#spinefarm

[sound-bombing]

Abduction - Existentialismus (Spinefarm, 2025) Genre: Atmospheric Black Metal Artwork: Julia Soboleva Bandcamp

[treble-maker1212]

How Sumerian Records fumbled Black Veil Brides

Sumerian Records had an opportunity of a lifetime in 2019. They were a small, indie label with a few popular bands signed to them(Asking Alexandria, Palaye Royale, Bad Omens, Poppy, Etc) Sumerian was an interesting choice for BVB when their contract with Republic was up. Going from a major label to an indie one? It was crazy, but at the time, for a lot of fans including myself, felt it was the best choice for the band. Sumerian had four things going for them that made them a shoe in

1: they are a metal core/rock label that seemed to be artist focused.

That was a big thing for BVB seeing as they were ignored and put on the back burner by their previous label because frankly, republic had no clue what to do with a rock band.

2: a personal connection with the ceo.

A lot of people mainly know Ash Avildsons connection to the band via American Satan and Paradise City seeing as Andy starred in both, but in reality, their connection goes back to the beginning of BVB's career. Ash was their first booking agent. He had been a supporter of the band before they ever got popular so I'm sure they felt a sense of security signing with someone who was there from day 1.

3: connections to artists signed to Sumerian.

BVB has done a million tours with Asking Alexandria, who was one of the first artists to sign with Sumerian and Lilith Czar had signed to Sumerian almost two years before BVB did. This was one of the first times Lilith seemed to be in an environment where she could flourish after years of being independent so I'm sure that didn't hurt at all when the band was making the decision to sign.

4: they let BVB release an ep under them before signing.

Sumerian gave them the reigns. They allowed BVB to test the waters and really see if the label was a good fit for them. This was a big thing and it was one of the first things I noticed and liked about Sumerian. It seemed like they genuinely wanted what was best for the band and that meant the world to us fans.

That was the rise of BVB's relationship with Sumerian Records. Now we get to the fall.

There are many reasons why I believe BVB left Sumerian Records, but these are the main ones.

1: lack of funds.

BVB has always been a grandiose band. Their concepts are bigger than life and extravagant. It was easy to make things happen with a major label that didn't know what to do with you. All they did was throw money at the band and tell them to figure it out themselves so BVB was a DIY band with a massive budget. With Sumerian, they had more help, but with no funds. Andy directed several of the music videos himself, he made costumes, he made set props and helped with makeup, set dressing and editing. One of the music videos(fall eternal) was canceled at the last second due to budget cuts which meant Andy destroying his Scarlet Cross costume for nothing. They also didn't release any sort of merch for the Mourning ep(but suddenly have the money to release a vinyl for it now that BVB is gone🤨). The last music video for The Phantom Tomorrow(Born Again) and I believe both videos for the Mourning ep(Devil and Savior II) were paid for out of pocket by BVB themselves. This, I believe was due to Sumerian focusing their funds on trending bands on their labels which leads to my next part.

2: favoring trending bands

This was a complaint made by many artists that have now subsequently left the label. Sumerian only cares about what's popping off on tiktok. When Bad Omens blew up on there, suddenly that was the only band that was getting any promotion on their social medias. That came to a cost for every other artist on their label. Palaye Royales record, Fever Dream was pushed back nearly two years, tours were randomly canceled for multiple bands(including Bad Omens before they popped off on tiktok) and Lilith Czar revealed in an interview last year that the last two tours she did before leaving Sumerian were paid for completely out of pocket.

Two north American tours.

Paid for out of pocket.

She revealed that she actually left the label the same year that her album Created From Filth and Dust came out because of the treatment.

Back to BVB tho.

It wasn't like the music that BVB was releasing under the label was bombing or that their tours weren't doing well. Quite the opposite. They had the highest charting singles of their career and were playing massive tours and sold out shows. BVB was flourishing... but they weren't trending. Sumerian claimed to be a label by artists for artists, but completely abandoned any band that didn't have songs on tiktok. BVB is not a social media band. They've never been. Sure, back in the MySpace days, they promoted a lot, but they are not from this new generation of bands having to lipsync to their own songs on their phones just so their label will let them release a new single.

BVB got maybe two posts about the Mourning ep when it was released. That was it.

3: Ash Avildson is actually insane lol

Anyone who is a fan of any Sumerian bands and followed Sumerian probably remembers the anti-vax rant that Ash went on using all of Sumerians socials instead of his own. It was actually concerning. It went on for three or four days. He posted over and over, commented on other people's posts calling out the behavior, said that it was "punk" to not get a covid vaccine(okay, bud). It was insane. Then there were rumors of him refusing to start filming season two of Paradise City until vaccine mandates were removed from film sets(i fully believe that) and a lot of rumors of abuse and harassment from at least one former employee. This was a few months before BVB released their cover of the Sisters of Mercy song Temple of Love which was released under their new label Spinefarm. I'm sure BVB had more than likely already left by then, but I'm sure it cemented their choice.

Now, BVB are with a fantastic label that actually promote them, fund them and seemingly treat them great. Sumerian took them for granted and subsequently lost them to a competing label(same vibe as treating your hot girlfriend like shit and being shocked that they moved on to the guy she told you not worry about). Sumerian has since lost multiple artists including Asking Alexandria and Lilith Czar. I'm happy to see BVB in an environment where they are treated with respect and given the resources they deserve.

[hornsofash]

I'm so excited--I ordered the gray mineral wash TPWBYT hoodie from Spinefarm, and it arrived today!! It looks great and feels super soft on the inside, I can't wait to wash it and try it on! If anyone wants to see it, I'll try to figure out how to take some decent photos! 🩶🩶

[lordsintacks]

Children of Bodom - “Bodom Beach Terror”

[sonicshocks]

Greywind have revealed a new video for ‘Safe Haven’, a track taken from their debut album, ‘Afterthoughts’.

“Exactly a year ago we played our first ever live shows, so for this video we wanted to show our journey as a band since then. From playing shows with the likes of Thrice and Moose Blood, playing Reading & Leeds Festival to selling out our debut headline show in London earlier this year. It's been a really exciting first proper year for us as a band and we can't wait for the rest of 2017.”

Greywind will appear at the following festivals this summer...

Fri 02 Jun 2017 – Rock im Park, Nuremberg, Germany

Sat 03 Jun 2017 -   Rock am Ring, Nürburg, Germany

Sat 10 Jun 2017 - Download Festival (UK), Castle Donington

Fri 07 Jul 2017 - 2000 Trees Festival, Cheltenham

[slrmagazine]

Sleep Token's 2023 Album "Take Me Back to Eden" Certified Platinum by RIAA. #sleeptoken @Sleep_Token https://slrmagazine.com/2026/07/23/sleep-tokens-2023-album-take-me-back-to-eden-certified-platinum-by-riaa/

Sleep Token's 2023 Album "Take Me Back to Eden" Certified Platinum by RIAA

[slrmagazine]

Australian Hard Rockers AIRBOURNE Release New Single "Kid In A Candy Store". #airbourne @Airbourne https://slrmagazine.com/2026/07/17/australian-hard-rockers-airbourne-release-new-single-kid-in-a-candy-store/

Australian Hard Rockers AIRBOURNE Release New Single "Kid In A Candy Store"

[danzameccanica]

Mi ricordo come fosse l’altro ieri il periodo in cui comprai e uscii di testa per Follow the Reaper dei Children of Bodom. Ricordo per qualche strano motivo che verso gennaio febbraio i miei andarono in settimana bianca lasciandomi solo in casa coi miei nonni. Era un periodo in cui ancora uscivo coi ragazzi dell’oratorio ma essendo l’unico del gruppo che faceva il liceo a Perugia, l’istituto d’arte poi per giunta, pieno di ragazze e ragazzi diversissimi da quelle e quelli del paese, mi sentivo davvero un dio. Ero nel miglior momento di transizione del mondo: stavo diventando sempre più metallaro ma la mia vita sociale andava a gonfie vele. Uscivo con gruppi di ragazzi più grandi e venivo anche invitato alle feste “dei billi” (cioè dei fighetti) delle altre province. Quando ancora oggi ascolto Follow the Reaper ho principalmente in testa due cose: le mie partite infinite a Suikoden 2 (con tanto di telefonate e sms di aggiornamento ad Angelo Livi per sapere a che punto eravamo con l’andamento del gioco) e una festa in particolare a San Martino in Campo. Mi aveva invitato Ivan, irrequietissimo compagno di banco obeso ma super immischiato con un sacco di compagnie fighe: assenteista, ricordo le sue mani sporche, fumava in continuazione e secondo me ci dava anche con altre droghe. Alla tenera età di 15 anni ne dimostrava già 25; era spesso imbarazzante ma aveva una dote incredibile: mi faceva spaccare dalle risate. Ricordo davvero con piacere un pomeriggio nel quale guardammo a casa sua il film Cento Ragazze, ricordo le prime birre comprate di nascosto (che mia mamma, non so come, scoprì) e ricordo che un sabato sera mi invitò a questa festa house commerciale a San Martino in Campo. Quella festa era stupenda, non conoscevo nessuno tranne Ivan e la Giulia che stava in classe con me (ragazza bonissima che lasciò subito la scuola perché rimase incinta). Di quella festa ricordo le vodke, il brano "I think of you" dei D.E.A.R. e il mio essere incredibilmente fuori contesto. Ricordo il ritorno in motorino, e quella sensazione di aver fatto qualcosa di diverso, fuori casa, da solo per la prima volta... niente di illegale ma avevo ad ogni modo 15 anni.

Nel mio walkman all’andata e al ritorno c’era "Bodom after Midnight" in continuazione; quelle magiche chitarre di Alexi Laiho me le sognavo di notte, così mescolate coi synth. "Mask of Sanity" e "Hate Me" me le ricordo ancora oggi per filo e per segno; ma in generale tutto l’album perché era quel periodo dell’adolescenza in cui compravo un cd al mese e me lo stampavo in mente giorno dopo giorno nel tragitto casa-stazione e poi a volte in treno e poi nel tragitto stazione-scuola. E al contrario. E al pomeriggio andando a basket. Nostalgia canaglia!!! Non so che fine abbia fatto Ivan (anzì ho saputo che aveva messo incinta una ragazza prima di compiere 18 anni !). Questo disco dei Children per me rappresenta davvero il massimo. Il perfetto incrocio fra aggressività e melodia; non che Hatebreed sia stato da meno ma qui c’è una componente di tastiera un po’ più variegata e presente. Ogni riff è perfetto, ogni fischio di chitarra e di assolo ti gasa a mille. È uno di quei dischi che puoi ascoltare solo sul motorino mentre appunto all’epoca mi portava da una sagra e l’altra, da una birra all’altra, facendo nuove conoscenze e intercettandone vecchie. Follow the Reaper lo ricordo ancora con quel piacere unico della primissima adolescenza; di quando si cercava almeno una volta al mese di trovare una ragazza con cui limonare al sabato sera… cosa che quell’anno feci davvero poco.