NAGAZI Release Official Music Video for “Triumphant”!

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Mt Pleasant, MI based Hard Rock / Metal band NAGAZI has released the official music video for “Triumphant.” Filmed by Will Moss (Hive Minds Media) live on location at two stops on the November Pain Tour with Smile Empty Soul and Cinder in the fall of 2019 (at Growlers in Memphis, TN on 11/19/2019, and at Stickyz in Little Rock, AR on 11/23/2019), “Triumphant” was engineered by Matt Dalton (Rock Hill Sound [formerly Metro 37 Studios] in Rochester Hills, MI) and mastered by Ulrich Wild (The Wilderness in Los Angeles, CA)

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“There are a lot of people in this world that want to get close to you, use you, take what they can, chew you up, and spit you out. Triumphant is about challenging these loathsome people, and fighting for what is yours.” – NAGAZI

Download /Stream “Triumphant” Online:

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Nagazi is a 4-piece hard rock/metal band from Mt Pleasant, MI.

Joe Hafer – Vocals
Matthew J Ruffino – Guitar
Doug McGuire – Bass
Jeff Hafer – Drums

Today’s music industry climate is tougher than ever to navigate, and with a wealth of proven experience in the grind, Nagazi and its members are no strangers to the path. From national tours, an impeccable merch game, and social media approachability with a sincere fan connection, Nagazi are DIY masters through anf through, achieving success on their own terms.

Formed in 2014, these road dogs have shared the stage with the likes of Devildriver, HedPENonpointDeicide, Flotsam & JetsamHammerfall, WhitechapelLorna ShoreRaven Black and 36 Crazy Fists, among others. And with a uniquely brutal yet captivating sound, Nagazi immediately resonates with the heavy metal masses and elitists alike.

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Ven Scott (Runescarred, ex-Dead Earth Politics) Directorial Debut “DATE FROM HELL” Horror Short Review Request

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Austin, Texas heavy metal frontman, Ven Scott (Runescarred, ex-Dead Earth Politics), has completed his directorial debut “DATE FROM HELL”.

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Running at just under twelve minutes, “Date From Hell” is currently being submitted to festivals across the U.S., Canada and beyond. Filmed over a period of three nights in Llano, Texas the goal was to create a film clearly inspired by 1980’s horror masters. Of the film Scott says, “This became way more than I imagined. Much bigger than I hoped, and I am incredibly proud of this. The friendship and guidance from both Brandon Torres (cinematographer/producer) and Tracee Beebe (co-writer/producer) was and remains immeasurable. I can’t wait to share it with everyone!”

Scott adds that he hopes to make the film available to the public late in 2019, after the festival circuit has completed for the film.

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SYNOPSIS:

Bobby and Susie find themselves on the worst date ever, pursued by a lone drifter with murder on his mind. The drifter is unrelenting, relishing the hunt and claiming his victims.

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Early Praise for “Date From Hell:

“This film was a really nice surprise and I don’t think the title does it justice – not that I can think of a better one – because for some reason I was not expecting to enjoy it as much as I did. What’s nice is that I really believe the main couple throughout every point of the film and, when we see the scene of them arguing in the bar, you think “oh man, here we go again”, because you probably know ‘that couple’ from your own local.” – HorrorNews.net

“utterly compelling and a great tribute to those 80’s movies us horror fans hold so dear and I would certainly pay good money to see more. What seems like a labour of love for Ven Scott, will hopefully help to propel him into the major leagues so that in the near future we can all enjoy Date From Hell on the big screen” – Chris Andrews – Mass Movement

“Date From Hell tosses in quite a bit of gore then a little more in just the right ways. If this debut short from Ven Scott is any indicator of the guy’s talent behind the camera, here’s hoping this isn’t the last we hear from him.” – Richard Propes – The Independent Critic

“If you see Date From Hell playing at a festival near you, make sure you get your arcane ass in a seat toot-fuckin’-sweet…a better short you’d be hard pressed to find in our beloved horror biz!” – Horror Fuel

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CAST AND CREW:
Ava L’Amoreaux – Susie
Samuel Brett Howard – Bobby
Ven Scott – Writer/Director
Tracee Beebe – Co-Writer/Producer
Brandon Torres – Cinematographer/Producer

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Austin Music Awards Honors BLACK HEART SAINTS

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The 37th Annual Austin Music Awards, held at Austin City Limits Live on February 27th, presented BLACK HEART SAINTS with the “Best Metal Band” award in front of over 2,000 attendees. The award recognizes Black Heart Saints’ contributions to the Austin music scene and formally anoints the band as the city’s most promising act in the hard rock / heavy metal genre.

Other big winners of the night included Willie Nelson taking home the Best Country award, and Ghostland Observatory representing Electronic Music.

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Most recently, the band has been featured as the go-to support act for the biggest names in rock, including Slash & Myles Kennedy, Pop Evil, and Steel Panther. Black Heart Saints’ charismatic live show has been jettisoning to the forefront of Texas rock, following the success of chart-topping acts from the Lone Star State such as Nothing More and The Sword.

The soaring vocals of front-man Josh Ross have drawn comparisons to Myles Kennedy and Chris Cornell. While the band is influenced by the likes of Mötley Crüe, Guns ‘N Roses, and other legendary hard rock acts, the commanding presence of Black Heart Saints’ live show brandishes an updated take on the genre.

Click for full list of AMA Winners

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Dangerous & dirty, with a distinct groove steeped in classic rock, yet with a modern edge, Black Heart Saints gives fans exactly what they want – rock god vocals catapulted over explosive, memorable riffs – leaving legions of the rock ‘n’ roll faithful yearning for more.

After debuting at SXSW in 2014, this powerhouse quartet has been building a solid reputation as a support act for national touring bands such as Slash featuring Myles Kennedy & The Conspirators, Sevendust, Pop Evil, Nonpoint, Coheed and Cambria, Filter, POD, The Toadies, and more.

The soaring vocals of front-man Josh Ross have drawn comparisons to Myles Kennedy and Chris Cornell. While the band is influenced by the likes of Mötley Crüe, Guns ‘N Roses, and other legendary Hard Rock acts, the commanding presence of Black Heart Saints’ live show brandishes an updated take on the genre.

Quickly conquering some of the biggest stages and festivals in the United States, Black Heart Saints has built an impressive resume, and has been recognized as one of the nation’s top emerging rock acts:
– Sturgis Motorcycle Rally Headliner
– Austin Chronicle Music Awards: Top 10 Best New Bands
– Austin Music Foundation Artist of the Month, 2017
– San Antonio’s Fiesta Oyster Bake Headliner
– SXSW Performer
– Buffalo Trace Battle of the Bands Grand Prize Winner
– ESPN X Games Austin Performer

In 2014, Black Heart Saints represented their hometown at the ESPN X Games in Austin. 2015 kicked off with key performances during South by Southwest Festival, Texas Rockfest, and Fiesta Oyster Bake in San Antonio. The band also went back to the studio to record a string of upcoming singles produced by Omar Vallejo at Austin’s renowned 512 Studios.

After debuting their first official music video for the hit single “Touch The Sky” on MTV, VEVO, and YouTube, Black Heart Saints is poised to launch a memorable international career with ambitions to dominate stages across the globe. Half-way through 2016, the band gained nationwide airplay on Sirius XM’s Octane and Faction channels.

In 2017, the band received two major accolades: Black Heart Saints was chosen as Austin Music Foundation’s Artist of the Month, and received a spot in the top 10 Best New Bands in Austin Chronicle’s Austin Music Awards for 2016-2017.

The band’s first full-length release – ALIVE – was soon followed by the Road to Sturgis Tour 2017, which put Black Heart Saints’ charismatic live performance to the test when the band took the stage at the world-renowned motorcycle rally, attended by over 500,000 bikers from all around the globe.

Foreshadowing a successful 2018, Black Heart Saints embarked on an extensive tour to the West Coast beginning in January, which included a highlight performance at the legendary Viper Room in West Hollywood, California. Throughout the summer, the band was tapped to support some of the biggest names in rock — both new and old, including Steel Panther, Dokken, Jackyl, as well as upcoming arena acts Blacktop Mojo and Joyous Wolf. After a successful onslaught of summer shows, Black Heart Saints will enter the studio this fall to record an upcoming record that is destined to be a chart-topper.

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ROARING TRUTH Release Official Video for “Homesick” Debut, Self-Titled EP Out NOW!

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Dallas, TX Heavy Metal band ROARING TRUTH has released the official music video for their single, “Homesick,” off of their debut, self-titled EP.

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“‘Homesick’ is a musical journey carried by transcendent melody and churning rhythm that leads the listener along the lyrical pathways of existential crisis and resolution. Come aboard this pilgrimage of power…” – Roaring Truth

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Track List:
1. Black Box
2. Homesick
3. Flying Above it All
4. I Remember Today
5. Rebel?
6. Do as I Say

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Roaring with thunder born of the tribal roots of metal, Roaring Truth incorporates powerful melodies and scorching riffs in a fresh, yet classic, delivery of energetic metal and hard rock anthems. Formed in Dallas in 2015, they deliver metal and hard rock the way Texas does it- Big, Loud, & Proud! Their first single, “Homesick”, as well as their follow-up single “Rebel?”, have received radio airplay in Dallas/Ft. Worth on both KNON 89.3 and “The Eagle” 97.1, along with numerous podcasts and internet radio stations throughout the world.

Roaring Truth is:
James Jones- Vocals
Marty Hill- Guitar
Dillon Moses- Guitar
Jordan Greer- Bass
James Michael McLester- Drums

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JOYOUS WOLF Release Official Music Video for Cover of “Mississippi Queen”

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Southern California based Rock band JOYOUS WOLF has released the official music video for their cover of the Mountain classic “Mississippi Queen.” Originally premiered on Loudwire, “Mississippi Queen” was produced by Chris Acosta and directed by Tim Oakley in Los Angeles.

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Produced by Grammy award winning producer Howard Benson, Mississippi Queen,” along with the original single “Slow Hand,” are the first tracks released by the band on Roadrunner Records.

Click HERE to Download / Stream “Mississippi Queen”

Tour Dates:
11/13 @ Hawthorne Lounge – Portland, OR
11/15 @ El Corazon – Seattle, WA
11/16 @ @ 3rd Wheel – Lewiston, ID
11/17 @ @ Diamondz Event Center – Jerome, ID

 

Click HERE for Additional Dates and Ticketing Info

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Joyous Wolf is a Rock band from Southern California formed in 2014 by vocalist Nick Reese, guitarist Blake Allard, bassist Greg Braccio, and drummer Robert Sodaro. Reese and Sodaro met on their first day of 6th grade during student orientation. They went to different high schools where Sodaro would go on to befriend Braccio. During that time Reese, by chance, met Allard in the acoustic room at Guitar Center where they would jam CCR’s “Born on the Bayou”. There was an immediate dynamic between the two that ultimately led to an exchange of information. Months later Reese reached out to both Sodaro and Allard with the interest of starting a new project with them. Braccio would soon follow suit.

In the waning months of 2014 early jam sessions would yield the foundation of what Joyous Wolf has become. Fusing together influences ranging from Heavy Metal to Delta Blues, Joyous Wolf creates an expressive, high-energy fingerprint that separates themselves from their contemporaries in the realm of Modern Rock.

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JOYOUS WOLF Release Explosive Cover of “Mississippi Queen” and New Original Track “Slow Hand”

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Southern California based Rock band JOYOUS WOLF has released their incredible cover of the Mountain classic “Mississippi Queen” as well as a new original track “Slow Hand.” Produced by Grammy award winning producer Howard Benson, Mississippi Queen” and “Slow Hand” are the first tracks released by the band on Roadrunner Records.

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Click HERE to Download / Stream “Mississippi Queen” & “Slow Hand”

“This is something we have been working for since our inception as a band. To finally show everyone what we are capable of in the studio is an incredible and relieving feeling. We look forward to this Fall Tour because it will be our first time music follows us out there. We hope a taste of our message is clear in the sounds we captured on this single.” – Joyous Wolf

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Tour Dates:
10/03 @ Black Sheep – Colorado Springs, CO
10/05 @ Trixie’s Tiger Room – Louisville, KY
10/06 @ Oktoberfest – Pipestream, WV
10/07 @ Adelphia Music Hall – Marietta, GA
10/09 @ The Paramount – Huntington, NY
10/10 @ Smokestack Brew – Mishawaka, IN
10/11 @ RocHaus – West Dundee, IL
10/12 @ The Forge – Joliet, IL
10/13 @ Red Rocks – Mankato, MN
10/14 @ Mississippi Moon Bar – Dubuque, IA
10/17 @ Monk’s – Missoula, MT

Click HERE for Additional Dates and Ticketing Info

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Joyous Wolf is a Rock band from Southern California formed in 2014 by vocalist Nick Reese, guitarist Blake Allard, bassist Greg Braccio, and drummer Robert Sodaro. Reese and Sodaro met on their first day of 6th grade during student orientation. They went to different high schools where Sodaro would go on to befriend Braccio. During that time Reese, by chance, met Allard in the acoustic room at Guitar Center where they would jam CCR’s “Born on the Bayou”. There was an immediate dynamic between the two that ultimately led to an exchange of information. Months later Reese reached out to both Sodaro and Allard with the interest of starting a new project with them. Braccio would soon follow suit.

In the waning months of 2014 early jam sessions would yield the foundation of what Joyous Wolf has become. Fusing together influences ranging from Heavy Metal to Delta Blues, Joyous Wolf creates an expressive, high-energy fingerprint that separates themselves from their contemporaries in the realm of Modern Rock.

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REVIEW: Swedish Metal act In Solitude release the darkness on their new album “Sister”

On In Solitude’s latest release on Metal Blade Records, “Sister”, the Swedish retro-metal act has created an eclectic group of songs that stay focused in a style and sound while still coloring outside of the lines.  As the Goth-Rock and Post-Punk-esqe opening track “He Comes” winds on, you get a sense of the way the rest of the album will sound and progress. There is a dark, barren atmosphere of despair present in this opening number that seems to be setting the tone for the rest of the album. While this first track certainly does set the tone, it isn’t until the relentless “Death Knows Where” punches you in the face that you realize that In Solitude will not only take you into the dismal depths of darkness, but that they’re going to beat your ass once you get there.

Upon recording the album, the band was quoted saying: “It’s time to release our third album, and things have never felt this clear and pervasive before. This is a feeling that has permeated our whole lives during the latest year of writing and recording this album, as well as digesting and dealing with its consequences. And it has been wonderful, overwhelming and utterly devastating.” Wonderful, overwhelming and utterly devastating seem to ring fairly true for the sound of this new album as well. There is a wonderfully crafted musical precision that is counter balanced with atmospherically dark grittiness, resulting in something engaging and unpredictable.

As the album progresses, In Solitude bring you further into their heavy metal world with moods that range from Mercyful Fate-esque guitar flavors, shadows of Black Sabbath, the heavy dissonance of Swans, to straight-forward, ear worm riffs not unlike their Swedish peers, Ghost. Not to mention the vocal quality and delivery of singer Pelle Åhman. At times almost demonically chanting in reverb while at others driving and pervasive, Ahman possesses a certain tone of filth and desperation not too far removed from Birthday Party era Nick Cave. In any case, one thing can be said for certain: their delivery is as genuine as it is impressive.


“Sister” was recorded at Studio Cobra in Stockholm, Sweden during March 2013. The album was produced and mixed by Martin “Konie” Ehrencrona and stands as a logical next step above and beyond its predecessor, “The World.The Flesh.The Devil.” In Solitude’s strength resides in their ability to craft dark and oppressive atmospheres within the auditory realm of classic heavy metal. The album concludes with an 8-minute, driving, near trance-like opus that features guest guitarist Pelle Forsberg (Watain).

IN SOLITUDE signed a worldwide deal with Metal Blade Records in 2010. This is also the year that Henrik Palm, vocalist and guitarist for the heavy punkers Sonic Ritual, passed the trials by fire and thus a new fury rose within the horde. The cultivation of a new sound nears perfection; one that bears the dynamic powers of youth and the embittered wisdom of the ages.

In November 2010, the horde entered Nicke Anderson’s (HELLACOPTERS) brand new studio Gutterview Recorders in Stockholm, Sweden with producer Fred Estby (DISMEMBER, DEATH BREATH) to record the band’s sophomore record, which was released in the Spring of 2011. The World.The Flesh.The Devil was released to worldwide praise from press and fans alike and landed at the #4 spot on Decibel Magazine’s Top 40 Extreme Albums of 2011. Additional accolades were heaped onto the album from Terrorizer Magazine, who called the album”finely crafted, occult-oriented, melodic heavy metal of the highest order”, as well as Guitar World Magazine who claim that “On their sophomore album, Sweden’s retro-minded metallers In Solitude summon the dark essence of Mercyful Fate and the two-guitar attack of Iron Maiden. Guitarists Niklas Lindstrom and Henrik Palm’s heavy riffing and tasty harmonies propel this head-banging disc.” Two years of touring in support of The World.The Flesh.The Devil has earned the band a global fan base. Fans have seen the band on tour on a myriad of European festivals, in the UK with Amon Amarth, as well as in North America as a part of the Decibel Magazine Tour, as well as on tour with metal legends, Down. 2013 and beyond will see continued growth of one of metal’s best newcomers.

Pelle Åhman- Vocals
Niklas Lindström – Electric Guitar
Henrik Palm – Electric Guitar
Gottfrid Åhman – Electric Bass Guitar
Uno Bruniusson – Drums

A Misfit Shines: Doyle’s Debut Abominator Slays Expectations

In the Pantheon of punk, there’s always a special place for The Misfits. Where Black Flag and Minor Threat used crazy, hardcore elements and The Ramones spearheaded elements from pop music like The Kinks, The Misfits were the ones who descended into the darker realm of horror-themed images and creepy-as-hell aesthetics. In comparison to the motorcycle-riding, leather-jacket-wearing rebels in the high school parking lot, The Misfits were the guys dressed in black, goth gear and smoking behind the bleachers. After the multiple restructurings of the Misfits lineup, guitarist Paul Caiafa (best known as Doyle Wolfgang von Frankenstein) took his time to move back into music. After some appearances with former Misfits singer Glenn Danzig on tour with his band, Doyle finally broke his silence and moved into full-fledged solo work. Abominator is the first record from Doyle’s self-titled band and it’s one of the most surprisingly strong solo debuts you’ll see this year.

Doyle is Caiafa’s outlet to let his inner metalhead loose. While there are moments of punk pacing and rapid-fire rhythms, Doyle is no punk band. The rambunctious punk fundamentals of Doyle’s former band are set aside in favor of some blisteringly heavy riffs more in-tune with the heavy metal world. The title track is a furious opener, with vocalist Alex Story screaming his lungs out seconds into the album. Doyle himself is able to add squealing guitar solos into nearly every track on the album, another stark contrast to the hardcore-influenced work of early Misfits recordings. With the ability to focus on metal melody and virtuosity instead of simply punk endurance, Doyle’s skill as a guitarist is clearer than ever. Even more so is his talent in songwriting; he’s in the spotlight now, so passing off the same power chords and punky tones just doesn’t cut it anymore. Fortunately, it pays off on Abominator. Doyle just shines here.

But while Abominator is still a very heavy album, it doesn’t go too far in that intensity. Story’s vocals are near-guttural, but there’s just a smidgen of melody, one that keeps him in the realm of Pantera instead of Sepultura. That walking of the line between extreme metal and melodic heavy metal allows Doyle to pick the best parts of both without suffering too much from either side’s weaknesses. The catchy “Cemeterysexx” may be as romantic as getting your girlfriend a torn-up Jhonen Vasquez comic compilation for your anniversary, but for a song about getting dirty in a graveyard, it’s tone is surprisingly radio-friendly. “Dreamingdeadgirls” is a bizarre left turn, with a surprisingly lighter chorus, one that’s juxtaposed with some gritty verses about necrophiliac relations with murdered women. As you might expect, it’s a fiendish record.

The grindy, gritty metal sounds, above all odds, don’t outstay their welcome. “Valley of Shadows” has a solid pace, one that lets Doyle experiment with his guitar rhythms while still making the song purely metal. “Land of the Dead” has a tight chorus reminiscent of older Metallica recordings mixed with a low “crush” growl that wouldn’t be out of place in a band like Slayer. Doyle performs a very smart act in adding a plentiful amount of variety in Abominator. Behind a doom metal verse in “Love Like Murder” instantly moving to a thrash metal chorus in the same song, Doyle clearly didn’t feel comfortable in sticking to one subgenre of metal music. That decision makes Abominator a much more appealing record altogether.

If Abominator has a mark against it, it would be in the lyrics, which feel juvenile. While The Misfits were the pioneers of integrating horror themes and creepy imagery into their punk songs, the topics of necrophilia and occult practices don’t seem to hold weight here. They don’t sound dark enough to be taken seriously (even by Hot Topic regulars), nor do they sound ironic enough to joke around with; they exist in this half-parody, half-conviction limbo. It’s never clear why the lyrics are what they are, so it damages Doyle’s aesthetic, adding in an indecisive mystery that distracts more than intrigues.

It’s very comforting seeing how Doyle is able to step outside of the shadow of his most iconic project and finally put his talent in songwriting and axe-rocking into legitimate effect. Abominator is a shockingly tight album with some great musicianship from Doyle, with his fellow bandmates keeping up with him every step of the way. Even better is his yearning for difference, his ability to keep the intensity on high and the variety constant. It’s not easy moving into solo work from one of the most prolific backgrounds in punk and goth rock history, but Doyle proves that it can be done. Abominator is a beast of an album with a little something for any variety of headbanger. It’s one of the best surprises of 2013.

**Editors Note: Hopefully you are all well aware that Doyle is on tour with Danzig and he is even doing a Misfits set with Glenn.  When he stops in Pittsburgh on 10/21, Doyle promised to chat with us for a bit, so stay tuned for an exclusive interview from Stage AE!!!

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Whitechapel to tour with GWAR this Fall

Whitechapel is primed to hit the road with GWAR starting this October.

Masters of medieval metal, the mighty GWAR, are poised to return to the world of man as today they announced the first leg of their massive “Madness at the Core of Time” world tour, in support of their new album, Battle Maximus, which is out September 17th on Metal Blade Records. The tour, which features a completely brand-new show full of slavering creatures and deserving victims, is set to kick offOctober 2nd in Columbus, Ohio and runs through November 17th in Washington, DC. Tickets go on sale this Friday, August 2nd.

Overlord Oderus Urungus allowed Whitechapel guitarist Alex Wade to comment on the tour:



”We’re extremely excited to announce that we will be direct supporting the almighty GWAR this fall.  The tour will be hitting some spots we haven’t been in a while and we’re looking forward to having a blast on tour with them so come out and get GWAR’ed with us!”



Of course Oderus had more to say (when doesn’t he?):

“Let me make something perfectly clear. DON’T commit suicide if your city/country/collection of mud-huts isn’t on the list. We can’t play every city in the world in one tour, as much as we would like to. There will be a whole year or more of shows in support of Battle Maximus, so either be patient, or take a fucking road trip!”

Check out all the dates below:

Oct-02 Columbus, OH @ Newport Music Hall
Oct-03 Milwaukee, WI @ The Rave
Oct-04 Iowa City, IA @ Blue Moose Tap House
Oct-05 Minneapolis, MN @ First Avenue
Oct-06 Winnipeg, MB @ The Garrick Centre
Oct-07 Saskatoon, SK @ Odeon Events Centre
Oct-08 Calgary, AB @ MacEwan Hall Ballroom
Oct-09 Edmonton, AB @ Union Hall
Oct-11 Seattle, WA @ Showbox SODO
Oct-12 Boise, ID @ Knitting Factory Concert House
Oct-13 Spokane, WA @ Knitting Factory Concert House
Oct-14 Vancouver, BC @ Commodore Ballroom
Oct-15 Portland, OR @ Roseland Theater
Oct-16 Chico, CA @ Senator Theatre
Oct-17 Santa Ana, CA @ The Observatory
Oct-18 West Hollywood, CA @ House of Blues
Oct-19 Sacramento, CA @ Ace of Spades
Oct-20 San Francisco, CA @ The Regency Ballroom
Oct-22 Albuquerque, NM @ Sunshine Theater
Oct-24 Houston, TX @ Warehouse Live
Oct-28 Pensacola, FL @ Vinyl Music Hall
Oct-29 New Orleans, LA @ House of Blues
Oct-30 Atlanta, GA @ The Masquerade
Oct-31 Charlotte, NC @ Tremont Music Hall
Nov-01 Asheville, NC @ The Orange Peel
Nov-02 Norfolk, VA @ The NorVa
Nov-04 Ft. Lauderdale, FL @ Revolution
Nov-05 Ybor City, FL @ The Ritz Ybor
Nov-07 Cincinnati, OH @ Bogart’s
Nov-08 Detroit, MI @ Harpo’s
Nov-09 Joliet, IL @ Mojoes
Nov-10 Grand Rapids, MI @ The Intersection
Nov-12 Toronto, ON @ Phoenix Concert Theatre
Nov-13 Cleveland, OH @ House Of Blues
Nov-14 Clifton Park, NY @ Upstate Concert Hall
Nov-15 Worcester, MA @ The Palladium
Nov-16 Reading, PA @ Reverb
Nov-17 Washington, DC @ 9:30 Club

Forever Doomed – Trouble Stomp Back With The Distortion Field

Black Sabbath are widely recognized as the progenitors of what would later become heavy metal. Unsatisfied with what rock was during the 70’s, the British kings of metal become one of the most important bands in history, pioneering a dark genre and a mighty movement unlike anything seen before in rock. Metal was alive. But with the emergence of a fascination of speed in heavy metal, many bands abandoned the cornerstone elements of Black Sabbath’s sound in the late 70’s and early 80’s. The New Wave of British Heavy Metal brought out bands like Judas Priest and Iron Maiden, bands that demonstrated their virtuosity with a frighteningly fast and aggressive pace. That eventually led to thrash metal; bands like Metallica took Judas Priest and Iron Maiden to heart, catapulting metal into a new age dominated by speed.

But some bands found more value in what Black Sabbath and Deep Purple had to offer: a thunderous and heavy tone, mixed with a virtuosity that could set influence toward the later works of the New Wave of British Heavy Metal. Chicago’s Trouble marked a back-to-basics sound that, despite relying on the older days of metal, felt just as fresh, potent and meaningful as what both Judas Priest and Metallica would eventually bring to life. The band’s first album since 2007’s Simple Mind Condition isn’t just a recognition of doom metal’s fine past, but it’s a damn good album that can match anything that metal has showed off this year.

Living in a genre based around a near perpetual sense of morose heaviness, Trouble keeps the traditions at the forefront of their battalion. Despite living in eras of both the New Wave of British Heavy Metal and its later-inspired thrash metal cousin, Trouble set speed aside and moved in the opposite direction. Quickness and nimbleness was never in the band’s blood and that doesn’t change on The Distortion Field. Songs like “Glass of Lies” are some of the most stomping tracks in metal; Trouble shows every bit of their skill and finesse in bringing out the weight of their world. “One Life” is a massive slam of a track, with an opener with such gravity that you might need to upgrade your subwoofer by the song’s finale. Even when the grinds subside in the more elegant and melodic “Have I Told You,” the pacing is still very steady, which makes for a refreshing glass of water among the Red Bull cocktail of furious speed metal.

But just because Trouble is a heavy grind of a band doesn’t mean that the virtuosity is set aside. “Hunters of Doom” manages to inject a spike of adrenaline to the record, but not moving too fast and leaving the band’s roots in the dust. The Judas Priest-inspired double-guitar assault from Bruce Franklin and Rick Wartell remains a finely dimensionalized approach to a genre so enamored with stalwart golems of metal. Trouble isn’t a one-trick pony on The Distortion Field; they show a sense of groove on “Greying Chill of Autumn,” demonstrating the band’s reverence for psychedelic rock along with their metal background.

A new vocalist offers a new beginning for the doom metal legends. Kyle Thomas may not be a stranger to the band (he filled in as lead vocalist from 1997 to 2000), but this is his first role of the official vocalist for the band and his first studio album recorded as it. While the instrumentalists in Trouble have focused on the sludgy metal of all eras of Black Sabbath, Thomas settles into a niche brought to life by the late, great former Black Sabbath vocalist Ronnie James Dio, where the steady pace isn’t shoved down by low and otherworldly screams. Instead, it’s all about a balance, an uplifting and gripping voice complimented by some great musicianship. Thomas’s range is phenomenal; while it’s a bit rougher than Dio’s, he still shows off vocal chops with high notes, vibrato calls and a great amount of diversity even throughout single songs alone, such as the lower-toned “Your Reflection.” It’s clear that he is right at home with Trouble.

The Distortion Field doesn’t distract the listener; each song is focused and packed with substance. The band’s straight-ahead metal groove is something of unsung heroism. While other bands have claimed the main stage of metal with speed, Trouble remains as a group of giants of musicians, enamored with tradition, but still willing to move forward and break new ground in their doom metal empire. They can play and play very well, but their shining victory as doom metal kings comes from songwriting with a clear vision in mind. They don’t try to be anything they’re not. The Distortion Field is metal’s wakeup call to a band that have been creeping and grinding for more than 30 years now. Don’t expect speed in The Distortion Field; just expect an incredibly well-crafted doom metal record that any headbanger should listen to.

Ugly Kid Joe Reunite With One Hell of an EP

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Ugly Kid Joe debuted at an odd time. It was a transitional period between the dirty metal world of Guns N’ Roses and the rise of alternative music pioneered by Nirvana, R.E.M., and Jane’s Addiction. Even odder was the band’s commitment to keeping classic metal and hair metal alive, even when flannel shirts outclassed leather vests. Ugly Kid Joe proved successful in their love of hard rock and metal, catapulting the band from California startups to radio heavyweights. The band’s legacy is easily one of the most underrated of its time, so it’s all the more exciting that the band has reunited after over 15 years of silence. While Stairway to Hell isn’t going to make any new fans for Ugly Kid Joe, the fact that the band can still make their music sound so potent and full of soul is something that any band, new or old, can definitely learn from.

Lead vocalist Whitfield Crane is a talented singer, one whose snarl harkens back to that of Ozzy Osbourne’s during the early Black Sabbath years. To complement Crane’s vocals is some excellent guitar lines from axemen Klaus Eichstadt and Dave Fortman. Opening track “Devil’s Paradise” will ravenously rip and tear through your speakers with razor-sharp precision. The opener doesn’t sound dated in the least, only showing that Ugly Kid Joe still possess the chops to put many of today’s rock newcomers in their place. Conversely, the more subdued “No One Survives” is a haunting track that mixes in just as much Metallica composition as it does Black Sabbath. It’s creepy and very atmospheric, standing out amongst the in-your-face anthems of the rest of the album.

Interestingly enough, songs like “I’m Alright” and “You Make Me Sick” are recordings that detail a very different vibe in Ugly Kid Joe’s sound. The band’s reverence for the works of 70’s Black Sabbath is clear, but there’s always a dirty filthiness in the band’s sound, not unlike recordings by Mötley Crüe or Guns N’ Roses. Ugly Kid Joe were never afraid to mix their grinding loves of Sabbath with the faster and more energized rock of California 80’s metal. Stairway to Hell retains that reverence at every opportunity; it’s like they never left at all.

However, Ugly Kid Joe’s weakness lies in the songwriting itself, which drags its feet more than it should. “Love Ain’t True” possesses a trumpet line during the chorus, which feels out of place among the sheer metal that permeates the rest of the album (it might work in the world of ska rock, but it doesn’t work here). The acoustic tracks like “Another Beer” fare better, but are brief interludes between Ugly Kid Joe’s ferocious and grubby heavy metal. While many of the songs themselves are fine and keep their sounds alive, there aren’t many surprises on Stairway to Hell. The inclusion of an acoustic rendition of their hit cover of Harry Chapin’s “Cat’s in the Cradle” is a fond throwback to their most commercially successful single, but the album thrives in the fact that Ugly Kid Joe can still perform their music with such precision and resolve. It’s just a shame that Stairway to Hell doesn’t make any left turns throughout its tracklist.

Ugly Kid Joe’s first recording with new material in over 15 years holds true to its promise. Stairway to Hell demonstrates a resolute control of their many, many influences. The traces of sludgy Black Sabbath rhythm sections, the dirty 80’s heavy metal guitar solos, Whitfield Crane’s slithery wail: they’re all there and they all sound great. The songs themselves, however, don’t possess the refinement that the band’s musicianship does; the compositions just don’t reach out far enough to be surprising. Stairway to Hell doesn’t break new ground for the band, but the fact that they still sound so strong and intense even after 15 years is remarkable. Expectations be damned: Ugly Kid Joe are back.

 

 

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DAVEY SUICIDE Put Our Trust in Suicide EP Out Today

Today sees the release of the new DAVEY SUICIDE EP Put Our Trust in Suicide. This EP features 4 blistering tracks including a remix of the song “Generation Fuck Star”. In support of the release, DAVEY SUICIDE will be on the road with Blood on the Dance Floor and Jeffree Star as part of “The Scene is Dead Tour”. The first leg wraps up today in Scottsdale, AZ at The Martini Ranch. The second leg of the tour kicks off November 21st in Las Vegas, NV and runs through December 15th in Tucson, AZ. A complete list of dates can be found below.

DAVEY SUICIDE is ready to set the world ablaze. The Los Angeles insurgent injects gutter grit back into rock ‘n’ roll. It’s been far too long since a rebel raged through town with distortion blaring and middle fingers in the air. It’s time for a new leader and with today being Election Day, the time is right to put your trust in SUICIDE. Flanked by bandmates Frankie Sil [Bass], Ben Graves [Drums], Needlz [Keyboards], and Eric Griffin [Guitar], he distills heavy metal, industrial, and punk into anthems that are as corrosive as they are catchy. Whether or not you’re prepared, SUICIDE has arrived.

Put Our Trust in Suicide is available for purchase HERE, and is also available as a special bundle package with an exclusive DAVEY SUICIDE t-shirt and 2 instant video downloads HERE.

The single “Generation Fuck Star” thrashes with intense industrialized guitar and an arena-ready hook. With a music video concept penned by Suicide himself, “Generation Fuck Star” is an unforgettable calling card both sonically and visually.

SUICIDE commented on the release of Put Our Trust in Suicide:

“We are in a time where we need to support bands that put the “art” back into the “artist.” So we can cut out the manufacturing bullshit from American Idol and the Voice. It starts with us, the real music fans and it starts today. We are the future. We are Generation Fuck Star.”

DAVEY SUICIDE Live:

11/7: Scottsdale, AZ @ Martini Ranch

Leg 2
11/21: Las Vegas, NV @ Hard Rock Café –
11/23: Salt Lake City, UT @ In the Venue –
11/24: Colorado Springs, CO @ Black Sheep –
11/25: Denver, CO @ Summit Music Hall –
11/28: Ann Arbor, MI @ The Blind Pig –
11/29: Des Moines, IA @ Wooly’s –
11/30: St. Louis, MO @ Fubar –
12/5: Spokane, WA @ Northwest Events Center –
12/6: Boise, ID @ Knitting Factory –
12/7: Portland, OR @ Wonder Ballroom –
12/8: Seattle, WA @ Studio Seven –
12/11: Sacramento, CA @ Ace of Spades –
12/12: Pomona, CA @ Glass House –
12/13: Los Angeles, CA @ El Rey Theater –
12/14: San Diego, CA @ Soma Side Stage –
12/15: Tucson, AZ @ The Rock –

Marshall Headphones On The Road Videos


Just stumbled upon these really cool videos with The Eagles of Death Metal frontman, Jesse Hughes:
“Ever wondered what it takes to make legendary gigs happen around the world? This September, Marshall Headphones presents On the road, a documentary series produced by Vice Media. Presented by Jesse Hughes, the epic front-man of eagles of death metal, and Tim Harrington from Les Savy Fav, On the road celebrates the travelling rock’n’roll lifestyle playing tribute to the unsung, behind-the-scenes heroes that make the gigs happen”.

Marshall Headphones-On The Road

Here is an example from Episode #12: GWAR and Black Lips:

Speaking of Marshall amps (BTW RIP Jim Marshall), the company is having a contest to give away a Pitch Black Marshall Amplifier. If interested go to The Marshall Headphones Facebook page where you will be asked to upload a image or video with yourself in corpse paint by May 28.

And if you happen to be going to England in September- check out the lineup for the 50 Years of Loud show: