Spiritual Cramp is THE band to catch in Cali right now and they’re playing Pittsburgh’s Rex Theatre on Feb 23 w/ American Nightmare & No Warning. If you like late 70’s / early 80’s working-class rock or punk, chances are you’ll like this band LOTS…
Rock ‘n roll has always reflected disgruntled youth and its rockers often create sounds that are mimetic of their inner state – what is experienced in the day-to-day. For their first release, rightly named, ‘Mass Hysteria’, Spiritual Cramp relates this state of unease in a seemingly at ease system. The sounds borrow from the past, echoes of late 70’s / early 80’s working class rock and punk, which function on the upbeat, showcasing very bright guitars yet generating darker vocal rhythms and darker patterning.
Blowing up the Bay Area, Spiritual Cramp have quickly turned heads for their wild and unforgettable live shows up and down Cali’s coast — landing them a winter tour with American Nightmare and Pissed Jeans.
# – w/ American Nightmare, Pissed Jeans and Protestor
^ – w/ American Nightmare and No Warning
% – w/ American Nightmare, Torso and Fireburn
“Spiritual Cramp comes to the Bay Area in a time of need. San Francisco has always been a haven for artists, musicians, punks & freaks. But here, in 2017, these types have become more offhand than on–lesser, as if that side of our culture has been tucked in, put to sleep. But, no matter how much polish is applied, no matter how clean they try to make it, there will always be danger in the city.
What we’ve learned from this big change is that existing in an affluent society can feel just as oppressive as living in a disadvantaged society, especially if one doesn’t fit certain criteria of the dominating class. Rock ‘n roll has always reflected disgruntled youth and its rockers often create sounds that are mimetic of their inner state–what is experienced in the day-to-day.
For their first release, rightly named Mass Hysteria, Spiritual Cramp relates this state of unease in a seemingly at ease system. The sounds borrow from the past, echoes of late 70’s, early 80’s working class rock ‘n roll / punk, which function on the upbeat, showcasing very bright guitars, yet generating darker vocal rhythms, darker patterning.
Punk music and its sensibilities are all exemplified here, just as much in the visual as in the beat. “Violence keeps me up at night,” Vocalist, Michael Bingham repeats. And later, “My friends are alright.” Much of their inspiration has stemmed from UK77, Reggae Music, DIY/ hardcore / punk culture and ethics. Most of all from artist friends in the Bay Area and simple objects we find in the streets: a broken TV, telephone wires, that seemingly unimbued message that’s written on the wall. These quieter, more subdued artifacts somehow seem to say a lot about our experience, but when taking on this music, there is an urgency that portrays life in the city, life as a punk, life as of now (deathwishinc.com).”
GRETA VAN FLEET ANNOUNCES INITIAL NORTH AMERICAN TOUR DATES FOR 2018 With Five Dates Already Sold Out, U.S. Trek Starts April 13 at CoachellaBand Has Started Recording its Debut Full-Length Album
Greta Van Fleet – “10 New Artists You Need to Know” – Rolling Stone
LOS ANGELES, CA – January 24, 2018 — Greta Van Fleet, who took the 2017 music scene by storm with its dynamic rock ‘n’ roll debut single “Highway Tune” claiming the #1 spot at Rock Radio for five consecutive weeks, amassing 10-million-plus Spotify plays and 6.8-million YouTube views in 2017 alone, selling out every single one of its headline dates in advance, and being named Loudwire’s “Best New Artist,” will kick off its 2018 tour schedule at the Coachella Valley Music and Arts Festival on Friday, April 13. The band’s itinerary will include a slew of other major outdoor music festivals as well as headline dates that will see them playing to larger-capacity venues and multiple nights in some cities. Five of the dates – Houton, Dallas, Nashville and two nights in Detroit – went on sale last week and all sold out in under 15-minutes. Tickets for Greta Van Fleet’s headline dates for this leg go on sale to the public this Friday, January 26; log on to www.gretavanfleet.com for all ticket purchasing info.
“We love making music and we love playing shows, but we never expected anything like the attention we’ve been getting,” said bassist Sam Kizska. “We are truly humbled by the response we’ve gotten, and are very excited to get back on the road and play for our fans.”
Prior to the tour, the Frankenmuth, MI-based Greta Van Fleet – 21-year old vocalist Josh Kiszka, brothers Jake (guitar, also 21) and Sam (bass, keys, 18), and longtime family friend Danny Wagner (drums, also 18) – are spending January and February recording its debut full-length album anticipated to be released late Spring/early Summer (Lava/Republic Records). The album will be recorded in Nashville and Detroit and produced by Al Sutton and Marlon Young, the duo that helmed the band’s critically-acclaimed, chart-topping/breakout EPs, Black Smoke Rising (4/21/17) and the follow up From The Fires double EP (11/10/17). For the album, the band has an archive of songs written over the past few years as well as brand new material penned late last year when they spent a week in the Tennessee woods. So, fans can look forward to the next evolution of, as Revolver magazine put it, Greta Van Fleet‘s “high-octane, soul-and R&B-influenced riff rock.”
“Each of us has his own set of influences so that brings a great diversity to the music we make,” said Jake. “Every one of our songs has its own unique complexities and we’d like for the full album to showcase that diversity, let people see what we can really do.”
With many more dates to be confirmed, Greta Van Fleet‘s initial 2018 tour itinerary is as follows:
13 Coachella Valley Music and Arts Festival, Indio, CA
20 Coachella Valley Music and Arts Festival, Indio, CA
29 Welcome to Rockville Festival, Jacksonville, FL
1 House of Blues Houston, Houston, TX SOLD OUT
2 House of Blues Dallas, Dallas, TX SOLD OUT
3 Stubb’s Waller Creek Amphitheatre, Austin, TX*
5 Shaky Knees Music Festival, Atlanta, GA
6 Carolina Rebellion, Concord, NC
9 Rams Head Live, Baltimore, MD*
11 Starland Ballroom, Sayreville, NJ*
12 Electric Factory, Philadelphia, PA*
14 Marathon Music Works, Nashivllle, TN*
16 Marathon Music Works, Nashville, TN SOLD OUT
18 Rock On The Range Festival, Columbus OH
20 Hangout Music Festival, Gulf Shores, AL
22 The Fillmore Detroit, Detroit, MI SOLD OUT
23 The Fillmore Detroit, Detroit, MI SOLD OUT
25 The Fillmore Detroit, Detroit, MI*
27 Floydfest, Floyd, VA
* headline shows, on sale Friday, January 26
ABOUT LAVA RECORDS
Lava Records was founded in 1995 by Jason Flom in partnership with Atlantic Records. In 2009, Flom reclaimed the Lava imprint and entered into a partnership with UMG’s Republic Records for new signings. The label is now home to multi-platinum, award-winning superstars Jessie J, Lorde and Trans-Siberian Orchestra, as well as emerging stars including Greta Van Fleet, Maty Noyes and Stanaj.
ABOUT REPUBLIC RECORDS
A division of Universal Music Group, the world’s leading music company, Republic Records is home to an all-star roster of multi-platinum, award-winning legends and superstar artists such as Ariana Grande, Aminé, Black Sabbath, DNCE, Florence + the Machine, Gotye, Hailee Steinfeld, James Blake, James Bay, John Mellencamp, Jordan Smith, Julia Michaels, Keith Richards, Kid Cudi, Liam Payne, Marian Hill, Of Monsters and Men, Post Malone, Seth MacFarlane, Stevie Wonder, and more. Founded by brothers and chief executives Monte and Avery Lipman, it is also comprised of innovative business ventures, including American Recordings (The Avett Brothers, Towkio), Boominati Worldwide (Metro Boomin), Brushfire (Jack Johnson), Casablanca Records (Giorgio Moroder, KUNGS, Tïesto), Cash Money (Drake, Lil Wayne, Nicki Minaj), Hollywood Records (Sofia Carson, Zendaya), Lava Records (Greta Van Fleet, Jessie J, Lorde), Monkeywrench (Pearl Jam), XO (The Weeknd), Roc Nation (Belly, Justine Skye, The Dream), Tuff Gong (Damian Marley), Victor Victor Records (D Savage, Ski Mask The Slump God), among others. Republic also maintains a long-standing strategic alliance with country powerhouse Big Machine Records (Taylor Swift), and Universal Music Latin Entertainment (Luis Fonsi, J Balvin). In addition, Republic has expanded to release high-profile soundtracks for Universal Pictures (Fifty Shades of Grey, SING), Fox TV (Lee Daniels’ STAR), and NBC TV (The Voice), as well as other notable film and television franchises.
The Tour Will Hit More Than 60 Cities From April To June
January 10, 2018
(Los Angeles, CA) Tech N9ne is announcing his Tech N9ne’s Planet Tour 2018. Scheduled to run April 17, 2018 through June 23, 2018, Tech N9ne’s Planet Tour 2018 will stop at more than 60 cities and will also feature Krizz Kaliko, Just Juice, Joey Cool and King Iso.
The trek is set to launch April 17 in Cedar Rapids, Iowa and conclude June 23 in Denver, Colorado. Other notable dates on the tour include two nights in Seattle (April 27 and 29), a May 10 appearance in Los Angeles, the May 20 stop in Houston and a May 25performance in Atlanta. For VIP fan club packages, the up-to-date tour itinerary and additional information about the Tech N9ne’sPlanet Tour 2018, visit strangevip.com.
Tech N9ne’sPlanet Tour 2018 is named after Tech N9ne’s forthcoming Planet album, which is set for a March 2, 2018 release. Mackenzie Nicole, Krizz Kaliko, Darrien Safron and Joey Cool are among the guests on the project, which features such songs as “Tech N9ne (Don’t Nobody Want None),” “Levitation” and “We Won’t Go Quietly.”
With 2018 just underway, Tech N9ne is carrying the momentum he generated in 2017 into the New Year. In 2017, Tech N9ne released two Collabos projects. In April, Dominion arrived in stores. Strange Reign was released in October and inspired the name of Tech N9ne’sStrange Reign Tour 2017, a tour that included stops in the United States and Canada in September and October.
Tech N9ne also joined an exclusive music industry circle in June 2017. That’s when the Kansas City rapper’s “Caribou Lou” single surpassed the 1 million copies sold mark, according to the RIAA (Recording Industry Association of America). It was Tech N9ne’s first platinum plaque, putting him in rarefied air, especially for an independent artist.
COACHELLA VALLEY MUSIC AND ARTS FESTIVAL ANNOUNCES 2018 LINEUP
BEYONCÉ, EMINEM AND THE WEEKND TO HEADLINE
Los Angeles, CA (January 2, 2018) – Now in it’s 19th year, Coachella returns to the Empire Polo Club in Indio, CA for two weekends set for April 13th – 15th and April 20th – 22nd. Beyoncé, Eminem and The Weeknd will headline both weekends with additional performances by SZA, HAIM, ODESZA, Tyler, the Creator, Portugal. The Man, Kygo and more. (Full lineup as of January 2nd below).
Passes for Coachella Valley Music and Arts Festival go on sale Friday, January 5 at 12:00 PM PST at coachella.com, while supplies last. All taxes, domestic shipping and fees are included in listed pass prices.
SUICIDE SILENCEcelebrated the 10 year anniversary of their debut LP The Cleansing on September 27th. The album was highly successful debuting at No. 94 on the Billboard 200 charts and securing their legacy as the death-metal front runners.
To commemorate this momentous anniversary, the band is hitting the road making 34 stops across North America. The tour kicked off in Oakland, California and will hit Toronto, New York, and Atlanta before concluding on December 17th in Los Angeles..
SUICIDE SILENCE will perform The Cleansing each night in its entirety. Joining the band on the tour are UPON A BURNING BODY, SLAUGHTER TO PREVAIL and PRISON. WINDS OF PLAGUE will meet up with the tour on December 12th in Dallas, Texas and finish the remaining dates.
“10 f—king years!! The Cleansing was a record we wrote when most of us were in our early 20’s. I was in my teens still! My has the time flown by,” guitarist Mark Heylmun writes. “All we knew back then was we wanted to offend ppl and piss in the face of the mainstream (Dying Fetus pun intended). We’ve wanted to do a commemorative tour for this record for years now and the time has come. The Cleansing broke us into the metal world and the record came from a very special place, a fresh place, a place that words fail when I try to describe it, and without it…well we wouldn’t be here attempting to describe it.”
Heylmun adds, “Mitch [Lucker] had a vision for this record, he wanted to set a standard for our scene and in my eyes he created much much more. Since his passing, Eddie has paid homage to Mitch‘s vox on this record every night. It’s something very close to our hearts to have Eddie singing these songs with us. Mitch and Eddie inspired each other, exchanged vocal tips, and both have the passion for the most brutal sounds you can humanly make and it’s going to be an amazing show for us and for you. Emotions will be high, maybe we will be high too, you don’t want to miss this. Let’s f—king party! Come celebrate with us cuz this will only happen once!”
Confirmed dates for the 10 Year Anniversary Of The Cleansing tour are:
11/07/2017 Oakland, CA – The Complex
11/08/2017 Sacramento, CA – Ace of Spades
11/09/2017 Seattle, WA – El Corazon
11/10/2017 Vancouver, BC – Imperial
11/11/2017 Portland, OR – Analog Theater
11/13/2017 Spokane, WA – The Pin
11/15/2017 Jerome, ID – Diamondz Events Center
11/16/2017 Salt Lake City, UT – In The Venue
11/17/2017 Denver, CO – Marquis Theater
11/18/2017 Wichita, KS – Rock Island Live
11/19/2017 Des Moines, IA – Wooly’s
11/21/2017 Omaha, NE – Waiting Room
11/22/2017 Sioux Falls, SD – Big’s Bar
11/24/2017 Minneapolis, MN – Cabooze
11/25/2017 Chicago, IL – Portage Theater
11/26/2017 Indianapolis, IN – Emerson Theater
11/28/2017 Pittsburgh, PA – Diesel
11/29/2017 Detroit, MI – Shelter
11/30/2017 Toronto, ON – Opera House
12/01/2017 Erie, PA – Basement Transmissions
12/02/2017 Rochester, NY – German House
12/03/2017 Providence, RI – Fete Music Hall
12/05/2017 Reading, PA – Reverb
12/06/2017 Brooklyn, NY – Brooklyn Bazaar
12/07/2017 Baltimore, MD – Soundstage
12/08/2017 Greensboro, NC – Blind Tiger
12/09/2017 Atlanta, GA – Masquerade
12/10/2017 Tampa, FL – Crowbar
12/12 Dallas, TX – The Door*
12/13 San Antonio, TX – Paper Tiger*
12/14 El Paso, TX – Tricky Falls*
12/15 Phoenix, AZ – Club Red*
12/16 Pomona, CA – The Glasshouse^ *
12/17 Hollywood, CA – The Whisky ^ *
^ no Upon A Burning Body
* with Winds Of Plague:
Australian metal destroyers, AVERSIONS CROWN, are hitting the road on October 19th with Massachusetts metal veterans WITHIN THE RUINS andSpokane-based skullcrushers ENTERPRISE EARTH for a 32-date trek across North America. Opening the shows will be Connecticut metal bandCURRENTS.
Since the release of Xenocideearlier this year, the band has been touring relentlessly. Prior to hitting the states, the band made appearances at several European Summer festivals and completed a sold out Aussie tour.
Xenocide was tracked by Adam Merker at Studio Anders Debeerz in Brisbane and mixed and mastered by Mark Lewis (WHITECHAPEL, DEVILDRIVER, THE BLACK DAHLIA MURDER) from Audio Hammer. Watch the music video for “Prismatic Abyss” on the Nuclear Blast YouTube channel!
11/15/2017 Marquis Theatre – Denver, CO
11/17/2017 Triple Rock Social – Minneapolis, MN
11/18/2017 The Wire – Berwyn, IL
11/19/2017 The Foundry – Lakewood, OH
11/20/2017 The Shelter – Detroit, MI
11/21/2017 Cattivo – Pittsburgh, PA
11/22/2017 Landos – Corning, NY
11/23/2017 Hard Luck Bar – Toronto, ON 11/24/2017 The Palladium – Worcester, MA
11/25/2017 One Centre Square – Easton, PA 11/26/2017 Voltage Lounge – Philadelphia, PA
On a rainy day in Pittsburgh (10/05/2017), some seriously brutal metal bands were preparing to kick off a months-long trek across the country. The first day of a tour is typically filled with nerves, last minute preps, and anticipation of the crowds. No need to worry about Steel Town, Pittsburgh represented in full force last night at Diesel Club Lounge.
Although Diesel is not an ideal location for a metal show, due to its origins as a dance club, replete with disco being played in between sets, the club does allow for a very intimate experience. And that is also what is very appealing about the metal genre, for the most part, the bands are very accessible and realize the only way they survive is with the fans who come to the shows, actually purchase their music, and maybe more importantly, buy their merch. Pittsburgh’s own Greywalker started off the evening with their aptly titled Steel City Trash In the past 2 years Greywalker has built a reputation for their relentless live performances and have shared the stage with bands such as Suicide Silence, Nile, Dark Tranquility, August Burns Red & Darkest Hour.
Pittsburgh’s own Greywalker started off the evening with their aptly titled Steel City Thrash style. In the past 2 years Greywalker has built a reputation for their live performances and have shared the stage with bands such as Suicide Silence, Nile, Dark Tranquility, August Burns Red & Darkest Hour. Named the “2nd Best Metal Band” in both the 2015 and 2016 Pittsburgh City Paper Readers Poll’s, they also took home the 1st Place award at the 2016 Brewtal Beer Fest for their beer collaboration with Penn Brewery & Maggie Farm Rum. In 2017 some of Greywalker’s music was transcribed to a 16-Bit format and used as part of the soundtrack to “Coffee Crisis”, a video game manufactured for the Sega Genesis by Mega Cat Studios in collaboration with Black Forge Coffee House. Excerpts from the Coffee Crisis soundtrack were also released on 7″ Late Cut Records cut by FFRecords (source: Facebook). Do yourself a favor and check them out https://www.facebook.com/greywalkermusic/.
Vancouver’s Wormwitch came up next with equal parts black metal and rock n’ roll. WORMWITCH is known for their “high-octane rush of deep, grinding riffs, piston-driven drumming, and thundering bass” (No Clean Singing) Their last release, “Strike Mortal Soil” is about being alive and what that means in today’s society. The band elaborated, “We live in a society both obsessed with and terrified of death. We exist in a world constantly seeking immortality through fame or Gods. “Strike Mortal Soil” means to live with a furious passion. It is to be able to enter one’s grave like lightning, in rejection of eternity. It enforces the message that life has worth, not from your nationality, your land, your God or your flesh, but what you do with yourself.” Definitely a band with showmanship, they were loud, brash, and in your face the way that metal should be. You owe yourself a favor to get to the show early and witness what they are laying down.
Oakland, CA outfit Necrot came in full force. Looking a bit like a rougher and more aggressive Dee Snider, Vocalist/bassist Luca Indrio really got the crowd moving as the pit became a foaming mass of humanity.Forged in 2011, NECROT – founded by current and former members of Acephalix, Vastum, Saviours, Watch Them Die, Atrament, Rude, and more – unleashed the audio bone-crush of their The Labyrinth full-length in 2016 via Tankcrimes. Spewing forth eight tracks amassed from three hard-to-find and long out-of-print demo tapes, the record reaped critical acclaim from fans and media alike compelled by the band’s unrepentant Autopsy, Bolt Thrower, and Sacrilege worship. Bay Area death cult NECROT continues to tour in support of their critically-lauded Blood Offerings full-length released in June via Tankcrimes. The record earned the #29 spot on Billboard’s Hard Rock Chart and #52 on Billboard’s New Artist Chart upon its first week of release and continues to reap critical accolades from fans and critics globally. Comprised of eight-tracks, Blood Offerings was captured by Greg Wilkinson at Earhammer (Vastum, Graves At Sea), mastered by Brad Boatright at Audiosiege (Nails, Gatecreeper), and comes shrouded in the unhallowed cover art of Marald Van Haasteren (Bolt Thrower, Baroness). Blood Offerings is out now on CD, LP, and digitally on Tankcrimes and on cassette through Sentient Ruin Laboratories. The limited vinyl edition comes as a foil-stamped, gatefold deluxe LP available in four color variants: 150 in purple splatter, 350 in gold splatter, 500 in black, and 1000 in gold.
Pittsburgh may not have been quite ready for what Revocation brought to the table. REVOCATION is touring in support of their critically-lauded sixth full-length, Great Is Our Sin, released last year via Metal Blade Records. Reuniting with producer Zeuss (Hatebreed, Bleeding Through), who helmed 2014’s Deathless and 2012’s Teratogenesis EP, Great Is Our Sin packs the requisite punch, yet retains the organic feel with which it was conceived. Known for their technical prowess, the band remained dedicated to upping the ante without ever losing sight of the importance of good songwriting. Whilst the lineup has changed over the decade-plus REVOCATION has been in existence, guitarist/vocalist Dave Davidson’s passion has never waned, and they are arguably sounding better than ever as they look toward the future. The offering reaped the #1 spot on Billboard’s Top New Artists/Heatseekers chart, #6 on the Current Hard Music Albums chart, #11 on the Top Independent Albums chart, and #17 Current Rock Albums upon its first week of release!
Davidson was absolutely mesmerizing as he blazed on guitar and spit out grinding lyrics, playing off of Gargiulo’s countering axe attack, as the band cranked out very technically complex music that remained as bone-crunching and faces splattering as a band can.
Having delivered five killer albums boasting some of the most potent, technical and abrasive metal unleashed over the last decade, it would be easy for Revocation to sit back and rest on their laurels. However, with their constant drive to push their sound ever forward and refusal to compromise their integrity, this could never be the case – and Great Is Our Sin is their most dynamic, boundary-pushing and weighty release to date. To preview and purchase Great Is Our Sin, please visit: metalblade.com/revocation
The tone shifted as the ominous background tone began to drone and the legends, Decrepit Birth took the stage. For the better part of their 16-year existence, California-based death metallers Decrepit Birthhaven’t followed the rules. From debut album, 2003’s …And Time Begins, to the new album, Axis Mundi, they’ve shuffled the tried and true tenets of death metal into something defiantly other. Certainly, the Surf City denizens have written and continue to write—check out the pit-destroying ‘Transcendental Paradox’ off Axis Mundi—brutally brutal music, but after years of purveying labyrinthine riffs and blasts at light-suffering speeds, they’ve transcended, they’ve transformed, they’ve gone beyond. Decrepit Birth in 2017 isn’t entirely the same band that unfurled …And Time Begins in their twentysomethings.
“We’ve gone through an evolution throughout the years,” says founding member and primary songwriter Matt Sotelo. “The last couple of albums we had, Diminishing Between Worlds and Polarity, were more progressive death metal. They were different from …And Time Begins, which is a different genre of death metal. It’s more brutal. I’m the type of guy who likes to experiment. …And Time Begins has no solos. It’s all really fast palm-muted riffs. The other albums breathed more with the guitars. I let chords ring out on Diminishing Between Worlds and Polarity. Axis Mundi is a combination of all the stuff I’m into. I like it a lot right now. It’s more melodic. The riffs repeat intentionally. I want to have fun with these songs.”
For those paying attention, seven long years separate Polarity from Axis Mundi. The absence would kill the fan velocity of most bands. But not Decrepit Birth. Even after 2014’s The Summer Slaughter Tour—the last time the West Coasters were on tour—the group’s legion of freaks have stayed true to their death metal masters, pleading and pining with regularity on social media for new technically-proficient savagery. That wait will soon be over withAxis Mundi, but what was Decrepit Birth up to while the world turned and burned?
“We did tours up to 2014,” Sotelo remembers. “That’s four years of tours [since the release of Polarity]. We were doing maybe two or three tours a year. Also, since Polarity, I’ve been writing new music. I’d work on new music and then scrap it. I’d change things around. So, it took a little while. I also had a son shortly after Polarity came out. I was really busy with a newborn baby. So, it wasn’t really until 2014 that I started to buckle down to write new music.” The new and older music is so worth getting out there to see live, for they are an experience like no other. Vocalist Bill Robinson has a voice that defies description in its sewer level graphic gravel tone. The band plowed through a crazy tight set leaving the crowd feeling as though they had been drawn and quartered. An added bonus was seeing Sean of Decrepit Birth all over his fretboard with his Beardly Customs bass, made by our good friend Rick Link.
Written in Sotelo’s kitchen or at his computer desk—a fairly prosaic picture compared to the next-level intensity upon which Axis Mundi pivots—the majority of Decrepit Birth’s new, trail-blazing music originally had a different shape and color. Sotelo eventually axed songs he labeled “crazy and wild” for a more economical approach. Relatively speaking. He was more into the feel of the riff than expanding upon the multitude of multitudes he normally emits like a mad scientist with eight arms.
“The first song I finished was ‘Hieroglyphic,’” recalls Sotelo. “I will say ‘Hieroglyphic’ is a good representation of this album. It’s got a little bit of everything in it. It shows what we’re about right now. The last song I wrote was the last song on the album, an instrumental called ‘Embryogenesis.’ I used a 7-string guitar on it, but not in the way that a lot of people use 7-string guitars. It’s not percussive. It’s layered. See, I like to experiment. I’m glad I got to try something that wasn’t standard death metal. I’m not trying to put down bands or fans, but I like songs that have weird things going on, like samples or MIDI parts.”
Sotelo cites the strength of songs like opener ‘Vortex of Infinity – Axis Mundi’, ‘Hieroglyphic’, ‘Mirror of Humanity’, and ‘Epigenetic Triplicity’ on Decrepit Birth’s reconfigured lineup. Drummer Samus Paulicelli and bassist Sean Martinez aren’t exactly new to the group—both have acclimated nicely over the last few years—but they’ve pushed Decrepit Birth, compositionally and musically, up a few notches. Axis Mundi wouldn’t have been the same without their involvement.
“They’re two very talented musicians,” Sotelo beams. “I’m lucky to have them working with me. Both of them bring a lot. Sean probably is the best bass player—technically—we’ve had in the band. His bass lines and the way he plays bass are amazing. If you listen closely, he’s doing a lot of cool lines. As for Samus, he has his drumming to offer, which is huge. There’s very little he can’t do. He’s amazing. But he also contributed [to the songwriting process]. He’s a good songwriter, an amazing all-around musician. He wanted to help me write the songs. Not the riffs, but help arrange the songs. He wanted to create something different from what I came up with. So, I let him. I decided to have Samus help us out. He’s got the skill. It’s a lot of good stuff he contributed to the record.”
While most of Decrepit Birth’s peers aim lyrically and conceptually for the jugular—blood and guts are a never-ending font of inspiration—the Golden Staters have opted for the mystical and the arcane. Chief lyric writer and frontman Bill Robinson gets many of his ideas from literature and imbibing in mind-altering substances. For Axis Mundi, Robinson centered the lyrics on a theme. From opener ‘Vortex of Infinity – Axis Mundi’ through ‘Epigenetic Triplicity’ he’s taking the listener on a synodic journey, where portals to inner and outer spaces are opened for the intrepid.
“I’m going to be honest here,” says Sotelo. “Bill is responsible for all the lyrics and the concept. I know axis mundi is the center of the world. The world energy center. Energies of the heavens coming down to the Earth. A portal. So, there’s a theme. They’re connected. We’re not the typical lyric writers in death metal. Bill’s lyrics are almost psychedelic. Weird and esoteric. He’s out there. They’re not happy. They’re not hippie shit. They’re fringe, on the edge. They’re dark. And I like it that way! For this album, it’s an all Bill thing. Even the cover.
Recorded at three different studios over the course of a year, Axis Mundi sounds incredible. The clarity, the power, the musicianship, and the brutality aren’t vying for attention. They’re in absolute harmony. The guitars—tracked by Sotelo at his home studio—are razor sharp yet spine-snappingly heavy. The drums—tracked by Ryan Forsyth at Private Ear Studios in Winnipeg, Canada—are genre-defining, recalling what Sean Reinert, Gene Hoglan, and Steve Flynn did for Death and Atheist, respectively. And the bass— tracked by Sean, also at his home studio—has a great deep-end against the ceaselessly wicked rhythms. Tracks like ‘Hieroglyphic’, ‘Spirit Guide’, and ‘The Sacred Geometry’ wouldn’t have crushed skulls and blown minds if it wasn’t for the accomplished mixing and mastering of Stefano Morabito at 16th Cellar Studios.
“I spent a lot of time recording at my own leisure at my own house,” recalls Sotelo. “I have my own recording equipment. We did go out to a professional studio in 2015 to record the drums. We were there for about a week. I took those drums home and started to record my guitars. That took about four to five months. The reason being I had a lot going on personally. I didn’t have a lot of time to knock out the whole album. Plus, I was experimenting with new things while tracking. That’s just how I do it. We can’t do what normal bands do. We’re so spread out. Sean lives in New York, I live in California, and Samus lives in Winnipeg. That’s a big triangle. It’s hard to get together to play music. It’s a bit unfortunate, but that’s how it is. That means we’re writing songs all the way up to and including tracking. I will say this: recording is a lot cheaper and it’s a lot less pressure.”
With remarkable songs—check out ‘Hieroglyphic’—, an exceptional production, and high concept lyrics, Decrepit Birth will re-shape death metal on Axis Mundi. They’re blasting the doors of convention wide open, paving the way for future generations to explore beyond death metal’s four proverbial corners. Much like the band’s influences from the early ‘90s, Decrepit Birth has different optics on the genre and what has meant and continues to mean. Of course, Sotelo sees Axis Mundi from an entirely pragmatic viewpoint.
“I don’t know if we’re going to re-shape death metal,” he counters. “We’re just a band. We’re doing this. We’re fans of the genre. We do our own thing with it. It’s our own paint job. What sounds cool to us. We don’t aspire to be the most technical band out there. The technicality isn’t our main goal. Technicality is part of what we are. When we were writing this album, we wanted the songs that had riffs that repeat. There’s more structure with our new stuff. We’re trying to write good music. We want to entertain people out there. Hopefully, everybody likes Axis Mundi.”
Decrepit Birth are: Matt Sotelo (guitar), Bill Robinson (vocals), Samus Paulicelli (drums), and Sean Martinez (bass). With minds agape and riffs afire and invocations cast, they invite you to enter Axis Mundi!
The Black Dahlia Murder did not waste any time in riling up the audience. They came loaded for bear and popped off right away. Any band that has earned an army of devout followers through dropping seven killer full-lengths – and touring their collective ass off for sixteen years – could perhaps be forgiven for thinking they could take it easy as they wade into their eighth release. But that’s just not The Black Dahlia Murder‘s style, and Nightbringers is a testament to that. Having released their most accomplished, aggressive, and emotionally diverse music to date in the form of 2015’s Abysmal, the Michigan quintet has once more pushed themselves to new heights, and the 34 minutes of searing melodic death metal that comprises Nightbringers is riveting listening. “I always feel a responsibility to the people who support this band when we start making a new record,” asserts vocalist Trevor Strnad. “The pressure that comes from people being excited to hear what you come up with next can be intimidating, but it’s so exciting that those people love you so much for just doing what you do. It makes you want to honor what you’ve done in the past, but also excite them with where you go next, and that definitely drove us on ‘Nightbringers‘.When we started writing I honestly didn’t know we had this album in us, and I feel really proud of it. It’s a great moment for us.” Hearing some of these tunes for the first time was riveting, to say the least. BDM is at the top of their grimy game, attacking with more “thrashiness” and brutal audible onslaught than ever before. Swinging for the fences, the band is poised to take their riff-heavy metal to new heights this year.
Rather than meticulously plan things out or stick rigidly to any kind of template, when it comes to writing, The Black Dahlia Murder prefer to let things happen organically. In the hands of guitarist Brian Eschbach – who co-founded the band with Strnad in 2001 – and new recruit Brandon Ellis(Arsis, ex-Cannabis Corpse), Nightbringers is rich with dynamic riffs that are at once fresh and classic TBDM, resulting in a collection that shifts through many moods and effortlessly incorporates various elements of extreme metal. With guitarist Ryan Knight having amicably stepped down in 2016, the addition of twenty-four-year-old Ellis to the band’s ranks has helped usher in an exciting new era. “He’s very professional for his age, I think he’s skilled far beyond his years, and his live energy is exceptional. When Max (Lavelle, bass) joined the band he challenged a lot of us on stage to raise our personal bar, and Brandon’s pushed that even further,” states Strnad. “Brandon coming into the band and writing a bunch of songs was an awesome surprise too. He really took the reins, and this record is also the most involved that Alan (Cassidy drums) has been too. The way that we were doing the demos and bouncing things back and forth he had a lot of room to do what he wanted to do, and I think it’s definitely a more colorful album for that. I also think as we get older the emotional content goes up. I think we better realize how to grip the listener. Personally, I try to write lyrics that are going to match each part, and kind of ramp up those feelings that we’re putting across.” Strnad’s statements are vividly borne out by every moment of Nightbringers. For fans attending 2017’s Summer Slaughter tour, the first taste of the record came with the inclusion of the title track in their set, which has an undeniable immediacy to it, rich with hooks and boasting a “circusy, evil and playful” air. By contrast, “Catacomb Hecatomb” is suffused with tragedy, the mournful tone of its slower passages deeply affecting. This too is dramatically different to “As Good As Dead”, which has some swagger to it that Strnad likens to Megadeth, or “Matriarch”, described by Eschbach as a “wild, neoclassical romp” and stands as one of the most cutthroat and all-out aggressive tracks in the quintet’s arsenal. Upon first hearing the latter, Strnad was intent on matching its visceral intensity. “I felt inspired to write very violent lyrics to it. It’s told from the perspective of a woman who is trying to have a child and not having any luck, and she goes kind of crazy and stalks this other woman who is due to have a child. She finds her moment to take it from her, cutting it right out of her stomach.” While Strnad explores a variety of themes and ideas with his lyrics, they are united by the album’s title, which embraces a tenet that has been central to The Black Dahlia Murder‘s output since the very beginning. “Death metal and nighttime are synonymous to me. We are the rulers of the darkened hours that the Christian good fears. A lot of archaic ideas that are still upheld – such as marriage and monogamy – came from Christianity, whether people want to acknowledge it or not, and to me, death metal has always been bucking that. It’s ‘being-the-villain music’, because we’re the enemy of Christianity, the enemy of all that is good and traditional. Death metal is for free thinkers, it’s for showing people the path to inner strength and operating on your own will, instead of being told what to do and living in fear, and songs like the title track and ‘Kings Of The Nightworld’ are about leading a legion of awakened minds into battle.” Following this theme also motivated Strnad to forge into ever-darker territory, even when this meant tearing things up and starting over. “I felt I needed to rise to the occasion to make as much of the blood and guts and heinousness as possible, and there was actually a couple of points where I rewrote some songs. I just didn’t feel like they were dark enough, or violent enough, so I was really trying to ramp up the monstrous aspects of things – the grizzlier the better!”
Rather than decamp to a single studio, the members split off when it came time to start laying down the songs – all well versed in how to get the best out of their individual performances. With former bassist Ryan Williams once again assisting, the drums were tracked at The Pipe Yard in Plymouth, Michigan and rhythm guitars and bass in the band’s practice space in Warren, Michigan. Ellis then recorded his many blistering solos in his home studio, while Strnad opted to record at his home in Auburn Hills, Michigan with Joe Cincotta (Suffocation, Internal Bleeding) of Full Force Studios overseeing his sessions. For the unique and haunting cover art they turned to Kristian Wahlin, aka Necrolord, who has designed seminal artwork for the likes of At The Gates, Bathory, Emperor and also TBDM‘s 2007 release, Nocturnal. “I think he’s the most prominent artist when it comes to classic releases in the melodic death metal genre, and kind of bringing things full circle with it being the ten-year anniversary of‘Nocturnal’felt right. By now people probably wouldn’t have expected us to go back to him, so it’s kind of a surprise, but at the same time it’s a very classic cover too.” With the band celebrating the 10-year anniversary of the aforementioned album by playing it in its entirety on Summer Slaughter, it has given them a moment to reflect not only on the road that has led them to here but also that which lies ahead. “When I think back to when we started the band, I feel very proud of everything we’ve done, and I also see a lot of improvement over the years,” says Strnad. “In the early songs, I can hear us as kids, and then segueing into our adulthood as musicians and writers, but sixteen years in, I still feel young as a band. I feel like we have a shit ton left to do, and I think we’re sitting pretty with the best lineup we’ve ever had. I also think ‘Nightbringers‘ could be our finest hour yet. I feel very strongly that it will affect people, I want to get all of these songs in people’s ears, and I want them to check out everything we’ve got on this record. There’s so much variety and so many great ideas, and I think that this could take us to another place.”
The Black Dahlia Murder tour dates w/ Suffocation, Decrepit Birth, Necrot, Wormwitch
Oct. 6 – Rochester, NY – Montage Music Hall Oct. 7 – Lowell, MA – Mill City Ballroom Oct. 8 – Poughkeepsie, NY – Chance Theater Oct. 10 – New York, NY – Highline Ballroom Oct. 11 – Teaneck, NJ – Debonair Music Hall Oct. 12 – Baltimore, MD – Ram’s Head Live Oct. 13 – Easton, PA – One Center Square Oct. 14 – Lancaster, PA – The Chameleon Oct. 16 – Montreal, QC – Les Foufounes Electriques Oct. 17 – Ottawa, ON – Bronson Center Oct. 18 – Toronto, ON – Opera House Oct. 20 – Joliet, IL – The Forge Oct. 21 – Ft. Wayne, IN – Piere’s Oct. 22 – St Louis, MO – Delmar Hall Oct. 23 – Omaha, NE – The Slowdown Oct. 25 – Ringle, WI – Q & Z Expo Center Oct. 26 – Winnipeg, MB – Pyramid Cabaret Oct. 27 – Regina, SK – The Exchange Oct. 28 – Edmonton, AB – Starlite Oct. 29 – Calgary, AB – Marquee Oct. 31 – Vancouver, BC – Rickshaw Theater Nov. 1 – Seattle, WA – Studio Seven w/ Exhumed Nov. 2 – Eugene, OR – WOW Hall w/ Exhumed Nov. 3 – Lake Tahoe, NV – Vinyl @ Hard Rock w/ Exhumed Nov. 4 – Petaluma, CA – Phoenix Theater * w/ Exhumed Nov. 5 – San Bernardino, CA – KnotFest ** w/ Exhumed Nov. 6 – Mesa, AZ – Club Red w/ Exhumed Nov. 7 – Las Vegas, NV – Hard Rock Cafe Nov. 9 – Oklahoma City, OK – Diamond Ballroom Nov. 10 – Birmingham, AL – Zydeco Nov. 11 – Louisville, KY – Diamond Pub Concert Hall Nov. 12 – Indianapolis, IN – Emerson Theater
*= no Suffocation
**= no Necrot, Wormwitch
The Black Dahlia Murder tour dates w/ Cannibal Corpse, No Return (Feb. 9-25), In Arkadia (Feb. 27-Mar. 18) Feb. 9 – Hannover, Germany – Musikzentrum Feb. 10 – Copenhagen, Denmark – Vega Feb. 11 – Gothenburg, Sweden – Sticky Fingers Feb. 12 – Stockholm, Sweden – Klubben Feb. 13 – Oslo, Norway – Parkteatret Feb. 15 – Kolding, Denmark – Godset Feb. 16 – Hamburg, Germany – Gruenspan Feb. 17 – Geiselwind, Germany – Music Hall Feb. 18 – Bochum, Germany – Matrix Feb. 20 – Kassel, Germany – 130bpm Feb. 21 – Prague, Czech Republic – Palac Aropolis Feb. 22 – Bratislava, Slovakia – Majestic Music Club Feb. 23 – Munich, Germany – Backstage Feb. 24 – Magdeburg, Germany – Factory Feb. 25 – Stuttgart, Germany – im Wizemann Feb. 27 – Geneva, Switzerland – L’Usine Feb. 28 – Milan, Italy – Live Club Mar. 1 – Grenoble, France – Belle Electric Mar. 2 – Toulouse, France – Le Metronum Mar. 3 – Bilbao, Spain – Santana 27
Mar. 4 – Madrid, Spain – Penelope Mar. 6 – Barcelona, Spain – Razzmatazz 2
Mar. 7 – St. Etienne, France – Le Fil Mar. 8 – Caen, France – Cargo Mar. 9 – Antwerp, Belgium – Trix Mar. 10 – Cologne, Germany – Essigfabrik Mar. 11 – Eindhoven, Netherlands – Dynamo Mar. 13 – Norwich, UK – Waterfront Mar. 14 – Manchester, UK – O2 Ritz Mar. 15 – Glasgow, UK – O2 ABC Mar. 16 – Bristol, UK – Bierkeller Mar. 17 – Nottingham, UK – Rock City Mar. 18 – London, UK – O2 Forum Kentish Town Mar. 19 – Dublin, Ireland – Tivoli* Mar. 20 – Limerick, Ireland – Dolan’s Warehouse* Mar. 22 – Belfast, Ireland – Limelight 2*
*= no The Black Dahlia Murder
TICKETS ON SALE STARTING OCTOBER 13TH AT TICKETMASTER.COM
RELEASES NEW TRACK, “WHATEVER YOU WANT” TODAY; FROM SEVENTH STUDIO
ALBUM, BEAUTIFUL TRAUMA DUE OUT OCTOBER 13TH VIA RCA RECORDS
CLICK HERE TO LISTEN!
(New York, New York – October 5, 2017) – Known for her incredible and entertaining live show,
international pop icon P!NK announces her Beautiful Trauma World Tour 2018 today. The 40-date North
American arena tour produced by Live Nation will start in Phoenix, AZ on March 1st and culminate in Los
Angeles, CA at The Forum on June 2nd
American Express® Card Members can purchase tickets before the general public beginning Tuesday,
October 10th at 10am local time through Thursday, October 12th at 10pm local time.
U.S. and Canadian residents who purchase tickets online between October 10th and October 20th will be
able to redeem (1) physical copy of P!NK’s new album “Beautiful Trauma,” out Friday, Oct. 13th, 2017.
All albums must be redeemed by October 20, 2017 at 11:59pm PST. Tickets will be on sale starting
Friday, October 13th to the general public.
To ensure fans gain access to tickets, Fan Registration for the U.S. and Canadian tour dates will be
available here through Ticketmaster’s Verified Fan program.
P!NK last hit the road on her The Truth About Love Tour which saw her play 142 sold out shows across
13 countries. The Los Angeles Times said, “Pink remains perhaps the most gifted and imaginative
physical performer in pop right now,” while Rolling Stone claimed, “the singer had demonstrated an epic
workout of vocals, stagecraft and stunt-work without missing a note,” and The Hollywood Reporter raved,
“she still is one of pop’s most powerful vocalists.”
In addition, P!NK releases another track, “Whatever You Want” from her highly anticipated seventh studio
album Beautiful Trauma which is available for pre-order now and due out in stores on October 13th (click
here to listen) via RCA Records. The track was produced and written by Max Martin and Shellback along
with additional writing credits from P!NK. P!NK has also released two other tracks from the album, first
single, “What About Us” and “Beautiful Trauma” to rave reviews.
Beautiful Trauma 2018 Tour Dates
DATE CITY VENUE
03/01/18 Phoenix, AZ Talking Stick Resort Arena
03/03/18 Wichita, KS INTRUST Bank Arena
03/05/18 Tulsa, OK BOK Center
03/06/18 Lincoln, NE Pinnacle Bank Arena
03/09/18 Chicago, IL United Center
03/12/18 St. Paul, MN Xcel Energy Center
03/14/18 St. Louis, MO Scottrade Center
03/15/18 Kansas City, MO Sprint Center
03/17/18 Indianapolis, IN Bankers Life Fieldhouse
03/18/18 Grand Rapids, MI Van Andel Arena
03/20/18 Toronto, ON* Air Canada Centre
03/23/18 Montreal, QC* Bell Centre
03/25/18 Detroit, MI* Little Caesars Arena
03/27/18 Louisville, KY* KFC Yum! Center
03/28/18 Cleveland, OH* Quicken Loans Arena
04/04/18 New York, NY* Madison Square Garden 04/07/18 Pittsburgh, PA* PPG Paints Arena
04/09/18 Boston, MA* TD Garden
04/13/18 Philadelphia, PA Wells Fargo Center
04/14/18 Newark, NJ Prudential Center
04/16/18 Washington, DC*
Capital One Arena (fka Verizon
04/19/18 Charlottesville, VA John Paul Jones Arena
04/21/18 Atlanta, GA Philips Arena
04/24/18 Orlando, FL Amway Center
04/25/18 Fort Lauderdale, FL BB&T Center
04/28/18 Houston, TX Toyota Center
05/01/18 Dallas, TX American Airlines Center
05/08/18 Denver, CO Pepsi Center
05/09/18 Salt Lake City, UT Vivint Smart Home Arena
05/12/18 Vancouver, BC Rogers Arena
05/13/18 Seattle, WA KeyArena
05/15/18 Portland, OR Moda Center
05/18/18 Oakland, CA Oracle Arena
05/22/18 Fresno, CA Save Mart Center
05/23/18 Ontario, CA Citizens Business Bank Arena
05/25/18 Anaheim, CA Honda Center
05/26/18 Las Vegas, NV T-Mobile Arena
5/28/18 San Diego, CA Valley View Casino Center
5/31/18 Los Angeles, CA STAPLES Center
06/02/18 Los Angeles, CA The Forum
Since her debut in 2000, P!NK has released six studio albums, 1 greatest hits album, sold over 42 million
albums, over 75 million singles, over 2.4 million DVDs worldwide and has had 15 singles in the top 10 on
the Billboard Hot 100 chart (four at #1). In addition, she is the recipient of three Grammy Awards, one
Daytime Emmy Award, three Billboard Music Awards, six MTV Video Music Awards, two MTV Europe
Awards, two People’s Choice Awards and was named Billboard’s Woman of the Year in 2013. She has
sold out arenas all over the world, made her acting debut in Lionsgate’s Thanks for Sharing and released
a side project with singer/songwriter Dallas Green entitled You+Me. Last year, P!NK released “Just Like
Fire” from Walt Disney Studios’ feature film Alice Through The Looking Glass. The track was #1 on the
Adult Contemporary Chart for 6 consecutive weeks and has over 155 million views of the music video.
P!NK was featured on Kenny Chesney’s “Setting The World on Fire,” marking her first #1 on the Country
Airplay Chart and Hot Country Songs Chart. The track also received a 2017 Grammy nomination for
Best Country Duo/Group performance earning P!NK her 18th Grammy nomination.
P!NK is a huge supporter of various charities, including: Make a Wish Foundation, Autism Speaks,
Human Rights Campaign and No Kid Hungry. She was formerly a spokesperson for COVERGIRL and
remains on the UNICEF team as an Ambassador.
For More Information:
Official Website: http://www.pinkspage.com
Life of Agony’s Alan Robert Follows-up His Best-Selling Debut With The Beauty of Horror 2: Ghouliana’s Creepatorium – Hits Shelves Today From IDW!
New York, NY (September 19, 2017) – Life of Agony’s Alan Robert has established himself as a prolific horror illustrator & writer over the last several years. Since 2010, Robert has created several award-winning titles through IDW Publishing (Crawl to Me, Killogy, Wire Hangers, The Shunned One). However, nothing would prepare him for the wild success of his 2016 breakout hit The Beauty of Horror: A GOREgeous Coloring Book. Nerdist hailed it as being “The World’s Creepiest Adult Coloring Book” and it was IDW’s #2 top-selling book last year.
Just in time to kick off the Halloween season right, the highly anticipated sequel The Beauty of Horror 2: Ghouliana’s Creepatorium – Another GOREgeous Coloring Booksees its release today (Sept. 19) and it delivers even more scares and intricate line-work than the original.
“Terrifically morbid and visually awesome!”-ALTERNATIVE PRESS
“Prepare yourself for all the haunting delights that Ghouliana’s Creepatorium has to offer!”-BUSTLE
“The best horror coloring book on the market!”-COLORING QUEEN
“Delightfully creepy… will no doubt give you the loveliest nightmares.”-NERDIST
Ghouliana’s Creepatorium continues the journey of everyone’s favorite undead girl, Ghouliana, as she mischievously attempts to trick budding colorists into unleashing her deadly spell. Ghouliana has secretly sprinkled her haunted ingredients throughout over 80 pages of Robert’s detailed drawings.The Beauty of Horror 2features a beautifully chilling red-foiled cover and high-quality paper that will ensure the pools of blood you color don’t leak through the pages. Robert and IDW have once again come together to present a deluxe coloring experience.
The Beauty of Horror 2: Ghouliana’s Creepatorium, Another GOREgeous Coloring Book by Alan Robert is in stores now from IDW Publishing. http://www.thebeautyofhorror.com
Over the last two decades, Alan Robert’s hard rock band Life of Agony built a die-hard cult following, selling over one million albums worldwide. Their debut album River Runs Redwas named “One of the Greatest Metal Albums of All Time” by Rolling Stone. In April 2017, Life of Agony released their 5th studio album A Place Where There’s No More Pain (Napalm Records) to critical acclaim and it debuted at #24 on Billboard’s Hard Rock Albums chart. Robert is also the award-winning author/artist of several IDW creator-owned comic book series. Titles include Crawl to Me, Killogy and Wire Hangers. Crawl to Me is currently in development to become a live-action feature film.
IDW Media Holdings, Inc. (OCTQX: IDWM) is a fully integrated media company, which includes publishing, games, entertainment, and the San Diego Comic Art Gallery.
IDW Publishing’s comic book and graphic novel catalog includes some of the world’s most popular entertainment brands, including Transformers, My Little Pony, Star Trek,Teenage Mutant Ninja Turtles, Ghostbusters, and Disney’s classic characters. At IDW’s core is its commitment to creator-owned comics including 30 Days of Night, Locke & Key, Wormwood, Ragnarök, V-Wars, and Archangel by bestselling sci-fi author William Gibson.
IDW Publishing is also home to the acclaimed and award-winning imprints; Top Shelf, The Library of American Comics, Yoe! Books, and Artist Editions, showcasing the greatest original art ever published in American comic books.
IDW Games’ diverse line-up includes the international phenomenon Machi Koro, as well as hit licensed games such as X-Files, Back to the Future, The Godfather, and TMNT.
IDW Entertainment currently serves as the worldwide distributor of Wynonna Earp airing on the Syfy Channel in the U.S. and is producing BBC America’s Dirk Gently, based the best seller by Douglas Adams starring Elijah Wood and Sam Barnett, and Brooklyn Animal Control.
GARTH BROOKS, KEITH URBAN and FLORIDA GEORGIA LINE
SET TO HEADLINE 12TH ANNUAL
STAGECOACH: CALIFORNIA’S COUNTRY MUSIC FESTIVAL
FRIDAY, APRIL 27th through SUNDAY, April 29th at Empire Polo Club, Indio, CA
FESTIVAL PASSES ON-SALE FRIDAY, SEPTEMBER 22 AT 11 AM PDT
Featuring a brand new stage, SiriusXM’s Spotlight Stage, a newly upgraded HonkyTonk Dance Hall and BBQ experience, and introducing car camping
“Everyone knows STAGECOACH is the biggest country festival in the world, we are coming with the sole purpose of making it the biggest party on the planet!” – Garth Brooks
“It’s been eight years since we played Stagecoach but we are coming back and super excited about this…I’m looking forward to it” – Keith Urban
“We love Stagecoach, we’ve played there several times so to be headlining – we could not be more excited. We’re gonna throw the biggest party of the year. I hope you all are ready”
– Florida Georgia Line
LOS ANGELES, CA – September 13, 2017 – This year, you ‘aint seen nothing yet. Get ready for the biggest country music event ever staged. In 2018, the songs you sing, the food you crave, and the people you love take center stage as STAGECOACH returns Friday, April 27 through Sunday, April 29 for the festival’s 12th edition at the Empire Polo Club in Indio, CA. Multi-platinum duo Florida Georgia Line will headline Friday of the festival to lead into four-time Grammy Award winning Keith Urban’s Saturday performance while, in a rare festival appearance, Garth Brooks will close out Sunday.
The 3-day event will also feature performances by Lee Brice, Jake Owen, Kacey Musgraves, Kelsea Ballerini, Brett Young, Chris Lane, Brothers Osborne, Midland and more. (Full lineup as of September 13 is below).
New to the festival this year, Stagecoach will be introducing SiriusXM’s Spotlight Stage to highlight today’s up-and-comers; artists like Carly Pearce, Ashley McBryde, Seth Ennis, Runaway June, Jordan Davis and more, while an updated HonkyTonk Dance Hall is set to feature even more DJs. SiriusXM will also broadcast live from the festival, featuring performances and interviews.
The festival will also be adding car camping for $179 as a lower budget option for attendees looking to stay closer to the music.
Now with a bigger culinary focus, look for a mouth-watering BBQ experience with craft beer and craft cocktails plus additional fare that will surprise. Pass holders will enjoy a diverse array of choices that go far beyond traditional barbecue while keeping with the classics: brisket, ribs, pulled pork and more. Look for exciting culinary announcements including a list of chefs, pit masters and restaurants on our website and social channels.
All taxes, domestic shipping and fees are included in listed ticket prices. Pay in full or choose the Stagecoach Payment Plan to pay in five equal payments from September 22 through January. RV Resort, Car Camping and parking options will also be available online for purchase, with Travel Packages and Shuttles available via Valley Music Travel.
No Clean Singing is exposing the population to the gnarled new ACEPHALIX track, “Excremental Offerings,” off the band’s Decreation LP, which is being unleashed through 20 Buck Spin later this month.
“‘Excremental Offerings’ is about our ambivalent relationship to the shit we carry around inside of us and how we’d rather rot internally before we show other people the shittiest – or the most true, the most real – manifestations of who we are, “offers ACEPHALIX. “There’s a terror of emptiness motivating our spiritual constipation, and the excremental offering is the moment when we surrender to this terror at our core. While this is my best explanation of the lyrics, it’s really just another death metal song about death.”
ACEPHALIX‘ “Excremental Offerings” is now streaming at No Clean Singing, who declares in part of its degrading cruelty, “This brutish mid-paced song’s massive, chugging, central riff is just pure gold… And when the song kicks into rampaging gear, it becomes high-octane mosh fuel – not one whit less infectious than what came before, but more electrifying.” It continues, “What’s not surprising is Dan Butler‘s one-of-a-kind roar, the cavernous sound of a heartless monster on the loose, which never fails to put the terror of death as a looming, lurching, hungry presence in the band’s music, almost regardless of what else is going on around it.”
Submit to ACEPHALIX’ “Excremental Offerings” RIGHT HERE.
ACEPHALIX‘ Decreation was recorded and mixed by Greg Wilkinson at Earhammer Studios (Vastum, Necrot, Ghoul), mastered by Brad Boatright at Audiosiege (Nails, Obituary, Black Breath), and completed with artwork by Adam Burke (Occultation, Loss, Gatecreeper, Artificial Brain). With each release, the ACEPHALIX horde grows more intense, vicious and bestial. Decreation is the culmination of five years of dormancy, letting loose upon the Earth the calamitous consequence of pent-up wrath. Fans of Vastum, Master, Necrot, Entombed, Discharge, and the Cro-Mags take note.
20 Buck Spin will release Decreation on CD, and digital formats September 22nd; the vinyl will follow in mid-October. Find preorders for merch HERE and stream “God Is Laughing” and “Suffer (Life In Fragments” alongside digital preorders HERE.
The rotten corpse of death metal horde ACEPHALIX, the Bay Area‘s beast of barbarism, has been re-animated. Abnormally deceased since the band’s Southern Lord-released five years ago,Deathless Master, the crushing return of Decreation leaves no bone unbroken and no skull intact. Foul American death metal maggotry eating back to life coagulated remains of hardcore’s guts. Opener “Upon This Altar” rages with d-beat ferocity morphing into a slithering puzzle of pierced flesh. Primitive savagery pervades on “Suffer (Life In Fragments)” through to the cro-magnon battering of “Excremental Offerings.” All the while an obscure weirdness that characterized the idiosyncratic deformities of certain Cannibal Corpse, Nocturnus, and Death moments arises out of the ACEPHALIX tomb.
SF’s Flesh World return this fall with a new batch of hooking dream punk gems. ‘Into The Shroud’ is a topological map showing the cities of the Bay Area & LA in rapid change, looking to the books, records and artists paid study to in order to create continuity in the constant flux of the city, the punk show, the gay world and the rest of the environments Flesh World insulate themselves in for survival.
Flesh World’s Jess Scott and Scott Moore met in 2012 while loitering around the Panhandle district , listening to records, gossiping, and playing live shows around town with their bands (Scott plays in hardcore group Limp Wrist and Jess played in the indie pop band Brilliant Colors). The pair immediately bonded over a shared love of The Velvets and The Mary Chain. They began writing songs in Scott’s lofted bedroom in the city and took their name from a XXX magazine.
Flesh World’s new video “Into The Shroud” debuted via FADER. “Into the Shroud” was shot just a few minutes walk from the Pacific Ocean in SF. Flesh World explain the video is an “attempt to transform the rush of a motorcycle ride into a suspended, loitering spiral of skulking boys on a Honda bike. This, combined with the overlay of painted images by singer Jess Scott both figuratively and literally reflect the song’s tale of traveling through the imminent hum of an anxious experience, onwards to a quickly approaching spiral, finally lurching past love and towards dread.”
Flesh World return this fall with a new batch of hooking dream punk gems. ‘Into The Shroud’, the first for Dark Entries Records, is out September 8.
Each song on ‘Into The Shroud’ speaks to a chaotic or sometimes eclectic period of influence of different books, ideas, drawings, saints, stories, and aims gathered in the two year writing process since the previous album (‘The Wild Animals In My Life’). Themes of this record include writer, advice columnist, and Dreamland actress Cookie Mueller, the youth’s effect on the general political psychosis of nostalgia, icon Billy Fury, and the writings and drawings of Jean Cocteau as a hovering guide for living with less rules.
The record is a topological map showing the cities of the Bay Area and Los Angeles in rapid change, looking to the books, records and artists paid study to in order to create continuity in the constant flux of the city, the punk show, the gay world, and the rest of the environments Flesh World insulate themselves in for survival.
Flesh World’s Jess Scott and Scott Moore met in 2012 while loitering around the Panhandle district , listening to records, gossiping, and playing live shows around town with their bands (Scott plays in hardcore group Limp Wrist and Jess played in the indie pop band Brilliant Colors). The pair immediately bonded over a shared love of The Velvets and The Mary Chain. They began writing songs in Scott’s lofted bedroom in the city and took their name from a XXX magazine.
The group’s dynamic has greatly solidified on this album with a brilliant new rhythm section. Flesh World find it easy to be influenced by a range of musicians from the guitar flourishes of Alan Rankine of the Associates, the swinging notes Johnny Marr of the Smiths, to the romantically desperate vibe of Roland S. Howard and Nikki Sudden, to the razor thin vocals of Jenny Ross from Section 25, the androgynous vocals of Roy Orbison, to the structured synths of OMD.
‘Into the Shroud’ was recorded with Jack Shirley at The Atomic Garden in East Palo Alto, California . There always seem to be incidental forces at work in gathering characters for a Flesh World record: during the previous LP, Scott had just finished reading The Secret Historian which profiles gay lifestyle photographer and pornographer J. Brian, and when the group found the LP cover photo at a garage sale they realized it was also taken by J. Brian. This time around Cookie Mueller seems to be watching over the process; Scott recently saw two art shows in one day in New York; one that was imagined merchandise that would have been produced if John Waters films were marketed to children and the other about AIDS, the common thread was Cookie, whom Jess wrote about in “This Great Cheap Face” on the current record.
Flesh World is Scott Moore (Guitar, Synths), Jess Scott (Vocals, Guitar), Andrew Luttrell (Bass, Backing Vocals) and Sam Lefebvre (Drums).
THIS IS THE NOISE THAT KEEPS ME AWAKE AVAILABLE NOW
Garbage today shared a music video for their new single “No Horses”. Directed by Pancake Mountain creator Scott Stuckey, the politically charged clip can be seen HERE. “No Horses” was released last month and is available now HERE. All of the band’s profits from sales and streaming of the single will be donated to the International Committee of the Red Cross through the end of 2018.
“It’s been my observation that when governments disregard their citizens for their own greed, the ensuing soundtrack usually kick’s ass. Like Nina Simone’s ‘Mississippi Goddam’ or the Clash’s ‘Straight To Hell’, ‘No Horses’ made me realize that I’m not going insane, these really are fucked up times. The lyrics are powerful so the challenge was to add something visually that wouldn’t ruin the individual’s interpretation,” offered director Scott Stuckey on the video’s inspiration.
Earlier this summer, Garbage released their autobiographical coffee table book, THIS IS THE NOISE THAT KEEPS ME AWAKE via Akashic Books. The book includes never before seen photographs of the band as well as pieces written by each of the four band members. THIS IS THE NOISE THAT KEEPS ME AWAKE can be purchased HERE.
Garbage kicked off their co-headline “Rage & Rapture Tour” with Blondie on July 5th in Saratoga, CA and will be touring the U.S. for the duration of the summer. Both bands along with an opening slot from Sky Ferreira played to a crowd of 17,000 fans last month, selling out LA’s Hollywood Bowl. Support for additional Rage & Rapture tour dates will be provided by John Doe & Exene Cervenka followed by Deap Vally. A complete list of upcoming live dates and ticket information can be foundHERE.
Upcoming Garbage Tour Dates
August 2 – Mann Center for the Performing Arts, Philadelphia, PA
August 3 – Wolf Trap, Vienna, VA
August 5 – The Red Hat Amphitheater, Raleigh, NC
August 6 – Chastain Park Amphitheater, Atlanta, GA
August 8 – Seminole Hard Rock Live Arena, Hollywood, FL
August 9 – Hard Rock Live, Orlando, FL
August 11 – ACL Live, Austin, TX
August 12 – Southside Ballroom, Dallas, TX
August 14 – Palacio de Los Deportes, Mexico City, MX
September 15 – Fantasy Springs Casino – Indio, CA *
September 16 – Kaaboo Festival, Del Mar, CA *
October 20th-21st – Coordenada Festival, Guadalajara, MX*
*Dates not part of Rage & Rapture tour
Photo credit: Scott Stuckey
Garbage is Shirley Manson, Duke Erikson, Steve Marker and Butch Vig. After forming in Madison, WI, Garbage released their self-titled debut album in 1995. The band’s unique sound and provocative visual aesthetic, inspired massive worldwide attention and success. Their follow up album, Version 2.0, released in 1998, topped charts all over the world and garnered multiple Grammy Award nominations including Album Of The Year. Garbage went on to release two more albums: 2001’s Beautiful Garbage and 2005’s Bleed Like Me, the latter of which earned the band its highest chart position with a No. 4 on the Billboard Top 200 Album Chart. After a 7-year hiatus, the band released their fifth studio album Not Your Kind of People in 2012 on their independent record label, STUNVOLUME. The album was named one of Rolling Stone magazine’s Top 50 Albums of 2012 and was hailed as the “alternative to everything,” by Pitchfork. Garbage has sold over 15 million albums worldwide and performed in over thirty-five countries. In 2015, the band celebrated its 20th anniversary with their SOLD OUT ’20 Years Queer’ world tour and the release of a special 20th anniversary edition of their debut album, re-mastered and featuring previously unreleased material. Last year, Garbage released Strange Little Birds, which debuted at No. 1 on Billboard’s Top Rock Albums and Alternative Albums chart, and arrived at No. 14 overall on the Billboard 200 chart.
Unreleased Album Hitchhiker Set For Release On September 8 Via Reprise Records
Solo Acoustic Studio Album Recorded in 1976
Album Pre-Order Begins Today
August 4, 2017 (Burbank, CA) – Neil Young will open his archive and release Hitchhiker, an unreleased new studio album. The release date is September 8, 2017 on Reprise Records – it will be available on vinyl, CD and digitally. The 10-track acoustic solo album was recorded in Malibu, CA at Indigo Studio in 1976. The original session was produced by Young’s long-time studio collaborator David Briggs. Pre-order for Hitchhiker begins today. Go here for details: https://wbr.ec/hitchhiker
Recorded between Zuma and American Stars and Bars as a solo album in a single session, the resultant performances are truly breathtaking and passionate. The simplicity of a single voice and guitar captured here is as pure and powerful as it gets, with only Young, Briggs and actor Dean Stockwell in the room at the time of recording. A few of the songs would not appear on vinyl until years later. Some have never been heard, included in the original sessions for Neil Young and Crazy Horse’s Dume, another unreleased record of original sessions that yielded the classic album, Zuma. When the Hitchhiker album was recorded, none of the included songs had ever been released and many of the performances of the songs were the first ever. This is truly an album of original performances.
Oakland, California rockers Whiskerman mysterious folk-rock has evolved over the years to reveal a unique sound that they’ll be taking on tour this summer.
A west coast favorite and up-and-coming national act, Whiskerman is a five-piece band led by prolific singer-songwriter Graham Patzner. Their eclectic sound brings together classical instrumentation and modern rock and roll. Alongside Patzner are Charles Lloyd (guitar, sitar), Will Lawrence (bass), Trevor Bahnson (guitar), and Dan Schwartz (drums).
Previously, in the spring, Whiskerman completed a successful west coast tour, and kicked off the festival season with an exhilarating set at the Joshua Tree Music Festival. Since 2011, the band has also released four records, each revealing a unique aspect of the band’s eclectic sound.
The band teamed up with veteran producer Jeff Saltzman (The Killers, Blondie) on their record Nomad, an album that Performer Magazine described as “bursting with familiarity and momentum that rejuvenates the classic rock genre with lush strings, guitar-based soundscapes, and expressive lyricism.” A few years before that, they’d transformed their sound with a soul-powered EP Bad News, guided by veteran producer Tony Berg, with engineering by Shawn Everett (Alabama Shakes, Jesca Hoop).
Their latest release Champions—an ambitious double album that leads its listeners on a soulful journey, both dark and joyous—has been extremely well received, both in its recording and live performance. Their show is something you won’t want to miss.
“You can’t help but be sold on their sound”-New Noise Magazine
“Oakland’s Whiskerman have been rolling around the Bay Area for long enough to pick up a little bit of everything that’s happening in that scene: ecstatic psychedelia, sturdily constructed pop-rock, pick-and-grin folk.” –Flood Magazine
The band released a series of demo’s including the songs What It Means to Be Defeated, Collision.Survive and Resurrect which were released on their debut record as well as two untitled songs. On July 7, 2013 the band got signed to inVogue Records where the band released their debut album What It Means to Be Defeated on October 29, 2013. It featured work by Joey Sturgis who mastered the record. On November 24, 2014 the album was re-released.Tom Denney, a former guitarist of A Day to Remember was involved in producing the re-released version of the album. The re-issue features three acoustic tracks.
In January 2015 the band announced hitting the studio to begin recording the follow-up record to 2013s debut album What It Means to Be Defeated with producer Nick Ingram who had worked with Hotel Books and Before Their Eyes in the past. On March 9, 2015 it was announced that the album will be entitled Origin and is set to be released on April 21, 2015. The same day the same-titled lead single as well as the pre-orders were announced. The band covered Jealous originally performed by Nick Jonas.
On December 23, 2014 the band announced they would be being part on the Hawthorne Heights tour between March and April 2015.After that tour the band will share stage with Silent Planet in April and May 2015 to promote their new album.
Members Alex Polk and Andrew Sharp departed from the band and in spring of 2016 Shawn Yates, former member of At The Skylines, served as the new guitarist. On December 15, 2016 the band announced their departure from InVogue Records and the signing to a new label, Spinefarm Records. Shortly after they announced a U.S. tour with headliner Silent Planet, along with Ghost Key and Hail the Sun beginning February of 2017. A year after the release of Origin, Dayseeker announced a new full length album set to release in 2017.[
“It was an honor getting to collaborate with Garrett Russell again for this particular song,” said Dayseeker singer Rory Rodriguez. “He’s always been a writer that I have the utmost respect for and his creativity is so unique in style. We revisited one of the first tracks we ever wrote together as a band and applied it to the concept for the new album. ‘Sleep In The Sea Pt II’ dives deep into self reflection and recognizing how your actions can affect those closest to you.”
Dayseeker will hit the road and tour through July. All dates are below.
Thy Art Is Murder just dropped “Slaves Beyond Death,” off their upcoming fourth album Dear Desolation, out 8/18 via Nuclear Blast Records, which marks the return of vocalist CJ McMahon. Check out the blistering track here.
Polish death metal exports Decapitated are gearing up to release their seventh album Anticult on 7/7. “Anticultrepresents the legacy and future of Decapitated,” said guitarist Vogg. “We’re extremely proud of the record, in both the song compositions and the production. This is the best representation of our music and we’re really excited for the world to hear it!” Check out the first single from the album, “Never,” here.
Decapitated and Thy Art Is Murder are playing Rex Theater in Pittsburgh, PA on 8/20.
May 9, 2017 – Acclaimed singer songwriter Lera Lynn began 2017 with solo dates close to home in GA, TN, and KY. Now, she prepares for a tour with John Paul White (Civil Wars) starting in Birmingham, AL and travelling through Ohio, Pennsylvania, New York, and the Carolinas, to name a few.
This will be Lynn’s first tour with White, however, this is not the first time their music will be heard together. Both contributed original tracks to HBO’s True Detective Season 2 Soundtrack where Lera Lynn also made a cameo appearance as the sultry bar singer and was hailed, the highlight of the season.
“I’ve admired [John Paul’s] work both as a musician and a producer for so long. I’m thrilled to have the opportunity to tour with him. It seems like something that should’ve happened a long time ago!” Lynn says referencing her first tour with White.
John Paul White is touring in support of his latest album, Beulah, while Lera Lynn is currently writing for her next studio release.
Here’s what else the press are saying about Lera Lynn.
“The heat is in lyrics about desire, pain, betrayal and revenge….the cool is in languorous slow tempos, minor chords, ruthlessly laconic arrangements, guitar lines swathed in reverb and a voice that smolders a long time before it flares up.”
-New York Times
“Lynn has a gift for sensory subtlety, and she uses it to get at emotional truths”
“At once spacey and specific…Baritone guitars, keyboards and looped drums fill the background, while Lynn’s voice — a natural descendent of Hope Sandoval and Margo Timmins’ woozy wails — wafts into the spotlight, singing songs that occupy the outer limits of Americana and indie rock.”
“The Texas native’s delivery…is alternately delicate and menacing, vulnerable and moody.”
“Filling Lynn’s remarkable compositions with exactly enough sound to create an atmosphere for the songs. In some places, they toy with rhythm, in others they tease out the spaces between notes, and in others still, the emphasis is Lynn’s vocal – so completely unique that I can’t think of a single comparison.”
“[Prefers] to push boundaries and create challenging often unsettling music that encourages multiple spins to reveal its substantial pleasures.”
PETE RG, an American singer/songwriter/producer from Los Angeles, CA. The name, RG, is taken from his childhood moniker, Argy, an abbreviation of his lengthy, Greek last name, Argyropoulos. He’s hitting the road for a U.S. headlining solo tour in support of his third TENDER SOULS album along with his band: Brina Kabler (keyboards, vocals), Adam Kury (bass), Scotty Kormos (drums) and Kevin Haaland (lead guitar).
He lands in Pittsburgh on Tuesday, June 13 at The Funhouse at Mr. Smalls.
Born in Los Angeles to Greek immigrants, PETE RG grew up in a musical household. As working musicians, his parents inspired him to learn a variety of instruments and start playing band gigs while in college. Beginning in 1998 and up into 2007, he was the principal songwriter and lead singer with the popular indie band, Last December.
During that time he also laid the foundation for his solo career, with years of live shows that most recently included a 25 show, Spring 2016 U.S. tour with Candlebox. In its review of one club date, PancakesAndWhiskey.com pretty much summarized all that PETE RG offers to his audiences: “high-quality rock wth honest and engaging lyrics, a hammering backbeat plus gorgeous harmonies.”
His rich baritone voice became the center of a sound that has reached fruition on his full-length release, TENDER SOULS, which was released September 23, 2016 on his own 4L Entertainment label. Spacelab.tv spoke for many in confirming that he “doesn’t have to rely on gimmicks to make you feel moved — just good old-fashioned talent and personality.”
“As a songwriter, I’m always trying to express myself as best I can, lyrically and musically,” RG says. “On TENDER SOULS I feel I was able to do that without cutting corners or falling back into ambiguity. It’s a really good picture of where I’m at, with a lot of experience under my belt but also a lot of optimism.”
PETE RG credits Brina Kabler for helping him raise the bar on TENDER SOULS and on the road. “She’s my engineer, co-producer, mixer, keyboardist — and my fiancée,” he notes. “Whether onstage or in sessions, we’ve established a great give-and-take, where we learn from each other. We’re very much on the same level in terms of taste and inspiration. She helps me focus on what I do best. Brina is a huge part of everything I do.”
Other rave reviews of TENDER SOULS include:
“The warmth of a troubadour brought up on the traveling spirit songs of The Boss, and other canonical idols brings about a spark that rests in a kind of a warm subtle glow with a brightness to entrance the glass windows of a lantern.” – ImposeMagazine.com
“His soulful baritone delivers the catchy, pop melody fleshed out with understated, female harmonies. The track is driven by a propulsive, uplifting interplay of drums and guitar, which carries a message of hope.” – ElmoreMagazine.com
“Pete RG delivers energetic, yearning rock based around ringing guitars and shimmering textures.” – AllMusic.com
“Pete RG‘s post-rock sound packs enough power for him to be considered an arena rock contender while still remaining smooth and sophisticated.” – Diffuser.fm
“Speckled with hints of Neil Diamond, Leonard Cohen and Matt Berninger, RG is blessed to have a voice so unique, so enchanting and so captivating. It is that voice and its intrinsic charisma that will carry RG forward in the months and years to come.” – AbsolutePunk.com
DATES BEGIN ON SEPTEMBER 22 AT ATLANTA’S TABERNACLE
TICKETS GO ONSALE MAY 17 AT 10AM LOCAL
UPCOMING NORTH AMERICAN RUN KICKS OFF AT LOS ANGELES’ GREEK THEATER
WITH BAND OF HORSES ON MAY 28,
FOLLOWED BY HEADLINE SHOWS AND FESTIVAL STOPS
SCOTTISH INDIE BAND’S ACCLAIMED STUDIO ALBUM
“PAINTING OF A PANIC ATTACK” AVAILABLE NOW
Canvasback Music/Atlantic recording group Frightened Rabbit have unveiled details for their fall U.S. tour with Broken Social Scene. The dates kicks off at Tabernacle in Atlanta, GA on September 22nd, with all tickets going on sale starting Wednesday, May 17th at 10am local time. For more information, please visit http://frightenedrabbit.com/shows/.
The tour, which supports Frightened Rabbit’s latest studio album “PAINTING OF A PANIC ATTACK,” follows a run of North American performances that begin later this month with a stop at The Greek Theater in Los Angeles, CA on May 25th, supporting Band Of Horses. The Scottish indie band also has a number of headlining shows – highlighted by a stop at Brooklyn Steel in Brooklyn, NY on May 30th – and festivals, including BottleRock Napa Valley (May 26th), Boston Calling (May28), and Houston’s Free Press Summer Festival (June 3rd) – see attached itinerary.
Frightened Rabbit’s fifth studio album “PAINTING OF A PANIC ATTACK” – produced by The National’s Aaron Dessner – enjoyed a Top 25 debut on the Soundscan/Billboard 200 chart upon its release last year, peaking at #2 on iTunes’ Alternative chart and #8 overall. The album’s lead single “Get Out” scored Top 10 success on FMQB’s Triple A chart, and garnered the band a pair of national television appearance, performing on CBS’ “Late Show with Stephen Colbert” and “Late Late Show with James Corden.” The song’s emotionally provocative, companion video made its premiere on NPR’s All Songs Considered and received a raft of praise from influential sites, including Pitchfork, Stereogum, and Consequence of Sound, among others. The video – beautifully shot in Kiev –can be viewed at the band’s official YouTube channel(www.youtube.com/frightenedrabbit).
“PAINTING OF A PANIC ATTACK” follows 2013’s major label debut “PEDESTRIAN VERSE,” which earned a Top 10 debut in the UK as well as critical acclaim from a wide spectrum of American press, with praise coming from mainstream outlets like Rolling Stone and Time as well tastemaker blogs like Pitchfork and Stereogum. The band’s emotionally charged live shows have earned a devoted fanbase, which includes bands like Death Cab For Cutie and The National – both of whom have handpicked Frightened Rabbit to support them on extensive tours.
Scott Hutchison (lead vocals/rhythm guitar), Grant Hutchison (drums), Billy Kennedy (bass), Andy Monaghan (guitar/keys) and Simon Liddell (guitar/keys)
Sum 41 will be hitting Stage AE in Pittsburgh, PA on May 9th for their co-headlining “We Will Detonate!” tour with Pierce the Veil and support from Emarosa and Chapel.
ICYMI today,Sum 41 released a new music video for the guitar-charged rock anthem, “Goddamn I’m Dead Again!” The music video, reminiscent of past videos like “Fat Lip” and “In Too Deep,” allows hard-core fans of the band, affectionately known as “Skumfuks,” to be a part of Sum 41 history forever. Complete with smashed guitars, circle pits, custom graffiti, an appearance from Left Shark and a few scenes that pay homage to classic Sum 41 video memories, this video truly brings to life what it means to be a head banging and continuously rocking Sum 41 fan. As a further testament to the support this band has seen from fans, Sum 41 has been nominated for three awards at the 2017 Alternative Press Music Awards. The nominations include Artist of the Year, Music Video of the Year for “Fake My Own Death,” and Best Drummer for Frank Zummo. Fans can vote for these categories and more at http://www.altpress.com/vote.
WHO: Sum 41 and Pierce The Veil with Emarosa and Chapel
WHAT: Loudwire Live Presents We Will Detonate! Tour
WHEN: May 9th, 2017 — Doors at 6:00pm, Show at 7:00pm
Sum 41 released their latest album, 13 Voices, in the Fall and saw incredible success with Billboard charting positions that included #9 on the Top Albums chart. Fans and press alike praised the album and the band has been touring nonstop to sold-out crowds around the world. Heralded by outlets like Billboard, Rolling Stone,People, Yahoo,Alternative Press and more, Sum 41 is back and better than ever.
Fans can purchase the album now in stores at Target, on iTunes or streaming on Spotify. The 10-track album was recorded, produced and engineered by singer Deryck Whibley at his home in Los Angeles and marks the band’s first LP in five years, following up 2011’s Screaming Bloody Murder.
We Will Detonate Tour Dates
4/21 – Denver, CO @ Ogden Theatre
4/22 – Denver, CO @ Ogden Theatre
4/24 – El Paso, TX @ Tricky Falls
4/25 – Austin, TX @ ACL Live At The Moody Theater
4/27 – New Orleans, LA @ House Of Blues
4/28 – Tampa, FL @ 98Rock Fest **
4/29 – Jacksonville, FL @ Welcome To Rockville **
5/01 – Knoxville, TN @ The International
5/02 – Lancaster, PA @ Lancaster Convention Center
5/03 – Silver Spring, MD @ The Fillmore Silver Spring
5/05 – Charlotte, NC @ Carolina Rebellion **
5/07 – Huntington, NY @ The Paramount
5/09 – Pittsburgh, PA @ Stage AE
5/10 – Sayreville, NJ @ Starland Ballroom
5/12 – Council Bluffs, IA @ KIWR’s Rockfest
5/13 – Somerset, WI @ Northern Invasion
5/14 – Indianapolis, IN @ Egyptian Room/Old National Centre
5/16 – Portland, ME @ Aura
5/17 – Hampton Beach, NH @ Hampton Beach Casino Ballroom
5/19 – Columbus, OH @ Rock On The Range
5/20 – St. Louis, MO @ 105.7 Point Fest **
5/22 – Houston, TX @ House Of Blues
5/23 – Pharr, TX @ Pharr Event Center
5/25 – Dallas, TX @ South Side Ballroom
5/26 – Pryor, OK @ Rocklahoma **
** – Sum 41
Note – Emarosa Not Appearing on Festival Dates
Sum 41 consists of five members including Deryck Whibley, lead guitarist/backing vocalist Dave Brownsound, co-lead guitarist/backing vocalist Tom Thacker, bassist/backing vocalist Cone McCaslin and drummer Frank Zummo.
The Unlikely Candidates’ songs have over 10 million listens on Spotify and the band has over 210,000 Monthly Listeners.
“The sonics range from Led Zeppelin to The Strokes, with sleek, infectious riffage and smart, catchy vocals.” – Fort Worth Weekly
“… Unlikely Candidates bring poppy adult alternative that you’ll love if you’re a fan of bands like Imagine Dragons or Grouplove.” – NBC San Diego
“…the Unlikely Candidates was the biggest surprise at last year’s City of Trees shindig at Bonney Field, peddling some ultra sharp, melodically blistering alt-pop rock with just the right amount of roughness around the edges.” – The Sacramento Bee
“…soaring, sing-along-ready earworms with sky-high ambitions. It’s indie rock made for stadium-sized crowds… moving from the Mumford-esque acoustic anthem ‘Just Breathe’ to the electro-pop of ‘Ringer.’” – Aspen Times
“…this new direction finds the band successfully becoming everything Panic! at the Disco tries so hard to be.” – Central Track
“’Ringer’ could be the most fun alternative rock song of the year…The Unlikely Candidates should be household names right now, the band’s always been that good. With their new EP, they get to prove it. Here’s hoping that in 2017 they earn the rep they deserve.” – Alternative Addiction 4.5/5 Star Review
The Unlikely Candidates are currently playing throughout the US on their “The People’s Choice” headline tour as well as playing other select dates and big radio shows in support of their Bed Of LiarsEP that was released on February 17, 2017.
MySpacerecently named The Unlikely Candidates the “…number one pick for who you must see at SXSW this year.” In the past, they were mentioned in The New York Timesand Esquire as a must-see band to see at SXSW as well.
VEVO premiered the video their song “Ringer.” Watch it HERE. The video represents a massive global effort by the band who wanted to have people from all over the world participate in playing out all their interesting and weird ideas. With the help of Fiverr, the world’s largest marketplace for creative and digital services for entrepreneurs and small businesses, they helped the band achieve a first of its kind creation resulting in submissions from over 27 countries, including some as far reaching as Macedonia, Sri Lanka, Egypt and Mozambique. Other submissions that made it into the video were from the US, France, Jamaica, South Africa, India, Australia, Germany, Philippines, Ukraine, Serbia, Brazil, Canada, Mexico, Russia, Venezuela, Haiti, Japan, Korea, Switzerland, UK, Ireland, Argentina, and Greece. The video took Singer Kyle Morris over 200 hours over two and a half months piecing it together with director Adam VillaSenor
The band has played Bonnaroo, Firefly, Riot Fest and have toured with St. Lucia, Nothing But Thieves, Weathers, and The Moth & The Flame. The Unlikely Candidates were selected as part of Taco Bell’s Feed The Beat program, and “Ringer” has enjoyed extensive in-store play with major brands including Whole Foods and Guess Jeans stores nationwide.
The Unlikely Candidates Tour Dates (More TBA):
April 28 @ Atrium @ Catalyst – Santa Cruz, CA w/ Cemetery Sun & Fame Riot
Salt Lake City, UT – Experimental post-hardcore bandEidola is thrilled to announce that they will be releasing their new album To Speak, To Listen on June 2nd, 2017 via Blue Swan Records. The album was produced by Dryw Owens (A Lot Like Birds, From Indian Lakes) and features lead single, “Amplissimus Machina.” In support of the upcoming album, Eidola will be hitting the road this spring with Hail The Sun & Capsize. For more information or to pre-order the album, please visit: www.eidola.merchnow.com
On the new album, the band shares: “To Speak, To Listen is a progressive post-hardcore album that explores the depths of consciousness, faith, human history, and perennial philosophy. The title is true to the album’s narrative and intention, to facilitate an honest conversation.“
Eidola is a five-piece progressive post-hardcore band formed in 2011. After a year of touring on their debut self-released album The Great Glass Elephant in 2012, the band signed on with Blue Swan Records to release Degeneraterra in 2015. With the album receiving acclaim from critics and fans alike, the band embarked on a series of tours with bands like Dance Gavin Dance, CHON, Hail The Sun, and Stolas. Now Eidola is back with their most ambitious and aggressive effort yet, To Speak, To Listen.
“Brookyn’s best new punks show their softer side” –FLOOD
NORTH AMERICA KICKS OFF THIS MONTH
B Boys hit us with their new single “Walking”, a song the band explains is “about trying to be tender and acknowledging that masculinity is a prison written after a whirlwind of emotions of being on tour.” The single debuted over at FLOOD who’ve described it “bounces out like a version of ‘Sweet Jane’ reimagined for a punk-rock prom, but it quickly shifts into itself, the internal tension building more quickly than the group allows it to escape.”
B Boys full-length debut Dada is out June 16 on Captured Tracks. This month they set out on a full North American tour with Merchandise. Highlights include NYC, LA, Seattle, SF, Portland and more. Check below for a full list of dates.
A: 13 songs, recorded with microphones and such. A variety of instruments.
Q: I’d call that an album.
A: We call it Dada.
Q: Like the art movement?
A: Yeah sure, but more like the combination of syllables.
Q: So, like a linguistic connection?
A: Language, self-awareness, introspection, a fresh pair of chinos. It’s all connected; not everything has to make sense.
Q: Fair enough, but it all seems to be stemming from somewhere. Where is this where?
A: You won’t find it on some cartographer’s desk. It comes from within. Equal parts collective unconscious and personal experience.
Q: That’s a lot deeper than you look.
A: We got a different mind.
Q: If 50 years from now the kids are still grooving to this Dada thing – success?
A: 50 years? Kids? We’d be happy if anyone was grooving to this 50 days from now.
Q: What would you call that? Self-deprecation? An odd sense of humor?
A: All we know is all we know, but 50 days of grooving sounds pretty good from where we sleep, especially on a pair of quality speakers.
Q: Now you’re talking. OK, so I’m stuck on a deserted island with this Dada LP. What else should I bring?
A: A tin of mints and some unconventional serenity.
Q: Do you have anything specific you’d like to express to get the fans going?
At this point in the conversation, the B Boys looked at one another, stood up, and walked away without saying a word. Before reaching the door, they flipped a switch on the wall and every single fan in the place turned on. They looked back over their shoulder and smiled.
One thing’s for certain: I wish I could be on a deserted island with them right now with a salty breeze flowing through my hair.
June 29: Richmond, VA – The Broadberry (SUFFOCATION, REVOCATION only)
June 30: Philadelphia, PA – Kung Fu Necktie (SUFFOCATION, REVOCATION only)
BIOGRAPHY: A good four years separate rager Pinnacle of Bedlam from new killer Of the Dark Light. But it wasn’t always like this. Back in the ‘90s, Suffocation maniacs waited, at most, two years between old and new fixes of New York-styled brutality. Landmark full-length Effigy of the Forgotten was only two years removed from debut EP, Human Waste. Likewise, Breeding the Spawn slayed posers and pretenders a year and a half after Effigy of the Forgotten blueprinted Suffocation into the history books. And Pierced from Within, the wickedest death metal put to tape in the mid-‘90s, slammed fist first into mediocrity and mundanity two years after Breeding the Spawn. Clearly, there were times when Suffocation’s march towards total annihilation was fast and furious.
“There’s a reason we don’t put out records every two years now,” asserts long-time Suffocation guitarist and primary songwriter Terrance Hobbs. “For one, we don’t need to. Two, we tour more now than we did in the early days. And three, we’re no longer in our twenties. We all have lives and families now. Plus, I enjoy writing things and letting them organically mature. For example, I started writing songs for Of the Dark Light right after Pinnacle of Bedlam.”
“Ever since I joined, Suffocation’s been on pretty heavy album and tour cycles,” bassist and lyric writer Derek Boyer agrees. “Sometimes the charisma was there, sometimes it wasn’t. We’d be on the road for a year, and only after that, we’d think about putting songs together. Then, we’d get pulled back on the road. That would delay the album cycle. So, our album cycle went from every two years to every three years to now every four years. Pinnacle of Bedlam came out in 2013. That’s a long time ago.”
Indeed, it was. When Pinnacle of Bedlam hit store shelves in the winter 2013, the world was proverbially on its knees. North Korea was conducting underground nuclear tests, a meteor hit a city in Russia’s South Urals, and Benedict XVI resigned as Pope, the first to intentionally do so since 1294. All this pandemonium occurred the same month Suffocation unfurled Pinnacle of Bedlam unto the world. Harbinger of doom it was. Four years later, the blue marble we inhabit is certifiably nuttier and more violent. It’s the perfect vehicle for Of the Dark Light, a full-length that not only welcomes new members—drummer Eric Morotti and guitarist Charlie Errigo—but also sees Hobbs writing the craziest, cruelest Suffocation material since Effigy of the Forgotten.
“Now, bands are very cutting edge,” Hobbs observes. “So, we felt we had to step up our game a little bit. Still be unique, but I will say we’re still using the same formula we’ve been using since Suffocation formed. It’s just ramped up. There are some new things in there that I hope the fans will hear. They’ll have to really listen to the album to hear it though. With the new guys, I had to consider their input. Really, in a nutshell, it came down to the chemistry I had with Charlie and Eric. It was a bonus, to me, that I had players that were really into it.”
“Terrance is the majority songwriter, where I’m the majority lyric writer,” offers Boyer. “I’ll get Hobbs to help me out with some lyrics or he’ll ask me to for my input on his songwriting ideas. We collaborate really well together. Now that we have some newer cats, we started playing live. We immediately thought, ‘Fuck, we need to have a new record out.’ So, we slammed everybody into the same room to finalize the album. Sure, we could’ve put out the album a long time ago, but the chemistry is so good now, I can’t imagine what this album would’ve sounded like without them.”
Written over a four-year span but finalized in the studio—“bells and whistles”, Hobbs calls it—Of the Dark Light ups Suffocation’s already ridiculous ante. The first song written, ‘The Warmth within the Dark’, is just as powerful, technical, and savage as the last song written, ‘Caught between Two Worlds’. It’s hard to believe members Frank Mullen and Hobbs were doing this in their teens. Now, almost three decades later, Suffocation are more intense, have more fire, and can still out-riff, out-growl, and out-blast younger bands mimeoed off classics like Despise the Sun and Blood Oath.
“I like ‘Some Things Should Be Left Alone’ and ‘Of the Dark Light’,” Hobbs reveals. “People should take into consideration when driving into work and playing this record. I don’t want people out road raging too much. There’s no need to plow into somebody at 155 miles per hour while playing this record. This album has a lot of gas to it. Listen to it on your headphones at the gym instead. I think the Suffocation fan are really going enjoy it.”
“A band like Suffocation isn’t going to introduce clean vocals or synthesizer,” says Boyer. “That’s just not who we are. This is Suffocation’s formula. This is the Suffocation fans have known to come and love. We’re not going to stray too far off that path. We have a focal point. We’re a death metal band. We’ve always been kind of quick and technical. We didn’t want to lose that. We just wanted to make all that more exciting, more alive on Of the Dark Light.”
To put Of the Dark Light to so-called ‘tape’, the band holed up—for the fifth time—at Joe Cincotta’s Full Force Studios (Waking the Cadaver, Mortal Decay) in Long Island, New York. From the beginning of December 2016 to just after Christmas, Suffocation mercilessly laid down tracks like ‘Your Last Breaths’, ‘Return to the Abyss’, ‘Some Things Should Be Left Alone’, and a re-make of Breeding the Spawn bruiser ‘Epitaph of the Credulous’. To make sure everything was “tight”, Suffocation rehearsed for almost a month before hitting up Cincotta’s studio. Old habits, turns out, are hard to break.
“Where I come from, everybody has to sit down and learn the material,” Hobbs levels. “Practice it. Once we have it locked down as a band, then we can think about approaching the studio to record it. For us, we tried to take that same approach. It took a little more time than usual. Also, we wanted an organic sound. There’s so much you can do with technology these days. Any band can sit behind a computer and piece together songs and it’ll probably sound pretty great. We wanted Of the Dark Light to sound like Suffocation not a computer.”
“Joe goes back to Souls to Deny,” Boyer remembers. “He was a buddy. It was after that album where we started touring the world, going to places Suffocation had never been to before. On those tours, Joe was the soundman. It’s likely if we had a slamming and heavy sound in the 2000s, it’s because our soundman was our producer. He knew the band, he knew the material, so it’s clear he knew how it should sound in a live setting. From Souls to Deny to Of the Dark Light, we’ve done our music with Joe at Full Force.”
To perfect Of the Dark Light, Suffocation shipped off the recordings to Chris ‘Zeuss’ Harris to mix and master. Suffocation wanted a clear yet punishing sound. So, as with Pinnacle of Bedlam so too with Of the Dark Light. Having recently worked with death metal legends Six Feet Under, hardcore heroes Hatebreed, and tech-thrashers Revocation, Zeuss knew exactly what to put in and extract out of Suffocation for the group’s eighth full-length. Songs like ‘Clarity through Deprivation’, ‘Return to the Abyss’, and ‘The Violation’ have a particularly strong bite.
“We knew, as a friend of the band and a fellow East Coaster, Chris would get what we were aiming for,” says Hobbs. “I’d say this is a full Suffocation endeavor with some outside help, particularly where it concerned Zeuss. It turned out great working with him.”
“We had Zeuss doing the mixing and mastering for Pinnacle, so it made sense for him to reprise his role on Of the Dark Light,” Boyer states. “I thought Pinnacle sounded great, but after I compared it to Of the Dark Light, it smokes Pinnacle.”
But if there’s one thing that’s different about Of the Dark Light, it’s the vocals. Founding member and vocalist Frank Mullen is the main vocalist, but his successor, contributing vocalist Kevin Muller (The Merciless Concept / ex-Pyrexia), also has skin the Suffocation game. That being said, Mullen’s contributions were almost not meant to be. The story goes Mullen voiced his concerns about appearing on the follow-up to Pinnacle of Bedlam while hanging at a local bowling alley with Hobbs, Boyer, new guitarist Charlie Errigo, and a few friends. Frank said to his bandmates, ‘Yo, I don’t think I’m going to do the new record!’ They were quick to respond, ‘Come on, Frank!’ A little coercing later, Mullen and Muller would brutalize their way through Boyer’s transcendental death-wish lyrics.
“Frank will always be part of Suffocation,” assures Hobbs. “He can come in and record just fine. It’s the touring. He can’t be gone for five-six weeks at a clip. That’s not good for his job or his family. If you trace this back to the when the economy crashed in 2008, the likelihood of Frank getting out on tour became less of an option. I give him credit. He does what’s right for Frank and his family. He’s been a part of the band since the beginning. And he’ll always be a part of the band.”
“Frank always comes in with a few jabs,” Boyer laughs. “Like for this record, he said, ‘What in the hell did you idiots put together on this one?!’ He’s funny. Every time, he’s like, ‘I’m not doing this again!’ Then, after it all comes together, he’s like, ‘Ah, this is so sick!’ But Frank isn’t always going to be able to play live with us. So, we’ve brought on Kevin. He actually appeared on a lot of parts on Of the Dark Light. Long-time fans may not even notice there are parts with Kevin singing. He sounds just like Frank. Frank actually called me right after we got the master and said, ‘Fuck! Does Kevin sing on every goddamned song?!’ I was like, ‘No, not all of them.’ Kevin knocked it out of the park on this record.”
As for respite, there is no respite with Suffocation. Musically or lyrically. Conceptually, Of the Dark Light deals with transcendence, the shedding of the physical skin to achieve another plane of existence. But the lyrics originate not from a land of colors, incense, and feel-good vibes. Former labelmates Cynic have already covered that to great success. No, Suffocation, as expected, sourced their metaphysical prose from the depths of darkness.
“I wrote a lot about transcendence, leaving the physical body,” tells Boyer. “There are planes of existence you can’t go with the physical body. The only way to escape it is to end your life, not just of natural causes. There’s a suicidal theme to Of the Dark Light. But it’s not like we sit around thinking about or promoting suicide. No, we’re really talking about transcendence and what happens after.”
“There are a few songs on Of the Dark Light that are about loosely, I think, horror movie topics,” Hobbs adds. “We’re a death metal band. But the majority of the lyrics deal with transcending everything through death. Transcending our physical form. There’s touches of the Tibetan Book of the Dead to the lyrics. I mean, we prepare our whole lives to just pass away. What happens next? I don’t know, but I’m sure I’ll find out sooner or later.”
Anthrax are due to release a real collector’s piece to accompany their last LP For All Kings which really showed that the band may have started in 1981 but are very far from slowing down creatively. It is an absolutely stunning collector’s item for any Anthrax fan as this unboxing video will illustrate – https://www.youtube.com/watch?v=wU3e4hwzBR8&feature=youtu.be There have been band members who have come and gone and come back again with that time period, but on wax and live they are clicking on all cylinders. Luckily the band will be hitting Pittsburgh next month with Killswitch Engage and The Devil Wears Prada.
What makes the set special are the demo versions of many of the songs from For All Kings. The raw intensity gives a “live” vibe that production polishing does not allow. Of course, this might be an acquired taste for some, but true Anthrax fans and collectors will be thrilled. The nuanced differences take a discerning ear at times, but give a bit of insight into the process of creation, particularly through the instrumentation working in syncopation. Also, the box set has never released in the U.S tracks that were not readily available previously (Check out“Vice of the People,” the “new-to-the-U.S.” track https://goo.gl/DAqOML), as well as two cover songs, including an unexpected White Stripes tune (so perfect for a thrash make-over it’s sick).
Available exclusively in North America and released in conjunction with the band’s upcoming Spring co-headline tour with Killswitch Engage – “KillThrax” – thrash metal icon ANTHRAX – Frank Bello/bass, Scott Ian/guitar, Joey Belladonna/vocals, Charlie Benante/drums, Jonathan Donais/guitar – announces the release of the limited edition “For All Kings 7-Inch Box Set” (Megaforce Records). The set goes on sale March 24, will retail for $79.99.
The “For All Kings 7-Inch Box Set” includes a removable lenticular cover and contains 10 7-inch vinyl discs featuring 20 songs – the 11 finished album tracks, two brand new covers (The White Stripes’ “Black Math” and the classic Kansas song “Carry On”), six demos from the FAK track listing, and “Vice of the People,” a bonus track previously released only in Japan and now making its North American vinyl debut. The original album cover art sketch by Alex Ross is also part of this package, as well as a download card enabling the holder to access the Box Set’s track listing for free.
Each 7-inch disc features gorgeous, double-sided four-color artwork designed by Douglas Heusser with additional art by Stephen Thompson, as well as band photos by Jimmy Hubbard. The tracks are pressed onto different-colored vinyl discs – red, green, blue, maroon, orange, most with a two-color swirl design.
“Doing a box set edition of ‘For All Kings’ was something that we’ve always wanted to do,” said Benante, who worked closely with Heusser and Thompson on the box set’s artwork. “We wanted to do something special, something that was so much more than the original release, and have it be fun for our audience when they open it up, just be floored by the different colored vinyl, the artwork, everything that’s inside. And we think we’ve done that.”
The complete “For All Kings 7-Inch Box Set” track listing is below as are the dates for “KillThrax.”
“For All Kings 7-Inch Box Set” track listing:
Breathing Lightning (album version)
Breathing Lightning (demo)
Monster At The End (album version)
Monster At The End (demo)
Suzerain (album version)
Black Math (White Stripes cover)
Carry On (Kansas cover)
You Gotta Believe (album version)
For All Kings (album version)
Evil Twin (album version)
This Battle Chose Us (album version)
All Them Thieves (album version)
Vice of the People (previously unreleased in North America)
View Acoustic Performance of “Poor Man’s Gold” Here
“Emerging Artists Who Deserve Your Attention” – Entertainment Weekly
“Limitless potential as performers” – MegaCountry
“Becoming one of the country’s preeminent Americana duos” – Consequence of Sound
“(Love Is A Burden) A gritty and perfectly unpolished track reminiscent of Brothers-era Black Keys with a modest pinch of country twang thrown in for good measure” — Baeble
NEW YORK, NY (March 8, 2017) — Critically acclaimed Austin, TX indie-americana duo JAMESTOWN REVIVAL – Jonathan Clay and Zach Chance – announce new 2017 spring headline tour dates, expanding their current schedule. Following a pair of shows in March, they hit the road April 26 in Wilmington, NC at the Throne Theatre, roll through major markets on the East Coast and in the Midwest, and finish up at the Park West in Chicago, Illinois on June 15. Along with the twenty six shows below, JAMESTOWN REVIVAL will be announcing more concert dates in the near future.
Tickets for shows starting on June 6th go on sale Friday, March 10th, additional shows are currently on sale now. Check out the full confirmed itinerary below and purchase tickets here.
The band is touring in support of its second full-length album, The Education of a Wandering Man [Republic Records] — which reached number one on the Americana charts. The album is available in stores and at all digital retailers. Check out the album here.
Their music vividly comes to life with each and every performance, and their shows have quickly become a signature. Recent live reviews have been raving with MegaCountry.com noting at their Greek Theatre show in Los Angeles, CA: “(Jamestown Revival) set up an evening of uplifting storytelling… it won’t be long before they are filling up venues of magnitude all on their own.” Covering a sold out gig at New York’s Bowery Ballroom, The Knockturnal wrote, “JAMESTOWN REVIVAL will be a name many more will know in the coming year.”
2017 stands primed to be a big year for JAMESTOWN REVIVAL, especially off the heels of their newly released song, “Poor Man’s Gold.” Check out an acoustic version of the song here.
In 2014, JAMESTOWN REVIVAL emerged with their breakthrough full-length album UTAH. Blending literary storytelling, rock ‘n’ roll grit, indie spirit, and country soul, iTunes crowned UTAH the “Best of 2014: Singer-Songwriter Album of the Year.” With the band’s popular anthem, “California (Cast Iron Soul)” leading the way, everyone from Rolling Stone and KCRW to the Wall Street Journal and The Boston Globe featured the band. JAMESTOWN REVIVAL then made their national television debut with rollicking performances onThe Late Late Show with Craig Ferguson, and Last Call With Carson Daly, and brought a whole lot of live ruckus to festivals such as Coachella, Stagecoach, Austin City Limits, Bonnaroo, and Bottlerock Festival, among others. Following the release of The Education of A Wandering Man, the group performed on Conan and garnered acclaim from Entertainment Weekly, Consequence of Sound, and more.
Ed will be coming back to North America to play 48 dates starting this Summer. Tickets on general sale Friday 17th March.
A limited number of tickets will be available via a fan presale that starts 10am local time on 13th March.
Please REGISTER HERE before 10am ET on 10th March for access to the pre-sale.
Note: fans wanting to buy presale tickets for the Quebec City show must emailEdSheeranQuebec@wmgcustomerservice.com before 10am ET on 10th March to get their pre-sale code. Notez: les fans souhaitant acheter des billets en pré-vente pour le concert de Québec doivent envoyer un email à EdSheeranQuebec@wmgcustomerservice.com avant 10h ET le 10 mars pour obtenir leur code d’accès.
NORTH AMERICAN TOUR DATES
June 29 || Kansas City, MO || Sprint Center
June 30 || Des Moines, IA || Wells Fargo Arena
July 1 || St. Paul, MN || Xcel Energy Center
July 7 || Toronto, ON || Air Canada Centre
July 9 || Buffalo, NY || KeyBank Center
July 11 || Philadelphia, PA || Wells Fargo Center
July 14 || Uncasville, CT || Mohegan Sun Arena
July 15 || Uncasville, CT || Mohegan Sun Arena
July 18 || Quebec City, QC || Videotron Centre
July 19 || Montreal, QC || Bell Centre
July 22 || Winnipeg, MB || MTS Centre
July 23 || Saskatoon, SK || SaskTel Centre
July 25 || Edmonton, AB || Rogers Place
July 28 || Vancouver, BC || Rogers Arena
July 29 || Tacoma, WA || Tacoma Dome
July 30 || Portland, OR || Mode Center
August 1 || Sacramento, CA || Golden 1 Center
August 2 || Oakland, CA || Oracle Arena
August 4 || Las Vegas, NV || T-Mobile Arena
August 5 || Glendale, AZ || Gila River Arena
August 6 || San Diego, CA || Valley View Casino Center
August 10 || Los Angeles, CA || Staples Center
August 15 || Denver, CO || Pepsi Center
August 17 || Tulsa, OK || BOK Center
August 18 || Dallas, TX || American Airlines Center
August 19 || Houston, TX || Toyota Center
August 22 || San Antonio, TX || AT&T Center
August 25 || Duluth, GA || Infinite Energy Center
August 29 || Tampa, FL || Amalie Center
August 30 || Miami, FL || American Airlines Arena
August 31 || Orlando, FL || Amway Center
September 2 || Raleigh, NC || PNC Arena
September 3 || Charlotte, NC || Spectrum Center
September 5 || Charleston, SC || North Charleston Center
September 7 || Louisville, KY || KFC YUM! Center
September 8 || Indianapolis, IN || Bankers Life Fieldhouse
September 9 || Cleveland, OH || Quicken Loans Arena
September 12 || Omaha, NE || CenturyLink Center
September 15 || Chicago, IL || Allstate Arena
September 17 || St. Louis, MO || Scottrade Center
September 19 || Washington, DC || Verizon Center
September 22 || Boston, MA || TD Garden September 26 || Pittsburgh, PA || PPG Paints Arena
September 27 || Detroit, MI || Little Caesars Arena
September 29 || Brooklyn, NY || Barclays Center
September 30 || Brooklyn, NY || Barclays Center
October 3 || Columbus, OH || Nationwide Arena
October 6 || Nashville, TN || Bridgestone Arena