Seether Stage AE in Pittsburgh, PA on 5/19

Seether will release their new album Poison the Parish on May 12. The band will be touring extensively in support of the album, which features the riffy and tense smash “Let You Down.”

 

Guitarist Clint Lowery will augment the band’s line-up throughout the upcoming trek, adding his signature axe-work to Seether’s new songs and deep repertoire.

 

“We’ve been working on some upgrades to the production and the live sound, which includes welcoming our brother, Clint Lowery into the fold to help us thicken up that live sound experience,” Seether vocalist/guitarist Shaun Morgan said. “We want this tour to be exciting and different — a departure from what people expect from us, while retaining the qualities that make us unique, in order to entertain the fans. It’s going to be loud, heavy, old school Seether with a couple of twists thrown in to keep things exciting.”

 

The band will appear at Stage AE in Pittsburgh, PA on 5/19.

GRIDFAILURE Issues “Digital Crush” At Metal Riot; Further Layers Of Societal Collapse EP Nears Free Samhain Release

unnamed-5Hostile alchemist GRIDFAILURE has completed the Further Layers Of Societal Collapse EP impending its free digital distribution on Samhain 2016, leaking new track “Digital Crush” through Metal Riot.
GRIDFAILURE is the auditory harvest of David Brenner (Earsplit, ex-Theologian, ex-Heidnik), who abuses dozens of instruments, brewing a haunted apocalypse aura. The outfit’s Ensuring The Bloodline Ends Here debutwas released in May via The Compound Recs. With a second album, Teeth Collection, nearing completion, Further Layers Of Societal Collapse provides some insight of the bizarre directions the unit’s output is taking. The use of field recordings infusing elements of nature and civilization into the mix carries into the new material, which infuses more percussive elements and guitars than the debut. Contributions from cohorts BJ Allen (Full Scale Riot) and Pete Tsakiris reflect the first GRIDFAILURE collaborations to see release, a trait that lies heavily in the upcoming releases.
GRIDFAILURE‘s Further Layers Of Societal Collapse delivers nearly a half-hour of unharnessed dementia, infiltrating additional realms of biomechanical madness, meshing ghostly and fractured elements of dark ambient, power electronics, and industrial metal with the confrontational wrath of tectonic hardcore on a rudderless course where anything goes.
This confrontational dementia is depicted in “Digital Crush,” playing at Metal Riot RIGHT HERE.
 
Hear the EP’s “Woodlands Of Self-Impalement” via Loudwire HERE, and the GRIDFAILURE-infused anti-Trump “Demagogue” by Walking Bombs, mastered by Tad Doyle, at Blow The Scene HERE.
GRIDFAILURE will offer Further Layers Of Societal Collapse as a free download on October 31stthrough Bandcamp, Soundcloud, and more, with a limited cassette version to follow in November; find your Walkman ASAP.
Orders for GRIDFAILURE‘s Ensuring The Bloodline Ends Here eco-wallet CD receive free paraphernalia HERE; digitally the album can be found at Bandcamp, Amazon, iTunes, and most others.
Also join the macabre lounge/fight act for the end of everything on GRIDFAILURE‘s upcoming Teeth Collection album, split with Never Presence Forever, and multiple other upcoming splits, EPs, and collaborations, all likely to see release by the end of the year.

SUPERJOINT Premieres New Track At Revolver Magazine

unnamed-5SUPERJOINT was resurrected in 2015 after the original band broke up a decade earlier. At the behest of the late Corey Mitchell, co-founder of The Housecore Horror Film Festival, SUPERJOINT founders Philip H. Anselmo (Down, Pantera, Scour, Philip H. Anselmo & The Illegals, Arson Anthem et al), Jimmy Bower (Down, Eyehategod), and Kevin Bond (Christ Inversion, Artimus Pyledriver et al) joined forces with longtime comrades, drummer José “Blue” Gonzalez (Warbeast, Philip H. Anselmo & The Illegals) and bassist Stephen Taylor (Philip H. Anselmo & The Illegals, Woven Hand, 16 Horse Power). A new era of the band was born.
Mitchell’s idea worked brilliantly, as the band members found true joy in playing together again. After just two tours, new material followed culminating in the scathing sounds of Caught Up In The Gears Of Application. Set for release on November 11th, 2016 via Anselmo’s own Housecore Records,Caught Up In The Gears Of Application was captured at Nodferatu’s Lair and marks the band’s first new output since 2003’s critically-lauded Lethal Dose Of American Hatred. Produced by Anselmo and Stephen Berrigan (Down, Philip H. Anselmo & The Illegals, Eyehategod, Haarp, Classhole etc.) and mastered by Scott Hull (Agoraphobic Nosebleed, Pig Destroyer) at Visceral Sounds, Caught Up In The Gears Of Application remains true to SUPERJOINT‘s original strategy: to spew forth an acrimonious crossover of hardcore punk, metal, and unrelenting, hostile, New Orleans-style angst.
“The minute we started writing, I knew this record would be brutal,” reflects Bower, “Sticking to our true hardcore roots and signature SUPERJOINT sound, we accomplished a record that needed to happen in today’s underground. It’s pissed off! After being on hiatus for eleven-plus years, the chance at a new SUPERJOINT record wasn’t something we took lightly. With newcomers Steven and Joey, we were psyched and eager to get in the Lair and start writing and after two tours with the new lineup, we were able to hit the writing hard! Didn’t take long to accomplish, and we stood and smirked at the playback of what would be the new SUPERJOINT record. With songs like ‘Receiving No Answer To The Knock’ and ‘Sociopathic Herd Delusion’ we had everything to smirk about! This record brings our viscous style of hardcore back to life. Pissed off with everything to prove, SUPERJOINT is back!”
Adds Anselmo of the offering, “The overall theme means many things, or no things, but there is an underlying message regardless, about how modern technology — computers and all that comes with them, mainly — has affected our lives. As a musician, it has affected my life both negatively (music being stolen) and positively (being in touch with fellow musicians around the world and staying visible). But when looking at the broader spectrum, computer-land has given everyday people a platform in which to bellow like carnival barkers about anything and everything, humdrum or political, whether qualified or not, some with good intentions, some with disingenuous intentions, and some with ideas that lay somewhere in the middle, creating a mishmash of results.”
As a precursor to the release of Caught Up In The Gears Of Application, today Revolver Magazine offers up the confrontational “Sociopathic Herd Delusion,” for communal ingestion. Issues Anselmo simply, “‘Sociopathic Herd Delusion’ is an absolute SUPERJOINT hook-a-rama done in one-thousand-percent SUPERJOINT form! It’s a state of cerebral address, and thicker than a hundred-year-old deck of collectable boxing cards.”
Start your weekend off with a “Sociopathic Herd Delusion,” courtesy of Revolver Magazine, at THIS LOCATION.
Preorder bundles for SUPERJOINT‘s Caught Up In The Gears Of Application are available via the Housecore Store at THIS LOCATION. For digital preorders, point your browser to iTunes HERE or Apple Music HERE.
SUPERJOINT will bring their venom to the stage for their official record release show on November 12th, 2016 in Dallas with future onstage abrasions to be announced in the coming weeks.
SUPERJOINT:
11/12/2016 Gas Monkey Live! – Dallas, TX
Caught Up In The Gears Of Application Track Listing:
1. Today And Tomorrow
2. Burning The Blanket
3. Ruin You
4. Caught Up In The Gears Of The Application
5. Sociopathic Herd Delusion
6. Circling The Drain
7. Clickbait
8. Asshole
9. Mutts Bite Too
10. Rigging The Fight
11. Receiving No Answer To The Knock

 

GHOST Popestar Tour Pummels Pittsburgh with a Square Hammer @StageAE

You know the band that you feel like you discovered so early on that you swear they are part of you?  It’s like you learned some great secret and you just cannot help but want to share that secret with everyone.  Little by little it’s not a secret anymore and that can be joyous or disastrous.  Many fans are protective of the bands they find, but personally, I love sharing them with people and seeing those bands have their effect on as many people as possible.  I first caught Ghost in a little article in Decibel and it was not long after that they embarked on a US Tour (2012) with Opeth and Mastodon that I was privileged to witness and photograph.  I left that experience with a deep love for what the band was doing and could never dream the level of what they are up to now.  I have not missed a Ghost show in town since, so I will do my best to remain unbias, but fully revealing, which is why I am unusually writing in the first person.

Ghost is currently on their US “Popestar” Tour that coincides with an EP of the same name.  Everyone who purchases a ticket gets a free download of the EP (a little trick Prince sort of invented).  Ghost’s Popestar is a brilliant chapter in what is hopefully an endless novel of work.  On an EP, a band is often able to introduce new material as well as offer deep cuts, live, never-heard, or cover songs.  With each LP or EP Ghost has produced they have grown and shown more of their personality as a band and their versatility.  This latest piece includes “Square Hammer” which will take Ghost to another level in popularity due to its catchy chorus that I defy you to erase from your head. Ghost decided to open with this song, risky, but a great call.  The song came off wonderfully and flawlessly, the audience already knowing every word.  The rest of the EP was not handled live, most likely due to that fact it is mainly cover tunes, including songs from The Eurythmics, Echo and The Bunnymen, Simian Mobile Disco, and Imperiet.  In many ways that was a bonus because what one really wants to see are the Ghost songs one loves and is familiar with.

The second and third song were heavy hitters, including the last LP Meliora‘s big hit “From The Pinnacle To The Pit”.  This was another breakthrough for the band in the heavier vibe and killer bass line, this time, handled live by the new female bassist (replacing Omega), who could be or could not be SeanYseult from White Zombie (or possibly onetime the Oath guitarist Linnéa Olsson).  Then “Secular Haze” lead single from  Infestissumam came blazing in to keep the heavy vibe rolling.  It was great to hear something from the first LP, Opus Eponymous, in “Stand By Him” keeping with the tongue in cheek horror/religious and social commentary theme.  And this is where Ghost either wins people over or loses them, it is their intelligent, sometimes humorous, and double entendre lyrics that either make you fall in love or run for holy water.

“Con Clavi Con Dio” was perfect, as Papa continued to perform flawless vocals, and dual guitar players just keep hitting the riffs and gorgeous melodies that fit so perfectly, not overpowering, but subtle with grace.  Of course, this particular song draws a bit more on their horror genre pieces being from the first LP but also includes a good Latin lesson for those digging beyond surface level.  Tack onto that “Per Aspera ad Inferi” that shows off the more sexual side that Ghost explored on Infestissumam .  And then came “Body and Blood”, a song that explores cannibalism, as well as the sexual metaphor of eating flesh, and the strange phenomenon of when one eats communion, it also has to come out…food for thought people.

The instrumental “Devil Church” was a great segway to the single (and huge sing a long) “Cirice“, a love song of sorts only Ghost could pull off.  Papa continued with hilarious banter in between songs, always in his “Dracula” voice, and everyone ate up the theatricality.  It was as though everyone in the audience was in on the fun, got the inside joke, released their inhibitions for a few hours.  This is what concerts are for, yes?  “Year Zero”, one of Ghost’s strongest tunes and of course, most outwardly “satanic” with the mentions of Belial, Behemoth, Beelzebub, Asmodeus, Satanas, and Lucifer, brought a massive cheer and response from the audience.  With the chorus of “Hell Satan, Archangelo/Hell Satan, Welcome year zero” either you join in or go to confession the next day, or maybe both.  What true fans of Ghost realize is that they do not take this stuff too seriously and treat it more as horror fun.  Strong religious types are not going to agree anyway, so I will not even entertain appeasing their opinion.  A small intermission followed to allow Papa’s key costume change out of the dead pope costume and into the art deco, 1920’s stylish persona that was unleashed on the previous tour.

The following songs were He IsAbsolutionMummy DustGhuleh/Zombie Queen, and Ritual.  Just brilliant.  “Mummy Dust”, “Ghuleh” and “Zombie Queen” completely highlight how musically deep this band is and the complex arrangements that they can put together.  Ghost is part metal, part prog, part new wave, part classic rock, and we’ll throw some classical in there as well. Who else can pull out a Keytar and not look like some pop one hit wonder from the 90’s?  They have the ability to put together things that are unexpected, completely embodied by the dichotomy of their image and their music.  I cannot apologize for loving this band which is why I stated the earlier disclaimer, it’s hard not to be biased when you have witnessed them five times (every tour in essence), every time they have graced Pittsburgh, and have come away with such elation, a tough feat when you are lucky enough to go to a few shows every week.

The encore, of course, was the traditional “Monstrance Clock” ending and the spooky chorus of “Come together, together as a one /Come together for Lucifer’s son”.   Fists raised and pumping, the audience in full fervor sung along and when it ended left spent and happy, much like Papa’s explanation of the slower paced song being a bit like the show building to an orgasm.  This writer left very spent and very happy.  Every song was great, the show surrounding the show was killer, and the crowd was super cool.  Doug Bradley, AKA “Pinhead” from Hellraiser was, as always, in attendance with his beautiful and talented artist girlfriend and hung out in the pit for a bit with the photographers.  This was icing on the cake, in that we had a great conversation about the band and Doug described himself as a “fanboy” and as a close friend of the band, discussed “Papa’s” genius (even though we all know who it is, I will not confirm).  Part of the fun of Ghost is the mystery they have built and the fans protect.  It works and it fits perfectly in the genre.  As they finish this tour and move on to the next LP, the band will inevitably become bigger and better.  But, being the “taste” that they are, the band will always be ours, always belong to us, always be our secret.  May the haunt us forever.

 

 

All photos 2016 AWeldingphoto

 

THE RETICENT Debut New Song: “The Confrontation”

THE RETICENT Debut New Song: “The Confrontation
Dead Rhetoric zine has partnered with Progressive Metal band THE RETICENT for the exclusive premiere of “The Confrontation” from On The Eve of a Goodbye. Stream it at http://deadrhetoric.com/randomness/exclusive-stream-the-reticents-the-confrontation/
Grammy nominated Christopher Hathcock has returned with the fourth album from THE RETICENT. Heaven & Hell Records is pleased to announce the October 5th release of On The Eve Of A Goodbye. Pre-order the album at http://www.thereticent.net/
The album was produced by Jamie King (BTBAM, The Wretched, Scale The Summit), and will be released on limited edition CD with complete lyrics. Check out the official video for album track “The Girl Broken” at this location, as well as “The Comprehension” video here.
This is undoubtedly the most ambitious and intense offering from THE RETICENT to date. An uncompromising autobiographical concept record, On the Eve Of A Goodbye is certain to exceed all expectations, boasting 73 minutes of stirring progressive metal that must be heard in its entirety to grasp the full magnitude.
On The Eve Of A Goodbye is an autobiographical concept album. All of the tracks serve to detail the day before, day of, and day after the suicide of THE RETICENT’s mastermind Chris Hathcock’s childhood friend, Eve.  The songs chronicle his concern for her, her deterioration into self-hatred, and culminates with the tragic act and its aftermath.  Not only a stylistic contrast to previous releases, this album is also intensely more personal than past Reticent albums (which were already emotional purges).  The album is intended to be heard as a single entity rather than a collection of tracks.
“This is an album that is utterly amazing start to finish.” 10/10
 – My Global Mind
“A degree of musical mastery” 
– Jamie King
 
“An album of incredibly well crafted metal and rock.”
 – Shutter 16
Track Listing:
1. 24 Hours Left
2. The Girl Broken
3. The Hypocrite
4. 19 Hours Left
5. The Comprehension
6. The Confrontation
7. The Apology
8. 10 Hours Left
9. The Mirror’s Reply
10. The Postscript
11. 2 Hours Left
12. The Decision
13. Funeral For A Firefly
14. The Day After
15. For Eve
The album was recorded in order in the span of a few days in the summer of 2015 (with a touch up in November 2015).  Producer/Engineer Jamie King (known for previous work with BTBAM, The Wretched, Scale The Summit, etc.) chose to allow Hathcock to do as he needed in the studio as he felt it added greatly to the emotion of the record.  In fact, on the song “Funeral for a Firefly” when trying to record the lead vocal part, Hathcock made it only two lines in before sobbing hysterically as memories and the trauma he had held back for a decade came flooding to the forefront.  After calming to the point that he could catch his breath, Hathcock told Jamie King that he felt unable to record the song.  Jamie encouraged him to try just one more time and if it didn’t work, they’d drop it.  Hathcock went back into the booth and made it through the entire song with constant tears streaming down his face and his voice cracking and quivering as he went through.  Jamie was so affected by the performance he said he wanted to keep the raw performance – as in no edits to the sound so every sniffle and breath could be heard putting the listener in the booth with the despairing singer.
Credits:
All music, lyrics, and narration written by Chris Hathcock
All instruments and vocals performed by Chris Hathcock
except the following:
Narration by Carl Hathcock, Juston Green, and Amanda Caines
Female vocals by Amanda Caines
French Horn by Dr. Nicholas Kenney
Trombone and Trumpet by Matthew Parunak
Tenor Saxophone by Andrew Lovett
Produced by Jamie King
Mixed, Mastered, and Engineered by Jamie King at The Basement Studios
Executive Producer: Chris Hathcock

www.thereticent.net