Posts Tagged “Mosh Pits”

On August 10, Redd of Bloodstock Radio conducted an interview with guitarist Jean-François Dagenais of Montreal, Quebec, Canada-based death metallers KATAKLYSM at the Bloodstock Open Air festival at Catton Park, Derbyshire, United Kingdom. You can now watch the chat below.

KATAKLYSM will embark on a European headlining tour in January 2014. Support on the trek will come from KRISIUN and FLESHGOD APOCALYPSE.

“It’s been almost three years since our last club tour in Europe and we are so excited to come back and blow off the roof of every club next January and February,” says Iacono. “We’ve built an album that will stand the test time and will need many headbangers, body surfers and mosh pits to give it justice and we are building a special show that you will never forget. This time, after almost a decade we have decided to tour the U.K. as well, after seeing the reactions at this year’s Bloodstock Open Air. There’s no doubt it’s time to come destroy. Raise your pints!”

KATAKLYSM‘s new album, “Waiting For The End To Come”, will be released on October 29 in North America via Nuclear Blast. The artwork by Eliran Kantor (TESTAMENT, HATEBREED) will be featured on the deluxe digipak and LP versions of the effort. The previously released cover by Peter Sallai (SABATON) will be featured on the standard jewel case and limited edition cassette tape versions.

“This other version of the new art made by Eliran Kantor represents a more iconic and epic approach,” commented Iacono. “A man representing all of humanity, shaking the foundation of existence and ultimately beginning the process of destruction. The main foundation is depicted here as the famous KATAKLYSM ‘tribal sun’ logo. It does not represent the end of KATAKLYSM by any means; more the beginning of a new era after the end of a certain existence.”

The follow-up to 2010’s “Heaven’s Venom”, “Waiting For The End To Come” was recorded by KATAKLYSM guitarist Jean-François Dagenais, who has previously worked with MALEVOLENT CREATION, MISERY INDEX and DESPISED ICON, among others, and mixed by Chris “Zeuss” Harris (SUFFOCATION, HATEBREED, ARSIS).

As previously reported, KATAKLYSM has recruited ex-NEURAXIS drummer Oli Beaudoin to sit behind the kit during the recording sessions for “Waiting For The End To Come”. Beaudoin is also playing all of KATAKLYSM‘s currenty announced shows.

Drummer Max Duhamel announced on April 8 that he was taking a break from KATAKLYSM to deal with issues related to alcohol abuse.



kataklysm2014toureurope

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On August 10, Felicity Hall of GetYourRockOut conducted an interview with vocalist Maurizio Iacono of Montreal, Quebec, Canada-based death metallers KATAKLYSM at the Bloodstock Open Air festival at Catton Park, Derbyshire, United Kingdom. You can now watch the chat below.

KATAKLYSM will embark on a European headlining tour in January 2014. Support on the trek will come from KRISIUN and FLESHGOD APOCALYPSE.

“It’s been almost three years since our last club tour in Europe and we are so excited to come back and blow off the roof of every club next January and February,” says Iacono. “We’ve built an album that will stand the test time and will need many headbangers, body surfers and mosh pits to give it justice and we are building a special show that you will never forget. This time, after almost a decade we have decided to tour the U.K. as well, after seeing the reactions at this year’s Bloodstock Open Air. There’s no doubt it’s time to come destroy. Raise your pints!”

KATAKLYSM‘s new album, “Waiting For The End To Come”, will be released on October 29 in North America via Nuclear Blast. The artwork by Eliran Kantor (TESTAMENT, HATEBREED) will be featured on the deluxe digipak and LP versions of the effort. The previously released cover by Peter Sallai (SABATON) will be featured on the standard jewel case and limited edition cassette tape versions.

“This other version of the new art made by Eliran Kantor represents a more iconic and epic approach,” commented Iacono. “A man representing all of humanity, shaking the foundation of existence and ultimately beginning the process of destruction. The main foundation is depicted here as the famous KATAKLYSM ‘tribal sun’ logo. It does not represent the end of KATAKLYSM by any means; more the beginning of a new era after the end of a certain existence.”

The follow-up to 2010’s “Heaven’s Venom”, “Waiting For The End To Come” was recorded by KATAKLYSM guitarist Jean-François Dagenais, who has previously worked with MALEVOLENT CREATION, MISERY INDEX and DESPISED ICON, among others, and mixed by Chris “Zeuss” Harris (SUFFOCATION, HATEBREED, ARSIS).

As previously reported, KATAKLYSM has recruited ex-NEURAXIS drummer Oli Beaudoin to sit behind the kit during the recording sessions for “Waiting For The End To Come”. Beaudoin is also playing all of KATAKLYSM‘s currenty announced shows.

Drummer Max Duhamel announced on April 8 that he was taking a break from KATAKLYSM to deal with issues related to alcohol abuse.



kataklysm2014toureurope

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Happy Podcast Day, fellow wallies! Today, the three musker-bellends rate the new Avenged Sevenfold single, decide whether Chester Temple Pilots can ever really be that good, beg Tool to hurry the fuck up, review the new Defiled album and talk Falling In Reverse, Bloodstock, mustaches, Devin Townsend and fucking people up in mosh pits. Happy days.

Download it below!

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What have scientists learnt after studying videos of mosh pits at rock concerts? It turns out they behave the same as particles of gas, according to this study.

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As was previously announced, Detroit thrashers Battlecross will be hitting the road as a part of the Occupation Domination 2012 tour featuring heavyweights Origin, Cattle Decapitation, Decrepit Birth, Aborted, and Rings of Saturn.

The Occupation Domination 2012 Tour kicks off at Sonar in Baltimore, MD on April 20 and wraps up May 18 in Lawrence, KS at the Granada Theater. The Occupation Domination 2012 tour marks Battlecross’ first major US tour and will see the band promoting the devastating Metal Blade debut, “Pursuit of Honor,” which just dropped August 02, 2011. The band commented:

“Battlecross is stoked to share the stage with bands as respected as Origin, Cattle Decapitation, Decrepit Birth, Aborted, and fellow newcomers Rings of Saturn. We’re thankful to have the support of Liquid Metal and fan support on YouTube. We anticipate that a lot of kids are going to come out to support the tour and we’re going to thank each and every one of them! We can’t wait to inject some Detroit thrash into this extremely heavy & talented lineup and make some new friends along the way. See you on the road!”

In other news, on Friday February 17 Battlecross landed in the #1 position of Sirius XM’s the Devil’s Dozen Countdown with the single “Push Pull Destroy.” Here’s what metalhead and Sirius XM-Liquid Metal DJ and Headbanger’s Ball host Jose Mangin had to say about Battlecross’s recent feat:

“They’ve been stirring up our fan base since day one, clawing their way to the top of the Devil’s Dozen Countdown, inciting mobile mosh pits every time they’re on Liquid Metal! That’s the power of straight to your core American made Metal!”

Check out the video for “Push Pull Destroy” here – shot by Roy Warner Creative & Videography on location at the Yankee Air Museum, located on the grounds of the historic Willow Run Airport. It was at Willow Run where Henry Ford mobilized his manufacturing base to contribute to the war efforts by mass producing the B-24 Liberators that provided American Air Power to win WWII for the Allies.

03/12 Nashville, TN The Muse
03/13 Little Rock, AR Downtown Music Hall
03/14 FortWorth, TX Tom Cats West
03/15 Austin, TX SXSW – details coming soon!
03/17 St Louis, MO Fubar
03/18 Barrington, IL Penny Road Pubb
03/24 Westland, MI Token Lounge – Exploder CD Release Bash w/ Exploder
03/31 Peru, IN Hangar 18 w/ Deliver Us From Evil
End tour
Occupation Domination 2012 Tour featuring: Origin, CATTLE DECAPITATION, Decrepit Birth, Aborted, Rings of Saturn, and BATTLECROSS
04/20 Baltimore, MD Sonar
04/21 Wilmington, DE Mojo 13
04/22 Trenton, NJ Backstage at Champs
04/23 Keene, NH Railroad Tavern
04/24 Brooklyn, NY Europa
04/26 Peoria, IL Brass Rail
04/27 Joliet, IL Mojoe’s
04/28 Portage, IN Camelot Arena
04/29 St Louis, MO Fubar
05/02 Albuquerque, NM El Rey Theater
05/04 San Diego, CA Ruby Room
05/05 Tempe, AZ The Clubhouse
05/06 Hollywood, CA The Whisky A Go-Go
05/07 Fullerton, CA Slidebar
05/08 San Francisco, CA DNA Lounge
05/09 Stockton, CA Plea For Peace
05/10 Sparks, NV The Alley
05/11 Portland, OR Branx
05/12 Seattle, WA Studio Seven
05/13 Boise, ID The Venue
05/14 Salt Lake City, UT In The Venue
05/15 Denver, CO The Summit Music Hall
05/18 Lawrence, KS Granada Theater

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According to the Edmonton Journal, a University of Alberta graduate student is writing her thesis on mosh pits for a degree in recreation and leisure studies.

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Photo (c) 2010 Ray Van Horn, Jr. / The Metal Minute

Metal Minute: The past couple years Exodus has been road-dogging with Kreator, Megadeth, Testament and Arch Enemy in advance preparation for your latest album Exhibit B: The Human Condition. I caught you twice on these legs and saw a very devout audience mixed with old schoolers and youngsters going berserk during your set. Brought a smile and a warmed heart to watch them whirling the trad mosh pits as we came up with during the eighties. Give us a general tour diary from your perspective being on the road with your peers and Arch Enemy.

Gary Holt: It’s totally awesome touring with bands that we like and admire, and Arch Enemy are certainly at the top of that list. We’re fortunate to have a whole new generation of kids into the band now, as well as the old diehards, so times have been good to us. And with the old guys and their bad hips and knees, it’s good to still have some young kids with healthy joints to get the pits raging!

MM: (laughs) I read enough interviews lately between you and Tom Hunting and it seems like a lot of your hosts are actually surprised Exodus is still playing at breakneck speed on Exhibit B: The Human Condition. I’m sure that has to be getting on your nerves, since Exodus has hardly slowed down throughout the years, though maybe in spots on Impact is Imminent and Force of Habit. Listening to you and Lee (Altus) rip some beautiful solos amidst the pounding thrash of “The Ballad of Leonard and Charles” on Exhibit B, you can see why people are geeking out, yet you have to wonder if people have truly kept up with you guys over the years? Is it passé at this point for people to rave how Exodus is still a fast band?

GH: It doesn’t get on my nerves at all, because I think it has more to do with how aggressive we are after all these years, when most bands would be seriously slowing down. It’s more about how amazed people are that we not only keep things blazing, but we keep pushing the pedal to the metal more with each record.

MM: A lot has happened in society–in particular within the spiritual realm–since you released The Atrocity Exhibition in 2007, which leads us to your sequel, Exhibit B. We’re looking more at the foibles and fallacies of mankind on your newest album, but tying into The Atrocity Exhibition, what have you seen going on between Church and State and subsequently Church, State and Man which helps tell your story on Exhibit B?

GH: Well, in the US, seperation of church and state really only exists on paper, because the evangelic right holds so much sway with the running of this country. On Exhibit B we chose to focus on mankind’s many weaknesses, and our historical ability for cruelty, ignorance, arrogance, plus our sheep-like need to be led.

MM: Let’s break down “Class Dismissed (A Hate Primer).” I love this track for its speed and Rob’s spit-flung delivery, but I think it’s the flashpoint moment of Exhibit B: The Human Condition, where everything else afterwards is going to be considered effect from cause. Tell us what (or who) inspired this song of a love-deprived nihilist venting his announcement to wreak havoc.

GH: The obvious influence for this song is the American pastime of heading into the halls of learning loaded for bear and releasing one’s rage on the students. From Charles Whitman to Columbine, to Virginia Tech and many others. I just wanted to write it through the eyes of the shooter, and because of that, some think it glorifies school shootings, but that couldn’t be further from the truth. It’s just another dark part of this world of ours I chose to explore.

MM: Colin Marks worked on the album cover for Exhibit B and you guys turned to Leonardo DaVinci’s “Vitruvian Man” for inspiration. All the weaponry extended from the mandibles of the skeleton really sums up a postulated theory how mankind is inherently destructive. Given the artwork and the brutal realism of the album’s lyrics, where do you find redemption in mankind, if at all?

GH: I’m still waiting for man to redeem itself, but I don’t think it will happen in my lifetime!


(c) 2010 Ray Van Horn, Jr. / The Metal Minute

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Watch three minutes of people leaping into mosh-pits. (more…)

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While Fozzy has had a few heavy numbers in the past, there haven’t been as many metal thrashers as there are on Chasing The Grail. “Under Blackened Skies” is an auspicious opener, a thrilling spectacle that gets the blood flowing. “Pray For Blood” brings forth a death metal vibe, with blast beats and harsh vocals, while “Paraskavedekatriaphobia (Friday The 13th)” is a pummeling head banger tailor-made for the mosh pits.

The shining achievement on the album is the 14-minute prog masterpiece “Wormwood,” a song straight out of the Dream Theater playbook. Going through countless tempo changes and musical passages, the closing track is Fozzy’s most stunning work to date. Jericho’s soulful vocal performance is subtle and masterful; it’s a sharp contrast to the studio enhancing that is done to his soaring vocals on a few of the other tracks.

Read the complete Fozzy – Chasing The Grail Review

(CD cover courtesy Riot Entertainment)

Fozzy – Chasing The Grail Review originally appeared on About.com Heavy Metal on Friday, January 29th, 2010 at 00:33:57.

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KreatorHoardes of Chaos
2009 SPV/Steamhammer
Ray Van Horn, Jr.

Moreso now than ever, people tend to fashionably slag bands shy of original members, particularly those who originally made a name for themselves in generations past. Say what you will about Germany’s thrasher beloveds Kreator boasting only two residents from the old days (Mille Petrozza and Jurgen “Ventor” Reil), what counts these days is what kind of juice you pour into your reason for being.

Let that be the judge when coming to Kreator’s latest crash ‘n dash album Hoardes of Chaos. Letting very little off the gas from their 2005 crusher Enemy of God and 2001’s Violent Revolution, the only real difference to Hoardes of Chaos is flashier guitar work, sparkling production and most of all, uncharacterically-discernable vocals from Mille Petrozza.

Okay, we have the 55-second airy interlude “Corpses of Liberty” which is as daring as Mille and company have been since the experimental days of Endorama and Outcast. The opening stanza of “Demon Prince” is un-brutally eloquent, but it does launch verily into a speed metal frenzy worthy of the Pleasure to Kill and Terrible Certainty years.

Is there anything really wrong with dressing up a tried and true standard such as Kreator has operated with for much of their career? Yeah, they used to be one of the fastest bands on the planet and sure, there was a cybernetic kitsch ala their classic crusher “Toxic Trace,” much less their future-courting Coma of Souls album that has drifted away over the course of time, though recurrent in meted measures. A good example is found on Hoardes of Chaos courtesy of a few otherworldly chords pulled out of the old trick bag during “To the Afterborn.”

Honestly, Kreator can still knock heads and provoke audiences into body-toppled mosh pits. Put Hoardes of Chaos up against a large number of their ilk and it stands up like a champ. “Warcurse” alone can outrun much of Kreator’s competition much less “Radical Resistance,” and even while they scale tempos down to hairs above mid-tempo on “Escalation” or “Amok Run,” the enthusiasm Kreator projects doesn’t dwindle. The energy is largely expounded on the thrumming heels of Jurgen Reil’s thunderous double bass, which has no problem keeping a relaxed pace when called upon to do so before spiking madly on a dime.

Perhaps Hoardes of Chaos is a tad slick for the old guard who’ve been following Mille’s monsterbots throughout their near thirty years–counting when they were known as Tyrant and then Tormentor. Hells bells and the forked devils pulling the doom chimes though, you have to admire the adrenalized fortitude Kreator still brings to the table. That hellion’s march introducing the intertwining speed jam “Absolute Misanthropy” is particularly inspired, as is Mille and Sami Yli Sirnio’s dancing fretwork. Their synergy on the slower-timed “To the Afterborn” is practically breathtaking in itself, despite the tune being perhaps their most accessible song ever recorded, save for the thrash bursts contained within.

Admit it, you were scared these guys were finished after Endorama…

Rating: ****

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