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“The fact that oppressive institutions and nations born of colonial hegemony, demonize, profile, police and punish the survivors of ongoing genocide and attempt to dictate where they can and cannot live is morally bankrupt, and yet here we are.” – Misandr

One of the best parts about blogging is I always love the chance to help boost amazing work of all stripes by fascinating, forward thinking people. Be it Spellling’s dope slow come down beats and chill as heck textures plus stunning vocal work on Mazy Fly or the harrowing new cinematic Hether Fortune track “Sister” (which was so powerful live) or the latest ominous yet massive doom-opus from Candlemass , there has been so much good stuff already in 2019 to share. And we need it, cuz it is rough out there right now for a lot of people.

One of the most awe-inspiring things that landed in my promo box this year so far was the much-anticipated Tridroid Records split from somewhat mysterious noise practitioner MISANDR and whitephosphorous, “This Can Not Continue”.  The release just went up for pre-order very recently and is a must hear rejection of bigotry and hatred funneled through the lense of sonic vertigo and alienating physical sound avalanches paired with razor keen current event subtexts. The split title This Can Not Continue is both a perfect and simple fact for the horrors going on in the world as well as an apt summary of how the music and content is so intense that it tests the bounds of human endurance until a flip switches and you somehow are comforted by the harsh swirl of cacophony and distress.

Thanks are to be extended to Misandr who allowed us to interview them via email for a VERY insightful and rewarding exchange. I can’t do it justice summarizing but topics include inverting fascism on itself, ableism, noise as self-catharsis, the project’s past and future, the dangers of xenophobia and so much more. Super thrilled to be publishing this and hope you all will read it and enjoy near drowning in this artist’s emotionally exhausting new single on the Tridroid split as much as I did.

Read more BELOW and hang in there, folks.

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New Riffs Of Note: Slaves BC, Venom Prison, Tribulation

Posted by Morgan Ywain Evans on Wednesday, February 20, 2019 at 5:27 AM (PST)

Hey kids! If you are like me and have spent most of yesterday mentally exhausted wondering when Bernie bros will stop making excuses for why pandering to the WWC “economic anxiety” myth while punching down on intersectional oppression issues and the marginalized concerned with these issues is wrong, you might just be in the need for some RIFFS! Well, a lot of good stuff has been going on over the last few days.

Let’s start off with the rabble rousers in Slaves BC. This band is by far one of the most important in the underground these days, from their willingness to speak truth to their uncompromising sound and musical fury. The new single “Mihpares” is up at The Fear And The Void HERE and is very exciting stuff with almost a chaos vortex jazz noise metal feel in the bridge that got really unsettling and I LOVED. I did not give these cats enough coverage last year and I nonetheless love them and you should as well.

Next up, Venom Prison! I know this band and track have gotten a lot of hype but they deserve it. This group crushes the skulls of dumbshits so profoundly every time! We stan! If you haven’t experienced the intensely pulverizing and frightening “Uterine Industrialisation” you need to fix that ASAP. Those circle pit worthy parts into crushing slower riffs and chug and yarrrghhhhh!!! This band is so on point with their death metal influences while engaging solidly with important issues of the day. Let’s hope they keep using their platform for awesome stuff and also as their hype grows they pick and choose well what festivals to play if some of the other bands are problematic.

Anyway, I couldn’t be more thrilled with anticipation for their forthcoming effort Samsara and I know I am not alone.

Last up for today, Tribulation. The frightening and aesthetically excellent death brandishers have released a new Live video and their Melancholia EP is available now in numerous vinyl formats HERE. Follow this link to watch their performance in Oberhausen, captured by Dirk Behlau, produced by Beastwoodfilms and mixed & mastered by Linus Björklund of Hi Filer Productions. Their last few records really struck to heart (no vampire staking pun intended) of the band’s ability to evoke a passion for the dark. Few groups are so adept at cultivating a shadowy mystique without being completely absurd or losing sight of songwriting. “Nightbound” isn’t as “new” as the other songs on here but this video is!

Ok, like bats in the daytime…hang in there, brethren.

 

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THERE’S THIS WHOLE CATEGORY OF PERSON OUT THERE, WHO SPENDS A LOT OF TIME PISSING AND MOANING ON THE INTERNET ABOUT THAT FUCKING BAND GRETA VAN FLEET FOR SOUNDING JUST LIKE LED ZEPPELIN (Editor’s Note: Neckbeard Van Fleet coming soon!). AND FOR THE FUCKING LIFE OF ME I CAN’T FIGURE OUT WHY. BECAUSE IF LED ZEPPELIN WAS A THING YOU LIKED, I FIGURE YOU’D BE STOKED THAT THERE WAS MORE OF IT. LIKE IF I ORDERED A PIECE OF CHEESECAKE AT A RESTAURANT, AND IT WAS GOOD AND I WENT TO ANOTHER RESTAURANT AND THEY HAD THE SAME PIECE OF CHEESECAKE, I’D BE FUCKING STOKED. AND INSTEAD YOU HAVE THESE PISS PANT WEINERS SHITTING OUT TEN PARAGRAPH ESSAYS ABOUT HOW THEY ARE MANDATED TO EXIST IN THE SAME REALITY AS A THING THAT IS INTENTIONALLY SIMILAR TO A THING THAT THEY ALREADY LIKED. THEY CAN’T JUST HAVE TWO THINGS THAT THEY LIKE. AND THAT’S HONESTLY ONE OF THE DUMBEST FUCKING THINGS I’VE HAD TO SPEND TIME MENTALLY ENTERTAINING.

I HOPE THESE CLOWNS NEVER GET INTO ART, BECAUSE IF I HAVE TO READ A PETULANT ESSAY BY SOME FART SNIFFING DICKWEED ABOUT HOW PEOPLE SHOULDN’T MAKE ART THAT IMITATES THE MASTERS I’M GONNA SCREW THE RESPONSIBLE HANDS DOWN TO A BIT OF WOOD CRUCIFIXION STYLE AND BREAK EVERY FINGER INVOLVED IN AUTHORING IT.

BUT ANYWAY. TO MAKE A POINT ABOUT THAT VERY VERY LARGE STRAW MAN, I’VE SAT DOWN TODAY WITH THE NEW DEVIL MASTER ALBUM. WHO AFTER SIGNING TO RELAPSE HAS SPENT A LOT OF TIME MAKING THEIR STUFF SOUND EXACTLY LIKE THE SPOOKY OLD HEAVY METAL TAPES MY FRIENDS DEDICATE ENTIRE INSTAGRAM ACCOUNTS TO DOCUMENTING.

AND THAT’S NOT A DIG. I KNOW THERE WAS A LOT GOING ON IN THAT FIRST PARAGRAPH. BUT I THINK THIS BAND DOES A LOT OF GOOD STUFF. THIS ALBUM IS COOL AND WEIRD, BUT ALSO TASTY AND CHAOTIC. IT HAS LIKE A WARM TAPEY VIBE TO THE PRODUCTION QUALITY THAT I THINK ACCIDENTALLY CAME OUT A LITTLE HI-FI FOR WHAT THEY WERE AFTER. THE GUITAR TONE AND DRUMS SOUND LIKE SOMEBODY IN THE BAND HAS A VERY LARGE MERCYFUL FATE TATTOO. AND THIS GUITAR PLAYER SEEMS LIKE THEY PROBABLY HAVE A GIGANTIC TATTOO THAT SAYS “RIFFS” BECAUSE THIS ALBUM IS JUST NOTHING BUT FUCKING RIFFS. RIFF SALAD SANDWICH, WITH A SIDE OF RIFFS. SERVED WITH A NICE TALL GLASS OF SLOPPY NASTY GROWLY VOCALS. I REALLY CAN’T STATE LOUD ENOUGH HOW EXCITED I WAS TO GET THROUGH THIS WHOLE THING WITHOUT ANYONE TRYING TO GET ME TO WASH ANY OF THESE RIFFS DOWN WITH AN IMITATION KING DIAMOND FALSETTO. A GENUINE IMPROVEMENT TO THE ORIGINAL DESIGNS.

BEYOND THE SOUND, THE BRANDING OF THE WHOLE THING IS EQUALLY REFLECTIVE OF THE SOURCE MATERIAL. THE NAME DEVIL MASTER SOUNDS INTENTIONALLY PRIMITIVE, THE LOGO IS PURPOSEFULLY BADLY XEROXED AND THEN SUPERIMPOSED ON THE VIDEOS. THE ACTUAL FOOTAGE ITSELF I THINK ACCIDENTALLY COMES OFF A LITTLE TOO HI-FI, IN A WAY THAT MAKES THE EROSION THE VIDEO EDITOR USED AFTERWARDS SEEM A LITTLE SILLY. (BUT THAT’S A VERY SMALL NIT TO PICK.) AND I REALLY LIKE THAT THE SONG TITLES TITLES FLIRT WITH SPOOKY DEVIL STUFF BUT IN A WAY THAT HARKENS BACK TO A TIME WHEN YOU COULDN’T JUST NAME YOUR ALBUM “BESTIAL NEKROGOATS SATANIC 666 WARCOCK FORCEFULLY RENDS THE BODY OF CHRIST ASUNDER” AND IMMEDIATELY GET A DEAL WITH HELLS HEADBANGERS. IT’S TASTEFUL.

THAT BEING SAID THIS KINDA THING JUST ISN’T FOR ME. I CAN TELL THAT IT’S WELL MADE, I CAN TELL THAT A LOT OF TIME AND CARE WENT INTO IT. I THINK THERE’S A COUPLE OF SMALL MIS-STEPS IN PRODUCTION AND A FEW HEAVY FOOT FALLS IN THE VIDEOS THAT COULD BE HAMMERED OUT, BUT THEY IN NO WAY OVERSHADOW EVERYTHING THIS ACCOMPLISHES. IT’S JUST NOT MY SLICE OF CHEESECAKE. AND AGAIN I NEVER TAKE OFF POINTS FOR TASTE.

THAT BEING SAID IF YOU’RE INTO THROWBACK PROTO BLACK METAL STUFF THAT DOESN’T INVOLVE ANYONE WITH A SHITTY MUSTACHE, OR HATE GROUP AFFILIATIONS. THIS IS PROBABLY FOR YOU AND YOU SHOULD ENJOY IT.

3.5 OUTTA 5. 4 OUTTA 5 IF THEY’D SHOOT THOSE VIDEOS WITH AN ACTUAL SHITTY OLD VIDEO CAMERA. GOOD STUFF.

 

The Royal are back with a new video that seems to add a little more nu metal influence to their generally metalcore sound. “Deathwatch” is taken from the album of the same name, out on March 8th, 2019 through Long Branch Records.

Get it here: https://TheRoyal.lnk.to/Deathwatch

Video by BRSA media (James K. Barbosa)
https://www.brsa.me

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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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If you are buzzing from High On Fire’s much deserved Grammy win and recognition despite their steadfast riffiness and bad ass gargled biker warlord ogre vocals, let’s keep the good news coming. It is always a great day when we can announce more forward thinking yet riff-tastic albums that keep evolving the scene and subtly challenging the former status quo while still actually rocking your socks off as well. Inter Arma certainly fit in that category and whether they will ever get recognized by music’s most at times clueless night remains to be scene…but they have certainly already had their share of critical hype at the fringes.

The Richmond band continue to follow their own course and new song “Citadel” below is a serious clobber fest. I always love their ability to bridge death and art metal elements with sludge in a concise way that seems seamless instead of like grasping wildly at straws for relevance. Inter Arma always make sure their songs are good and not just style checklists for whatever is hip, it seems. This new track is incredible and lumbers like a brontosaurus beneath screaming banshee demoness pterodactyls flying through geysers of steaming guitar heat!

Anyway, I love this band and have seen them live a few times now. Eager to again. The new album is called Sulphur English ominously and is out April 12th (day after my bday) on mighty Relapse.

Vocalist Mike Paparo comments:

“The lyrics to “Citadel” were written as a sort of clarion call to myself about overcoming depression and the demons that manifest with it. It, like most of the lyrical content on the record, is deeply personal to me.  

For the band as a whole, Sulphur English is an ill-tempered, unrepentant act of defiance towards stagnation and complacency. We create this music on our own terms and we refuse to compromise our collective vision, for better or worse.”

Sulphur English is due out April 12th on CD/2xLP/Digital. Physical packages are available for pre-order via Relapse.com HERE. Digital Downloads / Streaming Services are available HERE.

 

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Album Review: Candlemass – ‘The Door To Doom’

Posted by Morgan Ywain Evans on Friday, February 8, 2019 at 4:04 PM (PST)

It was a cool week for underground music as far as I am concerned. Industrial act Front Line Assembly dropped a killer new record Wake Up The Coma with a hysterical but bold “Rock Me Amadeus” cover featuring Jimmy Urine that I cannot get out of my head (plus a cool title track feat. Nick Holmes from Paradise Lost/Bloodbath).  Obliteration’s Cenotaph Obscure was nominated for a Norwegian Grammy. AND most importantly on a personal level and relevant to being able to write this review, I also finally got to sit, drink tea and then become completely engrossed in the new Candlemass opus The Door To Doom until I grabbed the sides of my head and howled. Holy crow! Everyone just give up now. Don’t release anything else this year. It is over. You aren’t topping this. This is the essence of pure doom brilliance. Johan Langquist (who left the band after singing on the legendary 1986 debut Epicus Doomicus Metallicus) has returned! Much like Sabbath or Vitus or even Alabama Thunderpussy, people love different singer’s eras – but the buck really stops with Johan in this band’s case. Leif Edling and unmerrymen have outdone themselves and made a fucking modern masterpiece of the genre.

The much hyped collaboration track with mighty Tony Iommi of course lives up to the hype. “Astorolus – The Great Octopus” is like the Poseidon arranged wedding between the “Children of The Sea” and something from even darker and heavier depths. It’s way stompier and doomier than “Children…” with absolutely no uplifting parts, haha…but maybe I just needed an oceanic comparison to house the giant tentacles mass of this tune.  Iommi plus Candlemass is obviously a match made in Heaven and Hell (see what I did there?) and fans are going to be shook. For real, this album surpasses Sabbath’s 13 with ease (and I liked plenty of moments on that record even with the flaws and shamefully no Bill Ward). I am SO glad this collab happened.

“Bridge of The Blind” is a reprieve song of sorts, a dreamy sad song with incredible guitar tones. Johan takes the relatively straight-forward closing lines ,”What would I find, if I open my eyes? Will you be waiting on the other side?” and injects so much emotion into them that you feel a huge gulf of loss or like you have just listened to a traditional ballad people have held close to their heart’s for hundreds of years. “Death’s Wheel” is an anthemic war charge from the opening riff, pulverizing everything in sight and getting heavier and more dizzying as it goes. The solo on that song shoots vertically into the sky, defying the heavens boldly. “House Of Doom” like Cathedral’s Swan Song The Last Spire recalls medieval despair via cool sound effects (a tolling bell here) before thundering home. The organ drenched bridge of the song is one of the most epic moments of many on the album.

I honestly would be startled as hell if anything tops this in 2019. It just hits so many checkmarks from hot anticipation to a triumphant reunion of classic members to, most importantly, completely bad ass NEW songs that only add to the band’s legacy forevermore whilst perfectly nailing what is best in a genre. Ghost, who have a history of taking out top notch talent from the much missed Purson to Marissa Nadler, have Candlemass with them in Europe at present on the road. No offense to Ghost but I am really glad some of their more genre-tourist fans are gonna get their fucking asses schooled by some OG doomage of the purest molten kind.

 

So I was half watching Season 4 of The 100 (I still fuck with that show, love the cast) and simultaneously scrolling Instagram absent-mindedly like an overstimulated, over-worked semi-human in 2019. Suddenly some awesome, huge alt-rock guitar and an unmistakable voice reached my ears and made my eyes open wide. Listen HERE.

So I stare at my tiny phone screen and how friggin’ stoked am I to realize it is Chris fuckin’ Traynor of Bush and most importantly one of my all time favorite bands Orange 9MM (who I dropped out of college to open for like an idiot, but he wasn’t in the band at that point. PS. It was still worth it -lol). And yes, he was collaborating in the studio with Grey Daze , a project Chester was involved in throughout his life. In addition to the massive song Chester did with Mark Morton that just came out, this little Grey Daze audio clip gave me huge chills and everything sounds brilliant and emotive. The held out notes over the big guitar sounds so soulful. An older Grey Daze tweet from December makes it sound like much of the tracks are older and finally being completed.

Even cooler, Traynor responded to me on Twitter and IG about it. I’m over the moon!

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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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Sunn O))) announce “Life Metal”, worked with Albini

Posted by Morgan Ywain Evans on Tuesday, February 5, 2019 at 2:15 PM (PST)

…And the big news of the day (everyone try not to freak out):

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Necrot announce Decibel off-dates with Blood Incantation

Posted by Morgan Ywain Evans on Tuesday, February 5, 2019 at 1:45 PM (PST)

West Coast Death Metal kickers of ass Necrot are part of a monstrously stacked Decibel Magazine Tour this year alongside Morbid Angel, Cannibal Corpse, friggin’ Immolation and Blood Incantation. That is an insanely quality package by any deadly measure. Necrot and Blood Incantation have a well-earned underground buzz at present and thus it is awesome that additional dates have been added where you can catch the two acts together doing, I presume, slightly longer sets. The performances will take place in Feb. and March during off dates from the bigger tour.

You’ll want to catch them live because as we all know, Necrot delivered a no holds barred rifferendum to the scene in a manner that was far from riffgurgitated on their celebrated Blood Offerings.

Suffice to say, you’d “Rather Be Dead” than miss this!

Dates BELOW.

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Gideon surprise release new 2 song EP via Equal Vision

Posted by Morgan Ywain Evans on Tuesday, February 5, 2019 at 9:11 AM (PST)

photo by Ryuji Segawa

Alabama hardcore crushers GIDEON have released a 2 song EP called No Love/No One. The EP is just the tip of the iceberg for what’s to come from Gideon, as the band enters the studio to record a full-length due out later in the year. The band will also be making an appearance at Rock USA this summer.

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ELUVEITIE reveal title track epic video for ‘Ategnatos”

Posted by Morgan Ywain Evans on Monday, February 4, 2019 at 6:21 PM (PST)

Folk metallers Eluveitie have returned with a massive new video for “Ategnatos’, the title track from their forthcoming album. This will more than suffice for a mental escape if you need one today.

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Queensryche announce “The Verdict” European Tour

Posted by Morgan Ywain Evans on Monday, February 4, 2019 at 4:22 PM (PST)

Metal and hard rock institution Queensryche have a slew of new dates below for both the US and newly announced European tour dates. Loving  the lean and mean classic replicating sound of “Man The Machine.” This version of the band just gets more and more refined somehow. Grateful to have such a killer Queensryche in 2019 as a longtime fan!

“We are very excited that we will touring Europe again! Really looking forward to seeing you all in support of our new album! Thank you all for your embrace and support,” states singer Todd La Torre.

Dates BELOW.

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