Ozzy Osbourne's eleventh studio album, "Scream," released on June 11, 2010, proves once again, the heavy metal greatness of the Prince of Darkness. Initially intended to be titled "Soul Sucka" (as the title of the third song), the album underwent a title change following objections from fans. Produced by Ozzy Osbourne himself and Kevin Churko, who had previously worked on Osbourne's 2007 album "Black Rain," "Scream" was recorded at Osbourne's home studio, known as "The Bunker," in Los Angeles, California. The album introduces Greek power metal guitarist Gus G as a new addition to Osbourne's band, replacing longtime guitarist Zakk Wylde. Gus G's technical prowess and progressive style breathe new life into the album and are one of its highlights. His heavy riffing, reminiscent of Sabbath's early days but with a modern twist, can be heard on tracks like "Let Me Hear You Scream" and "Fearless". Throughout the album you can hear Gus G's talent, demonstrating his ability to deliver both "Black Sabbath"-inspired doom riffs and at the same time pay homage to Randy Rhoads with shredding solos and neo-classic/basic heavy metal playing. "Scream" is also the first album to feature keyboardist Adam Wakeman (son of...) as a full band member, after being with Osbourne as a touring musician since 2004. Ozzy Osbourne's vocals remain as powerful as ever on "Scream." His signature wails and shouts are present throughout the album, and he even incorporates vocal effects, as seen in the opening track "Let It Die", which adds an atmospheric dimension to the songs. Osbourne's performance is still captivating, showcasing his ability to deliver a range of styles, from his classic wailing to the shouted choruses found in "Let Me Hear You Scream". As for the production, the album occasionally veers into overproduction, giving a somewhat mechanical feel, akin to Osbourne's previous release, "Black Rain". However, there is still a substantial improvement from the previous album that allows a fluid listening to the album throughout without tiring the ear. The album's band lineup also includes Rob Nicholson on bass and Tommy Clufetos on drums. While the album primarily features producer Kevin Churko on drums, it was Tommy Clufetos who was credited as the drummer since he was touring with Osbourne's band at the time. No doubt that both the bass and drums' contributions add depth and power to the overall heavy sound. "Scream" is a mix of standout tracks and weaker moments. Songs like the concert favorite "Let Me Hear You Scream" or "Diggin' Me Down" with its beautiful classically-inspired introduction reminiscent of "Diary of a Madman", show great potential for more unleashed energy. On the other hand songs like the one-minute "I Love You All" and "I Want It More" fail to leave a lasting impact, with the latter's religious lyricism eliciting a cringe-worthy response. Additionally, there are instances where the album feels a little held back, with mid-paced songs like "Crucify", "Time" or the semi-power ballad that was released as the second single from the album "Life Won't Wait". Despite its flaws, "Scream" reaffirms Ozzy Osbourne's position as a formidable force in the metal genre. While it may not reach the heights of his classics like "Blizzard Of Ozz", the album showcases Osbourne's enduring talent and ability to create memorable tracks in his sixth decade. From his dynamic vocals to the impressive guitar work of Gus G and the solid performances by the rest of the band, "Scream" serves as a welcome addition to any fan's collection, reminding listeners that Ozzy Osbourne still possesses a commanding presence in the world of heavy metal. For Listening: Spotify, Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

On June 11, 2002, "Korn" released their fifth album "Untouchables". Here are 20 interesting facts about it: 1. The band began writing the album in 2001. During this time the tension between the band members was at its peak, and in an effort to reduce it the band moved to Arizona, hoping that the new landscape would inspire them in writing the new songs. 2. The band members stated that in this album they tried to revive the nu-metal genre, which they saw as "lifeless". 3. Singer Jonathan Davis said the songs on the album dealt with issues like being an outcast and getting sick of being a victim. 4. This is the band's most expensive album to produce, it cost around $ 4 million. 5. Producer Michael Beinhorn noted that it was very difficult for him to keep the band members in focus. He said "Korn" was the band with the most ADHD he worked with during his career. 6. Bassist Fieldy was drunk throughout the recording of the album. He testified that he drank every night and would vomit his soul before arriving at the studio. 7. He held lavish parties every evening at his house and made the guests sign a "waiver" which removes any liability from him in case of damage to any of his guests. The band members later testified that they were considering firing Fieldy from the band at the time, given his alcohol and drug problems. 8. In 2018, Jonathan Davis revealed that this is his "Korn" favorite album, although he has previously stated that the band's debut album is his favorite of all. 9. This is the first album recorded in a 96kHz digital sound. 10. The album went straight into second place on the Billboard 200, with sales of 434,000 copies in its first week. (Photo: NME) 11. This is the band's first album that only comes in second place on the billboard 200, after "Follow The Leader" and "Issues" that came in #1. 12. The album that prevented "Korn" from the first place, was "The Eminem Show" by Eminem. 13. An unfinished version of the album appeared on file-sharing sites, three months before its release date. The members of "Korn" hung the relatively low sales of the album (compared to the previous albums), on the album leak. 14. The "leaked" version had a different track order, and almost all of the songs were given different names. Some fans claimed that the "leaked" version was better than the official one. 15. The day before the album was released, the band performed at the "Hammerstein Hall" in New York. The show aired digitally in theaters across the United States. 16. The clip for the song "Alone I Break" was directed by the winner of a reality contest on MTV. The band has collaborated with MTV to select the lucky producer to direct the video. 25-year-old winner Sean Dack directed the quirky idea in which Jonathan Davis kills his bandmates. 17. "Here to Stay", which was released as the first single from the album, won "Korn" a Grammy Award for "Best Metal Performance". 18. "Thoughtless" released as the second single from the album, was written by Jonathan Davis from the point of view of the shooters at Columbine School. Davis presents the feelings of rage and isolation that lead the killers to commit such a heinous act and he did so with the aim of shocking. 19. A cover version of the song appears on "Evanescence's" "Anywhere But Home" album. 20. This version is the subject of a lawsuit from the parents of a 12-year-old girl - Melanie Skins, from Brownville, Maryland, who bought the album and were shocked when they played it in their car while driving. For Listening: Spotify, Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

Are you ready for the end of the world?????? On June 10, 2022, "Motionless In White" released their sixth studio album, "Scoring The End Of The World". At the time, "Motionless In White" stood at a pivotal point in their evolution. Having built their name over a decade through a volatile blend of industrial metal, gothic theatrics, and metalcore ferocity, the band entered the 2020s with a sharpened identity and a loyal, ever-growing fanbase. Their previous album, "Disguise" (2019), had opened new doors stylistically but received mixed reactions—some missed the chaos, others welcomed the melody. As the pandemic swept across the world in 2020, the band, like everyone else, was forced into pause, reflection, and eventually, reinvention. Photo: Motionless In White The recording of "Scoring The End Of The World" began under the shadow of global uncertainty. Writing and production stretched from May 2020 through February 2022, with sessions shifting between studios in Los Angeles and Pennsylvania. Vocalist Chris Motionless steered lyrical themes—covering personal turmoil and global unrest—while guitarist Ricky "Horror" Olson and bassist Justin Morrow laid down the musical foundation, assisted by producers Drew Fulk and Justin DeBlieck. Late in the process, Mick Gordon of "DOOM" fame joined to program and add instrumentation to the title track. The band's YouTube series, “THE MAKING OF SCORING THE END OF THE WORLD”, provides a rare, candid peek into this fragmented creative process: from isolated vocal takes across Zoom and late-night writing sessions to moments of camaraderie in tracking breakdowns and layering synth textures. The highs and lows on camera mirror the album’s emotional arc. The album was built piece by piece across various studios, with remote collaboration playing a key role, something the band admitted was challenging but ultimately rewarding. That fragmented creation process is perhaps what gives the album its layered, diverse tone. The chaos begins with "Meltdown", a ferocious opener that bursts out like a warning siren. The synths ripple like static electricity while Chris unleashes pure fury. It sets the tone: heavy, urgent, and unfiltered. "Sign of Life" follows with more melody but no less weight. Its anthemic chorus and introspective lyrics offer a cry for purpose in a world turned gray. There's desperation here, but also defiance. And then comes "Werewolf", the wild card that caught everyone off guard. It's a gothic dance-floor stomper, complete with 80s horror-flick synths and swagger straight out of a retro vampire club. It shouldn't work, but it absolutely does. "Porcelain" peels back the aggression, replacing it with vulnerability. The string arrangements and clean vocals create a fragile beauty, exposing emotional wounds beneath the sonic armor. But the softness is temporary—"Slaughterhouse", featuring Bryan Garris of Knocked Loose, comes swinging. It's one of the most punishing tracks MIW has ever released, fusing hardcore breakdowns with venomous lyrics aimed at corruption and disinformation. "Masterpiece" steps in next, and it's perhaps the most emotionally resonant track on the album. It speaks to regret, legacy, and the desperate need to leave something meaningful behind. A slow-burning power ballad with crossover appeal, it became one of the album’s standout hits. "Cause of Death" and "Burned at Both Ends II" dive back into heavier territory. The former takes on themes of betrayal and societal breakdown, while the latter serves as a surprising emotional sequel—darker, tighter, and more desperate than the first. Then comes the juggernaut: "Cyberhex". This was the first taste of the album, and it’s easy to see why. Combining industrial electronics with massive hooks, it encapsulates the album’s DNA—apocalyptic, cinematic, and wired into our collective dread and resilience. The band members said that choosing the song as the lead single to introduce the new album was unanimous—everyone agreed that this track clearly represents the band’s new era. "Red, White & Boom", featuring Caleb Shomo of Beartooth, goes full chaos mode. Politically charged and dripping with sarcasm, it’s a tongue-in-cheek moshpit starter that feels like both a joke and a warning. The title track, "Scoring The End Of The World", brings the curtain down with grandeur. Featuring Mick Gordon, it blends orchestral tension with industrial might, like the closing scene of a sci-fi war film. It’s haunting, powerful, and oddly hopeful—a fitting finale for an album born in crisis. The album cover, designed by artist Crystal Johnson, captures the album’s bleak theatricality. A faceless figure in tattered black robes stands in stark white light, evoking images of rebirth, anonymity, and the shadow of collapse. It’s not just an aesthetic choice—it’s a visual metaphor for the themes inside: identity crisis, technological decay, and the beauty of transformation in darkness. The album marks a high point in Motionless In White’s career. It debuted at #12 on the Billboard 200 and hit #1 on the Top Hard Rock Albums chart, proving that their bold experimentation paid off. The album celebrated its first anniversary in 2023 with praise still echoing across fan communities, many calling it their most cohesive and impactful release to date. It captured the chaos of a world in collapse and offered not just noise, but catharsis. This wasn’t just an album. It was a weapon. Listen to the album on: Spotify, Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

On June 11, 2002, "W.A.S.P." released their tenth studio album, "Dying for the World". By this point, "W.A.S.P." had largely moved beyond the glam-metal spectacle of their '80s heyday. The era of stage blood and shock-rock theatrics was behind them. Now, Blackie Lawless, and company delivered something rawer, angrier, and emotionally deeper. The early 2000s marked a turning point in heavy metal. While many of "W.A.S.P."’s peers either clung to nostalgia or faded away, Lawless chose reinvention. "Dying for the World" followed the September 11 attacks, and the emotional impact is woven into every riff. This album isn’t just another entry in their catalog—it’s a protest, a requiem, and a rallying cry all at once. Recorded and released in fewer than eight months, the album’s urgency is palpable. Lawless channeled raw emotion and national grief into a more immediate sound. The album opens up with "Shadow Man" that creeps in like a warning. It’s slow, grinding, full of doom and prophecy. Blackie's voice, raspy and tormented, reflects a man grappling with shadows—both within and without. "My Wicked Heart" injects speed and aggression, also thanks to the thunderous and precise intensity Frankie Banali brought with him. Some parts hints on "Iron maiden", but the song is echoing the early "W.A.S.P." spirit, but this time, it’s rage with purpose. A classic metal anthem soaked in rebellion, but stripped of glam. "Hallowed Ground" is the emotional core of the album. A haunting ballad that balances sorrow and steel, it’s a heartfelt tribute to 9/11 victims. Among Lawless’s finest vocal work, it shows "W.A.S.P." at their most vulnerable. Rubber Man offers a bizarre, twisted groove that screams "Black Sabbath". "Revengeance" is aggressive and unrelenting. Sometimes it sounds like "Judas Priest" with a full-throttle political manifesto. Its thrashy pace, searing solos, and hard-hitting lyrics capture the clash between old-school metal roots and a new, gritty worldview. "Trail of Tears" – quieter and more introspective. Its guitars layers and melancholic tone signal how far "W.A.S.P." had evolved from earlier anthems. It’s a sorrowful ballad rooted in pain. Musically, "Dying for the World" draws from darker influences than previous records. You can hear its socio-political weight, atmospheric melancholy, and even vulnerability. You can say that it channels the spirit of "The Headless Children" era—swapping theatrics for authenticity. In hindsight, this album solidified Blackie Lawless as a socially conscious songwriter of depth. It didn’t dominate the charts—but it earned newfound respect from long-time fans and metal purists alike. For Listening: Spotify, Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

On Jun 11, 2008 "The Offspring" released their eight studio album - "Rise and Fall, Rage and Grace". After a five-year hiatus, "The Offspring" returns with "Rise and Fall, Rage and Grace", an album produced by legendary producer Bob Rock that attempts to recapture their earlier sound while incorporating influences from contemporary bands. Although the album offers moments of familiarity and some new musical directions, it falls short of recapturing the band's former glory and fails to establish a distinct identity in the evolving music landscape. The album opens with "Half-Truism", which immediately evokes memories of "The Offspring's" heyday. The song's powerful guitar work by Noodles, the intricate vocals of Dexter Holland, and the solid drumming of Josh Freese making it his second appearance as the band session drummer, set a high standard for the rest of the album. However, as the album progresses, it becomes evident that some tracks lack the same energy and musicality as the opener. "Trust in You" and "Takes Me Nowhere" both offer fast-paced numbers, reminiscent of the band's post-"Ixnay on the Hombre" era. While these tracks showcase their signature pop-punk style, they lack the freshness and originality that characterized their earlier releases. The single "You're Gonna Go Far, Kid" stands out with its infectious chorus and catchy hooks. Although it falls short of the initial hype, the song still manages to resonate with listeners, especially with its rebellious anthem-like qualities. Similarly, "Hammerhead", the album's first single, delivers a reckless and confident performance, addressing the harsh realities of anti-gun control, written from the perspective of a gunman in a school shooting. "Nothingtown" offers a unique bass solo by Greg K. and a rock N' Roll vibe guitar solo. "Stuff Is Messed Up" attempts to criticize American society but falls short in terms of lyrical creativity, offering nothing new or groundbreaking. The band's attempts at social commentary feel uninspired and pale in comparison to their earlier works. The album takes a more introspective turn with "Kristy, Are You Doing Okay?" exploring the sensitive topic of teenage abuse. The song was written as an apology TO a girl that singer Dexter Holland knew as a child. She was sexually abused and everybody in the neighborhood, including Dexter, but nobody took action. While the song tackles a meaningful subject, its execution feels lacking on the lyrics side which dilute the impact of the message. "Fix You" on the other hand, struggles to find depth and falls among the weakest moments on the album, both lyrically and musically. The final tracks, "Let's Hear It for Rock Bottom" and "Rise and Fall", bring a mix of styles and influences. While the former fails to leave a lasting impression, the latter opens with a riff that echoes "Green Day", leaving the impression that "The Offspring" may have exhausted their creative ideas. Thankfully, these tracks appear toward the end, preventing the album from being completely derailed. In conclusion, "Rise and Fall, Rage and Grace" presents a mixed bag of songs that showcase "The Offspring's" attempt to recapture their past while incorporating influences from contemporary bands. The album has its highlights, with tracks like "Half-Truism" and "You're Gonna Go Far, Kid" demonstrating glimpses of the band's potential. However, it also suffers from rehashed formulas and a lack of lyrical depth in certain tracks. While the album may appeal to longtime fans seeking a nostalgic trip down memory lane, it fails to leave a significant impact on the evolving music landscape. But here is the good news. At this stage of their career "The Offspring" don't need to reinvent themselves. They don't need to find a fresh musical direction to truly captivate listeners and regain their status as influential punk rock icons, because they are already are and they should continue doing what they do best. Listen to the album on: Spotify, Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

A Sneak Peek... And this time, about one of the amazing events associated with the American Billboard charts. On June 11, 2011 "Pink Floyd's" album "The Dark Side Of The Moon" entered the US Billboard charts. The year 2011 you ask? Yes, this is amazing in itself, since as you know this album was released almost 40 years earlier in 1973. It's not that this album has not previously entered the prestigious Billboard charts, it has happened several times over the years since its release, but this time the entry into the charts pointed a historical and hysterical figure. The re-entry into Billboard in 2011 caused this album to cross a 1,000-week mark in which this album was on the charts in total. True, these are not 1,000 consecutive weeks but think about this crazy figure. 1,000 weeks is almost 20 years!! It's so amazing we'll write this again. This amazing album has been on American Billboard for twenty years !!! Ahhh ... and do not refer to the text in the picture is not up to date 😃😅😃 "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

On June 10, 1983, "Pantera" released their debut studio album, "Metal Magic". To understand "Metal Magic", you have to wind the clock back to the early 1980s, when "Pantera" was a hungry, local Texas band just beginning to cut its teeth. Long before they redefined metal with groove-heavy riffs and raw aggression, the band—then known as "Pantera Metal Magic"—was a group of teenagers obsessed with the glam and heavy metal icons of the time: "Van Halen", "Judas Priest", and "KISS". At the heart of it all were two brothers: drummer Vinnie Paul and guitar prodigy Dimebag Darrell (credited then as Diamond Darrell), forming the nucleus of a band that would later become metal legends. The recording of "Metal Magic" was a true DIY affair. The album was produced by Jerry Abbott—father of Vinnie and Dime—under the pseudonym The Eld’n, in the family’s Pantego Sound Studio in Texas. It was released on their own label, "Metal Magic Records". The band’s lineup at the time included vocalist Terry Glaze, bassist Rex Rocker (later known as Rex Brown) and showcased a glam metal sound deeply rooted in the popular aesthetics of early ’80s metal, complete with flashy guitar solos and arena-ready anthems. "Ride My Rocket" opens the album with youthful, exuberant energy—equal parts "KISS" and "Motley Crüe". It’s raw, a little reckless, and drenched in cheesy rock ‘n’ roll attitude. There's no denying the catchy hook, even if the lyrics feel straight from a teenage fantasy. "I’ll Be Alright" attempts a shift into mid-tempo territory with a more melodic chorus. Glaze’s vocals are clean and high, almost sugary, contrasting with Dimebag’s early but already technically solid fretwork. "Tell Me If You Want It" offers up a sleazy groove and leans into "Van Halen"-esque swagger, especially in the guitar fills and solos. It's not subtle, but it’s confident. "Latest Lover" and "Biggest Part of Me" continue the glam-rock parade with polished riffs, romantic clichés, and an unapologetic embrace of glam’s over-the-top ethos. Glaze struts vocally, while Dimebag hints at the guitar wizardry he’d later fully unleash. The title track, "Metal Magic", is a tongue-in-cheek anthem—equal parts juvenile and anthemic. It’s the kind of track that screams for a smoke machine and leather pants, not mosh pits. Still, it’s infectious in its self-celebration. "Widowmaker" and "Nothin’ On (But the Radio)" are pure hair metal indulgence, laced with cowbell, harmonized leads, and cocky flair. There’s charm in the earnestness—even when the lyrics and themes are embarrassingly dated. "Sad Lover" takes us back to the classic heavy metal territory and "Rock Out!" is very dynamic and different in the landscape of the album, sometimes calm and sometimes upping the tempo to the border of speed metal. While "Metal Magic" didn't chart or make waves commercially, it serves as an essential artifact—a rare glimpse into the awkward adolescence of a band that would later become one of the heaviest and most influential forces in metal. At the time, it sold modestly through grassroots efforts and word of mouth, mostly in Texas. But in hindsight, it’s a fascinating prelude to greatness. No, it’s not the "Pantera" we celebrate from "Cowboys from Hell" onward—but it is the foundation from which Dimebag, Vinnie, and Rex would eventually rise. For Listening: YouTube "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

On June 10, 2013, "Black Sabbath" stunned the metal world with "13", their first studio album with Ozzy Osbourne in 35 years !!! We must admit, when we heard in 2011 that the original band members were joining Ozzy Osbourne and working on a new album, our fear increased and our level of anxiety climbed up. We thought that this time the whole was going to be smaller than its parts and that it was going to be a weak and embarrassing album. The rumors about Tony Iommi's health condition and the publications about friction with drummer Bill Ward only reinforced the negative feelings. The intense love for Ozzy Osbourne and the band caused us anxiety and stress, mixed with a great hope that these veteran dinosaurs would not mess things up and that their old age would not embarrass their youth. We were later informed that the frictions with Bill Ward do not allow him to be part of the emerging album, and that the one who is going to take his place is none other than Brad Wilk of "Rage Against the Machine". On one hand, we were disappointed. We still hoped for a full reunion of the entire original quartet. But on the other hand, we shivered just at the thought of the combination of the legendary Geezer Butler and Brad Wilk on the rhythm section. Then we got the album and as soon as the needle touches the first groove of the vinyl record, one could hear the sigh of relief as far as Birmingham England. Fortunately, many of our concerns were dispelled! After Ozzy is faced with the question "Is this the and of the beginning" or is "This the beginning of the end", the opening song "End of the Beginning" assures us that there is no reason to be worried since it is only the "End of the Beginning". The ultimate opening to an album that may become the latest album from a huge band, that wanted to make it big one more last time. The music and atmosphere in the song undoubtedly correspond with the opening song of their first album, which also bears the band's name. Tony Iommi's rough and heavy riff divides your heart in two, and somehow even though 43 years have passed since then it still sounds relevant, innovative, and fresh as if it's being played here and now for the first time. This "borrowing" of the band from itself will return later in the album. "The Loner" Riff sounds like it was borrowed from "N.I.B." The immortal, guitar and vocals in "Zeitgeist" are reminiscent of "Planet Caravan" and the blues combined with a harmonica in the song "Damaged Soul" brings "Black Sabbath" back to its roots. But who cares if "Sabbath" "steals" a little from themselves? The band managed to recreate the gloomy and dark atmosphere from their debut album, but with the liveliness and enthusiasm of a young band, and it's amazing and it's good! The opening of "God Is Dead?" Reminds us right away why we love this band so much. Tony Iommi's heavy, slow and broken fingering strum immediately shakes your whole body. Each string in turn touches a different vertebra in your spine, from the neck down, and then comes the entrance that shakes you, beats you, just like Geezer Butler beats his wild bass, and you are addicted!, addicted to the rough sound, addicted to the slow rhythm, addicted to the atmosphere The darkness and you just want more and more of it. Very symbolically the album that begins with "End Of The Beginning" and the announcement that we are actually only at "the end of the beginning", ends with the sounds of rain falling to the ground and the bells ringing, just as the band's debut album "Black Sabbath" started 43 years earlier, on Friday the 13th of February 1970. If this album turns out to be the band's last album, it's undoubtedly a crazy turning point and a tremendous end to a glorious career of a legendary band, which will surely be recorded in the pages of history as one responsible for the birth of the metal genre. We of course cling to the notion that "it is not over until it is over" and look forward to the number "14". For Listening: Spotify, Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

A Sneak Peek... On June 10, two members of the Pixies + sister band were born... the sisters were born in 1961, and Joey was born in 1965 (Photo: Pixies) The first is Kim Deal, an American singer, and songwriter She grew up on bands like the "Sex Pistols", Elvis Costello, Undertones, and more... In January 1986 she was the only one who responded to an ad in the Boston Phoenix newspaper looking for a bassist. Kim was a guitarist unlike her sister who was a bassist but she took her sister's guitar and went to auditions. Needless to say, she got the job and then the "Pixies" band was formed. She was a member of the band until 2014 and was involved in four of the band's albums in which she adopted the stage name "Mrs. John Murphy". After the Pixies went on hiatus she formed "The Breeders", which after the release of their debut album were joined by her twin sister Kelly. "The Breeders" released five albums and were a resounding success. The second is Joey Santiago, an American guitarist, and composer Santiago is best known as the lead guitarist of the American alternative rock band "The Pixies" since 1986. After they took a break in 1993, Santiago produced soundtracks for film and television documentaries and he also co-founded "The Martinis" with his ex-wife Linda Mallari. He also contributed to the albums of Charles Douglas and former "Pixies" band member Frank Black (Black Francis). Santiago renewed his role as lead guitarist for the Pixies when they reunited in 2004. The third is Kelley Deal, an American musician, and singer, Kim's twin sister !! She was the lead guitarist and lead singer of the alternative rock band "The Breeders" with her sister Kim since 1992, and has set up her own side projects with bands such as "R. Ring" and the "Kelly Deal 6000". "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

On June 10, 2022, German thrash metal giant "Kreator" returned with its 15th studio album "Hate Über Alles". This is the band's first studio album since "Gods of Violence"ת released in 2017, the longest gap between two studio albums in all of their career, and the first featuring bassist Frédéric Leclercq known among others from "DragonForce", who in 2019 replaced veteran Christian Giesler who accompanied the band for over two decades throughout their last eight albums. This album is a direct sequel to what we got on the "Gods of Violence" album, only it seems even more aggressive. After a brief introduction called "Sergio Corbucci Is Dead" which sounds like it was taken from an old Western soundtrack, we are embarking on a brutal attack of classic thrash metal, which very few bands seem to continue to produce today. The theme song "Hate Über Alles" is the classic example of this, with Mille Petrozza's creepy scream at the opening, which brought us back to the small living room in Ramat Gan forty years ago screaming our lungs out: "Slayerrrrrrrrrrrrrrrrrrr". The title of the song in free translation is "Hate Above All" and this is of course Kreator's protest against the hatred that is spreading in the world and their homeland, Germany. It seems that the line from the song says it all: "Hate is the virus of this world", since "Kreator" is a band that is not afraid to speak out on various issues like they did in "Second Awakening" which comes out strongly against anti-Semitism, "Side By Side" which deals with LGBT rights, "Suicide Terrorist" on suicide terrorism, "People Of The Lie" in opposition and protest against fascism In Germany and more. This brutal thrash attack continues throughout the album with songs like: "Killer Of Jesus", "Demonic Future", "Pride Comes Before The Fall", "Strongest Of The Strong", "Dying Planet" and more, with a small twist with "Midnight Sun", which presents the melodic and soothing singing of the German indie-pop artist Sofia Portanet. One of the best moments in this album is the song "Become Immortal", which is a kind of tribute to metal and a salute to 40 years of "Kreator", as can be seen in the video clip: And it is impossible to end this review without the Israeli connection. The stunning cover of the album was designed by Israeli artist Eliran Kantor, who has been living in Germany for the past few years. The band came to Israel right after the album release, on 15.8.22, and this was their sixth visit to Israel since it first landed here on the "Roxanne" stage in 1992, when they also shot a clip for the song "Renewal" in the Judean Desert. Song List: 01. Sergio Corbucci Is Dead 02. Hate Über Alles 03. Killer Of Jesus 04. Crush The Tyrants 05. Strongest Of The Strong 06. Become Immortal 07. Conquer And Destroy 08. Midnight Sun 09. Demonic Future 10. Pride Comes Before The Fall 11. Dying Planet For Listening: Spotify, Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

On June 10, 1982, "Rainbow" released their sixth album, "Straight Between The Eyes". The name of the album came from a sentence Jeff Beck told Ritchie Blackmore to describe Jimi Hendrix's playing. Indeed, the album cover features the neck of the "Fender Stratocaster" guitar (Jimi and Ritchie's favorite guitar) emerging from the eyes of a cartoon character. This is the band's second album in lead singer Joe Lynn Turner's era, a period that was characterized by softening the band's sound, aiming into the mainstream, high charts, and sweet ballads. The lineup on this album is exactly the same as on the previous album "Difficult to Cure" released in 1981, minus keyboardist David Rosenthal who replaced his predecessor Don Airey. Roger Glover, Ritchie Blackmore's friend from "Deep Purple" and "Rainbow's" bass player from 1979, produced the album. The album opens with the song "Death Alley Driver" and from the very first note of the guitar emerging between the drum beats, you can see that this is actually a skinny version of "Highway Star". The sound of the roaring motorcycle engine at the beginning of the song, the riff with the monotonous rhythm, and especially the guitar solo show that this is indeed an attempt to recreate the magical moments of the original song from the mother band, "Deep Purple". The first ballad meets us already in the second song "Stone Cold", which was also the first single the band released from the album. There is no doubt that Joe Lynn Turner's voice range is tailored to ballads of this kind and it sounds excellent here. There is nothing to add to Ritchie Blackmore's professional playing, and Rosenthal's keyboards only add to the "classics" of the song. But the strength of this song lies precisely on the shoulders of Roger Glover's and drummer Bobby Rondinelli rhythm section. By the way, Roger Glover, who produced the album, recognized Rodinelli's dominant drumming style and made sure to bring the drum channels forward in the mix and production, even in ballads like "Stone Cold" and "Tearin' Out My Heart". Rodinelli's solid and aggressive drumming style drives the songs and sweeps the rest of the band members after him. And there’s also the “quiet power” in the form of the amazing keyboardist David Rosenthal, who although has just entered the band contributed so much to the overall sound of the album, especially as heard in the amazing song “Eyes of Fire” with oriental touches reminiscent of the old Ronnie James Dio days. Rosenthal also got to participate in writing one of the most beautiful songs on the album "MISS Mistreated" and Ritchie Blackmore even praised him with a really short intro that opened it. This album is certainly not one of "Rainbow's" creative highlights, but at the same time, it is probably the best album of the Joe Lynn Turner era. What still saves this album is Ritchie Blackmore's uncompromising playing, which stands out not only in his virtuoso and melodic solos, but especially in the classic riffs that hold songs like "Power" and "Rock Fever". This time we chose to attach a link to a complete performance of the band that took place in San Antonio during the tour to promote the album in 1982. The performance includes songs from "Rainbow" albums alongside classics by "Deep Purple". Ritchie Blackmore is seen and heard here at his peak: For Listening: Spotify, Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

Yes, this is Matt Bellamy - guitarist, keyboardist, singer, creator and leader of the band Muse So let us tell you a little bit about the singer with the amazing range of voices, the virtuoso player and the main writer of Muse: (Photo: Gigwise.com) 1. He was born on 9 June 1978 in Cambridge London as Matthew James Bellamy. 2. His father George Bellamy was a rhythm guitarist in "The Tornados", a pop-rock band from the Sixties. 3. Bellamy started playing the piano at the age of six. 4. The first piece he learned to play on the piano was the opening soundtrack of the Dallas series. 5. At the age of 11 he had already switched to playing the guitar. 6. His first appearance was when he was 12, he played the piano in a school performance. 7. Already in school he was a partner in several bands and there he also met the drummer Dominic Howard. 8. The two later invited Chris Wolstenholme to join them as bassist. Chris was a drummer back then and he took bass guitar lessons to join the band. 9. In 1994 the three formed the band "Rocket Baby Dolls" and won a band competition at the school. 10. The band later changed its name to "Muse" after the three thought they needed a more mature name for the band. (Photo: Altpress.com) 11. Together with Muse he will release 8 studio albums during the band's 20 years of activity. 12. Bellamy have a tenor voice with a very wide range. He used to combine vibrato phrases with poetry, in which he was influenced by Jeff Buckley, whom he admired. 13. In 2020 he even purchased the Fender Telecaster guitar that Buckley used during the recording of the album "Grace". 14. In his guitar playing, Bellamy is influenced by, among others, Jimi Hendrix, Tom Morello and more. 15. Bellamy's compositions are usually composed and influenced by classical music composers. For example, you can hear influences from Sergei Rachmaninov in songs like "Space Dementia" and Butterflies and Hurricanes, "Camille" Saint-Saëns in songs like "I Belong to You (Mon Coeur S'ouvre À Ta Voix)" and Frédéric Chopin In songs like "United States of Eurasia". 16. When Bellamy records his singing roles he does not allow anyone to be in the studio, not even his bandmates. 17. Matt's guitars are designed and engineered by Devon's Hugh Manson and include triggers and built-in effects into the guitar. 18. He is a sheep lover and once owned 160 sheep. There were times he even brought him a sheep to an interview. 19. He is also a diving enthusiast and claims that he once almost died in a diving accident when the guide who was in love with his girlfriend filled him with only half a container of oxygen. 20. He wrote the song "Soaked" for Adam Lambert's first solo album from 2009. 21. That same year he wrote the music for the final segment of the film "The International". 22. He holds the Guinness record for the number of guitars he broke in one tour. These are 140 guitars. 23. As of 2017 he is part of a cover band called "Jaded Hearts Club" that plays "Beatles" songs. He plays a bass guitar there. 24. The first piece he wrote outside of Muse was "Pray" for the compilation album "For the Throne" which was influenced by the masterpiece series "Game of Thrones". 25. In September 2020 Matt released a cover version for the song "Bridge Over Troubled Water". The song is included among the ten EP songs called "Cryosleep", along with an original song "Pray" that starred in the cult series "Game Of Thrones" and his "Covid-19 Song" "Tomorrow's World". 26. So far Bellamy has released 9 studio albums with "Muse", the last of which called "Will Of the People" released on August 26, 2022. So go ahead and click play, raise your hands in the air in his honor and together with the snare drum enter the rhythm: one clap, two claps, one clap, three claps and so on. Believe us it is sweeping, fun and liberating... "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website