Posts Tagged “Listener”

Linkin Park: game for it

Linkin Park have been locked in the studio working on a new studio album, and it looks like it’s packing a few surprises.

The band announced earlier this year that they were getting cracking on the follow-up to 2012′s Living Things, with Mike Shinoda recently suggesting that we might see it surface by the time they rock up to Download in June.

Now guitarist Brad Delson says that shred-happy LP warriors (erm, are there any of those?) will be very satisfied with the way the new opus is turning out.

“There’s a lot of guitar solos on the album!” he tells Music Radar. “And this is from someone who was quoted early on as saying I hated them. Not that I hated them as a listener; I just don’t want to play any; I shirked guitar solos. Early on, I felt as though the songs we were making aesthetically didn’t want them. This new batch of songs, to me, always want solos. I feel like every song has one.”

Brad also explained why the band decided to drop a new single so soon after announcing that they were in the studio, noting: “We wanted to get music out sooner than later. The timing just felt right with this song. We finished two songs relatively early in the process, and Guilty All The Same seems to inform the spirit of the record. For us, it’s the perfect lead offering to set the tone for the album as a whole.”

Expect that album to land around summer time. In the mean time, catch the rock heavyweights playing their seminal Hybrid Theory debut in full at Download in June.

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Rogue Records America has announce the release of the self-titled full-length album from Sweden’s HUMANITY’S LAST BREATH. For fans of MESHUGGAH, VILDHJARTA and progressive death metal searching for another amazingly brutal act to latch on to, HUMANITY’S LAST BREATH is your band.

“Humanity’s Last Breath” is out now on both physical CD (limited-edition digipak) and as a digital download (digital format also includes the entire album as an instrumental version).

The song “Animal”, taken from “Humanity’s Last Breath”, can be streamed in the YouTube clip below.

Bludgeoning your speakers with 13 tracks that grind any brains you have left into a pulp, HUMANITY’S LAST BREATH once again sets the bar in the death metal genre, showing the progression of not only the band but the limits of what one can do with metal itself. Chugging riffs, thunderous drums, pounding bass and banshee-like vocals take the listener through a more groove-oriented sound than the band’s last release.

HUMANITY’S LAST BREATH was formed in 2009 by drummer Buster Odeholm and guitarist Kristoffer Nilsson. They previously released two EPs, “Reanimated By Hate” (2009) and “Structures Collapse” (2011).


Marcus Hultqvist – Vocals
Kristoffer Nilsson – Guitar
Stefan Bengtsson – Bass Guitar
Buster Odeholm – Drums


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Quality fan-filmed video footage of HELLOWEEN‘s September 23 concert at Stage 48 in New York City can be seen below.

HELLOWEEN is currently taking part in a 10-date North American tour. The band is travelling across the U.S. and Canada, bringing its power hooks and catchy melodies to fans who have yearned to see them since their 2008 tour with GAMMA RAY.

HELLOWEEN‘s new album, “Straight Out Of Hell”, sold around 4,100 copies in the United States in its first week of release to debut at position No. 97 on The Billboard 200 chart. The CD entered the Media Control chart in Germany at position No. 4 — the highest chart position in the band’s history. It also landed at No. 4 in Finland and No. 2 on the international album chart in Japan.

“Straight Out Of Hell” was released in Europe on January 18 and in North America on January 22. The cover artwork for the CD was once again created by Martin Häusler, who previously worked with the band on the “7 Sinners” and “Gambling With The Devil” CDs.

“Straight Out Of Hell” was produced by Charlie Bauerfeind, who also worked on “7 Sinners”, and sees the five musicians maintaining a rawer edge throughout, working quickly in the studio (MiSueno Studio in Tenerife) and delivering 13 brand new compositions that, in the words of founding member, guitarist Michael Weikath, will “kick even the laziest listener’s ass!”


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“Hidden Lotus”, the new video from Toulouse, France-based progressive metallers ERYN NON DAE. (formerly END.), can be seen below. The song comes off the band’s sophomore album, “Meliora”, which was released in October 2012 via M&O Office. The follow-up to 2009’s “Hydra Lernaia” was recorded at Mobo‘s ConKrete Studio in Bordeaux, France.

According to a press release, “Meliora” “is both cerebral and organic, complete with dynamic relief, softer abstract and atmospheric passages of contained energy appear and transport the listener. From this highly textured mosaic the concept comes to life: this time coming from a long introspective process. ‘Meliora’ speaks of the metamorphosis of a man into a higher being. This transformation is born from a realization of inner truth. On this inexorable journey towards the end, a light may be found.

“The lyrics of ‘Meliora’ swing between appeasement and resignation, with references to mythology and alchemy. Filled with actual experiences, the album expresses a physical and psychic quest. The lyrics are raw and fragile, vindictive and sensitive, bleak yet filled with goodwill and hope. ‘Meliora’ is, finally, a fragment of pure humanity.”

“Meliora” track listing:

01. Chrysalis
02. The Great Downfall
03. Scarlet Rising
04. Ignitus
05. Muto
06. Black Obsidian Pyre
07. Hidden Lotus

For more information, visit the band’s Facebook page.

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Recently I started reading Henry Rollins' Broken Summers and a sentence struck grossly true for myself: “All too often, contemporary music doesn't give me what I need, so I go into the past looking for the good stuff.” Listening to the contemporary puts the listener into an odd state. On one hand, we get to watch …

The post Album Review: MODERN LIFE IS WAR Fever Hunting appeared first on Metal Injection.

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Peter Hodgson of recently conducted an interview with Sigurd “Satyr” Wongraven of Norwegian black metallers SATYRICON. A couple of excerpts from the chat follow below. What do you think would be the perfect place to listen to [SATYRICON‘s new, self-titled] album for the first time?

Satyr: Well… I know it’s not possible for all writers and journalists to do this, because the way these things are being distributed is through computer streams, but it’s analog production with an awful lot of emphasis on getting an authentic, organic sound with a great dynamic range where the performance of the musician comes across in terms of actually breathing life into the song through the lows coming down really low and quiet, and the really explosive epic parts really coming across as powerful and huge. And to me, it just means to play this record repeatedly on a good stereo without coloring the sound with your own EQ. Just leave everything in neutral so you can actually hear what the record sounds like the way that it was made. I also think that due to the fact that it has so many tiny little details here and there — whether it’s the mellotron or the harmonium or the piano or the acoustic guitars or the theremin, all these little instruments that have their small features here and there that are introduced in a subtle way — to me, it’s more that than where you find yourself physically. It’s how you listen to it. Even just listening to the stream over the headphones, there’s so much depth to everything, and the sounds aren’t harsh and aggressive — they’re more rich and inviting and that makes you want to listen closer.

Satyr: Well, to me, that’s a fantastic compliment. What you try to do as a musician is you try to make the listener hear what you’re hearing and what you’re trying to achieve. And that was just one of those things that I decided to do for this record. I was going to get rid of all distortion pedals. For rock music, that’s pretty normal, to just crank the amplifier and go with that sound, and then maybe they use a wah pedal or something like that. But for metal, you typically have some pedal that’s gonna turbo-charge your sound. And for me, I really believe in the amplifiers that I use and I like the microphones we were using for the guitar recording, and I wanted to bring out my style of playing, the sound of my amplifier, the sound of the old tube microphones that we were using, and I didn’t want a modern-day pedal to kill the dynamics of my playing. So a lot of it was like that, and other things we did with the drums that typically, for a metal drummer playing like Frost does, he uses smaller-sized drums for more attack definition and in order for it to be more comfortable to play for the drummer. And I kept saying to him, “I love the drum sound on the things that we’ve done, but nothing sounds like our old drum kit, and the last time we used that was on the ‘Volcano’ record. Why are we not using that anymore?” And he just said, “Because it’s old and broken and fucking hard to play.” And I said, “I’m not looking for any hyper-speed solutions anyway. I’m looking for a big fat tone with great sustain, and if it’s broken, we’ll just get some guy to fix it and get new parts, and it shouldn’t be a problem.” And then we set it up again, and when we were playing the new stuff, straight off the bat, I said, “Are you not hearing what I’m hearing? This sounds so much better, so much more musical to me.” So there were many little things we did here and there, even in the production process, where there would be computer versions of some compressor or something like that, which to me didn’t sound that great, and the engineer would typically claim that it’s the same as the real thing, and I’d say, “I don’t believe you because I know that this computer thing is a $250 item and if you try and buy the physical version of this from the Seventies on eBay, it’s going to cost you two grand.” And he says, “Well, there is a difference, but it’s a small difference,” and I said, “That’s the small difference I’m looking for!” So that meant we did spend a little bit more time than we had planned for, but it was necessary to make this record come across the way we wanted. We felt we had atmospheric songs, we felt that we needed our tone to come across and go into the songwriting and become a part of the musical expression, and we felt that we needed the songs to be able to breathe. And pretty much the opposite of what most records sound like today, as the majority of records are quite digital and processed-sounding, and we were pursuing something completely different. We’ve always had these elements in our music, but never to such an uncompromising degree as on this record. It was necessary and it gave us the outcome we now have in our hands.

Read the entire interview at

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Chicago-based metallers DIRGE WITHIN have changed their name to THE BLOODLINE.

Comments the group in a statement: “The birth of of this band may come to some of you as a surprise, yet it was for the right reasons in many ways.

“We are very excited about the material in this new album. We have taken the time to perfectly craft these songs and are beyond proud of the sacrifices we have all put into this writing process. Groove, melody and intensity all come to mind, but we would rather let YOU the listener determine as such.

“Also, regarding DIRGE WITHIN, we all felt it was best, once we began writing the new music, it truly took on a new life of its own, all of us felt it was best to admit this is not DIRGE WITHIN in many ways. As well as the four of us do not want to limit ourselves in any form as musicians and from that THE BLOODLINE is born and this heart is pounding.”

The first taste of THE BLOODLINE, a song called “The Blackout”, can be streamed using the SoundCloud widget below. The track was produced by Joel Wanasek and THE BLOODLINE and was enginered by Scott Creekmore at Mercenary Studios. It was mixed and mastered by Joel Wanasek at JTW Studios.

MEGADETH mainman Dave Mustaine‘s son Justis, who heads up his own artist management company, Justis Mustaine Management, stated about THE BLOODLINE: “I had the pleasure of meeting Shaun Glass and the band at one of the Gigantour shows during the summer. He played me some music from his new band THE BLOODLINE. I was hooked, rocking out. [It’s] so heavy, so melodic. Great work, guys!”


Shaun Glass (SOIL, BROKEN HOPE) – Guitar
Frankie Harchut – Drums
Chuck Wepfer – Guitar
Travis Neal (DIVINE HERESY) – Vocals

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After disbanding in 1987, legendary British occult metal act HELL was reincarnated in 2011, with Andy Sneap (guitar) and David Bower (vocals) joining original members Kev Bower (guitar, keyboards), Tony Speakman (bass) and Tim Bowler (drums). Now the British quintet is about the release the follow-up to its highly acclaimed 2011 debut, “Human Remains”. The band’s sophomore offering, “Curse And Chapter”, will be made avialable on November 22 via Nuclear Blast. The effort will include a bonus DVD containing six songs from HELL‘s February 23, 2013 show at the Darwin Suite Assembly Rooms in Derby. A single, “The Age Of Nefarious”, will precede the full-length album this fall.

Commented Sneap on the upcoming release: “We’ve been working solid on the album for the last couple of months between gigs, although we’ve been demoing to a good standard over the last year or so.

“This time around the album consists of around 50% old material, 50% new.

“We really see this as a band that’s moving forward rather than a nostalgia trip. Obviously, there’s a lot of history within the band, but there’s also a whole world of ideas we want to get out.

“We have this week left tracking. Four more vocals and bass to get down, two more songs of guitar and then mix.

“I’m super happy with how things are shaping up. It feels more like a band on this record to me than the first, which, I guess, is just a natural progression of everyone playing together a lot more over the last couple of years.”

Concerning the lyrical content, vocalist David Bower added: “Alongside some of our favorite themes of historical, political and religious persecution, intolerance and prejudice, you will find some good old fashioned myths and legends being invoked and reinterpreted in our own inimitable way. We also have some songs in which the listener will be implicitly invited to solve the clues contained in the lyrics in order to find the meaning of the stories for themselves. Being completely aware that many people interpret things in ways that writers do not expect as a matter of course, it seemed logical to take that idea a little further.”

About the album title, Bower explains: “It’s a hellish play on words of the English saying chapter and verse, and also a reference to a song lyric in ‘The Age Of Nefarious’, the opening track on the record.”

“Human Remains” entered the German Media Control chart at position No. 46.

Cited as a huge indirect influence, and as one of the true founding fathers of occult metal, HELL formed in 1982 from the carcasses of U.K. metal bands RACE AGAINST TIME and PARALEX, whose “White Lightning” EP was listed by METALLICA as a favorite, and which was subsequently included on the Lars Ulrich, Geoff Barton “NWOBHM ’79 Revisited” sampler album.

Despite over five years of constant touring, the band was cruelly overlooked by the ’80s music press, who just didn’t get it. HELL were too different, too extreme, too musically intelligent and far too thought-provoking for all but the most enlightened to understand them. The final crushing blow came when their long-awaited 1986 album deal with Mausoleum collapsed as the label went bankrupt, followed by the tragic suicide of singer/guitarist Dave Halliday in 1987. The remaining members drew a line in the sand and stopped playing overnight.


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Loudwire is hosting a new track from “Vermis,” the pending new album from Auckland, New Zealand’s Ulcerate. Listen to the track below. The fourth of the album’s nine cataclysmic hymns, the volatile “Weight Of Emptiness” is its lengthiest, inundating the listener with over seven-and-a-half minutes of purely contorted, dissonant and suffocating death metal.

The post Ulcerate Streaming “Weight Of Emptiness” Track appeared first on Daily Heavy Metal News.

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Black metal legends Satyricon will return to the UK for four inevitably epic dates this October – and have revealed that their new, self-titled album will land on September 9 via Roadrunner.

“We are back,” says band mastermind, Satyr. “Sorry it took so long, but we needed the time to be able pull off a record like this. Comparing this one to previous records is time wasted, it is Satyricon; constantly on the move.  Naming this record ‘Satyricon’ was the most obvious thing in the world.  We have never done a record which captures the spirit of this band in such a way.  Ever.  It will demand a lot from you as a listener, but I know you will love it.  It will grow on you and that is why it will stay with you forever.  We won’t tour as much in the future as we used to, and that will just make every tour more special.  This album and this tour is for you and ourselves.  It is our moment!”

Catch the band over here on the following dates:

Sunday 10th Nov – MANCHESTER Academy 3

Monday 11th Nov – BELFAST Limelight

Tuesday 12th Nov – DUBLIN Button Factory

Thursday 14th Nov – LONDON O2 Islington Academy

 Tickets go on general sale at 9am THIS Friday (June 28).  Check for special ticket bundles.

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