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Spylacopa, the music project formed by Brooklyn based musician and artist John LaMacchia will release a new album on May 14th. The album titled ‘Beneath The Earth That Lies Beneath The Sea’ is a major departure from most of what the project has released to date with more ties to ambient, electronic and experimental music than earlier material which was informed mostly by post-hardcore, progressive rock and post-metal. In regards to the inspiration of the album LaMacchia added “The title of the album came to me first. This looming question of what exists beneath the earth that lies at the bottom of the deepest ocean. It’s a very frightening thought to me and you can certainly hear that in the music. On the contrary it’s fascinating to think how peaceful it might be. This sacred place, unspoiled by humanity. Once I had the title I just kept creating music with it in mind and I wound up with this body of work.”

Part I – Minauros, the first piece of music off of the album is available to stream at the Spylacopa Bandcamp page.
John LaMacchia had this to add about it “Fans of Boards Of Canada, Aphex Twin and Autechre might have a thing to say about it.”

Beneath The Earth That Lies Beneath The Sea is available for pre-order through the Spylacopa bandcamp page as well as a limited run of cassette tapes which includes a HIDDEN BONUS TRACK that will not be included with the streaming or download version. It can be pre-ordered direct through Rising Pulse Records or through the Spylacopa bandcamp page.

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Heavy Happenings: Ulcerate, Applaud The Impaler news items.

Posted by Morgan Ywain Evans on Tuesday, March 26, 2019 at 2:57 PM (PST)

 

For those who struggle with depression and mental baggage, it can be hard to look on the bright side sometimes. A chance to reflect and laugh at old memories or art that made you enjoy life more is an appreciated channel to allow better feelings. For that reason, I want to thank Inhale The Heavy for featuring me in their popular My Vinyl Offering series HERE. It was fun to talk about old memories growing up with my sister Cambria and talking about selections from my vinyl collection including Huggy Bear, Big Black, Van Hagar’s 5150 (we stan), Big Eyes and more. Hope some regular readers of this blog will check it out and maybe chuckle at a few of the stories.

Let’s get into some bad ass heavy music news for today.

New Zealand death metal trio ULCERATE have joined the Debemur Morti Productions roster. This is one of the most creative DM bands out there and they certainly deserve as much or more coverage as your Dying Fetuses and Whitechapels of the world (no shade, just facts). Gonna go rock some “Chasm Of Fire” after I post this.

Issues the band of the new union, “We are extremely happy to be moving head-first into this next chapter with a partnership that aligns so clearly with our own vision. Debemur Morti has always been in our peripheral gaze – the attention to detail and high level of curation is second-to-none.”

Further details on the band’s as-yet-untitled new full-length will be released in the months to come. In the meantime, don’t miss ULCERATE on their upcoming European tour set to commence April 10th and run through April 21st. The trek includes an appearance on this year’s edition of Roadburn. See all confirmed dates below.

ULCERATE:
4/10/2019 IF Performance Hall Besiktas – Istanbul, TR
4/11/2019 Roadburn Festival 2019 – Tilburg, NL
4/11/2019 B52 The Club – Bucharest, RO
4/12/2019 Armageddon Descends VI – Vilnius, LT
4/17/2019 The Grand Social – Dublin, IE
4/18/2019 Audio – Glasgow, UK
4/19/2019 The Star And Garter – Manchester, UK
4/20/2019 Nambucca – London, UK
4/21/2019 Exchange – Bristol, UK

Virgina Beach grind death band Applaud The Impaler have a new stream going on for Ov Apocalypse Incarnate over at Metal Injection HERE. The article calls them surgical brutalists, which sounds pretty Carcass-y. I am guessing you wouldn’t want them making you an omelet, and by making you I mean making you into an omelet.

The band commented on the release, “The day has arrived. Over the course of this second chapter in this tumultuous novel, I have seen the transformation of this band now reach its apotheosis in the arrival of Ov Apocalypse Incarnate. The grip of adversity has been relinquished, and the chains of restraint have been unleashed. We went for the throat on this one. The album takes the primitive elements that define Applaud the Impaler’s sound and infused them with an updated chaos implanted with esoteric ingredients, creating a stamp of unique savagery in today’s era of heavy metal. The 12 cut-throat tracks embedded in Ov Apocalypse Incarnate mercilessly crush from front to back, leaving no room for discontent. This colossal footprint of utmost carnal destruction is only the beginning. To those who have been foaming out the mouth for this record and have stuck with us through all these years, may you feast. Let us revere in this induced armageddon. Thank you Unique Leader Records. Thank you Erik Lindmark. Thank you Impalers.”
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Metal Marches On: Dirt, Hurt plus Ulthar and Amygdala news.

Posted by Morgan Ywain Evans on Saturday, March 23, 2019 at 9:18 AM (PST)

Hey fuckers. Bleary eyed sipping cold coffee cuz too lazy to make a fresh pot and sun streaming in the window. It has been an emotional few months but hanging in there. Stoked on the brilliant new release from Tamaryn to keep the melodic ghostly introverted vibes strong day or night and getting ready to face the day job on a bright New York Saturday but wanted to post some metal stuff for you cats and dogs and cat dogs (there are no dog cats) first.

Watched The Dirt on Netflix last night and while of course Motley are not exactly the least problematic band ever, I think Nikki has come a long way and met him once at a signing. I will always remember having the Dr. Feelgood tape and my first baby sitter being horrified, lol. She said it would lead to bad things. Well, I did choose to become a rocker and don’t regret it, despite a a lot of hardship. I never would have performed with Cycle Sluts From Hell or interviewed some of y’all or opened for Jake E. Lee with a Motley/VH cover band w my friend Elan singing with me who is like a twenty foot tall punk rock blonde and we had the funnest time – if I hadn’t been entranced by “Kickstart My Heart’ and the vitriol and attitude of some of that stuff as an early teen. It doesn’t mean I didn’t learn lot from riot grrrl afterwards and that I can’t also be objective and put things into cultural perspective.

One thing I liked about The Dirt…I see it as a cautionary tale. They all fucked their lives up royally. I don’t see how anyone can think the movie strictly celebrates hedonism and sexism with no consequences (especially when you see all the women they care about leave them for their bullshit, the very terrifying car crash segment and Nikki fucking dying). Also, fans of the band know how much Nikki has tried to get people to understand addiction since, even if Vince has still been messy over the years (like even ENTERTAINING the idea of playing for Trump is way fucked up, dude). I think Vince has some major ptsd and needs the most guidance still to this day. Shit, I think a lot of people have PTSD from some of that era, fans and bands both. I hope this movie furthers a conversation about addiction, agency, internalized sexism and an array of other things. The good and the bad. It wasn’t all of either.

All I know is as a teenager I used to do a LOT of heroin and the movie made me miss my friends dearly and former bandmates who died from it and feel so lucky I am still here. I also feel thankful for the good things I still have and pray to use them wisely. I also think that people should look at Nikki’s truly fucked up childhood as a pretty key element of the nihilism and party sexism of the band and that there is a sense of regret, but you can’t just whitewash the time period either and pretend it never was hedonistic or massively fucked up. I also think it is good they showed some of the fucked up things in the movie like Tommy hitting someone because it would have been really shitty to skip that, like NWA completely skipping Dee Barnes in the Straight Out Of Compton movie is very problematic to me.

Anyway, The Dirt made me cry a few times and I also have lost kids and it is fucking sad. I hope people learn from it and don’t just celebrate the nudity and chaos but also see how you can rise up through friendship and even when you circus dance with the devil sometimes you can pull yourself back…but you have to pay the price and also acknowledge harm. So I DO think it is good it came out now in 2019.

Amygdala have signed to Prosthetic Records, the label who are most leading the way in good signings in the scene of late. Our Voices Will Soar Forever (sounds like a lost Red Sparowes album name) is up for pre-order and a very powerful song “I Hate To Say It” that kind of reminds me of Burnt Books a little bit. Fucking raw and dissonant and epic stuff. Harsh and kind of crust punk vocal vibes and brilliant arrangement highlighting the emotional impact. And that 2:20 guitar break and scream, holy shit! Check them out now!

Bay Area death machines Ulthar are on tour! Featuring within its ranks Shelby Lermo (Vastum, Extremity), Justin Ennis (Void Omnia, ex-Mutilation Rites, ex-Tombs), and Steve Peacock (Mastery, Pandiscordian Necrogenesis, Pale Chalice), ULTHAR is touring in support of their Cosmovore debut LP, released late last year via 20 Buck Spin. Cosmovore was engineered, recorded, and mixed by Greg Wilkinson (Brainoil, Deathgrave) at Earhammer Studios and mastered by Justin Weis at Trackworx. Totally killer band.

Find ULTHAR’s Cosmovore on CD, LP, cassette, and all digital formats HERE or HERE.

Dates BELOW.

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Zeal and Ardor will drop ‘Live In London’ on March 22

Posted by Morgan Ywain Evans on Thursday, March 21, 2019 at 9:29 AM (PST)

Black metal blues alchemists Zeal & Ardor will drop Live In London on March 22 via MVKA/Radicallis. The band are currently supporting Deafheaven and Baroness on one of the most exciting tours of 2019 thus far.

 

Listen to “Baphomet” here.

 

The 22-track pending live album includes four previously unreleased songs. The release is the entire recording of the band’s headline show at the Electric Ballroom in Camden, London on December 2017. It will be available digitally, on CD, and as a Double White 180g vinyl.

The new songs included are “We Never Fall,” “Hold Your Head Low,” “Cut Me,” and the aforementioned “Baphomet.” Barring those tracks, the setlist was devised from the band’s two existing albums: the debut Devil Is Fine and 2018’s follow-up Stranger Fruit.

Frontman Manuel Gagneux comments, “We recorded our London show last December. Since we’re really proud of our performance, we are releasing the entire show consisting of our entire catalogue of songs. Mixing duties crushed by Kurt Ballou and Alan Douches mastered these 80 minutes into cohesion. We are really happy with how this turned out and can’t wait to unleash it upon you all.”

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French death metal and Unique Leader artists DYSMORPHIC have a new playthrough video out for brave souls who want to navigate the impressive guitar and bass parts for “Vow Of The Bees.” While there is plenty of technical flourish, the song also has some pretty impressive emotional feeling in the playing – particularly near the climax of the composition.

The group commented on the gear used, “Eric plays an Ibanez RGD UCS with a set of Bareknuckle Aftermaths through a Fractal Axe-FX II. Francois plays a Mermet Guitars Custom FLL7 with a set of Bareknuckle Juggernauts, also through an Axe-FX II. Johann plays an Ibanez SR1805NTF through an Ampeg.”

Watch the playthrough video HERE.

Beyond Creation, Origin, Decrepit Birth, Augury fans etc. will be stoked on this. These guys are really tight and into what they do. You don’t get this good without passion for it. I strongly recommend An Illusive Progress.

DYSMORPHIC will also be playing a series of shows in France this month.

Dates below –
3/15 Toulouse, FR @ Cave A Rock
3/16 Bordeaux, FR @ La Voute
3/23 Paris, FR @ Le Cirque Electrique

 

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Born Of Osiris are one of the ultimate progressive metalcore bands and have earned their position as leaders in the metallic sub-genre through constant work and dedication. It sucks to learn that some dangerous jerk robbed guitarist Lee McKinney and had a knife. We hope Lee and Jo get justice in this matter and are glad no one was harmed:

Hey guys. Lee McKinney here. Last night on Monday, March 12, our house was burglarized. The intruder(s) had a knife that was left on the scene and that makes us feel like the intent was to potentially do more than walk out with material items. Stolen items include a TV, 5 guitars, 1 audio interface, 4 guns, 1 camera, and 1 amplifier. Pictures of the stolen guitars are attached. We have notified the local police. A full investigation is underway. This robbery feels like it was targeted for the studio for exactly the time we were on tour or at work, as we were not home. We’re hoping that by bringing this to public attention that anyone who sees one of these items on sale in any way could help us track down the person who did this. Material items are one thing, but justice against the person who came into our home with a weapon is of the utmost importance. Thank you for your time.
Serial numbers for the missing instruments are:

Walnut LPM7 – 69540
Honey V6X – 132686
Monster O7X – 139438
Sea Foam VB5 – 139204
-Lee & Jo McKinney

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Nefarious Industries confirms the April release of Suicide By Citizenship, a fully collaborative musical experiment from Hudson Valley, New York solo outfits/collaborator magnets WALKING BOMBS and GRIDFAILURE. The album features guest contributions from a spectrum of artists from the likes of TAD, Brothers Of The Sonic Cloth, Kylesa, All Out War, Built To Spill, Globelamp, Full Scale Riot, Megalophobe, and more.

Incepted by WALKING BOMBS’ Morgan Y. Evans and GRIDFAILURE’s David Brenner who created the album with producer Jay Andersen (Surmiser), Suicide By Citizenship is an album created to challenge its own creators with the intent of combining sounds from two outfits located on polar opposite ends of the underground music spectrum. The record blends a wealth of genres into a dystopian alloy of improvised jams, rife with discontent for the contemporary state of American politics, and more specifically, the current administration’s actions and policies.

In 2016, Evans invited Brenner to collaborate on WALKING BOMBS’ “Demagogue,” an outspoken punk anthem aimed at our 45th president, to which GRIDFAILURE provided a backdrop of chaos and vocals. The unlikely pairing of acts on the track quickly became something both wanted to explore further, penning ideas for a fully collaborative release. They met in late 2017 at Bohemosphere Studios in Saugerties, New York, with studio owner and Evans’ musical counterpart, Jay Andersen. The three tore through several improv jams and that afternoon had a solid structure of what would become Suicide By Citizenship. Through several similar jams over the next few months with the three vagabonds each performing multiple instruments, additional material was recorded by Brenner at The Compound.

Additionally, a wide cast of additional musicians from around the country took part in one or more songs each, the album including contributions Thomas Andrew Doyle (TAD, Brothers Of The Sonic Cloth), Laura Pleasants (Kylesa, The Discussion), Mike Score (All Out War, Below The Frost), Brett Netson (Built To Spill, Earth, Snakes), Elizabeth Le Fey (Globelamp), BJ Allen (Full Scale Riot), Benjamin Levitt (Megalophobe), and more. The audio was mastered by Anderson and the record completed with artwork by Brenner.

Nefarious Industries will release Suicide By Citizenship on eco-wallet CD and all digital platforms on April 26th. Watch for track previews, preorders, videos, and more from the record to be posted in the coming weeks.

Evans states, “Dave and Jay have been stalwart pals in the music scene of mine for ages, so it was awesome to capture this moment in time with them sonically, to say nothing of the other killer guests. This album to me represents people’s faith in the American Dream being exploited, ground up and spit out by gerrymandering, self-important Christo-fascists and unchecked capitalist greed. It’s a total farce to think corruption won’t run rampant in a society with no checks and balances.”

Brenner offers, “While our styles are vastly different, when we got into a room together and hit record things just happened organically. Three friends came in with the concept only; absolutely everything else musically and lyrically bloomed from that. Our planet is in peril, the party governing our country is a disgrace, tensions and turmoil amongst us are out of control, and we’re being divided further apart every day. This album is meant as a cumulative human cry for unification and progression, and a warning shot to the perpetrators.”

 

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A rare happy moment of human connection in ‘Lords of Chaos’

I interviewed Black Sabbath’s most underappreciated vocalist, the great Tony Martin once years ago. A real thrill. I forget the exact question, something about reconciling the more evil songs with the ones with subtle Christian themes or something. I remember Tony taking the wind out of my sails like a pro and sort of gently needling me with the common sense revelation that a lot of heavy metal is theater. This doesn’t mean that some people don’t live it to the fullest (the proper way to do so being highly debated daily since forever across sub-genres) and that it isn’t a genuine source of being able to work out dark and light feelings and to suss out solutions for yourself that hopefully aren’t ‘suicide solutions’, etc.

I saw two movies last night amidst a snowstorm on Fandango Now (a pretty great service). Jonas Akerlund’s take on the controversial Lords of Chaos and the somewhat slept on, but I thought fucking fantastic, Mary Queen Of Scots (2018). Both took some historical liberties – LOC glosses over the singers before Dead and the Deathcrush-era to get to meatier terrain and Mary Queen Of Scots fabricates an incredible in person meeting between Mary and Elizabeth that I wish really happened and (plausibility points to the writer) Elizabeth DOES tell Mary never to speak of it, so who knows? Both also feature violent stabbing scenes of a queer person. I was expecting it in Lords Of Chaos and the movie makes it very graphic, disturbing and not lightly glossed over – thankfully. You know at that point beyond a doubt that part of the souls of these people are very broken. David Rizzio in Mary Queen Of Scots came as a shock since I had forgotten about him historically. Like, fuckin’ hell, another poor murdered innocent for the sake of sick designs?!

Look, I think it is fine Lords Of Chaos is a movie. I was against it at some points but as edgelordery under Trump is worse than ever and there are no sacred cows generally worthy of enabling any cult of personality from critique, fuck it. It was a milestone time period in metal so why shouldn’t it be examined? The thrust though is will it seem apologist and MTV stuff that was meant to be less palatable or fast edit flashy and romanticized or would it have some bite and objectively show the shittiness of a lot of what happened? Thankfully, I liked a lot more about it than I disliked. The cast did an excellent job with what they were handed and as Jonas told Decibel recently ,”There’s a lot of things we’re not supposed to do, but black metal bands break those rules every day. They all sell merchandise; they all do gigs; they all have Instagram…”

It’s funny, I remember when X-Men became a movie everyone wondered if Wolverine would wear yellow spandex. Some things that look cool in comic books can look very dorky in movies with live-action. A corpse-painted dude trying to look vampiric under a dead tree is much the same, looking pretty cool on a badly reproduced lo fi record sleeve but generally funny in broad daylight. This film certainly wins at showing how the scene’s members one upmanship could only insulate them so long from realizing they weren’t bad asses and actually had some real fucked up insecurities as people, no matter how cool the music was. They also, underneath it all, were kind of dorky and trying to seem cool, like any group of young rockers.

One of the best scenes is a post-jail Varg (played very well by Emory Cohen the whole movie as an ego wounded insecure kid who nonetheless does major harm trying to find validation while pretending otherwise and makes you really dislike him…going from being bullied to being the worst, smug self-serving piece of shit) yelling at Euronymous as played by Rory Culkin. Culkin really carries a lot of the film, and in this scene he tells Varg he made up a lot of stuff about never touring and being as evil as possible to basically drum up marketing buzz. Varg is still seemingly scarred for life that Euronymous shamed him initially for having a Scorpions patch once and so it feels like his life mission is to become more kvlt now, the never ending bottomless quest of every true edge lord.

First, I wanna say fuck VICE for firing so many brilliant writers lately. They backed this film. Nonetheless, while the pacing (much like Mary Queen of Scots, actually) rushes very fast sometimes through historical events for the sake of modern attention spans, a lot of it resonated with me, despite the flaws. An imperfect vessel, perhaps. I don’t think I could have made it better, though. And Sky Ferreira, for all the shit talk people gave her for being casted, was fucking great.

It’s disturbing at one point to see Sky’s character get bullied by Cohen into stripping for him and Rory’s characters, showing the weak sexism and desperation that hides behind what a lot of people in metal find to be transgressive. Knowing also how much Sky values her own agency as a woman, it was pretty emotionally effective seeing her deal with internalized misogyny in the black metal circles but end up being probably the best anchoring voice of reason in Euronymous’ life later in the film. We stan (looking forward to Masochism and also thank you for being kind to my gf Globelamp recently).

Anyway, I have a lot of thoughts.

More Below.

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Burn Baby: Adzes, Vowws, Lord Dying, L7 and Joan Jett news items

Posted by Morgan Ywain Evans on Thursday, February 28, 2019 at 1:19 PM (PST)
    L7 will scatter the rats with effortless glances and …RIFFS.

Sometimes I feel like the metal and punk scene has their psychic periods synchronized in that it seems like my inbox will have several days of fairly cool news and yadda yadda and then suddenly EVERYONE dumps press releases for a ton of cool stuff all at once. It happens every week where one or two days are monster compared to others. It is hard enough keeping up on one pop star at a time these days, haha. The tea is always spilling and the party continues. Add multiple genres in there entirely unrelated to the mainstream and throw in a lot of underground constant happenings as well as keeping up with the shitstorm of American politics and a zillion daily more mundane tasks and you have a semblance of the tornado in my head, lol.

Anyway, today I have waded through the cluttered moat of press releases or things I found myself through web crawlin’ and have metaphorically slid under the falling portcullis to take over Castle awesomeness and command my faithful followers (no one) to blow horns and cry the news of the raddest musical happenings of the day from the parapets on high and out over the numb minded kingdom of internet buffoons who shall surely be enrichened by my curated selection of newsworthy rad rockin’ tunes. Ok, dork fest over.

Let’s kick out the jams! So the Redbait peeps, an awesome hardcore band I am a fan of, were posting yesterday for people to check out this anti-capitalist doom dirge band Adzes. Well it turns out the stuff is super awesome and inspiring material. Very well paced dynamics and the songs are very self-aware in a good way, knowing when to vary between melodic guitars that tug on emotions as you conceptualize the rug of people’s lives being ripped out from under them in harsh, cannibalistic financial rat-race. Climate//Capital is a must hear of trudgy, Godfleshy clangy bass, more Jesu-like semi-post rock passages paired with very introspective lyrics on society and powerful screams that feel rooted in the metal side of real class war punk. Really inspiring shit and well worth the listen. Plus, it came out early!

In case you missed it, head to REVOLVER to see my friend’s VOWWS dope new video for their “Structure Of Love” redux feat. Chino Moreno. His name sounds familiar? Hmmm. Just kidding. That’s the man right there! Check it out HERE. VOWWS always put great effort into their work and aesthetic touches, regardless if they are making a video or photo shoot for themselves or helping other artists. I’m super into the kind of David Lynchy upside down shot of Rizz with a “lost” highway juxtaposed underneath her and then the image morphs into a spider, rad shit. Woot woot! They stay innovating and at the top of their game, always moving forward. One of the freshest acts in the game, miles ahead of most shit right now. And so many good layers and hooks. Word.

Sludgers Lord Dying haven’t been heard from in a little bit. I was actually wondering about them the other day. Turns out a lot is on the docket for these dudes in 2019. Lord Dying are working with eOne and have a new album out  Mysterium Tremendum worldwide on April 26th. The music I have heard so far sounds like they are holding down their hard rockin’ roots but expanding into a little headier territory with a bit slicker production like has happened likewise to Baroness, Pallbearer etc. over time. It sounds dope though! That’s no shade. Just not a little slicker compared to how gnarlified the earlier records were.

LORD DYING’s Mysterium Tremendum will be released on CD, double LP, and digital formats. For preorder options go to smarturl.it/LordDyingMT

In the meantime, stream opening track “Envy The End” at  below.

Grunge queens and all around biggest bad asses L7 are working with Joan Jett’s record label! Fuck yeah! I am so stoked for this. One of the greatest bands to ever come out of the United States and deserving of all the praise we can muster.

I like how the newer L7 stuff has still rocked but also been a little catchier like Donita’s excellent solo albums which existed betwixt the band’s hiatus and reforming. “Burn Baby” will get in your ear all day and the new video is below! L7 still make you unsure if you’d rather jump in mud, pogo, bar fight or fall in punk rock love as it should be. The new album is called Scatter The Rats and there is no planet in any multiverse where it wont be one of the coolest albums of 2019, scene.

 

 

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5RAND

A variety of metal news for you today, cuz it’s the spice of life.

Phew, I was just driving around Woodstock, NY and it is a windy ass day. Tree limbs and actual full trees are down and old ass hippies just don’t know how to drive very well despite their generally all terrain vehicles. Glad to be back in my apartment a town away and decompressing to some rad tunes (though I did spend the morning drive with some Boris and Taylor Swift).

Anyway, let me tell you some cool shite!

Industrial melodic and at times thrashy metal band 5RAND have signed with Time To Kill Records. I wasn’t super familiar with the Italian band and they certainly have some cool groove metal arrangements. It would be interesting to hear the music with a little better production cuz they have some crunchy, fierce parts and everyone is very skilled. Vocalist Julia Elenoir has a powerful roaring voice and even better very well done, smooth/incredible cleans with character. I would definitely go see them live and am into their song “Point of pain” after checking it out.

No news yet on a release date but congrats on the band for singing to their new home. Looking forward to hearing more from them.

Today, WINDHAND unveil their new hypnotic video, “First To Die” directed by Philippe Grenade. “The inspiration for the video started with the lyrics, First you die, to be born,” Grenade explains. “I immediately saw the image of a woman suffocated by the crushing anxiety of a metropolis; drowning in the delirium and being forced through some sort of psychedelic death trip and coming out the other side with a new point of view. A psychic death and rebirth. The video expresses anxiety and transformation while honoring the beauty of Windhand’s music.”

Additionally, WINDHAND returns to Europe next week in support of their new album Eternal Return. The headline tour begins March 7 in Vienna, AT and ends March 24 in Leipzig, DE.

Raleigh, Nc based progressive deathcore group KROSIS have announced a new round of dates supporting their 2018 Unique Leader debut Solem Vatem (“Melting Point” is the jam, fyi). The tour, which runs from April 23 – 29, will cover parts of the East Coast and Midwest and sees the band performing at DEAD Fest and Toledo Deathfest.

Vocalist Mac Smith commented, “I am extremely excited to announce that KROSIS will be trekking across the East Coast and the Midwest from 4/23 – 4/29. This marks a new chapter for the band as this it is my first tour as vocalist. We will also be revealing details on a single that will be on the way very soon, so stay tuned for that! We in KROSIS want to thank everyone so far for the amazing support, as well as the support that has been shown for me personally. We can’t wait to see you all on the road.”

Dates below, yo.

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Entombed to release ‘Clandestine – Live’ in May 2019

Posted by Morgan Ywain Evans on Monday, February 25, 2019 at 9:18 AM (PST)


ENTOMBED featuring original members Nicke Andersson, Uffe Cederlund and Alex Hellid invite you to hear the unique experience of the band performing their second album Clandestine in full live for the first time ever for the album’s 25th Anniversary.

Threeman Recordings presents Act 2: The Entombed performance – A concert in two acts based entirely on the Swedish band’s acclaimed album Clandestine from 1991. It is a unique concert where the pioneering album is played from beginning to end. From the opening track “Living Dead” to closer “Through The Collonades “.

In the first act, the Malmö Symphony Orchestra and Choir performs Clandestine, arranged for orchestra by Thomas Von Wachenfeldt (Wachenfeldt), with the original members from Entombed sitting in as part of the ensemble. In the second act, the band performs the entire album live in the original version for the very first time.

Alex Hellid comments:
“It is amazing to experience the musical journey with an orchestra and we really enjoyed the experience”

Conductor Josef Rhedin adds:
“Allowing Entombed’s suggestive music to meet Symphony Orchestra and Choir is a very creative and exciting concept. Composer Thomas Von Wachenfeldt’s arrangement contains challenges for both orchestral musicians and for me as a conductor, as the starting point has been to interpret the “Clandestine” in a classical, symphonic format, rather than plank the music outright”

More BELOW.

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Happy 49 Heavy Metal and Black Sabbath’s debut

Posted by Morgan Ywain Evans on Wednesday, February 13, 2019 at 1:04 PM (PST)

SO today is the birthday of Black Sabbath’s self-titled masterpiece, remarkable for too many reasons to count. Many have spent much of their lives trying. I was going to say “a lifetime” but the average lifespan now is longer than the 49 years since Earth (see what I did there?) first heard the rumble of these titans. Actually, that’s only a semi-clever/accurate pun because while Sabbath was called Earth prior to re-naming themselves , before that they were called Polka Tulk Blues Band even earlier in ’68 in a rough form. I think we can agree it’s fucking great that they achieved iconic status in no small part to settling on their final moniker (which is more PTBB “shade” and not a dis to a certain awesome modern band called Earth we also know and love). Anyway, in 1970 Black Sabbath’s debut was born and the deal with the devil that birthed the End Times music of Heavy Metal was struck.

Human longevity is not guaranteed so much these days for us as a species, but it is pretty awe-inspiring that Sabbath have had such an impact on so many levels in culture that film, festivals and society as a whole have all been graced by the long shadow cast by “The Wizard” and friends. The fact that Ozzy is still as recognizable as any flavor of the month newfound celebrity who is zombie-cannibalized by the scrutiny of fame’s hungry eyes in our culture of inhospitable impermanence is a sheer miracle (and in no small part also thanks to Sharon, as well as his own talent). BUT I am not here today to talk about individual members of the band over the years and their place in pop culture – though Sabbath is Iommi’s more than anyone’s for sticking it out the entire time as the sole constant – as much as discuss how the first Sabbath album creeping up on 50 years old is something to marvel at.

We’ve come so far together, heavy metal. For better and for worse. You looked so cool and casual and I tried to look the same, but now I’ve got to know ya…tell me who am I to blame?

We have a choice now to take serious stock and make metal more inclusive, as potent a force as ever but even more capable of traversing barriers and resonating beyond the narrow CisHet white male bandwidth than it ever has before (which is nothing against the lads who started the band at all). I was dismayed as heck by the morons in the comments section of a recent article about the power of current female vocalists in metal. Heck, the best cover of the definitive metal title track and first doom metal song has Beth Gibbons singing instead of Ozzy (hear below) and King Woman’s Kristina Esfandiari is arguably the best singer in the melodic yet drony/sludgy side of the genre we know and love currently, IMO. People of all types, genders, races, religions, etc. love rock n roll. Let’s continue to expand that. Remember practically every concert ever Ozzy says ,”I love you all.” It is fitting the band’s final album was called 13 since the album that started it all was born on Feb. 13th, 1970. I mean, could it have been on any other day of the month?

I clean a bar every morning and was playing “The Warning” on the bar speakers today. A different guy than usual delivered the lemons and limes for the cocktails and he was an older dude. The guy’s face lit right up at the music and he said he had seen them years ago for ten bucks and proceeded to tell me all about the gig. We went from being strangers with generational divides to having something we both loved to talk about in common, and while small talk is wack I would gladly talk about Sabbath with anyone any day. That’s a life giving bridge just as much as Sabbath’s music itself has helped so many of us who have ever danced through shadows or struggled with depression.

Anyway, fucking crank this shit today, give thanks to the metal ancestors and remind them that we basically never regretted following them and will be forever metal til the end of time.

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Public Memorial for Bruce Corbitt

Posted by Morgan Ywain Evans on Wednesday, February 13, 2019 at 9:23 AM (PST)

As the metal community still reels from the sad turn of cancer events leading to the loss of Bruce Corbitt, a memorial has been announced for the Rigor Mortis/Warbeast hero.

Reads the public memorial page, “We will come together to celebrate and remember a great man who touched the hearts of so many people in this world. We will show our love and support for his wife Jeanna, his daughter Chyna, his stepson Lyric, and BRUCE‘s amazing mother Glenda. We will celebrate in the most beautiful way possible by honoring BRUCE‘s final wishes to make his memorial just the way he wanted it. Additional details on special presentations, guest musicians, and other surprises are still being worked out. Stay tuned and You Know Damn Well!”

BRUCE CORBITT Public Memorial:

3/09/2019 Ridglea Theater – Fort Worth, TX [info]

Doors: 5:30 pm
Memorial: 7:00 pm

Live performances requested by BRUCE:
Iron Jaw
Rabid Flesh Eaters

MCs:
Debbie Sexxton of 97.1 KEGL
“Thrashin” Alan of KNON Hardtime RadioEulogies by:
Scott Shelby
Thrashin’ Alan
Casey Orr
Harden Harrison

CORBITT played what he thought would be his final show with Warbeast — a special set at the annual Fort Worth Weekly Music Awards Ceremony where the band was inducted into the 2018 Fort Worth Music Hall Of Fame — last July, at the time noting, I’m really excited and thankful to the Fort Worth Weekly for showing us this much appreciation. I’m proud that I’m even feeling good enough right now to be able to attempt it. But I do know my limitations and I will be careful. All I know is I get to experience that feeling of being on stage again… and that’s why I keep on fighting. Because good things do finally happen if you can just hang in there long enough. You know damn well!”

 

Anselmo gave a warm tribute speech and performance at a show with The Illegals for Bruce the day he died that you can see HERE. Regardless of if you are in a camp that forgives Phil or not for the Dimebash incident, I hope we can all agree this was a terrible loss for everyone and that this was the right thing to do for Bruce and cool of Phil and his band who lost a real friend.
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Wading Weird Waters: Rivers Of Nihil, Those Darn Gnomes news items

Posted by Morgan Ywain Evans on Thursday, February 7, 2019 at 1:10 PM (PST)

Those Darn Gnomes like to hide in a purple haze…

Hello friends. A variety pack of sonically pernicious and delicious specimens to steer your ears towards today. These are bands who have not been afraid to experiment with constraints in recent times.

San Diego jazz/metallers Those Darn Gnomes have signed with Nefarious Industries. The group are a perfect fit for the open minded label, which includes everything from Gridfailure to A Fucking Elephant to Globelamp to Bangladeafy and more. Really looking forward to hearing more from this outfit. From the press release:

Since their formation in 2013, the bombastic THOSE DARN GNOMES collective has blurred the lines between noise, metal, and free jazz. The group formed initially with the lineup of Mark Steuer (vocals), Christian Molenaar (guitar, flute), Russell Case (bass), and Bryon Wojciechowski (drums), releasing their debut album The Years independently in 2015. The band followed up with their second full-length, The Zodiac, in 2016. While their debut more heavily emphasized the band’s roots in avant-garde metal and hardcore, The Zodiac stripped away any pretense of being a metal band in favor of a new, even more aggressive sound incorporating further elements of free improvisation and harsh noise. The band released a fully improvised single-track EP, Peeling, as a limited cassette in 2017, before playing shows throughout North America with like-minded experimental acts such as Ehnahre, Sult, Hypnagogue, Dischordia, and many more.

Calling Whitetails To A Tuned Bow is THOSE DARN GNOMES’ first release for Nefarious Industries and sees a further expansion and refinement of the band’s sprawling, genre-defying sound. Here, the group explores the outer reaches of progressive metal, free improvisation, and avant-garde sound design through the incorporation of algorithmic compositional techniques derived from mold cultivation, homemade instruments, and a greater focus on abrasive weirdness.

Watch for the full details on Calling Whitetails To A Tuned Bow to be released shortly with a springtime release date imminent.

Also watch for details on the collaborative album between the band’s Christian Molenaar and labelmate Gridfailure’s architect David Brenner to be issued in the coming days.

Due to popular demand, RIVERS OF NIHIL will play their latest album, Where Owls Know My Name, in its entirety at every date of their upcoming North American tour. The band will be bringing saxophone player Patrick Corona on the road to perform each set and guitarist Jonathan Topore will be handling additional keyboard duties. Don’t miss this very special opportunity to witness this critically-acclaimed album played live as it was meant to be heard. The tour — which marks RIVERS OF NIHIL‘s first full headlining journey — runs from March 1st through April 6th. Support will be provided by Entheos, Conjurer, and Wolf King. See all confirmed dates below.
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