Today in rock history: On this date in 1983, up-and-coming thrash metal band Metallica released its debut album, Kill ‘Em All. Released on the independent metal record label Megaforce Records, the album quickly made waves across the world of heavy metal and was met with overwhelmingly positive reaction. The band’s brand of fast, aggressive rock and roll was branded thrash metal and, in no time, other bands with a similar sound and delivery started popping up. Metallica’s raw and powerful live shows helped bolster its reputation as a fiery, young, powerful band which in turn helped boost record sales. Featuring two songs that were released as singles, “Whiplash” and “Jump in the Fire,” the album’s success led to Metallica being signed to a major label, Elektra Records, and eventually becoming one of the best-selling rock bands of all time. The original working title of Kill ‘Em All was Metal Up Your Ass, but the band was convinced to use a less offensive title for fear that many distributors would not be willing to carry and market the record.
CLIFF BURTON CAME UP WITH THE TITLE KILL ‘EM ALL.
Of course he did. The title came to the Metallica bassist after being upset with “timid record distributors” and saying “why don’t we just kill ’em all?”
Seven of the songs from Kill ‘Em All came from Metallica’s 1982 demo “No Life Til Leather” which they recorded with guitarist Dave Mustaine, and which got them signed to Megaforce. Then, after booting Mustaine from the band and replacing him with Kirk Hammett, they added “Whiplash, “No Remorse” and Burton’s distorted bass solo “Anesthesia (Pulling Teeth).” The band also changed “Mechanix” to “The Four Horsemen,” extracting Mustaine’s lyrics about a horny mechanic and replacing them with lines about the Biblical apocalypse.
We were gonna have a hand coming through a toilet bowl, holding a machete, dripping with blood. And the toilet had barbed wire around it. That would’ve gotten everyone squirming uncomfortably.
Unfortunately – or fortunately – that idea was ditched.
“Our record label [Megaforce] told us that record distributors in America had strongly objected to the title and the planned sleeve. And we ran the real risk of not having our product stocked,” Ulrich explained at the time. “That wouldn’t have helped us at all.”
So the band decided to modify their sleeve art concept, but while still making sure the new design retained a certain underground edge.
Ulrich: “We wanted something that would shock everyone – except the fans. The title Kill ‘Em All was our way of getting back to the distributors, who were trying to censor us.”
The design itself was again very much down to the band themselves. While making it acceptable enough to ensure the album was freely available, they were also determined to introduce an element of gore and violence into the graphics.
“Once we had the title, it was obvious to have a sleeve that featured a lot of blood. It didn’t take much to think of having a weapon on there as well.”
Being careful to avoid the actual act of blood-letting, the band hinted at what might have happened, with the outline of a hand releasing a hammer.
“There’s a cartoon element to the whole thing that was element,” admitted the drummer. “After all, if you’re not showing any violence, who was gonna object? So we got our own way – and so did the music industry.”
There’s something to be said for the curious art of bands hiding hidden messages, and even entire songs on their recordings.
From The Beatles arguably being the first to introduce the idea in the late 60s, to the accusations of evil messages hidden in the songs of seventies rock bands; right through to the popular 90s tradition of tucking away hidden tracks at the tail-end of a CD’s running time – it’s always been a particularly physical phenomenon.
It’s also something that’s harder to achieve in the digital era, so sit back and enjoy as we uncover the more interesting hidden stories and messages, the secret and not-so-secret things that musicians have attempted to bury.
Guns N’ Roses – ‘Look At Your Game Girl’
While hidden tracks are a left-field move for any band, covering a song by a convicted murderer and cult leader goes beyond contrariness. But that’s exactly what Guns N’ Roses did with the Charles Manson-penned ‘Look At Your Game Girl’, which appeared hidden away on their 1993 album The Spaghetti Incident; and it almost seems wrong to say, but the original is better.
Led Zeppelin – ‘Stairway To Heaven’
In 1982, a US television program alleged that hidden messages were contained in many popular rock songs through a technique called backward masking. The cited example was ‘Stairway To Heaven’, which the show claimed included satanic references. The alleged message occurs during the song’s middle section (“If there’s a bustle in your hedgerow…”). Which very loosely translated to: “Oh here’s to my sweet Satan. The one whose little path would make me sad, whose power is Satan. He will give those with him 666. There was a little tool shed where he made us suffer, sad Satan.”
You Am I – ‘Forget It Sister’
Widely considered one of the finest Australian albums of all time, Hourly, Daily is a sprawling tour of suburban Sydney through the eyes of the laconic Tim Rogers. One of the album’s highlights is the hidden track, ‘Forget It, Sister’ which arrives after a few minutes of silence following the closer, ‘Who Takes Who Home’. Unexpectedly, Rogers chimes in with “good morning baby” bringing the record full circle to the early hours, and opening “Good Mornin” – an ode to breakfast radio.
Nirvana – ‘Endless, Nameless’
The nihilistic squall of this hidden track, buried at the quintessential grunge band’s iconic Nevermind showcases Kurt Cobain’s love for the Pixies’ style dynamics – but without his usual interest in pointed pop melodicism. Instead it’s a crash and bash of tuneless distortion, and feverish squeals of nonsense. If ‘Smells Like Teen Spirit’ broke Nirvana into the mainstream, ‘Endless, Nameless’ was a reminder that Kurt and co. were still noisy rebels at heart.
The Beatles – ‘Her Majesty’
Rounding off 1969’s Abbey Road is ‘Her Majesty’, a Paul McCartney ditty that appears 14 seconds after ‘The End’, the album’s last listed song. At less than 30 seconds long, there’s not much going on – it’s just Paul, acoustic guitar, a lovely vocal melody, and some amusing lyrics including “Her majesty’s a pretty nice girl / but she doesn’t have a lot to say”. In fact, the Fab Four are often credited with inventing the secret track phenomenon, with the sound collage at the end of Sgt. Pepper’s that loops infinitely on vinyl players.
The Jam – ‘English Rose’
While Paul Weller spent the ’80s revelling in his newfound feminine side with The Style Council, he wasn’t always so comfortable with such outward displays of sensitivity. So goes the story behind ‘English Rose’, a beautiful acoustic ballad that appears on side one of 1978’s All Mod Cons. While it plays conventionally as track four on all copies of the record, its obscurity is owed to the fact neither the song’s title nor lyrics were printed on the sleeve because Weller believed it was too personal.
Blur – ‘Me, White Noise’
The hidden track from the Britpop luminaries’ last studio album before their hiatus, 2003’s Think Tank, recalls one of their most famous collaborators, the voice behind ‘Parklife’ and mod icon, Phil Daniels. Entitled ‘Me, White Noise’, the song appears in the pre-gap (the portion of audio before track one). Clocking in at nearly seven minutes, Damon Albarn spits gravel over a midnight dance beat. Those desperate for Blur rarities would do well to check this out.
Eels – ‘Mr E’s Beautiful Blues’
Mark Oliver Everett and his musical outfit had a minor hit in 2000 with ‘Mr E’s Beautiful Blues’, reaching number #11 on the UK Singles chart. The lead single from their third record Daisies Of The Galaxy, the band threw fans a curve ball by leaving it off the track listing on original pressings of the album. Which means that the song may be the most commercially successful hidden track ever. Sneaky stuff.
Tool – ‘10,000 Days’
It’s one thing to hide a song in the pre-gap of an album, or bury at the end; but the hidden track on Tool’s 10,000 Days is a wildly different (and more inventive) proposition. Essentially, it’s a DIY secret that only enterprising Tool fans (is there any other kind?) will be able to piece together. Joining ‘Wings of Marie’ and ‘Vigniti Tres’ together, and then playing them alongside the 11- minute title track, reveals a densely layered epic. Cryptic and clever, huh?
Pink Floyd – ‘Empty Spaces’
Isolated on the left channel of this track from the classic Pink Floyd album The Wall is a secret message. When played backwards, Roger Waters’ voice appears saying: “Congratulations, you have just discovered the secret message. Please send your answer to Old Pink, care of the Funny Farm, Chalfont.” A clever nod to the music world’s obsession with ‘satanic messages’ hidden in popular music.
Public Enemy – ‘Ferocious Soul’
Hidden in the gap before the opening track of the furious rap group’s 1994 album Muse Sick-n-Hour Mess Age is ‘Ferocious Soul’. A cutting freestyle attack on those who claimed Public Enemy were “anti-black” for criticising the “negative message” of gangster rap, it’s scathing stuff. It ends with a blunt message that leads into the album proper; “Don’t fuck with me.”
Franz Ferdinand – ‘Michael’
Played forwards, “Michael” is a risqué indie-rock song about a secret bromance, notable for lyrics such as “stubble on my sticky lips”, and “beautiful boys on a beautiful dance floor”. Played backwards however, there’s a secret message, with a voice saying: “She’s worried about you, call your mother.” According to a fan site, the message is a homage to bassist Bob Hardy, who was worried about calling his mum back home while on tour.
The Clash – ‘Train In Vain’
Given its popularity in the canon of Clash songs, it’s hard to believe ‘Train In Vain’ was not in fact originally listed on the band’s 1979 opus London Calling. It’s a little-known fact that instead, a sticker was attached to the cellophane wrapper on the record. This was because the song was added to the album at the last minute, after the sleeve had been produced.
Radiohead – In Rainbows and OK Computer
Deep within Radiohead circles, it’s believed that In Rainbows was released as a complementary piece to the Oxford quintet’s landmark 1997 album, OK Computer. The conspiracy goes that In Rainbows came out 10 years after OK Computer and was released on October 10 (10/10). Fans believe if you create a playlist, alternating between the two albums and crossfading, they mesh perfectly.
It must have been odd to hear Led Zeppelin in church, particularly one of the Fundamentalist Christian persuasion, but in the late ‘70s and early ‘80s, youth pastors around the country began playing “Stairway to Heaven” in services, to illustrate the Satanic messages they claimed the band had hidden in the song.
These messages could be heard when playing the song backward, they said, but the subliminal effect of the messages was said to be just as potent, even when the song was played in the usual direction, at regular speed.
Ridiculous, huh? There was, however, definitely a market in religious books, films and presentations in that period on the issue of backmasking — the alleged planting of subliminal messages in recordings, usually for dark purposes. It caused preachers and kids alike to ruin the belt drives on their turntables playing Led Zeppelin IV and dozens of other records backward.
Where did this stuff begin? Not entirely surprisingly, famed occultist and Fundamentalist bugaboo Aleister Crowley is credited with starting the whole thing. In his 1913 treatise on meditation, Magick: Book 4, Crowley promoted the idea of “listen[ing] to phonograph records, reversed,” to train one’s brain to think backward. Subsequently, avant-garde composers such as John Cage and Edgard Varèse (a favorite of Frank Zappa) used reversed tape effects in their versions of musique concrète, or experimental music that used recorded sounds as quasi-instrumentation.
In rock ‘n’ roll, the effect became an important tool for experimentation in the late ‘60s, as musicians began using the studio to explore sounds that were more radical than the typical guitar/drums/bass/keyboard setup. The Beatles were probably the granddaddies of using tape effects — John Lennon was an unabashed fan of avant-garde artists, and incorporated their techniques first on “Tomorrow Never Knows,” the final song on 1966’s Revolver, and all through 1967’s Sgt. Pepper’s Lonely Hearts Club Band.
That experimentation, coupled with the elevated place the Beatles had in popular culture, led listeners to do odd things to their Beatles records. A widely believed urban legend that Paul McCartney had died sent some fans looking for clues in the music. Of course, they found what they were looking for; playing the “Number 9” segment of the White Album’s “Revolution 9” backward yielded a sound that resembled “Turn me on, dead man.” Backward spins of “I’m So Tired” led fans to hear “Paul is dead. Miss him, miss him.”
These were unintentional sounds made when one played the record in an unintended fashion. People heard what they wanted to hear, or what others suggested they hear.
Meanwhile, around the same time, Jimi Hendrix was making Electric Ladyland, an album that opened with “And the Gods Made Love,” a track that intentionally incorporated backmasking. Play the garbled voice on the song backward, and you hear Hendrix say, “Yes, yes, yes, I get it. Okay, one, okay, one more time.”
At some point in the next decade or so, Fundamentalist preachers took up backmasking as an example of Satanic influence in rock music, another method the pointy-tailed one used to degrade the morals of vulnerable youth, right under the noses (and ears) of their unsuspecting parents.
For example, fans of Electric Light Orchestra who bought 1974’s Eldorado for “Can’t Get It Out of My Head” would have allegedly received a Satanic message, had they flipped the album over and played the title track. Those with ears for these things played the lines “Here it comes, another lonely day / Playing the game. I’ll sail away / On a voyage of no return to see” backward and heard “He is the nasty one — Christ you’re infernal — It is said we’re dead men — Everyone who has the mark will live.”
he Eagles’ 1976 hit “Hotel California,” one of the seminal songs of the decade, is said to have hidden in its first verse and chorus a message that includes “Satan had ‘em; he organized his own religion.”
Styx were accused of implanting a Satanic message (“Satan move in our voices”) in “Snowblind,” off 1981’s Paradise Theatre. That controversy provided the seed of an idea that led Dennis DeYoung to create the character of Dr. Righteous in 1983’s Kilroy Was Here, and to plant an intentional backmasked message in “Heavy Metal Poisoning.”
Cheap Trick, not exactly avowed devil worshipers, were said to have injected the message “Satan holds the keys to the lock” in their song “Gonna Raise Hell.”
Not all supposed backmasking was in praise of the devil. Queen’s international hit “Another One Bites the Dust” was said to contain a message encouraging listeners to “Decide to smoke marijuana.”
Not to be outdone by other artists allegedly doing creepy things on their records, Pink Floyd put a congratulatory message in “Empty Spaces,” on The Wall.
The whole thing got so silly, even “Weird Al” Yankovic got into the act, intentionally backmasking the message “Satan eats Cheez Whiz” on his 1984 album cut “Nature Trail to Hell.”
Accusations of backmasking reached a heated and tragic pitch in 1990, when Judas Priest were taken to court over the accusation that their lyrics and embedded backward messages had driven two fans to suicide. Attorneys argued that they heard the words “do it” in the song “Better by You, Better Than Me.”
Priest were exonerated of the charges; the band’s defense had proved their culpability so untenable as to cast backmasking from the courtroom back to the pulpit.
And thought there are still some who continue to find evil or naughty hidden messages in today’s pop music (Lady Gaga and Britney Spears, in particular, stand accused), the issue remains relegated to the minds of those who want to hear what they want to hear in a bunch of backward noise. In the end, that’s probably where the issue belongs.
Legendary heavy metal vocalist Ronnie James Dio, best known for his work with BLACK SABBATH, RAINBOWand his own band DIO, died of stomach cancer 10 years ago (May 16, 2010) at the age of 67.
Dio was renowned throughout the world as one of the greatest and most influential vocalists in heavy metal history. The singer, who was recording and touring with SABBATH offshoot HEAVEN & HELL prior to his illness, was diagnosed with stomach cancer in late 2009. He underwent chemotherapy and made what is now his final public appearance in April 2010 at the Revolver Golden Gods Awards in Los Angeles.
A free public memorial service was held on May 30, 2010 at Forest Lawn Hollywood Hills Cemetery in Los Angeles, attended by more than 1,500 fans, friends and fellow musicians.
In March 2011, it was announced that the surviving members of the final lineup of DIO would embark on a project with former JUDAS PRIEST frontman Tim “Ripper” Owens under the name DIO DISCIPLES.
Ronnie James Dio, real name Ronald James Padavona, was born in New Hampshire on July 10, 1942.
He moved to Cortland, New York at a young age, where he began playing with local acts. A street in Cortland, Dio Way, was named after him in 1988.
He released his first single, with a band called RONNIE AND THE REDCAPS, in 1959.
His first heavy rock act, ELF, released three albums and opened for DEEP PURPLE, where Dio‘s voice caught the ear of guitarist Ritchie Blackmore. Blackmorerecruited Dio for his own band, RAINBOW, after leaving PURPLE in 1975.
Dio recorded three studio albums and one live set with RAINBOW before exiting in 1978, including “Rising”and “Long Live Rock And Roll”.
He replaced Ozzy Osbourne in BLACK SABBATH in 1980, recording the “Heaven And Hell” and “Mob Rules” albums, plus “Live Evil”, before leaving in 1982. He rejoined the group 10 years later for an album called “Dehumanizer”, and again teamed with the group under the HEAVEN & HELL banner in 2006. HEAVEN & HELL released an album called “The Devil You Know”in 2009.
He also recorded 10 studio albums with his own band, DIO, including a classic 1983 debut, “Holy Diver”, and an equally renowned follow-up, 1984’s “The Last In Line”.
Dio was also behind the HEAR N’ AID project, a collection of metal artists who recorded the track “Stars”in 1985 to raise funds for African famine relief.
Rock and metal musicians around the world paid tribute to Dio in the weeks and months following his death. STONE SOUR and SLIPKNOT frontman Corey Taylorshared his feelings with The Pulse Of Radio about the fallen metal icon. “When I got that news that he had passed away, man, it seriously — it broke my heart. It broke it in two. Because honestly, I just feel like there will never be another Ronnie James Dio. He had such a pure voice — and still singing his ass off. I just know he’ll be missed, and I will miss him as well.”
Ex-VAN HALEN and current SAMMY HAGAR & THE CIRCLE bassist Michael Anthony also shared his memories of Dio with The Pulse Of Radio. “I don’t know anybody that didn’t grow up listening to his stuff,” he said. “You know, VAN HALEN, we used to do from the first RAINBOW album, we did ‘Man On The Silver Mountain’. I remember one time, the second VAN HALEN tour we were doing some festivals in Europe, and we actually played on the same show as Ronnie‘s band. Real powerful voice, you know, and definitely a driving force in hard rock music, that guy was.”
Slash told The Pulse Of Radio that he felt the loss of Dio very keenly. “He’s just somebody I was influenced by,” he said. ” I played all the RAINBOW stuff, I played the DIO stuff, the SABBATH stuff when I was in, you know, high school. I don’t think that it’s really set in what a, you know, huge figure in rock ‘n’ roll we lost, you know. Really major. Probably one of the most influential heavy metal singers of all time.”
For the last two years Foul Body Autopsy has been walking the dusty roads of a world in the rotting grip of the undead. Inspired by the classic zombie films of George E. Romero Tom Reynoldsbrought us the This Machine Kills Zombies album and follow up EP The Unquiet Dead, riff driven masterpieces of melodic death that took us from the first broken casket, through the screams and bloodshed , to the endless silence of a planet devoid of life. Now we reach the final page of this epic story, the concluding words before this volume of the Foul Body Autopsy saga is over.
Purified Ready To Reclaim originally appeared on the This Machine Kills Zombies album, but it has now been completely reworked and reimagined to create the perfect coda to Foul Body Autopsy’s years amongst the dead. This new single version features real drums, courtesy of Alex Micklewright, along with keyboards, synths, acoustic guitar and a wonderfully atmospheric final touch of piano from Aaron Bright. Tom Reynolds has also re-recorded all his vocals and guitar parts – the guitars benefitting from the added power of Blackstar amplification who now endorse Tom. Bringing that finishing touch of magic to this new single is Russ Russell, the noted producer applying his mixing and mastering skills to this lavish rebirth.
Purified Ready To Reclaim will be released on May 20th, a date that just so happens to coincide with Tom Reynolds birthday; a fitting gift to himself from the man labelled “a fucking riff machine” by Angry Metal Guy. So join us for a last walk through the kingdom of the dead, before we turn out the lights forever.
For more information on Foul Body Autopsy click here Visit Foul Body Autopsy on Facebook
Vancouver’s DYATLOVE Premiere Single ‘Empty Lungs’ via GhostCultMag
Debut Self-Titled EP Out May 29th; Pre-Order Available
New Music Video ‘Fragile Fixation’
Vancouver’s Dyatlove are sharing the next single‘Empty Lungs’off their forthcoming debut self-titled EP due out May 29th. The track was the first song vocalist/guitarist Sam Caviglia and guitarist Rikki Jennings-Buford wrote together and what they felt the band was going to sound like moving forward.
Today, Dyatlove is teaming up with GhostCultMag for the track’s premiere HERE.
“I feel like it is classically the heaviest song on the EP with the the least amount of lyrics. At the time we really wanted the drone and doom to be the appealing factor and initially thought of having no lyrics on it at all. As we starting jamming it more we realized we are going to be a band with vocals and we should embrace Sam’s talents rather than dismiss them just because.” adds Rikki Jennings-Buford. Recorded at Rain City Recorders with Matt Roach over the course of a few days, Dyatlove‘s sound is eclectic and diverse, at times morose and at other, heavy sludge. An EP that requires attention to take in, each song takes the listener on a ride with complex lyrical content aiming to grab attention. Guitarist Rikki Jennings-Buford shares his thoughts on the EP:
“I think this EP will be appreciated by more than just fans of heavy music. As musicians, we write the music that we want to hear and we aren’t fans of just metal. There is something for everyone who digs guitar-based music on this EP. We hope these 4 songs give you a good representation of our inspirations and where we could go musically.”
Lyrically it is about the pull of depression and not knowing how to get out of it and how it can take over your entire frame of thinking. Understanding you are hurting people but not knowing how to get out of it.
For fans of Converge, Deafheaven, Thrice, and Explosions In The Sky, Dyatlove‘s debut EP is available for pre-order HERE. The band will also be offering up a cassette version available from Coup Sur Coup Records that will feature an exclusive bonus track ‘Die! Kill! Pig!’.
Track Listing: 1. Pass The Heavens (8:14) 2. Empty Lungs (6:53) 3. Fragile Fixation (4:51) 4. Old Haunts (8:11) 5. Die! Kill! Pig! (2:52)* *(track 5 only on Cassette and Vinyl Version released by Coup Sur Coup Records) EP Length: 31:03
Dyatlove is a passionate foray into the realm of morose singer-songwriter overtones set alongside heavy music. Longtime friends Sam Caviglia (guitar/vocals) and Rikki Jennings-Buford (guitar) bonded over bands such as Sonic Youth, PJ Harvey, and Pinback.
This array of influences drives the diversity of Vancouver, Canada’s Dyatlove, who don’t feel the need to pigeon hole into a particular genre. From sad songs to crushing sludge metal to 2-minute hardcore songs, Dyatlove conveys emotion and brings the heavy with drop A tuning.
Starting individually, the band works on riffs and ideas, eventually bringing them together to be fleshed out further. As full believers of limitless creativity, they don’t tie themselves to classic song structures. The lyrics come from many places, some are stories, some are personal experiences. There are songs about love of family, songs about loss, songs about anger and songs about struggles and addictions. Although varied in the subject matter they all have one thing in common, feeling.
Performing with the same intense passion and emotion that they bring to the jam space, Dyatlove intends to really connect to their fans, and show what their songs mean to them. With Rob Sheldrick (drums) and Justin Lacey (bass), the quartet delivers with an infectious openness and energy. Their self-titled, debut EP is being released on May 29, 2020 with the cassette version being released by Coup Sur Coup Records that will feature an exclusive bonus track ‘Die! Kill! Pig!’.
“they’ve got one behemoth set of four savage cuts on this record that warrant a major repeating, and a lineup of tunes that command & demand your full attention. This whole experience met every hope & expectation I could have had, then smashed & surpassed them all – Dyatlove’s EP didn’t let me down for a solitary second – you need this record on your playlists this year.” – Sleeping Bag Studios
Debut EP “Awakening” Out June 26th via Ultra Nast Records
Relatively new to the Seattle metal scene, Draemora is comprised of seasoned musicians who, despite COVID-19 slowing their debut, are ready to show the nation and the world their EP “Awakening”on June 26, 2020, via Ultra Nast Records.
The EP, lyrically, is about battling with drugs and alcohol, and the long journey out of that hell. Heavy, prodigious and heartfelt, vocalist/guitarist Terry Jenkins notes his personal attachments to the lyrics he writes:
“The lyrics come right out of the pages of my life, the things I went through, and how I got through them. Music is a huge outlet for me to dump the good times, bad times, and everything else in between. The majority of the lyrics are a culmination of direct excerpts from letters, poems, and life experiences from the period between May 2018 and August 2019. It was a very intense time in my life.”
The single“Home” is the most technical song on the EP; energetic and powerful, it’s the first song on the album and sets the mood for the duration of the record. The lyrical content is dark and moody, the music is ferocious and impactful. Jenkins goes into detail:
“A lot of us reach for substances, to put off having to deal with things and unfortunately some never get out of that brutal cycle and erase themselves from the earth, I have known a few souls that didn’t make it. I wanted the song to convey the message that in a world that is so dark and brutal sometimes there is always hope for those who want to find it, and you don’t have to destroy yourself to figure that out.”
Track Listing: 1. Home (3:27) 2. Dead Inside (3:09) 3. Guilt (3:20) 4. Reckoning (3:53) 5. Legion of Scum (3:34) EP Length: 17:25
Band Line Up: Terry Leroy Jenkins – Guitar / Clean Vocals Taylor Wood – Vocals Max Taylor – Guitar Jared Connelie – Drums
EP Credits: – All instrument parts and Vocal parts including lyrics were written, arranged, and Produced by Terry Leroy Jenkins – Drum performance – Jared Connelie – Vocal Performances – Terry Leroy Jenkins and Taylor Wood – Guitar and Bass Performances – Terry Leroy Jenkins – Mixing – Terry Leroy Jenkins – Ultra Nast Productions – Mastering – Erman Hemidovic / Systematic Productions – Album Artwork – Sarah Estrella
Draemora was formed in November 2019 in the Seattle, USA area by Terry Jenkins (vocals/guitar) after his separation from his previous band Odyssian. Seeing it as an opportunity to take a chance and try something different, he wrote a handful of songs with lyrics and demoed them out at his house. These demos attracted the attention of soon to be bandmate, ex-Jesus Wears Armani drummer Jared Conelie and ex-Odyssian vocalist Taylor Wood.
After fleshing out the demos with their own personal touches on the songs, Jenkins found local guitar player Max Taylor and set out to record the 5 song EP “Awakening”.
The EP is nothing short of heavy, melodic metal infused with honest and heartfelt lyrics; This combination works perfectly with the band’s mission to evoke an intense emotional and spiritual experience that brings out the raw emotions that are suppressed all day in normal day to day lives.
“This EP lyrically is all about battles with drugs and alcohol and the long journey out of that hell. I feel that it will connect with anyone who has ever had mental problems, family problems, or experienced relationships falling apart. I didn’t want to come across as disingenuous, or contrived and wrote about things that I really went through and put my life and my problems out there for anyone to interact with as they wish. I think this recording is intense and beautiful. It’s angry and sad and uplifting and I think is a reflection of a human living in modern-day society.” says Jenkins.
With a slight pause in the band’s plans due to the 2020 COVID-19 pandemic, Draemora is already working away on a full-length album to follow and getting ready for when they can pummel crowds live with their heavy melodic brand of progressive death metal.
Their debut EP “Awakening” is due out June 26, 2020 via Ultra Nast Records and will be available on all major digital platforms.
Chuck Schuldiner never wanted to be The Godfather Of Death Metal. It was a genre tag he could never shake off during his short life, and one that’s only grown in stature in the years since he passed away.
Chuck played it very ‘by the books’ when it came to soloing. Sure, he might not have known theory, but he wasn’t ‘making up scales’, he just didn’t have a reference point for the notes he played. He pretty much used the minor/harmonic minor scales exclusively in his soloing.
[Chuck Schuldiner] showed the foresight and courage to not only help create the rules of death metal, but to demonstrate how to break them. — Arthur von Nagel (Cormorant)
There’s something to be said for the visionary who dismantles the very movement he’s created or pioneered. John Coltrane left behind hard bop to scatter sheets of sound, always knowing there was something more to explore. After joining the Communist Party, composer Cornelius Cardew rejected his prominent role in the English Avant-Garde to protect populist folk music. For a humble guitarist from Florida named Chuck Schuldiner, his metal band Death (not to be confused with the proto-punk band of the same name) was a mere instrument. Along with the Bay Area’s Possessed, Death not only helped spawn an entire extreme genre around gore and technical guitar wizardry, but like horror movies sometimes do, Death also challenged our notions of life.
From the 1983 Death by Metal demo by a pre-Death band called Mantas to the hollering banshee wail of Scream Bloody Gore to the early jazz-metal fusions of Human to the glorious 1998 swansong, The Sound of Perseverance, Schuldiner lived the Leonardo da Vinci creed: “Art is never finished, only abandoned.” Not one Death album was the same, but they were very much all connected; the non-linear narrative continued through Schuldiner’s formation of the scream-less progressive heavy metal band Control Denied.
Schuldiner died after a two-year battle with brain cancer.
Vancouver rock n’ roll tribe Rebel Priest has a new music video out for their hit “Sleeping Like A Hangman”.
According to the band, the song is about “addiction to the thing that can’t be controlled, relinquishing that control and understanding that we are in the noose” set with powerful guitar riffs and smooth bass lines making a heavy and raw tune that will get fists raised in the air.
“Sleeping Like A Hangman” comes from the November 2019 album “R’lyeh Heavy” released on Scrape Records that can best be described as “a visceral vision of a call to a past secular-religious god with many different facets of an ancient pantheon”. With utmost confidence, Rebel Priest quotes about the album:
“We’re excited about this one; it’s a culmination of what we’ve been doing since the beginning. Doing our sound, our way; it was quite an in-depth recording process for us this time ‘round and we think the fans will take notice! This is a step above the rest!!”
All killer and no filler is the name of the game for the trio, each song on the album was worked on intensely and blends elements of everything in the rock realm into a concise, banging package.
Rebel Priest is a no-nonsense, real-deal rock n’ roll band composed of three seasoned musicians who have been making their way through the Western Canadian rock n roll scene for years. Vocalist/bassist Jayme Black (Lust Boys, The Toxiks); guitarist/vocalist Benny Kemp (Lust Boys, Road Rash); and drummer/vocalist Nate Pole (Kill Matilda, The Toxiks) bring nothing but unadulterated, high energy rock n’ roll.
Track Listing: 1. The Summoning (2:50) 2. Electric Lady (3:49) 3. Sleeping Like A Hangman (4:22) 4. Elm St. (3:40) 5. Snake Eyes (3:35) 6. Emperor (4:47) 7. Lighten The Load (3:57) 8. Dead End World (4:19) Album Length: 31:18
REBEL PRIEST has been a driving force on Canada’s West Coast rock/metal scene since forming in 2015, winning BEST ROCK BAND in 2017 and 2018 at The Whammys – an independent awards ceremony held in Vancouver, BC.
REBEL PRIEST has stormed the coastal concert stages, headlining their own shows and supporting international acts Udo Dirkschneider (ACCEPT), LORDI, DIAMOND HEAD, Hank Von Hell, FLOTSAM AND JETSAM and THE LAZYS. They have become a regular fixture at Vancouver’s annual Bowie Ball, performing David Bowie covers for the benefit of The Canadian Cancer Society.
Combining NWOBHM with elements of Sleaze and Thrash, the REBEL PRIEST sound has been often described as Thrash n’ Roll. Frontman Jayme Black comments: “We’ve been called Trash n Roll, or Thrash Rock, but we just call ourselves Rock n Roll. A hideously deformed creature of superhuman Rock n Roll.”
“Reminded me of the early Iron Maiden Days” – Metal-Temple
“This record is full of gritty, down ‘n’ dirty fun with a spiked metal grip” – Bravewords
“Great stuff for cracking open a cold one and blasting down the highway at an illegal rate of speed” – Rebelx
OPETH frontman Mikael Åkerfeldt will score the upcoming Netflix series “Clark”. The six-episode drama series about the Swedish criminal Clark Olofsson will be directed by Jonas Åkerlund, whose visually driven signature style often pushes the boundaries of the status quo. Production company is Scandinavian Content Group.
Olofsson will be portrayed by Bill Skarsgård, who is best known for his terrorizing and iconic portrayal of Pennywise in the Stephen King saga “It”. Later this year, he stars in the Netflix film “The Devil All The Time” and in the Sundance hit “Nine Days” for Sony Pictures Classic. On television, Skarsgård most recently starred in Hulu‘s “Castle Rock”, a psychological drama series from J.J. Abrams and Stephen King.
Based on the truth and lies of Olofsson‘s autobiography, the Swedish-language series will feature Clark‘s early years until present day. The notorious gangster started his criminal career in the 1960s and became one of the most controversial personalities in contemporary Swedish history. Convicted of several counts of drug trafficking, attempted murder, assault, theft and dozens of bank robberies, he has spent more than half his life behind bars and has left behind a trail of trauma, heartbreak, disappointment and general devastation. In the 1970s, Clark gave rise to the idea of “The Stockholm Syndrome” during a failed bank robbery in Stockholm — and has ever since kept his position as celebrity criminal fooling all of Sweden to fall in love with him. Just like he desired.
Åkerlund says: “‘Clark’ is the story about the most politically incorrect man, who lived the most politically incorrect life. These are the kinds of stories I always look for. It’s an ultra-violent, witty, emotional, real and surreal biography to put a face to the name Stockholm Syndrome, but it isn’t just about the Norrmalmstorg Robbery. It’s about his whole life and what made him who he is, the truth and lies of his incredible career. Bill Skarsgård is the perfect match for this and he will bring the Stockholm Syndrome to the role. And Netflix is the perfect platform, they are not just the biggest streaming service, they also have the boldness to tell this incredible story.”
Adds Skarsgård: “Clark Olofsson is, for good and bad, one of Sweden’s most colourful and fascinating individuals. I accept this challenge with delight mingled with terror and think that with Jonas and Netflix in the back, we can tell a groundbreaking story with a pace and madness we may not have seen on TV before. Clark‘s life and history is so incredible and screwed that it would even make Scorsese blush.”
Tesha Crawford, director of International Originals Northern Europe at Netflix, says: “We really look forward to continuing our great collaboration with Jonas Åkerlund and Bill Skarsgård. We can not imagine a better team to tell the complex story about Clark Olofsson and how he became one of the most controversial personalities in modern Swedish times.”