Fox Lake

Good news for Children Of Bodom fans, because the band will co-headline the 2027 edition the Tuska Festival, set to take place July 2-4, 2027 in Suvilahti, Helsinki, Finland. They will also perform at Provinssi, which will be held July 1-3, 2027 in Seinajoki, Finland. The concerts, dubbed 'Children Of Bodom – A Celebration Of Music', feature original band members, bassist Henkka Seppälä, keyboardist...

Children Of Bodom's surviving members will return to the stage next year for a co-headlining appearance at Tuska in Helsinki, Finland. The festival will run from July 2nd through 4th.This past February saw guitarist...

Finnish metallers CHILDREN OF BODOM will co-headline the 2027 edition the Tuska festival, set to take place July 2-4, 2027 in Suvilahti, Helsinki, Finland. They will also perform at Provinssi, which will be held July 1-3, 2027 in Seinajoki, Finland. Tuska 2027 limited early crow three-day tickets wi...

The rise of the machine was unexpected. vianova vocalist Alexander Kerski is explaining to Revolver that he just wrapped a bizarre string of European shows with his metal, jazz and R B-fusing outfit. The German group just had four drummers weave in and out of their lineup over the past few weeks. Odder still: they were a few limbs and a human heart short of what you might expect out of a quartet of timekeepers — the one that got them out of their biggest jam this June was actually a laptop loaded with backing tracks. When the band showed up to Hamburg, Germany’s Fabrik venue earlier this month, they did so without their full-time drummer, Paul Vogelgesang. This honestly wasn’t a surprise, as the longtime skinsman had booked time off to undergo hernia surgery. Here’s where things went sideways: Vogelgesang’s intended replacement, Nick Oberhäuser, also had to bow out from the show after an undisclosed illness forced him off the kit. “It was a cursed week, to say the least,” Kerski says from his home in Berlin, further reflecting on Oberhäuser’s absence, “We were sure he would smash it, but then he had the bad luck of getting really, really sick to the point where he also had to be hospitalized a day before the show.” vianova were due to open up for mosh-country hog handlers Bilmuri. A big-time appearance at the Download Festival in Donington, U.K., was days away. Most pressingly, vianova didn’t want to disappoint their growing base of passionate fans — some of whom now coming to shows wearing the same fluffy hat and sunglasses Kerski dons onstage. In lieu of their Plan B percussionist, vianova hooked their computer up to the venue’s soundboard, pressed play, held their breath and gave it their all without live drums. While it wasn’t a total catastrophe, Kerski is adamant he never wants to do this again. “I ll be honest, it didn t feel great. I felt really awkward onstage without the drums in the back,” he says. “A big part of the impact is the drummer hitting stuff behind you — you feel a certain energy and excitement if you have somebody behind you drumming. Also, it was very bright in the venue. I felt naked and exposed, not gonna lie.” The conditions were not ideal. Kerski, guitarist Felix Vogelgesang and bassist Raoul Zillani were feeling especially vulnerable, being a man down and forced into using backing tracks as an act of desperation. Curiously, what the set seemed to expose most is vianova s determination to endure. “The feedback from the people in front of the stage was good, Kerski says. And people came up after and told us they enjoyed it, and that they respected the decision of us pulling through.” Nevertheless, following the one-off performance with the laptop, vianova booted their digital drummer out of the lineup in favor of someone who knew the catalog pretty well: Leon Schmidt, the music producer behind the band’s 2025 LP, HIT IT! “He had some time to air drum in the car,” Kerski confirms. “He pretty much learned the set in three days… and then at Download, he joined us and was able to save the day.” Truthfully, that vianova stuck the landing in Hamburg may not be that big a surprise after all. With HIT IT!, the outfit bound through hybridized feats of strength that should not work on paper — whether it’s swinging from lush and sophisticated neo-soul towards demonic breakdowns on “Uh Yaya,” merging glowstick electronics with progressive djent-pop on “Melanchronic,” or Kerski rocket-launching his sinewy tenor through skies-cracking key changes on nu-gospel hybrid “Oh No (Believer).” Yet it s exactly those bewilderingly acrobatic displays that have brought vianova into the heavy-music limelight, recent milestones including a coveted opening spot on Thornhill’s recent “Mercia Tour” — where they also played alongside fellow modern heavy-hitters 156/Silence and Fox Lake. This is all to say: vianova have become a must-see metal act, no matter the lineup. In his conversation with Revolver, Kerski relives the highlights of the recent stateside trek, talks up his iconic headwear and discusses when vianova might hit us with more new music. What were your takeaways from vianova’s first trip to the U.S.?ALEXANDER KERSKI Honestly, now that I had some time to sit with it, the tour was a huge success for us. I would even go as far as saying that we could not have imagined a better first U.S. tour experience, for several reasons. First of all, all of the bands were amazing. Thornhill were the sweetest guys. 156/Silence are really good. Fox Lake are also cool guys. We noticed a lot of sold-out shows, big venues. And the crossover between the fans was really good. We always had a full crowd, even as the opener. We had pits. People were singing along. That continued the whole evening. So, the spirit was there the whole time. There are some things that suck, though — like being away from home for so long or getting sick on tour. Also, sleeping on the bus was new for us. However, hearing what U.S. bands have to go through — touring in a shitty car, or sleeping in a van for five weeks — and not even playing these caps…. We entered at a very high standard, which was obviously granted to us by the main bands — it s not like it was our tour. We re very grateful for that. It didn t happen every night, but you got to perform ‘Nerv’ onstage with Thornhill during that tour. How was it sharing the mic with Jacob Charlton?It s not that deep, getting a guest spot. It s just a fun thing, you know? You get to learn the song, you re kind of nervous about it, and then you go onstage. It wasn t a feeling of, “Wow, I get to [share] the stage with this band.” It just felt like playing another song. But it’s a fun thing. Like, the song s cool! I enjoyed doing the part, and I think the lyrics and the patterns are really sick. It was really cool to get deeper into that and see Jacob do his rhyme schemes. Did anyone on the tour hop on for a guest spot during a vianova set?Not exactly. But Joel Adams, the front of house who mixes Thornhill, also did our audio on this tour, and he’s a vocalist. We tried to get him to do a track on the very last set we did in Seattle. He has a talkback microphone, which he uses to communicate with us through our in-ear monitoring. [The audience usually] can t hear it. However, for the last gig he turned himself up in the main speakers and made comments. He would do an intro like, “Here comes the worst jazz band you have ever seen!” We have this jazzy soul intro [before we play], and he s like, “If you like what you re hearing right now, you will hate the next 25 minutes.” [Laughs] Really funny stuff, because he s a very funny guy. Honestly, when he did that people got very hyped. We were like, “Damn, we should have done that for the whole tour,” just because it was so hilarious and fun. You caught a sinus infection during the U.S. tour, which would have affected your vocal performance. Since you’ve got a lot of range, between those super high notes and your screams, what side of your voice did that affect the most?One thing I have to mention is I have a cyst in my sinuses, which I have to get removed after all the touring [behind HIT IT!] is done. So, I m dealing with chronic inflammation, which I can usually deal with, as long as the inflammation doesn t slip down to the throat. However, on this tour a lot of people got sick. I think there was something going around, because there were multiple people complaining about the same thing, like a runny nose. There was one day where I noticed my throat being a little rough. Usually [your vocal cords] are smooth and vibrate easily. You can feel [an infection affecting] your whole range. It feels like you have a thin layer of dryness on top of everything, and that is something that really messes with your higher register. I just had to try and not put as much force into it as I usually could, because that would make my voice break very easily. One thing that you don t want to do in these states is put more stress than needed on your vocal cords. What s the toughest vianova song to perform, even on your best days?Oof… I would definitely say “Oh No (Believer).” It’s the third song each night, after we play two songs back-to-back. It has a lot of words, the chorus is very high — and then when we have the chorus [come back the] second time, [the key] gets even higher. When I got sick, I was like, “Goddamn, it sucks that I have to sing that song.” [Laughs] I still managed to do it somehow, but I m dreading the day where I wake up and feel even worse, and I have to sing that song [but] won t be able to do it. I’m almost expecting that to happen at one point. The last time you spoke with Revolver, you were telling us about how fans were showing up to shows wearing the same white suits that the band wear onstage. On the U.S. tour people were also wearing the same kind of plush hat that you wear. How does it feel to see those people out in the crowd?It’s very cool, because you can recognize which people are into your band. Every time we play a new city, we don t know what to expect. I want to go onstage and be like, “Do people know us?” Are they aware of the band? Do we have to sway them? Do we have to put in more work? However, if I see a few people with a hat in the crowd, I m like, “OK, I guess we have a few fans here.” Apart from that, it s cool to see people connect with the album and the art direction. Every time I see people that are into it, I feel like I’ve been proven right, in a way. Two years ago, I made this decision of “Hey, I think this is cool,” and then two years later you see people rocking the hat. Maybe that’s a bit surface level, but that s what it is. What are the origins of the hat?For this era, I wanted the band to look really cool and congruent, you know what I mean? Before this, getting everyone to wear something that matched was a struggle. That s why I wanted us to have one coherent band look. I made a mood board — my girlfriend also helped me out with this, I have to give credit to her, too. And for the singer figure, I wanted to [wear] something iconic that stood out. I saw a friend of mine wearing a similar hat in the winter, and I liked it. Then I saw this at a flea market. It s kind of similar to the Jamiroquai fur hat that [their vocalist Jay] also used to wear. We get a lot of comparisons to that — I think it s cool, but it wasn t intentional. It’s just a string of coincidences and inspiration that led us to this place. Kind of like the fans wearing the same style of hat as you, were you ever inspired to try and emulate someone?The album art direction was inspired by Tyler, the Creator. However, it s not that we wanted to rip it off. It’s also about the musical inspiration [from Tyler, the Creator], because there’s a lot of soul and jazz influence there — and also some Bruno Mars and Silk Sonic stuff that I liked. The bigger picture [is] the soul and jazz influences and the whole Seventies and Eighties [fashion aesthetic]. I was looking up the fashion of that time… I guess we were inspired by all of that, but I wouldn t go as far as to pinpoint a single person. It’s just the general vibe. You’re deep into promoting HIT IT!, but are you making any new music behind the scenes? Any new fusions on the horizon?We have a cool concept for what we want to do next. However, with all of the touring that we re doing, we haven t really had any time to properly hit the studio. Like, we have half a demo of something. People ask us all the time at the merch table, “Hey guys, are you working on your music? I hope you are!” However, we re touring heavily. And even if we re at home, we have to work day-job stuff so we can pay rent. We re not at a point where we can be full-time musicians — that would make it easier. And with the way we re touring, it s not like we re in this big, fancy bus where everybody s hanging in a lounge area with their laptops, working on music. We re crammed in a tiny car where we can t do anything. So, right now we don t really have the luxury of working on stuff — which is probably bad, because there are bands that put out an album and also have the next album halfway finished already. We re not that band! That s just what it is. This interview has been edited and condensed for flow and clarity.

Thornhill had a massive 2025, and the momentum is only building through 2026 so far. Last year, the Australian alt-metal rising stars released an acclaimed new album, BODIES, toured the U.S. as direct support for Sleep Token, and went viral with a cover of Lady Gaga s Paparazzi, amid many career-defining milestones. Now, the band is in the homestretch of a triumphant North American headline tour — presented by Revolver — that serves as something of a victory lap. Named for Thornhill s September 2025 single, the Mercia Tour swept through a unseasonably balmy New York City yesterday (May 20th) for a sold-out show at Webster Hall, where the lineup brought its own heat. The proceedings were opened by jazz-funk-djent Berlin weirdos Vianova (playing their first U.S. tour ever), rap-metal barn-stormers Fox Lake and metalcore faves 156/Silence. But the night belonged to the headliners, who brought groove, swagger, sultry atmospherics and explosive energy to The City That Never Sleeps. Photographer Dimitry Mak was on hand to capture all the action — check out some of his standout shots below. The Revolver presented Mercia Tour continues tomorrow night (May 22nd) in Toronto. Thornhill 2026 Mercia Tour dates:5/22 – Toronto, ON – The Opera House5/23 – Detroit, MI – The Majestic Theatre5/24 – Chicago, IL – The Vic Theatre5/26 – Englewood, CO – Gothic Theatre5/27 – Salt Lake City, UT – The Complex5/29 – Portland, OR – Roseland Theater5/31 – Seattle, WA – The Showbox

While 156/Silence are currently focused on crushing crowds as an opening act on Thornhill’s ongoing “Mercia Tour”, the Pittsburgh, Pennsylvania metalcore unit have announced they’ll be delivering a new album called From A Distance in the near future. Ahead of the official album release, they’ve dropped a big-grooved first single called “No Arms.” A press release explains that the new album follows 2024’s Revolver-loved People Watching, and it also marks their full-length debut for Pure Noise Records. The first single swirls through nu-inspired grooves and anthemic modern metalcore, with a side-dose of tense, retro-electronica arpeggiation. Lyrically, it hints at “wasted days,” emotional scars, and trying to find one’s purpose through the “war.” The band said this about the track in a joint statement: “‘No Arms’ is about being without a way to protect yourself and what belongs to you. Being alone and afraid, not having any means to control the situations that befall on us. The overwhelming feeling of being helpless until we’re not. Until somebody saves us.” Unless you’re saving yourself for the full LP, you can check out 156/Silence’s new song via the chase-imbued music video up above. The band’s From A Distance was produced by Josh Schroeder (King 810, Lorna Shore, The Plot In You), and is said to be “heavy as hell, while leaning into atmosphere, mood, and emotional impact even harder.” The record also features guest spots from the Devil Wears Prada’s Mike Hranica and Make Them Suffer’s Alex Reade. Conceptually, the band were apparently inspired by the game scores for Resident Evil and Silent Hill, as well as the eerie vibes of Twin Peaks and Severance (a sample from the latter is said to open the album). From A Distance is out September 4th via Pure Noise, though a pre-order for an exclusive variant on “Copper Black Ice Shimmer Blend” vinyl (limited to only 250 copies, and bundled with a signed insert) is up now in Revolver’s shop. From A Distance tracklisting:Control BurnsNo ArmsOrder EntropySwept From Under (Call of The Void)An Early ExitCollateral (ft. Tony Castrati of Crippling Alchoholism)Cannon Fodder (ft. Mike Hranica of The Devil Wears Prada)Secret RoomProxy IdolsPhoenix DiesFrom A Distance (ft. Alex Reade of Make Them Suffer)After Dusk 156/Silence tour dates 2026:5/19 Boston, MA Royale !5/20 New York, NY Webster Hall !5/22 Toronto, ON The Opera House !5/23 Detroit, MI Majestic Theatre !5/24 Chicago, IL The Vic Theatre !5/26 Englewood, CO Gothic Theatre !5/27 Salt Lake City, UT The Complex !5/29 Portland, OR Roseland Theater !5/30 Richland, WA Ray’s Golden Lion*5/31 Seattle, WA The Showbox !6/2 Billings, MT Pub Station (Tap Room)6/5 Lincoln, NE 1867 Bar6/6 Iowa City, IA Gabe’s6/7 Indianapolis, IN Hoosier Dome7/18 Mansfield, OH Ohio State Reformatory (Inkcarceration)8/3 Boise, ID Knitting Factory #8/5 Bend, OR Midtown Ballroom #8/6 Spokane, WA Knitting Factory #8/7 Vancouver, BC The Commodore #8/9 Calgary, AB The Palace Theatre #8/10 Edmonton, AB Union Hall #8/11 Saskatoon, SK Louis #8/12 Winnipeg, MB Burton Cummings Theatre #8/14 St. Paul, MN Myth Live #8/15 Green Bay, WI Epic Event Center #8/23 Portland, ME State Theatre #8/28 Asheville, NC The Orange Peel #8/29 Nashville, TN Brooklyn Bowl #9/20 Louisville, KY Kentucky Expo Center (Louder Than Life)! with Thornhill, Fox Lake, vianova* with Fox Lake# with Chiodos, sace6, Calva Louise