Posts Tagged “San Francisco Bay”


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Robb Flynn of San Francisco Bay Area metallers MACHINE HEAD has posted the latest installment of his online blog, “The General Journals: Diary Of A Frontman… And Other Ramblings”. It follows below in its entirety.

“I’m in a shitty mood.

“Not for the story I’m about to tell, but because of my thoughts afterward.

“I went out to San Francisco for my buddy Joe‘s birthday shenanigans. We went out for Moroccan food at a joint called El Mansour. The place had a great vibe, belly dancing, sword balancing, and amazing food! The lamb in particular was to-freakin’-die-for, slow roasted and covered in honey and cinnamon.

“On the way out there, Joe‘s buddy Tony picked me up from JingleTown [studio], since I didn’t want to drive as I knew I’d be drinking. On the hour-long trip out (Saturday traffic to San Francisco), he was telling me some pretty awesome stories about growing up in the ”70s. You see, Tony was a teenager in 1975, and used to go the famous San Francisco venue Winterland. Winterland was before my time, but being part of the scene you heard the legend, the stories and the history.

Tony is a big BLACK SABBATH fan, saw them back in ’75 on the ‘Sabotage’ tour and said it was a life-changing experience. Him and his buddies used to go to Winterland, load up on LSD, cigarettes, and weed, and go watch pretty much the cream of the crop of classic rock bands. TED NUGENT, SABBATH, DEEP PURPLE, JOURNEY, MONTROSE, you name it, he went and saw it. The shows would start and if people loved the opening band (essentially cheering non-stop) they’d get to do encores. He was telling me about a show JOURNEY (the opener!), killed it, and they got 4 encores, the support band got 4 encores! Then the headliner, MONTROSE, got 5 ENCORES! MONTROSE didn’t stop playing until 2:30 in the morning, everyone stayed, no one would even dare consider leaving and people experienced some of the best music of their lives.

“An opener getting encores, crazy…

“And the venue allowed things like this to happen. The venue just kept the bands rolling.

“Not only that, but all of the shows at Winterland were $4.50.

“4 dollars and 50 cents…..18 freakin’ quarters!

“Wow…?!?

“All I could think of was ‘what an amazing time for music.’

“People wonder why the ‘classic rock’ bands were so good. They were playing by their own rules, and they had a culture of venues and people around that were as crazy and fly-by-the-seat-of-their-pants as the bands themselves. The promoters around that time did anything to make the bands happy and if it meant playing all goddamn night? Let ‘em!

“I tell you right now, though, there isn’t a band out there who would play til 2:30 a.m. nowadays, let alone find a major venue that would even ALLOW such a thing.

“I remember when I first started going to /playing thrash shows, it was a very similar thing. It was no rules, no security, no safety, no curfews, and for the most part anything went!
Venues these days are mostly run with union workers. In most major cities, you have to take breaks during the day, where a band can’t even sound check for an hour because the union workers need a ‘break.’ Nowadays if you play 1 minute past 11 p.m. at any of the large union venues, it costs the band $1,000 dollars a minute. When we were out with METALLICA playing arenas they regularly play 20 minutes past 11:00 p.m., and they regularly paid $20,000 to do so.

“I went and saw PEARL JAM about a month ago, and they played one of the best, most truly rock ‘n’ roll shows I’ve seen in eons. It was fucking magical, Eddie Vedder drank 3 bottles of wine, and about 2 hours into the set, he started getting a little sloppy, forgetting lyrics, missing cues, it looked like it was about to fall off the rails. The band then they took a quick break and he came back and played ‘Black’.

“Let me tell you, it was magic! I’m getting goose bumps writing this, just remembering it. It was such a turn-around; it totally took the night to an even higher level. At this point they were already 45 minutes past 11. They played several more songs and eventually the Oakland Arena (currently called the Oracle Arena, until some different stupid corporate sponsor buys it and changes it to something ridiculous like Florida’s 1-800-Ask Gary Amphitheater) turned on the house lights, signaling them to stop. PEARL JAM said ‘fuck you!’ and played 2 more songs with the house lights on! Eddie Vedder then brought the band back out onstage to do an extra-long goodbye to the crowd. I love their fucking attitude.

“In the end, they played 70 minutes over ‘curfew’ and I’d imagine left Oakland about $70,000 dollars lighter to do so. Of course PEARL JAM can afford it, and frankly it gave every single person there one of the best shows of their life. But this gesture to keep the ‘room’ in a good mood in conjunction with the Winterland conversation, it got me thinking.

“Shit has changed.

“On the one hand, I love PEARL JAM‘s ‘fuck you, were doing it our way’ attitude, and on the other hand, it angered and depressed me.

“Only the METALLICAs and PEARL JAMs can pull things like this. Bands that have sold millions of records, and they can afford it.

“If MACHINE HEAD tried playing an hour over curfew at say, the House Of Blues in Dallas, Texas, we’d be walking out of there with our entire guarantee eaten up. Even if the fans wanted it, some venue would do their best to shut it down, cut power, close curtain, whatever.

“The music business has sucked the life out of creativity. No one is encouraged to take risks, no one is encouraged to push the envelope, because it’s all about first-week sales! It’s about pointless radio play and how good your last tour went. How venues and promoters are squeezing the last drop of spontaneity out of your soul by not ‘allowing’ you to playing past curfew and not drawing outside the line.

“When we play that game, we essentially applaud mediocrity.

“There’s nothing dangerous about music these days, there’s nothing surprising about it either. There can’t be. Other than PEARL JAM, the only ‘band’ that doesn’t seem to really give a flying fuck and plays by their own rules isn’t really a band at all, are they? Axl and the ROSES are known for bending the rules and telling the powers that be to ‘fuck off,’ but because their band is so confusing they come across as a joke. But people don’t see this. People don’t see any of this!

“And the reason you don’t care is because it’s too easy to get sucked into your phone, or your Facebook, or your Twitter, or your Tumblr, or your Instagram, or your games, or your TV shows.

“Music isn’t important anymore. Say it is all you want, but the fact is, the 2 biggest rock records of last year only sold 400,000 copies, neither even went gold.

“Music is in the background of a game. Why go to a show when you can watch clips of it on YouTube and bitch about how it stinks live?

“And you know what, I miss music being important! I miss live shows being important. I miss feeling a part of something that was so high on my list I’d crawl through broken glass to get it.

“All this technology we have now that’s supposed to make us ‘connected?’ It’s making me feel more fucking disconnected than ever. I mean watching all the things that other people are doing that I’m not invited to or even a apart of? And yet at the same time completely disgusted by faux-self-importance it has given everyone, (here’s my dog or cat for the millionth time, here’s a selfie for the millionth time, here’s my kids for the millionth time, here’ the food I’m eating for the millionth time, here’s what I’m doing and you’re not). Don’t you wish you were eating what I’m eating?

“Fuck you!

I’ve thought of tweeting or Facebooking something so many time and just went, ‘who cares’, why should anyone care about this, and you SHOULDN’T care.

“You’re all my ‘friends,’ you’ve all ‘liked’ me, but really, you’re not my friends, because we don’t know each other. You took a photo of me, or you interviewed me, or we talked after a show. And after you get past the initial coolness, of re-connecting with someone from high school on Facebook or Twitter, you realize you truly have drifted apart.

“And fuckin’ A, I’m glad we did.

“I don’t want to be ‘friends’ with everyone; I don’t want to be ‘liked’ by everyone. I want to feel connected to something. And nothing I look at in the music business does that. I don’t get radio bands; I don’t get any of these fucking ‘scene bands.’ I don’t get bands singing about how great being American is, as if the geographic location you were born, (and had zero control over in any way shape or form), somehow makes us better than any other geographical place of birth!?

“I don’t get why people don’t want to see live music anymore, I don’t get it. Did you see the clip of Hetfield talking about how America needs to start ‘wanting’ music again? This is James ‘Fucking’ Hetfield talking, people! Didn’t those words do anything to anyone? Didn’t what he said make you feel a bit disgusted? I’m a METALLICA fan and those words being spoken kind of stung a bit.

“You can bitch all you want that MACHINE HEAD only does festival tours and only plays for 30 minutes, but all those bands (including us) that play festival tours, can’t draw squat when were not on festival tours. And even the big metal festivals are having troubles. Maybe the days of bands touring is coming to an end? Bands didn’t always tour, you know, Mozart didn’t hit the road for a year or 2 back in the day. Touring is really a phenomenon of the last 60 years or so. People didn’t always buy records, or CDs, or files, or streams, that’s also a phenomenon of the last 60 or 70 years.

“I don’t get the political fucking correctness of music anymore.

“I don’t get the narrow-mindedness of the world anymore.

“I don’t get people asking me every week to try and write ‘more like ‘Burn My Eyes’, please.’

“I don’t get religious nutjobs who think that when they die they’re going to 72 virgins when they get to heaven. (‘You’re guaranteed to get some pussy in the afterlife, boys,’ so obviously written by a man!)

“I don’t get religious fucking nutjobs who think that Jesus is coming back soon, wearing a white, blood-stained robe (stained with the blood of his enemies…whoever those are) and will be carrying a sword, and by ‘sword,’ the bible meant an AR-15!

“What did Napoleon say? ‘Religion is what keeps the poor from murdering the rich.’

“I don’t get why we need to hear ‘America The Beautiful’ and ‘thank a soldier’ in a TV commercial, 22 and 14 times respectively during the Superbowl.

“I don’t fucking get it.

“You don’t care about music, and I don’t care about music, and I sit here wondering if this feeling is a result of the business itself, or is the business a result of our own apathy towards music.

I feel lost.

“I feel alone.

“Something has to change.

“Someone has to stir the pot.

“Something needs to come along and wake us up out of the slumber.”

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San Francisco Bay Area metallers MACHINE HEAD entered GREEN DAY‘s Oakland, California’s JingleTown Recording compound on February 9 to begin recording their new album for a late 2014 release via Nuclear Blast Entertainment.

The first in a series of short segments regarding the production side of making MACHINE HEAD‘s new CD can be seen below.

Tentative songtitles set to appear on the new MACHINE HEAD album include “Killers & Kings”, “Beneath The Silt”, “Eyes Of The Dead” (formerly “Ojos De La Muerte”), “Sail Into The Black”, How We Die” and “Night Of The Long Knives”.

As part of this year’s Record Store Day on April 19, MACHINE HEAD will release a 10-inch vinyl single, with the A-side containing the “demo” version of a new song, “Killers & Kings”. The B-side will be a cover version of the track “Our Darkest Days” from one of MACHINE HEAD‘s favorite bands, IGNITE.

Speaking to U.K.’s Metal Hammer magazine, MACHINE HEAD frontman Robb Flynn stated about the band’s new material: “It sounds like MACHINE HEAD! It’s definitely moving forward, which I feel like we’re probably always gonna do.

“We’re not a band that ever looks back. We do our thing and try to take the life experiences that we have and the musicianship that we’ve evolved and try to use it. Obviously, we have our sound and we have the MACHINE HEAD patented harmonics, the downtuned riffs and I sing the way I sing.

“I think Bob Dylan said it best: ‘You just find new ways to say the same thing.’”

Speaking about some of the specific tracks and the lyrical themes covered on the new album, Flynn said: “I’ve got some pretty cool lyrics ready. There’s a song called ‘Night Of The Long Knives’, and it’s pretty fucked! It’s about the Manson murders, and the lyrics are really dark and vicious.

“We’ve found some new twists to give to the MACHINE HEAD sound and some new fire and excitement.”

Asked what the band’s main aims were when they started composing music for the new CD, Flynn said: “Well, it’s nice to try and have a plan, but music has a way of unravelling over time! [Laughs] You’ve just got to roll with it.

“With [2007's] ‘The Blackening’, I’d love to say I had this grand vision of nine- and 10-minute songs, but the first four songs we wrote were the four shorter songs on the record. For months, there was no indication whatsoever that we’d have 10-minute songs. That stuff came later.

“Human nature wants to control and dictate where things will go, but you can’t. It won’t let you! The more you try, the more it goes, ‘Fuck you.’ It’s going some other way!”

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Spirit Of Metal recently conducted an interview with guitarist Ted Aguilar of San Francisco Bay Area metallers DEATH ANGEL. You can now watch the chat below.

DEATH ANGEL‘s seventh album, “The Dream Calls For Blood”, sold 5,400 copies in the United States in its first week of release to land at position No. 72 on The Billboard 200 chart.

DEATH ANGEL‘s previous CD, “Relentless Retribution”, opened with 2,700 units in September 2010. The band’s 2008 effort, “Killing Season”, registered a first-week tally of around 2,300. This number was in line with the performance of its predecessor, “The Art of Dying”, which premiered with around 2,100 copies back in May 2004.

Released on October 11, 2013 in Europe (except for the U.K. where it arrived three days later) and October 15, 2013 in North America via Nuclear Blast Records, “The Dream Calls For Blood” was recorded at Audiohammer Studios in Sanford, Florida with producer Jason Suecof (TRIVIUM, AUGUST BURNS RED, THE BLACK DAHLIA MURDER, ALL THAT REMAINS, WHITECHAPEL, DEVILDRIVER), and once again features cover art by Brent Elliot White (JOB FOR A COWBOY, CARNIFEX, WHITECHAPEL).

Asked how DEATH ANGEL was able to construct such fast, aggressive, brutal material for “The Dream Calls For Blood” while many of the band’s contemporaries have, to varying degrees, abandoned thrash and speed metal, DEATH ANGEL singer Mark Osegueda told Metal Blast: “I think with us we kind of went the opposite direction. We got all of the experimentation out while we were young back in the ’80s; we tried to push the envelope then and maybe pushed it a little too much. When we reformed in 2001, we were writing new material, sort of fishing a bit, not knowing which direction things would go in. Over time, we started getting on the same page a lot more. Then we lost a couple of the original members, which in turn brought us two younger players who were very hungry to play, very eager to tour, and were also much more thrash-based players. Will [Carroll] is a much more thrash-styled drummer than Andy [Galeon, former drummer], who was a much more groove-based, almost ’70s rock kind of drummer. Dennis [Pepa, former bass player] was a much more punk-derived player than Damien [Sisson] is. When Rob [Cavestany] was coming up with the riffs for the new record, he was definitely playing off those strengths. So all of that lead to us going back to our thrash roots and coming up with some of the strongest material we’ve written to date.”

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San Francisco Bay Area Veteran metallers VICIOUS RUMORS have tapped 21-year-old Dutch singer Nick Holleman (POWERIZED) to handle lead vocals on their current U.S. tour with SEVEN WITCHES. Holleman replaces the most recent VICIOUS RUMORS singer Brian Allen, who missed this past spring’s European tour and Bang Your Head!!! festival appearance in Germany due to what was described by the band in an April 2013 statement as “sudden family matters.”

A photo of Nick Holleman performinig with VICIOUS RUMORS can be seen above (picture courtesy of SEVEN WITCHES‘ official Facebook page).

VICIOUS RUMORS‘ new album, “Electric Punishment”, was released on April 29 in Europe and May 7 in U.S./Canada via Steamhammer/SPV.

Guitarist Geoff Thorpe, Brian Allen, bassist Stephen Goodwin and drummer Larry Howe were supported during the new CD recording sessions by guitarist Thean Rasmussen, who returned to the VICIOUS RUMORS fold after “Razorback Killers”. In addition, Thorpe & Co. invited a number of former allies to the studio as guest musicians: Brad Gillis features on “D-Block”, “Together We Unite” and “Eternally”, Marc McGhee on “Escape (From Hell)”, and last but not least, tour guitarist Bob Capka helped out at the studio with a number of rhythm guitars and a haunting solo on “D-Block”. Thorpe said: “I had a few problems with my fingers; that’s why I was glad that Bob was there to help. Otherwise, it probably wouldn’t have been possible to stick to our tight production schedule.”

VICIOUS RUMORS released a live album, “Live You To Death”, on November 27, 2012 through SPV/Steamhammer. The CD was recorded by Pontus Norgren of HAMMERFALL, mixed by Juan Urteaga and produced by VICIOUS RUMORS guitarist Geoff Thorpe.

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SPIRALARMS, the San Francisco Bay Area-based heavy rock band featuring Craig Locicero (FORBIDDEN, ex-MANMADEGOD) on guitar, Tim Narducci (ex-SYSTEMATIC) on vocals, Chris “Cornbread” Lombardo on bass, Brad Barth on keyboards, Anthony Traslavina on rhythm guitar and Ron Redeen (THE ESSENESS PROJECT) on drums, will release its second album, “Freedom”, on October 22 via Steamhammer/SPV.

SPIRALARMS rose from the ashes of millennial bands SYSTEMATIC, FORBIDDEN and MANMADE GOD.

Friends since the age of 15, Narducci and Locicero bonded over their love of heavy metal and hard rock music. Looking back at that time period, Craig said, “[We were] probably the youngest kids in the East Bay metal scene that were drinking beer out in the parking lot after seeing bands like TESTAMENT and EXODUS play.”

Although the two remained friends throughout the years, they both went their separate ways and started bands of their own.

After years of playing with their respective groups, the two friends contacted each other and decided it was time to start playing music together again, and in 2004 SPIRALARMS was born.

“Freedom”‘s down-to-earth and very dynamic production deserves a mention. The album oozes a liveliness, which many other bands tend to lose in the studio. “We always work at the studio as a full band,” says Locicero. “The basic tracks of the new album were recorded in just about 16 hours, the rest was recorded by and by, but always in the same spirit. From the beginning, we never lost sight of our vision and that special flair which our new songs have.”

“Freedom” track listing:

01. Dropping Like Flies
02. Hold Me To The Sky
03. Exit 63
04. Blackmoon Morning
05. Drugs & Alcohol
06. Dealer
07. Lovers Leap
08. Tomorrow’s Dream
09. Freedom
10. I Lay Low (digipack bonus track)

The song “Dealer” can be streamed using the SoundCloud widget below.

SPIRALARMS is:

Tim Narducci – Vocals/Guitar
Craig Locicero – Guitar
Anthony Traslavina – Guitar
Chris “Cornbread” Lombardo – Bass/Vocals
Brad Barth – Keyboards
Ron Redeen – Drums

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“Fallen”, a brand new song from San Francisco Bay Area metallers DEATH ANGEL, can be streamed at DeathAngel.us. The track comes off the band’s seventh album, “The Dream Calls For Blood”, which will be released on October 11 in Europe (except for the U.K. where it will arrive three days later) and October 15 in North America via Nuclear Blast Records. The follow-up to 2010′s “Relentless Retribution” was recorded at Audiohammer Studios in Sanford, Florida with producer Jason Suecof (TRIVIUM, AUGUST BURNS RED, THE BLACK DAHLIA MURDER, ALL THAT REMAINS, WHITECHAPEL, DEVILDRIVER), and once again features cover art by Brent Elliot White (JOB FOR A COWBOY, CARNIFEX, WHITECHAPEL). Fans will be able to purchase a standard jewelcase version of the album or digipak edition that includes a bonus track and bonus DVD.

“The Dream Calls For Blood” track listing:

01. Left For Dead
02. Son Of The Morning
03. Fallen
04. The Dream Calls For Blood
05. Succubus
06. Execution – Don’t Save Me
07. Caster Of Shame
08. Detonate
09. Empty
10. Territorial Instinct / Bloodlust
11. Heaven And Hell (digipak bonus track)

Digipak bonus DVD

* The Making Of “The Dream Calls For Blood”

In a recent interview with Metal Covenant, DEATH ANGEL guitarist Rob Cavestany stated about the “The Dream Calls For Blood” album title: “The title is basically our motto. It’s what we’re talking about, you know. In our point of view the dream being our band and keeping the band going and making music for your life. The blood is all the sacrifice and all hard work that goes into it and that’s the metaphor for that. It’s not only meant for music. It’s also meant for other people to relate in their own life and goals that they’re trying to achieve and the sacrifices that it takes to achieve these goals. And along with that, there’s also a tinge of aggression in there about other people that cut corners and don’t quite go through all the steps it takes to achieve the goal the right way. So there’s a little bit of a middle finger to those people that go about it that way and don’t fully respect what it takes.”

DEATH ANGEL‘s North American headlining tour in support of “The Dream Calls For Blood” will kick off on October 18 in San Francisco. Support on the trek will come from 3 INCHES OF BLOOD, BATTLECROSS, REVOCATION and DIAMOND PLATE.

“We are so excited to announce this upcoming tour,” commented DEATH ANGEL vocalist Mark Osegueda.

“We worked so hard writing, and recording this record! Especially writing this while on the road for the last three years of touring. And it reflects the triumphs, and mainly hardships, of all we went through while touring. The anger, perseverance, and energy was captured on the recording of ‘The Dream Calls For Blood’.

“This tour is the PERFECT springboard to launch off of and back on the road; hungrier and more focused then ever! With a lineup of bands handpicked by us, you’re basically sonically ravaged from the moment the lights dim at the beginning of the night until the lights turn back on at the end! I’m confident every band on this bill plan on sending you home feeling like you’ve survived a massacre that you can’t help but brag about.

“Look forward to feeding off each other’s energy!

“Stay hungry! Stay thrash! See you on the road, in the pit, and at the bar!!!”

The San Francisco, Hollywood and Ramona gigs are considered CD-release shows and everyone that purchases a ticket will also receive a copy of the new DEATH ANGEL album at the show.



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The Rock Pit recently conducted an interview with guitarist Rob Cavestany of San Francisco Bay Area metallers DEATH ANGEL. A couple of excerpts from the chat follow below.

The Rock Pit: I wanted to ask you also about the [new DEATH ANGEL] album title, “The Dream Calls For Blood”. I get the impression that it signifies some kind of battle cry or something. What’s the meaning behind the name?

Rob: Yes, that is truly what it is; it’s a battle cry, but it’s also a mantra for us. Mark [Osegueda, vocalist] came up with that phrase when he wrote the lyrics for that song. I loved it when I read that. I was, like, “That’s awesome, brother. I can totally feel where you’re coming from,” and he’s representing our entire feeling about that which is for us, the dream is what we do. It’s our band, it’s keeping our band alive and staying in this musical world that we live to do and we have always done since we were little kids. That’s the dream, and the blood represents everything that you put into it, and I mean everything. The countless hours, the blood, sweat, the tears, the heart and soul, all the sacrifices that goes along with it. Without trying to sound like it’s all negative and dark, which it’s obviously not, but a lot of it is. There’s a lot that goes on behind the scenes. People don’t realize, nor do they really care to know about it, because it’s not really the important part, doesn’t have much to do with the music that they are listening to and stuff but if you want to know the fuel behind what drives something like this, and what pushes you to bring out these things, it’s just exactly that. And for us, it’s all the personal reality that we are experiencing going through being in this band. The curse and the blessing that music is to us and the dream is your goal. The thing that you are reaching, your goal. Everyone has one, or at least hopefully they do. Many people do and they do everything in their power to make it happen, and that’s what we do and we are just kinda pointing out. It’s like us just releasing and venting out what it is to us and also a message to others that it’s possible for other people to achieve their goals and their dreams but they have to put into it to get out of it.

The Rock Pit: In recent years, thrash metal seems to have gained quite a bit of interest with a lot of newer bands popping up and more fans getting into it. What’s your take on this resurgence of thrash metal?

Rob: I think it’s fucking amazing, man! It’s great and about time. It doesn’t surprise me, just because to me it’s a solid genre, or sub-genre of metal, it’s a solid brand of music. It’s timeless in its own way. Of course, there are aspects of it that are dated, just like anything else, but the style of music in and of itself, it has such elements that just makes the blood pump and it’s exciting and it’s got killer musicianship, but it’s got fucking loads of attitude and it’s street level. It can really relate, and especially to the youth, and that’s why we got turned on to it when we were so young. It’s exciting, and it has all those elements, and I’m just really glad to see that a lot of younger bands and a lot of people in general are, if they didn’t catch it the first time round, if they were too young or just weren’t paying attention, maybe now is the chance for them to latch on and taste the flavor of this music that’s called thrash. It’s fun, it’s a fucking killer time and there’s a lot to be gained from delving into it and letting it take over your mind and your soul.

Read the entire interview at The Rock Pit.

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Metal Covenant recently conducted an interview with guitarist Rob Cavestany of San Francisco Bay Area metallers DEATH ANGEL. A couple of excerpts from the chat follow below.

Metal Covenant: For me the [new DEATH ANGEL] album [“The Dream Calls For Blood”] is a typical DEATH ANGEL album. So what did you do to minimize repeats from your last album, “Relentless Retribution”?

Rob: I think we just had to only live the life that we lived since “Relentless Retribution” and that was enough to generate a different emotion and inspiration. We were on tour for three years straight. That alone, if anyone can imagine what that will do to you psychologically, being on tour for that long. You immediately think of what a blast, what a big party it’s been and, “You guys must be having a great time.” Which is true — it’s not like we’re fucking not having a great time. We love music and we love being on tour and playing in front of crowds and being surrounded by our other friends who are great musicians and great bands. But also there’s the other 22 hours of the day that you have to exist when you’re not on the stage. Just traveling and missing your family and friends. One day you’re fine and so happy and one day you just wake up and it’s just a long hard day to get through, that day. It’s always great to release it on stage, but you know, after a while it builds up and all this shit. You know, the dark side of all that, was the inspiration of the darker sides of the album and the good side of it is that we got really, really tight with our lineup, because we had a new bass player and a new drummer on the last album. After three years of living together and jamming with each other on almost every single day, we grew so much tighter together as friends and as musicians and as a unit. So that also is, I think, apparent in the difference of the fire of the last album and the playing of this album, so that’s happening in there.

Metal Covenant: So what about the album title [“The Dream Calls For Blood”]? What made you decide to go for it?

Rob: The title is basically our motto. It’s what we’re talking about, you know. In our point of view the dream being our band and keeping the band going and making music for your life. The blood is all the sacrifice and all hard work that goes into it and that’s the metaphor for that. It’s not only meant for music. It’s also meant for other people to relate in their own life and goals that they’re trying to achieve and the sacrifices that it takes to achieve these goals. And along with that, there’s also a tinge of aggression in there about other people that cut corners and don’t quite go through all the steps it takes to achieve the goal the right way. So there’s a little bit of a middle finger to those people that go about it that way and don’t fully respect what it takes.

Metal Covenant: So this maybe explains some of your intensity in the music and also your whole writing mode?

Rob: Most definitely. I’ll throw in one other, if that wasn’t enough: fuel for the fire. Toward the end of our tour, we realized that we had reached the 25th-year anniversary of our debut album, “The Ultra-Violence”. This album had been unavailable and out of print for a while, and stuff like that, and a lot of people were looking for the album, so we re-released the album and then switched up our set. We were doing kind of a set to give a tribute to our album, so we were playing the whole “The Ultra-Violence” from beginning to end on tour. That was, like, you know, a double-edged sword too, in a way that it was doing two things at once. We knew it was gonna be killer thing to do. The crowd was gonna fucking like that, the old-school fans and then it was gonna be fun to us to do that all of a sudden after… [pause] We probably never even done that since we wrote the album. I don’t know if we did that before. Then I also knew, another secret key was that if we were doing that every night, it was gonna affect the music we were currently writing. In a good way, that people would be glad about too, because that album’s widely accepted and I can see why. In those days, when we were writing that album, we had far less parameters of musical influence and we were much more narrow-minded into metal, you know. You can never recreate that and I don’t even wanna try to recreate that, ’cause you’re, like, a whole other person when you’re young. By playing that album from beginning to end for so many times live in front of a crowd, I think that’s about the most you can do to yourself to actually bring yourself back closer to that feeling again. With that in mind, that also, you know, it snuck its way into the music as well.

Read the entire interview at Metal Covenant.



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The official lyric video for “The Dream Calls For Blood”, the title track of the seventh album from San Francisco Bay Area metallers DEATH ANGEL, can be seen below. Due on October 11 in Europe (except for the U.K. where it will arrive three days later) and October 15 in North America via Nuclear Blast Records, the follow-up to 2010′s “Relentless Retribution” was recorded at Audiohammer Studios in Sanford, Florida with producer Jason Suecof (TRIVIUM, AUGUST BURNS RED, THE BLACK DAHLIA MURDER, ALL THAT REMAINS, WHITECHAPEL, DEVILDRIVER), and once again features cover art by Brent Elliot White (JOB FOR A COWBOY, CARNIFEX, WHITECHAPEL). Fans will be able to purchase a standard jewelcase version of the album or digipak edition that includes a bonus track and bonus DVD.

“The Dream Calls For Blood” track listing:

01. Left For Dead
02. Son Of The Morning
03. Fallen
04. The Dream Calls For Blood
05. Succubus
06. Execution – Don’t Save Me
07. Caster Of Shame
08. Detonate
09. Empty
10. Territorial Instinct / Bloodlust
11. Heaven And Hell (digipak bonus track)

Digipak bonus DVD

* The Making Of “The Dream Calls For Blood”

DEATH ANGEL‘s North American headlining tour in support of “The Dream Calls For Blood” will kick off on October 18 in San Francisco. Support on the trek will come from 3 INCHES OF BLOOD, BATTLECROSS, REVOCATION and DIAMOND PLATE.

“We are so excited to announce this upcoming tour,” commented DEATH ANGEL vocalist Mark Osegueda.

“We worked so hard writing, and recording this record! Especially writing this while on the road for the last three years of touring. And it reflects the triumphs, and mainly hardships, of all we went through while touring. The anger, perseverance, and energy was captured on the recording of ‘The Dream Calls For Blood’.

“This tour is the PERFECT springboard to launch off of and back on the road; hungrier and more focused then ever! With a lineup of bands handpicked by us, you’re basically sonically ravaged from the moment the lights dim at the beginning of the night until the lights turn back on at the end! I’m confident every band on this bill plan on sending you home feeling like you’ve survived a massacre that you can’t help but brag about.

“Look forward to feeding off each other’s energy!

“Stay hungry! Stay thrash! See you on the road, in the pit, and at the bar!!!”

The San Francisco, Hollywood and Ramona gigs are considered CD-release shows and everyone that purchases a ticket will also receive a copy of the new DEATH ANGEL album at the show.



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San Francisco Bay Area metallers MACHINE HEAD are continuing work on the material for the follow-up to 2011′s “Unto The Locust” for a 2014 release. Writing on his official Twitter profile earlier today (Thursday, September 19), MACHINE HEAD guitarist Phil Demmel said: “Pretty sure we’re over the hump writing this record. Each song is a monster so far. So stoked!”

Meanwhile, MACHINE HEAD frontman Robb Flynn has posted a picture of what appears to be a list of working songtitles for the forthcoming CD: “Killers & Kings”, “Beneath The Silt”, “Sail Into The Black”, “Ojos De La Muerte” and “Night Of The Long Knives”.

MACHINE HEAD‘s next album will be the band’s first with new bassist Jared MacEachern, who replaced Adam Duce this past spring.

Some fans might remember MacEachern from MACHINE HEAD‘s 2007 “The Black Tyranny” tour, on which he performed with his previous band, SANCTITY. MACHINE HEAD, challenged to find a fill-in bass player for the North American tour after an injury sidelined Adam Duce, also found themselves in need of someone to sing harmony with singer/guitarist Robb Flynn.

Earlier this year, MACHINE HEAD conducted an extensive search for candidates through various channels, the most fruitful of which proved to be video submissions. Sifting through more than 400 videos, the band personally reviewed and evaluated everyone’s performances, including MacEachern, who made the short list without a second thought.

After reviewing all of the submissions, the band narrowed down the 400-plus candidates to a short list of seven, each of whom took a trip to Oakland to perform a handful of songs in person and spend the day hanging with the band.

MACHINE HEAD is currently finalizing a new label home following the expiration of the band’s contract with longtime record company Roadrunner Records.

MACHINE HEAD‘s most recent studio album, “Unto The Locust”, sold more than 17,000 copies in the United States in its first week of release to land at position No. 22 on The Billboard 200 chart — putting MACHINE HEAD in the Top 25 for the first time in the band’s history.

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