On May 21, 2010, "Stone Temple Pilots" released their sixth studio album "Stone Temple Pilots". By 2010, "Stone Temple Pilots" had already survived the kind of internal collapse that permanently destroys most rock bands. The reunion that began in 2008 initially felt nostalgic, almost cautious, but this record quickly proved something more important: the chemistry between Scott Weiland, Dean DeLeo, Robert DeLeo, and Eric Kretz still existed, even if the fractures underneath were already impossible to fully repair. The album arrived seven years after "Shangri-La Dee Da", and instead of chasing modern hard rock trends, the band leaned deeper into classic songwriting textures, glam swagger, loose blues rhythms, and "Beatles" influenced melodic construction. It remains one of the most misunderstood records in their catalog. What immediately separates this album from their earlier work is restraint. The aggressive weight of "Core" and the psychedelic instability of "Tiny Music... Songs from the Vatican Gift Shop" are largely replaced by groove and atmosphere. The DeLeo brothers approached the material with remarkable maturity, allowing songs to breathe instead of forcing massive hooks into every chorus. The production, handled primarily by the band themselves, feels warm and organic, avoiding the sterile compression dominating rock records at the time. "Between the Lines" opens the album with deceptive simplicity. Dean DeLeo’s sharp glam infused riff feels effortless, but the real strength comes from Weiland’s phrasing. His voice sounds energized yet frayed, slipping between swagger and exhaustion within the same verse. The song barely crosses three minutes, but it captures exactly what made "STP" unique: they could write radio rock without sounding mechanical. "Take a Load Off" may be the album’s defining moment. The riff swings with a dirty, Stones inspired looseness while Weiland delivers one of his strongest vocal performances of the reunion era. There is a subtle melancholy hidden beneath the chorus, as if the entire band understands this second chance may already be slipping away. The tension between celebration and decay gives the song unusual emotional weight. Tracks like "Huckleberry Crumble" and "Hickory Dichotomy" embrace absurdity in ways only STP could pull off. The lyrics drift into surreal nonsense, yet musically the band sounds completely locked in. Robert DeLeo’s bass playing throughout the album is extraordinary, constantly adding melodic movement beneath the guitars instead of merely reinforcing them. Few mainstream rock rhythm sections of that era operated with this much sophistication. The softer material is where the album quietly excels. "Cinnamon" carries a sunburned pop sensibility that recalls late period Beatles experimentation filtered through California alternative rock. "First Kiss on Mars" slows everything down into a hazy psychedelic crawl, allowing Weiland to lean into vulnerability rather than theatricality. These songs reveal a band more interested in songwriting craftsmanship than reclaiming past glory. What prevents the album from reaching the heights of their 90s classics is consistency. Several tracks drift rather than explode, and the pacing occasionally becomes too relaxed for its own good. Yet even the weaker moments remain musically rich because the band refuses to simplify their arrangements. There are layers buried everywhere: subtle acoustic textures, vocal harmonies, jazz influenced chord changes, and rhythmic shifts that reward repeated listening. Historically, the album now carries additional emotional gravity because it became the final studio record featuring Scott Weiland. Knowing what followed inevitably changes the listening experience. There is a weariness hanging over parts of the album that feels impossible to ignore in retrospect. Still, reducing the record to tragedy undersells its real achievement. This was not a broken nostalgia act cashing in on reunion momentum. It was a veteran band still capable of writing intelligent, adventurous rock music on its own terms. "Stone Temple Pilots" never aimed to reinvent the band. Instead, it refined their strengths into something mature, loose, and quietly confident. It lacks the cultural impact of "Core" or the artistic shock of "Tiny Music... Songs from the Vatican Gift Shop", but it still remains a great album that never received the respect it truly deserved. For Listening: Spotify, Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

This is Soundgarden's fifth studio album released on May 21st, 1996, and the band's last, until its reunion in 2012 and the release of the album "King Animal". Apparently, the band didn't really mean it, but the album's name best describes what is hidden under the cover. The title "Down on the Upside" taken from the lyrics of the song "Dusty", shows us a band in which the first cracks begin to appear, a band that goes against the direction, swims against the current, looking for new directions. Unlike "Soundgarden's" previous albums, the music on "Down on the Upside" is more experimental, more diverse, involves the use of additional instruments (mandolins and keyboards), and has more complex harmonies and more ambitious song structures. Unfortunately, it was the "swimming against the current" and the new directions in which the band chose to experimentת that eventually led to its dissolution. The tension between lead guitarist Kim Thayil and Chris Cornell intensified during the recordings of the album, due to Cornell's desire to stay away from the aggressive and heavy riffs that characterized the band. The result of the band's change and the rising tensions between Kim and Chris were also reflected in the number of songs that each of the band members brought to the album. Thayil's contribution to the 16-track album was just one song - "Never the Machine Forever", and this is probably not by chance, it was also the last song the band recorded for the album. On the problems "from home" described above, you can also add "outside" difficulties. The album comes out at a time when Grunge was in decline, most of the genre's big names were no longer active or "on their way down" (Cobain and Staley) and others have become less and less relevant. At the same time, the first buds of post-grunge and new metal sounds were emerging and taking the "throne" from Grunge. (Photo: Michael Tighe) Despite all these difficulties and against all odds, "Soundgarden" manages to show its power and its lasting influence on the Grunge genre, and release what will later turn out to be an album that was probably the "swan song" of the Grunge era. For those of you who are raising their eyebrows, we will mention that in the same year "Pearl Jam" released "No Code" and sank deep into genres like garage rock and alternative, and even Dave Grohl who rose to fame thanks to grunge, stepped deep into post-grunge with the album "The Colour and the Shape". So what makes "Down on the Upside" still a relevant and effective album in a dying genre, is precisely the reason that ultimately led to the band's dissolution. The boldness to do things differently, the courage to open up to new directions, and the desire for diversity. The song "Burden In My Hand" makes massive use of mandolins. "Zero Chance" is melancholy at its best which shows the complexity of the band and the new direction it was heading. "Tv Cobb" combines contrasting elements of punk and country, and the monotonous guitar line in the slow and dark "Applebite", corresponds with Robert Smith's famous guitar line from "The Cure", in the song "A Forest", played at a slow speed. It is important to emphasize, that the versatility of this album did not change the band's identity, and you can still hear a lot of good-rooted grunge pieces here. "Pretty Noose" opens up the album with heavy, gloomy, and dark sounds, familiar to us from previous works by the band. "Rhinosaur" which comes right after has a classic grunge sound, as do "Never Named" and "Never The Machine Forever" which are a bit reminiscent of the old "Soundgarden". To sum up, it may not be Soundgarden's best album, but at the same time, it's still a great album by a huge band, featuring memorable moments. "Pretty Noose", "Burden In My Hand", "Blow Up The Outside World", "Dusty" and others, will continue to resonate in Chris Cornell's mighty voice, in the history of rock forever... 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 May 21, 2002 "Dio" released their ninth studio album "Killing the Dragon". "Killing the Dragon" echo the classic style of "Dio’s" earlier material, drawing on the roots that defined his sound, but still, it's missing the spark that made his first albums a masterpiece. Unlike the more ambitious concept of the previous album "Magica", this album takes a more direct and traditional heavy metal approach. produced by Ronnie James Dio himself, this album introduces a renewed intensity, thanks in part to the arrival of guitarist Doug Aldrich, who brings a fiery, shredding style that revitalizes the classic "Dio" sound. Former guitarist Craig Goldy had co-written some tracks on this album, before his departure due to a hand injury, maintaining a thread of continuity with past work. Goldy will return two years later for "Master of the Moon" - the final studio album from "Dio" This is the last "Dio" album to feature long-time collaborator, Jimmy Bain (bass/keyboards) who together with Simon Wright (drums) completes the excellent rhythm section. Bain also co=wrote most of the songs on the album. From the opening title track, the album bursts with fire and fury. “Killing the Dragon” isn’t merely a fantasy tale—it’s a symbolic battle cry against what Dio viewed as the new “electronic serfdom.” Through powerful metaphors of dragons stealing children and cruel feudal lords, Dio warns us of a future controlled by machines and artificial gods. It's not only vintage metal storytelling, but also a prescient critique of modern digital life. "Along Came A Spider" follow with an up beat tempo and forceful riff, while "Scream" falls on this all-too-familiar "Heaven And Hell" bass line with a catchy guitar riff. "Better in the Dark" continues with force and features a great Bass/Guitar dual solo. In contrast to it's title "Rock & Roll" is a melodious ballad inspired by the September 11th tragedy. Musically, the album is razor-sharp and melodic. Tracks like “Push” are punchy and catchy, with riffs built to fill arenas. The song even spawned a notable music video, where Ronnie James Dio collaborated with "Tenacious D", cementing a bond that would lead to his cameo in their 2006 film "The Pick of Destiny". “Throw Away Children” is a standout track, darkly poignant and socially conscious, originally slated for a "Hear 'n Aid" sequel project that never materialized. It features a children’s choir and confronts real-world tragedy of children being pimped, getting addicted to drugs and dying of AIDS. We come close to end with “Before the Fall” and it's "Rainbow" vibe, thanks to the great Hammond Organ and keyboard additions of Scott Warren. Warren also responsible for the unique sound of the album closer "Cold Feet". In the end, "Killing the Dragon" is a combination of old and new. It’s "Dio" raging against both mythical monsters and real-world threats, from injustice to blind technological worship. At age 60, Ronnie James Dio was still writing songs that mattered, singing with undiminished power, and leading his band with passion and integrity. We miss you Ronnie... For Listening: Spotify, Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

Editor's Choice... California Breed is a power trio that includes vocalist and bassist Glenn Hughes, drummer Jason Bonham, and guitarist Andrew Watt. If your are looking for a mix of "Led Zeppelin", "AC/DC", "Whitesnake" and "Alice in Chains" this is the place for you! The rhythm section came from the supergroup "Black Country Communion" which split in 2013 after only four years, in part because of guitarist Joe Bonamassa's tight schedule and the demanding commitments of his solo career. Vocalist and bassist Glenn Hughes and drummer Jason Bonham decided they had too much of a good thing going on and founded "California Breed" with 23-year-old guitarist/vocalist Andrew Watt. Hughes received a telephone call from Julian Lennon; he suggested the 23-year-old Watt. During his first rehearsal with Hughes, the pair wrote two songs. The bassist was impressed by the final product of this session and called Bonham, who enthusiastically agreed. (Photo: Metalhammer) After writing a substantial amount of material, the trio decided to record with producer Dave Cobb at his Nashville studio. They cut the album live from the floor, and the two tracks written by Watt and Hughes on that first day "Chemical Rain" and "Solo" both made the final album cut. While Bonham's drums are as dominant as Hughes' voice, the interplay between the latter's basslines and Watt's wide-ranging guitar technique is a true highlight. He plays loads of solos on the album, but they are short and focused, and unabashedly reveal his influences from Jimmy Page, Tony Iommi, Jimi Hendrix, and Jerry Cantrell, but precision and fluidity come down the line from Jeff Beck ("Invisible" and "Scars"). The hard-rocking meld of blues, post-grunge, and funk was issued album named "California Breed" was issued on May 20th 2014. Listen to the album on: Spotify, Apple Music. "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

Staind broke into the nu-metal scene in 2001 with "Break the Cycle", although it was their third album, second on a major label, it is the one that brought them worldwide success. Already moving a bit from Nu-Metal to post-Grunge the band took their strength to a higher level. They have a winning formula -- toning down the aggression and turning up the emotion. In 2001, "Break the Cycle" and "Been a While" became inescapable, and soon Staind had eclipsed even its mentor, Fred Durst's Limp Bizkit, in popularity, raising expectations for the group's third album, 2003's "14 Shades of Grey". What they've delivered is a record that follows through on the neo-grunge soul-baring, sensitive journal entries of "Break the Cycle". There are plenty of loud guitars here, but the overall sense of aggression has been tempered considerably as Aaron Lewis' thoughts and feelings take the forefront, with the music used as a coloring for his emotion. (Photo: Staind) Staind is all about how Lewis is feeling, whether it's about the world, love, his daughter Zoe Jane, or his idol, Layne Staley. The tempos, even when fast, let Lewis emote, and he does so with a full-bodied croon, something that sounds particularly jarring when he sings "FUCK" which he does a lot in choruses. Aaron is giving his feelings full bloom on "14 Shades of Grey", and they have the net result of either making listeners empathize completely or turning them off completely. This is why we think that this album, is more intended for the band fans rather than the "Break the Cycle" fans. You need to love the band and their sound in order to love this album. you will not find here catchy tunes or strong hooks that will capture your breath on the first note, you will find here songs to relate to and digest. The album featured four singles and debuted at No. 1 on the Billboard 200, with first-week sales of 220,000 copies. By July 2003, "14 Shades of Grey" had been certified gold then later platinum. 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 May 20, 1977, "Genesis" released the EP "Spot the Pigeon". It is a three-track EP that was originally recorded during sessions for the "Wind & Wuthering" album (1976) but ultimately didn’t make the final cut. As it turned out, this EP became a notable turning point—it was the last studio recording to feature guitarist Steve Hackett before he left the band. Due to the EP format being relatively unpopular in the U.S., "Spot the Pigeon" wasn’t officially released there. Though it saw a CD release in 1988, it hasn’t been reissued since, although the songs have popped up on later compilations. Phil Collins later admitted he wasn’t proud of the lead track, “Match of the Day,” describing it as a misstep where they tried (and failed) to inject contemporary rhythms into "Genesis’s" style. He even called the lyrics “embarrassing.” Critics haven’t been much kinder. One blog called it a “naff” football anthem with a cheap-sounding keyboard riff. The second track, “Pigeons,” is built around a deliberately repetitive, one-note note, whilst Tony Banks tried to do as many different chords as possible. Steve Hackett once remarked that the simplicity of the melody gave Tony Banks room to experiment with varied chords, creating contrast between the static rhythm and shifting harmonies. The EP closes with “Inside and Out,” arguably its strongest moment written by all 4 band members. A fan favorite, it blends folk and prog textures and features layered guitar parts that give it a shimmering, textured feel. Lyrically, it tells the story of a man wrongfully imprisoned for rape and later freed—split between a lyrical “Inside” section and an instrumental “Out.” Long after leaving the band, Steve Hackett continued to champion the song and believed it should’ve been part of "Wind & Wuthering". It was even played live during the 1977 tour. Looking back, bassist Mike Rutherford felt that leaving songs like these off "Wind & Wuthering" may have been a miscalculation. The experience prompted the band to aim for shorter, more concise songwriting on their next album, "...And Then There Were Three..." While "Spot the Pigeon" doesn’t often appear on “essential Genesis” lists, it’s a fascinating release for fans interested in the band’s transitional phase—bridging the gap between their more theatrical past and their increasingly accessible future. For Listening: Youtube "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

Written By: Moti Kupfer Release date - 20.05.1996 On February 1, 1995, at 7:00 a.m., guitarist Richie Edwards left his room at the Embassy Hotel on Bayswater Road in London. He left behind a packed suitcase and drove back to his apartment in Cardiff, Wales. In the two weeks leading up to his disappearance, Edwards had withdrawn £2,800 from his bank account. He later traveled to the passport office in Newport, and taxi driver Anthony Hatherall drove him around the area where he had grown up. On February 14, Edwards received a parking ticket for his car. Three days later, Edwards’ car was found abandoned near the Severn Bridge close to the English city of Bristol, a location known at the time as a frequent suicide spot. Edwards was never found. Over the years, several theories emerged claiming that he had simply abandoned his career and disappeared voluntarily, including rumors that he was living on a kibbutz in Israel. In 2008, he was officially declared dead. Edwards vanished on the very day he was supposed to fly to the United States with “Manic Street Preachers” vocalist James Dean Bradfield to promote the band’s third studio album “The Holy Bible”, which had been released in August 1994. The “Manics”, who suddenly lost both their primary lyricist and the man many considered the band’s true leader, decided that despite the immense emotional weight of the situation, they would continue without him. Fifteen months later, on May 20, 1996, they released their fourth studio album “Everything Must Go”. “We always kept a place for Richey on stage,” James Dean Bradfield later said in an interview. It was not only the spirit of Richie Edwards that inspired the three remaining members to continue, but also his lyrics, several of which found their way onto the album and helped guide James Dean Bradfield, Nicky Wire (bass, backing vocals), and Sean Moore (drums, trumpet, backing vocals) through the band’s darkest period. “Manic Street Preachers” were formed at Oakdale Comprehensive School in Blackwood, Wales, where all four members studied together. Drummer Sean Moore is James Dean Bradfield’s cousin and had lived with the Bradfield family after his parents divorced. The band originally began as a punk rock group heavily inspired by “The Clash”, a band Bradfield deeply admired. Original bassist Miles Woodward left the group in 1988, and Richie Edwards, who initially served as the band’s roadie, officially joined soon afterward. Although not considered a technically gifted guitarist, Edwards became a major contributor to the band’s lyrics, image, and overall artistic direction. According to his sister Rachel, Edwards was raised in a happy home and had a cheerful upbringing. During high school, he was known as a supportive older brother who helped calm Rachel’s anxieties about school, a complete contrast to the emotional struggles that later consumed him. After releasing the EP “Suicide Alley” in 1988 and another EP in 1990, the band signed with the indie label “Heavenly Records” and began building momentum in the British music scene. During an interview with Steve Lamacq from “NME”, Edwards famously carved the phrase “4 Real” into his arm with a razor blade to prove the band’s sincerity. He was later taken to a hospital where he received 17 stitches. The media storm surrounding the incident helped turn “Manic Street Preachers” into one of Britain’s most talked-about young bands, allowing them to develop an intensely loyal fanbase. After two early albums built around a modern alternative rock sound, the band released their third studio album “The Holy Bible”, a dark gothic and industrial-inspired record that reflected Edwards’ deteriorating mental state. The album dealt with themes such as freedom of speech, the Holocaust, self-starvation, childhood trauma, fascism, and suicide, becoming one of the bleakest and most uncompromising records of the 1990s. By February 1995, “Manic Street Preachers” stood at a crossroads. The band seriously considered breaking up following Edwards’ disappearance, but after several months of uncertainty, they chose to continue. The result was “Everything Must Go”, an album featuring five songs written or co-written by Richie Edwards himself. At that stage, the remaining members still believed he might eventually return, since no body had ever been found. Despite Edwards’ disappearance, “Everything Must Go” became the most optimistic album “The Manics” had released up to that point. Nicky Wire wrote much of the remaining material, filling the lyrics with hints of longing and hope that Edwards would one day reappear. In contrast to the gothic and less accessible sound of the previous album, “Manic Street Preachers” introduced synthesizers and string arrangements that transformed many of the songs on “Everything Must Go” into massive rock anthems. Nowhere was that shift more evident than on the opening single “A Design for Life”, perhaps the band’s most iconic song alongside “Motorcycle Emptiness”. The track feels like both a tribute to Richie Edwards and a declaration that the band had chosen survival over collapse. The album’s themes remained intelligent and socially aware despite its more melodic direction. “Kevin Carter” explored the tragic life of the South African photojournalist Kevin Carter, while “Small Black Flowers That Grow in the Sky” dealt with animal cruelty and emotional isolation. “Elvis Impersonator: Blackpool Pier” reflected on Britain’s fascination with American culture and identity, and “Interiors (Song for Willem de Kooning)” served as a tribute to painter Willem de Kooning during his battle with Alzheimer’s disease. The closing track “No Surface All Feeling” directly addressed Edwards’ deteriorating mental state, with Richie himself also performing guitar parts on the song, making it one of his final musical contributions to the band. The album’s title, “Everything Must Go”, was reportedly inspired by the debut EP from “Joy Division”, “An Ideal for Living”. For Listening: Spotify, Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

Let's say... you will not find here a story about the recording of a "Masterpiece", about the creation of "innovative" and "groundbreaking" music, or about a bunch of "multi-talents", "virtuosos" who created a masterpiece in a single moment of "enlightenment", no you will not!! This is a simple story about a guy... A guy who lost a close friend and a groundbreaking band in its heyday, A guy trying to find his identity and musical future. A guy who recorded an entire album on his own (so maybe he's actually a multi-instrumentalist?), An album that, contrary to all expectations, was very successful. A guy going through a difficult divorce... And especially a guy who tries to form a band and do what he loves most, music !!! (Photo: Martyn Goodacre) So, listening to this album for us is like riding an electric scooter. Sounds delusional to you??? You will soon realize how much the similarity exists here. Listening to this album you will find moments when you get up and down the scooter, pushing with your feet instead of using the electric motor and dragging it with your hands from sidewalk to sidewalk. It refers to those moments when you feel like you are carrying the song instead of the song sweeping you away. Songs like "My Poor Brain," "Up In Arms," ​​"February Stars," and "New Way Home" sound like an initial experience of a band looking for its way, a band trying to find its identity. So if you are a die-hard fan of the band (by the way we are too) or you think what is being said here is "sacrilege", be honest with yourself and admit that in at least two or three of the songs you found yourself concentrating on something else. On the other hand, there are moments in this album where you cruise on the scooter quickly, effortlessly, with the wind gently blowing your face and you lightly pass the cars and passers-by. This refers to songs like "Monkey Wrench", "Hey, Johnny Park!", "Wind Up", "My Hero" and of course, the phenomenal "Everlong" are indescribable the feeling, power, and experience that the body and mind go through while listening to them. As if something connects you with a virtual navel to them and they now control you, toss you and shake you, without resistance dedicate yourself to feeling, devoting yourself to melody, lyrics, and sound. And of course, there are also special moments in this album "Metal Melters", "Heartbreakers" and "Tear Squeezers" you probably know what it means: "See You" and "Walking after you" which are simple, direct, and exciting pieces that feel like a "kick in the stomach". So how did all this magic come about? After his first album was a success, Dave decided he was going all in, he declined an offer to join as a drummer in Tom Petty's band and formed a rock band. He added guitarist Pat Smear who played with him on Nirvana, Nate Mendel on bass, and William Goldsmith as a drummer. They went on an intense tour with their red VAN, performing with songs from Dave's first album and writing while making what would later become the album "The Color and the Shape". (Photo: Mick Hutson) At the end of 1996, with several songs composed during the tour, they entered a shabby studio on a farm in Washington, D.C., and think they were ready to record. But not! Producer Gil Norton whom Dave hired mostly in light of the production he did for the Pixies, puts the band to the test and makes them record the songs dozens of times because they sound really "bad"! After the recordings are mostly done, they take a vacation for the holidays, but the troubled Dave records two new songs during the vacation, (one of which is an acoustic version of Everlong) and decides to bring the whole band, minus the drummer to a recording studio in Hollywood, to fix some songs from the farm recordings. What started as a two-song patch and a recording of two new songs became very quickly a re-recording of the entire album, with Dave besides the guitar and vocals sitting behind the drums and dispossessing William of the drummer role. In all those sessions the band members do not understand why Dave does not invite William to the recordings but do not get into a confrontation with him, still, this is his baby. William who discovers the thing from Nate and not Dave, is badly hurt to the depths of his soul, decides not to be a "puppet on a string" and leaves the band. In the end, only two songs from the album are the fruit of William's sticks: "Doll" and "Up in Arms". After finishing the recordings and editing the album, Dave suddenly realizes that this album was a form of therapy, psychological treatment for a person who has lost his best friend and loved one. A treatment that begins with fear and anxiety, continues with self-calming, ends with hope, and embarks on a new path. This enlightenment that came at the end of the recordings and the editing stages of the album left such a big mark on Dave that he thought of "decorating" the album cover with a picture of a psychologist! Correct, the album is not a "masterpiece", but it aspires to be there. Is undoubtedly a milestone, the beginning of one of the greatest rock bands of the modern age. The creation of a band that has left its mark on the music map of today and over the years will bring to the mainstream kicking songs, sawing guitars, aggressive drums, and amazing performances. So it was a simple story, about a pretty simple guy, who formed a rather modest rock band, which was haunted at the beginning by "The Grunge Spirits" and the character of Kurt Cobain, and today became in its own right and against all odds, a legend that is the epitome of modern rock! It turned out that the album survived countless upheavals, went through two divorce proceedings (the divorce of Dave and the band from the drummer William), two recordings, countless rehearsals, cost a lot of money, and in the end, was also named after a bowl with red and white stripes. Is the most successful album of the band to date !! And even though we're sure you've heard it a million times already, you must listen to it again, just must. Listen to the album on Spotify, Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

Today we will tell you about the well-known singer, keyboardist, and bassist Dusty Hill, known for his many years of membership in "ZZ Top". (Photo: zztop.com) Hill was born in Texas on May 19, 1949, where he also formed "ZZ Top" 20 years later with guitarist and singer Billy Gibbons and drummer Frank Beard. The band's first album was released in 1971 and since then Hill has served as a permanent member of a band that has also been credited with breaking a record as the band that has held one lineup for the longest time - lasting over 50 years. He was the bass player of the band but also played keyboards and sang back up and lead vocals on some of the band's songs. The band sold over 50 million albums over the years. Hill released 15 studio albums with the band and worked with them on the 16th album that guitarist Jeff Beck is supposed to be a guest on. The band's albums "Tres Hombres" from 1973 and "Eliminator" from 1983 are included in Rolling Stone magazine's list of the 500 greatest albums of all time. What's more, the album "Eliminator" was ranked 39th on "Rolling Stone" magazine's Top 100 Albums' 80s album, with sales earning it "Diamond" status, that is, over 10 million copies. Hill also starred in several small roles in films including the film "Back to the Future 3." He was offered a million dollars to shave his beard for a commercial, he refused. In 1984 he accidentally shot himself in the stomach, he drove himself to the hospital to receive treatment. He was inducted into the "Rock and Roll Hall of Fame" with his band in 2004. Hill died on July 28, 2021, in his home in Texas and he is 72 years old. A week it was reported that he was injured in the hip and he will probably be forced to miss the band's performances shortly. "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

This album stands as a true modern marvel in the world of rock music,an immediate eruption that sent tsunami-sized waves crashing across the scene, engulfing everything in their path and reshaping the very landscape of metal. Released on May 19, 2023, “Sleep Token” unveiled their third studio album, “Take Me Back to Eden,” the culmination of a three part journey that began in 2019. We left “Sleep Token” in our previous reviews at two crucial thresholds, “Sundowning,” their twilight ritual of a debut (slow released at sundown, cloaked in myth and restraint), and “This Place Will Become Your Tomb,” where the intimacy sharpened and the project first cracked mainstream charts. Picking up that thread, “Take Me Back to Eden” feels like the mask lifted just enough to show a pulse, grander in scope, harder in contrast, and produced for impact by Vessel with Carl Bown after the band’s pivot away from George Lever. The sessions took place at Treehouse Studios in Chesterfield, Derbyshire, with Ste Kerry mastering the album. Vessel’s fingerprints are everywhere, vocals, guitars, bass, keys, and synths, while II delivers the precision drumming that underpins the record’s extremes. The expanded production range meant more space for delicate piano and electronic textures, while still leaving room for some of the heaviest moments in the band’s catalogue. Photo: Andy Ford The story of the album’s meteoric rise really began on January 5, 2023, with the sudden release of “Chokehold”. There was no long marketing buildup, just a quiet drop that hit like a lightning strike. Within hours, it began circulating on social media and fan forums, its slow-burning intro and crushing drop pulling in listeners far beyond the band’s existing fanbase. In a matter of days, “Chokehold” drove the band’s Spotify monthly listeners from under 300,000 to over 1.58 million, a leap almost unheard of in modern rock. By the time the week was out, covers and reaction videos were flooding YouTube, Will Ramos of “Lorna Shore” delivered his own take, and playlists from the mainstream to the underground were adding the track. The single even made its way onto the U.S. Hot Rock & Alternative Songs chart at No. 37, despite having no traditional radio push. Lyrically, it confronted the gravity of a toxic yet irresistible connection, where turning “walls to gold” became a metaphor for transforming pain into something valuable to keep the bond alive. The very next day the second single, “The Summoning” arrived, hitting No. 1 on Spotify’s Viral 50 and drawing millions of streams and YouTube views within days. It became one of the most discussed songs of the year, shifting from heavy, prowling djent riffs into an unexpected smooth, funk-influenced ending that feels like something you’d hear late at night, while lyrically surrendering to a connection both alluring and dangerous, described by fans as “a blood trail, red in the blue,” the sign of complete submission. The album’s contrasts define its liturgy. “Granite” is built on the pulse of a trip hammer heartbeat, its lyrics steeped in imagery of emotional breakdown and destructive cycles, evoking the weight and erosion of stone against the volatility of sulfur. “Aqua Regia” glides on sleek, glassy keys over clipped percussion, the title referencing a potent acid that can dissolve gold, a metaphor for love and transformation that is both corrosive and refining, dissolving the ego as much as it purifies. “Vore” is among the heaviest and most unsettling tracks, a suffocating mass of distortion that uses its title’s connotations to evoke a consuming, overwhelming desire, one that blurs the boundaries between self and other until the listener is devoured by the emotion. “DYWTYLM” (“Do You Wish That You Loved Me”) shifts to minimalist pop textures, its deceptively simple delivery carrying the weight of self doubt and emotional numbness, asking a question that feels as much directed inward as it is outward. Photo: Sleep Token The back half carries the reckoning. “Ascensionism” is a two act confessional, first a prayer then a punishment. “Are You Really Okay?” asks it outright, its vulnerability stark. “The Apparition” blurs grief into motion. “Rain” rinses the palette for the eight minute title track, “Take Me Back to Eden”, a finale that gathers every motif and burns them sky high before releasing you into “Euclid”, the closing benediction. And then came the breakthrough. “Take Me Back to Eden” became Spotify’s most streamed metal album of 2023, outpacing even Metallica’s “72 Seasons,” with more than 350 million streams tallied by early January 2024, numbers that confirmed what the feeds already felt, this was not a cult anymore, it was a phenomenon. Commercially, the album demolished ceilings the band had only grazed before, No. 3 in the U.K., No. 16 on the U.S. Billboard 200, and the industry recognition followed, from year end lists to big stage trophies (Heavy Music Awards Best Album and Billboard Music Awards Top Hard Rock Album). Not to mention the scandal sparked by the 2025 Download Festival, which placed the band as a headliner alongside giants like Green Day and Korn. Whether you hear it as genre fusion or genre refusal, the cultural impact is indisputable. For Listening: Spotify, Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website

A Sneak Peek... Papa Roach's "Crooked Teeth" album showcases the band's ability to evolve and stay relevant in the rock music scene. Released in 2017, this album serves as a testament to their continued energy and raw intensity. The album strikes a balance between melodic hooks and a heavier sound, making it both radio-friendly and appealing to longtime fans. From the very beginning, "Crooked Teeth" captivates listeners with its aggressive and catchy tracks. The title track, "Crooked Teeth," sets the tone with its heavy guitar riffs and Jacoby Shaddix's signature raspy vocals. One of the standout tracks on the album is "Help," which became an instant hit. Its anthemic chorus and emotional lyrics make it a relatable and uplifting song. Papa Roach continues to explore different musical territories on this album, incorporating elements of electronic music into their rock sound. Tracks like "Born for Greatness" and "Periscope" (featuring Skylar Grey) demonstrate the band's willingness to experiment while maintaining their distinctive edge. While "Crooked Teeth" is predominantly a high-energy album, Papa Roach also delves into introspective and personal themes. "American Dreams" tackles political and social issues, offering a thought-provoking commentary on the state of the nation. Similarly, "None of the Above" addresses feelings of alienation and the search for identity, showcasing the band's ability to connect with their audience on a deeper level. Overall, the album showcases Papa Roach's enduring passion for their craft. It's an album that delivers a mix of hard-hitting rock anthems and introspective ballads, allowing the band to explore their musical boundaries without losing their core identity. With its infectious hooks, powerful lyrics, and energetic performances, this album proves that Papa Roach is still a force to be reckoned with in the rock music landscape. In summary, "Crooked Teeth" is an exciting and well-rounded album that showcases Papa Roach's ability to evolve while staying true to their roots. Fans of the band will appreciate the album's dynamic sound, emotional depth, and infectious energy. 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... After 18 years, yes, yes 18 years, "Faith No More" have released their seventh and final album to date named "Sol Invictus". It may sound pretentious, detached from reality, and even rude to say that this album sounds just like it should have sounded and the natural continuation of the previous album, but we do not care because this is exactly the band and its style !! Pretentious, detached, cheeky, eclectic, rough and straight forward. (Photo: Ricardo DeAratanha) So even though this is the band's "comeback" album there are no strong hits or songs that grab you from the first second, but this album is definitely full of "Faith", full of all directions. As fans of the band, we did not care at all that there is nothing catchy here, we were happy that we got more new material from the band, like a drugged man who left the rehab facility a few years ago but suddenly he has a flashback remembering the good things the drugs gave him. Just hearing Mike's voice with Bourdain's drums, Billy's bass, Rudy's keyboards, and John's distortion make us very happy. Some have said, that after 18 years they have only 10 songs to put on the album or why are their songs on the album that are very reminiscent of their previous songs. So we think it just reinforces the fact that this band doesn't give a @%#$& on everyone and does what it wants, a unique bunch of talents that follows its creative truth. Although we have already mentioned that there are no strong hits here, there are quite a few great songs that will blow you away, kick you and break you down like a chiropractor who has a lot to say, like: "Superhero", "Separation Anxiety", "Motherfucker" and despite being a bit soft the song carries The name of the album will take you with it without resistance. So click play on: Spotify, Apple Music "Face/Off" - Israel's Rock Blog Follow us on Facebook / Instagram or Subscribe to our website