Posts Tagged “Diehards”

Bloodstock: Bringing the heavy

Day two and 3 Inches Of Blood bring their crash course in heavy fucking metal to the main stage, as well as the first glimpses of sunshine. Granted, they’ve made a career out of rehashing Priest riffs as their own, but who cares when it’s this much fun?

Hell are up next and bring a stage show unheard of for this time of day, along with their classic metal riffage. Frontman David Bower struts the stage on stilts as some sort of demonic faun, with a head mic enabling him to be hands free for some rather adventurous gesturing. Flaming gargoyles, stained glass windows, giant pipe organs…it’s ridiculously over the top and bombastic, which is exactly why this crowd fucking love it. Make sure you catch them on our Defenders Of The Faith 4 tour with Amon Amarth and Carcass!

Kataklysm know exactly how to make death metal fun, brutal and accessible. The Canadian powerhouse deliver one of the tightest sets of the weekend, and it’s the perfect soundtrack to get heads banging and the first beers of the day in. Glorious stuff.

There are bands. And then there is Gojira. The French metal titans sound absolutely colossal today, despite some of their equipment and stage gear getting stuck at customs. But Gojira at even 70% is still leagues above their many contemporaries, and the earth-trembling heaviness of anthems such as The Heaviest Matter Of The Universe and Backbone make it crystal clear this is a band that can do no wrong. A surprise appearance from Randy Blythe understandably gets a deafening response and Gojira end their set as the unrivaled gods of the weekend so far.

No band can really follow that, but the show must go on and Sabaton do their best. Luckily, there are a fair few fans in the crowd who sing along to every word of their odes to battle and tanks and suchlike. Good work.

God knows why Avantasia are main support tonight. Whilst there are clearly a few hundred diehards losing their minds at the front, and the musicianship on stage is certainly impressive, the main stage crowd thins drastically due to the drop in momentum. There doesn’t seem to be one person that doesn’t agree this really should have been Gojira’s slot. Oh well…

Review by Amit Sharma

Bloodstock 2014 takes place August 7-10. For more info, head to Bloodstock.uk.com

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Southern Lord will unleash hell with the new full-length from Midwestern death squad Wartorn. The following press release was issued about the band’s coming “Iconic Nightmare” album:

‘Since 2004 this Appleton, Wisconsin-based brigade has protested political tyranny and societal injustices with a devastating brew of metallic crustpunk. Wartorn has assaulted live audiences across thirteen countries across North America and Europe in support of releases on renowned crust/punk labels including Profane Existence and Crimes Against Humanity, while its members also take part in other active and notable acts like Dresden, Remission, and Words That Burn.

“Taking their attack to the next level, the energy and production of their newest full-length Iconic Nightmare elevates Warton’s powerful songwriting and execution to new levels, surging with nine crushing anthems in barely twenty-five minutes. Southern Lord will drop Iconic Nightmare on CD this January 22nd; diehards of Wolfbrigade, From Ashes Rise, Tragedy and the like should not pass this one by.”

The “Iconic Nightmare” track listing is as follows:

1. The Iconic Nightmare
2. Unfinished Blueprint
3. Permanent Blackout
4. No Sanctuary No Salvation
5. Six Feet Under
6. Knee Deep In Blood
7. All Flags Still Burn
8. Betrayal
9. Burial Ground

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“Scorned,” the second studio full-length from Polish death metal assassins Masachist, is out now worldwide via Selfmadegod Records. The full album is now available online for streaming via Stereokiller here. The following press release was issued about the album:

“A collective featuring the warmongering talents of Thrufel (ex-Azarath, ex-Yattering), Daray (Dimmu Borgir, ex-Vader, Vesania), Heinrich (Vesania, ex-Decapitated, ex-UnSun), Aro (Shadows Land, Torquemada) and Pig (Anal Stench, ex-Decapitated), Masachist will infiltrate the diehards of the extreme metal world with this new album. Recorded at Monroe Sound Studio (Vesania, Disloyal, Shadows Land, Manslaughter) and mixed by guitarist Aro, Scorned torches anything in earshot with forty minutes of crushing, mangled death metal over nine anthems of revulsion.”

The track listing is:

1. Drilling the Nerves
2. The Process of Elimination
3. Straight and Narrow Path
4. Manifesto (100% D.M.K.M)
5. Higher Authority
6. Opposing Normality
7. Liberation
8. Liberation part II
9. Inner Void

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Canadian metalcore act Obey The Brave is now streaming the band’s Epitaph debut in full with plans to release the album, “Young Blood,” on August 28th. Fans can stream the album through Altpress.com here. The following press release was issued about the album:

“The new album contains eleven tracks of pure adrenaline – charged hardcore, sure to please both metal diehards and hardcore fans alike. Tracks like ‘Get Real,’ which features Terror’s Scott Vogel on guest vocals, pay homage to ‘90s hardcore while peppering in more modern elements like massive metalcore breakdowns and an always-driving beat. ‘Time For A Change,’ while still including hardcore staples like riotous gang vocals and another of the album’s brick-and-mortar breakdowns, showcases some smooth lead lines during its more melodic outro.

“‘Live and Learn,’ the album’s first single, is a well-rounded representation of Obey The Brave’s bare bones, progressing from blistering double-kick blasts throughout its opening verse to some tasty breakdowns and another rather musical outro that adds an extra dimension to an otherwise relentless track.”

Fans can pre-order the album by going to this location, and the band’s upcoming tour dates are as follows:

8/20 Baltimore, MD @ Sonar
8/21 Norfolk, VA @ The NorVa
8/22 Atlanta, GA @ The Masquerade
8/24 Houston, TX @ House of Blues
8/25 San Antonio, TX @ Backstage Live
8/26 Dallas, TX @ Palladium
8/27 McAllen, TX @ Pharr Events Center

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The Cult – Choice of Weapon
2012 Cooking Vinyl Limited
Ray Van Horn, Jr.

When it comes to The Cult, you’ve either fallen amidst the groovy-alt Love gaggle, the AC/DC-kissed Electric camp or the mainstream league of Sonic Temple worshippers.  This band has found little necessitation in answering to any of those dynamic albums, though some eighties party diehards and strip joint habitues are still laying in wait for another sexfunkrawk jam like “Fire Woman” to come along.  Fat chance of that, since The Cult have all but since rebelled against that 1989 commercial juggernaut.

Interesting enough, the tune this band now answers to (at least from the opinion of their enduring fans) is the crunky “Rise” from 2001’s Beyond Good and Evil.  You can hear it and read it across message boards and Facebook posts these days.  Following the lukewarm reception cast towards The Cult’s 2007 outing Born Into This, the band’s listeners come to the propsect of a new album with “Rise” as the standard to meet–and henceforth, beat.  It’s like U2 being called upon to outdo “Elevation” instead of “Sunday Bloody Sunday” or Metallica to outslug “Until It Sleeps” instead of “Enter Sandman,” or “Master of Puppets” for the old brigade’s purposes.

Not every band sustains itself on two core members and manages to stay relevant, yet this year Ian Astbury and Billy Duffy engineer one of the most worthwhile recordings of The Cult’s considerable lifespan.  Ushering Born Into This carryovers John Tempesta and Chris Wyse back for the band’s ninth full-length, Choice of Weapon, The Cult once again restructures their method of attack.  There’s a pleasurable swing amidst the fuming power plays at work here, and the payoffs on Choice of Weapon are superfluous.

You may hear shades of the happy-go-lucky “She Sells Sanctuary” sprinkled about “The Wolf” and you’ll detect a nervy tread between sorrow and tranquillity on “Wilderness Now,” but make no mistake about Choice of Weapon.  This is one of The Cult’s most aggressive and confident albums in their entire catalog.  An automatic third best ranking behind Love and Electric, Choice of Weapon plays to win and it’s an instant grab.  Full-frontal tone blasts, harmonic, eco-championing angst and soul-tagging histrionics are the foundation blocks to Choice of Weapon.  Moreover, this album is a proud restoration of the Astbury-Duffy alliance yielding some of the touchiest and ultimately gratifying rock rumbles of the year.

Ian Astbury rides the snake once again and sets his mojo free in a forceful vocal performance you can’t help but label iconic.  Astbury’s recent dabblings with Japanese distortion lords Boris unchained something cuffed on Born Into This (aside from the held-back production layers on that album), because his pipes are the figurative embodiment of the title Choice of Weapon.  He’s shamantistic on “Elemental Light” and his combined roughneck-cavalier guidance through the rocksteady “Honey Like a Knife,” “For the Animals” and “Amnesia” is almost unbelievable.  “Amnesia” alone is one of Astbury’s finest hours on the mike.  Likewise, his snarling bravado on the fangy “Lucifer” sends shivers from the clavacale down to the tailbone.  Carrying a shivery Morrison hangover on the morose anti-ballad “Life > Death,” Astbury reminds us why he was hauled in for The Doors 21st Century and this tune might be the best cut The Doors circa L.A. Woman  never wrote.  “Life > Death” is tormented by the otherworldly shadow of The Lizard King and exquisite in transition.

Billy Duffy will always be adored by contemporaries and followers for his upfront riffs and Choice of Weapon’s mix (fielded in chief by Queens of the Stone Age producer Chris Goss and finished by Bob Rock) throws Duffy back into the limelight at the hip of Astbury.  As ever, the two are as synonymous with their performances as their songwriting.  Tempesta and Wyse, far more resplendent on this album than on Born Into This, elevate Astbury and Duffy as any seasoned rhythm section should.  Tempesta throws a clever spin on Flea’s flowery bass lines from the Red Hot Chili Peppers’ “Pretty Little Ditty” towards the end of “Life > Death” and it’s to Astbury and Duffy’s credit for giving Tempesta the opportunity to improv.  Astbury himsef has credited Tempesta and Wyse for pushing him and Duffy to a new brink and that teetering edginess resounds on Choice of Weapon.

All of it combined spells an album saluting the coolest chops of The Cult’s vintage years as interpreted by a wiser collective.  This is a Big 80’s album devoid of the glam and nostalgia.  It rocks with a purpose in the here and now on behalf of the planet and in condemnation of the de-calibration of society.  In part, Choice of Weapon wields the piss and vinegar and the polished guitar wizardry that Guns n’ Roses purists have been hankering decades for.  The Sonic Temple straights will only be partially satiated here, but Astbury, Duffy, Wyse and Tempesta jack the wattage and stamp the skins from their respective stations for the band’s truly devout.  “Rise” is one of The Cult’s fiercest songs, but it hardly needed replication.  Nor did “Edie (Ciao, Baby)” or “Sweet Soul Sister” and you can expect none of it on Choice of Weapon.  Seriously, folks, that’s a good thing.

Coupled with a four-track compilation from The Cult’s 2010 Capture EPs, Choice of Weapon is a citadel of rock refinement for a fragile period in music appreciation that has all but forgotten what a monster rock album sounds like.  Love begets Electric begets a latter-day rare diamond cut from artists who care more about the edges and grooves than the luster.

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The Cult – Choice of Weapon
2012 Cooking Vinyl Limited
Ray Van Horn, Jr.

When it comes to The Cult, you’ve either fallen amidst the groovy-alt Love gaggle, the AC/DC-kissed Electric camp or the mainstream league of Sonic Temple worshippers.  This band has found little necessitation in answering to any of those dynamic albums, though some eighties party diehards and strip joint habitues are still laying in wait for another sexfunkrawk jam like “Fire Woman” to come along.  Fat chance of that, since The Cult have all but since rebelled against that 1989 commercial juggernaut.

Interesting enough, the tune this band now answers to (at least from the opinion of their enduring fans) is the crunky “Rise” from 2001’s Beyond Good and Evil.  You can hear it and read it across message boards and Facebook posts these days.  Following the lukewarm reception cast towards The Cult’s 2007 outing Born Into This, the band’s listeners come to the propsect of a new album with “Rise” as the standard to meet–and henceforth, beat.  It’s like U2 being called upon to outdo “Elevation” instead of “Sunday Bloody Sunday” or Metallica to outslug “Until It Sleeps” instead of “Enter Sandman,” or “Master of Puppets” for the old brigade’s purposes.

Not every band sustains itself on two core members and manages to stay relevant, yet this year Ian Astbury and Billy Duffy engineer one of the most worthwhile recordings of The Cult’s considerable lifespan.  Ushering Born Into This carryovers John Tempesta and Chris Wyse back for the band’s ninth full-length, Choice of Weapon, The Cult once again restructures their method of attack.  There’s a pleasurable swing amidst the fuming power plays at work here, and the payoffs on Choice of Weapon are superfluous.

You may hear shades of the happy-go-lucky “She Sells Sanctuary” sprinkled about “The Wolf” and you’ll detect a nervy tread between sorrow and tranquillity on “Wilderness Now,” but make no mistake about Choice of Weapon.  This is one of The Cult’s most aggressive and confident albums in their entire catalog.  An automatic third best ranking behind Love and Electric, Choice of Weapon plays to win and it’s an instant grab.  Full-frontal tone blasts, harmonic, eco-championing angst and soul-tagging histrionics are the foundation blocks to Choice of Weapon.  Moreover, this album is a proud restoration of the Astbury-Duffy alliance yielding some of the touchiest and ultimately gratifying rock rumbles of the year.

Ian Astbury rides the snake once again and sets his mojo free in a forceful vocal performance you can’t help but label iconic.  Astbury’s recent dabblings with Japanese distortion lords Boris unchained something cuffed on Born Into This (aside from the held-back production layers on that album), because his pipes are the figurative embodiment of the title Choice of Weapon.  He’s shamantistic on “Elemental Light” and his combined roughneck-cavalier guidance through the rocksteady “Honey Like a Knife,” “For the Animals” and “Amnesia” is almost unbelievable.  “Amnesia” alone is one of Astbury’s finest hours on the mike.  Likewise, his snarling bravado on the fangy “Lucifer” sends shivers from the clavacale down to the tailbone.  Carrying a shivery Morrison hangover on the morose anti-ballad “Life > Death,” Astbury reminds us why he was hauled in for The Doors 21st Century and this tune might be the best cut The Doors circa L.A. Woman  never wrote.  “Life > Death” is tormented by the otherworldly shadow of The Lizard King and exquisite in transition.

Billy Duffy will always be adored by contemporaries and followers for his upfront riffs and Choice of Weapon’s mix (fielded in chief by Queens of the Stone Age producer Chris Goss and finished by Bob Rock) throws Duffy back into the limelight at the hip of Astbury.  As ever, the two are as synonymous with their performances as their songwriting.  Tempesta and Wyse, far more resplendent on this album than on Born Into This, elevate Astbury and Duffy as any seasoned rhythm section should.  Tempesta throws a clever spin on Flea’s flowery bass lines from the Red Hot Chili Peppers’ “Pretty Little Ditty” towards the end of “Life > Death” and it’s to Astbury and Duffy’s credit for giving Tempesta the opportunity to improv.  Astbury himsef has credited Tempesta and Wyse for pushing him and Duffy to a new brink and that teetering edginess resounds on Choice of Weapon.

All of it combined spells an album saluting the coolest chops of The Cult’s vintage years as interpreted by a wiser collective.  This is a Big 80’s album devoid of the glam and nostalgia.  It rocks with a purpose in the here and now on behalf of the planet and in condemnation of the de-calibration of society.  In part, Choice of Weapon wields the piss and vinegar and the polished guitar wizardry that Guns n’ Roses purists have been hankering decades for.  The Sonic Temple straights will only be partially satiated here, but Astbury, Duffy, Wyse and Tempesta jack the wattage and stamp the skins from their respective stations for the band’s truly devout.  “Rise” is one of The Cult’s fiercest songs, but it hardly needed replication.  Nor did “Edie (Ciao, Baby)” or “Sweet Soul Sister” and you can expect none of it on Choice of Weapon.  Seriously, folks, that’s a good thing.

Coupled with a four-track compilation from The Cult’s 2010 Capture EPs, Choice of Weapon is a citadel of rock refinement for a fragile period in music appreciation that has all but forgotten what a monster rock album sounds like.  Love begets Electric begets a latter-day rare diamond cut from artists who care more about the edges and grooves than the luster.

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Today, humanity will feel Wolfbrigade’s wrath once again, as another track from the Swedish crust icons’ forthcoming LP “Damned” infects the world wide web. Courtesy of the diehards at Blow The Scene — who instinctively conducted a massive interview with the ‘Brigade back in January when the pack’s cooperation with Southern Lord was announced — now behold the opening track from “Damned.”

As loud as your system will allow, stream “Feed The Flames” right here. The LP’s closing track, “Peace Of Mind,” is also still streaming at the Southern Lord website.

The first of three Wolfbrigade albums to be released via Southern Lord, “Damned” is set for North American release on April 24th. The 35-minute album was recorded at renowned Gothenburg-based Studio Fredman by Frederik Nordstrom (At The Gates, Amon Amarth, Opeth) and shows the band at the finest and most devastating hour in its storied lineage.

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Initially planned for release in January, Brooklyn bastards Vise Massacre’s debut LP “Expendable Humans” has been delayed due to circumstances beyond the band’s control. The band issued the following press release:

“Something got jacked with the master and had to be corrected, but it’s not really interesting or important… we’re just here to spread the word that the LPs are being packed now, and set for arrival at the end of the month, which will allow Expendable Humans to finally trample mankind on March 6th. Direct links for digital and physical orders will be available in the days ahead.

“In the meantime Vise Massacre busy running up bar tabs, skulking on hipsters, and honing their live attack skills in preparation for some live actions to be confirmed in the coming weeks in support of the delayed release of Expendable Humans, which the band are releasing via their own Gorilla The Horse Records through the tight-knit hometown cooperative efforts with NYC’s Generation Records and Earsplit.

“The band also got trashed the other night and set up a raffle where 8 diehards can win T-shirts made by the band, limited versions of the LP and other random/unique/creepy handmade VISE MASSACRE creations. The more you fuck with the band via Facebook/Twitter between now and March 3rd the more chances thou hath of winning some gnarly swag. Check out the details at VM’s Facebook.”

All of “Expendable Humans” is still alive and raging for your listening discomfort via Metalunderground at this location.

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Canada’s Derelict has checked in with the following recap of recent shows and update about recording new material:

“Happy Halloween! Eric here. We had an excellent run of shows, starting with the Decapitated/Decrepit Birth/Fleshgod Apocalypse/Rings of Saturn tour stop on Oct 26th in Montreal. It was amazing to play alongside some of our influences and favorite bands, and the Montreal crowd got there right for the beginning, so we had a great crowd despite it being 6:30pm. Check out this live video of ‘Polarized’:

“Next was Brantford on Oct 28th, where we played ShredFest, a charity concert benefiting the Help A Child Smile Foundation. Great to play alongside our brothers in Endast, Misguided Aggression, Exes For Eyes, and Besegra.

“On Oct 29th we played in North Bay, alongside The Killing Field and many other great bands. This was a classic small-town show, set up in a awesome and spacious curling rink, with a crowd of absolute diehards. We couldn’t ask for anything more!

“As studio dates approach, Collin and Max are finishing off recording lead guitar this week, and we’re rehearsing all together to tighten the drum and vocal performances. We also got some amazing bass lines from our session man Seb Pittet (also plays in Augury), and we’re very excited to have everyone hear those. The album is coming together! Thanks for reading!”

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At A Loss Recordings has confirmed the release date for the limited LP edition of Whitehorses’s latest mammoth full-length, “Progression.” Following an initial CD release via Sweat Lung early last year as the band stormed the U.S. alongside The Body, At A Loss officially released the album via digital download in July.

Now At A Loss will issue “Progression” on wax this November 8th, this time unleashing the record’s massive tones in analog format for the diehards and collectors. Once again licensed from Sweat Lung, this pressing will be limited to 500 copies on black or black & blue swirled vinyl, and will include a digital download coupon to access high-quality MP3s as well. Preorders for the platter are being taken here.

Following the band’s U.S. tour last year, Whitehorse will return next Summer on a full tour of the country. More info will be announced as the time draws near. In the meantime, the band continue to book shows throughout Australia and has the following upcoming shows:

11/05/2011 Bendingo Hotel – Melbourne
11/12/2011 Animal House – Adelaide
12/12/2011 The Brisbane Hotel, Hobart – Tasmania

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