Calling all women in metal! Metalocalypstick Festival has opened up submissions for its 2020 edition in the beautiful setting of Lone Butte, BC. The thunderous sounds of the festival will rock the pristine setting once again, with the unique characteristic that each band will have at least one women playing.
The festival will take place on the weekend of June 27-28th, 2020 and along with a myriad of international talent the event will also include life-size metal foosball, a hot sauce challenge, and various other activities that can be enjoyed by attendees.
Last year, bands from Canada, Tasmania, Mexico, Egypt, and the USA graced the stage in a phenomenal display of feminine power at the premiere Canadian festival that puts an emphasis on women. Metalocalypstick is a non-profit organization that is dedicated to giving back to the community and donates 100% of the proceeds to local charities including Girls Rock Camp and the Vancouver Rape Relief and Women’s Shelter. On top of these charities, they also select an independent band to be sponsored and be given opportunities to further their career in music.
Don’t delay! Submission to play this one of a kind festival in beautiful British Columbia close on November 18, 2019.
Featured in publications such as Metal Hammer and Billboard, Metalocalypstick Fest not only celebrates women in metal, but also gives back to the community. Formed in 2016 as a non-profit organization, they are dedicated to raising funds and donating 100% of proceeds to local charities Girls Rock Camp, Vancouver Rape Relief and Women’s Shelter, and Earth Protectors plus they sponsor an independent band picked by Metalocalypstick Fest judges.
The festival was founded by Kaija Kinney of Vancouver’s Anarcheon after researching a lack of female based metal festivals to apply her band to, Kinney took matters into her own and decided to produce the event.
“This festival means the celebration of both sexes coming together and creating something amazing. People like to say women in metal aren’t a big deal anymore and that we are all the same. I feel that is untrue, this is still a male-dominated world and women are still looked at as lesser. I want to showcase all these bad ass ladies and celebrate the differences between men and women rather than pretend we are all equal. Truth is we are different why can’t we celebrate that?” says Kinney.
Welcome to our “Psychedelic Lunch” series where we find out how deep the rabbit hole really goes and explore psychedelic tunes from the 60’s and 70’s. Enjoy the trip!
White Rabbit by Jefferson Airplane
This was written by Jefferson Airplane frontwoman Grace Slick, who based the lyrics on Lewis Carroll’s 1865 children’s book Alice In Wonderland (officially Alice’s Adventures in Wonderland). Like many young musicians in San Francisco, Slick did a lot of drugs, and she saw a surfeit of drug references in Carroll’s book, including the pills, the smoking caterpillar, the mushroom, and lots of other images that are pretty trippy. She noticed that many children’s stories involve a substance of some kind that alters reality, and felt it was time to write a song about it.
Slick got the idea for this song after taking LSD and spending hours listening to the Miles Davis album Sketches Of Spain, especially the opening track, “Concierto de Aranjuez.” The Spanish beat she came up with was also influenced by Ravel’s “Bolero.”
New Album “UNUS” Out October 18, 2019 via Season of Mist
“A Relentless Onslaught US Tour” w/ Belphegor, Suffocation, Abiotic
Canadian blackened death metal horde NECRONOMICON are now premiering their entire new album, “UNUS”, which will be released this Friday, October 18th. “UNUS” can be streamed at THIS LOCATION.
“UNUS” can be pre-ordered in various formats HERE.
NECRONOMICON‘s new album “UNUS” is a searing cacophony of blistering riffs, machine-like drums, and a symphonic ambiance, culminating in a sound that calls to various metal icons such as DIMMU BORGIR, SEPTICFLESH, BEHEMOTH, and DEICIDE. The record combines the furious elements of death metal with the orchestral prowess of black metal, creating the perfect synthesis of both genres. Standout tracks like ‘Paradise Lost’ and ‘Singularis Dominus’ only solidify NECRONOMICON’s ability to continuously produce high-quality metal that’s just as dark and brutal as it is elegant.
In additional news, NECRONOMICON will be hitting the road for “A Relentless Onslaught US Tour”with Belphegor, Suffocation, and Abiotic.The 26 date tour kicks off on October 24th in Sauget, IL and will end on November 23rd in Reading, PA.
A Relentless Onslaught US Tour” w/ Belphegor, Suffocation, Abiotic 10/24 – Sauget, IL – Pops 10/26 – Dallas, TX- Gas Monkey Bar and Grill 10/27 – San Antonio, TX – Paper Tiger 10/29 – Houston, TX – White Oak Music Hall 10/30 – Austin, TX – Come And Take It Live 10/31 – El Paso, TX – Rockhouse Bar & Grill 11/01 – Mesa, AZ – Club Red 11/02 – San Diego, CA – Brick By Brick 11/03 – Los Angeles, CA – 1720 11/05 – Oakland, CA – Oakland Metro 11/07 – Portland, OR – Bossanova Ballroom 11/08 – Seattle, WA – El Corazon 11/09 – Jerome, ID – Diamondz Event Center * 11/10 – Salt Lake City, UT – Soundwell 11/11 – Denver, CO – Oriental Theater 11/12 – Lincoln, NE – The Royal Grove 11/13 – Kansas City, MO – The Riot Room 11/14 – Minneapolis, MN – Cabooze 11/15 – Joliet, IL – The Forge 11/16 – Detroit, MI – Sanctuary 11/17 – Grand Rapids, MI – Elevation 11/19 – Pittsburgh, PA – Crafthouse 11/20 – Richmond, VA – Canal Club 11/21 – Clifton Park, NY – Upstate Concert Hall 11/22 – Patchogue, NY – Stereo Garden 11/23 – Reading, PA – Reverb * No Belphegor
Track Listing: 1. From Ashes Into Flesh (04:23) 2. Infinitum Continuum (05:27) 3. Paradise Lost (04:55) 4. The Price of A Soul (01:56) 5. Singularis Dominus (04:50) 6. The Thousand Masks (03:20) 7. Ascending The Throne of Baator (04:54) 8. Fhtagn (01:59) 9. Cursed MMXIX (04:13) 10. Vox Draconis (04:13) Album Length: 40:10
Recorded at Silver Wings studio, produced by Rob The WitchMixed and mastered at Darth Mader music studio by Logan Mader (Machinehead)Recording line-up: Rob the Witch: Guitar/vocals/bass Divider: drums Special feature: Geirlioz (Dimmu Borgir) on Piano in ”From Ashes Into Flesh”. Artwork: Dragon caduceus design by Nestor Avalos, layout and artwork by Simon BossertFor more info: Season of Mist Facebook Instagram Twitter Youtube
About: Inspired by H.P. Lovecraft’s legendary grimoire, NECRONOMICON formed in 1988 by founding guitarist and singer Rob “The Witch” in the deep, northern part of Canadian province Quebec, Fjord of Saguenay. NECRONOMICON have a well-earned reputation for quality by releasing material only when ready and satisfied with the outcome ever since their demo entitled ‘Morbid Ritual’ (1992) firmly established their name within the underground. ‘The Silver Key”EP (1996) led to mainstream recognition on a national level, but their debut album ‘Pharaoh Of Gods” (1999) and the sophomore ‘The Sacred Medicines’ (2003) did even more to establish the band as a household name in Canada.
‘Return Of The Witch’ (2010) marked the international break-through for NECRONOMICON, and saw them performing at prestigious festivals such as Inferno (Norway), Ragnarok (Germany), and the Barge To Hell metal cruise among others, while sharing stages with acts such as CRADLE OF FILTH, DIMMU BORGIR, BEHEMOTH, and MORBID ANGEL, to name but a few. Their steady advance around the globe grew considerably in impact by their next full-length “Rise Of The Elder Ones” (2013). By the time the band released ‘Advent Of The Human God’ (2016), they were met with international critical acclaim. Now, with ‘Unus’ out October 18, 2019, the band show that they aren’t slowing down and are ready to deliver another vicious strike! Prepare for the darkness to envelop you. In 2019, NECRONOMICON was presented with a certificate of honor for over 30 years of service via H.S. production/Tommy Tremblay, and the people of Saguenay Lac-St-Jean, making them the second band after VOIVOD to ever receive this honor.
“Best moments of BEHEMOTH and symphonic death à la GODFLESH APOCALYPSE while remaining entirely Necronomicon.” – Bravewords
“Advent of the Human God is a truly diverse album, perfectly balancing plenty of atmosphere with their iconic chugging riffs and pummelling blast beats.” – Exclaim!
“Advent of the Human God boasts both a Behemoth-like epic savage grace and Dimmu-esque orchestral pomp. But it also delivers a more primal ferocity and maintains the thematic air that has become Necronomicon’s forte” – Metal Rules
“”Their sound is akin to an Anti-Christ infant spawned from the blasphemous union of Dimmu Borgir and Behemoth.”” – Metal Underground
“The drums crash like Nordic avalanches on tracks like “Alchemy of the Avatar.” With its blazing jugular seeking guitar riffs and crazed piano breaks over top double kick drum insanity, this last song makes for a perfect ending to a blistering listen.” – Beatroute (AB)
“‘Necronomicon opened the show with a thoroughly impressive display of symphonic death metal… The best way to describe them would be a symphonic version of Winds of Creation-era Decapitated, with perhaps some Vital Remains mixed in. Lots of cool grooves and hair spinning moments!’” – Metal Injection (Live Review)
Today the band present a new playthrough video which highlights the phenomenal skills of their drummer Reykr. Watch his dextrous decimation of ‘Whispers Of A Husk‘, a track from their fearsome debut album, Horror Vacui, at the Sathamel YouTube channel. https://www.youtube.com/watch?v=-Lgm6itgRiY
In further news, you will also soon have the chance to see Reykr and the rest of the band in the flesh, as Sathamel return to live action in November with two fantastic shows. First up, on the 9th, the band will be heading to the south coast to join Voices, Aklash, Shadowflag and more for Winter Assault II at the Green Door Store in Brighton. https://www.facebook.com/events/318327992085141/
Meanwhile praise continues to be lavished upon Sathamel’s fearsome full length debut album, Horror Vacui…
“Sathamel’s onrush of darkness and void will leave you completely disoriented from start to finish, proving once and for all there’s nothing better than some first-class Blackened Death Metal hailing from our beloved United Kingdom to feed all of our inner demons and fears.” – THE HEADBANGING MOOSE
” This is an album of complete brutality and is relentless throughout.” – INDEPENDENT MUSIC SHOWCASE
For more information on Sathamel click here Visit Sathamel on Facebook
Beelzebub himself is in this episode exclusively for Vinyl Lair/ Metal Lair, giving guitar lessons. Its innovative and quite entertaining and his incendiary playing skills are off the charts. Its a must see video. Dont forget to like, subscribe and share the Metal Lair YouTube Channel.
Written By Braddon S. Williams aka “The Concert Critic”
On this date in history, 10/12/2019, I saw a trio of bands for the first time at a venue I had never visited before. Jinjer, The Browning, and Sumo Cyco performed at Riverfront Live in Cincinnati, Ohio.
Riverfront Live was pretty impressive, with great sound, lights, and overall visibility. It had a friendly atmosphere and provided a high level of intimacy between bands and patrons.
Sumo Cyco kicked things off with a high energy attack full of movement and punk/metal riffs. Led by the dynamic Skye “Sever” Sweetnam. The Canadian band utilized their limited stage space and set time to the fullest extent, opting to get the crowd participating early. Sweetnam went into the crowd several times and at one point got everyone in the pit area to get down on the floor and wait for her cue as the band vamped away on a mosh inducing riff. When she gave them the sign, the eager fans knew what to do and the singer was suddenly back on stage as the circle pit swirled in front of her.
On a critical level I felt that their guitar player had a tinny tone to his amp, but that may not have been his fault. The opening acts are sometimes prone to not getting the full use of the PA. I also got the impression that their stage moves were a little contrived at times, as if they had practiced hard to look spontaneous. At least they were constantly moving…the effort paid off as their crowd response testified.
Next up were The Browning, from Kansas City, Missouri. I had to do a little research on them to see what musical style they were described as playing. They are listed on Wikipedia as Metalcore, Electronicore, Deathcore, and Crunkcore. That’s a lot of cores, but I must admit I hated their sound within the first 20 seconds they were on stage. The EDM stuff just didn’t seem to fit with the metal stuff, and then there was the super annoying visual aspect of the spinning guitar player. I have to hand it to the guy; he had stellar equilibrium without a doubt. But his playing was monotonous and tedious. If he practiced his instrument as much as he practiced his stage moves, perhaps the band’s music would be more interesting. I found the singer’s constant hype attack pretty pointless, too. The crowd was into it, though, and they had some great pit action going.
I’ve been to enough shows to know that when an audience is in the mood they will mosh to Justin Bieber (just kidding…or am I?) so crowd response is not always synonymous with the quality of the music.
Speaking of quality music, Jinjer saved the night with an electrifying, outstanding display of talent, confidence, and inspired song craft. Jinjer hails from Donetsk, Ukraine, and features a blend of many different styles, making their music both progressive and unpredictable. Front woman Tatiana Shmailyuk possesses a set of seemingly indestructible vocal chords, and uses them to alternately sing beautiful melodies and switch to demonic gutturals in nearly the same breath. Jinjer’s musicians (guitarist, bassist, and drummer) all provide enormous amounts of dexterity on their respective instruments, weaving emotional landscapes that change in subtle and sometimes jarring combinations to suit Tatiana’s flights of vocal fancy.
From the opening blast of Teacher, Teacher to the final chords of Cloud Factory, Jinjer had the place bouncing.
They played a song called On The Top for the first time live and from the sounds of the response, it will become a regular fixture on their play list. Several other songs that really impressed me were Judgement (And Punishment), I Speak Astronomy, Retrospection, and Outlander. Jinjer returned for an encore, playing Pisces and Captain Clock, leaving the stage to a huge and well deserved ovation. Like the time I recently saw Avatar for the first time, I left this show feeling like I had just witnessed a band on the verge of blowing wide open.
Jinjer is poised on the brink of some huge success…mark my words!
Welcome to our “Psychedelic Lunch” series where we find out how deep the rabbit hole really goes and explore psychedelic tunes from the 60’s and 70’s. Enjoy the trip!
Pink Floyd “One Of These Days, ” this was built around a bass riff Roger Waters played through an echo unit. They worked off that for the rest of the song.
At the time, Pink Floyd was intrigued by minimalist composers who were experimenting with electronic patterns. They used a pattern this type of pattern throughout the song.
Dave Gilmour called this “The most collaborative effort of anything we ever did.” In later years, the band didn’t collaborate on songs nearly as much.
The only vocal is the line, “One of these days I’m gonna cut you up into little pieces.” It was spoken by drummer Nick Mason, and was digitally warped to give it an evil sound to it. Nick Mason said he liked how it sounded when it was all finished up.
Pink Floyd performed this on their video and album recorded live at Pompeii. When they started recording this album, they put down 24 pieces of music with no idea how it would develop. The working title was “Nothing, Parts 1-24.”
The spoken threat is reportedly aimed at Sir Jimmy Young, the Radio DJ.
Dave Gilmour in Guitar World February 1993: “‘One of these Days’ evolved from some of my experiments with the Binson [an Italian made delay unit], as did ‘Echoes’ [also from Meddle]. One day, Roger decided to take some of the techniques that I was developing and try them out himself on bass. And he came up with that basic riff that we all worked on and turned into ‘One of These Days.’ For the middle section, another piece of technology came into play: an H&H amp with vibrato. I set the vibrato to more or less the same tempo as the delay. But the delay was in 3/4 increments of the beat and the vibrato went with the beat. I just played the bass through it and made up that little section, which we then stuck on to a bit of tape and edited in. The tape splices were then camouflaged with cymbal crashes.”
Guitar World asked Gilmour about playing bass on “One Of These Days.” Gilmour replied: “The opening section is me and Roger. On ‘One of these Days,’ for some reason, we decided to do a double track of the bass. You can actually hear it if you listen in stereo. The first bass is me. A bar later, Roger joins in on the other side of the stereo picture. We didn’t have a spare set of strings for the spare bass guitar, so the second bass is very dull sounding. [laughs] We sent a roadie out to buy some strings, but he wandered off to see his girlfriend instead.”