Scotland’s ATLAS : EMPIRE New Music Video ‘Our Hands Part The Waves’
Signs To WormHoleDeath Records For Reissue of Debut Album “The Stratosphere Beneath Our Feet” Canadian Tour This Coming October
UK Tour Dates In November
L-R – Robert Hasebe (Bassist), Jamie Sturt (Guitar and Vocals), Steven Gillies (Guitar and Vocals
Glasgow’s Atlas : Empire are proud to announce their debut album “The Stratosphere Beneath Our Feet” released independently during December 2018will now be reissued via WormHoleDeath Recordson October 25th, 2019.
The band adds:
“We’re excited to enter a new chapter of the band in partnership with Carlo & the WHD team. And for those unfamiliar with our latest release, The Stratosphere Beneath Our Feet’ is a concept album that explores what would happen to humanity if we became entirely reliant on technology/automation in every aspect of our lives – and more importantly, what happens when that system fails?”
Weaving their way between the multitudes of different genres that influence them, the trio visits the worlds of heavy progressive rock and expansive ambient shoegaze. To date the band has released 3 EPs, “To The Astronaut…” (2012); “Somnus” (2013) and “For the Satellites” (2015) with “The Stratosphere Beneath Our Feet” as their 2018 debut full length.
In addition to the news of their label signing, the band released a new video for the track ‘Our Hands Part The Waves’, which you can view here.
The video is a continuation of the storyline presented in their previous video for ‘It’s All In The Reflexes’, which you can view here.
The trio will also be returning to Eastern Canada this October with eight gigs spanning across Ontario and Quebec followed by UK dates in November. After a busy summer of writing and European festival dates, the Scottish band is excited to come back to the homeland of their bassist Robert Hasebe and he quotes:
“Touring Canada is by far one of the most enjoyable things for Atlas : Empire. The unique challenges and rewards of touring this part of the world are what make Canadian artists and performers truly great. They are not only so wonderful to work with but also so friendly and exceptional at their craft. Canada produces so many good bands and such talented musicians that we are so fortunate and so grateful to be able to tour here regularly. Also, poutine.”
Atlas : Empire are a progressive alternative rock band, based in Glasgow, UK. Since forming in 2011, Atlas : Empire have enjoyed success both through their recordings and over several tours crossing the UK, the EU and Eastern Canada, including performing at Indieweek in Toronto.
To date the band has released 3 EPs, “To The Astronaut…” (2012); “Somnus” (2013) and “For the Satellites” (2015) with “The Stratosphere Beneath Our Feet”, an ambitious concept album set to be released in 2018.
Weaving their way between the multitudes of different genres that influence them, Atlas : Empire visits the worlds of heavy progressive rock and expansive ambient shoegaze. Exploring topics that centralize around the concept of becoming exponentially more reliant on technology and less “connected” by proxy, and the future of modern society when the system we rely on fails. With a slew of songs written and plans already for a fifth release, A : E are thrilled to be working with the team at WormHoleDeath and to push their own boundaries and expand into new territories.
“Modern Progressive Rock in the vein of Arcane Roots, with nods to the atmospherics of Post-Rock and some of the eccentric timings of Math Rock.” – Prog Magazine
“Glasgow’s Atlas : Empire offer an exciting take on contemporary Prog, marrying Post-Rock expanse with the wilder, heavier sounds of the likes of Black Peaks and At The Drive-In.” – Total Guitar“Atlas : Empire succeed on the strength of their musicianship, songwriting, and the lasting impact of the songs themselves.” – New Noise“The Stratosphere Beneath Our Feet is one of those records you’ll argue with your friends about who discovered it first” – Raw Music TV
“Brimming with stunning displays of ethereal melodicism, Atlas : Empire have delivered an assured debut that deserves to be considered alongside the best of British Progressive music.” – Uber Rock
L-R – Matteo Bellezza (guitars), Fabio Migliori (drums), Andrea Pistone (bass), Francesco Cremisini (vocals/guitars)
Italian thrashers ENEMYNSIDE have released their new music video ‘Frozen Prison Cell’, the first single off their forthcoming album “Chaos Machine” due out October 25th via Rockshots Records.
“This track is about Soviet gulags, something I’ve been fascinated by reading books about labour camps in the Soviet Union. Francesco wrote the music and chose this lyrics, which fits perfectly with the atmosphere of the song. In the video you can see a prisoner trying to escape from the labor camp, but the prison he gets himself into is the boundless frozen land of Siberia.” says guitarist Matteo Bellezza.
Active since 1994 as Scapegoat, in 1999 the band changed its name to ENEMYNSIDE. During their career, the band have toured Italy and Europe sharing the stage with bands such as Destruction, Dismember, Blaze Bayley, Paul Di Anno, Necrodeath, Extrema, Kiko Loureiro, Flotsam And Jetsam and many more.
The band’s anticipated 2019 full length album “Chaos Machine” features ten aggressive and relentless thrash tracks focusing on the sentiment of being trapped (both physically and metaphorically) by the world’s social injustices, control systems such as religious institutions and political authorities, totalitarianism and dictatorships.
The album follows the band’s catalog of EPs and albums “Dead Nation Army” (2016), “Whatever Comes” (2012) (Mighty Music/Target Distribution), “In The Middle of Nowhere” first released in 2007 on Sleazy Rider Records and re-released in 2008 through Hatestone Records/New Model and “Let The Madness Begin…” (2003) (Temple Of Noise/Frontiers Records).
“Chaos Machine” Album Pre-Order via Rockshots Recordshere.
Track Listing: 1. Faceless 2. Black Mud 3. Suffered Defeat 4. Frozen Prison Cell 5. Deadline 6. System Failure 7. The Terror 8. Shitstorm 9. No God In Kolyma 10. Devoured
Tools new album Fear Inoculum is out today and the band has released Tour dates on their social media pages.
Tickets are on-sale Sept. 6 at 10 am local time, with a limited number of tickets will be available to Tool Army members on Sept. 4. Tool Army information, as well as VIP package details, can be found via Toolband.com.
October 13 Sacramento, CA Aftershock Festival
October 15 Denver, CO Pepsi Center
October 18 Salt Lake City, UT Vivint Smart Home Arena
October 20 Los Angeles, CA Staples Center
October 21 Los Angeles, CA Staples Center
October 23 Glendale, AZ Gila River Arena
October 25 San Antonio, TX AT&T Center
October 27 Houston, TX Toyota Center
October 29 Tulsa, OK BOK Center
October 31 Milwaukee, WI Fiserv Forum
November 2 Indianapolis, IN Banker’s Life Fieldhouse
November 3 Chicago, IL United Center
November 5 Cincinnati, OH US Bank Arena
November 6 Cleveland, OH Rocket Mortgage Fieldhouse
November 8 Pittsburgh, PA PPG Paints Arena
November 9 Detroit, MI Little Caesars Arena
November 11 Toronto, ON Scotiabank Arena
November 12 Toronto, ON Scotiabank Arena
November 14 Boston, MA TD Garden
November 16 Newark, NJ Prudential Center
November 18 Philadelphia, PA Wells Fargo Center
November 19 Brooklyn, NY Barclay’s Center
November 21 Uncasville, CT Mohegan Sun Casino Arena
Written By Braddon S. Williams aka “The Concert Critic
On this date in history, 8/24/2019, Iron Maiden brought their Legacy Of The Beast Tour to Deer Creek in Noblesville, IN, and what a magnificent show it was!
The Raven Age were the warmup act, and the London based melodic metalcore band seemed to be well received by the early crowd. I didn’t really connect with their style, but have to acknowledge that they had a good mix and professional staging and lights.
I’m sure that one of their guitarists being the son of Iron Maiden’s Steve Harris probably has a lot to do with them being on this prestigious tour. Nonetheless, they played with enthusiasm and youthful energy, and are undoubtedly having the time of their lives on that stage.
After a quick set change, Iron Maiden hit the ground running, unveiling a replica of a World War II Spitfire plane suspended above them as they played a thrilling full throttle aural assault on their classic opener, Aces High.
From the get go, Bruce Dickinson was in perpetual motion, exhorting the capacity crowd of diehard Maiden fans to sing along and share in this larger than life experience.
Dickinson’s voice was a razor edged wonder that night; powerful and still capable of hitting the highest notes of his considerable vocal range.
After Aces High, with the plane being manipulated to appear as if it were in flight and looking at times as if it were about to dive into the crowd, Maiden immediately launched into Where Eagles Dare and then 2 Minutes To Midnight.
Dickinson made a speech and informed us that there would be no new material and that we were basically being treated to a “best of” Maiden set. He said they were originally going to end the show with the plane, but then decided to open with it, and then make everything else better. This drew a roar of approval from the faithful, and it turned out to be a true statement, as the band just kept adding song after song to this incredible display of how to stage an epic heavy metal show.
As a guitarist, I have to say that the triple threat of Dave Murray, Adrian Smith, and Janick Gers were just phenomenal. All three contributed stunning solo work and blended together with harmony lines and the chugging, galloping rhythms that are the hallmark of the Iron Maiden sound.
Steve Harris (bass) and Nicko McBrain (drums) propelled everything with that relentless precision that everything else is built on top of.
Some of the later highlights for me were The Evil That Men Do, Fear Of The Dark, The Number Of The Beast, The Trooper, Flight Of Icarus,and Hallowed Be Thy Name.
Honestly, there wasn’t a weak moment in Maiden’s entire time on stage.
Kudos to the sound man for keeping Dickinson’s voice on top of everything else, for spotlighting each guitarist and making the solos stand out, and for keeping the bottom end full and bright at the same time.
The lights, staging, props, and of course Eddie, were all fantastic as well. All that is left to say is “Up The Irons!”
This smashes. Gohrgone from France! Thick, super groovy death metal reminding me a bit of Dyscarnate, early Decapitated or even Dying Fetus (less techy, but that’s the overall vibe). Check it out! https://gohrgone.bandcamp.com/album/in-oculis
Fantastic album. Sounds like “Gateways” from Morbid Angel and Altar’s Paramnesia meeting very early Portal. The results is a more accessible and catchy than the last band to be mentioned yet dark as fuck. Very interesting mix. The Ominous Circle.
This album was just great!
Always had a soft spot for this track. So soothing in a way. Hey, I’m a sensitive boy sometimes.
Gorefest – False
FILTH! New LORD GORE Band out now via Everlasting Spew Records. Old school death gore metal w/ members of Ritual Necromancy, Torture Rack, Ascended Dead.
Selvans, Black Metal from Italy. This is horror in music. One of the most interesting things I came across to in recent times. This album is all over the place, gathering vibes from Kampfar, very early Cradle Of Filth, even The Visions Bleak to an extent. Neofolk interludes, organs and even some kind of a Morricone feeling on one of the tracks which could bring stuff in the vein of Volahn to mind. Give this a try. You’ll most likely think it’s strange as fuck at first, and then you’ll love it. Trust me. https://selvans.bandcamp.com/album/faunalia
Another great tour confirmed for Vitriol , these guys are on a roll and hitting Europe again next Spring with Krisiun and Gruesome! Are you going to attend any of these shows?
Vitriol’s debut “Pain will define their death” is still available in the Everlasting Spew Records shop!
New Insomnium track! This will be a strong Autumn for Century Media Records, this album drops on October 4th while new Hideous Divinity drops on November 8th.
#CenturyMedia #DeathMetal
Giuseppe Di Giorgio Phillip Sanio Sara Stellacci Ryan Wills Travis Macleod
“Desecrator. Violator. Devastator. Messenger of Death!”
This is just SHARP and deadly. TheCrownOfficial
My friends Dictated dropped a new vid! Sick dutch death metal featuring also Julien of Benighted on this track. This is gross, twisted, disgusting… and I LOVE IT. Great job Yessica Netto!
The cathartic hunt of “Unsettling Whispers” still pumps in the veins of the Lost Society and we can now announce a long awaited Grand European Raid this coming fall, through some familiar and some unknown cities alongside people we respect and praise, Numenorean from Canada. We now invite you to a Massive march in Catharsis that shall make its way from North to South of Europe, marking the glorious arrival of the coldest breeze this Winter will ever feel.
We’re looking forward to visit Denmark, Germany, Austria, Slovenia, France, Netherlands and UK. It’s been a long wait. General Tickets and Exclusive tour Items to be posted soon.
ENDLESS LIFE | ENDLESS DEATH:
05.12 Copenhagen (DK) – Spillestedet Stengade
06.12 Aarlborg (DK) – 1000Fryd
07.12 Münster (GER) – Wintermelodei 2019
08.12 Hamburg (GER) – Hafenklang
09.12 Berlin (GER) – Badehaus Berlin
10.12 Cologne (GER) – Helios
11.12 Mainz (GER) – Schön Schön
12.12 Münich (GER) – Backstage München
14.12 Graz (AT) – Club Q
15.12 Vienna (AT) – Viper Room Vienna
16.12 Koper (SI) – Center mladih Koper
18.12 Colmar (FR) – Le Grillen
19.12 Haarlem (NL) – Patronaat Haarlem
20.12 Terneuzen (NL) – Podium In Terneuzen
21.12 London (UK) – Boston Music Room
Management and Booking: Tito Vespasiani | Tito.dta@gmail.com
Doomstar Bookings | Transcending Obscurity Records | Season of Mist | Legacy – The Voice From The Dark Side | Metalleux de France | Zware Metalen | Soultone Cymbals
Blasting the FORBIDDEN TUNES. … I like this track 👀
Listening to this SepticFlesh album again after ages today. My taste has changed since 2011 and I don’t listen to much stuff like this anymore, but this aged greatly. The symphonic work is simply outstanding and still strong. Majestic album.
“Simulacrum” out on November 8th via Century Media Records. First track and preorders in two weeks.
Booking and management: Tito Vespasiani tito.dta@gmail.com
Everlasting Spew Records update: Memento Mori titles now in the shop! These are absolutely great. Top quality old school death and death doom! Find them at http://www.everlastingspew.com
-Ataraxy “Curse Of The Requiem Mass + Rotten Shit” (CD) 7.99€
-Atavisma “The Chthonic Rituals” (CD) 7.99€
-Barús “Drowned” (CD) 7.99€
-Damnatory “The Complete Disgoregraphy 1991-2003” (CD) 7.99€
-Dead Conspiracy “Dead Conspiracy” (CD) 7.99€
-Filtheater “Blight Of Sempiternal Putrefaction” (CD) 7.99€
-Funeralopolis “…Of Death / …Of Prevailing Chaos” (CD) 7.99€
-Horrisonous “A Culinary Cacophony” (CD) 7.99€
-Infamovs “Under The Seals Of Death” (CD) 7.99€
-Morbid Messiah “Demoniac Paroxysm” (CD) 7.99€
-Morbo “Addiction To Musickal Dissection” (CD) 7.99€
-Petrification “Hollow Of The Void” (CD) 7.99€
-Pile Of Excrements “Escatology” (CD) 7.99€
-Ravenous Death “Chapters Of An Evil Transition” (CD) 7.99€
-Ruin “Human Annihilation” (CD) 7.99€
-Shrine Of The Serpent “Entropic Disillusion” (CD) 7.99€
-Thanatos “Thanatology: Terror From The Vault” (2CD) 11.99€
Hideous Divinity’s brand new logo designed by the Belgian master Bram Bruyneel! The lettering is fully reshaped to perfectly represent the rawer, wicked current dentity of Hideous Divinity while keeping our Hideousgram sigil. Renovation and tradition. Check it out on the cover art for the brand new album “Simulacrum” out on November 8th via Century Media Records: https://www.facebook.com/hideousdivinity/photos/a.412166422157436/3181234511917266/?type=3&theater
New Hideous Divinity album out on November 8th via Century Media Records!
Italian Death Metal force HIDEOUS DIVINITY will release their fourth full-length album “Simulacrum” on November 8th via Century Media Records.
Enrico S states:
“As we step into our biggest chapter to date starting our adventure with Century Media Records, we push our boundaries not by changing our music but by offering a new distorted shape of the HIDEOUS DIVINITY you already know. That’s the entire concept behind “Simulacrum”: with the outstanding excuse given by David Lynch’s “Lost Highways”, a universe made of non-linear, surrealistic visions, HIDEOUS DIVINITY become a new creature, its dirtiness enhanced by an aura of static permeating our music. We embrace this static, and the change it brings.
The production level achieved with “Adveniens” is now gifted with the wildest dynamic range achievable. Each instrument cutting through the mix when required by the song. As it should be. Stefano “Saul” Morabito is once again the unmatchable alchemist, and his 16th Cellar Studios the forge we’d never give up.
Just like the new, superb cover artwork by Vladimir “Smerdulak” Chebakov, we tear up our mask and subvert the rules. From Cronenberg’s metamorphosis to Lynch’s anamorphosis we re-compose the body of our music itself, like an electrical seizure we live over and over again. This is “Simulacrum”.”
The album will feature ten original songs delivered with jaw-dropping technical finesse, as well as two covers, Machine Head’s “Blood Of The Zodiac” and Mayhem’s classic “Cursed In Eternity”, as bonus tracks on the digipack CD (which will also be included in the LP edition).
Recorded, mixed and mastered once again by Stefano Morabito at 16th Cellar Studio
The impressive artwork was again created by Vladimir Chebakov who also did the cover for Hideous Divinity’’s last album “Adveniens”. Digipack features 5 more stunning paintings by Vladimir.
New logo by Bram Bruyneel
Keep your eyes peeled for the astonishing video clip for the first single “The Embalmer” that’s supposed to premiere in early September along with the pre-order start!
Written By Braddon S. Williams aka “The Concert Critic”
On this this date in history, 8/16/2019, Slipknot brought their Knotfest roadshow to Deer Creek in Noblesville, IN. Although the masked marauders hail from Iowa in the USA, the other 3 bands brought international diversity to the heavy music showcase.
Behemoth, from Poland, began the proceedings with a ferocious display of Black Metal mastery. The corpse painted band’s dark theatricality and Satanic imagery probably didn’t win over too many of the Slipknot faithful, but I thought they were the best of all the bands that day.
Behemoth are playing for keeps, and that emotional approach always finds its crowd.
Gojira, hailing originally from France, were barely below Behemoth in my estimation, and they played a fantastic set, too. In particular, Mario Duplantier’s drumming is beyond amazing. That guy simply plays patterns that seemingly no-one else has thought of, and he is a lot of fun to watch while he is up there slaughtering his drum kit.
Up next were Denmark’s Volbeat, and they were definitely the least metal of all the bands, but they were quite well received.
A friend remarked that their singer’s voice reminded him of the Swedish chef from The Muppets, and now I simply can’t “un-hear” that comparison!
Rob Caggiano (who previously played lead guitar in Anthrax) played some solid guitar solos and they sounded great mix-wise, but I think overall that Volbeat would be better on a tour more suited to their musical style.
Slipknot did what Slipknot does, which is to say that everything was bigger, brighter, and louder than everyone else. One small complaint for me personally was that one of the utility guys seemed to spend way too much of his time playing around on the treadmill up on the second level of the stage. It was pretty distracting, to say the least. Okay, it was downright annoying! Oh, yes…and Corey Taylor’s vocals were often too low in the mix. With all that is going on in Slipknot’s music, it can’t be easy to give everyone equal attention, but in general, vocals are supposed to be audible in the mix, and the sound guy wasn’t getting it done.
This was my 9th time seeing Slipknot, the 4th seeing Behemoth, the 2nd seeing Gojira, and the first time for Volbeat. All in all, I had a fantastic time, but I stand by my original reason to attend this show. I was there for Behemoth and Gojira, and for my money, those were the best 2 bands on that stage.
Kudos to Slipknot for their generosity towards the support bands.
Everyone had excellent sound, lights and backdrops…all 3 of the openers actually had better mixes than the headliners, but Slipknot is a cottage industry at this stage in their career, and like Metallica, they kind of play by their own rules.
As long as they take this approach to touring, I imagine I will be seeing them several more times before they hang up their masks.
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!
