Keith Clement
Keith Clement writes about heavy music and alternative rock for Metalheads Forever Magazine, using brief release news and direct band interviews to spotlight new records, videos, and signings across the underground scene. His coverage leans toward emerging and independent artists, tracking how albums, singles, and label deals move from announcement to release. He blends metal-focused reporting with occasional forays into indie and alternative sounds, giving a broad view of guitar-driven music outside the mainstream.
Release and signing news across heavy and alternative music
Clement’s most consistent format is short, news-driven pieces announcing new albums, singles, and label partnerships in heavy and alternative music. He reports on acts such as Dymna Lotva, covering their video clip “Come and See” with details on the release and its place in the band’s trajectory. His coverage of Bike Routes’ album “Prairie” and the accompanying “Delicate” video shows the same approach applied to New Jersey-based indie alternative, highlighting release dates, touring plans, and the role of Blue Grape Music in putting out the record.
On the heavier side, Clement writes about IGNEA sharing the first single from the album “Dreams of Lands Unseen,” noting the track’s arrival as the opening move in a broader release campaign. He covers label activity as closely as band news, including The Artery Foundation’s signing of SAGE and Bands and the release of their “Deep End” video, framing the deal and visual as part of the artists’ next phase. Earlier pieces on Shredguy Records’ “Archives of Magick Volume 3” and Eonian Records’ announcement of TAZ’s “Shipwrecked” and “Wake Up and Sweat” show him tracking catalog-building efforts by specialist labels and documenting how long-running projects reach the market.
Beyond label bulletins, Clement highlights full-album campaigns such as MEGA COLOSSUS’s “Watch Out!”, covering advance streaming ahead of release and laying out formats and label partners like Cruz Del Sur Music. His work on announcements such as Green Carnation’s “Part III of ‘A Dark Poem’” fits the same pattern, situating new chapters of established bands’ work alongside first releases from newer acts. Taken together, these pieces show a reporter working close to the press-release stage but adding context on timelines, labels, and tour plans in a clean, fact-forward style.
Interviews with bands across the metal spectrum
Clement anchors much of Metalheads Forever Magazine’s interview coverage, conducting Q&A-style conversations with bands from across the metal landscape. His interview with Cannabis Corpse frontman Philip “Landphil” Hall focuses on the band’s new album and related projects, using direct questions to draw out details on songwriting and future plans. The Unguided interview follows a similar structure, with the band discussing their “master plan” and long-term vision while Clement keeps the focus on how records and concepts translate into their current work.
He routinely features newer and niche acts, such as Stealth, where the conversation turns on the songwriting process, new singles like “The Fake New(s) World,” and the band’s return to live performance at events such as the Renaissance Festival. Interviews with In Vain, Wormwood, Metal Factory, and Authors Of Fate show him working across subgenres, from melodic and progressive metal to more atmospheric and extreme styles, while consistently asking about upcoming releases, touring schedules, and studio plans. These pieces tend to run as straightforward Q&As, allowing band members’ voices to carry the narrative and emphasizing practical information—recording timelines, new material, and how they engage fans online.
Clement’s interview work extends into print and social promotion, with bands like Iron Jaw publicly drawing attention to their interviews in new issues of Metalheads Forever Magazine and thanking him by name for the feature. That pattern, echoed by acts such as Dark Below when they thank him for including their song “Can’t Let Go,” underscores how his interviews function as a platform for bands looking to expand reach beyond their existing fan base.
Album and track reviews with contributors
Alongside news and interviews, Clement’s section of the magazine carries album reviews that deepen coverage of the records he and his colleagues highlight. The review of Swirl’s work sits within his byline framework and offers a focused look at the band’s sound and performance, positioning the record within the broader rock and metal landscape. Reviews such as Ravenscroft’s “So Good It Hurts” and Sergey Ryan’s “Bits and Pieces” appear with his byline on the site but credit Michael Aronovitz in the body, indicating that he helps present and distribute criticism from specialist contributors.
These reviews carry more descriptive language than his news posts, breaking down songwriting, production, and standout tracks while still keeping a tight focus on the record at hand. The mix of contributor-led criticism and Clement’s own news and interview work gives artists multiple entry points into the magazine: announcements as records are signed and released, conversations around intent and process, and a critical read of how the finished music lands.
Championing independent and emerging artists
Across formats, Clement’s through-line is consistent: he uses Metalheads Forever Magazine to hand space to bands and labels that operate outside the mainstream, focusing on their releases, stories, and campaigns. His pieces regularly feature independent labels and smaller outfits—from Shredguy Records and Eonian Records to Blue Grape Music and Cruz Del Sur Music—treating their announcements with the same seriousness larger labels receive elsewhere. The acts he covers range from underground death and black metal to indie alternative, but they share a common profile as working bands building careers through steady releases and touring.
The public thanks he receives from bands like Dark Below and Iron Jaw underline that his work is visible inside the scene and valued as practical support, not just coverage. For anyone looking to place stories about new music, video premieres, or label deals in front of dedicated heavy and alternative listeners, Clement’s track record shows a reporter who keeps his focus on tangible milestones—signings, releases, tours—and lets artists speak directly about the work behind them.
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