Written By Braddon S. Williams aka “The Concert Critic”

On this date in history, 8/11/2019, my girlfriend and I traveled to Ft. Wayne, IN to witness the Twins Of Evil: Hell Never Dies Tour, featuring Rob Zombie and Marilyn Manson (with Palaye Royale in support).

The concert took place at Memorial Coliseum, a cozy little arena with great visibility and sound. Palaye Royale began the proceedings with a high energy set of raw, glam rock with plenty of attitude. Originally from Toronto, Canada, but currently residing in Las Vegas, the Sin City vibe definitely suits this band. I would love to see them in a club setting sometime.

They suffered somewhat from a lack of brightness in their light show, but the music and enthusiasm with which they performed was absolutely top notch.

Palaye Royale were much better than the opening band from last year’s Twins Of Evil tour. Yes, this was my second time seeing the Zombie/Manson combo, and much of both artist’s sets remained the same for both concerts. However, I was front and center last year in Noblesville, and this time our seats were a higher elevation looking nearly directly down on the stage, which gave me a new perspective…quite enjoyable.

Marilyn Manson remains problematic as a live performer. Having seen him in his prime, I am perhaps expecting too much at this stage of his career, but it just seems like his heart isn’t in the live performing as it once was. Manson is erratic, to put it delicately, and kindly. His live vocals are pretty rough, and his energy is sporadic at best. When he went down into the area in front of the stage and interacted with the fans in the front rows, he was electrifying, delivering a 9 minute version of The Beautiful People that was pure Manson at his best.

On the plus side, he now has a fantastic drummer, and several times the thunderous performance from that guy seemed to light up sparks with the goth icon.

I just long for the days when Manson put as much into his live act as he does in his studio efforts, The man is hilarious when he talks to the crowd, too. I really appreciate that he seemingly says whatever floats into his mind at any given moment….definitely not reading off a script!

As long as he keeps putting out great albums, I will keep supporting the live shows, because when he tries, Marilyn Manson is still capable of rock theater on a grand scale. Speaking of grand scale, Rob Zombie is the textbook definition of over the top spectacle. His light show, back screen projections, and sound are consistently cutting edge, and his band is a lethal machine.

One of the highlights for me was John 5’s ripping showcase of his incendiary guitar technique. He blazed away for nearly 5 minutes, covering several styles at dangerous levels of speed, but with a surgical precision.

Piggie D supplied the booming bottom end and contributed key backing vocals, while Ginger Fish supplied the blasting beats that provide that signature Zombie swing.

Zombie himself is perpetual motion, and totally committed to involving his audience in the experience of full immersion into the BIG SHOW. As I mentioned before, there weren’t a lot of changes in either headliners song lists this time around, but Zombie and band did throw in a scalding version of Blitzkrieg Bop by Ramones in the middle of Thunderkiss ’65, and that was a huge highlight for me. Near the end of the show, Manson and Zombie teamed up on The Beatles’ classic, Helter Skelter, completed with images of the infamous Manson Family on the assorted screens. Zombie pointed out that the 50th anniversary of the Tate/LaBianca murders had happened just a couple of days prior to our show…”Better late than never,” he said. Even after seeing this show twice, I am pretty confident I would go back for more next year. That’s how much fun the Twins Of Evil are!

On This Date in History

FOUL BODY AUTOPSY BRING THE ZOMBIE APOCALYPSE TO UPRISING IV

After battling the elements to win over the crowds with a savage set at Bloodstock Open Air last weekend, Tom Reynolds has announced that his Foul Body Autopsy one man death machine will be appearing at the Uprising festival in Leicester on September 14th. After the rain and wind made Bloodstock such a challenging – if still superb – event, this is a chance to see Tom bring The Unquiet Dead EP to life in warmer, drier conditions. Uprising is held over the three days of September 13th – 15th at the Firebug and O2 Academy in Leicester, with Foul Body Autopsy appearing on the second stage at the Academy on Saturday the 14th.

There are already a host of other top bands joining Foul Body Autopsy at Uprising, including headliners Napalm Death, Memoriam and Acid Reign, along with NWOBHM legends Vardis, the magical Alunah and many more. For full details of the line-up head to the Uprising Facebook event page – here

Tickets for Uprising are available NOW from Gigantic

“… a musician hell bent on creating an ever-evolving sound…” 9/10  METAL TEMPLE

“…riffing tornado…” 8/10 – POWERPLAY ROCK AND METAL MAGAZINE

“… will gnaw its way into my top 5 by the end of the year.” 5/5 RICK EAGLESTONE

“… intricately thrashed melodeath…” 4/5 GRIZZLY BUTTS

Don’t miss The Unquiet Dead and don’t miss out on Uprising IV!

For more information on Foul Body Autopsy click here
Visit Foul Body Autopsy on Facebook
Visit Uprising Festival on Facebook

Foul Body Autopsy join the Uprising Festival bill with Napalm Death, Memoriam and Acid Reign!

On September 28th The Colony will release their new album of crushingly heavy, exhiliratingly melodic modern metal – Smoke And Mirrors.

With so many bands constantly clamouring for your attention, with barely time to take a breath between the arrival of each ‘next big thing’, it’s a wonderful feeling to discover a band whose songs seem to be speaking only to you. Since they first began, more than a decade ago, The Colony have been working to make things personal again. Each live show is an experience that involves every member of the audience and each song looks you in the eye and never turns away. The Colony are talking to you and what they have to say has never been more vital, energising and faith affirming than on new album Smoke And Mirrors.
 

Smoke And Mirrors is a tour de force of modern metal that combines exemplary musicianship, outstanding song writing, effervescent, tireless adrenaline and – most importantly – sweat-drenched, bleeding from the heart passion and dedication. When The Colony play you know they mean it; every word, every note. Armed with riffs that can punch through walls, aggression that can incinerate your frustrations and rage, melodies that flow like liquid fire through your veins and solos that spiral into the heavens – this band have everything they need to take on the world. Songs like ‘Here We Stand’, with its glorious, adamantine defiance will not soon be forgotten and when the super-charged ‘Sands Of Time’ brings down the curtain on Smoke And Mirrors you’ll be left breathless but fiercely alive.

When the world shakes and the dam cracks and falls on 28 September, make sure you are ready to ride the waves. Wherever you think your musical boundaries stand, break them and find your way through the smoke, beyond the mirrors, to The Colony. It’s time to roar! .

For more information on The Colony click here
Visit The Colony on Facebook

The Colony release their stunning new album of modern, melodic metal Smoke And Mirrors on September 28th

– NEW OPETH SONG: “SVEKETS PRINS” – Dignity

Swedish masters of progressive metal/rock OPETH have released a new single called “Svekets Prins,” from their heavily awaited album, In Cauda Venenum, that’s out September 27th via Moderbolaget / Nuclear Blast. The new song is found on the Swedish language version of the album. An English version, “Dignity,” will be released next week.

Watch the visualizer for “Svekets Prins” at youtu.be/QcMdA7Xs8jE.

Recorded last year at Stockholm’s Park Studios, In Cauda Venenum will be released in two versions, in both Swedish and English languages.

Pre-order In Cauda Venenum in various formats, here:

store.moderbolagetrecords.com

opeth.com/stores

Listen to the new songs on all DSPs. Pick your version below:

English: http://geni.us/OpethInCaudaVenenumENG

Swedish: http://geni.us/OpethInCaudaVenenumSWE

In Cauda Venenum Tracklising:

1. Livet’s Trädgård / Garden Of Earthly Delights

2. Svekets Prins / Dignity

3. Hjärtat Vet Vad Handen Gör / Heart In Hand

4. De Närmast Sörjande / Next Of Kin

5. Minnets Yta / Lovelorn Crime

6. Charlatan

7. Ingen Sanning Är Allas / Universal Truth

8. Banemannen / The Garroter

9. Kontinuerlig Drift / Continuum

10. Allting Tar Slut / All Things Will Pass

OPETH will perform this weekend at Psycho Las Vegas for their only show in the U.S. in 2019, before continuing their tour in Europe, Japan and Australia. Dates are listed below and tickets are on sale now at http://www.opeth.com/tour-dates

OPETH Tour Dates:

18.08. USA Las Vegas, NV – Psycho Las Vegas

Main support: THE VINTAGE CARAVAN

27.10. UK Norwich – UEA

29.10. UK London – Palladium

31.10. UK Glasgow – SWG3

01.11. IRL Dublin – Olympia Theatre

02.11. UK Leeds – Damnation Festival

03.11. UK Bristol – O2 Academy

05.11. NL Utrecht – TivoliVredenburg

06.11. BE Brussels – Ancienne Belgique

08.11. DE Munich – Backstage (Werk)

09.11. IT Milan – Alcatraz

10.11. CH Zurich – Volkshaus

11.11. FR Paris – L‘Olympia

13.11. DE Cologne – E-Werk

14.11. DE Wiesbaden – Schlachthof

15.11. DE Nuremberg – Meistersingerhalle

16.11. DE Berlin – Huxleys Neue Welt

17.11. DK Copenhagen – Det Kgl. Teater *SOLD OUT*

05.12 JP Osaka, Club Quattro

06.12 JP Tokyo, Zepp Tokyo

10.12. AUS Adelaide – Thebarton Theatre

11.12. AUS Perth – Astor Theatre

13.12. AUS Melbourne – Palais Theatre

14.12. AUS Sydney – State Theatre

15.12. AUS Brisbane – The Tivoli

Opeth Release New Song “SVEKETS PRINS” in Both English & Swedish

Los Angeles, CA (August 2, 2019)—Craft Recordings is proud to announce the release of Joan Baez’s Live at Woodstock, available today (8/2) on all digital and streaming platforms. For the very first time, fans can hear the influential folk singer’s entire set, as it was performed at the historic festival 50 years ago. Live at Woodstock features nearly an hour of music and interstitial stories, including “Sweet Sir Galahad,” “I Shall Be Released, and a stunning a cappella rendition of “Swing Low Sweet Chariot.
It was almost 1:00 a.m. when Joan Baez walked on stage to close out the rainy first night of Woodstock. With her acoustic guitar in hand, the visibly pregnant singer-songwriter kicked off her set with a joyful rendition of the beautifully simple Edwin Hawkins gospel tune, “Oh Happy Day. As she segued into Tom Paxton’s “The Last Thing on My Mind,” Baez wished the audience a tongue-in-cheek “good morning.” 
The weeks leading up to the three-day festival had been tumultuous for Baez. Just one month before, the singer’s then-husband, David Harris, had been arrested for draft resistance. The anti-war activist and founder of The Resistance—an organization that encouraged young men to return their draft cards in protest of Vietnam—had just begun serving a 15-month sentence in prison. He was, understandably, on his wife’s mind, and was a prevailing theme throughout the show. A few songs into her set, Baez spoke to the audience about Harris, assuring them that “He’s fine, and we’re fine too.” As a tribute to her husband, Baezperformed “Joe Hill, a 1936 folk song about the trade union activist. 
Joan was joined by two members of Harris Resistance movement, Jeffrey Shurtleff and Richard Festinger who, along with Baez, called themselves the Struggle Mountain Resistance Band (named after the California-based draft-resistance commune in which Harris and Baez lived). Their songs together included a rousing rendition of The Byrds “Drug Store Truck Drivin’ Man” and Willie Nelson’s “One Day at a Time.
Baez closes out her set by asking the audience to join her in singing “We Shall Overcome, dedicated to Harris. As a special bonus, the last track on the album replays the evening’s final announcements from the master of ceremonies, Chip Monck, which will make listeners feel like they are right there on that muddy farm in Bethel, NY. In her 1987 memoir, And a Voice to Sing With, Baez called Woodstock “Three extraordinary days of rain and music,” adding that, “I just stood up there in front of the residents of the golden city who were sleeping in the mud and each other’s arms, and I gave them what I could at the time. And they accepted my songs. It was a humbling moment, in spite of everything. I’d never sung to a city before.”
Singer, songwriter and activist Joan Baez is one of the most significant figures in modern music, with a career that has spanned over six decades. Though often identified most closely with the folk movement of the sixties, her influence has extended far beyond that. A master interpreter of songs, Baez received critical and commercial success early on, recording an eclectic mix of traditional ballads, gospel and folk music. She focused awareness on songwriters ranging from Woody Guthrie to Bob Dylan, Phil Ochs, Richard Fariña, Leonard Cohen, and Tim Hardin, among others. With the passage of time, the list of songwriters whose work she recorded or performed grew to encompass Jackson Browne, Janis Ian, John Prine, Stevie Wonder, Steve Earle, Tom Waits, and many others, including songs written by Joan herself. 
Many traditional songs that Joan introduced on her earliest LPs found their way into the rock vernacular: “House Of the Rising Sun” (the Animals), “John Riley” (the Byrds), “Babe, I’m Gonna Leave You” (Led Zeppelin), “Jackaroe” (Grateful Dead), and “Long Black Veil” (the Band), to name a few. A multitude of British acts who trace their origins to Fairport Convention, Pentangle, and Steeleye Span were inspired by Joan’s versions of “Geordie,” “House Carpenter,” and “Matty Groves.” 
Baez’s career has never slowed down. The GRAMMY Lifetime Achievement Award Recipient and Rock and Roll Hall of Fame inductee has released over 30 studio and live albums to-date, and still actively tours. Her GRAMMY®-nominated album, Whistle Down the Wind, debuted last year at #18 on Billboard’s Top Current Albums chart and #4 on the Americana/Folk Albums chart—Baez’s strongest chart position since 1975’s Diamonds & RustBaez is currently in Europe for the final run of her extensive “Fare Thee Well Tour. Visit JoanBaez.com for more information. 
Track Listing:
1.    Oh Happy Day
2.    The Last Thing On My Mind
3.    I Shall Be Released
4.    He’s Fine, And We’re Fine, Too
5.    Joe Hill
6.    We Three Together Constitute The Struggle Mountain Resistance Band
7.    Sweet Sir Galahad
8.    Hickory Wind
9.    Drug Store Truck Drivin’ Band
10. One Day At A Time
11. Take Me Back To The Sweet Sunny South
12. Warm And Tender Love
13. Swing Low, Sweet Chariot
14. I Think It’s Amazing The You People Are Still Awake
15. We Shall Overcome

Craft Recordings releases Joan Baez ‘Live At Woodstock’

Misophonia, the disorder sometimes known as ‘sound rage’, produces a flood of negative thoughts and emotions, sometimes even extreme, violent reactions in sufferers when they are exposed to certain sounds. In our modern world silence is so, so hard to come by; the stream of vacuous nonsense, poisonous greed, rank stupidity and brain-eating shit seemingly inescapable. We can give in to the worthless white noise and lose ourselves, or fight it and risk our sanity. Or block it out with the raging sound of uncompromising grindcore!

Misophonic is the debut EP from Sicilian grinders Grevia, and it combines the wild, uncontrollable fury of grind with the devastating power of death metal. The six tracks are driven forward by the relentless drumming of special guest Davide Billia (Beheaded, Antropofagus, Hour Of Penance etc) and armed to the teeth with a staggering array of rapid fire riffs. Solos scream overhead and throat-shredding vocals tear at the songs’ foundations, all combining into one bloody roar of defiance in the face of the endless babble of society, the insidious whispers and mindless laughter. Mixed and mastered by Marco Mastrobuono (Fleshgod Apocalypse, Hour Of Penance etc) for maximum impact and housed in the distinctive artwork of Roberto Toderico(Sodom, Pestilence, Sinister etc) Misophonic has all the weaponry it needs to blow your world apart.
 
With humanity descending ever deeper into blindness and madness only the foolish and the already dead go about unarmed. Grevia’s Misophonic is the firepower you need to keep the world at bay. When Lethal Scissor pull the pin on this grenade September 12th, open wide and feed on the power; reawaken your brain and blast away the soporific bullshit of control!

For more information on Grevia click here
Visit Grevia on Facebook
Visit Lethal Scissor here

Spine shattering grindcore from Sicily! GREVIA release Misophonic through Lethal Scissor Records on September 12th.