On June 9, 2003, "Radiohead" released their sixth studio album, "Hail to the Thief". At a time when fans and critics alike were wondering if "Radiohead" would return from their electronic rabbit hole, this album arrived not as a retreat but as a synthesis. It bridges the haunting digital isolation of “Kid A” and "Amnesiac" with the raw, guitar-driven force that defined “The Bends” and “OK Computer”. Written in the wake of the U.S. presidential election and the unfolding war on terror, Thom Yorke crafted lyrics steeped in the language of power—snippets of political speeches, media doublespeak, and Orwellian distortion—stitched together with the imagery of fairy tales and children's stories. The title itself, a biting pun on the U.S. presidential anthem “Hail to the Chief,” hints at deceit, corruption, and a stolen sense of security. The album kicks off with "2 + 2 = 5" and it's deceptive calm before erupting into urgency and alarm. It’s not just a song—it’s a warning. Yorke invokes Orwell to expose how easily truth is bent to the will of power. "Sit Down. Stand Up" followes with drum bits with electronic anxiety. "Sail to the Moon" drifts in like a bedtime prayer, written for Yorke’s son. But even its softness is haunted by resignation—a lullaby for a world already lost. "Backdrifts" takes us deeper into alien terrain: slippery, synthetic, and disconnected. "Go to Sleep" jolts us back to the analog realm. Jonny Greenwood’s guitar is angular and sharp, slicing through the arrangement with math-rock precision. "Where I End and You Begin" is primal and hypnotic. Driven by Colin Greenwood’s looping bassline beneath spectral textures as Yorke sings from a place between fear and transformation. With "We Suck Young Blood," "Radiohead" offers a slow, vampiric march that satirizes exploitation and greed that feels like a twisted bedtime story for a capitalist nightmare. "The Gloaming" slinks in like static on a darkened screen. Whispers, ghosts, and glitch form an atmosphere thick with threat. “You have not been paying attention,” Yorke warns. And he’s right. Then comes "There There"—a drum-heavy, guitar-layered climax. Tribal, spiritual, and poetic, it builds into catharsis. “Just ’cause you feel it doesn’t mean it’s there” is both lament and accusation, echoing in the dark. "I Will" is brief but harrowing. A hushed hymn to vengeance or mourning—possibly both—it lingers like a shadow after the flame. "A Punchup at a Wedding" is bitter, sarcastic, and full of quiet rage. "Myxomatosis" crashes in with fuzz and venom. It’s furious and unrelenting, blasting media manipulation and public complacency with distorted energy. "Scatterbrain" offers a moment of fragile beauty, drifting over a landscape of chaos. It feels like watching a storm from behind glass—safe, but never untouched. Finally, "A Wolf at the Door" closes the album with creeping dread and lyrical fury. Yorke swings between whisper and snarl, spinning a tale where fairy tales and political horror merge. The wolf isn’t coming. It’s already inside. "Hail to the Thief" may not be "Radiohead"'s most cohesive album, but it stands as one of their most fearless. It captures a band torn between worlds—analogue and digital, political and personal, structured and chaotic. Drawing from the icy abstraction of "Kid A" and the visceral punch of "The Bends," it weaves a complex, often confrontational soundscape. For Listening: Spotify, Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

Yuval Banay is celebrating his birthday today. Here are 20 interesting facts about him: Photo: PARGIT 1. He was born in Tel Aviv on June 9, 1962. 2. He is the eldest son of Ilana and Yossi Banay - actor, singer, comedian and writer. 3. He served in the Artillery Corps and took part in the First "Lebanon War". 4. The war affected him and his songs deeply, he wrote about it among other things the songs "The Cannon Rings Twice" from "Mashina"'s debut album, which talks about a friend's shell shock and "Can't Stop It", which recounts his experiences from the First Lebanon War. 5. He met Shlomi Bracha after the war when he instructed recruits in the "Shivta" military camp. 6. The two used to spend their vacations at the "Penguin" club, and under the influence of the bands that played there like "Minimal Compact" and "Jean Conflict" decided to form a band. 7. They wrote the entire first album of "Mashina" at the military base. 8. After their release from the Army, they formed "Mashina" in 1983 and began performing themselves at the "Penguin" club. 9. In 1984 he was cast in the film "Sun Blow" starring Anat Atzmon. He sang the theme song from the movie. 10. Later that year he was a part of the "Shlom Hatzibur" band, which also included his bandmate from Mashina - Iggy Dayan. 11. In 1985, the debut album of "Mashina" was released, since then he has released with the band 9 more studio albums, including masterpieces such as "The Association for the Study of Mortality", "Monsters of Glory", "Goodbye Youth Hello Love" and more. 12. In 1991 he produced the album of his then wife Orly Zilbershtz - "Miranda's Cabaret" and composed most of its songs. 13. In 1995 he musically produced the album "Journey with Myself" by the band "Eifo HaYeled?" and participated in the song arrangements. 14. In 1997 he released his first solo album "Yuval Banay". Bo composed all the songs on the album and wrote most of them. Since then, Yuval has released 4 more studio albums as part of his solo career. 15. In 1998 he participated in the musical project "Avoda Ivrit". He performed a cover version of Arik Einstein's song "I Love to Sleep", with the African Roots band. Photo: Last.fm 16. In 2012, he served with his friend Shlomi Bracha as a mentor in the TV program "The Voice". 17. In 2016, he was a guest on Shlomo Artzi's album "Whipped Cream". He sang with him the song "Forever Together." 18. In 2019, Banay staged the show "Yuval Shar Yossi" in which he performed the songs of his father, Yossi Banay. 19. In 2020 he participated in the movie "Mami". 20. He is the father of Elisha Banay - his eldest son known as a lead singer in the bands "Elisha Banay and the 40 Bandits" and "Got No Shame". "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

A Sneak Peek... And this time ... about the rock star trying to write a "trademark" on "Devil Horns" .... an act of fool or a marketing ploy? (Photo: Broadimage) Today in 2017 Gene Simmons of the Kiss filed a bizarre application to the U.S. Trademark and Patent Office. He sought to register the "Devil Horns" or "Metal Horns" mark as a trademark belonging to him. According to Simmons, he was the first to use the "devil's horns" symbol and this first happened on November 14, 1974. In these circumstances, Simmons claimed that it should be determined that it was a trademark belonging to him. Simmons' request was received with astonishment by various musicians and critics. First, Simmons' symbol included the use of three fingers instead of two (see photo) with the thumb also raised up along with the finger and little finger. This symbol is used in American sign language to say "I love you". Second, the use of this symbol was made by musicians and others long before Simmons claims to have first used it. For example, John Lennon used the symbol on the cover of the single "Yellow Submarine" and on the cover of the album "Yellow Submarine" which was released back in 1968 (see below). Third, the use of this mark was not made for commercial reasons but in an attempt to excite and thrill the audience and therefore it is doubtful whether it can at all be determined that it is a "trademark" as defined by law. Fourth, it is impossible to ignore the fact that Simmons' application was filed with a delay of over forty years during which many cultural figures made use of the symbol, so this should be interpreted as Simmons' waiver of the right. Fifth, the symbol of the devil's horns common among metalheads and rock fans uses only two fingers. The popularity of this icon is attributed to singer Ronnie James Dio who tried to capture the hearts of "Black Sabbath" fans after replacing singer Ozzy Osbourne. Dio needed his own hallmark to excite the audience. Anyone who has seen Sabbath's shows with Ozzy from the 1970s knows that Ozzy regularly used to use the V mark on his fingers. Ronnie needed his own mark but he could not look like his predecessor so he chose the mark his Italian grandmother used to use to get rid of the "evil eye" - the horn mark known today as "metal horns". The "metal horns" symbol soon became the hallmark of Dio. The symbol's popularity grew and it became a mark associated with metal and rock music. (Photo: Chiaki Nozu) In March 2021, Geezer Butler - bassist of "Black Sabbath" - added interesting details by saying that he used to use the symbol back in 1971. Geezer also provided a picture proving his words. He claims that although he used it before, Dio has adopted the mark and he will always be identified with it. Geezer noted that he used to signal to the audience before a quick piece of music in the song during live shows. Dio asked him what this mark he was doing, but nevertheless, Geezer praised Dio and said that since he was the one who adopted and became famous for it, he ask no credit no matter what. (Photo: Pinterest.com) And if we go back to Simmons for a moment, then it is possible that one or more of the reasons listed above led Gene Simmons to withdraw his application less than two weeks after it was filed. An act of fool or a marketing ploy? It is for you to judge ... "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

On June 9, 2015, "Cauterize", Tremonti's second solo album, was released. If in the album "All I Was" review we told you how Mark Tremonti hatched from the egg to embark on his own independent path, but the "chick" that hatched from the egg turned out to be a "dinosaur", then this dinosaur grew and on this album became a formidable T-Rex that threatens the whole "Jurassic world" ". If you thought that on the debut album "All I Was" Tremonti released all his aggressions with materials that did not fit the musical line of "Alter Bridge" and "Creed", then in this album, he takes it one step further and unleash atomic energy that burns all things in its path. Tremonti simply unleashes all restraint here and fire his soul into the album. Make no mistake, anyone who listens to this album will hear the influences from the world of thrash metal on Mark Tremonti and especially of "Metallica" and "Testament", on which he grew up on. But not only that, we were able to notice also the influences of "Pantera" and even of "Gojira", the youngest in the bunch. Do not believe? Listen to Tremonti's guitar starting at 1:00 in the opening song "Radical Change". But that's not all. In this album, Tremonti begins to formulate his immortal formula, the private DNA of his own compositions. Tremonti's unique formula blends modern thrash metal with melody. If you listen to his songs, especially from this album on, you will surely be able to identify a number of salient elements that characterize most of them. They will usually start with cruel "Speed" riffs and even thrash metal ones, Tremonti will pour his unique melody over them and then paint them with complex rhythms and a lot of dynamics, moving from very fast sections to "mid-pace" rhythms and back again. He will take the listener into the eye of the storm, later pull him out of there to a calmer area, and then, without any prior warning, he will throw the listener back into the raging tropical storm and leave him there exposed, without protection, without a lifeline. In order to carry out his plot, Mark Tremonti gathers around him a tough and threatening gang no less than "The Chainsaw from Texas" (he is not really from Texas), in his own right. This album forms the backbone of the band that will accompany Mark Tremonti on future albums, including Eric Friedman on bass and guitar and Garrett Whitlock on drums, both from "Submersed" which disbanded in 2008. And this time Wolfgang Van Halen is joining the band as a permanent member as a replacement for bassist Brian Marshall. This album is the first of two albums recorded together in the same sessions. Tremonti recorded enough material for two albums in these sessions. He did not want to release a double album, so he chose to release two albums balanced in dynamics, number of songs and structure, with the album "Dust" being released a year later, in 2016. You can feel Tremonti's influences right from the opening track "Radical Change". The fast, thrashy groove sounds like a riff Metallica might have left behind on the editing floor of one of their albums. Tremonti never hid how much that band shaped him – he used to play their riffs for hours just to strengthen his technique. "Flying Monkeys" takes a different path – heavy, sluggish, and darker compared to the opener. When Tremonti sings “I’m inclined to take my time, I’ll take this to the grave…”, it’s clear he’s leaning into Doom influences here. "Cauterize" kicks us back into aggressive, speedy thrash. But when the slow, catchy chorus hits – it all makes sense. Tremonti’s formula just works. As the track winds down, Tremonti’s guitar and Wolfgang’s bass create a peaceful atmosphere, like the album cover itself – as if Mark Tremonti’s troubles have sunk with the setting sun. "Arm Yourself" brings back the full-throttle thrash assault with frantic guitar and machine-gun drum hits. So listen to Tremonti – “Arm yourself, ‘cause today it ends…” "Dark Trip" shifts us into a more melodic, melancholic mood that matches its lyrics beautifully. Rich with harmonies, it echoes the "Creed" days, blended with some bluesy flavors in the solos. "Another Heart" was the album’s first single – and it’s easy to see why. It showcases all of Tremonti’s strengths: metal riffs, great melody, a catchy chorus, and a killer solo. It’s the perfect gateway track to introduce him to a wider audience. "Fall Again" brings us back to Tremonti’s softer side. That clear voice, the range, the precision – it’s hard to believe he hid behind the guitar for years, content with backing vocals alone. "Tie the Noose" hits like a punch to the face. Bold and fierce, it was written in response to the riots in Ferguson, Missouri, after the police shooting of Michael Brown. A political cry wrapped in distortion. "Sympathy" shows what makes Tremonti unique in the metal landscape. While many metal acts pour out anger and protest, Tremonti often injects messages of hope into his lyrics. A gentle kind of power. "Providence" closes the album with one of its most emotional moments. It proves, yet again, that Tremonti's music can be ferocious and biting, but also accessible, melodic, and meaningful – even for those who need a positive message to hold on to. Listen to the album on: Spotify, Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

"Velvet Revolver's" debut album, "Contraband," released on June 8, 2004, is a potent blend of hard rock and alternative sounds, showcasing the remarkable synergy of its rock veterans. Formed in 2002, the band features "Guns N' Roses" Slash (guitar), Duff McKagan (bass), and Matt Sorum (drums), joined by guitarist Dave Kushner of "Suicidal Tendencies" and "Wasted Youth", and fronted by Scott Weiland of "Stone Temple Pilots". The idea for Velvet Revolver emerged when Slash, McKagan, and Sorum performed together at a benefit concert for fellow musician Randy Castillo. Inspired to form a band, they enlisted Kushner and embarked on a high-profile search for a lead singer, documented by VH1. After auditioning several vocalists, including Josh Todd of "Buckcherry" and Kelly Shaefer of "Neurotica", they found their match in Scott Weiland. Weiland, already friends with McKagan and familiar with Kushner from previous gigs, offered his services after hearing the group's material, and the band clicked immediately. The name "Velvet Revolver" combines suggestions from both Slash and Weiland. The band's initial recordings included "Set Me Free" for "The Hulk" soundtrack and a cover of "Pink Floyd's" "Money" for "The Italian Job". These tracks were incorporated into the album, recorded in late 2003 amidst Weiland's legal battles and rehab stints. Despite these challenges, the band delivered a polished yet raw collection of songs. Notably, Slash recorded "Sucker Train Blues" using a 1956 Fender Telecaster and a 1965 Fender Stratocaster, adding a classic touch to the album's sound. "Contraband" benefits from stellar musicianship and production by Josh Abraham and the band. Slash's fiery guitar work, McKagan's solid bass lines, Sorum's precise drumming, and Kushner's rhythm guitar create a rich, cohesive sound. Weiland's versatile and emotive vocals shine throughout, tackling themes of addiction, redemption, and personal demons with authenticity and introspection. It's a powerful debut that captures the rebellious spirit of its members' past bands while forging a distinct identity. Its energy, musicianship, and memorable hooks make it a standout album that has stood the test of time. "Sucker Train Blues" opens the album with a blast of energy, featuring powerful riffs from Slash and Kushner, and Duff McKagan's driving bass. McKagan, often the unsung hero, provides a powerful and distorted groove that anchors the track. Matt Sorum's drumming is solid and reliable, holding the backbone together with concrete precision. Scott Weiland's singing style during the verses will remind you of Axl Rose. His gritty, raw vocals fit perfectly, especially in the anthemic chorus, while Slash delivers blistering solos. However, the album hits a slight dip with the next few tracks. While songs like "Do It for the Kids" and "Big Machine" try to maintain the momentum, they lack the spark that defines the opening track. Weiland’s vocals start to sound strained, and the band's attempts to sound modern sometimes feel forced. "Illeagal i Song" gets the band right where they belong with a great guitar riff and fierce energy. "Spectacle" who comes right after is a heavy solid rock and roll tune. "Fall to Pieces" is a standout, a heavy ballad with emotional depth and memorable melodies. The intro is reminiscent of "Guns N' Roses'" "Yesterdays," and Slash's soulful solos are unforgettable, bringing Weiland’s voice back to life with emotional power. "Headspace" has a killer rhythm. It brings back the energy with crushing grooves, showcasing the band's ability to blend modern touches with classic rock. "Superhuman" and "Set Me Free" feature promising riffs and intros, but the songs as a whole don't always grab you as much. The half-acoustic "You Got No Right" is another highlight, with a catchy chorus and Slash’s signature melodic soloing. The drop D tune "Slither" is the album's first single. It stands out with its infectious main riff, it's mid-paced hooks and a catchy chorus, earning the band a Grammy for Best Hard Rock Performance. Right after comes "Dirty Little Thing" a hard rocker that is very reminiscent of the opening track, with a killer solo by Slash. The song was written back in the time when Josh Todd and Keith Nelson from "Buckcherry" were part of the lineup. This song was the basis for a copy claim by Tony Newton from the band "Dirty Deeds" who managed to prove that the leading riff in the song is a copy of the riff in his band's song "Cyber ​​Babe". The album ends up with the ballad "Loving the Alien" which does not quite reach the level of writing and performance of the two previous ballads on the album. With a lineup like this, expectations were high. "Contraband" may not be the all-healing hard rock masterpiece some hoped for, but it is a very good hard rock record. The album doesn’t aim for anything fancy; it just rocks damn well. Slash and Duff McKagan are the true stars, delivering memorable performances that elevate the album. While the album has its highs and lows, the standout tracks make it a compelling listen. "Velvet Revolver’s" "Contraband" is a solid debut, offering a mix of classic and contemporary rock elements. Fans of rock music, especially those who appreciate the band's legacy, will find much to enjoy here. For Listening: Spotify, Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

Some albums become the defining soundtracks for entire generations. They emerge at just the right time, capturing the pain, angst, and confusion of youth with such honesty that they achieve immortality. "Three Cheers for Sweet Revenge" is precisely this type of album, raw, dramatic, and intensely emotional. To grasp its impact, it's essential to know its origins. My Chemical Romance emerged from the shadows of tragedy. Gerard Way, deeply affected by the events of 9/11, decided to express his grief through music. He assembled guitarist Ray Toro, drummer Matt Pelissier, bassist (and brother) Mikey Way, and later rhythm guitarist Frank Iero, to create a band that would blend the theatricality of Queen, the intensity of punk, and the emotion of emo into something entirely unique. Their 2002 debut, "I Brought You My Bullets, You Brought Me Your Love," was raw, underground, and promising—but it was "Three Cheers for Sweet Revenge" that shot through the heart of the mainstream. (Photo: Naki, Redferns) Released on June 8, 2004, this was the band's second studio album and their first with a major label, Reprise Records. It was recorded in Calabasas, California, with producer Howard Benson, who refined their chaotic energy while maintaining its intensity. This album also marked Frank Iero's first full participation, solidifying the classic lineup. It introduced MCR's theatrical storytelling, with "Three Cheers" presenting a bloody narrative of love, death, and revenge—the tale of a man who dies and must gather the souls of a thousand evil men to reunite with his beloved. The band was composing as if their very existence hinged on it—and perhaps it did. The urgency, the desperation, the emotion, all of it is genuine. The outcome was beyond mere music. It was a gothic-punk opera drenched in blood, sweat, and eyeliner. An album that doesn't merely play, it bleeds. The introduction begins with "Helena", and Gerard Way's voice is filled with unmistakable grief. This track, a tribute to his late grandmother, establishes the emotional atmosphere of the entire album—funeral processions intertwined with powerful guitars, with heartbreak presented as performance art. The chorus's intensity feels as though it emerges directly from the depths of a broken heart. "Give 'Em Hell, Kid" accelerates the tempo, immersing us in a whirlwind of punk energy. It’s wild and electrifying, with Gerard's voice oscillating between allure and fury. The guitars are sharp, the drums unyielding—pure musical adrenaline. Next is "To the End", showcasing the band’s dark humor. A twisted wedding song steeped in melodrama and metaphor. There's a beautifully deranged quality in how MCR romanticizes the macabre. "You Know What They Do to Guys Like Us in Prison" embodies theatrical chaos. Featuring guest vocals from Bert McCracken (The Used), this track resembles a prison riot accompanied by a glam-punk orchestra. It’s extravagant, intense, and utterly unforgettable. Then there’s "I'm Not Okay (I Promise)", which propelled the band to iconic status. Anthemic, sarcastic, and deeply genuine, it’s the anthem of the misfit. When that chorus hits, it’s impossible not to sing along. It’s pop-punk perfection drenched in mascara tears and teenage rebellion. "The Ghost of You" is arguably the album's most haunting track. This slow, sorrowful ballad about loss and yearning resonates deeply with its chorus. The music video, reminiscent of a WWII epic, amplifies its tragic impact. It's a serene interlude amid the chaos—a moment of poignant beauty. "Thank You for the Venom" thrusts us back into a frenetic pace. It's fast, intense, and laden with sarcasm—a rebellious gesture wrapped in searing guitar riffs and Gerard’s fiery vocals. "Hang 'Em High" feels like a Western gone awry—twangy guitars morph into screams, and the rhythm charges ahead like a chaotic gunfight. These moments highlight the band's fearless approach to blending genres and emotions. Then we encounter "It's Not a Fashion Statement, It's a Deathwish"—a proclamation, a revival, a manifesto. It's dark and poetic, like a message scrawled in eyeliner on a bathroom mirror. "Cemetery Drive" emerges like a midnight confession. Desperate, emotional, and self-destructive—it’s the sound of secrets coming undone. The album concludes with "I Never Told You What I Do for a Living", a track that feels like a final exhalation. It's raw and enigmatic, filled with pain and poetic intensity. The perfect ending to this theatrical plunge into darkness. "Three Cheers for Sweet Revenge" transcends being just an album, it's a cathartic release. A raw, blood-soaked confession intertwined with power chords and poetry. It confronts grief head-on, cloaks heartbreak in distortion, and transforms trauma into a theatrical spectacle. The guitars cut like razors, the drums throb like a racing heartbeat, and Gerard Way, part preacher and part specter, leads us through a noir vision of vengeance, death, and desperate love. It transformed pain into purpose and made brokenness feel beautiful. Even two decades later, it continues to do so. When released in 2004, the album initially debuted at No. 28 on the Billboard 200, but its ascent was explosive. Powered by anthems like "I'm Not Okay (I Promise)", "Helena", and "The Ghost of You", the album not only climbed the charts but also became ingrained in culture. It achieved Triple Platinum status in the U.S., selling over 3 million copies domestically and 4 million globally. It became a cornerstone of the 2000s emo-punk movement, serving as a reference point for every misfit with eyeliner and a broken heart. In 2014, both fans and the band celebrated its 10-year anniversary with tributes, covers, and nostalgic reflections. By 2024, as "Three Cheers" reached its 20th anniversary, its legacy only grew stronger. MCR's social media channels were filled with unseen footage, old photos, and fan dedications, reigniting the passion in longtime fans and inviting a new generation into its haunted embrace. Because "Three Cheers for Sweet Revenge" remains timeless. It haunts, heals, and howls—just as it did from the very beginning. Listen to the album on: Spotify, Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

"Angel Dust" is a nickname for the drug "penicillamine", the hallucinogenic drug that causes a feeling of detachment from the environment and insensitivity to pain that is dangerous and forbidden to use, which makes writing on this album one big trip for us. There are albums that we approach with "reverence" both because they have a very big impact on us and also given the impact they have on the music in general, Faith No More's "Angel Dust" released on June 8, 1992, is one of those albums. Just a quick glance at the cover, which on the one hand shows a white Haikarat and on the other hand a picture of a production line in a meat factory, already makes us shiver. So as we hinted, this album has a huge impact on us, the change of style between the songs throws you into places you did not expect, and the sound of the guitars and drums is so special that you feel every note in your veins, while Mike's lyrics and voice make you shiver all over. Although "The Real Thing" marked the beginning of the band's journey with Mike Patton, where he wrote the lyrics to the music the band had written in advance, on this album he was already a full partner in writing the music and lyrics. Already in "The Real Thing" we heard the diversity in the styles and characters of the songs that throw you from side to side, but the album was a little lighter. This album continues the line that started with "The Real Thing" but with more maturity and depth. In one of the special shows done on 88FM station about Mike Patton, Kuame said a true say: "Faith No More is the restrained version of Mr. Bungle, Mike's first band from high school", where the pieces are much more disturbing and unbridled. (Photo: Mick Hutson) So with Kuame's permission, we change the phrase a bit and call the collection of songs on this album "Restrained Disturbance"... It opens with the song "Land of Sunshine" as the rhythm section (our favorite) leads you through the clouds into the land of the sun with the words "Sing and Rejoice…" Do you think to yourself Does life seem worthwhile when you are allowed to order yourself a new life? Words Mike wrote from fortune cookie texts and an acceptance question for the Church of Scientology. From there we move on with the howls of wolves to one of the craziest songs (for us) on this album - "Caffeine", with rhythms that turn you on, shake you, and drive you crazy, from noise up to noise down like mixing beer and espresso !! Mike whispers and Mike Bordin's snare cause your teeth to knock out of control. One of the great hymns that throw you in the air and land you powerfully on the ground. You have not yet recovered and you already find yourself in a "Mid-life crisis", and you are not even approaching the age of 40 yet. You just do not understand how to digest what you just heard. Again Mike Bourdain and Billy Gold make your limbs move uncontrollably and your body and mind surrender to Mike's voice, informing you that you're in a midlife crisis, and you are already surrendering without any thought or argument... Patton said the song does not talk about his midlife crisis, Because he did not know how such a crisis should feel. He noted that Madonna was the one who influenced the lyrics. At the time he saw her everywhere, on TV, on billboards, and in magazines and she always seemed bothered as if something was happening to her... Believe it or not, but this song includes quotes from the song "Cecilia" by Simon and Garfunkel and the song "Car Thief" by the Beastie Boys, Which makes it even more iconic than it is. After one of the greatest singles in modern rock history, "RV" takes you to a little dance in the big ballroom with a light break so you have the strength to contain what happens next. The song develops to a higher intensity in its final third so that you will not forget where you are but ends with a pleasant caress. "Smaller and Smaller..." Maybe that's why it rarely played in the band's shows. This song takes you and develops with you through Mike's voice and Jim's guitar with a combination of Native American rituals, absurd as it may sound, it's just that. Then "Everything's Ruined", this whole story is completely ruined and you're already ruined on this album when you're only halfway through it. One of the greatest if not the greatest songs on the album that takes you through an apocalyptic story about a slave industry that is focused on doing the work of the ruler and raising a tyrant born to rule all this "good". "Malpractice" is exactly what describes this song that puts you in a blender with some yogurt, ice, and nails and makes you a smoothie, without you asking, and you happily drink it do not want it to end but then the next song begins. The song "Kindergarten" reopens with Jim's guitar, which surprisingly is his latest album with the band. Is the first of only two songs for which he received writing credit. No doubt this feels his string claim here and it's an excellent song. In the song "Be Aggressive" Mike Patton sings to the lyrics written by the band's keyboardist Roddy Bottum, without any involvement from Mike. The song is about S&M, "oral sex between two men," a gay relationship, and at the time of writing, Rudy said he enjoyed the thought of Mike performing on stage and directing such a song. Rudy of course came "out of the closet" later, which would explain the effect on the lyrics. "A Small Victory" This album is (not a small victory), it is a huge victory over the genre's claimers, the songwriters, and the music in general. Breaking boundaries is almost inconceivable. What goes on in this song (which is by the way the second single that came out of the album), with all the crazy samples that accompany it, and the whole album, cost the record company and the company management a lot of pressure and money. "Crack Hitler" recounts the next song, the guitar opens the song with a simple announcement at the airport and you fly with it on and on. You try to relax a bit with the sounds of water, crickets, and frogs in the opening of "Jizzlobber" but then the piano and guitar put you in a dramatic and terrifying scene (Jim's second song), just like Mike Patton's fear of going to jail, he says. He knows it will happen someday because he has already been, but he knows that next time it will be for a much longer time. And after all that, after all, you've been through... all the ups and downs, thrills, and shocks they decide to give you a pleasant and optimistic ending with two covers, "Midnight Cowboy" and "Easy", the latter did not appear in the regular album version but it will become eventually one of the band's hallmarks in certain audiences, and even its most successful and heard the song in several countries around the world. For us, this "eternal" album, hovers over time, is always with us, and accompanies us even before we dream of the mid-life crisis and after it. It is a masterpiece that makes us fall in love with it over and over again. We went a little wild this time but that's really what this album makes us feel. And now take a break from life, play, and enter another world Spotify, Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

The masterful album "Californication", the seventh of "Red Hot Chili Peppers", was released on June 8, 1999. Let's find out, what the connection between this album and David Bowie, Kurt Cobain and Princess Leia from "Star Wars", With 22 interesting facts about the album: 1. This is the band's most successful and best-selling album with sales of over 16 million copies worldwide. 2. 6 of the album's 15 songs were released as successful singles and topped the charts for over two years, the first single was released in May 1999, and the last single in March 2001. 3. This is the album that marked the return of guitarist John Frusciante to the band. Frusciante left RHCP in 1992, immediately after the release of the album "Blood Sex Sugar Magik". 4. Frusciante's return brought with it a fundamental change in the band's sound and musical style, with elements of soft rock and more melodic compositions, which came at the expense of the band's rooted funk-punk rock that had shrunk compared to previous albums. 5. The band wanted David Bowie to produce the album, but he was not available. 6. On A David Bowie album, Kurt Cobain and the star "Alderaan" (from whom Princess Leia came), received a homage on a line from the theme song "Californication": "Cobain can you hear the spheres singing songs off station to station And Alderaan's not far away, it's Californication". 7. "Californication" was influenced by a 30-minute instrumental piece by "The Cure" called "Carnage Visors", taken from the mythological album "Faith". 8. In 2007, the comedy series "Californication" aired in the United States. The creators of the series did not receive prior approval to use the name, which led to a lawsuit by the "Chili Peppers" against them. 9. One of the characters in the series played by Rachel Miner is called "Dani California" - as the band's song from 2006. 10. The theme song "Californication" won first place in the Decade chart of the 21st Century By "Galgalatz" radio station. 11. Towards the end of the mighty opening song "Around the World" Anthony Kiedis rattles something instead of words. He searched for words for this piece in the studio and when he could not find them, he just sang gibberish. After finding the words, the song was recorded again, but Flea's daughter who heard the recording urged the band to return to the original version. Incidentally, the bass in the opening of the song is reminiscent of that in the song "Breadfan" by the band "Budgie", which was later revised by "Metallica". 12. "Emit Remmus" is actually "summer time" spelled backward. The song was written by Anthony Kiedis under the influence of his brief relationship with Melanie C of the "Spice Girls". 13. "Porcelain" and "This Velvet Glove" were influenced by Kiedis' relationship with fashion designer Yohanna Logan. 14. The massive use of Frusciante with the wah pedal in the song "Get on Top" was born after he listened to "Public Enemy". His solo in the song was influenced by the playing of Steve Howe from "Yes" in the song "Siberian Khatru" from the album "Close To The Edge". 15. Frusciante's guitar sound in the song "Savior" includes massive use of effects including Micro Synth with a 16-second delay. This sound was influenced by that of Eric Clapton in "Cream". 16. "Scar Tissue" won the Grammy Award for Best Rock Song in 2000. 17. The song was written by Anthony Kiedis concerning the sarcasm of guitarist Dave Navarro known as the "King of Sarcasm". The line "Close your eyes and I'll kiss you 'cause," refers to a scene in which Kiedis kisses Navarro in a clip for the song from the album "One Hot Minute". 18. Frusciante wrote the iconic guitar section of the song in an attempt to recreate a technique he used on his first solo album - "Niandra Lades and Usually Just a T-Shirt", in which he created a groovy rhythm while playing two notes far apart. 19. "Otherside" was written by Anthony Kiedis about his drug addiction. 20. The album was supposed to be released on the exact same day as "Mr. Bungle's" "California" album. This was due to the rivalry between Kiedis and Mike Patton. In the end "Mr. Bungle" was forced by the record company to postpone the release of their album, just because the names were similar. 21. The album is ranked 399th on "Rolling Stone" magazine's "500 Best Albums of All Time" list. 22. It also appears on the Rock n' Roll "Hall of Fame's "The Definitive 200: Top 200 Albums of All-Time" and "1001 Albums You Must Hear Before You Die" list. For Listening: Spotify, Apple Music 1. When they performed in Israel, Kiedis dedicated the song "Otherside" ... to Haifa .... I clearly remember the sign, which the representatives of the fan club held in their hands, in the front row, and which was dedicated to the late Hillel Slovak ... 2. 1999 was my year of glory ... I worked as a Security Officer in a pompous health estate, and at night thoughts come to me, of how I took this album, put it in the hotel's audio system, and made the night tours between the garden & the pool area ... wishing a pleasant morning to the guests. 3. I gave a signed copy of this album, as a gift to Shuki Weiss, on the day Kiedis decide not to perform in Israel due to a brutal terrorist attack ... I sat in his office with Aviv Geffen, the three of us with our faces in our hands ... Shuki was very moved by my gesture, Took a sheet of paper, and gave me the only copy, which a graphic artist had prepared for the stage design, according to the band's requirements. Years later, I spoke with US President Bill Clinton, who worked hard to keep the show going, and put a lot of pressure on Kiedis and his father, but to no avail ... The band's staff was the ones who really vetoed against the arrival to Israel. "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

On June 8, 2018, "Tremonti" released their fifth studio album "A Dying Machine". This is likely the band's finest album, even though the authors of these lines believe there is a superior one... This album is a concept piece, released alongside a book of the same title, authored by Mark Tremonti and writer John Shirley. The book is crafted to complete the narrative fabric for the listener. The story unfolds at the start of the next century, in a futuristic world where technology allows for the synthetic creation of a human being. This creation, known as a "Vessel," primarily consists of human parts but is essentially a type of Android (similar to those in the movie "Blade Runner"), loaded with data and features specifically chosen by its owners, referred to as "Primaries." These "Vessels" are produced at the behest of their "Primaries," using human DNA, and are as unique as humans, yet not entirely so... Over time, certain "Vessels" start to resist and defy their owners. The manufacturer issues a "recall" for these "Vessels," which actually incites them to initiate a war against their owners. The story's protagonist is one of these "Vessels," designed and programmed by his "Primary" to love only him, in an attempt to fill the painful void left by his wife's death. Mark Tremonti mentioned that he has always aspired to write a novel, and working on this album allowed him to "kill two birds" by releasing both an album and a book. The concept for the storyline began during a warm-up before an "Alter Bridge" concert in Hungary, where he played a specific chord progression that later became the theme song. Mark Tremonti explained that the plot naturally formed in his mind and continued to evolve during the performance. He recalls being on stage with ideas emerging between the songs he played at the concert, eagerly anticipating returning to the locker room to write the song. Musically, this album serves as a direct continuation of the previous ones, with Mark Tremonti only improving with each release. We've always recognized Tremonti as a phenomenal musical talent. We knew he was an excellent guitarist, a gifted writer, and even a decent singer. However, on this album, he truly outdoes himself in every aspect. The level of writing, being a full concept album, the quality of playing, production, and sound, and most notably, the singing, are all exceptional. What a beautiful voice—it's astonishing what this incredible guitarist can achieve vocally, and it certainly enhances the enjoyment of this side project, which is gradually gaining more significance. What can we expect from this album? Following the "March" drums in the intro of the opening track "Bringer Of War", Tremonti charges into a "battle" with a colossal opening riff and powerful drums that set the intense pace of the conflict between the "Primaries" and "Vessels". Mark Tremonti's melodic and clear vocals harmonize perfectly with the razor-sharp riffs and intense beat, culminating in a powerful roar during the chorus. We are still recovering from the turmoil of "war," and Termonti is dropping a bomb on us with "From The Sky." Termonti's brilliance lies in the incredible blend of sharp riffs and a smooth, captivating melody, which is precisely what unfolds between the verses and the chorus of this track. Instead of lyrics, it features the battle cry "Wow wow wow ....." and we are already hooked... And just when you thought it couldn't get any better, the theme song "A Dying Machine" comes in, shattering every bone in our body. We didn't just select this song as the opening track for our inaugural "Face/Off" show by chance. Garrett Whitlock's powerful drumming provides a solid foundation for Tremonti's cutting riffs, as the song moves through waves of calm and chaos, flowing directly into our veins. The razor-sharp guitar work and incredible vocals are remarkable; Tremonti groans, writhes, roars, and rages while the rhythm section sweats and struggles through this musical "roller coaster." And those "little ones" that completely overwhelm us. Listen to the sequence of triplets that Whitlock performs intermittently starting at 0:57—simply ingenious! The break to the C-ParC-part:57 and the transition from gentle, soothing vocals to angry cries at 4:30—"Priceless".... Then "Trust" appears and transforms everything. The atmosphere shifts completely, delivering a catchy and accessible song with an irresistible chorus. Tremonti adopts a more stable and mature style, bordering on Nu-Metal, complemented by Eric Friedman's striking and bold bass work and a robust, powerful drum sound. "Throw Them To The Lions" creates suspense with a mechanical and "distorted" riff that draws us into a whirlwind of intense and chaotic rhythm. Once again, Tremonti skillfully blends speed and power with a memorable melody, achieving great results. "Make It Hurt" demonstrates an evolution of the "Tremonti formula," featuring a chorus melody set against a rapid rhythm that compels Tremonti's voice to keep up with the frenzied drumbeat. The acoustic guitar makes its debut with "Traipse", where Tremonti's clean and inviting vocals transition into hard, adrenaline-fueled rock rhythms, creating a highly stimulating experience. Tremonti's guitar talent shines as he effortlessly navigates through a series of riffs and solos, embellished with blues influences. "The First The Last" returns to the acoustic, showcasing the deep emotion in Tremonti's exposed singing, which conveys feelings of heartbreak and loss. Here, Tremonti demonstrates his prowess as a singer, seamlessly roaring over heavy riffs while also delivering sharp and eloquent ballads. "A Lot Like Sin" jolts us from the dream of a better world, immersing us in heavy, cruel riffs layered over bubbling drum beats and aggressive vocals. "The Day When Legions Burned" ramps up the tempo to near "Speed" or "Thrash" levels, yet Tremonti's clean and melodic vocals transport us to a slightly different realm, still powerful. "As Silence Becomes" returns us to acoustic sounds and Tremonti's delicate, emotive singing, expressing his longing for a companion to share time with. "Take You With Me" picks up the pace again with a youthful, vibrant punk-rock vibe, making it unsurprising that this track was chosen as the first single before the album release due to its catchy and approachable nature. We approach the conclusion with the somber and blues-infused rhythm of "Desolation," which, for some reason, also evokes a "grunge" vibe. The album concludes with "Found," an instrumental piece that incorporates industrial elements, characterized by futuristic, mechanical, and foreboding sounds set to a drum machine beat. This track likely serves as a closing piece, potentially accompanying a book or movie, if Tremonti chooses to expand the concept story into one. There is no doubt that "A Dying Machine" represents the pinnacle of Tremonti's work thus far. Crafting a full concept album that seamlessly integrates with a simultaneously published book is a remarkable achievement. However, something still seems to be missing for the album to achieve perfection. Unlike other concept albums like "2112", "Metropolis Pt. 2: Scenes from a Memory", and "Operation: Mindcrime", the storyline isn't entirely clear from the album alone. The lyrics are ambiguous, lacking crucial details needed to understand the story, characters, setting, language, and time, and at times, the connection between the music and the narrative is not entirely evident. To fully appreciate the album, one must read the accompanying novel, which somewhat diminishes the impact of Tremonti's unique accomplishment. For Listening: Spotify, Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

Editor's Choice... And this time it's not only our "choice". On June 7, 2001, "Rockfour" released their fifth studio album, "One Fantastic Day". Did you know that one of the critics of "Rolling Stone" magazine - Richie Unterberger chose this album as one of his ten albums of the year 2001? The album continues with the psychedelic / progressive line that began with the masterpiece album "The Man Who Saw It All" and continued with "Supermarket" which marked the band's transition to writing and creating in English. If "Supermarket" marked the beginning of "Rockfour's" international career as an Israeli band that has the "burden of proof" on its shoulders, then in this album we already get a mature and experienced band that operates as a quality and well valued international ensemble. "Rockfor's" leap forward on this album was reflected in every possible parameter. Ability to write and express in English, high level of playing, and high production quality. An amazing combination of guitars with a psychedelic sound wrapped in Mellotron and Hammond rugs and vocal harmonies imported straight from the Sixties, influences of Pink Floyd, Birds, Beatles, and more. The album was written during the band's tour in the US, which was intended to promote the "Supermarket" album released a year earlier. "Rockfour" members noted that the album tells the band's story during one of its intense periods in the US that expresses through the songs "a cocktail consisting of passion, determination and satisfaction and all this alongside loneliness, longing, and burnout". This album proved that the band's experience with "Supermarket" was not one-off and that the band deserved and could maintain a successful international career. One has to think about the risk the band took, when after two esteemed and successful albums in Hebrew, "The Man Who Saw It All" and "Back to Shablool", they decided to go out of their comfort zone and started creating in English. But this risk has proven itself with an album that has received rave reviews and has even been included in the Rolling Stone music magazine's ten albums of the year by music critic Richie Unterberger. It is worth mentioning that this album had a significant impact on Israeli artists who realized that they can write and create in English with a wink to the international market. But this album did well for "Rockfour" as well. Thanks to the album, the band began to perform intensively throughout the United States and continued to release two more albums in the English language - "Nationwide" in 2004 and "Memories of the Never Happened" in 2007. 3 singles were released from the album: "Seatbelts" which also included a cover version of the Beatles' "Tomorrow Never Knows", and "President of Me" which included a cover of "R.E.M.'s" "Pop Song '89". And "Where The Byrds Fly." It is interesting to note, that the following events of September 11, made the band decide not to release an album titled "One Fantastic Day", for fear of hurting the feelings of the American public. In light of this, it was decided to change the name and the album to "Another Beginning" and release it as a combination of the band's two albums in English. Listen to the album: Click Here. "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

The album "Draw Yourself a Mustache" (Tzairi Lach Safam) is the second studio album by the band "Noar Shulaim". The album was released on June 7, 1990, and was released by Hed Artzi. Let's start with the fact that this is one of the albums that shaped the soundtrack of our lives, but not just an ordinary album, every time our ears hear one of the songs on the album, like an electric switch, in a split of a second our body flooded with emotions, feelings, and thoughts that open a door to delightful nostalgia. We do not really mean a specific experience or event but a period. This album with its variety of songs has accompanied us for a long time and treasures within it magical moments of pure happiness. (Photo: Noar Sholaim) The album travels between rock, pop, and electro. It takes from everyone what fits as if everything is aimed at texts. The lyrics dictate the music and not the other way around. The electronic drums, effects, guitar distortion, and also the acoustic drums come together to serve Mikiyagi singing with his caressing voice. Even though most of the lyrics on the album were written by Hannah Goldberg, it feels like Mikiagi wrote them himself. Together with Ovad Efrat, Dudi Levy, and Mikiagi leading this album that takes the band in a more poppy direction of rock than the first album which was mostly influenced by the new wave. The band did not have a deliberate statement to go in the direction of pop after the first record, but there was an inner understanding that it should be lighter. Dudi said that the first album was their trip, but then they peeled off all sorts of external things like the black dress and they became a pop-rock band as they knew from other places. They started working hard on a new sound direction and the song "Draw Yourself a Mustache" was one of the points that outlined the direction. They would write melodies on which they dressed texts in gibberish and the same sketches passed to Hannah Goldberg who wrote the lyrics. The album was recorded in four parts, whenever Ronen Ben-Tal's studio was vacant, they used the night to record 2-3 songs. The band members say they were naïve at first, they did not think anything would come out of these recordings. But suddenly it happened in a blast!! The album comes out and from the first moment, it becomes a hysterical hit, it's a huge commercial success and sells over 70,000 copies. Dudi Levy, Mikiagi, Aran Amir, Kobi Pietro, and Roi Shaked burned the radio stations and the charts with the song: "Draw Yourself a Mustache" (Tzairi Lach Safam) which was chosen as "Song of the Year" in the annual Hebrew hymn chart of the Reshet Gimel, "Anog", "Sizifa", "Amsterdam" And "Night" which is the Hebrew version of the song "Young Girl". Four of the band's songs marched simultaneously in the top ten and Noar Shulaim was selected as "Band of the Year". (Photo: Yossi Aloni) But this album is also what led to the breakup of the band. Not everyone liked what success brought with it, the madness, the admiration, the attention, and the boundless love. The one who mostly suffered from the matter was Mikiagi. For him it was a very difficult period, with the success, Mikiagi said he felt like a product of a manufacturing plant shrouded in a lot of noise. He just wanted to make people happy with his art but felt like a wounded animal facing the wolves around it. He found himself moving away from music and art and engaging in intrigue, success, admiration, and harassment. Feeling that no one was protecting him and that he was alone in the battle, he looked for ways to defend himself and the only way he saw in front of his eyes was to disband the band a year later. Dudi Levy shared his side, he said that at first, they enjoyed it, it was pleasant and fun, but at some point it became disturbing. When he came down from the stage, 30 girls were waiting for him with endless letters and telephones. At one point this became too intense and led to the point of friction between him and Mikiagi towards the recordings of the third album. This is an album that is a gem, no matter what genre it belongs to, it is Israeli, it is nostalgic, it is exciting and it is a milestone in Israeli music. Now click play on: Spotify, Apple Music and start singing, do not be afraid of anyone just sing out loud !!!! "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

"Mofa Ha'arnavot Shel Dr. Kasper"'s third album, "Oh Oh", was released on June 7, 1995. We will go back in time to understand the meaning of this album and what happened after it. The insane success of their debut album, which had the band's name and released hits such as "In a Red Dress", "Come Dina" and "Happy Monday", made the "kaspers" a big hit in the Israeli rock scene, in a time when "Independence day Rock" show was one of the big events. A year later, the band's second album was released, which did not bear an official name but was named "Mofa Ha'arnavot Shel Dr. Kasper 2". The album was a concept album that tells the story of Sheila, a girl who consumes hallucinogen drugs and goes on a "Trip. In the musical production of Dudi Levy, the band members tried to "grow up" in everything they did to create a concept album, but the matter was not successful. To say the least, the album collapsed, the band's fans abandoned them and the band received very negative reviews. Half a year later, with a strong desire to recreate the success of their first album and return to the top of Israeli music, the "kaspers" decided to go back to the first album. Produced by Oved Efrat, who gave creative freedom to the band but kept a strict outline that the band supported, we go back to songs made of sweet melodies that wrap up catchy lyrics. Only this time the "Kaspers" tried to create more personal lyrics that reflect personal experiences to mold more depth. Today you are probably familiar with "Dream Forever", "Sweet Honey Day", "Oh Oh", "My Song" and "Look at Me" which became a milestone in the Israeli soundtrack but with its release, this album was a complete failure. It felt like the little fairy of music touched the band with her magic wand in 1994 but forced them to return it at the end of 12 months. The band's attempt to return to the musical style and recreate the success of the first album failed and the last song on the album "Great Wind" was the final chord. The "Kaspers" disbanded six months after the album's release and each went his own way, Shai Lahav and Oren Barzilai embarked on solo careers and other projects. After a few years, the album gained a lot of publicity. What gave it the boost was the use of songs through TV shows and commercials like: the series "Shared House" and the series "Zbang". Very quickly the album that was a failure and led to the disbandment of the band found stardust and began to behave present not only on radio stations but also on television. As we mentioned, the songs in it became distinctive Israeli rock hits. Listen to the album on: Spotify, Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website