Who Should Play Welcome to Rockville 2025

>Barely a week had passed before fans were making their wish lists for who they thought should play the 2025 edition of Welcome to Rockville. The main problem with these lists is that they are either acts that have already played this festival at least twice over or just boring radio rock fodder. In the current economy, big-dollar mainstream rock festivals could find themselves burning out unless they change their formula. After all how many times can you book the same old bands before people get tired of it? This does not mean they should dilute the rock theme by adding crap like Megan the Stallion or Imagine Dragons but getting more creative would be nice. I came up with a line-up that would other fresh blood, while still including relevant big names who put butts in arenas. So here is who should play Welcome to Rockville 2025. 

 

Thursday 

Vortex stage 

155- 225 - Left to Suffer

305- 335- Nails 

415- 445- Kvelertak 

535-6:10- Integrity

7:10 to 7:50 -Thursday 

Octane Stage

1:55 to 255- Narrow Head 

3:05- 3:35- Hight Vis 

4: 15 - 4: 50- the Menzingers

5:40 -6:20- Idles 

7:10- 8:00- the Stooges

Inferno Stage

1:25- 1:50- Terminal Nation 

2:15- 3:00 Snapcase

3:40-4:10- the Cro-mags 

5:00 - 5:30 -Failure

6:30-7:05-AFI

8:00-845- Brand New 

Apex Stage-

1:20-1:50 - Gouge Away

2:30-3:00- Drug Church

3:40-4:10- Callous Daoboys

4:55-5:35-Reverend Horton Heat 

6:25-7:25- FEAR

8:05-9:05- Bad Religion 

10:15-11:35- the Misfits 

FRIDAY 

Vortex Stage 

12:40- 1:05- Night Goat 

1:15-1:45 Sumo Cyco

2:`10-2:40- Spotlights 

3;15-3:45-Unto Others 

4:30-5:00 -Chelsea Wolfe

5:40-^6:20- Crosses 

7:20-8:00 Ville Vallo 

Octane 

2:10-2:40 Cruel Intentions 

3:20-3:50-Warrior Soul 

4:30-5:05- Placebo

5;45-6:25- Dokken

7:20- 8;10-The Darkness 

9;10-10:10- Muse

Inferno

1:40-2:05 - Reckless Love

2:45- 3:05- the  Hellacopters

3:50-4:20- LA Guns

5:15- 5:45- 69 Eyes 

 6:40-7:15- WASP

 8:10- 8;55- Twisted Sister 

Apex Stage

2:45-3:15-Cancer Bats

3:55-4:25-Royal Thunder

5:10-5:40-  Whitesnake

8:15 - 9:05-  Scorpions 

10:15- 11:45 -AC.DC 

Saturday 

Vortex Stage

1:50-2:20- Predatory Void 

3- 3;30- Bloody Hammers 

4;20- 5:00- Author & Punisher

5;45-6;15-Chvrches

7:05-7;45- Carpenter Brut 

Octane

1:50-2;20- Astarie Nite

3:00-3:30- Deathstars  

4:05- 4:35 My Life with the Thrill Kill Kult 

5:30- 6:10- Godhead 

7:00-7:50- Mindless Self Indulgence 

9:10-10:10- Faith No More

Inferno

2:25- 2:55- Strvngers

3:35-4:05- Lords of Acid 

5:25-5:55 -KMFDM

6:25-7:00- HEALTH 

7:55-8:55- Coal Chamber 

Apex

2:45-3:15- Hangman's Chair

3:55-4:25-Porcupine Tree 

5:10-5:40- Opeth 

8:15 - 9:05-  Mercyful Fate

10:15- 11:45 -Iron Maiden 

Sunday 

Vortex  Stage 

2:25-3:05-Vision Video 

3:30- 4:05-Talk Show

4:30 -5:05 - the Jesus Lizard 

5:30- 6:05- Glassjaw 

6:30- 7:05- Hum 

7:30-8:10-Danny Elfman 

Inferno 

12:40- 1:05- Maul 

1:15-1:45 -200 Stab Wounds

2:`10-2:40- Frozen Soul

3;15-3:45-Life of Agony 

4:30-5:00 -Tribulation

5:40-^6:20- Katatonia

7:20-8:00  Behemoth 

Octane 

2:25-3:05-Troller 

3:30- 4:05-Black Magnet 

4:30 -5:05 - Snow Strippers 

5:30- 6:05- Sevens Hour to Violet 

6:30- 7:05-Die Antwoord 

7:30-8:10-Linkin Park 

 Apex Stage

1:45-2:15- Ratboys 

2:45-3:15-Fontaines DC

3:40- 4:15 -Lydia Loveless

5:10- 5: 40- Sliversun Pickups 

8:0 5 - 9:05- the Pixies 

10:15 - 11:40 Pearl Jam

pst500

Ten Artists Who Should Play Sick New World in 2025

The week has barely passed and fans are making their wish lists regarding who they think should play next year's Sick New World Fest. The main problem with these lists is that they are either acts who have already played or just boring radio rock fodder that plays  Welcome to Rockville or Rockahoma and would turn Sick New World into just another rock fest, by diluting the theme that made the first year so appealing a marriage of traditional goth acts, nu-metal and darker metal / industrial bands.  So the list complied here leans more in the direction of the first year. These are not bands who have played the previous fests but Fresh Blood fitting for 2025...that is if the world does not end before next May. 

10-Astari Nite 

This Miami-based death rock band is great live and has a good middle-of-the-road vibe for the fest 

9-Godflesh

Perhaps less popular in the States, this crushing project from England influenced most of the industrial and metal bands you're listening to today. 

8-Sleepy Time Gorilla Museum

The reunited cult of prog-rock weirdos brings a Victorian steampunk wonderment to their sonically angular anti-rock attack.

   

7-Chelsea Wolfe

 Wolfe has toured with Ministry before, and her hypnotic songs are heavy in their own way. Live her sludged-out shoegazing is powerful.

   

6-Final Gasp 

This punk band from Boston casts plenty of shadows with their sound while still being aggressive enough to fit in no matter what act they have to follow. 

5-Mindless Self Indulgence

Jimmy Urine and Friends might have been out of action for a minute but would be the perfect blend of nu-metal swagger and dark wave angst.

 

 

4-Grave Pleasures 

This band from Finland used to be Beastmilk, their brooding brand of post-punk is anthemic enough to win over festival audiences 

 

3-My Dying Bride 

There is no bringing back Peter Steele, so these guys are the next best replacement for Type O Negative with their brand of gothy doom.

   

2-the Misfits 

They have already been booked on festivals since reuniting, the only real hurdle would be seeing how this is System of a Down's fest, so would Danzig and the boys be ok with not headlining? Aside from that they would be perfect

  . 

1-Marilyn Manson 

Already booking shows after emerging from his legal troubles, this only makes sense.

 

pst212

Welcome to Gothtober 2023

 It is that time of year again to dedicate the month to music that falls under the banner of  “Goth”. Granted we cover a wider range of dark wave, post-punk, death  rock and darker shades of metal than other sites, and do it more frequently than every one aside from Post-punk.com, who like their name suggests just covers post-punk. Since we did this last year the predictably short attention span of the masses has simmered down on  goth’s appeal in the mainstream, since the buzz around Wednesday died down and celebrity fashion has moved on, making it less of an Instagram hashtag. Not to say interest has waned altogether as the Cure’s tour last spring was a hot ticket, and the Misfits run of shows sold pretty well. 

We are however still going to clear the air regarding what is goth and what is not, since there still seems to be a little confusion about that in mainstream press. Gatekeeping has become an dirty word in the minds of those who are so entitled they believe anything can be anything they want it to with the petulant attitudes of Veruca Salt when she demands the everlasting gobstopper. As music journalists, we are actually professional Gatekeepers, when it comes to curating music, and I bought my first “goth” cassette in 1987, when I purchased Jesus and the Mary Chain’s “Darklands” album,  so with 36 years of history with this kind of music, you can take what I say it here to the mother fucking bank. 

Many of the newer dark wave and post-punk bands have begun to fall into a uniform sound, like they are checking off boxes, so we will keep out ears open for that. I am going to try  and bring a wide variety of different sub-genres to the table, and put their dedication to creating sonic darkness to the forefront when I select bands to cover. I am also going to include a top 50  industrial albums list I have been working on. A few came up earlier in the year that I was not content with, so that means it is time to make my own. The month culminates to start the top ten lists for this years, so the top 10 post-punk, goth and industrial lists for this year should drop by Halloween, so with that join us as we explore the tunes that go bump in the night.

Live Review : The Misfits & Megadeth @ MIDFLORIDA Credit Union Amphitheatre

 I am not huge on reunion tours, as it seems too many bands are staining their legacy with cash grabs, there are few exceptions to this rule, however I was not able  to pas up the chance to catch a few of my favorite bands from High School. Committing to venturing to an outdoors concert after May in Florida is an even greater test of your fandom. Really just me venturing out of the house and forcing my misanthropic ass to be around people is a testament to how much I like a band. Thanks to misinformation in regards to the actual start time, and traffic going into the venue we missed Fear, who could be heard playing from the highway as we reached the venue. The half mile walk from parking to entrance and display of  general stupidity from the concert goers who were corralled at the entrance like cattle all helped  the delay so once we set foot inside the Amphitheatre, Fear had finished their set. 

Megadeth took the stage at 7:45 with a rather stripped down stage set up, Dave has been bitching about the cost of touring these days so this was not a surprise. They were surprisingly better than expected. I saw them back in the day a few times with their Clash of the Titans performance being the stand out. They might have lacked key members from that era, but were impressive. Sticking to the hits, they played two songs from their latest album and cranked out all the "Peace Sells" and "Sweating Bullets" you might   and was never that impressed. They stuck to their "hits" opening with "Hangar 18". They only played two new songs, aside from those it was all the songs you might expect from "Peace Sells" to "Sweating Bullets" . They closed their set out with "Holy Wars".  Dirk from Soilwork was behind the drums and pulled every thing off as needed. It was odd thinking how the White Lion b assist was able to take care of business, but that is what happened. They brought out Lee Ving for a cover of "Nothing is Something" which did not go over as well since no one knew it. But I was glad I got to see him sing one song having missed Fear. 

Punk in a massive  20,000 capacity Amphitheatre is an odd oxymoron for outsiders.  If any one was going to do it the Misfits would be the band. In line waiting to enter the venmnue a disgruntled  "punk" was complaining about Megadeth opening , and asked why was it not Minor Threat. The very nature of this question says he had no clue what Ian MacKaye was about, and only a punk in the sense of wasting his life by being wasted. A shame he missed Fear as well. The Misfits are larger than life so that is why this show worked. Their stage was flanked by two giant pumpkins and the back drops of Vegas like video screens, They were not about ideals but teenage aliens and pulp monsters. They opened with "Death Comes Ripping" , which was the most suitable song to start things with. 

Danzig sounded fine which was my main concern as he sounded like he had lost all ability to belt it out on his terrible Elvis covers album. There was an amusing casual attitude to his onstage banter, he at least acted like he was taking requests from the audience, which I find it hard to believe there were not people within earshot screaming for "Angel Fuck" which did not make an appearance. But as Danzig said they do know a lot of songs, I did not expect all of them to be played, though the fact most are under three minutes gave them time to cram a bunch into their set. They have great songs, some of the highlights for me were "Vampira" , "Where Eagles Dare" , "Hybrid Moments" , "Some Kind of Hate" and "Skulls". This was billed as the "Original" Misfits but the line-up was bolstered by the addition of Dave Lombardo on drums, and Dope / Joan Jett guitarist Acey Slade, who stood behind Jerry Only on stage. Dave did his job, obviously this was less demanding than playing Slayer or Mr. Bungle. Doyle has more of a metallic guitar tone, and due to the benefit of the big production this was a much better sound than they had originally.

The Class of 92- Danzig: " Danzig III -How the Gods Kill"

When this album came out I appreciated it was darker and more metal than "Lucifuge", but how does it stand the test of time? The opening track simmers into a doomy verse with Glenn belting it out. It picks up into a chug before culminating into a very Doors feeling spoken invocation. "Anything" summons the evil Elvis sound he is known for. The melodic guitar that starts off the song a step away from metal, but it kicks into a more driving chorus. When you listen to this era of his career its makes where he is at now sting a little more. The swing of "Bodies" sounds more like his previous album and carries more of a rockabilly feel to it. Though his power is impressive here.   

 I love the title track. The tender vocal at the beginning then the crush of the doomy metal riff that it builds into, the best song on the album. It showed how he was continuing to push himself as a singer. As a single in 1992 " Dirty Black Sunmer" gets the job done. It is hard enough to separate him from the grunge kids coming on the scene at the time. "Left Hand Black: was one of the songs I did not remember when I returned to this album, this is weird as it has what is perhaps the album's most metal riffs. The blues based "Heart of the Devil" is sinister under the roar of Danzig bringing the notes out from his guts. The Roy Orbison like ballad "Sistinas" is pretty fucking stunning.  

"Do You Wear the Mark" is another one that is in the running for the album's heaviest song, the ripping Sabbath like riff, might secure this one as the winner of that debate. The album closes with "When the     Dying Calls: which is another doomy ripper. The melody to the chorus is pretty hooky, the drums sit back a little on this one. Overall, it is a pretty easy call that this one is a 10. It is the last classic album Danzig released though; I do like the album after this one even though he is trying to find his way in alternative music on his fourth solo outing, If you ever forget how great he once was crank this one.   

Cvlt Nation Presents : the Misfits' "Walk Among Us"

 Here is another installment of Cvlt Nation Presents. In the past they have given bands the opportunity to tackle other classics by bands like Bathory, Black Sabbath, Joy Division and Black Flag. Here the Misfits are paid tribute. An album like "Walk Among Us" I grew up with so not only know the songs like the back of my hand , but just as attached to them. The more sung portions of "20 Eyes" are better than the more screamed hardcore of "Hellkeeper". The vocals for Wraith's cover of "I Turned Into a Martian"gruff but a closer step in the direction of the original. The play a very streamlined yet raw version of hard core. Paranoid has a more manic and blow on out version of "All Hell Breaks Loose". True Love starts off with an more industrial pounding before throwing themselves into a lo-fi black metal take on "Vampira" . I guess they get props for staying true to who they are , but the essence of the song gets lost in translation.

The vocals seem to be the sticking point when it comes to most of these bands. It's not like they are being asked to sing something with a croon as demanding as "Mother". Bleach Birth lashes their way thru a rowdy swing at "Nike A Go-Go" . This is still better than Casket Huffer's butchery of "Hatebreeders" . The production quality of this is so lo-fi the notes of the guitar are just garbled shards of distortion under the gurgled death metal vocals. The blackened blitz of "Mommy Can I Go Out and Kill Tonight" suffers from much of the same problems many of the other songs do . Punk rock was always a rawer and angry take on rock, but The Misfits could play there instruments. Glenn could sing, but it's not like you are being asked to replicate Iron Maiden, punk rock is pretty easy to capture and maintain the integrity of the songs. Bleach Birth does better with "Night of the Living Dead". You can still hear the skeleton of the original, which is all I am asking for.

Beastmaker's version of 'Skulls" is the best song yet. They show you how it's done.They still managed to be true to who they are as a band. Then we are back to more feral attack this time from Black Tomb who at least gets the guitar parts right. Bleach Birth is back once again with "Devil's Whorehouse" it's another decent take even with the vocals that are more screamed than sung. I have not been impressed by what I have heard from Dreadlords in the past so I was curious if they could change my mind here. Not really the vocals sound like Nick Cave if he was 80 years old and out of breath trying to sing this. Musically they are a little rough as well, but come closer to getting the notes right. The vocals are not really in key so that makes it hard for me. I need you to sing in key if you are going to sing. False Light closes things out with "Brain eaters' which is almost more of a grind core take on it.I'll give this a 6, the Beastmaker was hands down the best moment, but there are other interesting covers , if you like punk that is on the more lo-fi and raw side then you might be less picky than me on some of these tracks.

Gothtober - the Haxans : 'Party Time"

Ash Costello from New Years Day is embracing her inner Mortica Addams . I fully support this is a good look for her, but as a sound it has interesting results that works in varying degrees. This album works best when it carries an almost 60s go-go rock n roll feel that it married to a more modern sound. When the sound of Modern radio rock creeps in it doesn't have the same charm. They begin to go further down this road by the third song "Dirty Magic" that finds them colliding with a sound that has more in common with Halestorm and In This Moment. When her voice goes up into more of rock n roll upper register is carries a Lita Ford like edge. Yes, this album is darker than her other band , though fairly upbeat for goth. Lyrically song like "Black Cat Bone" works with the music in a similar way that Rob Zombie's solo work does. As a lyricist she is not as creative as Zombie , but these songs are fun.

They cover 45 Grave's "Party Time",  which gets them points in my book. They dance all of the death rock out of it, but it was always a big dumb song. This album is a reminder of how much hinges on the production choices a band makes. Dialing back the distortion returns them to a creepier 60s styled sound. I think these moments more more original and give them more of a signature sound by filling a void that is not as crowded as the landscape of radio rock. The electronic elements do work on "Witch Wave". Its like if Lords of Acid decided to become more of a rock band. They switch decades and go in a more new wave direction on "I Think Of Demons", though it filtered through more of a modern pop lens. Lyrically it's a little weak, but otherwise well constructed. They get darker on "Professional Weirdo" once again embrace a more electronic side that recalls many of the bands wanting to be Nine Inch Nails from the 90s.

The vocals ride the beat more like a pop, so though it reminds me of a dancey version of the Donnas the way the guitar comes in. The lyrics to "Boo" are so silly it's hard to take the song seriously. The big 80s rock chorus is catchy despite this so you might find your self torn when it comes to this guilty pleasure. They close the album with a very toned down cover of the Misfit's "Vampira" . I'll give this album a 9 it's a lot of fun, not the darkest thing to come out this October, but good background music for a party.

Danzig: "Skeletons"

Going into this the cover which features a shirtless Danzig who looks more Jack Black cosplaying him than the man on the cover of "Lucifuge" , but it opens with a cover of Davie Allan and the Arrows' "Devil's Angels" which has a rough edged punk production quality making it sound like it could have come off of a Misfits album. So this raised the bar high for the more questionable theme song of movie  "Satan's Sadists" which finds the guitar further behind his sometimes strained voice. Granted this song is more of a crooner affair, but more love could have been given to the vocals like re tracking the flat note on the word child where he sounds like he could lose his voice at any minute. The guitar tone improves on "Let Yourself Go". Danzig covering Elvis is no surprise. It is a heavier take on the song than I expected. Something about it just feels lacking in the energy the Elvis version has.

Now it's no secret Ozzy and Glenn have much different ranges, but it almost sounds he is talking his way through "N.I.B". The stomp they have added to the song works, but I can hear Elvis punching his baritone into this if he had ever covered Sabbath in the Vegas days and what I hear in my head is what I expected from Glenn here. His approach works better on "Lord of the Thighs" which is no where close to hitting Steven Tyler's notes either it just works better here , though the guitar on the Sabbath cover was more dialed in then what is going on here.I suppose he was hoping his fan base would not be as familiar was these songs. "Action Woman" has more of the punch and power that I want from Danzig. It may not be as strong as his more classic work, but holds up to everything post-"Black Acid Devil" . His voice sounds strong and the guitar is thick and in your face.

"Rough Boy" is off of ZZ-Top's "After Burner" album and he brings more of a 50's crooner feel to it, but it works, taking all of the 80s out of it. Up top in a few places he is iffy, but his voice still sounds better than on most of the album. He returns to more of a Misfits like punk on "With A Girl a Girl You" though it isn't as effective as the opener. His voice does have a much needed grit added to it. Sure it doesn't sound like the Troggs , but I'm o.k with that. The guitar improves on the darker handling of "Find Somebody" by the Rascals. The more punk treatment of the chorus should have been handled in a more metal manner like the verses were approached as it sounds a little like a cop-out, but this song still isn't half bad.

The ballad "Crying in the Rain" finds the band pretty much dropping out, but Glenn sings the song well for what it is. I'll give this one a 7.5, if you have ignored the ravages of age he is letting plague him, because there are plenty singers such as King Diamond, Morrissey and Bowie in that age range who can still belt it out, you might be more forgiving . There are a few songs where Glenn proves he still can, he however dials it in sometimes not realizing he need to try and little harder than he used to. This also makes me more hesitant to try and catch him live now. The mix on this album is inconsistent which also plays against it, however if you are a Danzig fan there are a few songs worth having in your iPod.