Can’t Wait Forever has a new single out now and available for streaming, taken from the upcoming album “Crown Of Emptiness.” Check out “The Code” below. “Crown Of Emptiness” was recorded, mixed, and mastered by Jacek “Jaq” Moroziewicz, while the clip below was crafted by Grimheart of Milosz Z
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Ravenscry has a new music video out now for “Alive,” taken off 2014 album “The Attraction of Opposites.” The video – available below – features special guest Ruben Paganelli on soprano saxophone. The album’s full track listing is as follows: 1
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Plasencia, Spain-based band Re:inanimate just released a guitar playthrough video clip for the new song “Hadron.” Check it out below, or follow the latest on the metal group by heading over to Facebook here .
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The crossover thrash powerhouse known as the Golers have just released a digital compilation in conjunction with Dewar PR. The purpose of the album is to raise funds for Margriet Tan, the wife of Geoff Tan (the original Golers bassist), who was diagnosed with cancer. The album consists of 11 tracks by some of the best up and coming underground metal acts and includes an exclusive track from the new project from Daniel Jackson of Void Ritual.
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Megadeth have confirmed Lamb Of God’s Chris Adler as the man who’ll play drums on their 15th album.
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Capital Chaos TV conducted an interview with ALL THAT REMAINS guitarist Oli Herbert on Febraury 20 at Ace Of Spades in Sacramento, California. You can now watch the chat below.
Speaking about ALL THAT REMAINS‘s songwriting process, Oli said: “We’ll start with a couple of different ideas, and then they progress into a song. If we feel the song is good, we keep it, we use it. But we try to write quality over quantity. So we might have extra riffs floating about, but nothing like 30 songs, or 40 songs. W ejust don’t work like that.”
Asked if he usually starts writing material for a new album when it’s time to begin work on a new CD or if he also uses older ideas that have been collected over the years, Oli said: “It depends. I tend to write a little bit while we’re on tour. But, usually, what I’ve been doing lately is kind of making a really big focus to start the writing process, when we get off the tour and just get into that mindset. ‘Cause when you’re on tour, it’s hard to stay in that mindset for too long. ‘Cause you’ve gotta work on the stuff you’re playing that evening, so it’s more of a balancing act. So when I get home and I have a stretch of a couple of months to really work on writing, I really work on writing.”
ALL THAT REMAINS‘s new album, “The Order Of Things”, was released on February 24 via Razor & Tie. The CD follows up the group’s 2012′ effort, “A War You Cannot Win”, which featured the massive rock singles “What If I Was Nothing” and the chart-topping “Stand Up”.
The new disc marks the first time that ALL THAT REMAINS singer Phil Labonte collaborated on his lyrics, in this case with producer Josh Wilbur. Labonte told The Pulse Of Radio how that worked out. “He’s the first guy that I collaborated lyrically with,” he said. “It’s always been a situation where we’ll come up with vocal ideas, maybe cadences, and I’ll come up with the ideas and words that go into it. So this record has really been vocally the most collaboration I’ve ever had from a producer/writer, working with, you know, the songs we came up with.”
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As BLABBERMOUTH.NET exclusively reported on March 14, it has now been made official that MEGADETH has hired drummer Chris Adler (LAMB OF GOD) to play on the band’s new album.
MEGADETH has released the following official statement announcing the collaboration:
“Dave Mustaine, the creative driving force behind original American metal and hard rock crossover giants MEGADETH, and Chris Adler, drummer for the leaders of modern American heavy metal LAMB OF GOD, will join original bassist David Ellefson in the creation of MEGADETH‘s anticipated forthcoming album. Adler will be appearing as a guest on the album and contributing his thundering, hard-hitting, and technically precise style and skill, adding new blood and drive into the mix while staying true to MEGADETH‘s roots.”
In addition to Mustaine, Adler and bassist David Ellefson, the recording lineup for MEGADETH‘s new album is rumored to include Brazilian guitarist Kiko Loureiro, best known for his work with ANGRA.
MEGADETH has yet to announce permanent replacements for drummer Shawn Drover and guitarist Chris Broderick, who quit the group last year.
The band was still finalizing the recording lineup for its new album earlier in the month, with Mustaine tweeting on March 10 that he was “excited to be auditioning one of my final picks for my new guitarist today.”
Drover quit MEGADETH on November 25, 2014 “to pursue [his] own musical interests.” His statement can be found at this location. Guitarist Chris Broderick announced his departure from MEGADETH a few hours later, saying that he was exiting the group “due to artistic and musical differences.”
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Video footage of MEGADETH bassist David Ellefson playing the band’s song “Five Magics” at the March 27 stop of his “My Life With Deth” spoken-word tour in Melbourne, Australia can be seen below.
Speaking about why he chose Australia as the first country in which to do a spoken-word tour, Ellefson told Spotlight Report: “The idea of doing a spoken-word tour came from an Australian concert promoter, and I loved it. We started to talk about it last year. Ironically, it was right around the time we were scheduled to be here with Soundwave.”
He continued: “I’ve never done spoken word before.
“I like taking chances and doing new things to broaden my horizon.
“I enjoy working with new people, especially with forward-thinking people with out-of-the-box ideas, so this is really great.
“I love the idea of getting into a new medium, like in this case spoken word, since there is so much you can do with that. And I really wanted to come back down to Australia. I love being in Australia, because it feels like being on vacation. Australian people have a unique spirit about them, and metal fans in particular.”
Asked what fans can expect from the “My Life With Deth” tour, Ellefson said: “There’s a few things in the repertoire that I’m already preparing, as far as stories and the flow of it all go.
“The repertoire should be loose enough for each evening to become unique.
“I know the cities in Australia are all unique with their own flair, so I hope that each performance in each different city becomes a unique night.
“When you prepare a show with a band, you prepare your repertoire, the setlist, the sound and lights, but because it is just me this time, it becomes much looser.
“I like the idea of being able to talk pretty openly about my personal life, [my book] ‘My Life With Deth’, and everything else that goes on around it, and it also gives the audience the chance to do a [question-and-answer session].
“When I do bass clinics, the Q&A is usually one of my favorite parts, since we get to talk personal and we can open up for discussion — and I love doing that stuff.”
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As we’ve officially entered the Floor Jansen era of NIGHTWISH, the hangover from the Anette Olzon controversy has been, for all intents and purposes, chased away. Olzon‘s moved on with her solo album from last year, “Shine”, while NIGHTWISH themselves look to outdo their widely embraced “Imaginaerum” from 2011. This includes the addition of not only Jansen, but Kai Hahto on drums, who replaces Jukka Nevalainen, on sabbatical. It also has a 23-minute number, “The Greatest Show on Earth”, which condenses “Endless Forms Most Beautiful”‘s lengthy Darwinist exhibition as the most ambitious work NIGHTWISH has yet attempted.
Opening with a brief spoken passage by evolutionary biologist and author Richard Dawkins, “Shudder Before the Beautiful” chugs forth, not so much with might but with a steady pulse and thick riffs to give Floor Jansen a rocking portal to gently work her way in. She doesn’t assert herself more than she needs to, letting the instrumentation layer up and ultimately blossom with choral and string supplements. As NIGHTWISH‘s intent with “Shudder Before the Beautiful” is to point out the grandeur of the world around us, the song is beautifully structured and accented by Emppu Vuorinen‘s gorgeous guitar solo and Tuomas Holopainen‘s responsive key scales.
As the guitars get a little more attention on this album aside from the encompassing orchestral elements, “Weak Fantasy” is as meaty as it is lavish. Floor Jansen spikes herself in spots to accent the increasing riffs on the choruses, but shrewdly maneuvers the verses with delicate tones. By instinct, Jansen has already learned her way around this band, and instead of flaunting the role of symphonic metal diva, she gives a richly filled song like “Weak Fantasy” (one bedecked by flamenco swipes and war drum percussion) a tasteful frontal nudge instead of a full-on rip, regardless of Floor‘s capacity to do the latter.
Piano and Troy Donockley‘s uilleann pipes greet the bass-driven single “Elan”, a tried ‘n’ true softie rocker (LEAVES’ EYES, for instance, have made their bread and butter on songs like this). The sweeping harps and strings give the song added grace, which Floor Jansen handles with a confident, if restrained lilt. The more theatrical “Yours is an Empty Hope” follows afterwards like a xylophone and violin-aided pounce into a film action sequence. The guitars grind and Floor Jansen responds to the song’s swell by showing off her tougher palettes in the shadow of choral gushes and battering backing vocals from bassist Marco Hietala. Jansen does the same later in the album on the sweatier moments of “Alpenglow”. Wisely, neither she nor the band cheats “Yours is an Empty Hope” by getting over-aggressive. A terrific, stepped-back progression allows NIGHTWISH to create mystique before letting Jansen holler her way through a clamorous climax and a banging finale.
Jansen‘s biggest moment to shine comes with the esthetic ballad “Our Decades in the Sun” and like her predecessors, she’s seductive as sin within this gentle milieu. She will also have NIGHTWISH fans eating out of her hands chanting the hook-driven “My Walden”‘s mantra of “higher, higher, higher” on the choruses. “My Walden” trickily turns a dime on itself by shifting from its peppy course toward an ambitious folk march draped with tin whistles and fiddles.
The heavy guitars and sturdy pulse propelling the title track are so valuable in maintaining interest on an album this long, but NIGHTWISH keeps the throttle going on “Endless Forms Most Beautiful”. A grand chorus doesn’t hurt. As the symphonic layers pour upon the track from every corner, it seems, the base rock groove of the song is never lost. Then Tuomas Holpainen‘s calliope keys on the ridiculously catchy “Edema Ruh” are as beautiful as Floor Jansen‘s swoon.
The six-minute “The Eyes of Sharbat Gula” is a somber trek guided by Troy Donockley‘s moving pipes, Tuomas Holpainen‘s melancholic piano melody and a velvety chant shared between Floor Jansen and Marco Hietala. Joined by a dazzling children’s choir, the composition flows meditatively into the closing gala of “The Greatest Show on Earth”.
Is “The Greatest Show on Earth” NIGHTWISH‘s finest moment as a band? Let the listener stand judge for all 23 minutes, but what should be said is that this curiously omposed epic reaches for both heartstrings and the id and yanks on both as hard as it can. The opening five minutes alone feature some of the band’s most emotive arrangements ever before another narrative from Richard Dawkins reminds us to absorb the majesty of our planet, all before the heavy business takes over. A modification — or at least a barely disguised tip of the hat — to MEGADETH‘s “Symphony of Destruction” ushers the track through a succession of double hammer and orchestral/choral wonderment. NIGHTWISH throws everything they have in their arsenal, including tribal rhythms and sampled animal exhalations into “The Greatest Show on Earth”. To their credit, they plant extensive rock sections to keep a track of this magnitude rolling, since there’s a message on behalf of Mother Earth from Dawkins to follow. NIGHTWISH makes the effort to throw as many music theories, external resonances (including a New Age aquatic foray) and a soaring cast chorus of “We were here”, to push for a shared global experience.
NIGHTWISH fans shouldn’t drown themselves in sentiment by comparing Floor Jansen to Anette Olzon or Tarja Turunen, for that matter. It’s pointless, since the band itself sounds energized and wildly inspired on “Endless Forms Most Beautiful”, as if “The Greatest Show on Earth” isn’t indication enough. A few regurgitated themes being this album’s only fault, the transition to Floor Jansen is seamless and NIGHTWISH can look upon their new creation with as much pride as “Imaginaerum”, “Dark Passion Play” and even “Once”.
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If there’s one band constantly under fire whether they deserve to be or not, it’s ALL THAT REMAINS. Long one of the forerunners in metalcore, they’ve reached a pinnacle of success despite constant scrutiny for their stylistic changes. Both the success and the scrutiny will assuredly carry on with their latest album “The Order of Things”, an album finding the band testing the waters even more while sticking to their standard framework built upon hooks and breakdowns.
The album’s single “This Probably Won’t End Well” actually opens well with a textured instrumental intro as Phil Labonte calmly sings over what becomes a pop metal number with Jason Costa attempting to give it a little urgency with his blast rhythms. Labonte reverts to growl mode over the much tougher “No Knock”, a song that would’ve been better without the breakdown segments, yet still emits some of the heavier tones ALL THAT REMAINS has put out in some time.
As if to spite, Labonte and his team go back to accessibility mode with the nearly happy-go-lucky “Divide”. It’s sure to please the band’s more recent followers and piss off everyone else, but there’s no denying the tune is well-crafted. Like its predecessors, “Divide” is efficient, while the four-minute successor “The Greatest Generation” plows along as a coddling anthem. Nonetheless, Phil Labonte‘s clean singing here is rally inducing and ALL THAT REMAINS‘ fans are going to be wailing bloody murder along to this one.
The band changes things up with delicate acoustic plugs from Oli Herbert and Mike Martin on the agro ballad “For You” and by now, if you’re needlessly holding onto the hope of a return to “This Darkened Heart”, accept the reality of things or abandon ship. The closest you’ll get is “Tru-Kult-Metal” and “A Reason for Me to Fight”. The latter is a mostly brisk-moving pumper with, of course, fan-pleasing sing-alongs. “Tru-Kult-Metal”, one of the album’s fastest songs, also loosens the hard vocals amidst the gusting cleans. Unfortunately, the breakdown clichés here undoes a game effort from Herbert, Martin and bassist Jeanne Sagan, who flow together terrifically. “Bite My Tongue” crams as many melodies as quick tempos as it can withhold, but for fun, ALL THAT REMAINS tosses in a surprising jazzy progression along the way.
“Victory Lap” rides a mostly straightforward, pumping rock groove despite the unabashed need to power pop its way through the choruses. Depending on your point-of-view, it’s probably fitting Phil Labonte barks most of the way through the seven-minute closer “Criticism and Self-Realization”, albeit the superb piano outro is the bigger part of the story.
ALL THAT REMAINS is playing to the height of their talents and they make no bones on “The Order of Things” that metalcore is not merely a foundation, it’s for their own reinvention. There are fast propelling moments on “Flat Empire” that are so invigorating it’s hard to ignore this band outright. Only the formulaic parts do them disservice. Otherwise, Phil Labonte and his team are joyously doing whatever the hell they want, praise or scorn them all you like.
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