Sevendust never follow a linear path. Instead, they continue to bulldoze a lane of their own with a proven one-two punch of rumbling grooves, unpredictable riffing, and stirringly soulful vocals unlike anything else in hard rock. As a result, their music connects straight to the heart as evidenced by their full-contact live shows and diehard “family” of fans. It’s why they’ve been around since 1994, tallied global sales of seven million, logged three gold-selling albums, delivered three Top 15 debuts on the Billboard 200, and garnered a GRAMMY® Award nomination in the category of “Best Metal Performance.” They’re the rare force of nature who not only graced the bills of Woodstock and OZZfest, but also Shiprocked! and Sonic Temple and some of the largest stages around the globe. Along the way, they’ve notably collaborated with everyone from members of Deftones, Daughtry, and Staind to Alter Bridge, Periphery, and Xzibit. 2020 saw them deliver one of the most-acclaimed albums of their career with Blood & Stone, which Metal Hammer christened “Sevendust’s best work in years” and Outburn dubbed “everything a Sevendust fan could want.”
However, the Atlanta quintet—Lajon Witherspoon [lead vocals], Clint Lowery [lead guitar, backing vocals], John Connolly [rhythm guitar, backing vocals], Vince Hornsby [bass], and Morgan Rose [drums]—defy expectations yet again on their fourteenth full-length and debut for Napalm Records, Truth Killer.
“We really cared about the process,” notes Clint. “It’s never a straight line with Sevendust. We’ve always made left turns and dip into super heavy and very melodic sounds. We still try to do things a little differently. I think we recreated the magic on this one, and we overcommitted to making sure every song was great.”
In order to do so, the guys regrouped as friends first. Initially, they decamped to Lajon’s farmhouse. Over the course of four days in 2022, they demoed out the bulk of the record, rekindling the spark that defined their seminal output.
“We wanted to be friends again, shoot the shit, and become that garage band we were,” Clint goes on. “It set the tone for our relationship, and the creativity opened up. We got back together and made another fun record.”
Once again, they recorded in Florida with producer Michael “Elvis” Baskette [Alter Bridge, Mammoth, Trivium]. This time around, they expanded the soundscape, incorporating programming by Clint and adding cinematic heft to their signature style.
“We took our time on this record,” he goes on. “We pulled in a lot of electronic elements. In the past, I hired outside programmers, but I did the programming myself. I tried to create a musical bed that made it easy to sing cool vocal parts. We always set a goal to have a certain sound, and we followed through with it. We didn’t compromise.”
As such, the album opens with perhaps the biggest departure, the slow-burning “I Might Let The Devil Win.” Piano pierces glitchy beat-craft as Lajon’s delivery borders on magnetic and manic as he confesses, “I want to give in, oh no, the devil won’t win.”
If Trent Reznor produced The Weeknd, it might sound something like this…
“When we agreed on the song, we realized we could do anything,” says Clint. “The vocal is really upfront and in your face. It seems like he’s whispering the lyrics in your ear. You keep resisting temptations, but finally you’re like, ‘It’s just who I am. I’m going to do it’.”
On the other end of the spectrum, the first single and finale “Fence” goes right for the jugular with pummeling drums, a chugging riff, and guttural barks from Lajon. It crashes right into a hammering hook before spiraling into an incendiary solo.
“It has the old school Sevendust vibes,” he smiles. “It was really a product of collaboration at the farmhouse. Morgan was playing, and we all started jamming in the same room. I’m so glad we got a chance to do a headhunter like ‘Fence’ for this album.”
The title track “Truth Killer” fuses searing orchestration with a rush of distortion and powerhouse refrain.
“Nobody wants to hear the real truth,” laments Clint. “They want things sugarcoated and watered-down, so they can feel better. It definitely spoke to the overall tone of the subject matter.”
Then, there’s “Everything.” A jarring guitar melody underlines an affirmation on the catastrophically catchy chorus. “You’re basically saying, ‘I’ll be anything you need me to be, and I’ll be there for you in every way possible’,” he elaborates.
As if baptized in frustration, “Holy Water” snakes through an off-kilter bounce over incisive synths towards a massive chant, “Someday I’ll see the light. I hope before I die.”
“None of us are perfect, so there’s no reason to judge,” Clint observes. “We’re all trying to figure it out, but a lot of people will sling their holy water at you and act like they’re better than everyone. I have a definite belief and relationship with God, but I’m not here to make anyone believe anything.”
“Superficial Drug” intoxicates with a sinewy bass line and head-nodding groove as one of the record’s most melodic moments takes hold.
“Everyone needs the ‘follows’ and ‘likes’,” he continues. “The social media world is very superficial for the most part. It’s part of the design, and I’m guilty of it too. So, the song says, ‘Go ahead and take your superficial drug. I’m over it’. I want to be around people where there’s depth to the conversations. We have enough friends. We would die for our fans and the Sevendust family. That’s all we need.”
In the end, Truth Killer reaffirms there’s only one Sevendust—and they’re here forever.
“As a kid who used to wait in lines to see concerts, I want to deliver the artistic quality I was looking for as a fan,” Clint leaves off. “I want people to know we cared, took some chances, and still have the creative spark. I want them to know we have more to say and more to prove.”
For nearly two decades, 10 Years have quietly pushed themselves and modern rock towards evolution. Building a formidable catalog, the group’s gold-selling 2005 breakthrough The Autumn Effect yielded the hit “Wasteland,” which went gold, infiltrated the Billboard Hot 100, and clinched #1 at Active Rock Radio and #1 on the Billboard Alternative Songs Chart. They landed three Top 30 entries on the Billboard Top 200 with Division , Feeding the Wolves , and Minus the Machine . Most recently, 2017’s (How to Live) As Ghosts marked a reunion between Jesse, Brian, and Matt and achieved marked success. Not only did the album bow in the Top 5 of the US Top Hard Rock Albums Chart, but it also yielded the hit “Novacaine.” The single ascended to the Top 5 of the Billboard US Mainstream Rock Songs Chart and tallied 16 million Spotify streams, alongside 29 million streams across all dsp’s. The cumulative total for all track streams from repertoire on How To Live (As Ghosts) exceeds 51 million plays. Along the way, they sold out countless headline shows and toured with everyone from Korn, Deftones, and Stone Sour to Chris Cornell and Linkin Park.
Burden of the Sky
Burden Of The Sky is an American Alternative Hard Rock/Metal band from Illinois. The band was born in 2012, a project of Brad Shaw and Josh Appel. “Cinis Ad Cinis”, the group’s debut album, came to light in 2017 and pushed the band into the public eye. The album was driven by lead single “Same Old Page”, which has been streamed worldwide over 800,000 times.
The debut album and new single “Sirens” were produced, mixed and mastered by award winning Nashville Producer/Engineer Colt Capperrune of Dark River Studios. Says Capperrune, “Working on an album like “Cinis ad Cinis” makes my job as a producer easy. The songs were extremely strong just the way the band brought them to me.”
In 2018, the band has been reborn. Still lead by Shaw and Appel on guitars, as well as keyboardist Michael Mahoney, bassist Dustin Tritsch, and drummer Rick Streeter, they move forward with new singer/songwriter Scottie James (Aterra Tale). Infused with new life, the band has moved forward with new material and look forward to their sophomore release in 2019.
CORE is a four time Billboard charting Rock band based in Austin Texas with roots in Las Vegas, NV and McAllen TX. The band is led by internationally renowned guitarist Chris Iorio, founding member of Adelitas Way. After Bass Player Jarrett Smith and Chris Iorio left their former project together CORE was born. Brandon Lemond would join in the early days to round out the group in the early days. The bands first two US tours with Buckcherry would lead them to the later addition of Mark Morales, former lead singer of renowned metal band Sons of Texas. Mark’s powerful vocal sound would reach the band to new heights just in time for the opportunity to record with legendary multi platinum Juno award winning producer Kane Churko. Currently working on the next era of CORE, the guys are excited to release new music again.
CORE’s music combines elements of active rock, post grunge, alt rock and classic rock influences. From hard hitting tracks to breathtaking solos and new-rock anthems, this quartet crafts catchy choruses and delivers relatable, honest lyrics accompanied by powerful guitar riffs. CORE’s refreshing and much needed style sets them apart commercially.