The just-announced concert will take place on Aug. 17 and will feature the two alt-metal juggernauts co-headlining what’s being billed as “a standalone event at the historic Golden Gate Park.” This could open things up, as in the past, to potential onstage collabs from the longtime friends.

Read more: Flashback: Deftones bring out Paramore’s Hayley Williams onstage for “Passenger”

Better yet, the outdoor show will also feature support from psych-styled prog-venturists the Mars Volta, Stockholm punks Viagra Boys, and Deftones-approved “death-pop” duo VOWWS.

If you’re thinking of pulling up to the park, tickets go on sale to the general public this Friday (April 12) at 10 a.m. PT. You can check out a quick commercial for the concert down below.

It’s a SOAD spring, too, with the band set to perform this month at the second annual Sick New World festival in Las Vegas, while vocalist Serj Tankian is scheduled to release his Down With the System memoir May 14.

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This article was originally published on RevolverMag.com and has been edited by Alternative Press.

Read more: Every Linkin Park album ranked

We asked our readers what the best nü-metal bands are of all time. From Deftones to Linkin Park, find the top fan picks ranked below.

5. System of a Down

System of a Down proved that nü metal wasn’t restricted to a particular style. Their self-titled debut album in 1998 introduced their mind-blowing style — then their follow-up, 2001’s Toxicity, fastened their approach. That record’s spastic lead single, “Chop Suey!,” earned countless covers and tons of radio play, showing that heavy music could get theatrical without going glam.

4. Slipknot

Though Slipknot released their brutal self-titled debut album in 1999, right on the cusp of the 21st century, the band heralded nü metal into the future. The genre pioneers dispensed face-spitting rippers (“People = Shit”) and radio-friendly cuts (“Wait and Bleed”) with pleasure, influencing countless bands along the way. By merging industrial influences and a love for hip-hop with neck-snapping riffs, Slipknot revealed how truly menacing the genre could be.

3. Deftones

Since their formation in 1988, Deftones didn’t give much credence to genre. They still offered a lot to nü metal, though, particularly with 1995’s Adrenaline and 1997’s Around The Fur. Both albums demonstrated technical riffs, dark vocals, and a hip-hop bent. Rather than follow that blueprint, though, Deftones transcended those roots in favor of a wider, more imaginative genre spectrum. The experimentalism paid off, as 2000’s White Pony became their landmark record, highlighting their own form of alternative metal with lush atmospherics.

2. Linkin Park

Linkin Park’s fusion of hip-hop, metal, and electronica launched them into the stratosphere. Their 2000 debut record, Hybrid Theory, would go on to become one of the biggest rock blockbusters of the 21st century, finding a balance between heavy music and hip-hop that made them global stars. Though the band never officially disbanded following the death of their beloved vocalist Chester Bennington, founding member Mike Shinoda has said that they have no plans for new music. Regardless, they’ve certainly left behind a tremendous legacy.

1. Korn

Korn’s twisted self-titled debut, which turns 30 next year, started a revolution. Jonathan Davis’ ferocious delivery, overtop industrial instrumentals with hip-hop beats, pioneered a sound like no other. Nearly three decades and 14 studio albums later, their dark vision has endured. “We’re always going to persevere,” Jonathan Davis told AP in 2022 as part of an oral history. “To be this many albums deep is a huge feat.”

Read more: 10 most criminally underrated Bring Me The Horizon songs

On her latest single, a cover of “Chop Suey!” that’s out today, she adopts a delicacy that mutates the nü-metal thrasher into an eerie folktale. The band’s music has long been part of her world, citing “the guitar work, the harmonies, and, overall, the songwriting” as pieces of their craft that resonated deeply. “My brother downloaded System of a Down’s full discography on Napster when I was in my sophomore year of high school,” she explains. “I was obsessed with the song, especially singing the harmonies.”

In a sense, Eartheater’s heel turn is magnetic, culminating in one of the record’s most intimate performances. Serj Tankian’s volcanic delivery is replaced with a hallucinatory hush that urges listeners to lean their heads in a little closer. She cradles the verses, stretching the qualities that made the original so haunting. Perhaps that’s why the whole track feels as if there’s a jump scare skulking around the corner. Instead, as the track weaves in string arrangements that could pass for a lullaby, the song detonates with a drum crescendo that ends the cover on a high note — and makes good on her devotion to the 2001 ripper. “This song has existed in my life longer than any song that I have written; I’ve been singing this song since I first heard it,” she reveals.

Collaboration is the lifeblood of Powders, as Eartheather tapped a slew of producers to lend their magic across the record’s nine songs. The LP is nourished by additional minds, from Sega Bodega and Yves Rothman to Elliott Kozel and Kiri Stensby, who produced “Chop Suey!,” among others. “More than anything, I’m so grateful for their trust in me,” she says. “Their ability to streamline my ideas was very empowering and helped me deliver a stronger album. The intimacy and clarity that you feel in ‘Chop Suey’ is a testament to my long-time relationship working with Kiri and how we know each other so well. She knows exactly how to record my vocals in a crystalline way.” It’s an impressive feat, one that marries pop smarts with sleek production that promises Eartheater will remain an unpredictable force, whether or not you’re a fan of nü metal.

Sick New World Festival touches down in Las Vegas in May 2023 with an epic hard-rock lineup

After the recent success of the highly anticipated When We Were Young Festival in Las Vegas this past October, the city of sin is now set to host yet another groundbreaking and stacked event this May with the Sick New World Festival. The hard-rock and nü-metal-tinged festival boasts an impressive roster of headliners, including Korn, System Of A Down, Incubus and Deftones. Other artist highlights include Flyleaf (with the return of vocalist Lacey Sturm), Spiritbox, Evanescence and Turnstile, among many others. Grab your wallet chain, JNCO jeans and Adidas tracksuits because Sick New World is approaching fast and is here to help you to live your wildest nü-metal dreams. Tickets go on sale Nov. 11 here. —Alessandro DeCaro

Snail Mail is throwing a hometown Valentine’s Day Festival in Baltimore 

In celebration of her critically acclaimed sophomore album Valentine, Snail Mail is throwing a five-night Valentine’s Day festival in her hometown of Baltimore, Maryland. From February 10-14, Snail Mail will take up residency in the beloved Ottobar venue with a hand-picked guest each night. Fans will also be able to purchase a limited-edition double 10-inch heart-shaped vinyl of Valentine, designed specifically for the festival. Tickets go on sale Nov. 11 here. —Alessandro DeCaro

Lolo Zouaï is taking PLAYGIRL out on the road

Lolo Zouaï is fresh off the release of her sophomore album, PLAYGIRL, an LP that bursts with a flirtatious spirit and a cyber-future vision. Now, the pop star is taking her new songs out on the road. This March, she’ll embark on a world tour, where she’ll make stops in London, Berlin, Amsterdam and more. The U.S. leg begins April 11 in San Francisco, with Zouaï visiting Denver, Boston and Nashville, among other cities, before concluding the run May 13 in Los Angeles. Tickets go on sale Nov. 11 here. —Neville Hardman

Sega Bodega will play three special headline shows this November and December

Late last year, Sega Bodega dropped Romeo, which both invited collaboration (Arca, Charlotte Gainsbourg, Donna Missal) and showed off his love for experimental, forward-facing dance music. Now, the London producer is wrapping up the album run with three special headline shows in London, Berlin and New York City. Additionally, Bodega recently worked on Caroline Polachek’s romantic new single “Sunset,” which he co-produced and co-wrote. Grab tickets for “Romeo: The Final Act” here. —Neville Hardman

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The festival takes place May 13 at Las Vegas Festival Grounds, the same venue as When We Were Young. The bill includes many acts that shaped the genre throughout the ’90s and early 2000s, such as Korn, Deftones and System of a Down. Evanescence, Incubus, Turnstile, Flyleaf (with original vocalist Lacey Sturm), 100 gecs, HEALTH and plenty more are also set to play at the fest.

Read more: 11 most underrated nü-metal bands that shaped a generation

General admission tickets start at $249.99, with GA+ and VIP options available as well.

You can grab presale tickets Nov. 11 at 10 a.m. PT by signing up here. General public tickets are available Nov. 11 at 2 p.m. PT. For more information, visit the festival’s website.

Check out the incredible lineup below.

In his new book, Anthems We Love: 29 Iconic Artists on the Hit Songs That Shaped Our Lives, longtime music journalist Steve Baltin sits down with a plethora of musicians to examine the stories behind some of the most recognizable songs in music history.

Read more: A beginner’s guide to Linkin Park: from radio hits to rarities

“These songs have saved people’s lives. They have been played at weddings, funerals, parties. So, it was fascinating to talk with some of the greatest artists ever — U2, My Chemical Romance, The Temptations, Carly Simon, Aerosmith and more — about how these songs have changed and the stories they have heard from fans,” Baltin tells AP.

Among those 29 artists include Linkin Park founding member and lead guitarist Brad Delson, who opened up about the legacy of “In The End.”

“Many people said the song saved their lives, and Chester Bennington told me many times over the years how often he heard that from fans. I have seen on several occasions, whether at live shows or from talking to fans, how much the song means to the LP audience,” he adds.

As the band’s highest-charting single ever, Delson credits its roaring popularity to MTV, touring and the power of its music video. Read an excerpt from the chapter below.

MORE THAN TWO DECADES AFTER ITS RELEASE, Linkin Park’s debut, Hybrid Theory, remains the best-selling rock album of the twenty-first century. The band’s guitarist and co-songwriter Brad Delson believes that is a testament to the album’s strength from top to finish. “I think every song on that album is really strong,” Delson says.

The album spawned four singles — “One Step Closer,” “Crawling,” “Papercut” and the final one, “In The End.” “I think ‘In The End’ stands out even among them,” Delson says.

The song’s success upon release bears that out. While the first two singles both hit the top five on multiple Billboard rock charts, including the Alternative Airplay, Mainstream Rock and Rock And Metal, “In The End” is the track that catapulted the band into the mainstream, hitting number two on the Hot 100 and ending the year at number seven on the year-end Hot 100.

Delson traces the song’s emergence into becoming an anthem early on. “In terms of becoming an anthem, ‘One Step Closer’ came out, kind of put us on the map, like MTV, album came out, sales never really dropped after the first week, which is very rare,” he says. “We were already touring, already building a fan base, fought with our record company about what the second single would be, we thought it should be ‘Papercut,’ and they were a lot smarter and knew that ‘Crawling’ was the way to go. MTV was really important for us at that time. And if something was on MTV, it was like kids knew it. If the video was on MTV, kids knew it like nationally or internationally. ‘Crawling’ really bumped us up a whole level touring, touring, touring all the time, that all time.”

According to Delson, the early success of the first three tracks set everything up so when “In The End” was released as a single October 9, 2001 fans had become familiar with Linkin Park and were primed for the song to become a smash.

“When ‘In The End’ hit, it was like in top rotation on MTV, the video. There’s a close-up of Chester [Bennington] that’s really iconic. And so the songs being on MTV and growing, ‘In The End’ was the apex of pop culture attention around the album and it was like a climactic spotlight on the band,” he says. “And so the power of the video being in popular culture rotation on MTV and us being on tour, basically metal tours, was a really powerful phenomenon.”

The song was able to cross over into worlds, taking the band from rock and metal charts into MTV success. “I’d say the song took on a life of its own. It was on TRL, which was basically really pop stuff,” Delson recalls. “And so at that point, it’s like you’re pressing on the gas to get on the freeway and you’re starting to accelerate and that song just hit its stride. At a certain point, there was no thought of, ‘Oh, we should promote this.’ It was just like, ‘Let’s take our foot off the gas and it’s now in orbit. There’s nothing we need to do.’ The song hit launch and it’s in orbit and now it’s just in orbit.”

Though the song would eventually become a worldwide smash, Delson does not recall exactly when in the band’s early days of touring, “In The End” became the sort of sing-along smash that an entire sold-out audience screamed at the top of their collective lungs. But once the song did become a smash he noticed the crowd responded to the track in a unique way.

“At some point, and I don’t know when, the bridge of the song became the moment of the song, especially live. And that’s an unusual thing in a song because the chorus is always the most memorable part, and the bridge cords are the same as the chorus,” he says. “However, you get this new lift emotionally, lyrically, melodically. And that’s the part, that audience, that crowds at shows really embrace. When you say anthem, I think of an anthem being embraced by other people as this is their story. And ‘In The End,’ I believe, became an anthem because of the way people relate to the whole song, and in particular, the way they sing out the bridge.”

Once the song achieved anthem status it became a centerpiece of the band’s live shows around the globe, a song that fans would sing along with in the States, Europe, Asia, everywhere. And with that, there were several emotional, memorable performances. But as a fan there was likely no more emotional performance than October 27, 2017, a few months after the band’s singer, Chester Bennington, was found dead July 20 of that year.

On October 27, the five remaining members of the band came together with a wide array of special guests — from Alanis Morissette and Gavin Rossdale and to members of Korn and System Of A Down — to pay tribute to Bennington at the Hollywood Bowl. But no guest was brought out to sing the emotional “In The End,” leaving that to the capacity crowd, who poured their hearts, emotions and tears into screaming every word of the song.

Though the emotion was at peak level that night, Delson had seen that kind of outpouring from fans at the live shows for years.

“People connect very strongly with the music, really have embraced it as their own, have a true emotional connection with the music, with the songs, and you’ve seen it. There’s an outpouring of connection and emotion about these songs that it couldn’t be more personal for people, how they relate to these songs,” he says. “You can see it on an individual level when someone’s telling a story about how they connected with the song. And then you see it on a collective level in concert, when this kind of community of individuals becomes one super loud, multi-dimensional voice.

And the volume at which people sing, and particularly the bridge, I mean, the whole song, they’ll rap all the verses. And without exception, we get to the bridge, that became a moment where not only would Chester not have to sing at all, the crowd basically became louder than the PA at that moment. And so we just stopped playing, we would stop playing the whole song at that moment, we would stop the guitars and drums, and the crowd would just sing the whole song, and then we would have the hilarious task of trying to get back in sync with the song, with ourselves. However, at that moment in the song, we didn’t need to do anything. We just had to stand there and receive it.”

Read more: Zulu: “The best part about music is that you can do whatever you want with it”

JELEEL! can credit some of his rise to TikTok videos that captured his strong personality and equally powerful music, and the young artist is grateful for the platform that social media has given him. Now in 2022, JELEEL! is set to bring his intense performances to the masses with a string of high-profile headlining runs and slots on some of hip-hop and pop’s biggest festivals. There’s no better time than now to dive into the bright and eclectic world of JELEEL!

Where are you at today, and where do you want to be in the future? 

Right now I’m in the studio cooking up with the homie Aaron. Right now, I feel like I’m in a good space and am happy with how things are going. As far as where I want to go in the future, I just hope to be worldwide and let everyone feel that real, raw energy. 

What’s your touring schedule like? 

I’m gonna do three one-off shows in June where I’m headlining in New York, Chicago and LA. After that, I’m doing the Rolling Loud Festival in July. 

What do you want people to take away from your live shows? 

I always want to make sure that I’m completely present and that I can give people the best show of their life. 

The energy that you have is so positive, and I imagine that comes from the heart. Have you always been this way?

I’ve always been positive. Even as a kid, I was so happy and energized and loved being outside. 

I understand that TikTok was a huge part of your rise in popularity. What was the process like? 

When I jumped on TikTok, things really started to change. I’d upload a video of me each day doing JELEEL! shit, and people would comment and react to it, so I would make content around that with my songs for people to listen to. Thank God for TikTok. 

Who were your early musical influences? 

I loved DMX. He was so raw, and he was himself. However, the first thing I found interesting was the Afrobeat music that my parents would play. I then started listening to some rock bands like Sum 41, System Of A Down and then everything from Paramore to Kanye West to Passion Pit. I was a SoundCloud fiend listening to everything. I like all different types of stuff.

Who would you love to tour with one day? 

I think doing something with Post Malone would be fire. I feel like I would be a perfect match for his vibe. 

Do you spend a lot of time in the studio? 

I do, but I still like to have that balance and do other stuff too. I’m also a human being and need to go to the gym and work out, pray, go out and socialize. I’m always just being JELEEL! 

I think it’s really cool how open you are about prayer and your faith when sometimes people want to leave that stuff out. 

I don’t care what people say, and that’s just me. 

Who do you credit with encouraging you to be yourself the way that you are? 

I give credit to God, friends and family, but really that’s just the way that I’ve always been. I’ve been incrementally building confidence over time. 

What songs of yours are the most personal to you? 

My most personal song is “JELEEL JUICE” because it’s one of those songs that is all me, and you can’t get more personal than that. Another one is “Attention!,” and that talks about my faith. 

I feel like you can’t put JELEEL! in a box, and I can’t wait to see all of the different sounds you do in the future. 

I feel like people try to put me in a box, but it’s hard to because no one really knows what to call me. That’s why people call me a whole anime character. [Laughs.] I’m still learning. I’m just a student of art, and I’m just going to keep designing and learning. I don’t have all the answers, but I’m gonna get it.

FOR FANS OF: Juice WRLD, Trippie Redd, Lil Uzi Vert

SONG RECOMMENDATION: “JELEEL JUICE!”

This story appeared in issue #407, available below.

In addition, Shinigami is announcing his forthcoming EP bioMACHiNA. The release is due April 22 in partnership with Version III.

Read more: “People like listening to me being horribly in pain”: the oral history of Korn

Shinigami is the project of Gianni Veloz. Veloz’s music has been a presence in the underground alternative movement, something shaped by his place in the emo SoundCloud movement and his status as an independent musician. Pulling freely from rock, hip hop, post-hardcore and other genres, Shinigami also inflects his music with his influences from video games and anime. (Shinigami is a term for gods or supernatural spirits in Japanese culture and folklore, and also are characters in popular anime such as Bleach and Death Note.)

Produced by Martin, bioMACHiNA closes Shinigami’s net, narrowing the themes and the music to fit a specific artistic vision. The project draws inspiration from a wide range of sources from Shinigami’s childhood: nü metal, Metal Gear Rising: Revengeance and the Halo franchise. Shinigami specifically acknowledges his love of ‘90s and 2000s bands such as System Of A Down and Mudvayne, a sentiment shared by Martin.

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“Rampage” and its video are a perfect showcase for the new project. The song builds on the grinding, minimalist guitar riffs that are the hallmark of classic nü metal. Martin’s production helps the track to have the power of that genre, and also inflects the track with a cybernetic hue that captures the bio-mechanical feel of sci-fi games like Halo.

Fittingly, the song comes with an animated visual that gives off the action-packed feel of ‘90s and 2000s gaming. The story of the video is complex, following from the broader narrative of bioMACHiNA.

The record tells the story of a cybernetic soldier who is fighting for his humanity after being infected by a parasitic nanovirus. The video includes elements of the narrative, seeing the EP’s lead character battling against hordes of soldiers and “boss” type enemies who reflect the distinctive feel of Metal Gear Solid’s greatest antagonists.

Read more: Incubus announce tour featuring Sublime With Rome and the Aquadolls

Shinigami spoke about the vision behind the new project as well as the cinematic quality of the narrative behind it.

“With this project, I really wanted to focus on one theme throughout rather than dance between various styles and subject matter like I’ve done in the past,” Shinigami says. “The goal was to create something that would clearly paint an image in the listener’s head, like listening to a movie. I like the idea that everyone will see the movie a little different.”

With “Rampage,” Shinigami offers something of a trailer for the upcoming movie: a unique musical and visual world that is bioMACHiNA.

Watch the “Rampage” video below.

Read more: Korn to hold live “Requiem Mass” ahead of new album release

To celebrate the release, Korn will play two sold-out shows in Los Angeles. The first will take place tonight (Feb. 4) and the other tomorrow night (Feb. 5). Both performances will be held at the Banc of California Stadium. System Of A Down, Helmet and Russian Circles are set to support.

In addition to the new album and Los Angeles shows, Korn will kick off their 2022 arena tour on March 4 in Springfield, Missouri. They will be accompanied by special guests Chevelle and Code Orange. Check out a full list of tour dates below and purchase tickets here.

Listen to Requiem below.

Korn tour dates:

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