Posts Tagged “Imagery”

“The Epilogue”, the new video from ††† (CROSSES) — DEFTONES frontman Chino Moreno‘s project with FAR guitarist Shaun Lopez — can be seen below. The song comes off ††† (CROSSES)’s self-titled full-length debut, which was released on February 11 via Sumerian Records. The CD includes the songs from ††† (CROSSES)’s two previously released EPs — 2011’s “†” and 2012’s “††”, along with five new tracks.

In a recent interview with, Moreno stated about ††† (CROSSES)’s sound: “By listening to the music, you can tell that a lot of the influences come from the new-wave era. That was basically the scene that I came up on. I just happened to wind up in a metal band when I was 15. I’ve always had a deep passion for a lot of early electronic and sampled music.”

Asked about ††† (CROSSES)’s heavy use of the cross in the band’s imagery and songtitles, Moreno said: “I think a lot of bands are influenced by religious symbolism and not even necessarily Christianity or Catholicism. Our band definitely doesn’t follow any of those. It’s more of the aesthetic. The art, the way it works. The initial name of the band was going to be HOLY GHOST. But at the last minute, another band came out with the name, so Shaun suggested CROSSES. It’s a very strong symbol. Three crosses is great. It’s great to look at, there’s three of us in the band.”

††† (CROSSES) made its live debut in January 2012 at The Glass House in Pomona, California.

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AFI: Back in bl-oh you know how it goes

Post hardcore legends AFI return with new album Burials next month. Tom Doyle grabbed frontman Davey Havok to talk anniversaries, changing skin and leaving scenes behind.

Hi Davey! You guys have obviously evolved a hell of a lot over the years. Will Burials keep AFI relevant to fans from The Art Of Drowning days?

“To be honest, it may or may not be depending on how long those fans have stuck around. If those fans are still here and they came in in ’97 then I think it’s extremely relevant because if you’re still with us at this point it shows that you have a really true understanding of AFI and a band who evolves with every record. If you see and appreciate that with each album there is growth then I think you will understand that, as in the past, what we are delivering with Burials is something new, something fresh and something that doesn’t really sound like Crash Love or Sing The Sorrow or Black Sails…. It is different whilst keeping with the tone of what we do. It’s very honest and very pure, grew very naturally and represents who we are now as musicians and writers.”

AFI: Chillin’

What do you think the Davey Havok of 2000 would think of Davey Havok in 2013?

“In a way, things have come full circle since the very early days. In the inception of the band and when I was new to writing I hadn’t really found my voice both figuratively and literally I was writing very direct lyrics. Similarly, Burials is very direct and very candid. In that respect there is a very strong parallel between what was going on stylistically in 1995 and now, although the scenes are starkly different and the mood and tone is starkly different. In that middle period around ’99, 2000 I grew into creating a mood more through symbolic and metaphoric imagery but I am back to being much more lyrically direct.”

Do you feel that the amount of time you have been around and the influence you have make you, in some way, custodians of a scene?

“No, I really don’t and it is hard for me to accept or even recognise. I just don’t see us part of a scene, we don’t really fit anywhere and we never have and I’ve never seen or really heard anything that seems to be influenced by AFI. I sometimes speak to people who are kind enough to say that we have influenced a lot of bands and on occasion someone in a band might say ‘Hey, I’m in a band are you really influenced me’ and it’s very flattering, but I never really see evidence of it so it’s hard for me to truly accept it. I think what I’m more able to understand is when people say AFI have impacted their lives in a way that they make comparisons to artists that I feel very strongly about. That feels more real to me, that someone might think about me in the way that I feel about those particular artists that I love. It’s still surreal, though.”

There have been a lot of bands doing anniversary shows lately. Next year is 15 years since Black Sails In The Sunset, do you see yourself revisiting and touring that album?

“I have no interest in doing something like that. I’m proud of all of what we created, it was all a time and a place and they were great times, but those times are over. It would feel very inappropriate for us to try and go back and re-create them. If I was ever to do something like that, it would mean something was terribly terribly wrong with me.”

You’ve had quite a long break from AFI since you released Crash Love, how excited are you to get a new record out?

“It’s really exciting for us to be releasing Burials and I’m super excited for people to hear it. We spent over a year writing these songs and they came to life in such a complete way as we were working and demoing that I was very anxious for people to hear every one of them. There are songs that didn’t even make the tracking session that I’d love for people to hear some day but equally I’m thrilled for people to hear what we decided to call Burials – I really hope they enjoy it.”

Burials is out October 21

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Ara Harris of Virago Magazine recently conducted an interview with legendary BLACK SABBATH drummer Bill Ward about his groundbreaking collection of fine art created from rhythm. A couple of excerpts from the chat follow below.

Virago Magazine: What songs have created the most vivid pictures based only on rhythm?

Bill Ward: All of the songs that I played with BLACK SABBATH, but the first song that comes to mind is “Black Sabbath”. It is full of passion and I regard it as our rallying point. So the energy on stage when we play “Black Sabbath” is absolutely outstanding. I visualize just a huge sound and I mean, it’s a huge sound. I put myself into it wholeheartedly to create as much volume as I can with my symbols… whatever I can to add more to this ominous sound. A typical visual would be “Iron Man”. People say… “How did you begin ‘Iron Man’? How did you create ‘Iron Man’? How do you make people think it’s ‘Iron Man’?” So the only thing I could think of was a bass drum. Ozzy put a vocal on and I could see “Iron Man” — I could visualize “Iron Man”.

Virago Magazine: When I first heard about your art, I never imagined that rhythm could produce images that were so intricate. I looked at a lot of pieces and I was particularly fascinated with the piece “Hello I Don’t Think We’ve Met (Yet)”. I think I stared at that piece for about 25 minutes. I could see so many pictures within a picture.

Bill Ward: There has been some manipulation. It’s true, I created a lot of streams and things but there was a lot of camera work that was put into this, as well. So some of the actual faces and figure heads that you can see in there were created by camera imagery. I’m not sure what these guys did, but I think there were some techniques that they might have used to do that. For me, I didn’t actually paint those while I’m drumming, I can’t bring about that image. So, does it feel like that’s misleading now? Is that upsetting to hear?

Virago Magazine: No, it’s not upsetting to hear I’m just wondering how you felt when you saw that picture. Did you appreciate that they did that…that they manipulated with the cameras or would you have preferred them to stay more organic?

Bill Ward: At the time of doing this, I really didn’t have a whole lot of information on what the cameras were going to materialize. As we were doing the shoot, I would say… “Is everything OK?” I was kind of blind. I was handed different colored sticks and I played as much as I could. I played different beats to create as many shapes as I possibly could and a lot of that shows up on the pictures. However, I didn’t know that there was going to be some camera added work. When I saw it, I was like… “Well, that’s interesting. Not quite sure how I feel about that.” But then I was asked to title the pictures and that was when I felt fully involved. Not only as a drummer playing a fury of drum patterns but involved because I was able to look at the pictures and see that there was a lot more happening to me than I was aware of. I’ve been quite emotional lately over issues that were going on. I’ve been sad. A lot of different feelings. So when I looked at the pictures, I thought… “My God, these pictures really seem to actually show my emotions.” For instance, the piece “Grief”. I have no idea how that picture came about. And when I looked at it the only thing I could think about was grief because I’ve been grieving terribly for about eighteen months. And I felt such sadness. So, when I looked at it, I looked at my grief and that’s when it became personal. That’s when it became vulnerable. That’s when it became much more than playing drums with different types of sticks. It became more than just camera people, three of four different cameras going off, lots of different lighting attitudes what have you. It became more than that. It turned into something really therapeutic, really personal, and really vulnerable.

Read the entire interview at Virago Magazine.

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New York death metal legends Immolation have unveiled the artwork and track listing for their upcoming ninth full-length album “Kingdom of Conspiracy.” The cover imagery was brought to life this time by no less than P

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Down: heavy

Down will be releasing a special, purple vinyl edition of their latest opus, Down IV: The Purple EP, later this month via Roadrunner. The Purple EP was released last year and will serve as the first in a series of EP releases from the NOLA legends over the coming months and years…

Down’s Purple EP is out now via Roadrunner

The Purple EP Track List

01. Levitation
02. Witchtripper
03. Open Coffins
04. The Curse Is A Lie
05. This Work Is Timeless
06. Misfortune Teller

Down gives me the platform to be poetic and paint imagery with lyrics,” says Philip Anselmo. “That’s the approach I took. They complement the music and create an ominous feeling. Ultimately, when people consume the words, it’s always their interpretation that matters. I could be image-conscious though when I wrote. It’s not so gut level or street. The darker shit is some of my favorite.”

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Kirk Hammett looking well scary and stuff

Metallica guitarist Kirk Hammett talks to us about his obsession with all things horror (seriously, we’ve seen his collection, it’s mental) and his new book in our current issue.

“I saw my first horror when I was five years old,” says the legendary maestro with that lovely curly hair that isn’t Slash. “[It was] a British film called Day Of The Triffids. It moved something inside of me that didn’t happen when I watched cartoons or Disney features. It was something that resonated inside me and I wanted to watch more and more horror movies.

“[Metal and horror] use a lot of the same imagery. The classic case is Black Sabbath naming their band after the movie Black Sabbath. They both focus on dark-sounding things and suspense. The same sensations that you get in heavy metal are in horror movies. Heavy metal sounds evil and horror movies are evil, ha ha!”

Metallica: one happy famileeeeh

“It just moves me. Some people are moved by ballet, I’m moved by horror movies. There’s a lot of effort involved!”

Read the full interview, only in the current issue of Metal Hammer.

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The world premiere of the video for the title track of Fear Factory’s new album, The Industrialist (available for purchase at this
[link] ). The video blends live performance footage from the band with imagery featured within the artwork of the album.

Added by: metalinjection

Tags: fear factory
Date: 2012-10-25

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The album artwork for “Widowmaker,” the new album by U.K. extreme metal band Dragged Into Sunlight, was completed by Norwegian occult artist Sindre Foss, and its imagery creates a foreshadowing of what you can expect to hear on the new release.

For those who can’t wait, Dragged Into Sunlight has teamed up with Decibel magazine to give you a sneak peek of the entire album’s artwork paired with over three minutes of new music. Check it out through Decibel here or below.

“Widowmaker” is set for a November 6th release on CD and MP3 and a November 13th release on vinyl and consists of three tracks that combine into 40 minutes of pure aural debauchery. The album was produced by Tom Dring in three sessions spanning the past three years and has been described by the band as “complete misery, depression, and isolation” akin to “snapping the bones of the weak and crushing their shrunken skulls.”

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Rhode Island’s instrumental band Water’s Edge has now released new album “An Abstract Collapse,” which is available online for streaming in the player below or over at bandcamp. The album’s track listing is as follows:

1. So You Don’t Forget (ft. Julian Rodriguez) 05:06
2. The Coriolis Effect 04:20
3. Hypnagogic Imagery 04:43
4. Lucid Dreams 04:00
5. The Obelisk (ft. Max Gorelick) 05:14
6. The Balance Of Realism 05:04
7. Spidernomics 03:13
8. Birds In Space (ft. Alex Campbell) 09:54
9. Null 01:59
10. One Realm 05:54

An Abstract Collapse by Water’s Edge

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Legendary Southern rockers Lynyrd Skynyrd have angered some fans by announcing that they will stop using the Confederate imagery.

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