ALTER BRIDGE and SLASH FEATURING MYLES KENNEDY AND THE CONSPIRATORS vocalist Myles Kennedy will embark on a “socially distanced” solo tour in June.
Confirmed dates are as follows:
June 23 – Kansas City, MO @ Uptown Theater June 24 – Lincoln, NE @ Bourbon Theater June 26 – Hoffman Estates, IL @ Now Arena (with HALESTORM) June 27 – Oshkosh, WI @ Ford Festival Park (with HALESTORM)
Kennedy‘s sophomore solo album, “The Ides Of March”, will be released on May 14 via Napalm Records.
During his time at home due to all touring being canceled, Myles created the framework for the song ideas that would make up “The Ides Of March”. He then called up his cohorts from his “Year Of The Tiger” debut — Uddin and Tournier — and the three musicians drove to Florida to record the album with longtime producer Michael “Elvis” Baskette.
From the slide guitar riffs of “Get Along” to the pensive blues style of closer “Worried Mind”, it is clear that Myles has crafted a formidable follow up to his debut solo album. While “Year Of The Tiger” was more of an acoustic exploration through Myles‘s mind, “The Ides Of March” finds him strapping on his electric guitar and pushing himself as a guitarist/songwriter. Tracks like “A Thousand Words”, “Wake Me When It’s Over” and “Moonshot” showcase the diverse musical arrangements that have garnered Myles fans globally across all of his projects. The epic “The Ides Of March” clocks in at over seven minutes, and Myles, Tim and Zia showcase their musical chops on the track.
In November, Myles told Kylie Olsson about how “The Ides Of March” compares to “Year Of The Tiger”: “It dawned on me last night as I was listening [to the new album], I was, like, ‘You basically made a rock record.’ [Laughs] I don’t know if I went into it with that intention initially. And I feel like it definitely is still a continuation of the overall style that was established for the solo project on ‘Year Of The Tiger’. There’s a fair amount of acoustic instrumentation; there’s a lot of lap steel [guitar]. I love the lap steel; I just love the way you can make it weep — it’s got a very vocal quality. But then I realized there’s just a lot of guitar and a lot more solos — you know, guitar geek stuff that I enjoy.”
A month earlier, Kennedy told Terrie Carr of the Morristown, New Jersey radio station 105.5 WDHA that it was a joy to reconnect with Uddin, Tournier and Baskette for the making of the new LP.
“Oh, yeah, it was great,” he said. “It was great, because we actually drove [to the studio in Florida]. So Zia, my drummer, who, we’ve played together for the last 30 years, off and on, since we were in high school. He’s, in my opinion, one of the greatest rock and roll drummers alive; he’s so good, it’s mind-boggling. So we started driving. We left Spokane, with the gear in tow. And then we met Tim about halfway. I think we met somewhere in Tennessee, maybe. Then we after driving to Orlando, we all quarantined. Zia did his drums and then he went home, and then Tim finished up. He hung around for a little while. And then I was there for, I think, seven weeks with Elvis.”
He continued: “It’s a fun environment. We all love each other dearly. I’m serious when I say this: we’re a bunch of middle-aged children. I mean, it’s as if we’ve taken a time machine and we’re in the seventh grade. And the humor is ridiculously silly. I don’t even know how to articulate how ridiculous it gets when you put all of us in a studio together. [Laughs]”
Myles‘s tour in support of “Year Of The Tiger” featured music from the album as well as selections from Myles‘s work with ALTER BRIDGE, THE MAYFIELD FOUR and SLASH FEATURING MYLES KENNEDY AND THE CONSPIRATORS.
Founded in 1988 by Trent Reznor in Cleveland, Ohio, Nine Inch Nails (NIN) is commonly referred to as an industrial rock act though NIN defies genre convention, drawing musical inspiration from hardcore industrial bands like Skinny Puppy and Throbbing Gristle, while incorporating solo piano ballads, synthpop variations and even elements of drum & bass into their sound. Trent Reznor is the only official member of the project although backing musicians are employed for live performances.
As a studio engineer and fresh out of the bands The Innocent and Exotic Birds, Reznor started his own project borrowing John Malm Jr. from Exotic Birds as his informal manager. At the time, Reznor worked as a janitor and assistant for Right Track Studios. There he recorded his first demos. Unable to find like-minded individuals that suited his artistic needs, Reznor played all the instruments himself except for the drums and went on to support Skinny Puppy at several concerts.
Reznor’s aspirations for NIN included a 12-inch single on a small European label, but he signed with TVT records and recorded nine tracks in November 1988. These tracks were later included in NIN’s first full length album release in 1989. There was much speculation about the project’s name, perhaps alluding to the nine-inch nails used for the crucifixion of Jesus or, it was speculated, meant to allude to Freddy Kreuger’s nails from the horror franchise Nightmare on Elm Street. Reznor himself disputed any literal meaning claiming he chose the title because it abbreviated well and made a good logo.
In 1989, Reznor collaborated with Adrian Sherwood and Mark “Flood” Ellis on the production of the album Pretty Hate Machine, including the now classic NIN singles “Head Like A Hole” and “Down In It.” This album was one of the first independently released albums to ever achieve platinum status. The original music video for “Down In It” sparked controversy when the helium weather balloon used to film the last scene, where Reznor lies seemingly dead and covered in corn starch while other band members walk off screen in weird costumes, escaped its mooring and ended up in a farmer’s field. The farmer took the camera to the FBI suspecting marijuana surveillance footage. The FBI thought the footage was related to gang violence or possibly even a snuff film.
In 1990, NIN hit the road for The Pretty Hate Machine Tour Series, opening for Peter Murphy and The Jesus and Mary Chain. This tour developed into a world tour that continued through the Lollapolooza tour in 1991. Reznor’s onstage antics became increasingly aggressive resulting in smashed equipment and ecstatic fans.
After disillusion with the TVT record label and trying to record music under various pseudonyms to get around the label’s insistence that NIN assume a more synthpop sound for their follow-up album, Reznor and Mark Ellis started recording in secret. TVT eventually traded NIN over to Interscope, which encouraged Reznor to make the music he wanted to and also helped him set-up his own label, Nothing. In 1992, Reznor released Broken, Nothing’s first album, an EP featuring six songs and two bonus tracks. Heavier and harder than the band’s previous album, two of the tracks off Broken, “Wish” and “Happiness in Slavery” won NIN two Grammy awards for Best Metal Performance, the first two of twelve subsequent Grammy nominations.
Having moved into an LA residence famous for being the site of the Tate Murders (perpetrated by cult leader, Charles Manson) controversy continued to dog Reznor when the music video for “Happiness in Slavery” was universally banned. The footage featured Bob Flanagan naked on a machine which pleasured, tortured and eventually killed him. Continuing along these graphic lines, Reznor’s videos for “Pinion” and “Help Me I’m In Hell” featured a toilet flushing into the mouth of a person in bondage and a young man kidnapped, tortured and killed respectively. Although these videos were never officially released, they were circulated amongst covert tape trading groups at the time.
Living and recording at his LA home dubbed Le Pig, Reznor chose to record rather than tour and began work on The Downward Spiral released in 1994. Influenced by Bowie and Pink Floyd, The Downward Spiralfeatures a range of moods as the music seems to follow the psychological development of a central character. The most successful NIN’s album to date, the album’s success was anchored by the singles “Closer,” “Hurt” (nominated for a Grammy and later covered by Johnny Cash), “March of the Pigs” and “Piggy.” The video for “Closer” directed by Mark Romanek received heavy rotation on MTV2 after extensive editing, the original considered too graphic once again for most watchers. The video is an industrial take on the lab of a 19th century mad scientist complete with animal cruelty, religious symbols including a monkey suffering crucifixion, graphic sexual images and a variety of S&M/bondage paraphernalia. Reznor himself dons an S&M mask while swinging in shackles, which only added to the controversial content.
Reznor embarked on the Self Destruct Tour, culminating in a mud-drenched Woodstock ’94 performance. The Downward Spiral album and tour garnered NIN both critical acclaim and a horde of new fans, catapulting the relatively unknown industrial act onto the mainstream charts with significant, but censored, radio play. After the tour, Reznor took a break from NIN, working on several soundtrack projects. Reznor produced the soundtrack for Natural Born Killers directed by Oliver Stone, developed the music and sound effects for the first person shooter video game Quake and produced the soundtrack for David Lynch’s Lost Highway. The soundtrack for Lost Highway spawned the single release of “The Perfect Drug.” The video, again directed by Romanek, features a father mourning his dead son in a Gothic mansion while losing himself to absinthe addiction, perhaps prophetic of Reznor’s later battles with alcoholism and drug addiction.
In 2005, NIN released their long overdue fourth full-length album, With Teeth, written in the shadow of Reznor’s battle with alcoholism and substance abuse. Singles include “The Hand That Feeds” and “Every Day is Exactly The Same” but the album was generally slammed by critics as being unoriginal and lacking in signature Reznor creativity.
NIN followed up the mediocre success of With Teethwith their 2007 offering, Year Zero, a concept album critical of the US government’s approach to politics. The album’s story is set in 2022, in an America ravaged by terrorism now operating under a Christian theocracy while distributing a drug designed to make the masses apathetic. Rebel movements from 2022 travel back in time to warn 2007 Americans of the coming apocalypse. This album met with critical acclaim but failed to perform in the charts. Although Reznor planned to create a movie adaptation of the album, that idea has since been superseded by HBO and BBC interest in developing a miniseries for TV.
In 2008, Reznor released two albums – Ghosts I-IVand The Slip – under creative commons license, making them available for free download on NIN’s official website. The albums were surprisingly popular, receiving over 5 million downloads. Since 2009, Reznor has officially put NIN on indefinite hiatus while working on side projects including How to Destroy Angels with his wife Mariqueen Maandig, and Atticus Ross. Reznor and Ross worked together on the soundtrack for the film The Social Network, winning a Golden Globe and Academy Award for Best Original Score 2010. Reznor and Ross again collaborated on the score for the 2011 film The Girl with the Dragon Tattoo.
Trent Reznor appeared fleetingly in the 1987 Michael J. Fox movie Light Of Day, where he’s part of a Synth-Pop band who aren’t much good.
Trent Reznor married Mariqueen Maandig in October 2009. They have two sons, Lazarus Echo (born October 10, 2010) and Balthazar, (born December 31, 2011). Reznor settled on his boys’ names ahead of their births, but admitted to Scotland’s The Daily Record that he would have had a battle on his hands with his in-laws if he’d had a daughter. “With those names, the boys are going to have to learn how to fight,” he laughed. “The in-laws are fine with it. The children were going to be stuck with those names regardless. But if there was a female, we were going to have a punch-up for sure.”
In 2009, before privacy was a major concern to most users, Trent Reznor released a Nine Inch Nails iPhone app with an innovative feature: Nearby, which let fans find other fans using the app in their area. The app didn’t work very well and never caught on.
Stabbing Westward frontman Christopher Hall credits Nine Inch Nails for getting his band and other industrial acts signed to major labels. “They had amazing songs that were super edgy to be on the radio and made everyone feel edgy and dirty,” “When that happened, every record label in America – and this is what they always do, they’re reactive as opposed to being proactive – they looked around and said, ‘Where can we get one of them?'”
Filter frontman Richard Patrick was a touring guitarist for Nine Inch Nails from 1989-1993. His only recorded contribution is a guitar drone that can be heard at the end of “Sanctified.”
Speaking on the podcast Stop! Drop & Talk, Patrick cited comments from Trent Reznor as the motivating factor for him quitting Nine Inch Nails.
“The final straw was Trent goes, ‘Hey, listen, Rich, I know you need some extra cash. Listen. Down at the end of Cielo Drive, there’s a little pizzeria, and they need drivers. So maybe you can go make some extra cash over there,'” Patrick explained. “And I’m, like, ‘Wow!'”
At that point Patrick had already written Filter’s’s debut single “Hey Man Nice Shot” and had interest from several labels.
Nine Inch Nails entered the Rock and Roll Hall of Fame in 2020. At the ceremony (virtual, due to coronavirus), the Rock Hall made it clear that Reznor was the group, but inducted six other members as well:
Trent Reznor, Atticus Ross and Jon Batiste won the Oscar for best score for the jazz-infused Pixar feature Soul, which featured the contrast of New York’s jazz scene with original compositions by Batiste, and the ethereal Great Before, scored by Reznor and Ross.
Chris Vrenna Danny Lohner Robin Finck Atticus Ross Alessandro Cortini Ilan Rubin
Ross, Cortini, and Rubin didn’t make any contributions to NIN in the ’90s.
LEACH D.O.D Brutal Records April 2021We are happy to welcome a new artist to the Brutal Records Roster LEACH has signed a deal with the label for worldwide release the single D.O.D release April 16th, and a full album “Lovely Light of Life” May 21th, 2021
LEACH will released a brand new song and music video featuring Strid. The Soilwork / The Night Flight Orchestra mainman lent his unmistakable voice to the band’s new song, “D.O.D”, available April 16th via Brutal Records on all streaming platforms, and D.O.D Official Music Video Feat. Bjorn Speed Strid, Premiere April 21 Worldwide
The Nordic country boasts a thriving extreme music Swedish metal onto the world with the “thrash n’ roll” band LEACH with catchy riffs as well as the pounding drums and wailing solo.
LEACH has established a style and a sound that makes them stand out from the crowd with their own blend of thrash, hardcore, metal, punk and even a bit of traditional rock and roll, the sound is visceral and pumped full of energy just waiting to take out a wall close to you!
LEACH Lovely Light of Life Brutal Records 21 May 2021We are happy to welcome a new artist to the Brutal Records Roster LEACH has signed a deal with the label for worldwide release the title album “Lovely Light of Life” May 21th, 2021
The Nordic country boasts a thriving extreme music Swedish metal onto the world with the “thrash n’ roll” band LEACH with catchy riffs as well as the pounding drums and wailing solo.
LEACH has established a style and a sound that makes them stand out from the crowd with their own blend of thrash, hardcore, metal, punk and even a bit of traditional rock and roll, the sound is visceral and pumped full of energy just waiting to take out a wall close to you!
If it’s burly, melodic, and fits together perfectly, it’s probably from Sweden. LEACH certainly are, and their warts-and-all style of thrash-n’-roll is just begging for a throwdown.
“Lovely light of Life” is their third major rodeo, and straight out the gate, a mission statement of thrash, hardcore and rock’n’roll. “Carry the stigma” knows how to get the pit started, and it’s pedal to the metal until the last track. “Sweet Blasphemy” thunders through its chugging grooves relentlessly, while “Trench Walk” is an anthemic riff-out carved from the foundation of rock itself.
To top it off, the production is the right level of crisp and rough-n’-ready – a tip to the skills of Christian Silver at Studiomega (Arch Enemy, Kreator, Soilwork, Dragonforce).
When coming from such a rich scene as Sweden (Borås), a band cannot help but take some influence from their forefathers – in this case, the insistent energy of a Raised Fist, the rock n’ roll parts of a latter-day Entombed, and the infectious melodies of The Haunted. But it’s not all Svenska – the US gets a look in, with Hatebreed’s snarling bravado, and the thrash-fest of Exodus and Nuclear Assault.All of these influences have been distilled into a potent concoction that is instantly recognizable and wholly theirs.
LEACH are a band built for the stage – that much is clear. And with live experiences that stretches through Europe and as far as Dubai – their frantic energy has been proven. But there’s more than enough replay value in “Lovely light of Life” if a bedroom mosh is in order. Invite some friends, throw the windows up, and let the music fly.
Reality Grey has been making their rounds through the Italian metal scene since 2004, spending many years touring Europe and playing alongside bands such as Deicide and Municipal Waste along with three well-received full-lengths under their belts. This coming May 7th, they will be adding a new album “Beneath This Crown” to their legacy.
Until they can hit the stage again, Reality Grey hopes that “Beneath This Crown” will tide over fans with its aggressive, melodic vocals and razor-sharp guitar solos. According to them, the creative process for this release has been very meticulous and nothing has been left to chance. On this offering, the music has affected the lyrics; there is a lot of anger and a bit of sadness.
Over these last few months, in lead up to the album’s release, they have unveiled a few singles; one of those is the very melodic and complex“Multidimensional Hollow”, which features fast guitar solos and an epic finale.
Today, the band has teamed up with GearGods to showcase the shred on “Multidimensional Hollow” with a new guitar playthrough by Anto Addabbo, which can be viewed HERE.
Guitarist Anto Addabbo describes his thoughts on the track:
“When I wrote this song I was listening to a lot of sci-fi soundtracks from movies and I think it influenced how the track came together at the end, it has different feels throughout its length. Lyrically the song is about the struggle to succeed in life. Things don’t always go like you hope they will and not everyone knows how to cope with failure.”
Born in 1979, Anto Addabbo is a guitar player, songwriter, arranger, producer, and performer led into the music scene by pure passion and commitment.
Known as a vanguard of the Italian metal scene for his passionate and technical guitar technique, blending his love for the aggression of metal with the melodic phrasing of rock/fusion, Anto Addabbo is the founder of modern metal powerhouse Reality Grey, being now an endorsed artist for popular brands like Jackson Guitars, EMG Pickups, and MooerAudio.
From their debut in 2006, Reality Grey has enjoyed success as a ‘Modern Extreme Metal’ band, an assessment they both appreciate and challenge as they quest to define and pioneer their own signature sound in the metal scene.
Release after release, Reality Grey has proven to be a tight five-piece able to break the melodic death metal dogmas, producing a challenging and inviting hybrid of modern metal in its pure form: melody, brutal and complex.
Reality Grey is supported by the Programmazione Puglia Sounds Record – 2020/2021 and REGIONE PUGLIA FSC 2014/2020 – Patto per la Puglia Investiamo nel vostro futuro.
About: Hailing from South Italy, Reality Grey stands tall in the Italian metal scene. Formed in 2004, Reality Grey began their quest to redefine melodic death metal. As a tight-knit 5 piece band, Reality Grey incorporates a modern hybrid of extreme music: melody, brutality; blending complex, yet catchy songwriting. Fearsome death growls & clean vocals give way to razor-sharp guitar riffs and fusion-oriented solos, Reality Grey set out to create something all their own.
With the release of the debut full-length album “Darkest Days Are Yet To Come” in 2006, in the heat of the melodic death metal revolution, Reality Grey managed to secure their first record deal with Razar Ice Records USA. Songs like “Reality Grey” and “Never again” racked up hundreds of thousands plays on the old MySpace allowing the band to tour, gaining popularity well beyond the Italian borders. Following up with EP “Day Zero”, Reality Grey began to push their own boundaries. Ferocious, yet melodic, with a no-holds-barred songwriting attitude. Songs like “Day Zero” and “Slavery” emerged the band’s experimental side, synths, melancholic pianos, and acoustic guitars; perfectly fused with intoxicating sonic aggression.
After years of non-stop touring alongside bands like Deicide, Unearth, Municipal Waste, Sadist, Malevolent Creation, and more, the critically acclaimed “Define Redemption” is released by Bakerteam/Scarlet Records; sending the band on their first headline tour in Japan. Reality Grey, now having been featured on worldwide publications Metal Injection, Metal Hammer UK, Metal Temple, and Metal.de, released 2018’s “The Void”. Reviewed as “a complete and total aural devastation…” that “will blow your speaker out” by Metal Injection.
Reality Grey has completed work on their upcoming full-length due out May 7th 2021 (Blood Blast Distribution powered by Nuclear Blast). Looking ahead with tours and festival appearances on their sights, Reality Grey will continue to push ambitiously, earning their place among the pantheon of heavy music.
Now, having inked a worldwide deal with Extreme Management Group (EMG), the band says “We’re thrilled to announce that we have started working with Extreme Management Group! Definitely the right place for us. Big news is coming very soon. Stay tuned!” EMG said, “We are excited to be working with Reality Grey. They have some really fantastic music. We expect big things to come from this partnership.”.
“Melodic, aggressive and catchy, this track adds (Multidimensional Hollow) well placed synths and ambiance to an already well rounded sound, making it complex without being overcomplicated. The new album shows a marked evolution in the band’s sound, something that will intrigue current fans and entice new ones.” – Metal Injection
“Beneath this Crown, a creative step forward in their combination of NWOAHM from the early aughts, At the Gates-inspired metalcore and Scandinavian-flavoured melodic death metal.” – Decibel Magazine
“Reality Grey give off a viciousness and expertise hard to find in other bands. The instrumental expertise of each component is absolute, slighting touching tech-death side of acts like The Faceless but remaining ‘catchy’ in their complexity” – Metal Hammer
“It’s complete and total aural devastation with some seriously chunky moments, so it lives right up to what you’d expect a song called “The Void” to do.” – Metal Injection
“Reality Grey will serve the world of metal excellently both as an all round, no nonsense, metal act and as a brigde band for younger fans of heavy music” – Metalunderground.at
Canada’s WarCall will be dropping two EPs in 2021, their first, “Dead End Pt. 1” will be released on Friday, April 23rd and before it’s officially out, the band has teamed up with Decibel for its full stream premiere HERE.
Melodic and energetic, this four-track EP has a little something for everyone, with influences ranging from old school thrash and death to classic metal and more.
The creation of this EP was unusual for the band, the music was written collaboratively, but the drummer came up with most of the lyrics. He writes about struggle; “Dead End Pt. 1 and 2″ are not concept releases; they are a collection of 9 tales of struggle and how we can overcome them.
Recorded and mixed in a post-apocalyptic setting, the band has let the events of 2020 influence the process and the mood of both EPs, while still aiming for a timeless production that will age well. WarCall has decided to release the first EP, and the other half will be released later this year. They share their thoughts on the recordings:
“We are really proud to release the first EP. It is our best production yet. In terms of songwriting, musicianship, and recording, it represents a step forward in the evolution of the band. Back to being a 4 piece, we focused on writing and arranging songs that emphasize the possibilities they bring.”
The title and artwork represent the doom and gloom of life in the year 2020 and how the human race reacts in the face of death and uncertainty. With the impossibility to meet to even take a band picture, WarCall presents themselves as fictional post-apocalyptic warriors, a subtle comment and nod to the current events that marked the year 2020.
With the modern and crisp production, listeners will be able to enjoy the music of the band as a whole, while being able to focus on each musician’s performance. Whether it is the natural and powerful drums, tight bass, precisely recorded guitars, or the over-the-top vocal performance, each of WarCall’s musicians shine throughout the two EPs to let the music be the main focus.
Fast and dramatic, WarCall is recommended for fans of Dissection, Iron Maiden, and Slayer.
Track Listing: 1. Reckless (4:19) 2. Death Wish (8:00) 3. 800x (3:42) 4. The Chase (4:41) EP Length: 20:44
EP and Live Band Line Up: Gord – Bass and Vocals Phil – Drums Mat – Guitars JC – Guitars
For more info: Facebook.com/warcallband Instagram.com/warcallband EPK About: War has always been an intrinsic part of humanity. Whether it is huge wars involving entire countries or the small wars we all fight every day to survive, it is fair to say that war has defined humanity.
One of the definite treatises on war is Sun Tzu’s ‘The Art of War’; a book still in print to this very day. On the use of music in war, Sun Tzu writes: “Gongs and drums, banners and flags, are means whereby the ears and eyes of the host may be focussed on one particular point.”
Now, we have WarCall, who not only use drums, but also bass, guitars, and vocals to achieve the same end with their growing army of fans.
Inspired by Iron Maiden, Metallica, Motorhead, Dissection, and Slayer, guitarist Mathieu Simard describes WarCall’s music as “fast, aggressive, melodic, dramatic!”.
Now, with four well-received albums under their bullet-belt (Invaders (2017), III (2015), Blood, Guts, and Dirt (2013), Demonarchy (2008)), this power-quartet will unleash two new EPs in 2021, “Dead End Pt. 1” on April 23rd with “Dead End Pt. 2 expected to follow in the Fall via their own label Plan B Music.
As a whole, the two EPs are a collection of 9 songs, 9 stories about struggles during 2020 (“Dead End Pt. 1” being 4 tracks). The EPs were recorded and mixed in a post-apocalyptic setting. As with every album, “Dead End Pt. 1” and “Dead End Pt. 2” are technically more advanced in terms of songwriting and production. Of course, Warcall has evolved as musicians from each album, but they believe that their total is greater than the sum of its parts, so they play what feels right for the metal.
The band comments:
“We have let the events of 2020 influence the process and the mood of the two EPs, while still aiming for a timeless production that will age well in time. The title and artwork represent the doom and gloom of life in the year 2020 and how the human race reacts in the face of death and uncertainty. With the impossibility to meet to even take a band picture, WarCall presents themselves as fictional post-apocalyptic warriors, a subtle comment and nod to the current events that marked the year 2020.”
Live, post covid times, WarCall will truly give it their all with total authenticity. What you hear on their recordings is what you hear on stage. Energetic, powerful, focused, and proficient performances ready to encourage the circle pit.
WarCall has toured Europe (FR, DE, BE, CZE, SP) three times along with multiple tours across Eastern Canada. They have also been opening support for such bands as Destruction, Anvil, Paul Di’Anno, Kalmah, Catamenia, Impaled Nazarene, Arkona, Norther, Anonymus, Slaves on Dope, Martyr, Reanimator, Wolven Ancestry.
WarCall’s new EP “Dead End Pt. 1” is due out April 23rd, 2021 via Plan B Music.
“Big things are happening for Montreal’s WarCall…Motor-Maiden-‘tallica brand of street wise thrash…” – Decibel Mag
“The creativeness they’ve put into their debut far surpasses anything else I have heard from new Canadian bands this year…Inventive, fun, crisp and a great first offering”. – Exclaim!
“WARCALL’s delivery is fresh, powerful, with good drive and melodies and this tight-knit feeling that just gives you this sense of urgency.” – The Metal Observer
“Actually, “very very heavy” doesn’t go far enough. “Bully Bastard” slugs had enough to loosen teeth and leave bruises, and the grooves are damned compulsive, too, so loosen up your neck muscles before diving into this track. But while the song rocks hard enough to shake listeners like rag dolls, the music also channels rage and intensity through the raw grit of the vocals and the grim (but very catchy) vehemence of the riffs.” – No Clean Singing
“Fans of an old school thrash/speed sound will find plenty to enjoy throughout Invaders. 10 tracks of meaty metal that makes you want to dig out the old patch jacket & head-bang until your neck fuses.” – Games, Brrraaains & A Head-Banging Life
“If you enjoy old school thrash, early speedy rock ‘n’ metal MOTÖRHEAD or DARKTHRONE in their thrashy black metal/crusty punk phase then WARCALL will wet your appetite and get you salivating! Dig out your battle vest, your whitewashed denim jeans, and white trainers and bang that head furiously!” – All About The Rock
“It’s fast, it’s heavy, it’s exciting, and it doesn’t try too hard to be something it’s not, while also knowing exactly what it is. That’s a rare trait to have in a band, and it shows their consistency and maturity as songwriters; you can really tell this is not their first album. The ultimate takeaway here is that WARCALL deserve a lot more attention than what they’re currently getting. I hope to see them take things to the next level on their next full-length.” – Metal Temple
The race is on. The shadowed passages of the labyrinth stretch before you – corner after corner, steps down into impenetrable black, a thousand identical doors, walls that shift behind you creating new corridors and sealing off routes that were once options of escape. The grotesque faces in the walls watch with laughing eyes as your breath becomes ragged and your lungs burn in your chest. They whisper of all the things they would love to do to you, of all the things they have done to other hapless creatures that have passed this way. And behind in the darkness you hear the steady, relentless tread of the hunter and the unmistakeable sound of the lock and load…
To enter the sonic kingdom of In Asymmetry is to walk into a world of bewildering complexity and staggering power. On the surface the onslaught that confronts you is one of pure, unadulterated chaos but within the raging maelstrom is a precisely engineered order; a gleaming, oiled, infernal machine whose parts operate in devilish harmony, slotting into place and igniting, turning the air you breathe to fire. Their full length debut album, Ashes Of Dead Worlds, is a masterful display of technical, brutal death metal that challenges the listener on every level. The band dispense overwhelming track after overwhelming track with imperious ease, a bombardment beyond comprehension. From the ominous tones that summon in the full frontal assault of ‘Whom Prey On The Weak’ to the cataclysmic ending of the bonus track, a cover of the Deeds Of Flesh classic ‘Sense Of The Diabolic’ there is no escape. The path back to the light has been sealed and your time in the maze ends when In Asymmetry say it does.
Featuring the insane drumming dexterity of Darren Cesca (Deeds Of Flesh) and the vicious vocalisations of Taylor Wientjes (ex-The Faceless, ex-The Kennedy Veil, ex-Inanimate Existence) In Asymmetry are a unit with the experience to match their magnificent abilities. Now allied with Comatose Music everything has fallen into place for this most formidable of bands. The global assault begins on May 7th when Ashes Of Dead Worlds detonates and the extreme music scene explodes. Be prepared for the ride of your life!
Line-up: Darren Cesca – Drums Darren Joy – Bass Taylor Wientjes – Vocals Victor Araneda – Guitars
NAHAYA (ft. members of Oceans of Slumber, Vesperian Sorrow, ex-Kingdom Collapse, Painting The Massacre, Cerebral Desecration) will be unleashing their new album, entitled “Vital Alchemy” via Rockshots Recordson May 21, 2021.
Today, the band shares their new music video for their second single “Incubator”, which is their most unique song on the album and to the band entirely. Taking a more experimental approach to their sound, NAHAYA begins the song with a country slide, actually using a Lonestar beer bottle to capture the sound in studio to give it that immediate Texan vibe. They progressively build the track into sombre melodic vocals to quickly kick into a furious thrash / melo-death frenzy to come back around full circle.
The band adds:
“We think a song like this will be the inspiration for us to experiment more with our sound in the future. Lyrically, Incubator is inspired by the book “In the Dark Places of History” by Peter Kingsley. The book speaks about a form communion with Gods and Goddess while in meditative trance/deep sleep, sometimes under the guidance of oracles and spiritual individuals of the time.”
NAHAYA is a Texan-based band that is an amalgamation of American melodic groove thrash, Gothenburg sounds, and Middle Eastern influences. The band was founded in 2013 by Ryan Peters with Semir Ozerkan, who immigrated to the US from Istanbul, Turkey to pursue career opportunities in metal, one being with Oceans of Slumber.
“Vital Alchemy” follows the band’s well-received EPs “Transcendence Pt. II” (2020) and “Transcendence” (2018). Since the band’s conception, they have been working hard to make a name for themselves independently, performing over 50 shows year-round in Texas and neighboring states including Austin’s SXSW festival and becoming national finalists for the 2019 Wacken Metal Battle USA competition.
Mastered by Jamie King (Between the Buried and Me, Scale the Summit), “Vital Alchemy” is seven tracks that will take fans through a wide range of emotions. There is something on this record for every kind of music lover. From the melody to the groove to the speed and unlike its predecessors that were focused on themes of science fiction, this new record takes on more personal interest, spirituality, and metaphysics along with it being more musically dynamic and experimental, incorporating progressive, acoustic, melancholic sounds with thrashing elements.
Overall, “Vital Alchemy”, signifies a rebirth for NAHAYA as the new tracks featured on the recording are the next step in the band’s evolution when it comes to their musical direction.
“Vital Alchemy” is due out May 21, 2021 via Rockshots Records.
Album Credits: Music: Nahaya Produced & Engineered by Clifton Miles and Damian Refuge at Stone Creek Sound in San Antonio, TX Mixed & Mastered by Clifton Miles Special FX on “Intro” by Russell Rott Album Artwork by Cameron Burns
HEVILAN Symphony of Good and Evil Brutal Records 19 March 2021
We are happy to welcome a new artist to the Brutal Records Roster HEVILAN has signed a deal with the label for worldwide release the title album “Symphony of Good and Evil”
Legendary heavy prog symphonic metal band Hevilan releases the first single from the new album. The track “Devil Within (Part 2) – Hammer of Gods” is now available on all digital platforms and in lyric video format on the band’s YouTube channel.
The legendary symphonic heavy metal band is back with their new album, ‘Symphony of Good and Evil’ , which will be released worldwide by Brutal Records , on March 19 .
“The symphony of good and evil’ is a conceptual album, based on the idea of the conflict between good and evil within the human being. The songs bring the band’s signature weight and melody, starting with the surprising “Dark Paradise” , followed by the rhythmic “Rebellion of the Saints”, “Great Battle” and “Devil Within (Part2) – Hammer of Gods” . the ballads “Always in my Dreams” and “Waiting for the Right Time” that add balance and provide even more vitality, ending with the epic
“Symphony of good and evil” , which has more than 20 minutes of choirs, orchestras and distorted guitars. , which make up a surprising metallic epic. There are 7 songs in 12 themes in just over 50 minutes that will undoubtedly please and surprise fans of the style. The album also marks the debut of virtuoso drummer Rafael Dyszy commanding the drumsticks on recordings.
HEVILAN: Johnny Moraes – Guitar Alex Pasqualle – Vocals Biek Yohaitus – Bass Rafael Dyszy – Drums
Hevilan “Symphony of Good and Evil” is an album that contains more than its share of battering rhythms and finely honed, razor-edged riffing, the vocal acrobatics of Alex Pasqualle are solely in the spotlight on compelling symphonies of sludgy, operatic metal like the monstrous leadoff cut “Dark Paradise” and the chillingly thunderous “Great Battle”.
The chunky riffing, heavy character and the grit in some of the vocals definitely place HEVILAN more towards the modern heavy prog symphonic metal, but at the same time the melodies, the very good use of a choir and the dynamics and energy clearly show that their roots are firmly planted into the traditional heavy/power metal soil of Brazil. And if Hevilan’s sound would have to be condensed into one word, then “powerful” would probably one of the first ones to come to mind, because the riffing is nothing short of punishing and stands closer to heavy metal than symphonic metal most of the time.
When HEVILAN get going, though, they really go at it, like powerful “Rebellion of the saints”, speed hammer “Devil within part I & II” or the excellent ballad “Always in my dreams”, where the Brazilians prove that they don’t have to hide behind anybody.
Following the Covid related demise of their band Deadlights, Re Mayer (guitar/backing vocals/synth) and Nathanael Bohnet (bass/lead vocals) took the opportunity to reimagine their sound and image to create No Hope For The Lost. Unleashing their introductory EP entitled “The Pilgrimage” earlier this April; the duo gave fans a taste of their entirely new sound, but left it just short enough to keep hype levels high.
The EP as a whole is structured to be a listening experience from beginning to end, combining an atmosphere of melody and groove with a foundation of heavy rhythms and ferocious vocal patterns, all wrapped up in a Final Fantasy X theme that will surely please members of that fandom.
Today, the band shares their music video for EP closer “Jecht” via its premiere on NewFuryMedia HERE.
The band adds:
“Jecht is a reimagining of a song originally written by Nate on his first solo album dubbed The Painted World. The song was originally intended to be played live in the Deadlights setlist, but after spending a lot of time in the studio with it and switching off ideas with Re, the song slowly evolved into an entirely almost new track. The intro song Braska was originally the beginning of Jecht, but once the full recording was made, it was then realized that splitting the song sections across the EP made a reprising theme throughout the short duration of the record. What really makes this song are the addition of guitar leads and synths written by Re to make it sound almost entirely different than the original, as well as the use of Nate’s massive choir-like choruses and vocal production to give it the explosive and finale-esque feel it was imagined as in the studio. Rhythm guitar-wise, this song was especially used to show off Re’s use of fast palm muting, dynamics, and various squeal and scrape based noises to transition parts while still following a template that the bass recorded by Nate really helped sound crunchy and thick in the bottom end.”
Recommended for fans of Periphery, Meshuggah, and Deftones, “The Pilgrimage” is a high-energy EP based on groove, melody, and a massive-sounding layered production. In a world where the fine line between djent, metalcore, and progressive metal is continuously blurred, “The Pilgrimage” is a sound confident on its own that refuses to fit in while still having the formulas that make interesting and catchy music.“The Pilgrimage” is available at the following links: Bandcamp and Spotify, Apple Music here.
“The demonic possession vocals are back for “Jecht” with a barrage of Nu-Metalcore riffs that create a dramatic and frantic pit starter. An unexpected and sumptuous solo followed by a big breakdown sequence is an absolute pleasure.” – Metal Noise
““Yunalesca” is another super-short track, but the melodies are outstanding. There is a thick heavy synth line with clean guitars and piano notes, along with some ethereal singing. It begins to pick up, and segues into “Jecht.” The angry vocals and Djent tones are back. It chugs along with some meter shifting until the chorus, where some clean vocals come in. Here is where I might recommend some backing vocals to thicken up the sound, but the song is on fire.” – Metal Temple
“The guitar work exists in a sort of djent space without being overwhelming, knowing when to take breaks and go for it. A good example of this is part three which acts as an interlude. The instrumentation here is actually really clever with the feeling of space being very apparent. ” – Rock Out Stand Out
“”Yu Yevon” knocks everything and everyone over like a waltz from the start. Expect a kind of mix of diverse genres such as progressive metal, metalcore mixed with soundscapes, and a predilection for video games.” – Musika
Welcome to our “Psychedelic Lunch Series,”where we find out how deep the rabbit hole really goes and explore music from the 60’s to today. Weekdays At Noon EST. Enjoy the trip!
Psychedelia refers to the psychedelic subculture of the 1960s and the psychedelic experience. This includes psychedelic art, psychedelic music and style of dress during that era. This was primarily generated by people who used psychedelic drugs such as LSD, mescaline (found in peyote) and psilocybin (found in magic mushrooms) and also non-users who were participants and aficionados of this subculture. Psychedelic art and music typically recreate or reflect the experience of altered consciousness. Psychedelic art uses highly distorted, surreal visuals, bright colors and full spectrums and animation (including cartoons) to evoke, convey, or enhance the psychedelic experience. Psychedelic music uses distorted electric guitar, Indian music elements such as the sitar, tabla, electronic effects, sound effects and reverberation, and elaborate studio effects, such as playing tapes backwards or panning the music from one side to another.
From England, two former guitarists with the Yardbirds, Jeff Beck and Jimmy Page, moved on to form key acts in the genre, The Jeff Beck Group and Led Zeppelin respectively. Other major pioneers of the genre had begun as blues-based psychedelic bands, including Black Sabbath, Deep Purple, Judas Priest and UFO.
Psychedelic rock, style of rock music popular in the late 1960s that was largely inspired by hallucinogens, or so-called “mind-expanding” drugs such as marijuana and LSD(lysergic acid diethylamide; “acid”), and that reflected drug-induced states through the use of feedback, electronics, and intense volume.
Emerging in 1966, psychedelic rock became the soundtrack of the wider cultural exploration of the hippie movement. Initially centred on the West Coast of the United States, where the early Grateful Dead was the house band at novelist Ken Kesey’s Acid Test multimedia “happenings,” psychedelia soon spread from the San Francisco Bay area to the rest of the country and then to Europe to become the major rock phenomenon of the late 1960s. In addition to the Grateful Dead, West Coast psychedelic bands included Love, the Charlatans, the Doors, and the Jefferson Airplane, the last of which featured the striking vocals of Grace Slick and scored Top Ten hit singles in 1967 with “Somebody to Love” and “White Rabbit.” Meanwhile, the 13th Floor Elevators from Austin, Texas, epitomized the darker, more psychotic frenzy of acid rock—characterized by overdriven guitars, amplified feedback, and droning guitar motifs influenced by Eastern music. Led by the wayward talent of Roky Erickson, a gifted musician who was later hospitalized for mental illness, the 13th Floor Elevators released four frenetic albums featuring bizarre jug-blowing blues before imploding in 1969. On the East Coast, the Velvet Underground symbolized a nihilistic cool version of psychedelia, picking up on its sonic techniques yet distancing themselves from the more playful “flower power” culture.
Established rock bands also began to introduce psychedelic elements into their music—notably the Beatles with such albums as Revolver(1966), Sgt. Pepper’s Lonely Hearts Club Band(1967), and Magical Mystery Tour (1967), the Beach Boys with the expansive, haunting Pet Sounds (1966), and the Yardbirds with “Shapes of Things” (1966). The Rolling Stones ventured into the scene with the less successful Their Satanic Majesties Request (1967), while such groups as the Byrds created a more commercial version of raw psychedelia.
In Britain psychedelic pioneers created music that was steeped in whimsy and surrealism, less aggressive and minimalist than their American counterparts. It merged improvisation and sonic experimentation to create longer songs, incorporated the influence of Beat poetry and modern jazz, and utilized Eastern instruments such as the sitar. Pink Floyd were the leading stars of the British scene, which revolved around venues such as London’s UFO club (a predecessor to festivals like Glastonbury) and Middle Earth and such events as the 14-Hour Technicolour Dream, a happening in Alexandra Palace that drew counterculture celebrities such as John Lennon and Yoko Ono and Andy Warhol. With a visionary imagination that later tragically collapsed into schizophrenia, Syd Barrett, lead singer and composer of early Pink Floyd, enthusiastically pursued the acid rock ethics of musical exploration and experimentation on his band’s first album, The Piper at the Gates of Dawn (1967). Lush, hypnotic, and groundbreaking, it was a classic of the psychedelic era.
Other major British acts that evolved from the underground “freak” (drug-using hippie) scene included the avant-garde Soft Machine, the operatic Crazy World of Arthur Brown, the Nice, and the more consciously political anarchist Tomorrow. While few psychedelic bands lasted longer than one or two albums, the impact of the genre was huge, revolutionizing fashion, poster art, and live performance. It also greatly influenced offshoots like heavy metal, art rock (many progressive and art rock bands grew out of psychedelic groups—e.g., Emerson, Lake and Palmer from the Nice), Kraut-rock (the experimental electronic music by German bands such as Can, Neu!, and Tangerine Dream), and the space-age funk of Parliament-Funkadelic (which, along with Jimi Hendrix, proved to be a key connection between black funk and psychedelia). Moreover, psychedelic rock’s influence was evident in later genres, from punk to rap to trip-hop, a 1990s mixture of hip-hop and contemporary psychedelia.