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Psycroptic reveal video for ‘Beyond The Black’

Posted by Morgan Y Evans - Walking Bombs on Wednesday, July 1, 2020 at 7:41 PM (PST)

Psycroptic have an explosive new video for dark thrash song ‘Beyond The Black’. The very gloomy looking and imposing clip can be experienced below.

The band comments: “We’re very happy have once again worked with our good friend and long time collaborator Wilson Bambrick on the film clip for Beyond The Black. The clip was shot last pre-isolating (in September 2019); and due to the Plague and other delays on our end it hasnt seen the light until now. Please enjoy, and we look forward to getting some new music out later this year.”

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The friends at MetalSucks are reporting that Matt Heafy has a new solo deal with Roadrunner. Makes sense. He plays his ass off doing covers and other various things all the time. More Matt!

He also has made a metal cover of the iconic “Toss A Coin To Your Witcher”! I have been praying too the Gods of Metal to have Hetfield sing this in season 2, but I will settle for Heafy! Sounds damn close anyway! Hails!

Crank this for max nerdy joy! Also, Trivium put out one of the best albums so far this year.

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Metal Riot’s Top 5 early summer albums for you

Posted by Morgan Y Evans - Walking Bombs on Monday, June 29, 2020 at 12:25 PM (PST)

“I wouldn’t social distance and now my face looks like this” -Florida Man

Hey there all you cookie puss lookin’ social distancing butterflies. Today is that special time when we unveil our top 5 records to give yourself an even more miserable summer with. Just kidding. Only some of this stuff is miserable and all of it kicks ass enough to make you keep the faith. Hopefully it also makes you stay at home and stop bitching about going out. Just help flatten the damn curve already. If the whole country had sat home for a month straight in April without bullshitting, we wouldn’t be in such bad shape.

Ughh, my cat just took a brutally smelly dump. Hold on a second.

Ok, yuck. Let’s start this off below. Enjoy these smoldering speaker blowers, one and all.

Enterprise Earth share video for Lamb of God cover

Posted by Morgan Y Evans - Walking Bombs on Monday, June 29, 2020 at 11:10 AM (PST)

Enterprise Earth have an in quarantine video out for their Foundation of Bones EP’s cover of Lamb of God’s “Now You’ve Got Something To Die For.” While the huge bellow and impending doom of the original is hard to top, the band did a good job and the coolest parts are probably how they charred up some of the faster parts to a blackened crisp. Gotta love the extra breakdown semi-Oceano thunder fudge at the end as well.

Bottom line – the band did a killer job on a self produced EP and kept the fires burning for fans in a commendable fucking way. Y’all need to peep the Necrophagist cover too as it is even better.

Guitarist Gabriel Mangold comments: “Lamb Of God is one of our collective favorites as we all draw a significant portion of our influence from their catalog. We really wanted to do something off of Ashes Of The Wake and this song seemed to check all of the boxes for us. Straightforward and to the point, this was a ton of fun to cover.”

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Head now to https://walkingbombs.bandcamp.com/album/i-cant-stand-w-jealous-again

A surprise 2 song Walking Bombs covers EP for you folks today, recorded May/June during quarantine. The artists Gridfailure and Globelamp helped with various elements on the EP as well.

All ongoing sales of this release will be donated to the Marsha P. Johnson Institute: marshap.org#

#blacktranslivesmatter #pride2020

Here are two lo-fi covers I did this Spring from home with additional support from Gridfailure and Globelamp on certain aspects. It was unintentional, but both songs deal with different aspects of relating to the concepts of self and relationships.

“I Can’t Stand” is one of my favorite Zola Jesus songs and covering anything by her is clearly friggin’ daunting because she is so talented, like a miraculous forest spirit. I think it is cool we have the same birthday. I wanted to focus on feeling the emotion and letting it be my own respectful manifestation of a song I love which I find incredibly moving. People can find themselves alone for many reasons, especially for being different. I wrote Nika and asked if it was ok to try to pull off and she gave me blessing to cover it, which was super awesome. It was also wonderful to have Gridfailure and Globelamp help me with recording different elements for max vibe!”

“Jealous Again” is one of the most aggro Black Flag classics and, frankly, I wanted to yank some of the frankly awful machismo out of it and make it a melodic but twitchy sort of examination of the mechanics of paranoia (without revealing if it’s unfounded or not). Now with Dave Brenner’s help it sounds like a wet cave full of ghosts. The slight organ added was fun because it is this monstrous thing that has apartment hopped with me and my partner and we never plugged in much until now. Oh, and I snuck a Biz Markie Easter Egg in there.” – Morgan Y. Evans

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NYC extreme metallers Pyrrhon have released their earth shattering new full length Abscess Time via Willowtip. Some how they defy and embrace death at the same time. This is some of their most impressive technical and vivid songwriting yet. “Human Capital” is one of the most timely and savage songs of 2o2o in experimental death metal with killer lyrics about modern class inhumanity.

Throughout the entirety of Abscess Time, PYRRHON explore the turbulent and ripping darkness of everyday survival. “This album is about watching the human world slowly slide towards collapse while you’re too busy trying to survive until the next day to do anything about it,” comments PYRRHON vocalist Doug Moore. “The process seems to take forever, even though little things change every day. And since you’re constantly straining to keep your head above water, it’s all just the background against a foreground of more immediate dangers.”

PYRRHON entered Menegroth: The Thousand Caves studio in January 2020 with mastermind engineer, Colin Marston (Krallice, Gorguts, Dysrhythmia) at the helm. “Colin Marston has worked on every Pyrrhon record so far – he’s mastered all of them, and mixed our last three. We do a pretty unusual combination of things during our recording process, and he’s about the only engineer out there who’s got experience with all of them,” explains Moore.

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Knotfest.com have announced today that they will be celebrating the 21st anniversary of Slipknot‘s eponymous debut album with a live broadcast of their seminal home-movie collection Welcome To Our Neighborhood that features home shot footage of the early days of Slipknot, interviews, early live performance footage of Wait And Bleed, Surfacing and Scissors and more. The film will be broadcast live on Friday, June 26th 2020 beginning at 2pm PST/5pm EST/11pm CET over on Knotfest.com

The band have also dropped an Official Quarantine Merch Capsule, which is available now from SlipknotMerch.com

The ongoing Concert Streaming series has already treated fans to sets from Slipknot, Lamb Of God, Megadeth, Trivium, Behemoth, Amon Amarth, Anthrax, Kreator, King Diamond, Carnifex and Suffocation, Suicide Silence and In Flames all of which have raised funds donated to COVID-19 relief charities

The many Knotfest events worldwide – Knotfest Festivals, Knotfest Roadshow Tours, and Knotfest At Sea – have one purpose, which is to celebrate our community of loud music, art, and culture – together. When we are unable to physically come together to do this, for the sake of the common health and safety of all – Knotfest is keeping the celebration going with these weekly live performances.

Slipknot and Knotfest welcome ALL in the heavy metal community to these events. We hope you enjoy.

In the words of Corey Taylor: Take care of yourselves, and take care of each other.

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And we’re baaaack. Metal Riot news here with the latest clobberin’ time updates to get you through these hard times. Anthrax have a new bourbon honoring Dimebag (made in my Hudson Valley) for all you boozers to check out. Looks legit! I have been sober six months so I am not gonna fuck that up, but you do you. So for my pick me up, let’s pivot to hardcore!

NYHC legends Sick of it All (and we’re all sick of it all right now, one way or the other), have a new video out for “Bull’s Anthem”. Always one of the all time greats of hardcore to me and many others, SOIA deserve all the love. And they brought some friends along!

“Getting all our fans and friends involved in the making of this video for ‘Bull’s Anthem’ was an absolute blast. We had so much fun going through all the submissions, piecing it together, and being able to bring some much needed laughter into all of our lives during these crazy times. It’s amazing to see so many people united via our music, from all over the world, and joining us in spreading a good responsible message. We want to thank Tim from Rise Against, Chuck from Hot Water Music and the hundreds of participants, for making this happen, and we want to thank you for watching and sharing this video. It’s US vs Them and the time for revolution has come! Support, love and take care of each other,” states SICK OF IT ALL about the music video.

“Bull’s Anthem” is off SICK OF IT ALL’s latest album, Wake The Sleeping Dragon!. For the release, Century Media Records teamed up with Fat Wreck Chords, who put out the CD and vinyl version in the US. The album is available to stream and purchase HERE.

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photo by Bill Kaiser

New York City’s THE THIRD KIND – comprised of current and former members of All Out War, Bastard Clan, Vise Massacre, Awkward Thought, and more – will release their debut LP, Man vs Earth, this Friday. As its assault on the public looms, Toilet Ov Hell is now hosting an advance stream of the entire album, and the band has scheduled a livestream performance from NYC for the day of its release.

Engineered by THE THIRD KIND’s Taras Apuzzo at the band’s home studio at Otter House Studios in Long Island City, Man vs Earth was mastered by Dan Emery at Black Matter Mastering (Kool Keith, Krieg, Dwarves) and completed with cover art by Richard Muller and Frankie Accordi, and layout/design by Apuzzo.

The band offers, “Man vs Earth comes from a proletariat perspective. This music is built to inspire action, alive and fierce like the sun. Each song is written as a fable generally relatable to current events coupled with a reflection of the past. To ride it to win.”

Toilet Ov Hell writes, “…THE THIRD KIND are ready to throw down against all comers with their new album Man vs Earth. While some bands look to the stars and get all googly-eyed thinking about little green men, THE THIRD KIND turn their focus inwards to humanity and don’t like what they see.”

Stream THE THIRD KIND’s Man vs Earth LP at the Toilet Ov Hell portal RIGHT HERE.

THE THIRD KIND will self-release Man vs Earth on black vinyl LP and all digital platforms this Friday. Find preorders HERE.

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Today Myrkur‘s Amalie Bruun joins forces with renowned multi-instrumentalist Anna von Hausswolff to reimagine Björk’s classic, “All Is Full of Love”. Bruun comments, “From our homes in Denmark and Sweden we decided to record a simple, fragile and raw version of Björk’s “All Is Full of Love”. A song we consider to be one of the most beautiful and encouraging songs, that is a reminder to stay open to receive love even in times like these.”

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On Wednesday, June 3rd, Killswitch Engage – Adam Dutkiewicz [guitar], Joel Stroetzel [guitar], Mike D’Antonio [bass], Justin Foley [drums], and Jesse Leach [vocals] – began posting an array of pictures from their history to the band’s official Instagram feed: https://instagram.com/killswitchengage/. The band wiped its Instagram page clean and proceeded to share one image per year per day, starting with 1999 and going through 2019. It was a mere hint of what was to come.

Today, June 23rd, Killswitch Engage unveil a comprehensive and in-depth 20-year timeline that documents so many of the band’s memorable career milestones and storied history, with plenty of captivating images. The clickable, scroll-through timeline boasts flyers from early shows, live shots from festival appearances, and fan tattoos. It also traces major tours, video shoots, album releases, Grammy nominations, lineup changes, and beyond. The timeline functions as a digital museum that effectively tells the complete Killswitch Engage story.

The timeline was created specifically for Killswitch Engage fans to enjoy and to reminisce.

View the entire timeline on the band’s official website: http://www.killswitchengage.com/timeline

“I’ll never forget when we first started touring and I had to quit my day job to give it a go,” recalls Adam D. “I remember thinking, ‘Just try it for a year, that way you’ll have no regrets when it doesn’t work out, and you can go find a new job.’ 20-plus years later, here we are, and it’s been an amazing ride. I’m so grateful to our fans for letting us continue to do this…THANK YOU, KsE FANS EVERYWHERE!!!”

“It’s hard to believe KsE has been going for so long,” says Stroetzel. “We’re gettin’ old! We hope you all enjoy the photos, as they have definitely brought back a lot of memories for us! It seems like only yesterday we were playing VFW halls in Western Mass and rehearsing in my parents’ basement!”

D’Antonio says, “Looking back at what KsE has seen and done in 20 years is nothing short of mind-blowing to me. How a little band from Massachusetts could tour the world for this long is beyond me. A lifetime of exciting moments and amazing memories…I would not trade it for the world.”

Today, Killswitch Engage are also launching their Retro merch line, where they will be offering new takes on classic Killswitch Engage designs in limited edition quantities. The initial offerings from the Killswitch Engage Retro Collection include designs from the Alive Or Just Breathing and As Daylight Dies album cycles. You can preorder the Retro designs here: https://killswitchengage.merchcentral.com/collections/retro-collection

Overall, it’s been an eventful 20 years for Killswitch Engage.

Recently recognized by Forbes as “one of modern metal’s most cherished acts,” Killswitch Engage first shook the structure of heavy music upon climbing out of snowy industrialized Western Massachusetts in 1999. The band pioneered a DNA-distinct and oft-imitated style, fusing thrashed-out European guitar pyrotechnics, East Coast hardcore spirit, on-stage hijinks, and enlightened lyricism that set the pace for what the turn-of-the-century deemed heavy.

2002’s Alive Or Just Breathing, which followed an attention-getting, self-titled debut, earned its reputation as a definitive album and was named among “The Top 100 Greatest Metal Albums of the Decade” by Decibel and celebrated by everyone from Metal Hammer to Revolver. Original singer Jesse Leach departed the band in 2002 and was replaced by Howard Jones, who would front the band until Leach’s return in 2012.

Along the way, Killswitch Engage have garnered three GRAMMY®Award nominations in the category of “Best Metal Performance” in 2005, 2014, and 2020. They’ve received gold certifications for The End Of Heartache [2004] and As Daylight Dies [2006]. The group landed three consecutive Top 10 debuts on the Billboard Top 200 with Killswitch Engage [2009], Disarm The Descent [2013], and their career high best bow at #6 with Incarnate [2016]. The latter two releases would also both capture #1 on the Top Rock Albums and Top Hard Rock Albums charts. Their total streams have exceeded half-a-billion to date. Along the way, the band has shared stages with some of the biggest acts in the world and have sold out countless headline gigs in six continents across the globe. Their eighth full-length Atonement debuted #2 on the Billboard Top Album chart, #13 on the Billboard Top 200, and once again #1 on both the Top Rock and Hard Rock Album charts.

Killswitch Engage have spent most of their career on the road, sharing stages with Iron Maiden, Slayer, Mastodon, Slipknot, and more. They’ve appeared as a featured attraction at OZZFest, Rock Star Energy Drink Mayhem Festival, Taste Of Chaos (with My Chemical Romance), Warped Tour, and more.

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REVOLUTION, THE ONLY SOLUTION!!!

In which the now Trump bootlicking drummer of System Of A Down betrays all their material and tells me that Black Lives Matter are the same as the Brown Shirts. Serj Tankian, fuck this clown already. John Dolmayan (aka BYOBootlicker, my new name for him) has truly lost it. Ok, so every other basic armchair expert loves to say the “DemonCRats are thE reAl fashitz” yet COMPLETELY IGNORE the GOP SOUTHERN STRATEGY, but calling BLACK LIVES MATTER the new Brown Shirts is beyond revolting gaslighting. When I interviewed him years ago he was going through a McDonalds drive through. Not exactly ‘woke’ or helpful to the message.

John seems like a Seventh Kavalry Qanon moron who Ayn Rand and Steve Ditko spawned at a Nu Metal bakesale. What a god damn letdown! How fucking sad too that John has compared people fighting for freedom to not be MURDERED BY POLICE BRUTALITY to Hitler’s god damn Sturmabteilung ! While your band stood for the recognition of a covered up genocide you now spread HIDEOUS RACIST FALSE EQUIVALENCY! Fuck Off.

What happened to ,”Pushing little children with their fully automatics…”?

Serj, Daron, Shavo…fire this asshole or get him an intervention like YESTERDAY! For the love of God! Is this why you guys have been sorely needed as a band but haven’t released an album in forever? Just to humor this clown?!! Heartbreaking. One of the best political bands ever totally derailed by one member’s mind destroyed by money and conspiracy drivel. This is even worse than Korn jamming with utter homophobe Mike Huckabee. Seriously, WTF are you guys doing?!! Read the fucking room.

Seriously John, go P.L.U.C.K. yourself.

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Album Review: Cro-Mags – ‘In The Beginning’

Posted by Morgan Y Evans - Walking Bombs on Friday, June 19, 2020 at 9:14 AM (PST)

Cro-Mags have one of the more turbulent legacies in hardcore and currently are ripped in half into two bands who each fairly have a serious karmic claim to aspects of the legacy. While Harley Flanagan owns the name now and . Let’s get this straight – In The Beginning is a more than admirable hardcore record full of plenty of aggro, solid moments and pit worthy consistency. To his credit, it is clear Harley didn’t just dial it in at all. He also made sure great people were attached to this era, from Rocky George (who steals the entire show with ease) to Phil Campbell’s cameo energy. Gabby also kicked a lot of ass. It sounds great mix wise and the performances range from on point to totally killer.

On the album’s artwork, Flanagan explains, “The front of the album is my old building I used to live in, called ‘C Squat’ where I wrote most of the music for 1986’s Age Of Quarrel album. The rear of the record shows me looking down at the site where the building once stood, essentially, it’s me looking at my past and where everything began.” I love the LES and C Squat makes me think of getting heroin spritzed out a needle up my literal nostril and then seeing Choking Victim in the basement while people urinated down an orange traffic cone. Damn, my life is somewhat different now.

The title of the record is honestly a big distraction for me, seeming like less of a PMA statement and more a troll reminder of who founded the band (although I am not tone policing dude on the things he is cynical about). It also is because I am a huge Mercyful Fate fan and The Beginning is a compilation album released in 1987 consisting of the Nuns Have No Fun EP and different versions of 4 tracks from the album Melissa. I know it is nitpicky and corny to note that and that neither this album or The Beginning are the most imaginative titles, but I don’t like thinking of other art when I am trying to concentrate on what is in front of me.

“PTSD” is a standout track, just about anything you might want in a Cro-Mags song present. That is good and bad. “Don’t Give In”, while also kicking ass, has almost the exact same development from a classic pace-setting slower intro to a growling, faster remainder. It is good but kind of makes you want to just listen to “We Gotta Know”. Or does it? Am I biased because Cro-Mags have a smaller discography than The Ramones? Plenty of Ramones songs sound similar and I love them all. Lots of elbow swinging, two-stepping mid tempo classic reminiscent moments to experience are present (or re-experience if you are an old fan) in a new chapter here.

While there is power in a lot of this, it also feels like an homage to bygone days. Still, he has way more of a right to that than half the new jack bands copying actual old school artists personal creative contributions and aesthetics but then acting as if they are hotter shit. No. Your new school band will never be Cro-Mags, Judge or Chain Of Strength. Stay motivated and do your thing, but don’t get it fuckin’ twisted and pay your respects, kids. “No One’s Victim” has some cool dissonance for the intro that I liked, before setting up an elbow swinging march sprinkled with mandatory lead guitar widdlies.

I guess I will just come out and say it. John Joseph and Mackie Jayson on board as well would have made this so much more fucking awesome. Harley did an admirable, great job holding the vocals but he isn’t a frontman and singer like John. The songs are cool but would’ve been cooler. Mackie is untouchably good. No contest. You can’t expect people to just forget knife fights and court shit or whatever you believe, but after the triumphant majority of Misfits (don’t forget poor Googy) and Guns N’ Roses (sans Stradlin) reunions of recent times, it is impossible to hear this and not also notice the missing elements in the room unless you are cave man headbanging so hard it doesn’t matter. One love and pma to all of these people, all of whom have profoundly influenced my life. It just makes me sad.

Listening to the strong closer “There Was A Time” (also a song name on Chinese Democracy, ha) I think this record is overwhelmingly well meaning and has a ton of real energy to it. I would never want to take away from that. It is admirable Harley went so hard and wrote so many songs for this, not ceding an inch of passion. Along with the new Body Count record, it is great to hear vets of the scene still give their all and not lose their beliefs. Sometimes survival is about being thankful for the good aspects and reality of the situation we have, not what we wish was different. In that paradigm, let’s be thankful we can still hear any of these musicians at all and support whichever version of the band (or both) and try and keep ahead of our collective societal demons, y’all.

Album Review: Protest The Hero – “Palimpsest”

Posted by Morgan Y Evans - Walking Bombs on Thursday, June 18, 2020 at 7:44 AM (PST)

Today is a huge day for prog/metal/screamo fans as Protest The Hero release what may one day prove to be their crown jewel, Palimpsest. Moved up a day to honor Juneteenth, the record is simply awesome (but there is little “simple” about it). First off, the Derya Nagle production on this record is the best the band has ever sounded. No shade on their other excellent albums but this is the best balance of a mix I have ever heard for this complicated act (“Gardenias” is a barreling rollercoaster that a less deft hand could have quickly derailed with a less sophisticated ear). The songwriting is also next level, even for a band known for mind boggling and death defying arrangements.

This album features the showmanship paired with connective tissue heartfelt and relatable lyrics meets extreme concepts the band is known for, but much of this album is firmly rooted in current problems in society more than ever before. Themes of real populism versus the fool’s gold peddled by Trump to his wrestling mark cult are peppered throughout this record. Art like this more prominent in the public discourse would actually make us great again. Rody Walker singing ,“I’m dreaming of a life I can’t afford” on the all-killer “All Hands” is relatable to almost anyone.

Elsewhere “The Fireside” lampoons people who take for granted their privilege over an exhausting (in a good way) series of musical gymnastics and school essay length lyrics that would make “Masters of War” seem like cliff notes.  “I’ve got a job for every able-bodied man/Munition factories for women and children/And all we needed was a reason/And you gave us one, gave us one,” calls to mind Eugene Jarecki’s Why We Fight military industrial complex skewering documentary from the early 00’s and makes me wonder why we STILL haven’t invested more in sustainable energy jobs for common folks instead of still jacking off weapons manufacturers and supplying them with endless worker ants. “Mountainside” and “Hillside” break things up as beautiful interludes that sort of stir a patriotic longing for a non-nationalistic blindfold, eyes open to see this country for warts and all rather than false idol worship.

“The Canary” is a triumph of a single and within the scheme of the album itself. The flow and style recalls their earliest Kezia days manic and earnest, poetic decrees paired with their maturity and widened world lens.

“I was named after my grandmothers in the tradition of my family/I was born after my stillborn sister
Romantic idealistic lies euphemize as fantasy /But the water always bursts first from the blister.”

Breathtaking. It is more important than ever to actually sing about meaningful shit and not just murdering women or other stupid things in metal. Our world is crying out.

Band Spotlight: Warbringer

Posted by Morgan Y Evans - Walking Bombs on Wednesday, June 17, 2020 at 6:25 PM (PST)

California thrash upstarts Warbringer have returned to settle the score and cement their long term legacy fully with sixth album Weapons of Tomorrow. “Firepower Kills” probably ought to open all their future shows, just a complete stage setter for chaos. “Crushed Beneath The Tracks” and “Power Unsurpassed” in particular show this band would have ruled 1988 with ease and contain maximum neck injuring/ fist pumping potential (along with notable Slayer-worthy wraith shrieking). I am not 100% on the semi-thin snare sound but it hardly distracts the band’s performances are all monstrous on this bad boy. Exodus, Annihilator fans or of course fans of more new school speed thrash bands should get all over this one. \m/

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