Skeletonwitch Address Frontman’s Tour Departure

openupandsay:

We were the first ones to report on this the other night, but now, Skeletonwitch have officially confirmed in a statement that vocalist Chance Garnette has left the band’s current tour with Amon Amarth and Sabaton. Here’s a statement from the band: “Lately there have been a lot of rumors,…

Fuck that sucks, hope all is well

One of the dudes from EMP Rockinvasion interviewed Down/ex-Pantera frontman Phil Anselmo at Summer Breeze Festival 2014 earlier this year.

As it turns out, both Phil Anselmo AND the interview-er, were drunk. Very drunk. The result is hilarious. They sing Danzig songs and talk about what a sexy woman Chuck Billy is. Enjoy.

At The Gates Announced To Headline Decibel Magazine Tour 2015 w/ Converge & Vallenfyre As Full Support + Regional Support To Be Announced In The Near Future; Tour Scheduled To Start March 27th 2015 In Los Angeles, California @ The Wiltern + Ticket & VIP Package Info Coming Soon

In the past, the Decibel Magazine tour has featured the likes of Behemoth, Cannibal Corpse, Napalm Death, Carcass, Gorguts, and more. For 2015, the line-up is just as stellar, with At The Gates scheduled to headline the whole tour in support of their recent album "At War With Reality", alongside the likes of Converge, still supporting 2012’s "All We Love We Leave Behind", and supergroup Vallenfyre, which features the likes of Paradise Lost guitarist Greg Mackintosh, At The Gates/The Haunted drummer Adrian Erlandsson, and My Dying Bride guitarist Hamish Hamilton Glencross, supporting their recent album "Splinters". So yeah, its gonna be killer. The Decibel Magazine Tour 2015 starts up March 27th 2015 in Los Angeles, California at The Wiltern, and ticket info, as well as regional support info, can be expected soon.

LICH KING Announce Signing With Evil EyE Records, To Release New 'Do-Over' EP

metalshockfinland:

LICH KING Announce Signing With Evil EyE Records, To Release New ‘Do-Over’ EP

Massachusetts Thrashers LICH KING are set to release a new EP entitled ‘Do-Over’ which comprises 5 re-recorded songs from the ‘Necomantic Maelstrom’ and ‘Toxic Zombie Onslaught’ albums. ‘Do-Over’ also features…

Niiiiccceee c:

LIVE IN CONCERT
King Diamond w/ Jess & The Ancient Ones
@ Sound Academy (Toronto, Ontario)
October 18th 2014
__________________________________
     The show I’ve been waiting for since the literal moment I first heard "Don’t Break The Oath" years ago. King Diamond. Live. God fucking damn it. It was heavy, operatic, satanic, and at times, genuinely frightening. One of the best shows, if not THE best show, that I’ve ever seen. And considering the amount of bands I’ve seen, that says a lot.
…. Jess & The Ancient Ones were pretty sweet too. Really catchy C:
Anyone else see King Diamond and Jess & The Ancient Ones last night, or gonna see ‘em soon?
Zoom Info
LIVE IN CONCERT
King Diamond w/ Jess & The Ancient Ones
@ Sound Academy (Toronto, Ontario)
October 18th 2014
__________________________________
     The show I’ve been waiting for since the literal moment I first heard "Don’t Break The Oath" years ago. King Diamond. Live. God fucking damn it. It was heavy, operatic, satanic, and at times, genuinely frightening. One of the best shows, if not THE best show, that I’ve ever seen. And considering the amount of bands I’ve seen, that says a lot.
…. Jess & The Ancient Ones were pretty sweet too. Really catchy C:
Anyone else see King Diamond and Jess & The Ancient Ones last night, or gonna see ‘em soon?
Zoom Info
LIVE IN CONCERT
King Diamond w/ Jess & The Ancient Ones
@ Sound Academy (Toronto, Ontario)
October 18th 2014
__________________________________
     The show I’ve been waiting for since the literal moment I first heard "Don’t Break The Oath" years ago. King Diamond. Live. God fucking damn it. It was heavy, operatic, satanic, and at times, genuinely frightening. One of the best shows, if not THE best show, that I’ve ever seen. And considering the amount of bands I’ve seen, that says a lot.
…. Jess & The Ancient Ones were pretty sweet too. Really catchy C:
Anyone else see King Diamond and Jess & The Ancient Ones last night, or gonna see ‘em soon?
Zoom Info
LIVE IN CONCERT
King Diamond w/ Jess & The Ancient Ones
@ Sound Academy (Toronto, Ontario)
October 18th 2014
__________________________________
     The show I’ve been waiting for since the literal moment I first heard "Don’t Break The Oath" years ago. King Diamond. Live. God fucking damn it. It was heavy, operatic, satanic, and at times, genuinely frightening. One of the best shows, if not THE best show, that I’ve ever seen. And considering the amount of bands I’ve seen, that says a lot.
…. Jess & The Ancient Ones were pretty sweet too. Really catchy C:
Anyone else see King Diamond and Jess & The Ancient Ones last night, or gonna see ‘em soon?
Zoom Info
LIVE IN CONCERT
King Diamond w/ Jess & The Ancient Ones
@ Sound Academy (Toronto, Ontario)
October 18th 2014
__________________________________
     The show I’ve been waiting for since the literal moment I first heard "Don’t Break The Oath" years ago. King Diamond. Live. God fucking damn it. It was heavy, operatic, satanic, and at times, genuinely frightening. One of the best shows, if not THE best show, that I’ve ever seen. And considering the amount of bands I’ve seen, that says a lot.
…. Jess & The Ancient Ones were pretty sweet too. Really catchy C:
Anyone else see King Diamond and Jess & The Ancient Ones last night, or gonna see ‘em soon?
Zoom Info

LIVE IN CONCERT

King Diamond w/ Jess & The Ancient Ones

@ Sound Academy (Toronto, Ontario)

October 18th 2014

__________________________________

     The show I’ve been waiting for since the literal moment I first heard "Don’t Break The Oath" years ago. King Diamond. Live. God fucking damn it. It was heavy, operatic, satanic, and at times, genuinely frightening. One of the best shows, if not THE best show, that I’ve ever seen. And considering the amount of bands I’ve seen, that says a lot.

…. Jess & The Ancient Ones were pretty sweet too. Really catchy C:

Anyone else see King Diamond and Jess & The Ancient Ones last night, or gonna see ‘em soon?

ALBUM REVIEWS!; New Music From Godflesh, Orange Goblin, Rigor Mortis, Exodus, Revocation, The Acacia Strain, Rings Of Saturn, Scar Symmetry, Starkill, Pig Destroyer, Hang The Bastard, Sanctuary, Kreyskull, Blut Aus Nord; October 16th 2014

HOLA EVERYONE!

College kicked me in the ass hard. But on the bright side, I managed to preview tons of music these past two weeks from the likes of Hang The Bastard, Blut Aus Nord, Orange Goblin, Rigor Mortis, Rings Of Saturn, Pig Destroyer, and more! Plus the long-awaited comeback album "A World Lit Only By Fire" from Godflesh, and “Blood In, Blood Out” by Exodus, their first new album with Hatriot frontman Steve ‘Zetro’ Souza since 2004’s "Tempo Of The Damned"!

To top it all off, the latest from one of my absolute favourite metal bands; "Deathless" by Revocation. Coming nearly a year after the self-titled "Revocation", this album again see’s Revocation pushing thrash and death metal in tons of amazing ways. Seriously, we’ve got an album of the year contender here.

_____________________________________________________

"A World Lit Only By Fire" by Godflesh

Industrial Metal

Released October 07th 2014

     Just imagine: the year is 1989, a few years before acts like Marilyn Manson, Powerman 5000, and Mushroomhead totally alienate what is now known as industrial metal, and you’ve got a copy of a weird new album called “Streetcleaner” from a weird new band called Godflesh. It was heavy, but not as fast as the likes of Ministry or Prong. This was a different type of industrial, one that emphasized mood and doom. To this day, nobody in the industrial metal genre still shocks quite the way Godflesh did (at least, not without gimmicks or gothic imagery), and “A World Lit Only By Fire” is more than happy to take you back to that time when industrial was as raw and primal as punk rock itself. Granted, that hardly makes it the same in general presentation; as a whole, “A World Lit Only By Fire” is extremely minimalistic, often focusing on droning riffs with ample sound affects and some heavy hardcore shouts. Inexperienced listeners would be forgiven for confusing this with sludge as it shares many similarities, as riffs tend to repeat and drag. I can definitely see this being an issue for some people, but oddly enough, it works for Godflesh. That thick sound just straight hits all the right notes and embodies a spirit that as noted before, is rare in industrial. There is no party music. This is slow, droning, Code Orange-styled anger with a ton of atmosphere. If you love atmospheric music, like myself, this album is a joy from start to finish even with its slow turns. Those used to the more upbeat styles of industrial however should look elsewhere. Welcome back Godflesh.

Rating: 4/5 (Great!)

"Back From The Abyss" by Orange Goblin

Stoner Metal/Heavy Metal

Released October 07th 2014

     Orange Goblin have always been reliable for quick bursts of southern-dredged rock and metal, and while the shifts away from doom metal are still a tad of a bummer, that trend nevertheless continues on “Back From The Abyss”. The writing has not changed at all, but that’s a good thing in the case of Orange Goblin, as the sound encompasses slow droopy blues rock, speed metal, straight up sludge, and classic hard rock at the switch of a flip. Technically generic in every sense of the word, but this brand of simple laid-back rock has always been a big-time guilty pleasure of mine, which is satisfied via the Grand Magus-like doom rock of ‘Mythical Knives’, the righteous punk attitude of ‘Bloodzilla’, or the huge sludgy bursts of ‘The Shadow Over Innsmouth’. The album does tend to drag as filler bleeds together and doesn’t offer a lot of variety aside from stoner rock goodness, but whats wrong with that? The riffs envelop the sound as Ben Ward lets out his signature croons and drums collide with bass, and the result, while far from original, is enjoyable even despite its dry moments.

Rating: 3/5 (Decent)

"Slaves To The Grave" by Rigor Mortis

Thrash Metal

Released October 07th 2014

     Rigor Mortis have never cemented a spot in the metal scene. As cruel as it sounds, their biggest claim to fame with the untimely death of guitarist Mike Scaccia, who in turn, was better known for his work with Ministry. Much like Ministry though, this loss has not affected Rigor Mortis. Infact, they’ve persevered, releasing their last recorded music with the late Mike in the form of “Slaves To The Grave”, an album just over 2 years in the making. Even despite decades of obscurity, Rigor Mortis sounds as demented and manic as even the genre’s best, as the album unloads immediately on the powerhouse of ‘Poltergeist’, a furious blend of extreme metal ideas that takes a weird dip near the halfway mark, as Mike rips into a 3 minute trippy and melodic solo. On paper it would make no sense, but it just seems to work. It’s that type of songwriting and ballsy risk-taking that makes the album fun, with the Carnivore-esque brutality of ‘Flesh For Flies’, or the NWOBHM speed metal base of ‘The Infected’. However, that risk-taking only goes so far, as Rigor Mortis completely jumps the shark on closing track ‘Ludus Magnus’, a completely over-the-top, overly-long, and incredibly pretentious track with a scope and scale that reeks of Rhapsody Of Fire. It derails what was an incredibly fun thrash metal album. Ignore that final track though, and in the end you’re left with something decently creative with a lot of gusto.

Rating: 3.5/5 (Good)

"Blood In, Blood Out" by Exodus

Thrash Metal

Released October 14th 2014

     While Exodus has enjoyed some solid commercial success and a cult following, they’ve never experienced the critical praise that Testament, Metallica, Megadeth, and so many more of their peers have enjoyed. Don’t get me wrong, “Bonded By Blood” and “Fabulous Disaster” are great records, but they’re so overshadowed by the likes of “Master Of Puppets” or “Rust In Peace”. “Blood In, Blood Out” is the gamechanger that Exodus has been craving, as it goes all the way back to basics, even bringing Hatriot frontman Steve ‘Zetro’ Souza back into the mix, resulting in a delicious homage to old-school thrash with the foundations, spirit, and evolutionary changes of modern thrash. Do I prefer frontman Rob Dukes and everything he did with Exodus? A little, but I can’t deny the nostalgic rush that comes forward once Zetro’s signature squeal kicks in alongside Gary Holt’s always classic riffery, and traditionalist fans might be interested to note that some of Gary’s time with Slayer has crossed over into the guitar writing, as his work is as sharp and manic as ever. This, along with the more than heavy contributions of the rest of Exodus results in an album of swift and thrilling thrash assaults, whether it be through the ‘The Toxic Waltz’ reminiscing of the title track, the furious Kirk Hammett guest splurge of ‘Salt The Wound’, the chunky death metal-like riff-fest of ‘BTK’, or the empowering drive that is ‘Food For The Worms’. “Blood In, Blood Out” is a throwback in the best way possible, and inarguably their best work since “Bonded By Blood”.

Rating: 4.5/5 (Incredible!)

"Deathless" by Revocation

Thrash Metal/Technical Death Metal

Released October 14th 2014

     What shocks the most about “Deathless” is how different it is from previous Revocation albums, and yet, still very much the same. They’re embracing much more death metal here than on last year’s thrash centered self-titled album, but that’s hardly new territory for them. There’s also no banjo, no organ, no cowbell, none of the trademark out-of-place rock experimentation that has defined the band in recent years, and yet this is still their most progressive album yet. How? Simple. They’re pushing tech-death/tech-thrash/death-thrash/whatever-the-fuck-you-wanna-call-it by taking it back to basics. “Deathless” has both the rage, melody, and dynamic of acts like Megadeth and Testament, and the blinding technicality of Gorguts and Death, with just enough subtle spices to build upon these initial flavours and create a pot of smart, brooding extreme metal that the community has desperately been wanting. Dave Davidson, with no disrespect to the rest of the band, is the star again, as his hooks tromp along riff after riff, like the speed metal acrobatics of ‘Scorched Earth Policy’, or on the insanely catchy title track ‘Deathless’. But that hardly means the rest of Revocation don’t keep up; the drum and bass are both deep in the sound and tackle just as much as guitar, most notably on the albums titanic ‘Madness Opus’, emploding with Suffocation-like groove before devolving into a sweet waltz-like interlude, and then back into full on extreme metal. Revocation may have ditched the weird experimentation, but not the insane musicianship and creativity that came with it, and it has created Revocation’s most consistent, intelligent, and abrasive album to date, and considering their amazing discography, that’s no easy feat.

Rating: 5/5 (Perfect!)

"Coma Witch" by The Acacia Strain

Deathcore

Released October 14th 2014

     The Acacia Strain’s brand of deathcore is different from your standard core: typically darker, slower, sludgier, and EXTREMELY abrasive, The Acacia Strain continue  to embrace the best aspects of death metal and hardcore here on “Coma Witch”, and yet half the album lacks that visceral punch. It’s not bad, quite the opposite in fact, but it doesn’t ring quite the way previous The Acacia Strain material did, and believe it or not, the answer is more obvious than you think. The problem comes in the form of the albums 27-minute closer ‘Observer’, a track so good, so focused, and so completely rich in flavour that it should’ve been the entire album on its own. It’s dramatic, atmospheric, and at times, quite scary, as it shifts and curves over its near half hour length, completely overshadowing every other track on the album. The riffs in this track are particularly crushing, and the use of samples are stunning. Infact, ‘Observer’ is so good, it puts a new standard for what deathcore is capable of when done RIGHT. Unfortunately, the rest of the album does not live up. ‘Human Disaster’ channels some of that chaos and horror, and ‘Bridgepainter’ has a boatload of cool noise-rock influence from time to time, but they lack the dedication of ‘Observer’ and feel like filler. Instead of a great album, we get one great song. A damn long, multi-part anthem of epic proportions, but one song nonetheless. Buy ‘Observer’, ignore the rest.

Rating: 3.5/5 (Good)

"Lugal Ki En" by Rings Of Saturn

Deathcore/Technical Death Metal

Released October 14th 2014

     Rings Of Saturn’s style is one that is highly debated in the metal community, scorned for simply being deathcore and disguising it with technical flourishes, but also praised for trying to push the deathcore genre into new and different places. Granted, the accusations of Rings Of Saturn playing at half-speed and using Guitar Pro to write tabs, does force me to lean towards the former, but I’m pushed to the latter after having seen them live this year on the Summer Slaughter Canadian Club Tour. So where does that leave “Lugal Ki En”? In a comfortable spot, for the most part; this is very much so a Rings Of Saturn album, for better or for worse. The flashy solo’s, the over-technical bursts, and the sci-fi worshipping madness is all here, and if you were a fan before, then “Lugal Ki En” probably won’t change your mind. Lucas Mann’s guitar work, whether entirely real or not, paints a great backdrop for huge blasts of spacey deathcore. It still has that almost Voivod-level of weirdness that has defined their genre, and its sensationally strange. Admittedly the natural insanity of the music seems forced, but that hardly makes it bad, especially considering that it adds so much to their deathcore base, which as usual is still a genuine blast. The only real lull moment is arguably the cover of Suicide Silence’s ‘No Pity For A Coward’ because it’s the only track that isn’t quite as insane, and ultimately doesn’t demand your attention as much, at least when compared to the vicious assaults of tracks like ‘Desolate Paradise’ or ‘Senseless Massacre’. You could argue the album is formulaic, but it’s a formula that still works, at least for fans, making “Lugal Ki En” a fun, if perhaps sometimes pretentious, deathcore album.

Rating: 3.5/5 (Good)

"The Singularity (Phase 1 - Neohumanity)" by Scar Symmetry

Progressive Metal/Melodic Death Metal

Released October 14th 2014

     What do I know about Scar Symmetry? Honestly, not a damn thing. I’ve missed out entirely on their first albums, so I went into “The Singularity (Phase 1 - Neohumanity)” completely blind. What I found was certainly ambitious and interesting, but also pretentious, and at times, just plain cheesy. The concept itself sounds like something out of “The Terminator” but more convoluted, as Per Nilsson, who also produced, mastered, and composed all the music, pens lyrics of technology overwhelming the citizens of the future, and gets more complicated from there with apparent business who specialize in A.I., robotic brains, and other related tech, plus a severe handful of social issues thrown in. It’s a bit too much for my tastes, and considering it’s stretched out over 3 albums, I can only picture it getting even harder to follow from here. Musically the album is sharper and much more engaging, with guitar and synth work in particular shining over everything else, like in the Fallujah-esque tinges of ‘Cryonic Harvest’, or the great melo-death verses of ‘Limits To Infity’. Clean vocals and hooks on the other hand tend to be multilayered affairs that ultimately seem desperate and silly, especially with the subject matter. If you like this concept, this style of progressive metal, and what Scar Symmetry is aiming for, then good for you. For me personally, this album went nowhere, and unless Scar Symmetry sharpens their stuff big time, I can only picture the remainder of the trilogy going downhill from here.

Rating: 2/5 (Poor)

"Virus Of The Mind" by Starkill

Melodic Death Metal/Symphonic Metal

Released October 14th 2014

     Starkill turned quite a few heads last year with their epic power metal infused brand of melodic death metal, and while “Virus Of The Mind” is very much a Starkill album in every sense of the word, you’ll be interested to know that the band has seen some noticeable changes in dynamic and sound. Performance wise, these guys are still sharp as nails, executing tons of punchy riffs and NWOBHM-worshipping solo’s at every turn, but there seems to be a strange dash of Cradle Of Filth or even Dimmu Borgir influence creeping in, with gothic hooks, archaic poetry-like lyrics, and plenty of mellow gothic tones, the same type associated with the likes of HIM. Don’t fret though, this is still Starkill. The new sounds and influences are handled extremely well, be it through the gothic experimentation of ‘Before Hope Fades’, the grand orchestral interplay of ‘Breaking The Madness’, the infuriating melodic black metal scope of ‘Winter Desolation’, or the infectious wall of sound that defines ‘Skyward’. There’s a lot of stuff going on before, as power metal is encompassed now by neo-classical, symphonic, and gothic metal, but it shows a smarter, deeper, and more experimental side of the band that we previously just saw as a bunch of melo-death fanboys. I can imagine some of the more gothic experimentation won’t resonate with some fans, but that’s their problem, and it doesn’t change the fact that “Virus Of The Mind” is a pure joy from start to finish.

Rating: 4/5 (Great!)

"Mass & Volume" (Re-Release) by Pig Destroyer

Doom Metal

Released October 14th 2014

     Pig Destroyer doing doom metal sounds almost as weird as Celtic Frost doing glam metal, but often in the world of metal, its the truly strange things that turn out to be so fucking true. Unlike Celtic Frost’s change in style though, this is focused, tight, and EXTREMELY heavy, showcasing a deeper side of Pig Destroyer that they’ve never quite had the chance to show off. I never heard the original release of this EP personally, so I won’t bother judging how it has changed, but I know that “Mass & Volume” in its current state absolutely RIPS. The speed of the music is different, but the uncompromising fire has not been compromised, as huge sludgy riffs pile on, and J.R. Hayes lets out his classic gutturals with all-out force. It’s interesting to hear Pig Destroyer with a bassist now, as John Jarvis plows through slow prodding licks emphasized by a fuck-load of distortion, cymbal rings, and pure attitude. There are a few downsides to the new style though, one being that J.R.’s lyrical whips aren’t quite as audible in this new style, a genuine shame considering his lyrics are such a staple to the music. The only other downside? It’s too god-damn short. By the end of “Mass & Volume” I was ready to hear Pig Destroyer go ape-shit with doom, but I only got an EP’s worth of material. With that said, this is absolutely one of the cooler and more interesting EP’s put out by any band in a long time, and will hopefully pave the way for some future experimentation from the band.

Rating: 4/5 (Great!)

"Sex In The Seventh Circle" by Hang The Bastard

Sludge Metal/Black Metal

Released October 14th 2014

     With a name like “Sex In The Seventh Circle”, I had no idea what to expect from this album. What I found, was a steaming, wretched, and often sleazy romp of sludge, psychedelic rock, death n’ roll, black metal, and pure occult rock weirdness, and I couldn’t stop smiling the entire time. Whether it be through the huge doomy assault of ‘The Majestic Gathering Of Goetia’, the ritualistic sludge of ‘Keeping Vigil’, or the Skeletonwitch-like riffery and dynamic of ‘Hornfel’, Hang The Bastard consistently shock and surprise. Part of this is in the bands musicianship, as they co-ordinate huge blackened sludge passages that sound like Black Sabbath on some horrifying dosage of crystal meth, led by the vile shrieks of frontman Thomas Hubbard, whose voice is about as icy and cold as some of black metal’s most infamous vocalists. The title track in particular boats all of this, and for that reason, is my favourite track on the album, with its industrial-like beat and some huge thumping riffs. “Sex In The Seventh Cirlce” delivers on the promise of its title, dishing out cold, grimey, and punishingly heavy track after track with barely any space to breathe. But who needs air when you can have “Sex In The Seventh Circle”?

Rating: 4.5/5 (Incredible)

"The Year The Sun Died" by Sanctuary

Heavy Metal

Released October 14th 2014

     Not familiar with Sanctuary? That’s ok, most people aren’t. A forgotten relic of early 80’s power metal, Sanctuary reforms now after the unfortunate demise of Nevermore, because coincidentally, most of these guys performed with Nevermore. Hell, even Jeff Loomis was involved. Now, their official return is available to all, though perhaps it’s not as triumphant as Sanctuary would like to think. To put it simply, the writing just isn’t as good this time around, as songs tend to repeat very similar structures and even lyrics come across as just drek (‘If everything is frozen, nothing feels the same’. I’d love to punch that lyric in the face). This unfortunately transitions to some uneventful musicianship, be it through the Testament-worshipping semi-thrash of ‘Frozen’, the trope-filled abrasive metal of ‘Arise & Purify’, or the almost power ballad-like slop of ‘I Am Low’. There is an interesting doom and power metal fusion in the form of ‘Exitium (Anthem Of The Living)’, but even that doesn’t go anywhere after a while, and repeats itself multiple times before the end. Instrumentally the album is alright, and even the incredibly limited range of Warrel Dane has some cool spots, but the music itself lacks that X factor that made Nevermore great. The hooks miss, the riffs are flat, and the album seems dry for ideas, making this an uneventful return for a once-strong band.

Rating: 2/5 (Poor)

"Tower Witch" by Kreyskull

Doom Metal/Heavy Metal

Released October 14th 2014

     Kreyskull exist in a variety of subgenres of rock and metal, bringing in influence from folk rock, occult rock, classic doom, NWOBHM, blues rock, and psychedelic rock to the base of “Tower Witch”. Ambitious for sure, and a cool mix of combinations that should all work in theory, but Kreyskull’s execution is lacking in some areas. Vocals is the main area, as they lack range, and in tracks like the title track seem a little silly as Kari A. Killgast whispers into his mic for most of his verses, and sounds like a poor man’s Geoff Tate in the un-eventful chorus. Guitar-work as well comes across as not only generic, but lacks that “umph” factor. To phrase it better, it’s just not that heavy. Solo-work is significantly better, but nothing we haven’t heard before, and the same can be said for bass and drums. The albums reaches into the genres above seem wasted on short little acoustic pieces here and there and 70’s rock lyrical tropes, and by the end of “Tower Witch”, Kreyskull hasn’t yet really impressed. Kreyskull have some good ideas, but the final result lacks the edge and wit needed to expand on those good ideas, and “Tower Witch” will likely fade into obscurity very shortly after hearing it all the way through.

Rating: 1.5/5 (Bad)

"Memoria Vetusta III: Saturnia Poetry" by Blut Aus Nord

Melodic Black Metal

Released October 14th 2014

     Acting as the sequel to 2009’s “Memoria Vetusta II - Dialogue With The Stars”, this latest from Blut Aus Nord may seem different compared to the acts more recent technical offerings, via the “777” trilogy of albums, and that’s because quite frankly, it is. This series is more focused on Scandinavian music and pagan metal, recalling the likes of Emperor or early Darkthrone to an extent, and is a breath of fresh air for fans missing a grander type of black metal in today’s scene. The scale and scope of all the tracks is ultimately what stands out the most to me, as melodic choirs soar over barrages of blast beats, tremolo picking, and huge echoed shrieks, be it through the icy terrain of ‘Paien’, the early-Behemoth extremity of ‘Tellus Mater’, or the subtle hook-laden orchestration of ‘Metaphor Of The Moon’. Vocals are tough to hear in the sound mix, as they are pushed to the background in place of the albums grandiose guitar playing and symphonics, but everything is arranged so tight and wound that it’s hard to argue. Fans expecting more avant-garde type stuff along the lines of “777” best look elsewhere, but fans of huge dramatic black metal should look no further than this fine instalment in a solid series of albums.

Rating: 3.5/5 (Good)

"Famine Of God’s Word" by Bloodbath

Bloodbath is an interesting spot nowadays, having officially replaced Opeth frontman Mikael Akerfeltd with the very unexpected Paradise Lost frontman Nick Holmes, now ramping up to their upcoming album "Grand Morbid Funeral", which Bloodbath/Katatonia guitarist Per Eriksson described as something 'contemporary core and purists of melodeath' would not enjoy. I hope he’s wrong though, ‘cause "Famine Of God’s World" is a fucking BANGER of old school death metal. It’s everything you expect from great death metal, and I find it hard to believe the average metalhead wouldn’t dig it, given how ferocious it is at the core. Nick Holmes sounds great in his new role too, hopefully this puts to rest any doubt that “Grand Morbid Funeral” wouldn’t suck.

Speaking of which, “Grand Morbid Funeral” comes out November 17th via Peaceville Records. There are no touring plans at the moment, but Bloodbath will make their first North American appearance next year at Maryland Deathfest 2015 with the likes of Obituary, Suffocation, Napalm Death, D.R.I., Origin, and more. Here’s hoping a tour comes out of THAT.

So who remembers Teenage Time Killer?

….thats what I thought.

Last year, Corrosion Of Conformity’s own Reed Mullin and Mike Dean confirmed a supergroup of sorts named Teenage Time Killer, also featuring Lamb Of God frontman Randy Blythe and Foo Fighters/ex-Nirvana powerhouse Dave Grohl. Then nothing happened. (If you don’t believe me check this out; http://loudwire.com/randy-blythe-corrosion-of-conformity-dave-grohl-join-new-project/)

But NOW, we’ve got a snippet of footage from what appears to be a Teenage Time Killer recording session, with Reed Mullin, Mike Dean, and Ghost Of Saturday Nite singer Jonny Webber. So I guess that’s still a thing.

Last we heard, the record was also going to feature the likes of Soulfly/ex-Sepultura frontman/guitarist Max Cavalera, ex-The Misfits guitarist Doyle Wolfgang Von Frankenstein, Prong/Danzig guitarist Tommy Victor, Municipal Waste/Iron Reagan frontman Tony Foresta, and Slipknot/Stone Sour frontman Corey Taylor. If thats not fucking heavy then I guess I don’t know what is.

Frontman King Diamond Talks About Upcoming North American Tour w/ Jess & The Ancient Ones, Stage Production, & Collaborating w/ Volbeat On "Room 24" Track + Reflects On Life After His Triple Bypass Surgery & His New Perspective On Life; Talks About Demoing New Music w/ Guitarist Andy LaRocque + No Word On When New Material Will Be Finished Or Released

In a brand new interview with Revolver Magazine, the famed solo artist and former Mercyful Fate frontman King Diamond went into great detail of the work going into his upcoming North American tour alongside Jess & The Ancient Ones, including the stage production, fan expectations, and the insane amount of work and effort that has gone into designing the stage show. King Diamond also touched on his recent work musically, including his collaboration with Volbeat on the Grammy Award-nominated "Room 24", and demoing with King Diamond/ex-Death guitarist Andy LaRocque. And of course, King Diamond addresses his the aftermath of his 2010 triple bypass surgery, stating ‘The doctors were shocked - How? But we just did what you told us to do. We’re serious about it’ and 'For me personally, my voice has never been this good… I cannot believe that today it is easier for me to sing all those notes than it was. I feel confident going on tour'.

"Custer" by Slipknot

We’re now a week and a half away from Slipknot’s next highly anticipated studio album “.5: The Gray Chapter”, and now the hype is gonna build a little more with “Custer”, the latest single from the upcoming album. It channels the early nu metal foundation of their 1999 self-titled album, but also has the groove and melody of material from 2008’s “All Hope Is Gone”, so it embodies a decently wide range. The sound effects are a joy too, just because of the weird tinges they add to the music. That said, I don’t know if I like it as much as “The Negative One” or "The Devil In I", but that hardly makes “Custer” a bad song.

".5: The Gray Chapter" is set for release October 21st via Roadrunner Records. You can catch Slipknot very soon at Knotfest U.S.A. with the likes of Carcass, Testament, Anthrax, Suicide Silence, and more, and then on tour in support of this album, alongside Korn and King 810.

Green Day, Nine Inch Nails, The Smiths Nominated For Rock And Roll Hall Of Fame

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Nominees for the Rock And Roll Hall Of Fame have been announced. Green Day, Nine Inch Nails, and The Smiths, among others, are on the list. Check out who got nominated below.

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Stevie Ray Vaughn, Lou Reed, and War finally getting their dues rocks. Nine Inch Nails is a solid choice too.
But really? N.W.A. again? Deep Purple and Judas Priest still aren’t in the Hall Of Fame, and N.W.A. gets nominated two years in a row? C’mon guys.

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