Author Jeff Wagner is set to release his new book, Destination Onward: The Story Of Fates Warning.

Says Jeff: “Here’s what I’ve been working on for the past couple years (or three?). The book cover was based on an idea of my own, executed and made reality by Scott Hoffman and Patrick Crawford.

“‘Destination Onward’ is based on many hours of exclusive and recent interviews conducted with all members of Fates Warning past and present. I also interviewed various friends, roadies, family, peer musicians and record label folk. It’s a fun, serious, nerdy, and occasionally hilarious look at one of the greatest metal bands of all time.

“Writing ‘Destination Onward’ was a total labor of love. Fates Warning’s music has captivated and nourished me since 1985. I know some of you share this devotion.

“More info forthcoming in the weeks and months to come!”

Pre-orders for Destination Onward: The Story Of Fates Warning will not be available until mid-autumn 2021. There will be an eBook version to follow sometime in 2022.

 

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Bathory's self-titled 1984 release is considered to be the first black metal album.


Photo Credit: Yulia Jennings

Ross Jennings of Haken fame has released an official visualizer for a beautiful shimmering progressive ballad that will appeal to fans of artists like Porcupine Tree, Pink Floyd and even perhaps solo Chris Cornell. The song is the second moving solo single from Jenning’s forthcoming debut solo album A Shadow of my Future Self , set to be released on November 19th, 2021, with Pre-sales going live this Friday, the 23rd. Give this one a listen and let the feeling wash over you and carry you away.

“I was aiming for something along the lines of ‘Nothing Compares 2U’ meets ’Shine on you crazy diamond’   so that was intentional, but I feel like I was able to put my own stamp on it too.

The single once again features Ross on Guitar and Vocals, Simen Sandnes (Drums), Nathan Navarro (Bass) and Vikram Shankar (Keys) who also arranged Ross’s orchestral ideas into a full score.

Meanwhile, tickets for RJ’s one-off Global Livestream event ‘Acoustic Shadows’ which airs on July 23rd via Munin.live are still available. This is a unique opportunity to hear stripped down versions of his new material plus tracks from Haken & Novena. Buy your standard or VIP ticket here:
https://munin.live/x-event/acoustic-shadows/

Ross adds about the event: “I miss performing live so much and with both of my bands taking a break to write, I decided to seize the opportunity to dust off my guitar and put on an intimate acoustic performance. I’m really excited to introduce some of my solo material and there will be a couple of recognisable RJ related tracks in the mix too! ” 

“The string arrangement on this track is stunning and I have Vikram to thank for unpicking the themes I had in my brain and making them work in practice”   

The single is accompanied by a visualizer created by Daniel Levy, who has recently worked on  visuals for Transatlantic’s ‘The Absolute Universe’. Ross has the following to say of the video’s concept:

“Grounded is a song about mindfulness, healing, and mental wellbeing. I wrote this song about a skeptic having a spiritual experience and opening up to the possibilities of a higher power or a higher purpose, but also someone who is simply reconnecting with nature and learning to find stillness in a chaotic life. This is a topic I’ve become fascinated with on my own spiritual journey and in my own meditative practices.”

 

Punk legends Circle Jerks will be joined by some impressive stage-fellows in 2021/22.

Circle Jerks, Municipal Waste and Negative Approach will perform together on:

12/10/2021 Soundstage – Baltimore, MD
12/11/2021 Norva – Norfolk, VA
12/12/2021 Cat’s Cradle – Carrboro, NC
12/14/2021 40 Watt Club – Athens, GA
12/15/2021 Jack Rabbits – Jacksonville, FL
12/17/2021 Jannus Live – St. Petersburg, FL
12/18/2021 Plaza Live – Orlando, FL
12/19/2021 Culture Room – Fort Lauderdale, FL

For other dates including with Adolescents, click HERE.

Album Review: Violet Cold – “Empire Of Love”

Posted by Morgan Y Evans - Walking Bombs on Monday, July 19, 2021 at 8:05 AM (PST)

As someone almost solely operating this site on a budget of nothing and out of a labor of love, I don’t always get around to covering things on an industry timetable. It is corny af to me that it is frowned upon to review an album that is only a few months old instead of, like, only release week. Or the worst…having to ghoulishly rush publish when someone famous dies without having a chance to absorb the very human loss. What about processing music and living with it awhile?

This is, for obvious reasons, a terrible example but I couldn’t enjoy any Harry Potter movies when they were super hyped until the roar died down and I could take it in and experience it for myself (and now, with all apologies to my faves Luna Lovegood and Bellatrix Lestrange, it is hard not to sometimes regret that decision despite loving those stories when the author is campaigning against my community on the regular to a horrific fucking degree. Also, the irony of her having a Nonbinary actor Ezra Miller being the repressed obscurus is HUGE).

File Empire Of Love under Gaze rights? Albums with fantastic cover art that will enrage shitty people yet that Sense8 fans will cherish? In actuality it is nigh impossible to classify the new Violet Cold as anything other than great and much needed. I usually lie around in a diabetic, demiflux depression stupor most of the day and listen to black metal then go to my overnight vampire shift job at a 24 hour gym that forces members to overdose on Ava Max and Dua Lipa, so it is really compelling to hear the shameless pop vocal elements that would normally be cranked way too high in any dance mix buried here amidst radiant blackened technical opuses as if they were told to sit in the corner and have vocals be subservient to some guitars ala some Steve Albini olden days vocal mix until they learn how to play texturally with others. And to clarify, Ava and Dua both have talent and appeal, I am mostly talking about the vocal production in that kind of chart centered pop and how creative decisions get structurally imposed onto the zeitgeist in the name of commerce and centering familiarity.

Music doesn’t have to be only some commercial dominant morass of nutrition free cynicism and seeing what sticks to the wall, yet all styles can still be repurposed and have new meanings (like when Jennifer Herrema used auto tune in RTX and it absolutely slayed and likewise cracked the skye. Pitchfork, y’all needed to fuckin’ give that album a higher score).

Note- I am also not throwing shade on some trap or disco artists who are genuinely trying to produce weird, trippy textures and use auto tune as an instrument more than a crutch and other modern pop elements, as long as the content isn’t shite.

In other words, I thought this entire album was a mish mash of my subconscious cracking open wide into a multiverse. Pretty refreshing when many black metal types are still wallowing in the mire debating if it was “ok” for Mayhem to make the stylistic shifts on Grand Declaration of War. Fucking yawn.

The “can vegetarians wear severed pig heads and throw skulls at their fans and still cover Rudimentary Peni” debate is much more interesting, but I digress.

Anyway, “Be Like Magic” literally stopped me in my tracks and made me ask aloud wtf is going on (and of course has a brilliantly subversive title). Some of the results here are breathtaking and shocking (speaking of “allowed/aloud”), like Moby’s “God Moving Over The Face Of The Waters” grew up to have a progressive metal half brother. I mean, maybe don’t underestimate someone who probably singlehandedly gave Deafheaven their entire new direction. Violet Cold is already three steps into further pastures while (no shade to them, but…) a band like The Lion’s Daughter, for example, is only just discovering recently that they don’t need to care what others think and can make some of their best ever art by coloring outside the lines and USING KEYBOARDS, lol. Extreme Black metal is supposedly so transgressive and the “cutting edge” Max Martin school of pop was supposed to be ‘transformative’ as well in a much more socially palatable way than sniffing bags of dead crows before singing, but both became parodies and subsumed by narrow dogma…a Golden Dawn or Golden Ratio, hahaha (I’m dying).

Violet Cold again throws cold water in the face of multiple genres and cultural limitations in the name of exhilarating, soulful freedom. I’m convinced “Life Dimensions” is the widdly waves of music Steve Vai would dream after absorbing post-gaze into his musical hive mind like the Phalanx in X-men. Liturgy and Frantic Bleep, Candiria or Anneke van Giersbergen’s work with Devin Townsend are some of the only artists I have ever heard be this crazy and make it work so fluidly. This is a highly addictive record to inhabit awhile and a revolutionary work of art for individuality, collective love and solidarity outside the exploited, barren wasteland of capitalism’s binary Matrix. Dark Funeral once promised humorously to Teach Children To Worship Satan but in this genuine, Earth in crisis moment where we need an actual Aquarian shift, Violet Cold will teach your kid to worship possibility, learn to be themselves and above all…that it is ok to hope, despair, rage, celebrate and be complicated. And still be loved. And to the edgelord brigade stuck in the past who can’t adapt to new horizons, (not to be ageist) but as Anal C*nt once said…”You’re Old (Fuck You)”. Better an empire (Empyre?) of love in 2021 than Bard from Emperor stabbing marginalized people in Lillehammer in the 90’s.

The Iron Maiden machine has gifted us with another future classic, the massive new song (and accompanying epic animated video) “The Writing On The Wall”. While I liked the band’s last few efforts, this single struck me as the most classic feeling number in awhile. No shade on The Book Of Souls or The Final Frontier intended, as both have plenty of rad moments like the galloping “Speed of Light” and larger than life, cinematic “Starblind”, to name two jams. But something about this new song just hit me like OLD Maiden. It is super easy to sing along with and has such an adventurous 80’s feel and a larger than life, grandiose video steeped in Maiden lore of (cough) Biblical proportions. I would kill for a whole record like this if the band has one more in them before the writing is, indeed, on the wall.

Bruce Dickinson conceived the video in conjunction with former Pixar executives Mark Andrews and Andrew Gordon. It was eventually produced with the London-based animation studio BlinkInk and does not fall short.

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RIP Jeff LaBar of CINDERELLA

Posted by Morgan Y Evans - Walking Bombs on Thursday, July 15, 2021 at 1:24 AM (PST)

Heavy hearts today as we learn of the passing of Jeff LaBar. His work in Cinderella added to the rich and colorful tapestry of glam and hard rock and he will be missed by true fans around the world. Frankly, Cinderella deserve to be more respected these days and always fucking ruled. You young jack asses need to put respect on their names and crank some Night Songs.  LaBar had a sad story but also lots of glory and was an influence to many with a riveting level of skill and style for miles.

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UNDEROATH release “Damn Excuses” track

Posted by Morgan Y Evans - Walking Bombs on Wednesday, July 14, 2021 at 9:01 PM (PST)

Underoath have released their first new single since 2018 full-length, Erase Me. The band have been pent up and were eager to release this bad boy, by the sound of it.

Self-recorded and produced at guitarist Tim McTague’s studio, new track “Damn Excuses” can be streamed below.

Keyboardist Chris Dudley comments on the track: “This song came out of nowhere for us. In hindsight, it probably stems emotionally from the anxiousness that a year of isolation will give you, and that ‘wanting-to-explode’ feeling came out with zero effort. It was therapeutic. This is us ready to get back into a loud room with sweaty people and experience something real together.”

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Album Review: King Woman – ‘Celestial Blues’

Posted by Morgan Y Evans - Walking Bombs on Wednesday, July 14, 2021 at 6:23 PM (PST)

King Woman
Celestial Blues
Relapse

5/5

Some of the best art comes from outgrowing that which does not serve us, self-empowerment through (not strictly Biblical) transfiguration. Doing the hard work of allowing change. Everyone has light and dark sides and, not always, but in many cases that depends on your vantage point. But sometimes we have to risk it all to grow and thrive.

As far as an example that relates to the new King Woman album, what came to mind first was Margarita (influenced by Faust’s Gretchen) from one of my favorite books. Yes, I mean Bulgakov’s The Master and Margarita (I have a large rib tat of the evil sarcastic drunken Satanic black cat Behemoth pointing his pistol towards my crotch, hahaha). Anyway, not only did this classic book serve as the impetus for “Sympathy For The Devil” but it featured a skewering of false and vain people, an examination of Christ and Judas as almost co-dependant in how they expose one another’s weak spots, a woman escaping an unhealthy situation and demanding art be deified and a sort of culmination of apotheosis via a Walpurgis Night wild ceremony. While King Woman’s new completely cathartic doom and bloom (over strictly gloom) sophomore album draws more from Paradise Lost influences- the classic of literature, not the metal band- there are some similar touchstones here. Albeit with smoky, jazz alluding shadowy atmosphere paired with heavy metal and brilliant vocal layering.

Created in the Image of Suffering was our album of the year when it came out and I kind of think this one is even better already. Damn, yo.

The title track captivates from the start with a plaintively almost hesitant Kristina Esfandiari speaking the album name over sparse and atmospheric, frail notes. It almost sounds like a statement of intent…celestial blues. To feel the vast cosmos in all sadness and beauty, contradiction and pain. All of the band’s music has felt like both a refuge and semi-addictive but also totally overwhelming at times, and things start right off that way this time as well. Something about the initial energy reminded me fleetingly of PJ Harvey’s “Catherine”, maybe the saddest song and my favorite from the Is This Desire? era and the “I damn to Hell every second you breathe” sparse bluesy vibe.

King Woman (and Jack Shirley) have created a masterful event here. Esfandiari channels characters and bares bones over intense and well composed doomgaze. I have been thinking how it feels more streamlined, but not in a watered down sense. It is like the band have managed to not lose their avant-garde edge while really refining and focusing the material more than ever. There is a hypnotic pull and spellbinding tension to doom songs that other less talented bands would plod on worshipping the riff into bong induced monotony until the horse is beaten dead. While that can be cool sometimes, there is also something powerful in respecting then crescendo and emotional peaks that come with pairing such material with pretty much the best vocalist in several genres at the moment (I have been telling people that about Kris for a few years now and stand by it).

“Psychic Wound” is like a tormented lullaby with the most intense screams yet attached to this project and the catchiest melody and riffing as well to date. It is both sensual and also terrifying, like the paint is gonna peel off the walls and gush blood like Evil Dead 2 at any minute (which the video sort of reflects, haha). It has become one of my top three favorite songs from the group (along with “Deny” and “King Of Swords”, if you were wondering). “Morning Star” is completely amazing with the most intimidating and bad ass video of the year paired with chanting at the end that is pure falling from the heavens payoff and will light the fire in any heavy music fan like a ritual torch. Like the new Amenra record De Doorn, you are experiencing total respect and immersion into the artistic process. A little patience will be rewarded aplenty, such as when the six minute plus “Golgotha” showcases this group’s ability to raptly weave dynamics, storytelling and rhythmic shifts into unconventional storytelling that is like a doorway to another land. “Coil” is another standout track, stacatto percussive hits and hyperventilating ushering in a sort of tribal beat and riff that is almost like King Woman channeling Dead Kennedys and anarcho (post) punk. It is big and droning and exciting.

There is really just no one doing it this good right now and KW continue to top themselves. But isn’t that the point of flying closer to the sun, to dare to dream of bigger possibility? This is the kind of shit that people are going to be able to revisit for years and ultimately that will change (and can even save) lives.

ENFORCER announce departure of Tobias Lindqvist

Posted by Morgan Y Evans - Walking Bombs on Wednesday, July 14, 2021 at 1:51 PM (PST)
Sweden’s trad metal standouts ENFORCERhave announced the exit of Tobias Lindqvist. The band had great chemistry and hopefully everything is going to remain cool after this, but I have faith.
Says the band:

We regret to inform you that Tobias Lindqvist has decided to quit the band. We wish him good luck with whatever is next for him in his life.

 

”It has been a great twelve years and now it’s time for me to move on. I just want to take this opportunity to thank the band and the fans for hundreds and hundreds of fantastic shows around the world. It has been a blast! And the best of luck to Enforcer in the future!” -T

 

We, Enforcer, plan to continue according to plans with all recordings and single releases without letting this slow us down. When it comes to future shows, we will see how that will be working out once shows are possible again.
If you haven’t already, fucking crank total brain burner “Kiss Of Death” as loud as you can today!
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On October 22nd internationally, Dying Victims Productions will release a special new EP from HexenbrettIntermezzo dei quattro coltelli nudi, on CD, music cassette, and 12” vinyl formats. And today, Deaf Forever magazine’s website reveals the new track “Die Teuflischen von Acapulco (Satan Sangre).” Hear Hexenbrett‘s “Die Teuflischen von Acapulco (Satan Sangre)” in its entirety exclusively HERE.

It was but May of the cursed year of 2020 when Hexenbrett truly came into their own with their shockingly masterful debut album, Zweite Beschwörung: Ein Kind zu töten, courtesy of Dying Victims. While the enigmatic duo of Josto Feratu and Scarlettina Bolétte had definitely turned heads with Erste Beschwörung EP in 2019, their debut album’s idiosyncratic kaleidoscope of Varathron, Jean Rollin, Danzig, Goblin, and Van Halen emerged as completely unique and unlike little else around.

Predictably unpredictable, Hexenbrett return with a crazed ‘n’ crazy EP that’s the result of canceled concerts and tours: the four-song Intermezzo dei quattro coltelli nudi. As suggested by its titled, the record is no “beschwörung” but, rather, an intermezzo. Because, for the first time in the brief history of Hexenbrett, this EP does not feature performances by Josto Feratu or Scarlettina Bolétte. Instead, the tracks were recorded by what had been the live line-up for 2020, but of course under the watchful eyes and ears of the clandestine couple.

Suitably, Intermezzo dei quattro coltelli nudi strays some from the Hexenbrett sound so far revealed whilst etching the band’s twisted identity even further. With all songs and lyrics written by the duo of Feratu and Bollétte – except for a reverential cover of the early Misfits track “Return of the Fly” – the band’s original material here displays new facets in Hexenbrett’s sound: heavier, weirder, more atmospheric and more aggressive. It’s basically more of everything and the most accurate presentation of The Sound Of the Bloody Iris to date, and bloody fucking good no matter how you cut!

While Hexenbrett’s previous full-length record featured unexplainable additional sounds in the background of the tracks, the material on Intermezzo… had to be re-recorded many times as things got lost continuously. It seems as if Feratu and Bolétte are still haunted from their past… But hark! Intermezzo dei quattro coltelli nudi is no taster/teaser of the second Hexenbrett full-length. Those mysteries are only known to the duo.

In the meantime, hear the brand-new track “Die Teuflischen von Acapulco (Satan Sangre)” exclusively HERE, courtesy of Deaf Forever, Germany’s defenders of the true. Cover and tracklisting are as follows:

Tracklisting for Hexenbrett’s Intermezzo dei quattro coltelli nudi
1. Die Teuflischen Von Acapulco (Satan Sangre) [4:39]
2. Return Of The Fly [Misfits cover] [3:00]
4. Joie De Mort    [3:29]
5. Sadist [5:24]

Welcome, folx and fuckers.

Trying to survive all the hellish Dr. Luke complicit trash (seriously, fuck all the enablers at Prescription Songs and all the waffling, desperate artists who work with them and then play dumb or downplay the harm) playing at my night job by thinking about if the alleged Ed Sheeran death metal album will be called dE(a)d Sheeran. Where my royalties at? Use that shit, Ed.

I have to say that the Taskmaster debate surrounding Black Widow is fucking dumb af. The movie was excellent, one of the better Marvel films for action, tragedy, bonding and humor. The cast dynamics were compelling and well done. Anyone annoyed about the Taskmaster reveal comes off as a sexist clown to me. It made PERFECT sense for this film, Taskmaster now being a horrifying summation of the sexism and control of the terrifying Red Room. And I guess y’all really don’t get this whole multiverse thing? Stop whining. I am sure out there somewhere is your more comics accurate Green Arrow meets Crossbones looking He-Man bodied Tony Masters who has nowhere near as compelling a reason for why he is powered.

The real controversy should be the cognitive dissonance between the themes of protecting innocence and female empowerment of the film and the fact that ScarJo fucking supports Woody unrepentant slimebag Allen. But instead we have fan boys whining that Taskmaster pulled a cool ass Samus Aran reveal.

Let’s go to the metal videotape. This is your very own Warner (Power)Wolf speaking! I know that is too old a reference for some of y’all.

In Flames will no longer appear on the “Metal Tour of the Year,” featuring Megadeth, Lamb Of God, and Trivium. “In light of the ongoing COVID-19 pandemic, we had to make the difficult decision to not join the Metal Tour of The Year,” explained In Flames.

Hatebreed have now been swapped onto the bill to replace In Flames. The current itinerary is listed HERE.

Honestly, with all due respect to In Flames, Hatebreed are going to tear up this tour so fucking hard and it isn’t going to be pretty. This is going to be a killer line-up still and Hatebreed will have a chance to clobber people into putting more respect on Weight Of The False Self‘s underappreciated name. Stoked!

Lamb Of God vocalist Randy Blythe comments: “It’s been far too long since we got together to do our thing— by ‘we’ I mean bands, road crew, bus drivers, truck drivers, local venue staff, vendors, audience, parking lot attendants, the freaking janitors- the whole damn enchilada. ALL OF US. TOGETHER. Everyone has been waiting, but the time has come to put the puzzle back together— I honestly don’t think I’ve ever been more ready to hit the road with lamb of god. See y’all in a few months with Megadeth, Trivium, and now Hatebreed. Over a year with no live music? These shows are gonna be INSANE…”

In other news, Korn have announced that Suicidal Tendencies bass player Ra Diaz will accompany them on their upcoming summer tour, as Korn bassist Fieldy takes time off “to heal.” This is going to be awesome and Ra Diaz is a tremendous talent who ought to own that shit completely. An inspired choice- and from another huge West Coast band. Glad also that Fieldy is focusing on self care. That actually shows strength to acknowledge. Get well soon, holmes.

The group had the following to say: “We appreciate your kind words of support in response to the recent tour update about Fieldy. While our brother takes some time to heal, we wanted to let you know that we are bringing our friend Ra Diaz from Suicidal Tendencies out with us this summer to fill in on Korn bass duties. We’ve all been rehearsing to get ready to bring the heat, and we can’t wait to see you next month.”

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Icelandic Tech Death battalion OPHIDIAN I will be releasing their new album, Desolate, on July 16, making it their debut to Season of Mist! The band is now streaming the offering in its entirety ahead of Friday’s release via Metal Injection as part of their Tech Death Tuesday column! You can hear the record in full at THIS LOCATION.

The band comments on the album: “The culmination of all our hard work and passion is finally here! We are beyond proud to present our lives work, our greatest achievement to date; ‘Desolate.’ We feel like this album truly belongs in the collection of every tech-death enthusiast and shamelessly declare this to be the sickest death metal ever to come out of Iceland.

Pre-orders for ‘Desolate’ are now live HERE

(Reading, Pennsylvania – July 12, 2021) – Progressive death metal band BLACK CROWN INITIATE have just announced the Doom Escape Tour 2021. The band’s U.S. headlining tour, which features support slots from Inferi and Arkaik, starts on September 30th in Reading, PA and wraps on October 17th in Manchester, NH, making stops in massive markets along the way, such as Brooklyn, Nashville, and Atlanta. Tickets are available to purchase now, HERE.

 

“It’s obviously been a long time coming for us all, and we couldn’t be more stoked to play the songs from “Violent Portraits of Doomed Escape” live. To be able to do that with our brothers in Inferi and Arkaik is the icing on the cake. See you all on the Doomed Escape Tour,” states BLACK CROWN INITIATE guitarist Andy Thomas.

 

BLACK CROWN INITIATE will be touring in support of their 2020 release, Violent Portraits of Doomed Escape (Century Media Records), which was recorded at Think Loud Studios by Carson Slovak and Grant McFarland (Rivers Of Nihil, August Burns Red, Lorna Shore). The album is available to purchase and stream, HERE.

 

Having released two critically hailed, fan-worshipped works of progressive death metal, 2014’s Wreckage of Stars and its 2016 follow-up Selves We Cannot Forgive, BLACK CROWN INITIATE have found a new label home with Century Media. Formed in Reading, Pennsylvania in 2012, BLACK CROWN INITIATE have created a stir that’s stretched far beyond the underground with a sound that is at once sweeping, chaotic and epic in scope and ambition. The release of Violent Portraits of Doomed Escape, which was featured on numerous “Best Albums Of 2020” lists,was no exception to the band’s impressive pedigree.

 

BLACK CROWN INITIATE is James Dorton (vocals), Andy Thomas (guitars), Nick Shaw (bass), and Ethan McKenna (guitars).

 

DOOMED ESCAPE TOUR DATES:
w/Inferi and Arkaik
September 30 – Reading, PA – Reverb
October 1 – Pittsburg, PA – Preserving Underground
October 2 – Cleveland, OH – Now That’s Class
October 3 – Indianapolis, IN – Emerson Theater
October 5 – Ft. Wayne, IN – Piere’s (Stan’s Room)
October 6 – Chicago, IL – WC Social Club
October 7 – Kansas City, MO – The Riot Room
October 8 – Dallas, TX – Reno’s
October 9 – Austin, TX – Come and Take It Live
October 10 – Houston, TX – Scout Bar
October 12 – Atlanta, GA – The Masquerade (Purgatory)
October 13 – Nashville, TN – The End
October 14 – Chapel Hill, NC – Local 506
October 15 – Frederick, MD – Café 611
October 16 – Brooklyn, NY – The Kingsland
October 17 – Manchester, NH – Jewel
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Forge Your Future is a fitting name for the pending August EP release one of the most celebrated melodic modern metal bands has on deck. More than most bands in the genre, Spirit Adrift have ensured their longevity by giving every release 100% molten conviction and, to quote old school Classic Loki, “glorious purpose”.

Spirit Adrift guitarist/vocalist Nate Garrett comments, “On March 1, 2020, I relocated to the woods outside of Austin, Texas. Two weeks later, everything was locked down. I turned to the thing that has helped me navigate difficult situations for most of my life: writing music. I wrote and demoed a ton of songs over the course of the pandemic. The songs on this E.P. are the best of the bunch. Marcus, Preston, and I recorded these in March of 2021 at Homewrecker Recording Studio with Ryan Bram at the helm. Zeuss handled mixing and mastering, after lengthy discussions about Martin Birch, Tom Allom, Crowbar, and how important it is to carry forth the essence and spirit of heavy metal. Special thanks to our friend Cody Davis for the brilliant title.” He continues, “These songs, and this band, represent persevering through difficult times, staying true to your innermost self, and celebrating the life-affirming power of metal. We can’t wait to see you all live and in the flesh, in the meantime we hope you enjoy the tunes.”

Forge Your Future will be available August 27th from Century Media on vinyl and digital formats. Pre-orders are available now. Get the Fuego variant, though.

Forge Your Future track listing:

1. Forge Your Future
2. Wake Up
3. Invisible Enemy

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HORISONT release “Sheldon Churchyard” cover

Posted by Morgan Y Evans - Walking Bombs on Friday, July 9, 2021 at 9:36 AM (PST)
Sweden’s HORISONT release a cover track and music video for Larry Jon Wilson’s “Sheldon Churchyard”, which was recorded during the band’s downtime. The song is available on all DSPs and fans can watch the video HERE.

 

“As big fans of country music we wanted to do a couple of songs that people might not expect from us. Still, we wanted them to sound like Horisont. So we set up at Let Them Swing Studio and hit the record button just to see where the songs took us. This is the result. Let Them Swing Studio is a recording studio in the countryside outside of Gothenburg, Sweden, owned and run by Kim and Malin. They rebuilt an old barn on their property and set it up for live recording. With no neighbors in sight, it’s an ideal place to make noise 24-7. A weekend mixed of relaxed creativity and fun,” states HORISONT about the new tracks.

 

Stay tuned for the release of the band’s next cover, which will be out soon. Both songs are not part of HORISONT’s last album Sudden Death, which was released in May 2020, and is available to stream/purchase HERE.
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