A Pale Horse Named Death: DMSLT – new video

Exciting/depressing since May 2013, due courtesy SPV/Steamhammer, ‘DMSLT’ comes from A PALE HORSE NAMED DEATH's second longplayer ‘Lay My Soul To Waste’. Described as “think ALICE IN CHAINS, only harder, angrier and with a more perverse view of the world” and not recommended to those who harbour suicidal tendencies, ‘Lay My Soul To Waste’s art was once again created by the amazing dark artist Sam Shearon a.k.a Mr. Sam. Theme-wise, APHND founder, vocalist and guitarist Sal Abruscato is said to write lyrics “no different than the narratives of the horror movie playing at your local multiplex; largely fiction, with some nuggets or kernels of truth embedded within”. Do enjoy the pair of new A PALE HORSE NAMED DEATH tunes below and buy ‘Lay My Soul To Waste’ from Amazon, iTunes, EMP Online Shop or Spotify.

 

 

A project envisioned by TYPE O NEGATIVE and LIFE OF AGONY's Sal Abruscato in 2011 in Brooklyn, New York, A PALE HORSE NAMED DEATH sound is being dotingly described as “[that of] ALICE IN CHAINS mysteriously sneaking up behind TYPE O NEGATIVE with a butcher knife while being filmed for a future episode of "Law & Order" ”. Abruscato's partner in crime is Matt Brown, sound engineer and guitarist of SEVENTH VOID (“The chemistry between me and Matt is unique and flawless; very rare in today's music. We are the murdering evil version of Lennon and McCartney”). The said chemistry bore fruit soon enough and the band issued their debut album ‘And Hell Will Follow Me’ on SPV/Steamhammer, still available for your listening pleasure in full here (Metal Insider) and (in nearly full) here (Sal Abruscato's YouTube channel):

“This is sludgy but consistently melodic alt-metal with elements of doom metal, stoner rock, grunge, and gothic metal; ‘And Hell Will Follow Me’ is heavy without being heavy-handed,” [wrote  Alex Henderson, AllMusic]. “It is also an album that, lyrically, never fails to be gloomy and morose… in other words, [it] is not an album that should be playing in the background if one is answering the phone for a suicide prevention hotline. But not all music is obligated to provide happy, cheerful escapism; dark lyrics certainly have their place as well, and dark lyrics are the rule on ‘The Hell Will Follow Me’.” [Read more here:]

Free EPK from ReverbNation.com

A PALE HORSE NAMED DEATH features (various serial killers with obsessive compulsive disorders): Sal Abruscato – lead vocals and guitar, Matt Brown – guitar and production, Dave Bizzigotti – bass, Eddie Heedles – guitar and Johnny Kelly – drums

 

Turisas: Ten More Miles – new video & Turisas2013 – new album

Pillaging and plundering their way through their homeland (unless those content-looking people happen to be Swedes) which, btw, cannot agree on their new record (Inferno Magazine describing it as an “attack from behind” while Sue.fi calls it a “straightforward and less epic”), mad TURISAS are back with a new video ‘Ten More Miles’, produced and directed by Jukka Salo. Back with a vengeance in certain parts of this world, since UK and France submitted to ‘Turisas2013’ infinite charm today, September 2nd, 2013, let me provide the Americans with some unclassified intelligence concerning the album due out in North America on September the 3rd: unlike their previous albums, ‘Turisas2013’ is not a concept album:

“I don’t like a lot of the recent developments in the world, but even less how little people seem to care,” [explained Mathias Nygård, the band’s frontman, lyricist and main songwriter] “More than one of the songs deals with 2013 and the world today, and this is what the title is representing. Some of the songs are more philosophical ponderings on life in general, whereas others – such as ‘Run Bhang-Eater, Run!’ – are just plain-out fun songs inspired by a couple of crazy drug stories out of “One Thousand And One Nights”. All of the lyrics are very personal and some of them even autobiographical this time.”

The album was once again produced by vocalist Mathias Nygård who, alongside guitarist Jussi Wickström, recorded the majority of ‘Turisas2013’ in a secluded location (house) they have rented just outside Helsinki “that worked as the ‘Turisas2013’ command center and headquarters”. Additional recording was done at Atomic Spa Studio (drums) and at 5 by 5 Studio (orchestral), both in Helsinki, and at Sound Supreme Studio (vocals) in Hämeenlinna, Finland. ‘Turisas2013’ was mixed and mastered in London, UK at Orgone Studios by producer Jaime Gomez Arellano. Now, hurry up and get yourselves a copy of the album whose title is defined as “the perfect combination of self-titled with a touch of BLACK SABBATH's ‘Vol.4’ and VAN HALEN's ‘1984’” by some clever person at Century Media Records who has just put out ‘Turisas2013’ in Europe today, August 26th, 2013 and who will unleash the red and black maniacs upon North America on September the 3rd, here (CM Distro Europe), here (CM Distro North America), here (TURISAS official webstore), and on iTunes and Amazon/Amazon MP3.

 

Named after “the eternal Turso” (in Finnish mythology: the god of war, a malevolent sea monster whose appearance, according to some reliable reports, remains unclear, but he is often described as the one who lives on the brink, or alternatively, the bearded one), TURISAS was founded by vocalist Mathias “Warlord” Nygård and guitarist Jussi Wickström in 1997 in Hämeenlinna, Finland. Their blend of pagan/folk metal spiced with bloody war tales finally won over Century Media Records who signed the band in 2003. TURISAS' debut full-length, a collection of songs written over a period of six years, ‘Battle Metal’, was released in 2004 (the player available to you below contains three songs off the album). Nygård, Wickström, drummer Tude Lehtonen, keyboard player Antti Ventola and guitarist Georg Laakso took to the road in support of the album which eventually led to appearances at a number of major European metal festivals. In 2005, guitarist Georg Laakso was badly injured in an auto accident and was forced to leave the band due to the extent of his injuries. AllMusic's James Christopher Monger described TURISAS' music as “over the top everything” when reviewing their second LP, 2007's ‘The Varangian Way’:

“Built around the epic journey of a group of traders, mercenaries, and pirates (“Varangians”) exploring trade routes between their 9th century homeland and Constantinople, ‘The Varangian Way’ is infinitely more cinematic in scope than ‘Battle Metal’, employing narration, accordions, and massive choirs to move the story along. …while some listeners may be put off by all of the Renaissance Fair excess or the concept of grown men in pelts singing “Come with us to the south/write your name on our roll”, they need not worry, as this delicious feast of strong ale, stale bread, and “flesh from the beasts that stalk us in the night” wasn’t made for them.” [More here]

With musicians being continually added and let go, with accordion player Janne Makinen reportedly disappearing in that mysterious city called Amsterdam, TURISAS next managed some extensive tours through the United States, Europe and Asia before returning to the studio. ‘Stand Up And Fight’ followed in 2011; the album was described as “another rousing, invigorating bevy of epic symphonic metal ballads centered on ninth to 11th century Baltic Vikings” by Tim DiGravina, AllMusic. “ Think Andrew Lloyd Webber mashed up with GWAR and a Disney ride,” he added (more here): 

 

TURISAS features: Mathias Nygård – vocals, Jussi Wickström – guitar, Jaakko Jakku – drums, Jesper Anastasiadis – bass, Olli Vänskä – violin and Robert Engstrand – keyboards 

 

Baroness: March To The Sea – new video & Live At Maida Vale – full EP stream

Any day that starts with BARONESS is bound to be a good day. Now prove me right, life. ‘March To The Sea’, shot (in Philadelphia, Pennsylvania) and directed by Jimmy Hubbard, gently points to BARONESS' new “live on the BBC” ‘Live At Maida Vale’ EP, issued as a super limited edition 12” in July 2013 through Relapse Records. “Complete with a gorgeous silkscreen of John Baizley's iconic swan image on the B-Side”, get this rarity here (Relapse online store), or digitally here (BandCamp):

Formed in 2003 on a music-rich soil of Savannah, Georgia, BARONESS released three EPs between 2004 and 2007: 2004's ‘First’, 2005's ‘Second’, and 2006's split with UNPERSONS titled ‘A Grey Sigh In A Flower Husk’, all enhanced with singer and guitarist John Baizley's highly recognizable art. Their debut long-player, 2007's ‘Red Album’ was produced by KYLESA's Phillip Cope, as were most of BARONESS' recordings until then, and issued through Relapse Records. Courtesy the label, listen to the full ‘Red Album’ below:

Its sister album, John Congleton-produced ‘Blue Record’, followed in 2009, breaking onto American Billboard Top 200 chart at number 117 as well as debuting at number 1 on the Billboard's Heatseekers chart, the record was admired by business' experts:

“This is a ferocious album that’s not afraid to be genuinely beautiful. One of the best hard rock releases of 2009,” [exclaimed Phil Freeman, AllMusic – more here:]

According to their faithful label and their biggest fan, Relapse Records, by 2012 BARONESS have “developed into more than just giants of the metal underground, they [have become a] fully formed hard rock titans”. And since fans of the band have come to expect nothing less than constant evolution from BARONESS, the band delivered. In 2012, they put forth a massive double album called ‘Yellow & Green’ which debuted at number 30 on the Billboard Top 200, selling over 12,000 copies its first week, and had the Canadian Albums Chart at number 75:

“Apparently, just one primary color was no longer enough to cover the volume of ideas produced by Atlanta, Georgia's BARONESS for its third long-playing release, and thus the 2012 follow-up to 2007's ‘Red Album’ and 2009's ‘Blue Record’ has become an 18-song double set named ‘Yellow & Green’. The irony is there’s no obvious cohesive theme or musical direction particular to either color (green might be a shade more morose, if at all), as each contains an equally schizophrenic array of musical touchstones, too eclectic to easily categorize. In fact, the biggest headline about this release pertains to something else entirely, and that is BARONESS' not entirely unexpected evolution into something other than a heavy metal band; one focused on expanding its arsenal of sounds and moods while embracing big choruses and more commercial songwriting tricks targeting maximum immediacy,” [listened carefully Eduardo Rivadavia, AllMusic – more here:]

Not even a month after ‘Yellow & Green’s release, BARONESS, on its promotional tour, were involved in a dreadful traffic accident which occurred near Bath, England. As a result, John Baizley suffered a broken left arm and broken left leg, while former drummer Allen Blickle and former guitarist Matt Maggioni both suffered a fractured vertebrae.

BARONESS features: John Baizley – guitar and vocals, Peter Adams – guitar and vocals, Sebastian Thomson – drums and Nick Jost – bass and keyboard

Full Album Stream: Gorguts: Colored Sands – new album

And now, ladies and gentlemen, the new GORGUTS album, ‘Colored Sands’. Out today, August 30th, 2013, in Europe on Season Of Mist, the album is expected to hit North American stores precisely on September the 3rd. In the meantime, give it a spin here (BandCamp), or below, from where you are most welcome to buy ‘Colored Sands’ as well I’m sure, or get it from Season Of Mist e-shop here. A fine, if demanding, listen, ‘Colored Sands’ was twelve years in the making, a true labour of love for the re-formed GORGUTS:

“Writing the music for this record has brought back the flame in me to enjoy the process of crafting a death-metal song. Writing the music for this record also brought to me a gift of friendship by working with Colin [Martson from DYSRYTHMIA, BEHOLD THE ARCTOPUS and KRALLICE], Kevin [Hufnagel from DYSRYTHMIA] and John [Longstreth from ORIGIN and DIM MAK]… Dear fans, I can never thank each of you enough for your support with the little messages sent to us through the modern media. Please, grab your headphones, close your eyes… and crank the volume up! Come with us, through the magic of compositions… sound painting, I like to call it… We’ll make a trip to Tibet to witness magnificent beauties… as well as a dramatic fate,” [stated Luc Lemay, GORGUTS founder, vocalist and guitarist:]

One of the “most advanced, experimental, and challenging groups in the entire [death metal] genre” (William York, AllMusic – more here) was formed in 1989 in Quebec, Canada by vocalist Luc Lemay, guitarist Sylvain Marcoux, bassist Eric Giguere and drummer Stephane Provencher. Roadrunner Records signed GORGUTS in 1990 on the strength of their first demo ‘And Then Comes Lividity’ and their 1991 debut full-length, ‘Considered Dead’, featured guest appearances from DEATH guitarist James Murphy and CANNIBAL CORPSE's Chris Barnes. Its successor, 1993's ‘Erosion Of Sanity’, witnessed the band becoming more experimental and technical. A hiatus of five years followed after which Luc Lemay reemerged with a new line-up of guitarist Steeve Hurdle, bassist Steve Cloutier and drummer Patrick Robert. Signed to Olympic Records, this lineup released ‘Obscura’ in 1998, “an uncompromising, hugely ambitious album that met with a mixed reception: some applauded its experimentation, while others found it too far-out and dissonant”. GORGUTS' fourth album, 2001's ‘From Wisdom To Hate’, was the only album to feature guitarist Daniel Mongrain and drummer Steve MacDonald who committed suicide in 2002 which, together with business issues, led to the band's eventual split-up in 2005.

GORGUTS features: Luc Lemay – guitar and vocals, Kevin Hufnagel – guitar, Colin Marston – bass and John Longstreth - drums

Full Album Stream: GOG: Ironworks – new album

Now, visit Pop Matters here (or simply scroll down) and listen to GOG's album ‘Ironworks’ as you read the following explanation provided by that fine French label Season Of Mist:

“GOG started out as a project to dismantle and destroy music. As the project progresses it seems to have taken on the task of rebuilding with the bits and pieces left behind in addition to the destruction. Inspiration is found in the sounds often unheard or sometimes unbearable, they are amplified and dissected and repurposed. A cacophony of noise manipulated can become harmony and the most beautiful of sounds can become ugly. Making something out of what appears to be – on the surface – nothing. Finding the sounds and emotions hidden amongst everyone – possibly right in front of them, amplifying them and making it an intense experience that hopefully no one can ignore.”

[Added GOG mastermind Phoenix, Arizona noise innovator Michael Bjella:] “I started GOG to explore the darker sides of thought and life. I want to create things without restriction and form that can transport people and possibly make them confront their own fears. Things that are truly dark but have contrast. To borrow a line from one of my favorite artists, in case there might be harmony, then it is the harmony of accident, of chaos. I’m not trying to make harmony...”

Recorded in a late 19th century blacksmith shop where several members of Bjella's own family toiled, ‘Ironworks’ is apparently an ode to the death of the American dream (“This is the sound of physical labor, of blood, sweat, and tears. Metal rings on metal, shaping flesh and bone in the eternal pulse of the anvil and the searing flames of the furnace. ‘Ironworks’ gives enslavement through capitalism a sinister soundtrack.”) Released on vinyl in 2012 through Utech Records, its CD version can be now ordered from Season Of Mist here, and its digital version downloaded from iTunes. ‘Ironworks’ is out now in Europe, August 30th, 2013, and is due in North America on September the 3rd:

“You’re not required to agree with the argument Bjella lays out on ‘Ironworks’, but it’s impossible to refute the strength or honesty of the message. The album is a powerful political statement. It examines the idea that we’re progressing as a species, and in doing so, it makes clear that the damage inflicted on those made victims of industrialization is written in pummeling and reverberating form. There’s a lesson to be learnt from ‘Ironworks’. It’s a lesson that harks back to a century ago, right back to Luigi Russolo's “L’Arte dei Rumori” [“The Art Of Noises”, a Futurist manifesto written in 1913],” [wrote Craig Hayes, Pop Matters – more here:]

GOG features: Michael Bjella – everything  /  Visit GOG on BandCamp here and on SoundCloud here for plenty more

Full Album Stream: Saint Vitus: Die Healing – reissue & C.O.D. – reissue

           

That fine French label, Season Of Mist, has taken up the worthy cause of re-releasing the godfathers' of American doom metal, SAINT VITUS, classics, 1992's ‘C.O.D.’ and 1995's ‘Die Healing’. Remastered and enriched with two previously unreleased bonus tracks, ‘C.O.D.’ features COUNT RAVEN's Christian Linderson on vocals, while ‘Die Healing’ sees original SAINT VITUS singer, Scott Reagers, return to the microphone. The reissues are already available on CD and limited–edition coloured vinyl gatefold LPs in Europe and North America. You’ll find all the available formats here (Season Of Mist e-shop). Enjoy ‘Die Healing’ below and visit BandCamp here for ‘C.O.D.’s title-track. Also, visit SAINT VITUS on BandCamp here:

Formed in 1979 in Los Angeles, California, SAINT VITUS were largely influenced by BLACK SABBATH whose song ‘Saint Vitus Dance’ eventually inspired their moniker. Originally called “Tyrant”, vocalist Scott Reagers, guitarist Dave Chandler, bassist Mark Adams and drummer Armando Acosta, recorded two demos before changing the band's name. The aforementioned lineup released two albums, the 1984's eponymous debut and 1985's ‘Hallow's Victim’ as well as ‘The Walking Dead’ EP, was also issued in 1985 by SST Records. Scott “Wino” Weinrich, who replaced Reagers in 1986, recorded three albums and an EP as SAINT VITUS' vocalist: 1986's ‘Born Too Late’, 1987's ‘Thirsty And Miserable’ EP, 1988's ‘Mournful Cries’ and 1990's ‘V’ (Roman numeral five), which was issued through German label Hellhound Records. ‘Live’, a live recording and a compilation album ‘Heavier Than Though’ were released by SAINT VITUS' labels before Scot Weinrich's departure in 1991. Swedish vocalist Chritus Linderson was invited to perform on the band's next record, 1992's ‘C.O.D.’, and the original singer Scott Reagers returned on 1995's ‘Die Healing’. SAINT VITUS disbanded in 1996 but have reunited several times since. Their eight album and their first since 1995, ‘Lille: F-65’, was issued in April/May 2012 through Season Of Mist Records. The seven tracks which made up ‘Lille: F-65’ featured the patron saint Scott “Wino” Weinrich (also of PREMONITION 13 etc) on vocals, Dave Chandler on guitar, Mark Adams on bass and Henry Vasquez on drums. The album was produced by Tony Reed and reviewed by Eduardo Rivadavia whose inspired writing should be read in full here (AllMusic):

“2012's oddly named ‘Lillie: F-65’ - a concept album about a troubled girl whose title doubles as a veiled reference to one of Chandler's barbiturate downers of choice, back in the day. And despite Acosta's unfortunate absence (he passed away in late 2010, ceding the drum stool to Henry Vasquez), the reconstituted SAINT VITUS have, by and large, efficiently resurrected their vintage sound in all its primal, unassuming, pre-digital age simplicity. Most obvious of all is the fact that this is Chandler's band, and Wino openly acknowledges it, or else he wouldn’t have left both his guitar and prodigious shredding back home, and deferred to Chandler's almost remedial abilities on the instrument - basically the very definition of SAINT VITUS:”

SAINT VITUS features: Scott “Wino” Weinrich – vocals, Dave Chandler – guitar, Mark Adams – bass and Henry Vasquez – drums

DevilDriver: Winter Kills – new album

 

DEVILDRIVER's sixth studio album, ‘Winter Kills’, is out now, August 27th, 2013, on Napalm Records. I personally wouldn’t mind one wintery day to break up this Middle-Eastern heat, but then who am I to argue with the band's legendary frontman Dez Fafara whom the label respectfully addresses:

“DEVILDRIVER overlord Dez Farara will readily acknowledge the basic tenet of heavy metal is to achieve the essence of power and complete freedom. At the most base level, it’s a concept that can manifest itself in the form of a high-speed joyride or defeating one's antagonists, be they Frank Frazetta [an American fantasy and science-fiction artist]-rendered warriors or the guy/girl who was looking at your lover too long at the biker bar and now has a concussion and a collection of broken pool cues. On DEVILDRIVER's sixth release, ‘Winter Kills’, the band certainly didn’t skimp on the riffage, the idling-dragster tempos or the sheer sonic drive that makes them one of heavy music's respected outfits. ‘Winter Kills’ is all about the creation of flashover moments to empower people with hope and affirmation  or at the very least, the inspiration for people to create great work and engineer their own meaningful universes. This ain’t no tired Tony Robbins [I suppose an American life coach and motivational speaker] posi-posturing or Joel Osteen's [Wiki says he is an American preacher and televangelist] cartoony, cash-and-Christ posing. The world got more oppressive, and DEVILDRIVER are stepping up their game to keep hope alive in the most bone-powdering, cochlea-bleeding, neck-snapping way possible.”

‘Winter Kills’, the band's first album to feature new bassist Chris Towning, was recorded with producer Mark Lewis at Audio Hammer Studios in Sanford, Florida. It expects your order here (Napalm Records store), here (DEVILDRIVER store) and on iTunes and Amazon:

DEVILDRIVER was formed in 2002 in Santa Barbara, California when COAL CHAMBER vocalist Dez Fafara hooked up with guitarists Evans Pitts and Jeffery Kendrick, bassist Jon Miller and drummer John Boecklin. The band released their self-titled debut album through Roadrunner Records in 2003 to mixed and even negative response by music critics. Guitarist Mike Spreitzer replaced Evan Pitts on DEVILDRIVER's second effort, 2005's ‘The Fury Of Our Maker's Hand’, which fared much better with the listening public and music critics alike, and which entered the American chart Billboard Top 200 chart at number 117. In 2006, ‘The Fury Of Our Maker's Hand’ was re-released to include three new studio tracks and three live recordings. DEVILDRIVER's third album, ‘The Last Kind Words’, followed in 2007 to debut at number 48 on the Billboard Top 200:

“DEVILDRIVER is a 100 percent metallic beast that has more in common with thrash/extreme metal than all those unbearable “eyeliner metal bands”. There’s not anything all that much different going on here when compared to all the other acts from the current metal crop. Nothing fancy - just an extreme metal roar that hits you right between the eyes, which may have been DEVILDRIVER's goal all along,” [AllMusic's Greg Prato finally admitted – more here]

The band's fourth full-length, 2009's ‘Pray For Villains’,  charted even higher; it peaked at number 35 on the Billboard Top 200, with first week sales U.S. of 14,600 copies. It was depicted as “quality metal that impacts like a billion left hooks to the jaw” by Amy Sciarretto, Ultimate Guitar. In 2011 came DEVILDRIVER's final release on Roadrunner Records and their last album to feature longtime bassist Jon Miller; ‘Beast’ had entered the Billboard Top 200 chart at number 42 (selling over 11,000 copies in the United States in its first week of release) and had even debuted on UK Albums Chart at number 51:

“Although he was once the leader of makeup-wearing nu metallists COAL CHAMBER, singer/screamer Dez Fafara has opted to keep things 100 percent aggro/extreme metal with DEVILDRIVER,” [felt somewhat surprised again Greg Prato, AllMusic]. DEVILDRIVER's roster consists mainly of dudes with long stringy hair, manly-man facial hair, and tattoos - and, unsurprisingly, the group's music goes hand in hand with its look throughout ‘Beast’, as the album is a nonstop barrage of screaming, growling, riffing, and rat-a-tat-tat drumming. … However, for those who like excuse-free metal cranked to ten from beginning to end, DEVILDRIVER have assembled one gnarly ‘Beast’ for you.” [More here:]

DEVILDRIVER features: Dez Fafara – vocals, Mike Spreitzer – guitar, Jeff Kendrick – guitar, John Boecklin – drums and Chris Towning – bass 

Avenged Sevenfold: Hail To The King – new album

 

Well, surely you don’t need me to remind you AVENGED SEVENFOLD's new album, ‘Hail To The King’, is now available everywhere, August 27, 2013. The long-awaited follow-up to their 2010's ‘Nightmare’ was once again produced by Mike Elizondo and is the band's first album recorded with drummer Arin Ilejay who replaced James “The Rev” Sullivan. AVENGED SEVENFOLD have also released a clip for the title-track, directed by Syndrome, an award-winning design and live-action directing studio, you are invited to enjoy below. So, you know the drill: pester your local music retailer for ‘Hail The King’, or get it from iTunes or Amazon. For the limited edition which includes a treasure box, deluxe CD with a bonus track, exclusive canvas print of the album's art, a photo book as well as “Death Bat Challenge Key” and “Death Bat Skeleton Key”, I point you here (AVENGED SEVENFOLD's official store) - and hurry up because “once they are gone, no more will be made”. ‘Hail The King’ is out on Warner Bros.

 

Formed in 1999 in Huntington Beach, California when its members were still attending high school, AVENGED SEVENFOLD were quick to make an impression; vocalist M. Shadows, guitarists Zacky Vengeance and Synyster Gates, drummer the Reverend and bassist Johnny Christ issued their debut LP, ‘Sounding The Seventh Trumpet’, in 2001 on Good Life Recordings. With “unflagging aggression and precision (never mind the lyrical ennui or throat-scrape yowling; there's more to this music than generic cliché)” (Robert L. Doerschuk, AllMusic – more here) the band delivered their second full-length album, 2003's ‘Waking The Fallen’, through Hopeless Records. Their major label debut, 2005's ‘City Of Evil’, had entered the Billboard Top 200 chart at number 30, selling over 30,000 copies in its first week of U.S. release. AllMusic's Johnny Loftus rated the record as “totally metal, and refreshingly unmarred by attempts to fit too many jumbled genres in” (more here). The Best New Artist Award at the 2006 MTV Video Music Awards followed and on its heels came AVENGED SEVENFOLD's self-titled fourth album which debuted at number 4 on the Billboard Top 200 and which was certified Gold (500,000 units sold) in 2008 in the U.S. In 2009, drummer James Owen Sullivan (“The Rev”) was found dead at his home, aged 28. Released in 2010, ‘Nightmare’ was band's first album without drummer Sullivan yet he was noted as the album's contributor. Former DREAM THEATER, ADRENALINE MOB, THE WINERY DOGS etc. drummer Mark Portnoy recorded drums in his stead. Produced by Mike Elizondo and mixed by Grammy-winning engineer Andy Wallace, ‘Nightmare’ had conquered the American albums chart Billboard Top 200, where it reigned atop for five weeks and was certified Gold by RIAA (500,000 copies sold) in February 2011. The album has also won the band the Revolver Golden God Award “Album Of The Year”:

“Like their previous outings, the group incorporates a New Wave of British Heavy Metal influence throughout ‘Nightmare’ while paying tribute to '80s hair metal with guitar god appeal,” [commented AllMusic's Jason Lymangrover] “but playing retroactive music doesn’t seem to concern them, as long as they play it more skillfully than their forefathers. The group's influences may be worn on their sleeves, (check out the chugging METALLICA ‘One’ breakdown in ‘Buried Alive’, or the QUEENSRYCHE-style power-ballad ‘Victim’), but there is no denying that they have some of the best chops in the metal world.” [Read more here]

AVENGED SEVENFOLD features: M. Shadows – vocals, Synyster Gates - lead guitar, Zacky Vengeance - rhythm guitar, Johnny Christ – bass and Arin Ilejay - drums

 

Bombus: The Poet And The Parrot – new album

 

In 2008 in Gothenburg, Sweden, a bunch of friends who happen to be called Matte, Feffe, Jonas and Peter, reportedly got together “with a rough idea”. And as it often happens, especially in Sweden, their idea evolved into playing their own, unique kind of “no bullshit metal and hard rock served with a slice of punkrock energy”. Inspired by the record collections of each band member - which we are safe to assume include some MELVINS' stuff, MOTÖRHEAD, METALLICA and, we are told, POISON IDEA, and, after “six to eight beers and the stereo maxed out”, that of WASP and MASTODON - BOMBUS was born. In Gothenburg underground, they have quickly built themselves a solid fan base as well as reputation of “all killer, no filler” live act. Two years later, in 2010, they released three 7” singles and a full-length which they issued through their own label, Mourningwood Records. And, after extended touring across Europe in support of their self-titled debut and when the band started to record new material in early 2012, Century Media Records became aware of BOMBUS. BOMBUS' debut on Century Media is called, poetically, ‘The Poet And The Parrot’; it is out now in Europe, August 26th, 2013, and is due in North America come September 17th, 2013. ‘The Poet And The Parrot’ was recorded, mixed and mastered at Welfare Sounds Studio in Gothenburg, Sweden with the goal:

“to create a timeless sound and feeling that leaves the listener with the best of both worlds: an album that is contemporary and fresh while at the same time got that distinctive touch of yesterday's heroes! Considering the above it’s obvious that BOMBUS isn’t about re-inventing something that already works, it’s about finding their own sound out of what they love and treasure in each member's record collection. The band is extremely happy with the way the album finally turned out and this definitely marks the next big landmark on BOMBUS way into the hearts of all hard music fans! BOMBUS Dominates!”

‘The Poet And The Parrot’ can be found here (CM Distro Europe), here (CM Distro North America), on iTunes, on Spotify and at EMP's and Amazon's.

BOMBUS features: Matte – guitar and vocals, Feffe – guitar and vocals, Jonas - bass and Peter – drums

 

 

 

Call Of The Void: Abomination – new video & Dragged Down A Dead End Path – full album stream

CALL OF THE VOID are to be forgiven for their new video because, we are told, just a couple of years ago they were apparently regarded as a “noisy interruption, a sideshow sanctioned by the bar yet seemingly uninvited by its patrons” by the University of Colorado students present at their concert. A lot has changed for the band since; for one, they have a record out on Relapse Records since March 2013 called ‘Dragged Down A Dead End Path’, and they get high marks for their effort from the likes of Pitchfork's Andy O’Connor who wrote:

“Low end is pronounced, almost to the point where it would be more appropriate to call them a fast sludge band rather than grindcore. This is especially true on the latter half of ‘Theory Of Mind’, where around 0:53 the band unleashes a groovy break that resembles TRAGEDY listening to a lot of PANTERA. A call-to-arms rave-up going into a chunky riff shouldn’t meld, but CALL OF THE VOID's ability to fuse disparate extreme metal influences makes it succeed,” [read the rest here]

So, if in need of being shouted at with violent hate for 25 minutes, then ‘Dragged Down A Dead End Path’, the debut album by Colorado's (“filthy powerviolence-charred”) CALL OF THE VOID, is for you. Recorded in two and a half days at the Boar's Nest in Salt Lake City, Utah with Andy Patterson and mastered by Chris Mcnaughton, with its art created by professional squinter Anthony Lucero, ‘Dragged Down A Dead End Path’ is out since March 2013 and awaits your order, in all available formats, here (Relapse Records store). Bleed your ears here (BandCamp) or below:

“Rarely does a debut record come bursting out of the gates this ferociously angry and, frankly, awesome. Stirring up a pissed off mix of NAPALM DEATH and HIS HERO IS GONE, Colorado's CALL OF THE VOID pound out a furious ten song grand f*ing slam of a record. ‘Dragged Down A Dead End Path’ truly lives up to its name, because this is a record that beats listeners into submission. Blending hardcore, sludge, powerviolence, crust and grind, CALL OF THE VOID are legit rising stars in hardcore and metal. ‘Dragged Down A Dead End Path’s crust and grind elements seamlessly merge to conjure visions of grind godfathers PIG DESTROYER while effortlessly treading the abrasive caustic nature of CONVERGE's hybrid progressive hardcore and MASTODON's technical metal-tinged rock mastery,” [the label tell us:]

 

CALL OF THE VOID features: Gordon Koch- drums, Patrick Alberts – guitar, Alex Pace – bass and Steve Vanica – vocals