Q+A with North Carolina Rapper Mallz –

We talk his latest EP, Spike Lee, and the future of rap

Jack Austin (JA): When did you first begin rapping?

Mallz: Oh man, I started way back when I was 10 years old, it was just for fun and making parodies of songs and stuff. I just kept doing it throughout the years. But I got really serious about it in high school and then actually decided to pursue it as a career option towards the end of college. I started recording probably when I was in middle school. I just had a boom box, and plug in headphones, and a mic set and just rapped into that, trying to make pause tapes but just really wasn’t good at it. And then in middle school I met a friend of mine named Nim. And we became really tight, and we just met because we were both friends, we were both into comic books, and liked to draw. And we both found out we rapped. So we sort of formed a rap group in high school, and he had a recording set up so all my high school tapes were recorded at my friend Nim’s house.

JA: Growing up, who did you listen to?

Mallz: I’m a little bit older and I also have an older brother who introduced me to hip hop, so my memories of hip hop go a little bit further back than a lot of other people. My earliest memories are of listening to Run DMC, Fat Boys, LL [Cool J], Public Enemy, I started to get my own taste in music around the time when I was like 7 or 8, and it was when I heard Big Daddy Kane and Rakim, and De La Soul, and later on A Tribe Called Quest. I grew up within the culture.

PublicEnemy
Public Enemy, one of the first rap groups Mallz listened to.

JA: Who do you listen to now? Who influences your music the most?

Mallz: Who I listen to now, I still listen to all the old stuff, as far as hip hop goes, all the stuff I grew up listening to. Current artists that I listen to Kendrick, Open Mike Eagle, I listen to a lot of non-hip hop stuff like Hiatus Coyote, I’m a big jazz fan, I love Coltrane and Thelonius Monk, Charlie Parker, Miles Davis, kind of all over the place.

JA: What do you think the biggest differences are between this EP and earlier albums like Hustler of Culture and Subject to Change?

The big difference is that this one wasn’t all my idea, it wasn’t all my control. The new EP Radioheads started out from this producer I know named Steve Skyline who actually worked on my previous album Subject to Change. He’s been in a bunch of beat battles in the area, and he would always come in second or he would lose to the eventual winner in some of the early rounds. And so finally he won, and part of his prize was an interview on the radio show that I co-host with DJ Samps. While we were doing the interview, and during the time we were off the air just playing songs, live songs on the air, he just came up with the idea DJ Samps will make the samples, you’ll [Skyline] chop up the records and make the beat, and then I’ll rap on it. DJ Samps kind of acted as executive producer and all I did was just rap, I didn’t have to worry about the direction of it or anything. It was a team effort. Musically, I would say there is more of what I like to say flexing on it. I have one song which is about a topic and theme of me being an introvert and a loner, and being on my own but the rest of it is just fun, boastful hip hop, you know ‘I’m good’ type stuff.

JA: In the past were you more involved in production aspects?

Mallz: Not yet…. I’ve been kind of learning it but haven’t really fully committed to sitting down and getting those 10,000 hours to become proficient. I haven’t totally immersed myself. I have my toe in it [production]. It is coming.

JA: How did you like working with DJ Samps?

Mallz: He is the homie. He is a staple and huge supporter of North Carolina hip hop going back about 20 years. Like Little Brother and  Justus League,, all those guys came through his radio station. He played all of their records, any up and coming artists in the area, or the state, really. He played their records. So I met up with him, it’s been a few years since I first moved out to the Triangle Area which is Raleigh, Durham, and Chapel Hill. When I first moved out here, he invited me up to the radio station, and I just kept coming. I ended up co-host [of a rap show]. We would always talk about music, we had similar tastes and attitudes towards it. He managed a group called Third Day, so he knows what he’s talking about. He was definitely somebody I trusted and why I would be a part of this project.

JA: Earlier you mentioned a lot of Radioheads is flexing. Beyond that, what are you trying to say with the EP? Is there a unifying message?

Mallz: In all of my music I do try to put in some medicine with the flashy stuff. I do try to have some stuff, if I’m bragging on the mic, I will try to have something you can take and keep with you, where you’re like “Ah man, that’s good.” So I have references of people who I admire like James Baldwin, Huey [Newton] and Malcolm X [on “Super Saiyan”]. I kind of came up in the days of Public Enemy and X Clan, and artists and groups that had the party records and they had fun, but at the same time you were getting something from it. I don’t necessarily have one specific message that I try to get out there. I just want you to take something, learn something about a reference to a person or a book, or anything you’ve never heard of. Maybe it will inspire somebody to go look it up and check it out. They might like it, they might not, but that’s giving you more than “hey, I rap good.”

JA: I noticed that line about James Baldwin and Malcom X. Could you elaborate on why they are important to you?

Mallz: Just reading their work, reading about their lives, and being a black man who grew up in the South, knowing about your history and American history and the truth about American history, I think it is very important. For me personally, I try to give a piece of me in my music and put in things that I was influenced by whether its music, literature, art, or whatever. I reference Salvador Dali, he’s my favorite artist. It’s giving a picture of me, the things I’m into. I think it’s important to have that human element in music and especially in rap. A lot of people get caught up in the material things or just the ‘I’m better than you’, and it’s okay to be human. And these are the things that make me human.

Mallz
Mallz pictured above.

JA: Do you think coming from North Carolina affects your music at all? If so, how?

Mallz: I think so, but North Carolina is in a funny position that it is right in the middle between New York and Florida. And a lot of people from New York have family in North Carolina. I’m from the country, like I grew up in a one traffic light town. So I’m country, but there is still that connection to New York, and with my age, all the rap I listened to at a certain point was New York rap. So I have those Southern sensibilities, taking my time, and the whole Southern hospitality thing, but the fact that we are right in the middle between the Deep South and Up North, you kind of get everything. And also, I’m from Northeastern Carolina. I’m currently in the Raleigh-Durham-Chapel Hill area which is kind of central, a little closer to the east, but kind of central. So I-95 is in between where I’m from and where I am now. You get this amalgamation of all these people, not to mention with all the universities in North Carolina, Duke, UNC has branches all across the state. You get people from all over, so you have grown up, from when I was a child to high school, in a small town, I was isolated. Then going to college and meeting people from all over it gives you a more rounded sensibility. That’s why I tell people who aren’t from North Carolina, that as far as music goes North Carolina doesn’t really have a sound because we are influenced by so much around us. We are close to the DC Maryland area, so we are no strangers to Go Go music. There’s part of North Carolina that really gets down with what is now the Southern Trap family. Then there’s the traditional boom-bap sound. And West Coast and Midwest and everything. We don’t have a sound you can pinpoint like ‘Ah, that’s the North Carolina sound.’ We are the sum of all of these regions.

JA: You’ve mentioned your age a couple times. How old are you?

Mallz: I’m 38. So I’m in a weird position where a lot of the up and coming rappers look at me as an OG, but my OG’s are still active so it’s kinda weird.

JA: So your album cover uses an iconic image of Radio Raheem from Do the Right Thing who is known for blasting Public Enemy throughout the film. I know you mentioned you listen to Public Enemy earlier.  Why did you choose this image? Was there something that particularly resonated with you about that character?

Mallz: Well Spike Lee is one of my favorite directors, Do the Right Thing is one of my favorite movies. My middle name is Raheem, so when I first saw Do the Right Thing I just automatically connected with Radio Raheem, cause how often do you see characters with the name Raheem. The fact that he loved his music, everywhere he went he had his box playing music, and I was the same way. So it just made sense to go with Radio Raheem, and also with the passing of Bill Nunn not too long ago I felt it would be a nice tribute.

JA: How would you describe your sound overall? Do you see that changing in the future?

Mallz: So I would describe it as traditional East Coast hip hop. I’m very, I’m not necessarily punchline oriented but I like witty rap. Things that you might not think of at first, I try to be not so complex that you just don’t get it til later, but you listen and you’re like “Ah!’. I don’t like to consider myself Old School just because there are connotations with that phrase, but traditional hip hop is how I like to consider myself…..

Well yeah, I feel growth and change is inevitable. Throughout my career I like to switch up the way I rap from song to song, but I feel it… will be an evolution rather than a change, like a quick turn. In college I rapped with a lot of punchlines and a lot of similes, and I kind of moved away from that. But if you listen to me then and listen to me now you can tell how I got there. So I definitely see myself growing into something similar, but not necessarily a stark change.

JA: What are your goals for the future?

Mallz: Honestly if I could just maintain my creativity, continue to reach people, to reach more people, obviously to reach a wider audience. I’m good with that, I never wanted to be a superstar rapper that can’t go to the store, like I’m in Walgreen’s right now, and nobody is bothering me, and I like that. Even when I was a kid, I never wanted to be that guy that had to have security to go to the store. Just to be the blue collar, who has his lunch pail and his hard hat, hits the road, hits the studio, does his work, and chills. That’s all I’ve ever wanted, and on some level I’ve achieved that. That’s something I tell younger guys coming, and first off, know what you want, and if you are shows at bars and pubs that’s okay. If you want to continue to do that that’s okay too. If you want to be doing stadium shows and everything, alright, you’ve got a goal. What are you going to do to progress to that? I would like to have myself touring a little bit more, overseas, across country, right now I”m pretty much up and down the East Coast and a little in the Midwest. I would like to expand my reach. The music is out there but my physical self hasn’t gone to the West Coast yet or to Europe or Asia or anything like that. I definitely would love to have that happen.

JA: What’s the toughest part about making a living as a musician?

Mallz: It’s fighting through the noise and the clutter. Because everyone is doing it. And I have to remind myself. There are a lot of good rappers out there, why should someone listen to me? The hardest part is just making your way among all the other people doing the same thing. Cause when I started there wasn’t that many people rapping, and now every third person you bump into raps. To distinguish yourself from all the other people doing it, and now you have this thing with everyone being on the internet and things going viral. Things go viral, things that people don’t like go viral. I tell people if you want to be famous you have to be really really good or really really bad, because people will share the bad stuff. And they may not be around for a while. To rise above all that stuff is probably the hardest thing.

JA: What’s the most rewarding part about making music for you?

Mallz: Just creating something. At the base, the core of it, is just the joy of creating. I still write pen and paper, I start with a blank page. And how ever long it takes me to make a song. I record myself, I open up my program, and then boom there’s a song there. Just creating is very rewarding. Also when I perform to see the response of the people in the crowd, whether they like it or not, it’s rewarding cause it let’s me see alright, that’s one to keep, that’s a good one.

JA: How do you see rap evolving in the next 30 years? How long do you think it will remain the most popular genre?

Mallz: It doesn’t seem to be going anywhere. But all things do change. So I do feel like in the next 30 years it will go back to how it was where you have to be actually good. Because people move on from stuff. And I don’t know what will cause it. But it will happen. I don’t think rap will just stay the Number One genre, but I think what replaces it will be influenced by it.

JA: Anything you would like to add?

Mallz: Buy the album. That’s about it.

Guest Post From Bored In Pittsburgh-Brought To The Water-Creator, Destroyer

By Ben Gibbons of Bored In Pittsburgh

If I were a betting man, I’d put some money on the possibility that the members of Winston Salem, NC’s Brought To The Water are big Deafheaven fans. From the fact that they’re named after a song by the popular San Fran metal band, to the strong resemblance between the cover art for the newly released Oblivion EP and 2013’s Sunbather, to Brought To The Water’s strong experimental streak…it’s a safe guess.

That’s not to say that this band is derivative, though; I’d go so far as to say that “Creator, Destroyer” is stranger than anything I’ve heard from Deafheaven. The song kicks off with an atmospheric three minute intro featuring harmonized vocals, a sample that sounds like some infernal machine revving up and then dying, and legitimately jazzy guitar and keyboard flourishes. Then comes the ass-kicking in the form of molten guitar riffs, punishing drum fills, and vocals that vacillate between Killswitch Engage-esque and My Chemical Romance-ish.

I was baffled when I first listened to “Creator, Destroyer,” since it packs so many styles and influences together into a relatively short runtime. After a few more plays through, I’ve grown to appreciate it for its sheer weirdness and willingness to push the sonic envelope. I’d recommend it to anyone who’s interested in the more bizarre side of heavy music.

A visual representation of this song’s mashed-up styles (courtesy of South Park)

Check out more from Brought To The Water: https://broughttothewater.bandcamp.com/

Check out Bored In Pittsburgh: https://wordpress.com/view/boredinpittsburgh.home.blog

Iron Maiden and Robinsons Brewery Announce “HALLOWED”, A Special Release Belgian-Style Ale To Be Released in October

Iron Maiden and Robinsons Brewery Announce “HALLOWED”, A Special Release Belgian-Style Ale

New Limited Edition Beer Available for Pre-Order Now, To Be Released in October

British rock legend Iron Maiden and front-man Bruce Dickinson have revealed a new Belgian styled beer, HALLOWED, in collaboration with Robinsons Brewery. HALLOWED is to be released in October for a limited time. Pre-orders are available now. (Image courtesy Iron Maiden Beer.)

Iron Maiden and Robinsons Brewery have announced that their latest collaboration beer HALLOWED will be released in October of this year, and is available for pre-order now.

HALLOWED is a 6% ABV Belgian-inspired ale packaged in a 330 ml bottle and available for a limited time only. The beer will only be distributed for four months, with details on where it will be available to be announced on Iron Maiden Beer and Robinsons’ social media accounts.

“What makes this brew pretty special is that we’re adopting a Belgian yeast for the first time,” said Bruce Dickinson. “I’m a big fan of Belgian beers, so I jumped at the chance to brew my own. While I get very excited about experimenting with new formulas and ingredients, the thing about Belgian beer is that it’s as much a way of life as it is a drink. We’ve tried to bottle that philosophy in HALLOWED, albeit with a British twist.”

The use of Belgian yeast within HALLOWED is a landmark occasion, as Robinsons hasn’t changed the yeast used in its beers since 1942.

“It’s all in the yeast,” says Martyn Weeks, Head Brewer at Robinsons Brewery. “Belgian yeast yields a very distinct taste and presentation. You can sniff out a Belgian beer simply from its aromas: fruity, spicy and earthy. Belgian yeasts withstand higher alcohol levels, they attenuate well and create an array of phenolics and esters… put simply, this means more flavor and I think Hallowed drinkers are in for a treat.”

The bottle art for HALLOWED will feature Iron Maiden mascot Eddie garbed in traditional monk’s robes as a tribute to the beer’s Trappist Belgian inspiration. The art follows in the footsteps of other collaborations between Iron Maiden and Robinsons. These collaborations include TROOPER, which has sold over 15 million pints since its launch in 2013, and the previous limited edition beers TROOPER 666 and RED ‘N’ BLACK.

OBITUARY Share New Song “A Lesson In Vengeance”; Announce New US Tour Dates With Gruesome

Obituary Ester Segarra
Photo Credit: Ester Segarra

Florida death metal legends OBITUARY have shared a new song from the impending, Self-Titled album out next week, March 17th. Hear “A Lesson In Vengeance” now via YouTube at this location.

Additionally, OBITUARY has announced new US headline tour dates with labelmates Gruesome from May 11th till May 21st. The band kicks off the tour cycle with the 2017 Decibel Magazine Tour featuring Kreator, Horrendous and Midnight on March 17th in Charlotte, NC.  A complete list of dates, including numerous festival appearances are included below.

Obituary is due out March 17th, 2017 on CD/LP/Digital. Physical and digital pre-orders are available now via Relapse at bit.ly/ObituaryST.

Pre-Order ‘Obituary’ via Relapse HERE
ObituarySelfTitled
Cover Art: Andreas Marschall
Obituary Tour Dates:

— All Dates Mar 17 – Apr 15 with Kreator, Midnight, Horrendous—

Mar 17 Charlotte, NC Underground
Mar 18 Atlanta, GA Masquerade
Mar 19 Tampa, FL The Orpheum
Mar 20 New Orleans, LA House of Blues
Mar 21 Houston, TX House of Blues
Mar 22 Dallas, TX House of Blues
Mar 24 Phoenix, AZ Club Red
Mar 25 Santa Ana, CA Observatory
Mar 26 San Francisco, CA The Fillmore
Mar 27 Portland, OR Hawthorne Theater
Mar 28 Seattle, WA Neptune
Mar 29 Vancouver, BC Rickshaw Theater
Mar 21 Calgary, AB MacEwan Ballroom
Apr 01 Edmonton, AB Union Hall
Apr 04 Denver, CO Summit Music Hall
Apr 06 Minneapolis, MN Cabooze
Apr 07 Chicago, IL House of Blues
Apr 11 Toronto, ON Opera House
Apr 12 Montreal, QC Club Soda
Apr 13 Boston, MA Paradise Rock Club
Apr 14 New York, NY Irving Plaza
Apr 15 Philadelphia, PA Theatre of the Living Arts

— All Dates May 11 – May 21 With Gruesome —

May 11 Pensacola, FL Vinyl Music Hall
May 12 Memphis, TN Hi-Tone
May 13 Birmingham, AL Syndicate Lounge
May 14 Nashville, TN Exit/In
May 16 Louisville, KY Trixie’s
May 17 Pittsburgh, PA Rex Theater
May 18 Washington, DC Rock and Roll
Hotel
May 19 Amityville, NY Amityville Music Hall
May 20 Hartford, CT Webster Theatre
May 21 Richmond, VA Broadberry

Summer Festivals:

Jun 18 Clisson, FR Hellfest 2017
Jul 15 Dunaújváros, HU Rock Maraton 2017
Aug 6 Corroios, PT VOA Heavy Rock Fest
Aug 12 Kortrijk, BE Alcatraz Festival 2017
Aug 13 Derbyshire, UK Bloodstock
Aug 17 Dinkelsbühl, DE Summer Breeze 2017

DecibelMagazineTour
OBITUARY BIO:

One of the most influential, revered and best-selling death metal bands of all time, OBITUARY formed in the swamplands of South Florida in 1986 after switching their name from Xecutioner.  the band signed to Roadracer Records, a now defunct division of Roadrunner, for the recording of their debut album, the immense and immeasurably heavy Slowly We Rot (1989). The album was engineered by the legendary Scott Burns at Morrisound Studio, which would come to be the most sought after facility for production of albums during the rise of death metal in the 1990s. Unlike much death metal preceding it, the album had a sludgy feel and integrated devastatingly slow passages along with obliterating overtures that reached far beyond any point of mayhem that metal had yet to reach. The result was a carnal pleasure for doom, death and thrash fans alike coupling the adrenaline of a speedball with the slow, degrading measures of a sewer at dusk. OBITUARY were unlike anything anyone had heard before and would change the shape of heavy music forever.

OBITUARY followed up Slowly We Rot with Cause of Death (1990), perhaps the band’s most hailed album and an even more chaotic, bass heavy mix of the band’s signature groove, manic guitar solos and crashing drums. The album’s defining feature, however, was vocalist John Tardy’s disarmingly horrific, gargling style, that created guttural chasms of dread which, though often mimicked, have been achieved by no one else. Drastically shifting tempos and Tardy’s unique vocal style became the band’s trademark, which clearly distinguished them from the rest of the burgeoning US death metal scene.

OBITUARY spent the next two decades releasing some of the finest death metal ever put to tape with classics like The End Complete (1992), World Demise (1994), and Frozen in Time (2005) solidifying them as one of the genre’s most important bands of all time. Fast forward to 2014, when after a five year gap between albums, OBITUARY successfully crowdfunded their new album and subsequently partnered with Relapse Records for it’s release. Reinvigorated with a new lineup featuring the additions of legendary bassist Terry Butler (Death, Massacre, Six Feet Under) and lead guitarist Ken Andrews. The result was Inked In Blood (2014) which immediately took the world by storm.  The next couple years revolved around an extensive world tour schedule that took them to sold-out venues across the globe including tours with Cannibal Corpse, Carcass and Exodus and multiple mainstage festival appearances including 7000 Tons of Metal, Maryland Deathfest, Hellfest, Obscene Extreme, Full Terror Assault, Neurotic Deathfest, Graspop Metal Meeting, and the band’s own inaugural Florida Metal Fest.

To end 2016, OBITUARY released a surprise, live EP, Ten Thousand Ways to Die, featuring two brand new songs plus twelve classics and fan favorites recorded across eleven different cities during the Inked In Blood world tour. The EP left die-hard fans craving more, unbeknownst that it was just the beginning.

Now in 2017, OBITUARY return with their self-titled, 10th studio album, further cementing their legacy as one of the most important metal bands of all time! Picking up where Inked In Blood left off, OBITUARY show no signs of slowing down as they continue to reign as Kings of death metal. Recorded at their home studio in Tampa, FL, Obituary is a 10 track tour-de-force of bone-pulverising death metal that is as heavy, uncompromising and infectious as anything they’ve released in their historic, nearly 30-year career!

OBITUARY are:
John Tardy – Vocals
Trevor Peres – Guitar
Ken Andrews Jr. – Guitar
Terry Butler – Bass
Donald Tardy – Drums

Official Obituary Website
Obituary on Facebook
Obituary on Twitter
Obituary on Instagram
Obituary on Bandcamp

CONAN Announce Spring North American Tour/Pittsburgh 5/20 @SmilingMoose

CONAN are as heavy as interplanetary thunder amplified through the roaring black hole anus of Azathoth. Remember that sentence, for it is writ large in virgin blood on the walls of the forgotten temple of Bol-Krastor, deep in the steaming forests of forgotten Lemuria. Conan, a monumentally brutal three piece (in the grand tradition of all the hallowed three pieces through time) hold a sinew-tight line and an iron-grip command over the uber-synchronised powerchord changes and tempo-shifts of the anti-holy trio of bass, drums and guitar. Two weary yet defiant men have the task of vocalizing wretched thoughts over the turgid weight of CONAN‘s metalized bombast. They bear it well, for the task is immense.
unnamed-2Now they bring this immense task back to North America this May on tour with North.  In addition to the headline run, CONAN will also take part in this year’s Maryland Death Fest and 71 Grind Fest in Colorado Springs, CO.  A complete list of dates can be found below.
CONAN frontman Jon Davis commented on their return North America:
“We are excited to get back to the USA and Canada to play at Maryland Death Fest, 71 Grind and also the other awesome shows we have lined up. We are also looking forward to sharing the road with our friends in North.”
CONAN W/North
5/10: Glendale, CA at Complex 
5/11: Oakland, CA at Metro
5/12: Portland, OR at Dante’s
5/13: Vancouver, BC at Astoria
5/14: Seattle, WA at Highline
5/16: Minneapolis, MN at Triple Rock
5/17: Chicago, IL at Beat Kitchen
5/18: Indianapolis, IN at 5th Quarter
5/19: Cleveland, OH at Now That’s Class
5/20: Pittsburgh, PA at Smiling Moose
5/21: Toronto, ON at Garrison
5/22: Montreal, QC at TBA 
5/23: Boston, MA at TBA
5/24: Brooklyn, NY at Knitting Factory
5/25: Baltimore, MD at Maryland Death Fest*
5/26: Raleigh, NC at Kings
5/27: Atlanta, GA at 529
5/28: New Orleans, LA at Siberia
5/29: Houston, TX at White Oak
5/30: Austin, TX at Sidewinder
6/1: Denver, CO at Hi-Dive
6/2: Colorado Springs, CO at 71 Grind Fest 
6/3: Albuquerque, NM at Sister
6/4: Tucson, AZ at Club Congress
* = no North 
 

 
More on CONAN:
Way back, in 2006, CONAN formed as a two-piece near the old port of Liverpool, and cut a now mythological demo (‘Battle In The Swamp’). The years dragged by, and fellow warriors came and went (we raise our tankards to their memory). Now they have crystallized into a final configuration – founding member Jon Davis still raging on guitar and vocals, but ably assisted by fellow acolytes of the absurd Chris Fielding on bass and vocals and the dexterous Rich Lewis on drums. Collectively their plans are clear: they seek nothing less than the crushing of a billion skulls.
They have committed their filthy, ocean-sized sound to wax (and the slightly less cool compact disc) several times thus far – with more fetid brooding output always on the reddening horizon. First came the hulking mass of a debut album (in 2010) that was ‘Horseback Battle Hammer’ (Throne, Aurora Borealis), followed by the now much sought after split with like-minded Northern Irish sludge-lords Slomatics (Head of Crom, Burning World) in 2011. In December 2011 CONAN returned to the remote wilderness of Foel Studio, Wales, and into the capable hands of producer Chris Fielding (now their bassmaster) for the next album which was to released on Burning World Records in Spring 2012 – the mighty eardrum-warping ‘Monnos’.
A triumphant recording of their live destruction of the 2012 Roadburn festival was released in 2013 as ‘Mount Wrath’. This was followed by a fearsome 12″ split with Chicago doomfuckers Bongripper in 2013 (Holy Roar Records) and a new devil-deal with Napalm Records, resulting in the evil turgidity of third album proper ‘Blood Eagle’ in 2014. Many tours across the blasted wastelands of Europe and the old lands across the Oceans have resulted in a tight slaying unit that pauses for no weakling and decimates all who will not nod to their titan-riffing. Their latest album ‘Revengeance’ was released in early 2016 – A fourth album of such implausible weight that Azathoth itself threatens to implode in a cosmic super-shower of black death-shit.
Hear the roar of battle. Smell the stench of split blood. A thousand heads piled high like a grim mound of suffering – a blasphemy to nature. Hail CONAN!
For More Info Visit:

CARCASS Announces November Tour Dates With Deafheaven And Inter Arma/Pittsburgh Nov 22 @RexTheater

CARCASS Announces November Tour Dates With Deafheaven And Inter Arma
 British metal icons CARCASS will return to to North America for a headlining tour this November. Joining them are shoegaze-infused black metallers Deafheaven and doom merchants Inter Arma. Slated to commence on November 7th and run through November 27th, the band’s latest journey follows the One Foot In The Grave headlining tour with Crowbar, Ghoul, and Night Demon this past Summer. Tickets are on sale now at all local ticket outlets.

 

CARCASS w/ Deafheaven, Inter Arma:

11/07/2016 The Varsity Theatre – Batone Rouge, LA
11/09/2016 Iron City – Birmingham, AL
11/10/2016 1904 – Jacksonville, FL
11/11/2016 States Theater – Tampa, FL
11/12/2016 North Side Festival – Monterrey, MX (CARCASS only)
11/14/2016 Ziggy’s By The Sea – Wilmington, NC
11/15 /2016 The Orange Peel – Asheville, NC

11/17/2016 Stone Pony – Asbury Park, NJ

11/18/2016 Reverb – Reading, PA – Reverb
11/19/2016 Fete Music Hall – Providence, RI
11/20/2016 The Emporium – Patchogue, NY
11/21/2016 The Chance – Poughkeepsie, NY
11/22/2016 Rex Theater – Pittsburgh, PA
11/23/2016 Agora Ballroom – Cleveland, OH
11/24/2016 Dallas – Kitchener, ON
11/25/2016 Big Shots – Valparaiso, IN
11/26/2016 The Blue Note – Columbia, MO
11/27/2016 Majestic Theatre – Madison, WI

 

CARCASS continues to tour in support of Surgical Steel, released in September 2013. The record came in at #41 on the US Billboard Top 200 Chart, just narrowly avoiding the dreaded “Top 40 Band” moniker. Even with their impressive back catalogue, Surgical Steel has given the band their highest charting and possibly most critically acclaimed record to date.

Surgical Steel
was produced by Colin Richardson (Napalm Death, Bolt Thrower, Gorefest, Cannibal Corpse etc.) and mixed/mastered by Andy Sneap (Megadeth, Accept, Exodus, Testament). Joining guitarist Bill Steer and bassist/vocalist Jeff Walker in the band’s current incarnation are new drummer Dan Wilding (Aborted, Trigger The Bloodshed) and guitarist Ben Ash (Pig Iron, Desolation, Liquefied Skeleton). Original sticksman Ken Owen contributed guest vocals as well.

 

CARCASS has released several classic albums over the years, including Decibel Magazine “Hall of Fame” inductees Heartwork and Necroticism – Descanting The Insalubrious, and their influence has changed the face of extreme metal with every consecutive release. Whether it was inventing gore-grind (see Reek Of Putrefaction, Symphonies Of Sickness) or creating the template for melodic death metal (see Heartwork), CARCASS has always made records by which bars were set and rules were broken. Upon the band’s dismantling in 1996, fans mourned the loss of the seminal act and longed that the group would return again one day. In 2007, the metal world got its wish as CARCASS reformed to play several sold-out reunion shows around the globe. Once again re-motivated to administer a shot of cynicism and infectious riffs into the arm of a sickly metal scene, founding members Bill Steer and Jeff Walker began writing what would become the latest output of their highly influential career,Surgical Steel. Only the choicest of cuts were made, and blood sweat and tears were shed to bring us a record worthy of the CARCASS legacy. In short, Surgical Steel is just what the doctor ordered.

 

http://www.facebook.com/OfficialCarcass
http://www.twitter.com/CarcassBand
http://www.nuclearblast.com
http://www.facebook.com/nuclearblastusa

 

Failure Anthem at Diesel Club Lounge September 2nd with Shaman’s Harvest and Texas Hippie Coalition

Failure Anthem just recently announced their new addition to the band Chris Pierson (singer). He has been slaying audiences with his killer voice and stage presence.  Originally from Greensboro, North Carolina and consists of Chris Pierson (vocals), Ryan [bass, backup vocals], Kile [guitar], Zane [drums], and Wil [rhythm guitars]—architect eleven impactful, invigorating, and infectious anthems in First World Problems with hooks so robust that modern bells and whistles just aren’t necessary. The album, which hit #12 on the Hard Rock chart and #39 on the Rock chart, has received numerous amounts of praise. The band has toured with P.O.D., Texas Hippie Coalition, Puddle of Mudd, and many more.

“First World Problems,” was shot in Los Angeles by director Patrick Flaherty, the video sheds a light on many of the world’s most pressing humanitarian struggles – including hunger, human trafficking and homelessness – issues the band is calling attention to in an election year…click HEREto watch.

Links
www.failureanthem.com
www.facebook.com/FailureAnthem
https://twitter.com/failureanthem
www.instagram.com/failureanthem
www.youtube.com/FailureAnthem

RINGWORM Announce US Tour Dates @SmilingMoose Oct 6

Hot off the release of their critically acclaimed new album Snake Church, Cleveland metal/hardcore veterans RINGWORM have just announced a headlining US tour with Ontario metallic hardcore four-piece Exalt (additional guests TBA soon). The tour will see the bands tearing through the US from coast to coast over the course of three weeks beginning this October 5th in Brooklyn. Check out a full itinerary below.
Additionally, RINGWORM will be embarking on a run of European dates with Hierophant and Noisem this coming December. The band has also been confirmed for So What Fest in Dallas and Texas Revolution Fest in Austin (alongside labelmates Incantation). All announced dates are listed below.
RINGWORM Live:
***All Dates With Exalt***
Oct 05 Brooklyn, NY Saint Vitus
Oct 06 Pittsburgh, PA Smiling Moose******
Oct 07 Valpairaiso, IN Big Shots
Oct 08 Des Moines, IA Vaudeville Mews
Oct 09 Denver, CO Marquis Theatre
Oct 11 Salt Lake City, UT Metro Bar
Oct 12 Boise, ID Shredder
Oct 13 Seattle, WA El Corazon
Oct 14 Vancouver, BC Astoria
Oct 15 Portland, OR Panic Room
Oct 16 Santa Cruz, CA Catalyst Atrium
Oct 18 Los Angeles, CA The Echo
Oct 19 San Diego, CA Brick By Brick
Oct 21 Dallas, TX So What Fest
Oct 22 Austin, TX Texas Revolution Fest
Oct 24 St Louis, MO Fubar
Oct 25 Cincinnati, OH Northside Yacht
***All Dates With Hierophant and Noisem***
Nov 19 Roeselare, BE De verlichte Geest
Nov 21 Nantes, FR Scene Michelet
Nov 22 Montpelier, FR Secret Place
Nov 24 Zurich, CH Werk21
Nov 25 Liege, BE Reflektor Club
Nov 26 Rotterdam, NL Baroeg
Nov 27 Drachten, NL Iduna
Nov 30 Bydgoszcz, PL Estrada
Dec 2 Hamburg, DE Indra
Dec 3 Duisburg, DE JUZ St. Peter
 
You can also watch the band’s recently released animated lyric video for the crushing track “Innocent Blood” now here. The band’s recent videos for “Shades Of Blue” and the title track “Snake Church” can be viewed in the same playlist.
Snake Church is out now on CD/LP/Digital via Relapse. Physical and digital pre-orders can be found at this location.

 

TORCH RUNNER: North Carolina Hardcore/Crust Act Signs With Southern Lord

Southern Lord confirms the newest addition to the label’s ever-morphing roster, as North Carolina-based trio, TORCH RUNNER, signs on for the release of their impending second LP, which is presently under construction.

 

Boasting a volatile, pissed-off brew of metallic, downbeat punk/hardcore, TORCH RUNNER dispatched their initial nine-track Locust Swarm EP at the beginning of 2010 which tore into the underground scene, hooking fans of bands like Early Graves, Nails, Enabler, home state outfit, Dead In The Dirt and similar acts. A split EP with Young And In The Way dropped in mid-2011, followed one year later by their debut album, Committed To The Ground, the brutalizing, morose crust attributes of the band showing through more with each new release.

 

TORCH RUNNER is currently finalizing their newest works at Legitimate Business in Greensboro, North Carolina with Kris Hilbert at the control board. Upon completion, it will be fitted with original arty by Fernando Pena at No Prophet Dead Press, which is in its final stages as well, and prepared for public disbursement via Southern Lord.

 

Stated the members of TORCH RUNNER from the studio, “We all feel like we are really hitting our stride with the songs on this record. We’ve been a band for seven years now, and everything we’re writing is stronger than ever. This is the fastest record that we’ve written without a doubt. We’ve all put a ton of ourselves into the writing of this record on all fronts, and I think the emotion that comes with that is better shown through the music and the lyrics in this album than anything that we’ve done up to this point. We have taken our writing to a more personal level with this record; more concerned with externalizing the anger and frustration that we all face internally. While a lot of the songs deal with different specific themes, I think they can all be deconstructed to show the same idea- which is the internal battle and desolation that we face after realizing that our existence is utterly inconsequential.”

 

Looking toward the future and the completion of their new LP, they continue, “We’ve toured for almost the entire time that we’ve been together, but almost always by ourselves. We have done small runs with friends’ bands throughout the years, and we’ve gotten to play with lots of incredible people and bands, but for us it’s always been more about being able to experience and go through everything together. When we look back on the past seven years, and when we look forward to everything coming in our bands future, we know that everything is because of the family-like bond that we’ve formed. No matter where we are, how many people are watching, or who we’re playing with, it doesn’t change what we’re doing or why we’re doing it.”

 

New info on TORCH RUNNER‘s upcoming album and tour plans for 2014 will be released in the coming weeks.

http://torchrunner.bandcamp.com

https://www.facebook.com/torchrunnernc

http://www.southernlord.com

http://twitter.com/twatterlord

http://southernlord.bandcamp.com

http://www.facebook.com/SLadmin