None or Unknown
Exhorder have returned to thrash once more. The newest band lineup features founding members Vinnie LaBella (guitar) and Kyle Thomas (vocals) along with Jason Viebrooks (HEATHEN) on bass, Marzi Montazeri (ex-SUPERJOINT RITUAL, PHILIP H. ANSELMO & THE ILLEGALS) on guitar and Sasha Horn (FORBIDDEN) on drums. If you have ever enjoyed albums by bands like Pantera or Byzantine and somehow don't know Exhorder, you ought to go do some catch up homework. While you are at it check out Kyle's time in Alabama Thunderpussy as well, cuz that was also awesome. The band will perform Slaughter In The Vatican, and sophomore album, The Law, in their entirety on Friday, February 9 and Saturday, February 10, respectively, at the St. Vitus Bar in Brooklyn, New York. Additionally they play a sure to be off the walls homecoming show in New Orleans at Southport Hall on February 12. Exhorder have signed a worldwide management deal with All Independent Service Alliance (AISA) .
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Disturbed have been back hard riding the wave of success for new album Immortalized after a 4 year break (though I secretly liked Device much better). Still, you can’t blame Draiman because he and his fellow Disturbed bandmates really built a juggernaut with that group. Personal taste aside, this tour is gonna be huge. Congrats to the Pop Evil guys for showing that a hard rock band can still rise up through the ranks via hard work to land an opening slot on something like this. Also respect to Rob Zombie and Disturbed for trying to give fans a larger tour. People have no ambition these days.
Ps. I know we all want to be too cool for school and say we killed nuns listening to Dissection in 4th grade, but without gateway bands and larger arena shows drawing in more populist, thrill seekers…there just isn’t gonna be any money to keep bands able to tour beyond limited scenarios. DIY is awesome and can be amazing but with the added expenses and lack of support these days, most bands can’t cut it.
I’m all for the bigger scene vets helping keep a larger tent open so there is someplace to reach a wider audience (ie. Danzig and Zombie recently did a show with critical darlings Witch Mountain, for example).
Anyways…GET UP AND KILL!
Jonny McBee had this to say about the signing:
“I am really proud of what THE BROWNING has become. It’s been a long, hard road. Signing with Spinefarm is a big step in the awesome direction this band is going and I cannot wait for the future. Excited for the world to hear this next album!”
The Browning’s last album Hypernova came out in 2013. The follow up (and Spinefarm debut) is due out this summer.
In addition to signing The Browning, Spinefarm has signed Helhorse and Royal Thunder. Read more about those signings here.
This new Mortiis track and spooky video (that looks like someone let Floria Sigismundi loose in Dr. Jeckyl’s lab) rocked us this week. It’s a track that could’ve fit well in mid-90’s industrial DJ sets alongside Skrew, 1000 Homo DJs or Pigface.
It also could just as easily appeal to Cradle Of Filth fans for attitude and glammed out darkness dalliance. I for one am all over this track.
Ministry-esque big guitar industrial metal with a dancing. blacker heart. Crank it and spank it.
One of our favorite releases of last year was 2015’s Force Rise The Sun from melodic power rockers INAEONA. The band features the knife sharp roar of guitarist and frontwoman Bridge , bassist Dave and the pounding drums of James (all seasoned scenesters). This band is poised for bigger and better tomorrows if they keep up this grind. We love them!
Dates BELOW.Add to My Radar
Tristan Shone, the one-man industrial doom strategist responsible for the crushing sounds of AUTHOR & PUNISHER, will drag his iron and steel overseas for a near-three-week live takeover next month. Set to commence on January 16th in Rouen, France, Shone’s latest expedition will make its way through ten countries, coming to a close on February 4th in Milan, Italy. The European tour follows Shone’s successful two-leg North American Fall exhibition with special guests, Muscle And Marrow.
Dates below.Add to My Radar
Available in two color options from the Earache Webstore.
These days it is harder to find original things. Most art and music has nostalgia so embedded in it that we recognize new songs with a familiarity that makes them more easy to market. That’s not always bad. American Horror Story: Hotel is a lot of fun, for example. Gaga is a hoot and even if every other scene recalls The Shining, The Lost Boys, Se7en or Devil In The White City‘s murder hotel, there is plenty of genre tribute, glam and gore.
That said, in life we only have so much time. I’m drawn the most to bands that sound unique, be it a human voice that is distinctive or something that doesn’t need signifiers because- like the Ramones, Motorhead or our main subject Godflesh, it can’t be fully replicated.
Streetcleaner is a template that turned the underground on its collective ear. Like Neubauten’s Kollaps, it was just such a huge game changer for possibilities, one of those rare records that becomes a landmark. The closest any other act has really come to Godflesh sonically might be recent Author & Punisher release Melk En Honing, to my ears – though they have many disciples. Still, Streetcleaner remains pretty untouchable. Even Godflesh themselves, who have many incredible releases to their credit, have rarely sounded as intense as during fan favorite “Like Rats”. The kick heavy punch of “Christbait Rising”, the harsh mantra of “Locust Furnace” or the rolling groove of underrated bonus track “Dead Head” soundtracked the cold alienation of many of the underground’s truest disciples at their most solitary.Add to My Radar
Threat Signal have been a favorite here at Metal Riot since the site started. Definitely one of the first bands I interviewed for this site and they are always releasing awesome stuff. Now the band have signed with the tastemaking Agonia Records (Aosoth, The Moth Gatherer, Demonical) for a new release, Disconnect.
Frontman Jon Howard commented on the signing:
“We are very excited to have inked a deal with Agonia records. We strongly believe that Agonia will be a great partnership, and together we will push Threat Signal’s music to more listeners than ever before. Our new album ‘Disconnect’ in my opinion is the strongest album we’ve recorded to date. Thank you Agonia for making this happen for us, and we look forward to the road ahead!”.
Manifestation, the nightmarish new album from CLOAK OF ALTERING, is the fourth full-length from the band, which is one of the Doppelganger personalities of Gnaw Their Tongues founder, Maurice de Jong, a.k.a. Mories. The record is out today.
Cross the threshold of sanity and enter the demented realms of CLOAK OF ALTERING’s Manifestation exclusively at The Quietus RIGHT HERE.
The Dutch black/industrial/noise metal architect Mories, known throughout the underground realms for his works with Gnaw Their Tongues, Seirom, Aderlating, Mors Sonat, De Magia Veterum, among others, returns with the follow-up to the maniacal 2014 CLOAK OF ALTERING album Plague Beasts. The warped Manifestation unleashes yet another brain-scrambling blast of mutated symphonic black metal, nightmarish breakcore madness, and hellish electronics fused together into a sweat-soaked, chrome-plated nightmare.
Compared to previous works, the seven-song Manifestation is a slightly less chaotic monstrosity, giving these blackened maelstroms added room to breathe, but the cumulative assault of CLOAK OF ALTERING’s sound on the band’s fourth album continues to thoroughly scorch the listener. The sound is still rooted in a bizarre confluence of majestic synth-drenched black metal, skewed industrial heaviness, and fractured Planet Mu-esque electronic music, seemingly as informed by the hallucinatory throes of early Coil and the violent breakcore of Bong-Ra and Venetian Snares as it is by classic Nordic black metal. Strange contrapuntal riffs weave drunkenly amid crackling electronic glitch and eerie drones. The vocals here often take form here as a vile, guttural robotic croak, a sickeningly putrid android presence that is layered among the rest of the distant shrieks, anguished screams and chilling, garbled cries that all feel as if they are trying to escape the bowels of some nightmarish AI system.
Christian Kolf is known for his role in the curiously opaque Valborg but Owl has really seen Kolf particularly shine in recent years as an individual. At times as heavy as Godflesh with a darker bent, the few in the know likely felt Owl’s recent 25 minute single track “The Last Walk” was impossible to beat. 2015 sees Zeitgeister releasing the brutal march of Aeon Cult, a three song bandcamp release that is a wall of nearly impenetrable, contorted chaos. Recommended cut “Mollusk Prince” is a great place to start being captivated by this project’s assuredly grim punch to the side of the head. Check out an older interview we did with Christian circa Into The Absolute HERE.Add to My Radar
I hate this mindset of human beings as human resources. It’s dehumanzing
terminology. Because people are SO important. We believe everybody is born
gifted. The life is the location of your God gift and the selfless execution
of your gift. The idea of personal sovereignty, that each and every one of us
can be King or Queen when we exercise our true will. Spiritually,
biologically, lovingly. – Jaz Coleman of Killing Joke.
I just saw the subversive as fuck Laetitia Sadier of legendary Stereolab
deliver a powerful yet so controlled set at a venue (the wonderful BSP Kingston) in my Upstate, NY city.
Always an activist in her music over the years, demanding and getting as much
attention from an audience or out of a subtle or quiet and poetic song as some
bands do through hollering, it was truly inspiring. One thing Sadier said in
her soft spoken but deep way at the show was how one of her songs “Find Me The
Pulse Of The Universe” was about how despite how small and perhaps immaterial
we may seem compared to the vast universe sometimes, we are all unique. She
brought real conviction to her show, whether discussing wealth disparity, how
it is good to nurture a long distance relationship in healthy ways if you
really love someone or pining for “glimpses of a world of pure thought that
few will ever know.”
Noise rock and post/punk or at times industrial metal legends Killing Joke
embody the idea of the unique personal and musical quest more than many other
bands combined, these same principles of fighting for actual creative and
human value that Sadier was espousing on stage in my town tonight. “New Cold
War” on brand spanking new rager Pylon is as relevant and emblematic of their
drive and style as anything in the group’s storied career (which dates back to
the year I was fucking born, 1978). Yep, Yankees won the world series. Killing
Joke was born and so was I, hahaha. 78′ was a good vintage!
The idea of knowing it is your absolute right to protect and fight for
your art and your right to experience the world through the lens of your own
journey and creations, to not settle for having the passion stomped out of you
by a dull or draconian society, is something I have spoken of at length lately
with some of the most amazing people I value most in my life, from avant garde
noise music/female comet Yasmine Kittles of Tearist via inspired
correspondence that has blown my mind and made me feel like the luckiest
person lately to a series of amazing artists like Brooks Blackhawk from the
very dark Atriarch or my dear, hard working friend (and former DIVEST bandmate) Sean Paul
Pillsworth of pop punkers The Red Owls dishing in a recent piece called Don’t
Break The Oath that we ran on this site about never giving up your vision.
Killing Joke have always stayed at the forefront of relevant political
discourse, cutting edge post-punk squall with hypnotic, throbbing bass and the
madman from the pulpit apocalyptic lyrics and truly unique voice of Jaz
Coleman. They have refined their sound to the essence of potency and it is
very apparent on the swirling, climbing ladder of growing intensity that
weaves through Pylon.
A composer, Permaculture advocate and avid student of philosophy who is
unafraid to chase his own demons where they take him, Coleman is a towering
figure of the underground.
Read more BELOW.Add to My Radar
Corrections House don’t care about your feelings.
“Go back from whence you came and tie your shoes correctly this time”.
When the dust settles from listening to this new record, you won’t know if you have PTSD, are inspired or are a masochist.
Industrial influenced metal and punk has really made something of a tiny yet formidable comeback via acts like the brilliant UK act Hateful Abandon, France’s Crown, the doomy studio project Culted and the U.S.A.’s own vital, machine building, pacifist madman Author & Punisher or my pal Jay Gambit’s Crowhurst.
Even Nergal has been getting into Youth Code and it’s a good time to feel bleak and alive. Circle Of Animals was a cool record and even Ministry has had some solid late career surprises amidst their more speed metal direction, Theologian and Prurient thrill but the genre was mostly wheezing on paint fumes compared to other styles like thrash, death and metalcore which the public has clamored for more recently. That said, this shit is never gonna become standard mall kid fare, ever. Not unless Bladerunner ever really arrives in full.
Read more BELOW.
September 25th sees the worldwide release of Rammstein’s In Amerika (DVD & Blu-ray), a lavish package containing a major new documentary about the band, Rammstein In Amerika; a short film about the making of their “Liebe Ist Für Alle Da” album; and the whole of their legendary Madison Square Garden
To say that Germany’s Rammstein are unique, aesthetically bold and capable of riding out the tension fraught modern depths of the Id-space between the human spirit and the demeaning march of industry and politics unchecked by reason is an understatement. The Neue Deutsche Härte breakout band are one of the biggest live draws out there despite consistently being as nasty as they wanna be. This band can bring people together in huge rituals of bonding, bondage and bloodbath inducing riff crunch topped with the owning it baritone of Till Lindemann. It’s the kind of thing we sorely need in this day and age of 1% misdirection, 19 kids and counting evil erections and fake Christian mega churches.
We’re all living in America, but Rammstein walk tall and carry a big…well, yeah. If you thought this band was just the odd band out at a long lost Family Values Tour, you are way, way overdue for a reassessment and a swift boot to the barnacles.
Add to My Radar
“Who made Hell… Hell made Who…” – “I Was Never Good At Meth,” CORRECTIONS HOUSE
CORRECTIONS HOUSE will unleash their long-anticipated, sophomore full-length, Know How To Carry A Whip, this October via Neurot Recordings. Darker, denser, and more despairing than their 2013-issued Last City Zero predecessor, the nine-track, forty-five-minute audio apocalypse was captured by the band’s own Sanford Parker (Minsk) and recently institutionalized minister of propaganda, Seward Fairbury, in Vietnam. The record boasts a guest appearance by Negative Soldier and finds CORRECTIONS HOUSE – which features the fiery lineup of Parker, Fairbury, Scott Kelly (Neurosis), Bruce Lamont (Yakuza) and Mike IX Williams (Eyehategod) — at their most punishing, painting electronic mosaics of deviance and decadence with brushes made of bristles of the damned.
Immersed in experiences of longing and loneliness from the depths of their collectively decaying hearts, each movement contained within CORRECTIONS HOUSE’s Know How To Carry A Whip reveals a new, unsettling sentiment of danger, paranoia and looming defeat. An underlying theme of confinement and release bridges each track. Atmospheric and haunting; hypnotic and pulsing, songs writhe and wither, decay and peel. Distorted, doomed and oft static sodden, discordant and tribal, twined around Williams’ unassailable manic street preacher prose and intermittently juxtaposed by the smooth, cradling sounds of Lamont’s lingering saxophone, Know How To Carry A Whip is at once bleak, grey, glacially devastating and metaphysically cathartic. “The music is simultaneously suffocating and freeing,” expounds Kelly, “but it also has the energy of a whirling dervish.”
In a rare, lucid skype transmission from the mental facility in which he currently resides. Fairbury further elaborates of the production, “the songs typically originate from the loops and beats that are generated from Sanford, then the skeleton of riffs are built by Scott and Bruce. Mike IX adds his profound observations and I do the final production. These new songs are far more developed and fluid then the first record. There is a prevailing groove that dominates.”
(Fairbury, who was missing briefly last year, obsessed with seeking clarity and understanding beyond Who, What and Why we are to ultimately expose The Truth, continues his downward spiral towards madness and despair. Allegedly plotting an elaborate escape, Fairbury plans to rejoin CORRECTIONS HOUSE in their systematic propagation of auditory abuse later this year.)