Posts Tagged “Chemistry”


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“Chemistry Of Consciousness” is the imminent new full-length album from Portland metal punks Toxic Holocaust. Today Loudwire is streaming a new track from the album titled “Rat Eater.” Check it out in the player below.

The post Toxic Holocaust Posts New Song “Rat Eater” appeared first on Daily Heavy Metal News.

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Toxic Holocaust

Toxic Holocaust: apocalypse now

Chemistry Of Consciousness, Toxic Holocaust’s forthcoming first album in five years proves once again that thrash is at its most potent when a) you throw in a whole bunch of sonic pollutants, and b) you actually sound like some badass, nuclear-apocalypse-surviving warrior of the wastelands.

Featuring all manner of d-beats, caustic, black metal atmospheres, true punk venom and an air of genuine menace throughout, Chemistry… - released on October 25 via Relapse Records - is scabrous, coal-eyed thrash metal that that belongs more in the unholy, confrontational company of bands like Destroyer 666, Aura Noir and Nekromantheon than it does in the cleaner cut, more classicist purveyors of the form. Now head honcho Joel Grind has released the track Rat Eater like some particularly nasty flesh-ravaging virus and you can hear it exclusively right here. Thash till death! And beyond!

Check out Toxic Holocaust’s Facebook page here!

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Connecticut atmospheric doom metal miscreants Sea of Bones are pleased to soil the masses with their latest slab of slow motion desolation in the form of “The Earth Wants Us Dead,” the band’s first offering in six years. Recorded with guitarist Tom Mucherino and longtime friend David Lutz at a secret underground location (aka Tom’s cellar) and mastered by Mell Dettmer (Earth, Kayo Dot, Thou), “The Earth Wants Us Dead” heaves forth a cataclysmic wall of soul-rumbling distortion. Elaborates the band, “This album is more than just music to us, it is a testament to our friendship and the chemistry we have with each other

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Southern California juggernauts IMPENDING DOOM recently entered The Machine Shop (SUICIDE SILENCE, LAMB OF GOD) in Belleville, New Jersey to start recording their next LP with producer Will Putney. A November release via eOne Entertainment is expected.

A trailer for the album can be seen below.

Comments bass player David Sittig: “The material is our best and heaviest work, without a doubt.

“The chemistry between the five of us this time has been different and very unique.

“Our original guitarist, Manny Contreras, rejoined the band and we all could not be happier with what he has brought to the table.

“This is the IMPENDING DOOM album you have been waiting for!”

IMPENDING DOOM‘s fourth full-length album, “Baptized In Filth”, sold 4,600 copies in the United States in its first week of release to debut at position No. 106 on The Billboard 200 chart. Released on March 13, 2012, the CD was produced by Andreas Magnusson (THE BLACK DAHLIA MURDER, THE FAMINE) and was mixed by Machine, who has previously worked with LAMB OF GOD, SUICIDE SILENCE and DEMON HUNTER, among others.

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We've already told you all about Toxic Holocaust's upcoming record Chemistry of Consciousness, but now you can hear it! Fun fact- it's heavy. "Out of the Fire" is pretty much what you'd want from the band at this point; super heaviness with a certain grime about it and a super-in-your-face-attitude… oh, and then there's the …

The post TOXIC HOLOCAUST Stream "Out Of The Fire" appeared first on Metal Injection.

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Portland’s Toxic Holocaust today offer up another sampling from impending “Chemistry Of Consciousness” full-length with “Out Of The Fire,” now streaming below courtesy of MetalSucks .

The post Toxic Holocaust Streaming New Track “Out Of The Fire” appeared first on Daily Heavy Metal News.

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Patrick Prince of Powerline magazine recently conducted an interview with Jon Oliva (SAVATAGE, TRANS-SIBERIAN ORCHESTRA, JON OLIVA’S PAIN). A couple of excerpts from the chat follow below.

Powerline: Why wait all this time to do a solo album?

Oliva: It’s just that the time was right. After we lost Matt [LaPorte, JON OLIVA’S PAIN guitarist], it was a very difficult time. I didn’t want to think about a band at that time. I didn’t want to think about replacing one of my best friends. It’s like how I didn’t want to think about replacing my brother [Criss Oliva] when that happened. It just seemed like the right time. I got a real sense of urgency. After Matt passed away, I had these last few riffs of Criss‘ and I said I just don’t want to think about a band right now. I don’t know what I want to do. And I started working with my friend Dan [Fasciano] down in his studio. He was also very close to Matt. And I think it just started from a couple guys who had [experienced] loss. Dan just lost his mom shortly before that. Then we lost Matt. It was just a very traumatic thing, and I guess that everybody we knew was always busy during the day, except me and him, because I think we’re the only ones rich enough not to work. [laughs] So I would just come to his house at 9-10 in the morning before I had to go out to Adventureland — which is the TSO studio. I call it Adventureland. And I would have to 4 or 5:00 until I would have to be at that TSO session. So it just started, and Dan‘s a guy who a great writer and isn’t really a band guy, but had a lot of stuff that was really good. He asked me if I would listen to some of it and I did and I thought it was really good. What was really strange is I had a lot of stuff also that was unfinished and we kind of combined them. And once we brought Criss‘ stuff in there, there was a chemistry that definitely happened. We went on the writing spree. We wrote like 60 songs in two months. And I’m glad I decided to do it now. We were very happy with the way it happened but it was definitely a lot of work, you know.

Powerline: Sounds like serendipity. It just came together.

Oliva: It was weird. In certain instances it was a little creepy. Especially with Criss‘ stuff. When we were trying to put in Criss‘ riffs — where a lot of his riffs were only 20 seconds of something that I had on a cassettes … thirty seconds at the most. And there were just little pieces of things that he had. The riff that starts “Father Time”, that’s the second riff Criss ever wrote in his life. I mean, he was fourteen years old. The first riff he wrote was “Smoke On The Water” backwards. And it sucked. And I told him. I said, “Dude, that riff sucks.” And he goes, “Fine. Fuck you, man.” And he comes back the next day and said, “I wrote this other riff last night. Does this sound too much like RUSH?” And he started playing and I was like, “Fuck RUSH. That’s great. Let’s use it!” But we really never did anything with it until now, when I recently found it on those lost tapes of his.

Powerline: Was prog rock a main staple for you while growing up?

Oliva: I didn’t even know what it was. And then Paul O’ Neill [producer] said, “Well, you guys SAVATAGE were kind of like one of the first prog rock bands, whether you know it or not.” I’m like, “Were we?” I’m like, “What the fuck is prog rock?” And he’s like, “You know, progressive hard rock.” I just thought we were a rock band. I didn’t know any of that shit. The first time I heard the words heavy metal was when my friend brought over the MOTÖRHEAD album, “Ace Of Spades”. He’s like “These guys are fucking metal.” I’m like “They look like flesh and blood to me. I don’t see any metal.” [laughs] I didn’t know what the fuck they were talking about. And then: Oh, I see. It’s a new thing like punk was. Or disco. It’s just a new name. But what it really was, was just hard rock music. Rock music played with a harder edge of faster tempo. I still don’t get the “heavy metal” thing, but whatever. It sounds good.

Powerline: Do you need to do an anniversary thing for SAVATAGE?

Oliva: I think the thing with SAVATAGE, as far as anything goes, would be to do some studio stuff together, maybe. Because just the schedules … and the fact that the guys from SAVATAGE are still together. We just don’t call it SAVATAGE anymore. But the guys are still there but … to do something where you would harm the progress of TSO would be stupid.

Powerline: I mean, you can just celebrate it doing your solo stuff.

Oliva: Exactly. Like I’m going to do the 25th-anniversay of “Gutter Ballet” next summer in Europe. And I still fly the flag, you know. I love playing those songs and it’s a big part of my history, and I’ll always play them. But it’s like since SAVATAGE hasn’t done anything since … 2001. I thought people would finally get a clue [laughs] that not much is gonna go on.

Read the entire interview at Powerline.

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On August 20, former PANTERA and current DOWN frontman Philip Anselmo was interviewed by I-Cee. You can now watch the chat below.

2014 will mark the 20th anniversary of PANTERA‘s seventh album, “Far Beyond Driven”, and the band is planning to re-release a special edition for fans.

According to The Pulse Of Radio, Anselmo chatted about the album with Artisan News saying, “Considering its contents, it is the heaviest record to come in at No. 1, and yes, there is a fucking goddamn re-release coming up. I don’t know anything, really, about it other than, yes, it’s gonna re-released with live footage from said show, but I can’t name the show yet, because I think it’s a fight between two different shows. And you never know. I’m trying to think of specialties or whatnot that will be included as well.”

Anselmo went on to discuss the band’s success saying, “The chemistry within PANTERA…In the early days, they were very guarded about what I said here and there. And then, finally, by ‘Vulgar Display Of Power’, it was, like, ‘Just let me handle the lyrics.’ And then by ‘Far Beyond Driven’, I was saying anything I fucking wanted to fucking really fucking sing about, man.”

Anselmo‘s first-ever solo album, “Walk Through Exits Only”, sold around 8,700 copies in the United States in its first week of release to debut at position No. 35 on The Billboard 200 chart.

Produced by Anselmo and Michael Thompson, and recorded over the past couple of years at Philip‘s New Orleans studio, Nodferatu’s Lair, with his band THE ILLEGALS — guitarist Marzi Montazeri (ex-SUPERJOINT RITUAL) and José Manuel Gonzales“Walk Through Exits Only” is abrasive, aggressive, anthemic and 100% Anselmo.

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Multi-camera video footage of Philip Anselmo‘s (DOWN, PANTERA) August 22 performance at Tipitina’s in New Orleans can be seen below.

2014 will mark the 20th anniversary of PANTERA‘s seventh album, “Far Beyond Driven”, and the band is planning to re-release a special edition for fans.

According to The Pulse Of Radio, Anselmo chatted about the album with Artisan News saying, “Considering its contents, it is the heaviest record to come in at No. 1, and yes, there is a fucking goddamn re-release coming up. I don’t know anything, really, about it other than, yes, it’s gonna re-released with live footage from said show, but I can’t name the show yet, because I think it’s a fight between two different shows. And you never know. I’m trying to think of specialties or whatnot that will be included as well.”

Anselmo went on to discuss the band’s success saying, “The chemistry within PANTERA…In the early days, they were very guarded about what I said here and there. And then, finally, by ‘Vulgar Display Of Power’, it was, like, ‘Just let me handle the lyrics.’ And then by ‘Far Beyond Driven’, I was saying anything I fucking wanted to fucking really fucking sing about, man.”

Anselmo‘s first-ever solo album, “Walk Through Exits Only”, sold around 8,700 copies in the United States in its first week of release to debut at position No. 35 on The Billboard 200 chart.

Produced by Anselmo and Michael Thompson, and recorded over the past couple of years at Philip‘s New Orleans studio, Nodferatu’s Lair, with his band THE ILLEGALS — guitarist Marzi Montazeri (ex-SUPERJOINT RITUAL) and José Manuel Gonzales“Walk Through Exits Only” is abrasive, aggressive, anthemic and 100% Anselmo.



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Vinny Cecolini of Jam Magazine recently conducted an interview with QUEENSRŸCHE drummer Scott Rockenfield. A couple of excerpts from the chat follow below.

Jam Magazine: Do you at all regret that your disagreement with Geoff Tate spilled out onto the Internet and into the music media worldwide?

Scott: We have always only spoken the truth. We have never avoided any type of engagement on this matter and we’re not here to defend ourselves. I’d rather let the music, this band and our chemistry together do the talking for us. There are fans on the Internet, however, who insert themselves into the rhetoric. For what it’s worth, this would be an interesting reality show if you trolled the Internet to read about our transition. However, it would be time-consuming, and I’d rather write new songs and focus on what I’m good at.

Jam Magazine: When I spoke with Geoff Tate earlier last spring, he said the legal battle involving the band’s names is about the dissolution of a corporation.

Scott: [Silent pause] My answer to all of that is simple. If the case goes all the way ’til the actual [January 2014] court date, the judge is going to look at the facts and he or she will make a ruling. Hopefully, his or her decision will be based upon what is best for the band QUEENSRŸCHE, the brand QUEENSRŸCHE and the corporation QUEENSRŸCHE. It is an entity, and a successful one at that. I hope that come [January], the judge overseeing this case will do what is right for the band as far as who carries on with the name. I’m not a legal guy, so I do not know all of the details. But I have learned a lot from my attorney.

Jam Magazine: You don’t seem stressed about the upcoming ruling?

Scott: If I worried about everything that was going on right now, it would eat me alive. Whatever happens, Todd [La Torre, vocals], Parker [Lundgren, guitar], Michael [Wilton, guitar], Eddie [Jackson, bass] and I going on as a group regardless of the [January] ruling. We will continue on as a unit of five guys that makes records and plays shows. We have something that no one can take away from us — chemistry and friendship. No one can take that away from us.

Jam Magazine: How long did it take La Torre to become comfortable performing as QUEENSRŸCHE‘s singer?

Scott: When we played our first song together during the first RISING WEST show, the four of us knew instantly we were going to be able to do something together. The band felt comfortable on stage and off. We knew that traveling together was not going to be a problem. During the last year, we have gone on multiple tours using a bus. It felt like we were meant to be together. Being on the road was so much fun; we were always looking forward to our next tour rather than dreading it. That had been a case for a while. Now we just count down the days until new shows are booked and we’re back on the road performing another show.

Read the entire interview at Jam Magazine.

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