. Their thrash isn’t escapist nostalgia; it’s a protest wrapped in distortion, a refusal to fade out quietly.

With “Sudden Death,” Helladdict cements their place as torchbearers of modern thrash: unyielding, unapologetic, and very much alive. This is music that demands volume, movement, and a raised fist. Turn it up, shred those riffs, and soar.

Since their formation in 1983 following Mustaine’s departure from Metallica, Megadeth has been a defining force in thrash and heavy metal, blending blistering speed, intricate riffs, and socially charged lyrics across 16 studio albums. Classics like Peace Sells… but Who’s Buying? (1986), Rust in Peace (1990), and Countdown to Extinction (1992) have sold over 38 million copies worldwide, earning multiple Grammy nominations and cementing the band’s legacy as innovators who pushed thrash beyond its punk-metal origins into progressive and melodic territories. With Mustaine’s razor-sharp songwriting, Marty Friedman’s legendary solos (on earlier works), and a rotating cast of elite musicians, Megadeth influenced generations, from nu-metal acts to modern prog-metal bands, while headlining arenas and festivals like Download and Wacken.

The decision to cover “Ride the Lightning” stems from Mustaine’s personal history with the track, which he helped compose before his ousting from Metallica. “It’s not about rivalry—it’s about owning my piece of that lightning bolt,” Mustaine shared in a recent interview. “This album is our swan song, and ending with something that started it all feels right. We’ve poured everything into it: the aggression, the melody, the fire.” The cover promises a Megadeth twist, with heavier production and Mustaine’s signature venomous delivery, transforming the original’s iconic riff into a fitting farewell.

Megadeth features a tracklist that blends new originals like lead single “Tipping Point” with this historic nod, produced by Mustaine and longtime collaborator Chris Rakestraw. The album artwork, revealed on social media, evokes the band’s dystopian themes with a post-apocalyptic Vic Rattlehead motif. Pre-orders are now available on the band’s website, including limited-edition vinyl and bundles.

As Megadeth prepares for a farewell world tour in 2026, supporting Iron Maiden on select dates, this album stands as a testament to their unyielding impact on heavy metal. “We’ve been thrashing for over 40 years—it’s time to bow out on our terms,” Mustaine added.

According to various sources on the web, here’s the upcoming album track-list:

1. “Tipping Point”
2. “I Don’t Care”
3. “Hey God?!”
4. “Let There Be Shred”
5. “Puppet Parade”
6. “Another Bad Day”
7. “Made To Kill”
8. “Obey The Call”
9. “I Am War”
10. “The Last Note”

• You started a year ago, tell me more about the group foundation. 

Well, let’s start from the beginning, I’m Khaled Elnahas the rhythm guitarist of the band, I met with Misara at the Zamalek Theater Rock Festival back in 2021, I was playing rhythm guitar with the band Ka3b Dayer at the time, and he was the vocalist and rhythm guitarist for Lagham. A couple of months after the concert, I saw a post on Misara’s social media that he wanted to form a heavy metal band, so I contacted him and started the project, we searched for a lead guitarist and found Micheal a talented musician who came from upper Egypt, 2 drummers joined the band and lest for creative differences and to pursue another musical endeavors as they were working with other bands and there scheduling was not favoring our interests as a band. Fast forward to now, we continued our journey the three of us and after our first track was released, we asked our producer to join our ranks as a bassist, so the band’s current lineup is Misara, Khaled, Micheal, and Adham, and we are still looking for a drummer Hahahaha ????

• By checking your Facebook page, I noticed a different line-up than in your latest single. Can you please elaborate? 

Our previous drummer Mazen Maghraby left the band because he was already dedicated to other projects, and he couldn’t keep up with us after Mohamed Talha joined our ranks and stayed for more than a year after we found that we didn’t share the same vision for the band musical approach, so we parted ways, and as for Magdy Hanafy, he told us one day out of the blue that he will not continue with his musical career and he quits playing music in general, so we asked Adham to Join us a bassist after that.

• “Rosas w Harb” a nice metal uprising for current events. Was it already one of the band’s previous goals or was it just to keep up with events?

This track is a special one for the band generally and for me personally, I wrote the riffs back in 2014 when I was just writing riffs and tracks for my amusement. Misara also wrote the lyrics sometime ago, and after we formed Daijor, it was planned that this track would be our fourth one, due to the current situation and what has been happening in Gaza, and the propaganda war that is currently happening, we thought that it’s our obligation as Muslims to use their weapons against them, and try to paint the written picture with what we can do. We believe that the powerful message that the song delivers will reach each and everyone who is concerned with the cause and maybe open some eyes to what’s happening.

• So in general, what are the main themes behind the band’s lyrics?

Life struggles, pain, sorrow, grief, and depression.

• What is the purpose of using various singing styles in one song? Won’t this be confusing for the listeners? 

This style of singing is common in metal, metalcore, and melodic death, which we are heavily influenced by, also the riffs are kind of aggressive and need these harsh vocals to add an extra layer of aggression and anger to the mix.

• Don’t you think using a multi-lingual lyric, would help you out more to deliver the message globally?

We are an Egyptian metal band, and we are proud of our language, and the Arabic language is a deep one with so many figures of speech and, meaningful words “Take the band’s name for example, it’s an Arabic fus-ha (Old Arabic) word that means darkness” also we tried to compensate for that by translating the song’s lyrics for non-Arabic speakers to understand, moreover, a lot of bands sing in their mother tongue and their music is quite enjoyable, and for that the fans go the extra mile to translate and understand their lyrics and lyrical theme.

• I noticed that you’re keen to do a merge between old-school and modern metal styles, curious to know more guys about your influences. 

So many genres and bands influence us, but the genres and bands that get us the most are thrash, metalcore, melodic death, symphonic metal, and doom metal from bands like Metallica, Megadeth, Kalmah, Parkwaydrive, As I Lay Dying, and many more.

• Since metal music isn’t a mainstream style, would you consider doing any fusions with other styles in your upcoming releases?

We understand that metal music is an acquired taste and that it’s not for everyone, however, we can see ourselves evolving by trying different approaches, and different musical styles, but it will be through fusion of course and not changing to a specific genre on it’s own.

• Finally, what are your plans for 2024?

We are planning to continue with our track releases, which will give us more exposure to the metal scene and metal fans, also we are looking forward to having our first gig at the beginning of 2024 because we believe that the Live sessions are as important as the recording sessions.

It was really an honor having this interview with you, and we are thrilled with your review of our track, thank you, and if you have any further questions just let us know.

• Thank you for joining us, and keep on rockin’!

It has been confirmed that the legendary metal band will be the headliners for the first night of the three-day Soundstorm festival in Riyadh, scheduled for December 14.

Hammond explains her sound: “It must never be forgotten than Blues music traditionally arose out of some very hard times for African American people and has touched upon some dark subject matters historically. Of course, the early folklore surrounding musicians such as Tommy Johnson and Robert Johnson selling their souls to the devil certainly paved the way for the combination of blues and horror themes too. My lyrics tend to be pretty dark and unsettling at times, and I felt this was the perfect springboard to launch myself into making horror themed music videos to best deliver them.”

• Hi KK!  Great to speak with you today.  How are things in your secluded  part of the world?

Hey! Well, it’s still a little chilly this time of year which has never been my jam but things are looking up as spring creeps in! I hope the weather is fairer there!

• You are fast becoming known as “The Queen of Horror Blues.” How did you  come up with the idea to blend the two, horror and blues music,  together?

I don’t know who dubbed me as such but I’m extremely honored and flattered by it! Honestly speaking I think two things I particularly loved just naturally melded together and became my aesthetic without any particular forethought. The Blues, particularly the older Delta style, is frequently referred to as “The Devil’s Music” which make it partner particularly well with dark and spooky vibes. I took advantage of my love of horror movies when conceptualising my music videos and I think, via that combination, my aesthetic created itself.

• Tell us about your childhood.  What was it like growing up in the UK?

Too cold, just too damn cold haha! I don’t think there is anything that exciting to tell! As a kid I was always very much drawn to art, music and film and enjoyed my own company foreshadowing my future life as a bit of a hermit! I was a bit of a street kid and growing up in London there was always plenty to do and keep myself entertained with. When I got a little older I frequently met up with other musicians my age. We partied plenty, went to gigs and formed bands, I loved metal as a kid but gradually started turning my attention to blues and folk.

• Tell us about your time travelling in the US.  How did that influence  your music?

I hit the US a few times spending upto 4 months there at a time and travelling around the states. I was especially interested in the quiet backwaters over the cities. (I only lasted two day in NYC, it was far too loud and hectic for me!) It was a very interesting time that allowed me to get in touch with the roots of the Americana music which I am so passionate about, as well as giving me some great ideas for my song writing.

• It’s been said that you live a “Hermit-like” existence.  What is meant  by that?  Is this something you’ve chosen for yourself, or is it just a  matter of circumstance? 

It is something I have chosen for myself. I love living in the middle of nowhere with nobody around so I can enjoy nature, the quiet and placate my introverted nature. I do occasionally enjoy the company of friends, especially fellow musicians but keep my circle very small.

• Let’s get to the music.  Tell us about “Death Roll Blues,” the album.   It’s fantastic!

Thank you so much! Death Roll Blues is a concept album which touches upon the subject of Death from a variety of angles. Some of the songs are morose and sad whilst a few are a little more on the humorous side. It took me about two years to complete as I took my time, only wanting to put the best of myself on the album. It opens with the natural sounds of the swamp to set the atmosphere and finishes with this too as a departing mood. It’s pretty acoustically focussed and very organic and “human” with all the percussion being hand claps, foot stomps and some other interesting sounds such as the shaking of a rattlesnake tail or the sound of a rusty old zinc bucket being kicked! My music harnesses the vibe of old Delta blues with a little bit more of a swampy, contemporary feel. I also experienced my first rodeo with vinyl with this album, my pressing being a beautiful, transparent, mottled swampy green with stunning swampy artwork by the very talented Sabrina Cintron of The Star Dazed Trail. I wanted to deliver a beautiful product to my fans which they could truly treasure so ensured it was as sonically pleasing as possible as well as aesthetically pleasing. It was recorded by myself in my home studio and mixed and mastered in London’s iconic Abbey Road Studios, which was a fantastic and very educational experience for me. I wasn’t sure how a small blues musician such as myself would be received but they took the best of care of me and were the sweetest, most down to earth folks you could imagine.

READ “DEATH ROLL BLUES” REVIEW HERE

• Tell us about how Metallica shared your cover of their song, “Nothing  Else Matters” on their TikTok.  Were you surprised at the posting, and  the reaction of fans?

This was a huge and very pleasant surprise! After going somewhat viral I suppose they must have caught sight of it! What more could any musician wish for other than recognition from their childhood heroes? Fans have been amazing and so positive about it and it also drew in so many kind and positive comments from non-followers on TikTok who hadn’t previously heard of me. I’ve since noticed several more of my childhood heroes from huge bands following me on social media and liking my posts and it just doesn’t feel real! It’s been profoundly humbling and immeasurably encouraging. I honestly don’t think the K.K. from my childhood would ever believe such a thing could eventually happen to her whilst staring at their posters on her wall!

• What’s your opinion of the music industry these days?  Is it still  about good music, or is there something else?

I think the music industry has changed tremendously and in ways I could never have imagined as a teenager in bands trying to be noticed. While the big labels are still ultimately running the show in terms of mainstream music, online music sites and social media has revolutionised the industry allowing for small independent artists to have a platform of their very own to draw in a potentially huge following. Obviously being in a fringe genre it is hard for me to comment on the industry as a whole but I think people are still very much enjoying good music and that element remains to be at the core of the industry.

I think, from an artist’s point of view, these days -while the music has to be good- your online presence counts for so much. In essence, musicians have to turn their hand to being online influencers. Again, as a bit of a hermit this is a bit trying for me at times. I’m not someone who enjoys sitting in front of a camera chatting away so I have to find other ways to keep fans entertained. I love recording little guitar playing videos or giving tips on how to approach slide guitar. Though creating for social media can be tons of fun it is also quite a challenge to think of new ideas every day and sometimes thoroughly exhausting. If I had my way I would just sit in my studio writing new tunes and recording them but content creation distracts me from doing that to my heart’s content which is a shame I think.

• We wish you all the best of success with the album release.  Any final  words for the readers?

Thank you so kindly to yourself and the readers and yes…. If anyone knows why two socks go into the laundry and only one seems to come back out I need to know. I believe whoever holds the answer to this holds the answer to the entire universe! Haha! 

1. Metallica – Creeping Death
It’s based on the bible, where it describes Plague of the Death of the Firstborn (Exodus 12:29). Considered to be a huge transfer for Metallica as it was slower than the first album and gave even a strange feeling by adding the Phrygian progression based around ominous chants of “Die!” But what I really like, that Metallica choose a song about ancient Egypt based on the bible and didn’t do like the rest of the bands – no offense! – by adding oriental or eastern scales to flavour it, nope, they did it pure metal and… “die!”

2. Iron Maiden – Powerslave
The classic masterpiece presented by the NWOHM masters; Iron Maiden. One of the most recognized artworks by is the Ancient Egyptian theme displayed in the album cover.

3. Dio – Egypt (The Chains Are On)
What I can say?! Simply, this is one of Dio’s legacies…

4. Mercyful Fate – Egypt
King Diamond of Mercyful Fate is kind of hard to get into his mind. He wrote Egypt, which mainly talks about someone that got lost among the ancient Egyptian gods. However, at the end he asks “Egypt come back to me, Egypt come back to me, Egypt, without beginning or end.” In addition, it was the band’s first video clip and the second single to release.

5. Iced Earth – Im-Ho-Tep (Pharaoh’s Curse)
Actually, it’s inspired by the Karl Freund horror film, The Mummy. It tells a love story about the ancient Egyptian goddess Isis trying to resurrect her husband – Osiris – from death.

6. NILE – Sacrifice Unto Sebek
I am not a huge Nile fan, but as we know, they focus on their ancient Egyptian lyrical themes and it’s done perfectly after a good study really. They have many great tracks, but this one I preferred to choose for the list.

7. Symphony X – Pharoah
The song was released in their third album The Divine Wings of Tragedy which – musically – was inspired by Johann Sebastian Bach and Gustav Holst and lyrical themes were based on Paradise Lost and Paradise Regained by John Milton as well as Inferno which is the first part of the 14th-century epic poem by Dante Alighieri‘s Divine Comedy.

8. Edguy – The Pharaoh
The song is featured in the band 5th album Mandrake. I really do not know why many bands see a relation between ancient Egypt and oriental scales! Anyhow, the song is presented very well and especially the simplicity for its solos and riffs, but most liked for me the transferring between the riffs.

9. Freedom Call – Pharao
Freedom Call is one of my favorite German power metal bands. The song dedicated to the third pharaoh of the Nineteenth Dynasty of Egypt, Ramsses II or Ramsses the Great. It’s very catchy; I would favor the vocal line than the music, though. But cannot deny there was a hell of a fading solo!

10. Yangwie Malmsteen – Pyramid of Cheops
Well, I am not quite convinced with the song’s intro as it’s not Egyptian folklore at all! Lyrics mainly focus on the pyramid building and that was very obvious in the song chorus. But hey, aren’t we waiting for the solo for any Malmsteen song? Technically, it’s not his best ones, but delivers the song’s theme perfectly.