A Perfect Circle Release Eat The Elephant on April 20 via BMG; Stream “TalkTalk”

A Perfect Circle release Eat The Elephant, the band’s fourth full-length album and first since 2004’s eMOTIVe, on April 20 via BMG.

The album arrives following years of anticipation and speculation, which reached a fever pitch as the outfit helmed by Maynard James Keenan and Billy Howerdel launched their Fall 2017 tour with the release of “The Doomed” (http://smarturl.it/TheDoomedVideo). The band then ushered in the new year with the debut of the contemplative song, “Disillusioned” (http://smarturl.it/DisillusionedYT).

“Although I’m extremely excited to finally be completing this album after a 14-year hiatus,” explains Keenan. “I’m actually more excited that its intentional release date is serving a greater purpose. The 20th of April is Carina Round’s birthday. She is a dear friend who is extremely difficult to shop for. Pressure off. Of course, I must also note that the potheads are gonna be thrilled that this album comes out on 4-20. May it serve as a glorious soundtrack to accompany all of the giggling and vexing sounds of nibbling and snacking. Fingers crossed, Cheech & Chong will be proud.”

“Demos are these precious ideas that you love in their initial state,” adds Howerdel. “Then you collaborate, invite other ideas, and watch them progress. That’s the dynamics and growth of a great record. I feel we’ve made a great record.”

Pre-orders for the 12-song album, which was co-produced by Dave Sardy (Autolux, Slayer), are available now (https://AperfectCircle.lnk.to/EatTheElephantPR) and come with instant digital downloads of “TalkTalk” (http://smarturl.it/TalkTalkVEVO), “Disillusioned” and “The Doomed.” Eat The Elephant is being released in multiple formats including digital, CD, double gatefold 180-gram vinyl and a box set with vinyl, CD and hi-res digital download as well as a prism and custom playing card deck. In advance of Record Store Day, a limited-edition independent retail exclusive version of the LP on white 180-gram vinyl with alternate cover will also be available. Pre-orders can be found here: (https://AperfectCircle.lnk.to/EatTheElephantPR).

Eat The Elephant tracklist:

  1. Eat The Elephant
  2. Disillusioned
  3. The Contrarian
  4. The Doomed
  5. So Long, And Thanks For All The Fish
  6. TalkTalk
  7. By And Down The River
  8. Delicious
  9. DLB
  10. Hourglass
  11. Feathers
  12. Get The Lead Out

News of the album’s release arrives as the band announces a Spring tour, with several festival performances, including Coachella, Las Rageous, Northern Invasion, Rock on the Range and Rocklahoma having been previously announced. A full list of tour dates, including the band’s first European outing since the 2004 release of eMOTIVe, are below.

Tour dates:

April 14 Tucson, AZ Kino Veterans Memorial Stadium *

April 15 Indio, CA Coachella

April 17 Santa Barbara, CA Arlington Theatre *

April 18 San Jose, CA San Jose State University Events Center *

April 20 Las Vegas, NV Las Rageous Rock Festival

April 22 Indio, CA Coachella

May 12 Somserset, WI Northern Invasion

May 15 Omaha, NE Baxter Arena

May 16 Columbia, MO Mizzou Arena

May 18 Columbus, OH Rock on the Range

May 22 Birmingham, AL Legacy Arena at the BJCC *

May 25 Pryor, OK Rocklahoma

May 26 Dallas, TX BFD 2018 at Starplex Pavilion

June 1 Nürburgring, Germany Rock Am Ring

June 2 Nuremberg, Germany Rock Im Park

June 5 Stockholm, Sweden Fryshuset

June 6 Oslo, Norway Spektrum

June 8 Aarhus, Denmark Northridge Festival

June 9 Helsinki, Finland Sideways Festival

June 12 Manchester, UK O2 Apollo Manchester SOLD OUT

June 13 London, UK O2 Academy Brixton SOLD OUT
June 14 London, UK O2 Academy Brixton SOLD OUT

June 17 Berlin, Germany Zitadelle SOLD OUT

June 20 Zurich, Switzerland Halle 622

June 21 Clisson, France Hellfest

June 23 Esch-Sur-Aizette, Luxembourg

June 24 Dessel, Belgium Graspop

June 26 Paris, France Olympia SOLD OUT

June 28 Madrid, Spain Download Festival Madrid

June 29 Barcelona, Spain Be Prog! My Friend Festival

July 1 Verona, Italy Rock The Castle

*-On-sale this Friday at 10 am local time (all other shows are on-sale now); Get an exclusive code for early access to tickets for Santa Barbara, San Jose andBirmingham shows with Eat The Elephant pre-order at this link: https://AperfectCircle.lnk.to/EatTheElephantPR/artiststore.

A Perfect Circle’s current line-up is Maynard James Keenan (Tool, Puscifer), Billy Howerdel (Ashes Divide), James Iha (Tinted Windows, Smashing Pumpkins), Jeff Friedl (Puscifer, The Beta Machine) and Matt McJunkins (Eagles of Death Metal, The Beta Machine).

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Jack White releases new track “Corporation”; tour tickets on sale today

JACK WHITE RELEASES NEW TRACK “CORPORATION
FROM BOARDING HOUSE REACH

BOARDING HOUSE REACH AVAILABLE FOR PRE-ORDER NOW

GET “CONNECTED BY LOVE,” “RESPECT COMMANDER,” & “CORPORATION” INSTANTLY WITH ALL DIGITAL PRE-ORDERS

JACK WHITE 2018 TOUR TICKETS ON SALE TODAY
TOUR BEGINS APRIL 19 IN DETROIT

BOARDING HOUSE REACH OUT MARCH 23
Jack White has released a third track from his eagerly anticipated solo album, BOARDING HOUSE REACH (outMarch 23 via Third Man/Columbia). “Corporation” is available now digitally worldwide. BOARDING HOUSE REACH is also available for pre-order digitally today, as well as on CD and standard black vinyl. All digital pre-orders of BOARDING HOUSE REACH come with an instant download of single “Connected by Love,” “Respect Commander,” and the latest track “Corporation.”

White will herald BOARDING HOUSE REACH with an extensive run of North American headline tour dates, along with shows in London, Paris, and Amsterdam. The tour – which also includes headline festival performances at Atlanta, GA‘s Shaky Knees, Boston Calling 2018, NYC’s Governor’s Ball, and New Orleans Jazz Fest – begins April 19 in White’s hometown of Detroit at Little Caesars Arena and continues through late August. Tickets for all announced headline dates are on sale at 10am local time today. For complete tour information, please visit jackwhiteiii.com/tour-dates.

In addition, every ticket purchased online for the upcoming North American headline shows will include a physical CD copy of BOARDING HOUSE REACH. Fans will also have the option to upgrade their CD to the standard black vinyl LP.

JACK WHITE 2018 TOUR
April 19: Little Caesars Arena – Detroit, MI
April 20: Eagles Ballroom – Milwaukee, WI
April 21: 20 Monroe – Grand Rapids, MI
April 23: Baxter Arena – Omaha, NE
April 24: Providence Medical Center Amphitheater – Bonner Springs, KS
April 25: Chaifetz Arena – St. Louis, MO
April 27: Bomb Factory – Dallas, TX
April 29: Bomb Factory – Dallas, TX
April 30: Revention Music Center – Houston, TX
May 1: Revention Music Center – Houston, TX
May 2: Austin360 Amphitheater – Austin, TX
May 4 – 6: Shaky Knees Music Festival – Atlanta, GA *
May 6: New Orleans Jazz & Heritage Festival – New Orleans, LA *
May 26: Boston Calling Music Festival – Boston, MA *
May 27: Brewery Ommegang – Cooperstown, NY
May 29: The Anthem – Washington, DC
June 1: Governors Ball Music Festival – New York, NY *
June 2-3 – Bunbury Music Festival – Cincinnati, OH *
June 4: Express Live! Outdoor Amphitheater – Columbus, OH
June 6: Jacobs Pavilion at Nautica – Cleveland, OH
June 7: Dome Arena – Rochester, NY
June 8: Artpark Mainstage Theater – Lewiston, NY
June 9: Budweiser Stage – Toronto, ON
June 27: Hammersmith Apollo – London, UK
June 28: Hammersmith Apollo – London, UK
July 2: AFAS Live – Amsterdam, NL
July 3: L’Olympia – Paris. FR
July 4: L’Olympia – Paris. FR
July 7: Rock Werchter – Werchter, Belgium *
July 12 – 13: Mad Cool – Madrid, Spain *
July 14: NOS Alive – Lisbon, Portugal *
July 15: Ilosaaririock Festival – Joensuu, Finland *
August 6: The Armory – Minneapolis, MN
August 8: 1st Bank Center – Broomfield, CO
August 9: SaltAir – Salt Lake City, UT
August 11: Veterans Memorial Coliseum – Portland, OR
August 12: Rogers Arena – Vancouver, BC
August 13: WAMU Theatre – Seattle, WA
August 15: Bill Graham Civic Auditorium – San Francisco, CA
August 19: Santa Barbara Bowl – Santa Barbara, CA
August 21: Viejas Arena – San Diego, CA
August 22: Comerica Theatre – Phoenix, AZ
August 23: The Chelsea @ The Cosmopolitan – Las Vegas, NV

BOARDING HOUSE REACH sees Jack White expanding his musical palate with perhaps his most ambitious work thus far, a collection of songs that are simultaneously timeless and modern. Written and conceived while holed up in a spartan apartment with literally no outside world distractions, White exclusively used the same kind of gear he had when he was 15 years old (a quarter-inch four-track tape recorder, a simple mixer, and the most basic of instrumentation). The album explores a remarkable range of sonic terrain — crunching rock ‘n’ roll, electro and hard funk, proto punk, hip hop, gospel blues, and even country — all remapped and born anew to fit White’s matchless vision and sense of restless experimentation. BOARDING HOUSE REACH is a testament to the breadth of Jack White’s creative power and his bold artistic ambition.

BOARDING HOUSE REACH features White on vocals, acoustic and electric guitars and drums, organ, and synthesizers. He’s backed by a remarkable new lineup of musicians that includes: drummer Louis Cato (Beyoncé, Q-Tip, John Legend, Mariah Carey), bassists Charlotte Kemp Muhl (The Ghost of a Saber Tooth Tiger) and NeonPhoenix (Kanye West, Lil Wayne, Jay-Z), synthesizer players DJ Harrison and Anthony “Brew” Brewster (Fishbone, The Untouchables), keyboardists Neal Evans (Soulive, Talib Kweli, John Scofield) and Quincy McCrary (Unknown Mortal Orchestra, Pitbull), percussionists Bobby Allende (David Byrne, Marc Anthony) and Justin Porée (Ozomatli), and backing vocalists Esther Rose and Ann & Regina McCrary of Nashville’s beloved gospel trio, The McCrary Sisters, as well as longtime collaborators like drummers Daru Jones (Nas, Talib Kweli) and Carla Azar (Autolux, Depeche Mode, Doyle Bramhall II). Singer-songwriter C.W. Stoneking also appears, contributing a stirring spoken word performance to the album’s “Abulia and Akrasia.”

BOARDING HOUSE REACH was produced by Jack White III and recorded at Third Man Studio in Nashville, TN, Sear Sound in New York, NY, and Capitol Studios in Los Angeles, CA; the album was mixed by Bill Skibbe, Joshua V. Smith, and White at Third Man Studio in Nashville, TN.

“Connected By Love” b/w “Respect Commander” is available now digitally worldwide and as a physical 7-inch vinyl single pressed at Third Man Pressing in Detroit, MI. The single is accompanied by a brand-new music video from director Pasqual Gutierrez – watch it now HERE.

“Connected By Love” was greeted with rapturous global applause upon its arrival earlier this month, withRolling Stone exclaiming, “The four-year wait is over” with the “blistering first single” from BOARDING HOUSE REACHBillboard declared the song “a classic White confessional blues burner,” while Entertainment Weeklycalled it “thrillingly weird…a searing, organ-lined plea to a former flame.” NPR‘s Bob Boilen raved: “Connected By Love” is “a blend of old guitar blues that is simultaneously on the edge of rock’s horizon.”

White and Third Man Records have also revealed details of their BOARDING HOUSE REACH-themed Vault Package #35, marking the ONLY limited edition of the new album. Vault Package #35 is highlighted by a limited edition, colored vinyl version of BOARDING HOUSE REACH that will be the only vinyl variation of the LP to be made available. Pressed at Third Man Pressing in the Cass Corridor of Detroit, the 180-gram, blue and black swirl vinyl edition features exclusive Vault-only cover art which dramatically depicts White’s stylized face and is printed on arresting holographic foil paper in the classic Stoughton tip-on style. The LP is further accompanied by a unique-to-this-package 12″ x 24″ insert featuring the complete album lyrics.

The BOARDING HOUSE REACH Vault package also includes a two-song demo 7-inch single, offering up embryonic versions of “Connected By Love” and the album track, “Why Walk a Dog?” The former take – billed here under its original title, “Infected By Love” – was recorded entirely by White in the aforementioned Nashville apartment. White found keyboard tones on this recording that the world’s most seasoned session musicians could not recreate in the studio and thus, some of those tones were sourced from this simple demo to be utilized on the final album version. Meanwhile, “Why Walk a Dog?” was recorded, like much of the BOARDING HOUSE REACH demos, alone at his private songwriting refuge. With its expressive synth and drum machine cadence, the track is overtly hypnotic even in this early state. Indeed, the “Connected By Love” and “Why Walk a Dog?” single provides a fascinating insight into White’s process, revealing the creative progression of his songs from inception to completion.

In addition to the recorded material, Vault Package #35 comes with three separate and exclusive photographs shot during BOARDING HOUSE REACH recording sessions. Taken by noted photographer – and White’s longtime friend – David Swanson at Sear Sound in New York and Capitol Studios in Los Angeles, these large-format, high quality glossy reproductions are exclusive to the Vault. The photographs will be coupled with three foil-stamped poetry broadsides, printed on silky metallic papers (black, white, and blue) containing White’s poems from the new album tracks, “Abulia and Akrasia,” “Ezmerelda Steals the Show,” and “Get in the Mind Shaft.”

Lastly, BOARDING HOUSE REACH Vault Package #35 will also include, for the third year running, a custom 2018 Third Man Records challenge coin, complete with album-specific artwork. The substantial and stylish coin doubles as a 45 adaptor and grants its holder 10% off purchases in both Third Man Records storefronts. Past Third Man Challenge coins will no longer be valid at Third Man storefronts once Vault Package #35 ships.

Third Man Vault subscriptions are open now through January 31. All BOARDING HOUSE REACH Vault packages will ship to arrive on and as close to the album’s official March 23 street date. Learn more about this package, additional Vault benefits and subscribe now at Third Man Records HERE.

BOARDING HOUSE REACH 
TRACK LISTING
1. Connected By Love
2. Why Walk A Dog?
3. Corporation
4. Abulia and Akrasia
5. Hypermisophoniac
6. Ice Station Zebra
7. Over and Over and Over
8. Everything You’ve Ever Learned
9. Respect Commander
10. Ezmerelda Steals The Show
11. Get In The Mind Shaft
12. What’s Done Is Done
13. Humoresque

Third Man Records founder Jack White is a 12-time GRAMMY® Award-winner and 35-time nominee. His most recent full-length release, 2016’s JACK WHITE ACOUSTIC RECORDINGS: 1998-2016 (Third Man Records/Columbia), collected 26 acoustic-based songs from throughout White’s wide-ranging musical career, spanning album tracks, B-sides, remixes, alternate versions, and previously unreleased material from The White Stripes, The Raconteurs, and White’s groundbreaking solo career. The collection debuted at #1 onBillboard‘s “Vinyl Albums” chart upon its September 2016 release – a position also achieved by 2012’s RIAA gold certified solo debut, BLUNDERBUSS, and 2014’s chart-topping LAZARETTO, both of which debuted at #1 on the Billboard Top 200 as well.

Jack White shares new album details

JACK WHITE SET TO RELEASE
BOARDING HOUSE REACH

 

ON MARCH 23
VIA THIRD MAN RECORDS/COLUMBIA RECORDS

GRAMMY® AWARD-WINNING ICON’S VISIONARY THIRD SOLO ALBUM 

FEATURING NEW SINGLE “CONNECTED BY LOVE
 
LIMITED EDITION VINYL LP AVAILABLE EXCLUSIVELY AS PART OF
THIRD MAN RECORDS 
VAULT PACKAGE #35
SUBSCRIPTIONS OPEN NOW THROUGH JANUARY 31
BOARDING HOUSE REACH Standard Cover
BOARDING HOUSE REACH Limited Edition Vault LP Cover
Jack White has announced the release of his eagerly anticipated new album, BOARDING HOUSE REACH (Third Man/Columbia). The 12-time GRAMMY® Award-winner’s third solo LP and first all-new album in nearly four years, BOARDING HOUSE REACH will arrive everywhere on Friday, March 23.
BOARDING HOUSE REACH sees Jack White expanding his musical palate with perhaps his most ambitious work thus far, a collection of songs that are simultaneously timeless and modern. Written and conceived while holed up in a spartan apartment with literally no outside world distractions, White exclusively used the same kind of gear he had when he was 15 years old (a quarter-inch four-track tape recorder, a simple mixer, and the most basic of instrumentation). The album explores a remarkable range of sonic terrain — crunching rock ‘n’ roll, electro and hard funk, proto punk, hip hop, gospel blues, and even country — all remapped and born anew to fit White’s matchless vision and sense of restless experimentation. BOARDING HOUSE REACH is a testament to the breadth of Jack White’s creative power and his bold artistic ambition.
BOARDING HOUSE REACH features White on vocals, acoustic and electric guitars and drums, organ, and synthesizers. He’s backed by a remarkable new lineup of musicians that includes: drummer Louis Cato (Beyoncé, Q-Tip, John Legend, Mariah Carey), bassists Charlotte Kemp Muhl (The Ghost of a Saber Tooth Tiger) and NeonPhoenix (Kanye West, Lil Wayne, Jay-Z), synthesizer players DJ Harrison and Anthony “Brew” Brewster (Fishbone, The Untouchables), keyboardists Neal Evans (Soulive, Talib Kweli, John Scofield) and Quincy McCrary (Unknown Mortal Orchestra, Pitbull), percussionists Bobby Allende (David Byrne, Marc Anthony) and Justin Porée (Ozomatli), and backing vocalists Esther Rose and Ann & Regina McCrary of Nashville’s beloved gospel trio, The McCrary Sisters, as well as longtime collaborators like drummers Daru Jones (Nas, Talib Kweli) and Carla Azar (Autolux, Depeche Mode, Doyle Bramhall II). Singer-songwriter C.W. Stoneking also appears, contributing a stirring spoken word performance to the album’s “Abulia and Akrasia.”
BOARDING HOUSE REACH was produced by Jack White III and recorded at Third Man Studio in Nashville, TN, Sear Sound in New York, NY, and Capitol Studios in Los Angeles, CA; the album was mixed by Bill Skibbe, Joshua V. Smith, and White at Third Man Studio in Nashville, TN.
BOARDING HOUSE REACH is heralded by the rapidly acclaimed new single, “Connected By Love”, b/w “Respect Commander,” which is available now digitally worldwide and as a physical 7-inch vinyl single pressed at Third Man Pressing in Detroit, MI. In addition, a limited edition tri-color 7-inch single will be on sale for one day only, Saturday, January 13th, exclusively at Third Man Records brick & mortar stores in Nashville and Detroit.
“Connected By Love” is accompanied by a brand-new music video from director Pasqual Gutierrez – watch it now HERE. The single was greeted with rapturous global applause upon its arrival on Wednesday, with Billboard declaring the song “a classic White confessional blues burner,” and Entertainment Weekly calling it “a searing, organ-lined plea to a former flame.” NPR‘s Bob Boilen wrote, “it’s a blend of old guitar blues that is simultaneously on the edge of rock’s horizon.” “The four-year wait is over,” says Rolling Stone Jack is back with the “blistering first single” from BOARDING HOUSE REACH.
Additionally, White & Third Man Records have revealed a special BOARDING HOUSE REACH-themed Vault Package #35 which will be the ONLY limited edition of the new album, with subscriptions open today through January 31. The new package is highlighted by a limited edition, colored vinyl version of BOARDING HOUSE REACH that will be the only vinyl variation of the LP to be made available. Pressed at Third Man Pressing in the Cass Corridor of Detroit, the 180-gram, blue and black swirl vinyl edition features exclusive Vault-only cover art which dramatically depicts White’s stylized face and is printed on arresting holographic foil paper in the classic Stoughton tip-on style. The LP is further accompanied by a unique-to-this-package 12″ x 24″ insert featuring the complete album lyrics.
The BOARDING HOUSE REACH Vault package also includes a two-song demo 7-inch single, offering up embryonic versions of “Connected By Love” and the album track, “Why Walk a Dog?” The former take – billed here under its original title, “Infected By Love” – was recorded entirely by White in the aforementioned Nashville apartment. White found keyboard tones on this recording that the world’s most seasoned session musicians could not recreate in the studio and thus, some of those tones were sourced from this simple demo to be utilized on the final album version. Meanwhile, “Why Walk a Dog?” was recorded, like much of the BOARDING HOUSE REACH demos, alone at his private songwriting refuge. With its expressive synth and drum machine cadence, the track is overtly hypnotic even in this early state. Indeed, the “Connected By Love” and “Why Walk a Dog?” single provides a fascinating insight into White’s process, revealing the creative progression of his songs from inception to completion.
In addition to the recorded material, Vault Package #35 comes with three separate and exclusive photographs shot during BOARDING HOUSE REACH recording sessions. Taken by noted photographer — and White’s longtime friend — David Swanson at Sear Sound in New York and Capitol Studios in Los Angeles, these large-format, high quality glossy reproductions are exclusive to the Vault. The photographs will be coupled with three foil-stamped poetry broadsides, printed on silky metallic papers (black, white, and blue) containing White’s poems from the new album tracks, “Abulia and Akrasia,” “Ezmerelda Steals the Show,” and “Get in the Mind Shaft.”
BOARDING HOUSE REACH Vault Package #35 will also include, for the third year running, a custom 2018 Third Man Records challenge coin, complete with album-specific artwork. The substantial and stylish coin doubles as a 45 adaptor and grants its holder 10% off purchases in both Third Man Records storefronts. Past Third Man Challenge coins will no longer be valid at Third Man storefronts once Vault Package #35 ships.
Third Man Vault subscriptions are open now through January 31. All BOARDING HOUSE REACH Vault packages will ship to arrive on and as close to the album’s official March 23 street date. Learn more about this package, additional Vault benefits and subscribe now at Third Man Records HERE.
White will celebrate BOARDING HOUSE REACH with a number of just-announced headline festival performances, including Atlanta, GA’s Shaky Knees Music Festival (May 4-6), Boston Calling (May 25-27), and the Governor’s Ball Music Festival in New York (June 1-3). Additional dates will be unveiled soon and every online ticket purchased for North American headline shows will include a physical copy of BOARDING HOUSE REACH on CD with the option to upgrade to the standard black vinyl single LP. For updates and tickets, please visit jackwhiteiii.com/tour-dates.
BOARDING HOUSE REACH TRACK LIST
1. Connected By Love
2. Why Walk A Dog?
3. Corporation
4. Abulia and Akrasia
5. Hypermisophoniac
6. Ice Station Zebra
7. Over and Over and Over
8. Everything You’ve Ever Learned
9. Respect Commander
10. Ezmerelda Steals The Show
11. Get In The Mind Shaft
12. What’s Done Is Done
13. Humoresque

THE BLACK DAHLIA MURDER NIGHTBRINGERS TOUR KICKS OFF IN PITTSBURGH (Feat: DECREPIT BIRTH, REVOCATION, AND NECROT)

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.

source: Facebook

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/.

Facebook- outside of Diesel Pittsburgh

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

Revocation line-up:
David Davidson – Guitars / Vocals
Dan Gargiulo – Guitars / Vocals
Brett Bamberger – Bass / Vocals
Ash Pearson – Drums

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 Birth haven’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 PolarityAxis 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 ofNocturnal’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 online:
http://www.tbdmofficial.com
http://www.facebook.com/theblackdahliamurderofficial
http://twitter.com/bdmmetal
https://instagram.com/theblackdahliamurder_official

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

 

Aimee Mann at Carnegie Lecture Hall with special guest Ted Leo

91.3 WYEP & Opus One Present

Aimee Mann

with special guest Ted Leo
Sunday, December 17, 2017

Doors: 7pm, Music: 8pm

Carnegie Lecture Hall of Oakland
Reserved Seating Tickets: $45-$59.50

OPUS ONE PRESALE! Runs Wed 9/27 10amThu 9/28 at 11:59pm. Use Offer Code “opus” on Ticketmaster here: http://bit.ly/1217aimeemann

Tickets on sale to the public Fri, Sept 29 at 10am
Purchase By Phone: 800-745-3000

“Goose Snow Cone”: https://www.youtube.com/watch?v=fhThS-PJOFE
“Save Me”: https://www.youtube.com/watch?v=bNbTC6xLVg0

Join the Facebook Event for a chance to win two tickets & to stay updated about this show:
https://www.facebook.com/events/817238915101446/

Aimee Mann’s Mental Illness, her first album in five years, was released on March 31 via her own SuperEgo Records. The record follows 2012’s Charmer, which Rolling Stone proclaimed “shows off the more pop-oriented side to her usual acoustic tendencies.” With this follow-up, she returns to a more musically soft-spoken but still lyrically barbed approach, as heard in the album’s lead single, “Goose Snow Cone”.

Mental Illness shows off Mann’s rich, incisive and wry melancholia in an almost all-acoustic format, with a “finger-picky” style inspired by some of her favorite ‘60s and ‘70s folk-rock records, augmented by haunting strings arranged by her longtime producer, Paul Bryan. Additional players include: Jonathan Coulton on acoustic guitar and backing vocals, Jay Bellerose on drums, Jamie Edwards on piano, John Roderick as a co-writer and Ted Leo (who recently joined her in a joint side project, The Both) as a background singer.

On this eleven-track album, the Oscar-nominated, Grammy-winning singer remains a student of human behavior, drawing not just on her own experiences to form the characters in the songs but tales told by friends. “I assume the brief on me is that people think that I write these really depressing songs,” Mann says. “I don’t know—people may have a different viewpoint—but that’s my own interpretation of the cliché about me. So if they thought that my songs were very down-tempo, very depressing, very sad, and very acoustic, I thought I’d just give myself permission to write the saddest, slowest, most acoustic, if-they’re-all-waltzes-so-be-it record I could…I mean, calling it Mental Illness makes me laugh, because it is true, but it’s so blunt that it’s funny.”

After several albums with Til Tuesday, Mann began her solo career in 1993 with the album Whatever and made a name for herself through her independent success and the founding of her record label, SuperEgo Records. In addition to her solo albums, she has appeared on many film soundtracks, most notably the song score for Paul Thomas Anderson’s Magnolia, with “Save Me” landing her Academy Award and Golden Globe nominations for Best Original Song.

In 2014, Mann joined up with Ted Leo for a more rock-oriented duo project, releasing a self-titled album under the name The Both. Other extracurricular activities since Charmer ranged from playing herself on the hit TV series Portlandia to performing for President Obama and the First Lady at the White House. Named one of The Huffington Post’s “13 Funny Musicians You Should Be Following On Twitter,” Mann has gained a diehard social media following for her quick wit and stinging observation.

For a complete list of Opus One events please visit: www.opusoneproductions.com

An Intimate Acoustic Evening with Parachute | Mr. Smalls | 9.21.17

Abigail McNatt

Acoustic sets are honestly the greatest kinds of sets. Sure it is great to dance and scream along to your favorite songs, but there is something so raw and real about your favorite band performing their music stripped down and unplugged. That’s what Parachute’s current tour is all about.
On the first half of the tour, ending in Pittsburgh, they brought along Johnny Balik. Balik is from Toronto, Canada and his music is categorized as pop/R&B/soul. This was the first I had heard of him and damn am I glad I did. HIGHLY recommend checking him out. His voice is pure and raw and real and fantastic. He does what I like to call, sing-rap where he minorly sings a rap and it just flows so well. He played some originals as well as a cover or so, in his half hour set. The ladies loved him. Now, being that it was an acoustic show, there were chairs set up in aisles. So girls weren’t freaking out, especially being that he was playing acoustic as well. But they did woo and wow him throughout the set and created a long line afterwards when he stood by the merch table to meet fans. I was not a part of that group, but I certainly did enjoy his set, so much. He opened his mouth during the first song and I was like, “damn he is good.” It was his last stop on the tour and he definitely gave it his all, so bravo.
Half an hour after Balik’s set, Parachute came on. The setup was much different than their last tour when I saw them last year. They had a keyboard on stage right, a stool and mic in the middle, and a drum set stage left. Members Kit French (vocals, sax, and keyboard), Will Anderson (lead vocals, guitar, piano), and Johnny Stubblefield (drums) made their way to their spots on stage. It felt just as surreal to me as it did the first time I got to see and shoot them. I got so caught up in the show itself as well as taking photos that I forgot to write down the set list. They changed it from show to show too. During their set though they played music from all of their albums. They included a couple songs from their newly released album, “Wide Awake“, such as ‘Jennie’ and ‘Lonely With Me’. As per usual, Will likes to talk and being an acoustic show like this, there was plenty of time for that. Will talked about his wife, Courtney a bit and their different writing styles and being in Pittsburgh, he talked about his love and obsession with Heinz Ketchup and how he wrote them a letter and they sent him back a bunch of packets. Another story he likes to tell at shows is about the ever so popular, ‘Forever and Always‘. That song is so sad. So sad that it needs a disclaimer attached to it. But as he says every show, it’s not real. He made it up. He told the crowd about how an old man came up to him after their set one time and he said he was sorry, but Will didn’t have the heart to tell him it wasn’t real. After that little anecdote, they played the song and the crowd sang along. They played some oldies as well, such as ‘She Is Love‘ and ‘All That I Am‘. Parachute also inserted a cover of ‘Issues’ by Julia Michaels in there. One fan screamed she was so excited they started to play it. Normally, that wouldn’t phase anyone but again, it was an acoustic show. They played my favorite, ‘Kiss Me Slowly’ and I was just on Cloud 9. From their 2013 release “Overnight”, they played the likes of ‘Drive You Home’ and ‘Didn’t See It Coming’. They ended their set, ironically, with one of their longer songs, ‘Philadelphia’. Fans, like myself, were captivated by the band the entire night and didn’t want it to end. That is the kind of show they put on, acoustic or full set. Their music really makes you feel things you may or may not have felt before and it is an awesome thing to be able to sing along to them. I have been a fans of theirs for some time now and it only seems to get stronger the more music they release and the more shows I attend.
Their tour continues on the west coast so if you will be out there anytime soon, I suggest grabbing a ticket (they’re ridiculously cheap) and grab your friend or significant other, or even treat yourself to a show. You will be just as hypnotized as all of us were last night.
All photos ©2017 Abigail McNatt

Detroit-based saajtak @Brillobox 6/11

Drawing from eclectic backgrounds, Detroit based avant-rock quartet saajtak channels the textural experimentalism of electronic music, the timbral and rhythmic intricacies of Indian classical music, the intimate communication of Deep-Listening rooted free improvisation, and the urgency of polymetric groove. Through ritualistic collaborative sessions, the ensemble creates unique audiovisual environments and genre defying compositions.

“With their combined forces, saajtak are nothing if not unpredictable, bobbing between feverish noise and lush, operatic soundscapes with the agility of a hummingbird… it is rare to see musicians thrive in this space as saajtak [does].” – Detroit Music Magazine 

Saajtak brings meaning to each moment as they perform – eervescent, ethereal, and completely drool-worthy. One of our favorite bands in SE Michigan.” – Detroit Bureau of Sound

“Witnessing this group fuse their powers together and lock into their form of magic is nothing short of astounding. I just can’t even imagine how their songs and performances come together … Too amazing for words.” – Paul Simpson, Music Director at WCBN-FM

Propelled by a shared ainity for free improvisation, vocalist Alex Koi, electronic artist Simon Alexander-Adams, percussionist Jon Taylor and bassist Ben Willis developed a musical rapport in Creative Arts Orchestra, a large all-improvising ensemble at The University of Michigan. Since 2014, saajtak has cultivated a dynamic artistic practice, incorporating Taylor and Koi’s study of jazz, Willis’ experience in the western art music tradition, and Alexander-Adams’ work in multimedia and performance art technology. 2017 will be a busy year for the ensemble, with the spring release of their debut EP Spokes, an east coast tour, and many performances.

@Brillobox 6/11!!!

Website : www.saajtak.com

Nomadic, Indie Brett Newski solo artist at Kollar Club on 3/11

Brett Newski is coming to Pittsburgh to play at Kollar Club on March 11th

Newski’s most recent work, Land, Air, Sea, Garage, is a continuation of the world-travelled (part of the LP was recorded in Sri Lanka) smart indie rock song-writing has earned comparison to The Mountain Goats, Frank Turner, and early Weezer. Newski has really lived out passion for music and DIY values, quitting his job in 2011 to become a nomad, traveling and touring all over the world in cars full-time (as documented here in “Crusty Adventures” on his Youtube channel: LINK).

 

Brett Newski w/ Ike Reilly

Kollar Club
Friday March 11th @ 7:00 PM

More Info Here

Here’s the premiere of his new single “Everybody Knows You Can’t Sleep With Your Eyes Closed” on Glide Magazine : http://bit.ly/2k1d4DF

Here’s a killer video for the opening track “Garage”: http://bit.ly/2eL5U93

Newski also has garnered strong press buzz:

“Across nearly a dozen tracks he manages to come off as vulnerable (without all that emo baggage), extremely witty (“D.I.Y.,” is still one of the finest songs ever written about the realities of playing a show) and smart without pretention.” – New Noise Magazine

“Combining just the right amount of wit and irreverence to his earnest talents as a lyricist and composer, Newski charmed the crowd and regaled with stories of his travels and adventurous life.” – Celluloid Annoyed

The Shacks Live in Pittsburgh on February 25

The Shacks
at Rex Theater in Pittsburgh on Saturday, February 25

STREAM The Shacks EP

.
When you listen to The Shacks‘ self-titled, debut EP, you might imagine that Shannon Wise and Max Shrager are much older than their respective 18 and 20 years. But when Shannon’s whisper-vocals breeze through the speakers, you hear the youthfulness of their sound which then in turn explains the fearlessness of their songwriting.The Shacks EP was released on October 7 via Big Crown Records.
The Shacks will be at Rex Theater on Saturday, February 25
Watch  “Orchids”:
https://youtu.be/v7OCVkxAwV0

Saturday, February 259:00pm
The Shacks @ Rex Theater

1602 E Carson St
Pittsburgh, PA
$12
18+
http://www.rextheater.com/

Both vaguely familiar and completely fresh, The Shacks are one of the most interesting NYC bands to surface in a minute. Since the release of their first single, “Strange Boy,” which they recorded with El Michels Affair, The Shackshave been compared to 90’s indie icons like Mazzy Star, Jesus and Mary Chain, and Broadcast.  As good as those bands are, you wouldn’t find a single one of their records in Max and Shannon’s music collection. All these bands are drinking from the same well, just 20 years apart.
Watch  “Strange Boy”:
https://youtu.be/IxcDklMgidk
“Wise’s voice belies her age, and with Shrager’s production, this sounds like the early work of a force to be reckoned with”
NPR Music’s World Cafe Live

“The song and video make a case for the compelling power of minimalism and quiet beauty”
– The A.V. Club

“The Shacks rough up your doo-wop but stay sweet”
– 
FLOOD Magazine

Kathy Griffin’s Celebrity Run-In Tour- Heinz Hall March 26 (pre-sale code)

Delta Foundation of Pittsburgh & Pittsburgh Cultural Trust PresentKathy Griffin’s Celebrity Run-In Tour
Heinz Hall (Pittsburgh)
Sunday, March 26, 2017
7:30 PM
$43.25
Tickets
We are proud to support Delta Foundation of Pittsburgh and Pittsburgh Cultural Trust, who are presenting Kathy Griffin at the Benedum Center on March 26th!

Use the code “DRUSKY” tomorrow, Tuesday, January 24th at 11AM at TrustArts.org, to unlock the exclusive presale for tickets!

Fanburst: a music sharing platform for artists

The best way to describe Fanburst? Think of Fanburst like a Youtube or Soundcloud –

but just for music.

fanburst-comWhat makes Fanburst ideal for artists? Unlimited uploads and downloads, no limits on anything. Fanburst also has a bunch of other features they are rolling out, and the goal is to help artists make money selling merch, concert tix, and growing their fanbase.  Sounds like a win/win.

Fanburst was built on simple philosophies: They think it’s backwards to charge artists for sharing their music.
Their goal is to help artists share music with their fans and earn a living while doing it.  Albums don’t belong on Mediafire or Zippyshare. The Internet has been an amazing place for singles, mixes, and individual recordings, but albums, EPs, and mixtapes desperately need a home, too.  The Internet doesn’t have borders, so why should music? It’s important to be able to reach all of your fans at once. All countries are equal; geoblocking hurts artists and fans.  Plays are an outdated metric. Modern artists need to be more concerned with retaining and growing their fanbase. Just like a tech company would measure “monthly active users,” we believe artists need to measure their “monthly active fans.”  Sign up here and import your music to get started.

Fanburst has tens of thousands of artists – especially independent artists. It’s a great place to get discovered and get new fans…check it out here to get started.

Amar John, “Paint Dat” 23-year-old Bronx rapper with a nimble flow

unnamed-6Bronx, New York rapper Amar John presents his new single “Paint Dat”, produced by Steven Sharp. Amar says the song is about “finding success in the midst of pressure, adversity, and internal conflicts, while maintaining composure, and motivation to persevere. It also explains how the average person in this position, with trust issues, finds balance for these negatives by focusing on things on the opposite polarity, such as drugs, jewelry, and women.” Lexibanks produced Amar’s last single “Angels & Demons” (Soundcloud).

SANCTUARY – announce “Inception” album details and launch trailer

Century Media Records and legendary US metal act SANCTUARY have set February 24th, 2017 as the release date of Inception, the official prequel to 1988’s classic debut “Refuge Denied”.
unnamedInception contains presumed lost 1986 studio recordings, which guitarist Lenny Rutledge discovered recently and which were magically restored, remixed and remastered by Zeuss (Queensrÿche, Hatebreed). You can watch the first video trailer here.
Guitarist Lenny Rutledge comments: “I found the masters in my barn. The second floor of the barn is on top of our current recording studio and is very rough and open to the elements. The ground level is where we recorded the bulk of ‘The Year The Sun Died’. We found the masters in an unknown box in the barn, full of water and just wasting away.
Zeuss explains further how the Inception album was realized: “I got a call one day and Lenny said that he had discovered these tapes and had them transferred to digital. I was in the area and stopped over to check it out. The recordings were still in decent shape. We agreed that we wanted it to sound as good as possible without taking away from the original vibe and vision of what the band had back then. After a year of mixing on and off we were able to resurrect these original demos. I hope everyone enjoys these recordings as much as I did working on them especially being a huge fan myself.
Recorded in March of 1986 (“Soldiers Of Steel”, “Battle Angels”) at Triad Studios in Redmond, Washington and Studio One in White Center between April and July 1986, Inception offers such previously unreleased highlights as “Dream of The Incubus” and “I Am Insane” as well as several classic Refuge Denied songs that are burning with fervour and intensity.
Apart from being expanded by art courtesy of Ed Repka, Inception is filled to the brim with tons of rare photos, flyers, early art designs, sketches plus detailed liner notes allowing you to delve deep into SANCTUARY’s history.
Inception will be released as Gatefold LP on 180 gram black and limited colored vinyl, includes an extensive LP-size booklet, poster, and the album on CD as additional extra. Apart from that it will be available as Special Edition CD Digipak and digital album.
Lenny concludes: “For me personally, I just wanted fans to be able to hear proper versions of the demos. They had a certain energy that was captured during the early days, maybe even more so than “Refuge Denied”. It’s no secret that you can find these on the internet but the quality is horrible. I think most people are under the impression that these are remastered or re-recorded versions of Refuge…”, but this is all a prequel!
With several European festivals already booked for next year, a new album in the works, Inception being released, 2017 shall be the year when past and future of SANCTUARY unite. Look forward to the next assault of the soldiers of steel!
TRACKLISTING
1. Dream Of The Incubus
2. Die For My Sins
3. Soldiers Of Steel
4. Death Rider / Third War
5. White Rabbit (Jefferson Airplane cover)
6. Ascension To Destiny
7. Battle Angels
8. I Am Insane
9. Veil Of Disguise

Queensrhyce Tonight Dec 7 @RexTheater

QUEENSRYCHE Release New Music Video for “Hellfire”

On ‘Condition Human’ Headlining Tour In North America

Seattle based heavy metal icons QUEENSRYCHE are nearing the end of their ‘Condition Human’ world tour, which has now brought them back to North America on Fall a headlining run. Continuing to build on the momentum of their latest studio album, the band has released a visceral new music video for their song “Hellfire”, which spotlights the Malaysian passenger flight crisis in 2014. Speaking about the influence and subject matter for the new video, vocalist Todd La Torre states,

“‘Hellfire’ is a depiction primarily based on the tragic events surrounding the Malaysian airline flight MH17. Despite the storyline’s foundation, the lyrical and visual narrative transcends into other pertinent, global subject matters. Civil unrest, guerrilla warfare, media propaganda, and social inequalities are just some examples of the multifaceted issues marbled throughout ‘Hellfire’. A poignant illustration of an unfortunate yet timeless reality.” 

Queensryche – “Hellfire” (Official Music Video)
QUEENSRYCHE Online
Website: www.queensrycheofficial.com
Facebookwww.facebook.com/queensrycheofficial
Twitterwww.twitter.com/queensryche
Instagram: www.instagram.com/queensrycheofficial
QUEENSRYCHE – ‘Condition Human’ North American Fall Tour

Tuesday, December 6th – New York, NY @ Irving Plaza
Wednesday, December 7th – Pittsburgh, PA @ Rex Theatre
Thursday, December 8th – Chesterfield, MI @ Diesel Lounge
Saturday, December 10th – Sioux City, IA @ Anthem at Hard Rock Hotel & Casino
Sunday, December 11th – Peoria, IL @ Limelight
Tuesday, December 13th – Omaha, NE @ The Waiting Room
Wednesday, December 14th – Overland Park, KS @ Kanza Hall
Thursday, December 15th – Colorado Springs, CO @ The Black Sheep
Friday, December 16th – West Wendover, NV @ Peppermill Hotel & Casino

M83 Announces Collaboration with Cirque du Soleil

Montreal, December 5, 2016 – As tickets go on sale to the public today, Cirque du Soleil is thrilled to announce that international artist M83 is the composer and musical director of Cirque du Soleil VOLTATM, its new production presented by Sun Life Global Investments for next spring. After record-breaking sales in Montreal this year, the show will be presented under the Big Top in the Old Port starting April 20, 2017.

Photo by Andrew Arthur
Photo by Andrew Arthur

Anthony Gonzalez, the sonic author behind the sublime sound of M83 is known for his epic space-age future pop. In 2011, the Grammy-nominated album Hurry Up, We’re Dreaming revealed M83 to mainstream audiences with the hit single “Midnight City.”

“We have been following the work of M83 for many years and have always been convinced of the incredible potential of integrating his music to a Cirque du Soleil production,” says director of creation Jean Guibert.  “VOLTA is a contemporary show brimming with energy, but it is also deeply human and theatrical. We were seduced by Anthony’s ability to create melodies that are both epic and poetic and transcend the heart and soul. We are honored that he agreed to lend his talent to this project,” explains writer and director Bastien Alexandre.

About his collaboration with Cirque du Soleil, Gonzalez says: “When Jean and Bastien first approached me, I was immediately excited about the idea of working with Cirque du Soleil. Not just because they are a company known throughout the world, but also because I was deeply attracted by the story of VOLTA, and the spirit that underpins the show. The story of VOLTA is ours. It is a tale of a generation who is calling for change and I was very keen to contribute to telling this story. I’m deeply honored to be part of the Cirque team and it’s a wonderful new challenge in unknown territory for me. Ultimately, it’s challenges like this that I find so inspiring and drive me to make the music that I do.”

VOLTA tells a spellbinding story about the freedom to choose and the thrill of blazing your own trail. Inspired in part by the adventurous spirit that fuels the culture of action sports, the show weaves the adrenaline rush of acrobatics into a visually striking world driven by a stirring melodic score.

Tickets Information
VOLTA will be presented under the Big Top in Montreal’s Old Port starting April 20, 2017. Tickets can be purchased for these performances online starting today at www.cirquedusoleil.com/volta

M83: WEBSITE | FACEBOOK | TWITTER | YOUTUBE | SPOTIFY

MUTE: WEBSITE | FACEBOOK | TWITTER | TUMBLR | SOUNDCLOUD

BUY JUNK HERE

Bobaflex @Diesel Club Lounge in Pittsburgh on Tuesday, December 13th

Diesel Club Lounge, Pittsburgh on Tuesday, December 13th

all ages show.
b-cd-anything-that-moves

Originating in Mason, West Virginia, Bobaflex released their 6th full length studio album Anything That Moves on July 17th, 2015.  It was their 7th overall as an EP was released in 2010.   The band has been on a nonstop tour through 2016 to support the effort.   The band has been on the road for the better part of the year.     This last tour will run November 18th – December 22nd and will be time to hit the studio for their next album.

 

Anything That Moves has received radio airplay for the first two singles Mama (Don’t Take My Drugs Away) and A Spider In The Dark.

 

The idea of Bobaflex formed back in 1998 between brothers, Shaun and Marty McCoy.  At the time, Shaun was attending Marshall University.  The band built up a local following and by March 2003 everything came together and the band was signed by Eclipse Records to release their first full length album Primitive Epic.   They band went on to TvT Records where they released two albums in Apologize for Nothing (2005) and Tales From Dirt Town (2007).   The label went bankrupt in 2009.

 

The band decided to go the independent route and started their own label, BFX Records in 2010 in order to control their own destiny.   They released an EP in 2010 called Chemical Valley which started to put them on the map with their song Bury Me With My Guns On and Chemical Valley.   With the exception of a re-recorded version of 2007’s HOME, all the songs on the EP would become part of their next full release in 2011 Hell In My Heart which featured 16 songs and their top selling single to date Bury Me With My Guns On and their very popular cover of The Sound Of Silence (Simon-Garfunkel).   The album received physical distribution through Megaforce.

 

Hell In My Heart was followed in 2013 with Charlatan’s Web which included three radio singles BAD MAN, I’M GLAD YOU’RE DEAD And NEVER COMING BACK.

 

Bobaflex are:

 

Marty McCoy – guitar / vocals

Shaun McCoy – guitar / vocals

Dave Tipple – guitar / vocals

Tommy Johnson – drums

Jymmy Tolland – bass

 

WEBSITES:

http://www.theofficialbobaflex.com/

https://www.instagram.com/therealbobaflex/

https://twitter.com/bobaflex

https://www.facebook.com/Bobaflex/

https://www.youtube.com/user/theofficialbobaflex/featured

Red Fang, Whores, and Torche Coming to Pittsburgh 12/7 @SpiritPgh

Fresh off releasing their new LP titled GOLD. on 10/28 via eOne Music, the largest 

photo: Chad Hess
photo: Chad Hess

independent label in North America, Atlanta power trio WHORES. is coming to Pittsburgh.

 Details:
Dec 07 – Spirit Lounge w/ Red Fang and Torche Pittsburgh, PA
 Since their inception in 2010, Whores. has laid waste to both presumption and audial functioning. Natives of Atlanta, Georgia, members Christian Lembach(vocals/guitars), Donnie Adkinson (drums), and Casey Maxwell (bass) have spent the last six years establishing Whores. as one of heavy music’s most distinctive acts thanks to the formidable combination of the group’s punk ethos and the ferocity of their sound. Confrontational and relentless, the music of Whores. will now be seen and heard in its fully formed state with the groups debut full-length.

Beginning with 2011’s Ruiner EP (Brutal Panda), Whores. brought a welcomed new vision to the often-tired “extreme music” scene. Two years later saw the release of the Clean. EP (Brutal Panda), a six-track musical display of visceral anchor and songwriting brilliance. Highly anticipated by critics and fans alike,Clean. sold out within a month, prompting the group to release a second pressing. Touted by SPIN as one of 2013’s ‘Best Metal Albums’, Clean. simply reaffirmed what listeners had suspected all along. Whores. isn’t here to fuck around.
With the 2014 release of the Whores./Rabbits split (Brutal Panda) which included the group’s powerful cover of The Cure’s “Jumping Someone Else’sTrain”, the expectation for a full-length became even more apparent, but pushing product isn’t the group’s line of work. For Whores., the cavalcade of anticipation provides no pressure or expectation as Lembach states: “We done just want to fill in the blanks.” The only pressure here is to maintain authenticity,and to that end, Whores. are the quintessential example of genuine malice.
“You have to bring a sense of realness to [the music], otherwise it’s fake, and it sounds fake. You have to be honest about it, and it’s about getting to the really ugly stuff inside of you, and that’s what we do.” Whores. has eagerly shared that ugliness with their audience having crisscrossed the US four times on separate tours, including headlining shows and stops at festivals like SXSW, SpilloverFest, Fun Fun Fun Fest, and much more. To that end, the band’s tireless dedication to the road is simply a mirrored image of their music’s relentless power, an attribute that has undoubtedly resulted in their most unforgiving effort yet, proof that good and heavy things come to those who wait.

no-portland

 

https://www.facebook.com/Whores-108004672554176

https://instagram.com/whoresband/

https://whores.bandcamp.com

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

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

STYX SALUTES NEWEST MEMBER OF THE FOOTBALL HALL OF FAME PITTSBURGH STEELERS LINEBACKER KEVIN GREENE AS PART OF PITTSBURGH CONCERT OCTOBER 1

BAND SET TO PERFORM NATIONAL ANTHEM

AT PITTSBURGH STEELERS/KANSAS CITY CHIEFS GAME

DURING “SUNDAY NIGHT FOOTBALL
OCTOBER 2

As any STYX fan in Pittsburgh, PA knows, their signature track “Renegade” has been an adopted theme song of the Pittsburgh Steelers football team for over a decade. They’ve sung the national anthem at many Steelers games in recent years and they’ll be proudly singing it once again at the Steelers vs. Kansas City Chiefs game on Sunday, October 2, which will be nationally televised on NBC’s “Sunday Night Football” at 5:30pm PT/8:30pm ET.

 

That same weekend, on Saturday, October 1, the band will dedicate their headlining show at Benedum Theatre in Pittsburgh to former Steelers Linebacker Kevin Greene, who was inducted into the Pro Football Hall of Fame on August 6, 2016. In his career, he played 228 games in 15 seasons, garnering 160.0 sacks, and being named to appear on the 1990’s All-Decade Team. Tickets are available on the venue’s website.

 

Kevin Greene will be awarded his Hall of Fame ring at Sunday’s game as part of a ceremony taking place at halftime.

 

As founder/guitarist/vocalist James “JY” Young explains, “STYX met Kevin Greene for the first time when we performed at the Super Bowl in 2001. We were impressed with Kevin’s football career as well as the fact that he is a huge STYX fan from Southern Illinois. We’re profoundly honored to be a part of the Pittsburgh tradition of celebrating their Hall of Fame Inductees, especially this time as Kevin is being inducted. He’s a great guy, friend and football player. STYX is proud to be a part of the traditions as ‘Renegade’ has become a part of the 21st century Steeler Culture.”

 

“I grew up in Southern Illinois a STYX fan,” continues Kevin Greene.” It was great to finally meet the guys in 2001. We have been friends ever since, and I’m excited that my beloved Steelers have adopted the STYX song ‘Renegade’ as the unofficial Steeler fight song in the new millennium. Looking forward to a great concert Saturday in Pittsburgh. I’ll be there!!!”

 

The love for “Renegade” at all Steelers games started at a playoff game against the Cleveland Browns on January 5, 2002. The Steelers were down 24-7 well into the third quarter. During a commercial break, a crew member at Heinz Field (home of the Steelers) decided to play “Renegade” in an effort to get the fans riled up and boost the momentum of the team. It was a moment that helped the team come back to win the game 36-33 and subsequently change Steelers history. Now, during the third quarter of Steelers home games, a video compilation of defensive plays are shown with “Renegade” playing in the background.

 

 

MACON, GA - OCTOBER 04:  Rock Group STYX L/R: Chuck Panozzo, Ricky Phillips, Todd Sucherman, Tommy Shaw, James "J.Y." Young and Lawrence Gowan. Portrait shoot at Macon City Auditorium on October 4, 2014 in Macon, Georgia.  (Photo by Rick Diamond/Getty Images for STYX)
MACON, GA – OCTOBER 04: Rock Group STYX L/R: Chuck Panozzo, Ricky Phillips, Todd Sucherman, Tommy Shaw, James “J.Y.” Young and Lawrence Gowan. Portrait shoot at Macon City Auditorium on October 4, 2014 in Macon, Georgia. (Photo by Rick Diamond/Getty Images for STYX)

In further STYX news, the band–Tommy Shaw (vocals, guitars), James “JY” Young (vocals, guitars), Lawrence Gowan (vocals, keyboards), Todd Sucherman (drums) and Ricky Phillips (bass), along with the occasional surprise appearance by original bassist Chuck Panozzo—is already planning their schedule for 2017 which will include a five-night limited engagement with very special guest star DON FELDER—formerly of the Eagles–at The Venetian Theatre inside The Venetian Las Vegas. The show, “Styx & Don Felder: Renegades In The Fast Lane,” will be held on January 6, 7, 11, 13 and 14, 2017. Tickets are on sale now at www.Venetian.com/StyxFelder.

 

For “Styx & Don Felder: Renegades In The Fast Lane,” STYX has created an exclusive set list and brand new stage production, while DON FELDER is also working on some exciting plans of his own for the Vegas extravaganza. The multi-show run will pay tribute to both STYX’s and DON FELDER’s combined 45-plus years as one of the most successful rock and roll bands in history and one of rock’s most illustrious guitar legends.

 

Meanwhile, September 2 marked the long-awaited release date of STYX: LIVE AT THE ORLEANS ARENA LAS VEGAS on DVD, Blu-ray and Digital Formats via Eagle Rock Entertainment. It captures the band performing in July 2014 such fan favorites as:  “Too Much Time On My Hands.” “Fooling Yourself (The Angry Young Man),” “Renegade,” and more. It also includes a special surprise visit from DON FELDER for a rousing performance of “Blue Collar Man (Long Nights).”

 

www.styxworld.com

www.facebook.com/styxtheband

www.twitter.com/styxtheband

http://www.instagram.com/styxtheband

www.youtube.com/styxtheband

12th Annual Voices Carry for Auberle Sets All-Time Event Record

voices-9912th Annual Voices Carry for Auberle Sets All-Time Event Record; Raises $150,321 for At-Risk Children and Families in Southwestern Pennsylvania Pittsburgh, PA – On Tuesday, September 20, over 450 guests joined Auberle at Stage AE for the 12th Annual Voices Carry fundraiser presented by Huntington Bank. This year’s event culminated with the most successful Voices Carry ever, setting records in money raised, $150,321 and attendance. Guests were treated to an outstanding performance by emcee Randy Baumann of the WDVE 102.5 Morning Show and performances by Donnie Iris, Jeff Jimerson, Scott Blasey of the Clarks, and Etta Cox just to name a few. The night also featured a special tribute as well as a slideshow acknowledgment to Pittsburgh’s own B.E. Taylor, who donated his talent countless times to Voices Carry over the years. Auberle also highlighted the success of the organization’s mission of helping troubled children and families and one of their newest programs, the 412 Youth Zone, in separate video montages. Those videos can be found on Auberle’s Youtube channel and can be viewed by clicking https://www.youtube.com/user/AuberleMck. Voices Carry was launched to raise awareness and funds for Auberle’s 16 program areas that provide services to over 3,400 at-risk children and families each year. About Auberle: Since 1952, Auberle has been dedicated to community, strong families and successful youth. Auberle serves over 3,400 at-risk children and families annually in eight counties in southwestern Pennsylvania. Today, we offer 16 programs including preventative and community-based services, with about 60% of our clients served in their home, school or in their community. Auberle’s services include workforce development and on-the job training, independent living and transitional-age youth programs, foster care, residential care and emergency shelter, in-home intervention, drug and alcohol and mental health programs and education. Auberle is a recipient of the Wishart Award for Excellence in Non-Profit Management and was named Agency of the Year in the United States by the Alliance for Strong Families and Communities.

SUPERJOINT Premieres New Track At Revolver Magazine

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

 

Zakk Sabbath (Zakk Wylde side project) coming with Clutch and Kyng Oct 1 to Stage AE

zsb_zg_reaperfront_01_2_ZAKK SABBATH is a side project featuring guitarist/vocalist Wylde, bassist Blasko (OZZY OSBOURNE, ROB ZOMBIE) and drummer Joey Castillo (DANZIG, QUEENS OF THE STONE AGE) performing only BLACK SABBATH SONGS.  If that does not get your metal blood rolling then, you are probably dead inside.  With a new  guitar/amp company dubbed Wylde Audio, his worldwide merch and coffee business, and the release of and tour behind Book of Shadows II, where does the man find time?ZW10

Add to this the unbelievable KYNG and legendary CLUTCH, well this could be the show of the year.

Details:
See you there!!!

HONKY: Texas-Based Superboogie Trio Announces More Live Dates

unnamed-21Texas-based superboogie trio HONKY, who spent much of the Summer waging their Lone Star booty-shakers upon European ears, will return to local stages next week for a short run of live dates through Texas and Louisiana with WhiskeyDick and Pure Luck. See all confirmed dates below.

HONKY features long time Butthole Surfers/part time Melvins bassist JD Pinkus, guitarist Bobby Ed Landgraf (Down, Skrew), and drummer Trinidad Leal (Dixie Witch). The band released their deliciously infectious Corduroy full-length earlier this year via Housecore Records. Produced by Pinkus and mastered by Paul Leary with artwork and layout by Ryan Everett, Corduroy boasts a talented cast of bashers alongside Leal including Michael “Night Train” Brueggen (Blackula, Syrup, Supagroup), Dale Crover (Melvins), and original HONKY drummer, Lance Farley as well as guest appearances from Mark “Speedy” Gonzales and the Fantasma Horns, and the band’s favorite Honkette, Rae Comeau.

Check out Corduroy, still streaming courtesy of Revolver Magazine, at THIS LOCATION. For CD and blue vinyl orders, go to THIS LOCATION.

 

HONKY:

9/16/2016 Jack’s Bar – San Antonio, TX w/ WhiskeyDick, Pure Luck

9/17/2016 White Oaks – Houston, TX w/ WhiskeyDick, Pure Luck

9/18/2016 The District –  Lafayette, LA w/ WhiskeyDick, Pure Luck

9/20/2016 Siberia – New Orleans, LA w/ WhiskeyDick, Pure Luck

9/21/2016 Rockin Blues Cafe – Covington, LA w/ WhiskeyDick, Pure Luck

9/22/2016 Grizzly Hall – Austin, TX w/ WhiskeyDick, Pure Luck

9/24/2016 Curtain Club – Dallas, TX w/ WhiskeyDick

HONKY was founded in 1996 and proudly carries the torch held by the likes of Bloodrock, Pantera, ZZ Top, and the red-headed stranger himself, Mr. Willie Nelson. Over the course of two decades, the band has released some of the best stripped down, butt-shakin’, rock ever cut to wax, tape, or CD.

“New twists on old formulas are always welcome, but they’re also unnecessary for an act with a black belt in boogie.” – The Austin Chronicle

Corduroy is nine tracks of heavy rock where the dominant underlying subject is having a damn good time…” – New Noise Magazine

“Flawless, 1970s-inspired guitar rock…” – Heavy Metal Textbooks

 “…it’s not often that you find a band that gets better with each and every album. HONKY is absolutely one of those few bands…” – Enfocus

“…there aren’t many bands that can successfully try and compete with Dusty, Frank and The Reverend Willy G but HONKY are out to at least bask in the reflected glory by playing the same kind of swaggering Texan blues rock as The Top with the Southern Trendkill of Pantera thrown in to make sure your hips are shaking and your teeth get kicked in… this is good shit” – Musipedia Of Metal

 “…just about as fine a bluesy boogie you’re gonna get anywhere this side of [ZZ Top’s] ‘Tush,’ or, ‘Sharp Dressed Man.” — Maximum Volume Music
http://www.facebook.com/TeamHonky
http://www.facebook.com/honky

BRAIN TENTACLES Shares New Music Video For “Fruitcake” Via Clrvynt

BRAIN TENTACLES Shares New Music Video For “Fruitcake” Via Clrvynt
[photo by D. Randall Blythe]
Rising avant-garde trio BRAIN TENTACLES has just shared a new music video for their new single “Fruitcake,” taken from the band’s forthcoming self-titled debut. The clip is currently playing at Clrvynt observing of the band overall, “This collaboration between Bruce Lamont, Dave Witte, and Aaron Dallison makes music that veers from sinewy and crushingly loud to surreal and carnival-esque and back again at breathtaking speeds. Given its members’ musical reach, though, the expansive sound heard on their self-titled debut comes as no surprise.”
Comments Dallison of the visual accompaniment to “Fruitcake,” “We are super stoked at the visual splendor that Don Tyler brought to the table in the creation of this video! We hope everyone else enjoys as well.”
View the “delightfully ludicrous” “Fruitcake” video alongside an in-depth interview with Lamont and Witte who talk “great beer, great bars, and the range of music they’ve played” at THIS LOCATION.
The first new song from the album, “The Sadist,” recently premiered via Decibel Magazine and can be heard at THIS LOCATION. You can also stream the album trackKingda Ka” (which was previously released on a split with labelmates Ringworm) HERE.
Brain Tentacles will be released September 30th on CD, LP, and digitally via Relapse Records. Physical and digital preorders are available at THIS LOCATION.
The self-titled debut album from mind-melting metallic jazz trio BRAIN TENTACLES is a journey in improvised and structured experimental sound from three venerable scene veterans. Featuring Bruce Lamont (Yakuza, Bloodiest, Corrections House etc.) on horns, voice, electric piano, and synth, Dave Witte (Discordance Axis, Municipal Waste, Deny The Cross etc.) on drums, and Aaron Dallison (Keelhaul) on bass, voice, and synth, Brain Tentacles sees the three-piece weaving their way through twisted, seizure-inducing compositions that call to mind the insanity of John Zorn’s storied project Naked City and Mike Patton’s most erratic experiments. The BRAIN TENTACLES collective are masters of tension with the album moving unpredictably from mathy chaos to ponderous, juddering grooves that warp time in their wake, darting from one extreme to the other via insane rhythms and truly progressive, expansive songwriting. Occasional vocals (including a guest appearance from Oxbow’s Eugene Robinson) lend an even sharper edge to the album, which is sure to blow away fans of instrumental and vocal-driven music alike. The record was produced by Sanford Parker (Minsk, Yob, etc.) and features artwork by Jef Whitehead of Leviathan!
BRAIN TENTACLES will be supporting dissonant death metal legends Gorguts and stoner/prog heavyweights Intronaut on a month-long tour of North America this coming October. The tour will kick off in Boston on October 3rd and run through October 30th. Check out a full itinerary below.
BRAIN TENTACLES w/ Gorguts, Intronaut:
10/03/2016 Brighton Music Hall – Boston, MA
10/04/2016 Les Foufounes Electriques – Montreal, QC
10/05/2016 Maverick’s – Ottawa, ON
10/06/2016 Hard Luck – Toronto, ON
10/07/2016 Agora Ballroom – Cleveland, OH
10/08/2016 Subterranean – Chicago, IL
10/09/2016 Cabooze – Minneapolis, MN
10/10/2016 The Park Theatre – Winnipeg, MB
10/11/2016 The Exchange – Regina, SK
10/12/2016 The Starlite Room – Edmonton, AB
10/14/2016 Rickshaw Theatre – Vancouver, BC
10/15/2016 Studio 7 – Seattle, WA
10/16/2016 Panic Room – Portland, OR
10/19/2016 DNA Lounge – San Francisco, CA
10/20/2016 The Roxy – Los Angeles, CA
10/21/2016 Brick By Brick – San Diego, CA
10/22/2016 Club Club Red – Mesa, AZ
10/24/2016 Rail Club – Fort Worth, TX
10/25/2016 Dirty Dog Bar –  Austin, TX
10/27/2016 Masquerade – Atlanta, GA
10/28/2016 Metro Gallery – Baltimore, MD
10/29/2016 Voltage Lounge – Philadelphia, PA
10/30/2016 Le Poisson Rouge – New York, NY

ALISSA Solo Project Of Alissa White-Gluz Signs To Napalm Records

unnamed-1
(Photo Credit: Jeremy Saffer)

The global metal scene recognizes Alissa White-Gluz for her unforgettable and inimitable work as the vocalist of iconic metal band Arch Enemy. At this point in her career, the versatile singer has worked steadily in heavy bands for half her life. The impactful frontwoman has cultivated her style and her sound through years of writing, recording, touring, and old fashioned, iron-clad work ethic. Alissa is armed with equal skill and experience, as well as abundant artistic confidence, and is backed by the fact that music lovers all over the world are eager to hear more of her astonishing range. That’s why White-Gluz is doing something new.

It’s an entity dubbed simply “ALISSA” and her brand new solo project has now been worldwide signed by Napalm Records.
First things first – White-Gluz remains firmly installed in her role as the frontwoman of Arch Enemy. That status has not and will not change. “ALISSA” is more of a musical collective, led by White-Gluz and featuring contributions from her wide network of also-talented friends, like an own creative commune with little in the way of rules, regulations, or limits.
Alissa White-Gluz & Thomas Caser (Napalm Records CEO)
So what is ALISSA all about?Alissa White-Gluzon her signing with Napalm Records:
 
 “I’m excited to announce that I am currently composing and building my first solo album for the project aptly and honestly entitled “ALISSA” which will see some more of my creative adventures unleashed. It is a welcome creative outlet to unlock all of my lyrical and musical vaults with zero restriction or pressure to conform to any particular style or era. I also pay close attention to what my fans want – I haven’t been ignoring the consistent requests for my clean singing voice! With Angela Gossow as management and Napalm Records just as passionate as I am about this new project, I’m fortunate to have found a home amongst friends and colleagues who are supportive and encouraging of my full musical spectrum. This album will also feature members of the Arch Enemy family, both current and past, as well as many of the other great artists I have had the pleasure of sharing a stage with throughout my career. So many respected artists have invited me into their music over the years, now it’s time to bring them into my world. 
 Thank you to all my incredible fans around the world – this music is for you!”
Thomas Caser, Napalm Records CEO states:
A true pleasure to announce this signing today. We are looking forward to this cooperation with one of the most talented front-ladies and artist in today’s business!”
 
The ALISSA project is about style and substance, with White-Gluz affirming,“This album will be very personal. I have a lot of ideas, songs, lyrics, and compositions built up in my brain over the years, I want to get them out this way.” White-Gluz is stretching her creative muscles and trying new things in a dynamic way.
Most people know Alissa from being in Arch Enemy, where she focuses mostly on her growling vocals. With creating ALISSA it is the perfect platform for presenting her clean singing voice more often as well as delivering other techniques we all have heard from other works with bands. While the project is taking shape, some of the confirmed guests so far include past and present members of Arch Enemy and Kamelot, as well as Doyle from The Misfits. More creative partnerships will be revealed as this exciting and delightfully nebulous project develops and grows. In the meantime, White-Gluz continues to flesh out the material while recruiting players.
 
ALISSA is essentially another vehicle for White-Gluz to display her talents and an entity that has no boundaries and therein lies the musical thrill – for Alissa White-Gluz and her listeners. An album is already scheduled for 2017 and tour dates will follow around the album release as well.
Stay tuned for many more exciting details & info to follow!
For More Info Visit:
www.facebook.com/napalmrecords

CHARRED WALLS OF THE DAMNED’s Richard Christy Launches Drum Play-Through For New Track, “My Eyes”

Charred Walls Of The Damned – the brainchild of former Death/Iced Earthdrummer Richard Christy – will release their third full-length, Creatures Watching Over The Dead, on September 23rd via Metal Blade Records. Today, Richard Christy has launched a drum play-through for the new track, “My Eyes”, which can be viewed below:

unnamedFor another preview of Creatures Watching Over The Dead, the first single,”The Soulless”, can be heard now at: metalblade.com/cwotd – where the record is also available for pre-order in various formats.

With five years having elapsed since the quartet dropped Cold Winds On Timeless Days, it’s understandable that fans have been yearning for more, butCharred Walls Of The Damned has not exactly been sitting around, kicking their heels. Christy – who has previously played with Iced Earth, Death, Control Denied, Burning Inside and Leash Law – played drums on Monte Pittman‘s Inverted Grasp Of Balance, wrote music for New York State‘s “The Great Jack O’Lantern Blaze” event, and co-wrote a heavy metal comedy Viking rock opera with guitarist Jason Suecof and Titmouse Animation, titled “Majestic Loincloth”. Suecof is of course one of the most in demand producers in contemporary metal. Then there’s legendary bassist Steve DiGiorgio, who made a name for himself in the ranks of Death, Testament, Vintersorg, Dragonlord and a myriad of other great metal bands; in recent years, he has laid down his inimitable style on records from Ephel Duath, Soen, Memorain and others. Which just leaves vocalist Tim “Ripper” Owens, who for a time fronted Judas Priest, before lending his formidable pipes toIced Earth and Yngwie Malmsteen‘s mighty compositions, touring relentlessly under his own name, and starting a new band (Project Rock).

When it was time to lay the songs down, Charred Walls Of The Damnedconvened at Suecof’s Audiohammer Studio, outside Orlando, FL. The nine resulting tracks are heavy, catchy, anthemic and downright killer music to wreck your neck to. See below for the official track-listing!

Creatures Watching Over the Dead track-listing
1. My Eyes
2. The Soulless
3. Afterlife
4. As I Catch My Breath
5. Lies
6. Reach into the Light
7. Tear Me Down
8. Living in the Shadow of Yesterday
9. Time Has Passed

Charred Walls Of The Damned line-up:
Richard Christy – Drums
Jason Suecof – Guitar, Producer
Tim “Ripper” Owens – Vocals
Steve Digiorgio – Bass

Charred Walls Of The Damned online:
http://www.richardchristy.com
https://www.facebook.com/charredwallsofthedamned
https://twitter.com/cwotd

Christian Lopez Band @ClubCafe 10/3

Christian Lopez Band is in the midst of promoting its debut album, Onward, which was released May 19th via Blaster Records.  (For a full list of confirmed upcoming tour dates please visit: www.christianlopezband.com/tour/.) Produced by Dave Cobb (Sturgill Simpson, Jason Isbell), Onward features ten songs written by the band’s 19-year-old namesake, which tackle themes of love, perseverance, coming of age and an appreciation for where you are in life.  The lone cover on the album is a spirited version of the public domain Gospel song “Oh Those Tombs” that was later popularized by Hank Williams. The video for “Leaving It Out” so impressed CMT that they premiered the clip in August on the music-intensive CMT Pure;  a live performance clip of the song “Goodbye” also aired around album release on the channel.  A video of an acoustic version of one of the album’s tracks, “Seven Years,” is set to premiere at The Bluegrass Situation this week.

American Songwriter:  “Put any preconceptions on the shelf and it’s easy to see that Christian Lopez has a rich career ahead of him. It’s a concept he alludes to in the disc’s forward looking title and proves on every song of this impressive first effort.”
Stereo Subversion: “…it’s Lopez’ acoustic guitar and his soulful voice that pulls deeply on the heartstrings and shines brightest. …[His music] can be revelatory; a much-needed salve for all of the lacquered up bruises brought on by contemporary country and Music Row. …In a noisy realm of new bands and artists, Lopez could be a standout just based on his songwriting ability alone.”

Alternate Root: “There are guys twice Lopez’ age making records that are only half as good. Preternaturally wise and notably talented, this is a kid to watch.” – Top 25 Artists of 2015

Lopez hails from the eastern panhandle of West Virginia, where he was influenced by the Appalachian bluegrass tradition, jam bands, and his father’s deep record collection (which included the folk rock sounds and great songwriting of artists such as Jackson Browne, and James Taylor). Lopez was also young enough to soak up the energy of Americana roots revivalists The Avett Brothers and Old Crow Medicine Show.  It was these fiery, acoustic bands that inspired him to trade in his electric guitar for an acoustic.  Lopez began writing songs as a teen and began touring before he was old enough to drive.  Music and performances from Christian Lopez Band have been featured in television and online ad campaigns for Belk’s and West Virginia state tourism.

 

Website – www.christianlopezband.com

Facebook – www.facebook.com/Christianlopezband

Twitter – @Clopezmusic

EPK – www.christianlopezband.com/onward-epk

Christian on his live show – https://vimeo.com/120864467 (pw: Lopez1)

The Bluegrass Situation – “Morning Rise” premiere

Country Weekly – “On The Edge” feature, ran January 2015

Crowbar Announce New LP, Song Teaser Available

Crowbar - The Serpent Only Lies Out 10.28
CLICK HERE FOR THE TEASER
August 29, 2016 – New Orleans sludge masters Crowbar have announced their eleventh new LP titledThe Serpent Only Lies, due out October 28, 2016. “We are so excited about our 11th studio record! The Serpent Only Lies is a powerful follow up.” says frontman and riff lord Kirk Windstein “Eliran Kantor did a brilliant job with the artwork! Our first release, “Falling While Rising”, is Crowbar at its finest… HEAVIER THAN EVER!!!”
The Serpent Only Lies will be the follow up to the highly buzzed about Symmetry in Black that sold over 4,000 copies in its first week of release in 2014, the highest of any LPs in the band’s 27 year career, beating out its predecessor, 2011’s Sever the Wicked Hand.

That record received quite the critical reception to boot. Metalsucks stated, “It’s no surprise that it’s excellent, but what is a surprise is just how excellent it is.” With Weinstein’s focus entirely on Crowbar for the first time since the band’s inception, the anticipation was higher than ever leading up to its release leading internet giants Loudwire to declare, Windstein’s singular focus pays off.”

For nearly three decades, the name Crowbar has been synonymous with HEAVY. Since rising ominously from the swamplands of New Orleans in 1990, they’ve been hailed internationally as one of the world’s foremost purveyors of crushing, melodic sludge. The Serpent Only Lies, is both an affirmation of the band’s staying power and a nod to their legacy. “To me, it’s a fresh-sounding version of old-school Crowbar,” says Windstein.

“I intentionally went back and listened to a lot of old Crowbar stuff, like the self-titled and Broken Glass albums, to get a feel for what my mindset was 20-plus years ago. I also went back and listened to the bands that influenced Crowbar in the beginning, like Trouble, Saint Vitus, Melvins, and the first Type O Negative record. So it was kinda me doing my homework.”

The result is an album that stands toe-to-toe with those early Crowbar classics while maintaining the lumbering hooks of mid-period standouts like 1998’s Odd Fellows Rest and 2000’s Equilibrium. “Even lyrically, the approach was a little more old-school,” Windstein offers. “Some of the songs have less lyrics to let the riffs breathe a little more, which I had kind of gotten away from over the years. It was a conscious thing to go back to that.” 

The tour cycle for The Serpent Only Lies marks the return of original Crowbar bassist Todd “Sexy T” Strange, who left the band back in 1999 but now joins Windstein, drummer Tommy Buckley and guitarist Matt Brunson in forging Crowbar’s future.  “Todd helped start the band, so having him back is important to me and, I think, the fans,” Windstein offers. “It’s a great feeling to be standing onstage next to him. It’s a breath of fresh air for the band and makes us stronger.” 

“Having this be our eleventh record, we’re very fortunate because so many bands don’t last this long,”Windstein adds. “My whole outlook on music as a career is the Motörhead outlook, which is that slow and steady wins the race. If you continue to put out killer records, continue to kick ass onstage every night and continue to treat your fans with respect, that’s the stuff people will remember.” 

CLICK HERE FOR ALL TOUR DATES
Sep 13    JJ’s Bohemia    Chattanooga, TN
Sep 15    The Agora Theatre and Ballroom    Cleveland, OH
Sep 16    Reggies Music Joint    Chicago, IL
Sep 17    Harpos    Detroit, MI
Sep 18    Town Ballroom    Buffalo, NY
Sep 20    The Westcott Theater    Syracuse, NY
Sep 21    The Ballroom at The Outer Space    Hamden, CT
Sep 23    Amityville Music Hall    Amityville, NY
Sep 24    THE COLOSSEUM/ THE RUINS @ THE COLOSSEUM    Providence, RI
Sep 26    Saint Vitus    Brooklyn, NY
Sep 27    Dingbatz    Clifton, NJ
Sep 28    Shakas Live    Virginia Beach, VA
Sep 29    The Throne Theater    Wilmington, NC
Sep 30    The Sparrow    North Charleston, SC
Oct 01    New Brookland Tavern    Columbia, SC
Oct 02    The Warehouse    Clarksville, TN
Oct 03    Manchester Music Hall    Lexington, KY
Oct 06    Nighthawks    Jacksonville, FL
Oct 07    The Orpheum    Ybor City, FL
Oct 09    Churchills Pub    Miami, FL
Oct 10    House of Blues Orlando    Orlando, FL
Oct 22    Empire Control Room & Garage    Austin, TX

MAC SABBATH @REXTHEATER SEPT 1

*Mixing raucous comedy with borderline-horrific theatrics, the only thing more petrifying than impending health problems resulting from years of overeating is a MAC SABBATH show. Set wise, this ain’t no value meal – innocent bystanders can enjoy 10 fantastically alarming Black Sabbath-turned-junk food themed tunes on this tour: More Ribs; Chicken For The Slaves; Sweet Beef; Brand of Doom; N.I.B.B.L.E.; Lord of the Swirled; Zippin Up the Uniform; Frying Pan; Cherries Are Fruits; Pair-A-Buns.
*Show attendees should be prepared to partake in the fun – MAC SABBATH puts on a theatrical, multimedia stage show – complete with a smoking grill, laser-eyed clowns, bouncing burgers and many more magical surprises… basically anything and everything an unwary show-goer could ever want in their wildest dreams.

MAC SABBATH BIOGRAPHY

 

It was the Year of Our Lord 2013, and I was devouring a cheeseburger in a Chatsworth, California, franchise of a certain multinational fast food conglomerate, which shall remain nameless. Out of the corner of my eye, I noticed a crazed looking clown walking in my direction. Wearing a costume of bright yellow and red, and giant shiny shoes, he seemingly fit into the surroundings, but it didn’t take long to see that something wasn’t quite right. His costume was trailed by long, tattered, hippie fringe that was dirty from scraping the floor (and most likely the alley behind the restaurant), and more alarmingly his face was caked in ghostly make up that looked like it had been smeared on with a putty knife. My first thought was that he looked like Skeletor as a member of Uriah Heap. Taking a seat in my booth, he informed me that his name was Ronald Osborne, and he that he was familiar with my oddity rock band Rosemary’s Billygoat. He was a fan of the band, and said he had a concept I might appreciate, something he termed “drive-thru metal.” Some of the delinquent kids who worked for the franchise had been allowing him and a cast of characters named Slayer Mac Cheeze, Grimalice, and the Cat Burglar, to perform secret rock shows in the bunker-like basements of the local restaurants. But the time had come, he said, to bring drive-thru metal up from the “underground,” and he asked if I would consider becoming the manager of his band. I asked him what the act was called, and proclaimed with pride, “MAC SABBATH!” I barely had time to gather up what was left of my faux food before the restaurant’s manager, apparently annoyed both by the disheveled clown and the content of our conversation, came over and forcefully assisted us out onto the street. As we hit the sidewalk, I looked over at Ronald, watched him brush the dust of cold fries, sodium chloride and GMO remnants of my UN happy meal from his grease-smeared clown suit, and couldn’t help but think there was something special, perhaps even great, about the man.

 

He invited me to one of these secret shows, and two nights later I was sitting in the basement of a fast food restaurant in the San Fernando Valley, my eyes and taste buds tingling to a new sensation. Drive-thru metal was real, and talk about a feast for the senses! Black Sabbath’s music, hilarious fast food lyrics, smoldering clown heads with laser eyes, a giant purple gumdrop bass player, and Tony Iommi with a giant cheeseburger head. I was confused, amazed, and dare I say it, can’t ever remember feeling so………happy! I told Ronald that yes; I would love to manage his band. It wasn’t going to be easy—nothing ever is with a disturbed clown and a band of Monsanto mutants who refuse to reveal their identities because they think they came here from a wormhole in time direct from 1970. But whoever they are and however they got here, they’re here now and they’re ready, so pull up to the window and check your order, because I am proud to present the world’s newest concept in entertainment, the culinary disgrace that is MAC SABBATH!

Jul 29 Stage AE Pittsburgh, PA Black Map opening for Chevelle and Bush

The band just announced their record deal with Entertainment one (eOne) with plans to release a new record next year.
Black Map – “Gold”: LISTEN