On a rainy day in Pittsburgh (10/05/2017), some seriously brutal metal bands were preparing to kick off a months-long trek across the country. The first day of a tour is typically filled with nerves, last minute preps, and anticipation of the crowds. No need to worry about Steel Town, Pittsburgh represented in full force last night at Diesel Club Lounge.
Although Diesel is not an ideal location for a metal show, due to its origins as a dance club, replete with disco being played in between sets, the club does allow for a very intimate experience. And that is also what is very appealing about the metal genre, for the most part, the bands are very accessible and realize the only way they survive is with the fans who come to the shows, actually purchase their music, and maybe more importantly, buy their merch. Pittsburgh’s own Greywalker started off the evening with their aptly titled Steel City Trash In the past 2 years Greywalker has built a reputation for their relentless live performances and have shared the stage with bands such as Suicide Silence, Nile, Dark Tranquility, August Burns Red & Darkest Hour.
Pittsburgh’s own Greywalker started off the evening with their aptly titled Steel City Thrash style. In the past 2 years Greywalker has built a reputation for their live performances and have shared the stage with bands such as Suicide Silence, Nile, Dark Tranquility, August Burns Red & Darkest Hour. Named the “2nd Best Metal Band” in both the 2015 and 2016 Pittsburgh City Paper Readers Poll’s, they also took home the 1st Place award at the 2016 Brewtal Beer Fest for their beer collaboration with Penn Brewery & Maggie Farm Rum. In 2017 some of Greywalker’s music was transcribed to a 16-Bit format and used as part of the soundtrack to “Coffee Crisis”, a video game manufactured for the Sega Genesis by Mega Cat Studios in collaboration with Black Forge Coffee House. Excerpts from the Coffee Crisis soundtrack were also released on 7″ Late Cut Records cut by FFRecords (source: Facebook). Do yourself a favor and check them out https://www.facebook.com/greywalkermusic/.
Vancouver’s Wormwitch came up next with equal parts black metal and rock n’ roll. WORMWITCH is known for their “high-octane rush of deep, grinding riffs, piston-driven drumming, and thundering bass” (No Clean Singing) Their last release, “Strike Mortal Soil” is about being alive and what that means in today’s society. The band elaborated, “We live in a society both obsessed with and terrified of death. We exist in a world constantly seeking immortality through fame or Gods. “Strike Mortal Soil” means to live with a furious passion. It is to be able to enter one’s grave like lightning, in rejection of eternity. It enforces the message that life has worth, not from your nationality, your land, your God or your flesh, but what you do with yourself.” Definitely a band with showmanship, they were loud, brash, and in your face the way that metal should be. You owe yourself a favor to get to the show early and witness what they are laying down.
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 Polarity. Axis Mundi is a combination of all the stuff I’m into. I like it a lot right now. It’s more melodic. The riffs repeat intentionally. I want to have fun with these songs.”
For those paying attention, seven long years separate Polarity from Axis Mundi. The absence would kill the fan velocity of most bands. But not Decrepit Birth. Even after 2014’s The Summer Slaughter Tour—the last time the West Coasters were on tour—the group’s legion of freaks have stayed true to their death metal masters, pleading and pining with regularity on social media for new technically-proficient savagery. That wait will soon be over withAxis Mundi, but what was Decrepit Birth up to while the world turned and burned?
“We did tours up to 2014,” Sotelo remembers. “That’s four years of tours [since the release of Polarity]. We were doing maybe two or three tours a year. Also, since Polarity, I’ve been writing new music. I’d work on new music and then scrap it. I’d change things around. So, it took a little while. I also had a son shortly after Polarity came out. I was really busy with a newborn baby. So, it wasn’t really until 2014 that I started to buckle down to write new music.” The new and older music is so worth getting out there to see live, for they are an experience like no other. Vocalist Bill Robinson has a voice that defies description in its sewer level graphic gravel tone. The band plowed through a crazy tight set leaving the crowd feeling as though they had been drawn and quartered. An added bonus was seeing Sean of Decrepit Birth all over his fretboard with his Beardly Customs bass, made by our good friend Rick Link.
Written in Sotelo’s kitchen or at his computer desk—a fairly prosaic picture compared to the next-level intensity upon which Axis Mundi pivots—the majority of Decrepit Birth’s new, trail-blazing music originally had a different shape and color. Sotelo eventually axed songs he labeled “crazy and wild” for a more economical approach. Relatively speaking. He was more into the feel of the riff than expanding upon the multitude of multitudes he normally emits like a mad scientist with eight arms.
“The first song I finished was ‘Hieroglyphic,’” recalls Sotelo. “I will say ‘Hieroglyphic’ is a good representation of this album. It’s got a little bit of everything in it. It shows what we’re about right now. The last song I wrote was the last song on the album, an instrumental called ‘Embryogenesis.’ I used a 7-string guitar on it, but not in the way that a lot of people use 7-string guitars. It’s not percussive. It’s layered. See, I like to experiment. I’m glad I got to try something that wasn’t standard death metal. I’m not trying to put down bands or fans, but I like songs that have weird things going on, like samples or MIDI parts.”
Sotelo cites the strength of songs like opener ‘Vortex of Infinity – Axis Mundi’, ‘Hieroglyphic’, ‘Mirror of Humanity’, and ‘Epigenetic Triplicity’ on Decrepit Birth’s reconfigured lineup. Drummer Samus Paulicelli and bassist Sean Martinez aren’t exactly new to the group—both have acclimated nicely over the last few years—but they’ve pushed Decrepit Birth, compositionally and musically, up a few notches. Axis Mundi wouldn’t have been the same without their involvement.
“They’re two very talented musicians,” Sotelo beams. “I’m lucky to have them working with me. Both of them bring a lot. Sean probably is the best bass player—technically—we’ve had in the band. His bass lines and the way he plays bass are amazing. If you listen closely, he’s doing a lot of cool lines. As for Samus, he has his drumming to offer, which is huge. There’s very little he can’t do. He’s amazing. But he also contributed [to the songwriting process]. He’s a good songwriter, an amazing all-around musician. He wanted to help me write the songs. Not the riffs, but help arrange the songs. He wanted to create something different from what I came up with. So, I let him. I decided to have Samus help us out. He’s got the skill. It’s a lot of good stuff he contributed to the record.”
While most of Decrepit Birth’s peers aim lyrically and conceptually for the jugular—blood and guts are a never-ending font of inspiration—the Golden Staters have opted for the mystical and the arcane. Chief lyric writer and frontman Bill Robinson gets many of his ideas from literature and imbibing in mind-altering substances. For Axis Mundi, Robinson centered the lyrics on a theme. From opener ‘Vortex of Infinity – Axis Mundi’ through ‘Epigenetic Triplicity’ he’s taking the listener on a synodic journey, where portals to inner and outer spaces are opened for the intrepid.
“I’m going to be honest here,” says Sotelo. “Bill is responsible for all the lyrics and the concept. I know axis mundi is the center of the world. The world energy center. Energies of the heavens coming down to the Earth. A portal. So, there’s a theme. They’re connected. We’re not the typical lyric writers in death metal. Bill’s lyrics are almost psychedelic. Weird and esoteric. He’s out there. They’re not happy. They’re not hippie shit. They’re fringe, on the edge. They’re dark. And I like it that way! For this album, it’s an all Bill thing. Even the cover.
Recorded at three different studios over the course of a year, Axis Mundi sounds incredible. The clarity, the power, the musicianship, and the brutality aren’t vying for attention. They’re in absolute harmony. The guitars—tracked by Sotelo at his home studio—are razor sharp yet spine-snappingly heavy. The drums—tracked by Ryan Forsyth at Private Ear Studios in Winnipeg, Canada—are genre-defining, recalling what Sean Reinert, Gene Hoglan, and Steve Flynn did for Death and Atheist, respectively. And the bass— tracked by Sean, also at his home studio—has a great deep-end against the ceaselessly wicked rhythms. Tracks like ‘Hieroglyphic’, ‘Spirit Guide’, and ‘The Sacred Geometry’ wouldn’t have crushed skulls and blown minds if it wasn’t for the accomplished mixing and mastering of Stefano Morabito at 16th Cellar Studios.
“I spent a lot of time recording at my own leisure at my own house,” recalls Sotelo. “I have my own recording equipment. We did go out to a professional studio in 2015 to record the drums. We were there for about a week. I took those drums home and started to record my guitars. That took about four to five months. The reason being I had a lot going on personally. I didn’t have a lot of time to knock out the whole album. Plus, I was experimenting with new things while tracking. That’s just how I do it. We can’t do what normal bands do. We’re so spread out. Sean lives in New York, I live in California, and Samus lives in Winnipeg. That’s a big triangle. It’s hard to get together to play music. It’s a bit unfortunate, but that’s how it is. That means we’re writing songs all the way up to and including tracking. I will say this: recording is a lot cheaper and it’s a lot less pressure.”
With remarkable songs—check out ‘Hieroglyphic’—, an exceptional production, and high concept lyrics, Decrepit Birth will re-shape death metal on Axis Mundi. They’re blasting the doors of convention wide open, paving the way for future generations to explore beyond death metal’s four proverbial corners. Much like the band’s influences from the early ‘90s, Decrepit Birth has different optics on the genre and what has meant and continues to mean. Of course, Sotelo sees Axis Mundi from an entirely pragmatic viewpoint.
“I don’t know if we’re going to re-shape death metal,” he counters. “We’re just a band. We’re doing this. We’re fans of the genre. We do our own thing with it. It’s our own paint job. What sounds cool to us. We don’t aspire to be the most technical band out there. The technicality isn’t our main goal. Technicality is part of what we are. When we were writing this album, we wanted the songs that had riffs that repeat. There’s more structure with our new stuff. We’re trying to write good music. We want to entertain people out there. Hopefully, everybody likes Axis Mundi.”
Decrepit Birth are: Matt Sotelo (guitar), Bill Robinson (vocals), Samus Paulicelli (drums), and Sean Martinez (bass). With minds agape and riffs afire and invocations cast, they invite you to enter Axis Mundi!
The Black Dahlia Murder did not waste any time in riling up the audience. They came loaded for bear and popped off right away. Any band that has earned an army of devout followers through dropping seven killer full-lengths – and touring their collective ass off for sixteen years – could perhaps be forgiven for thinking they could take it easy as they wade into their eighth release. But that’s just not The Black Dahlia Murder‘s style, and Nightbringers is a testament to that. Having released their most accomplished, aggressive, and emotionally diverse music to date in the form of 2015’s Abysmal, the Michigan quintet has once more pushed themselves to new heights, and the 34 minutes of searing melodic death metal that comprises Nightbringers is riveting listening. “I always feel a responsibility to the people who support this band when we start making a new record,” asserts vocalist Trevor Strnad. “The pressure that comes from people being excited to hear what you come up with next can be intimidating, but it’s so exciting that those people love you so much for just doing what you do. It makes you want to honor what you’ve done in the past, but also excite them with where you go next, and that definitely drove us on ‘Nightbringers‘.When we started writing I honestly didn’t know we had this album in us, and I feel really proud of it. It’s a great moment for us.” Hearing some of these tunes for the first time was riveting, to say the least. BDM is at the top of their grimy game, attacking with more “thrashiness” and brutal audible onslaught than ever before. Swinging for the fences, the band is poised to take their riff-heavy metal to new heights this year.
Rather than meticulously plan things out or stick rigidly to any kind of template, when it comes to writing, The Black Dahlia Murder prefer to let things happen organically. In the hands of guitarist Brian Eschbach – who co-founded the band with Strnad in 2001 – and new recruit Brandon Ellis(Arsis, ex-Cannabis Corpse), Nightbringers is rich with dynamic riffs that are at once fresh and classic TBDM, resulting in a collection that shifts through many moods and effortlessly incorporates various elements of extreme metal. With guitarist Ryan Knight having amicably stepped down in 2016, the addition of twenty-four-year-old Ellis to the band’s ranks has helped usher in an exciting new era. “He’s very professional for his age, I think he’s skilled far beyond his years, and his live energy is exceptional. When Max (Lavelle, bass) joined the band he challenged a lot of us on stage to raise our personal bar, and Brandon’s pushed that even further,” states Strnad. “Brandon coming into the band and writing a bunch of songs was an awesome surprise too. He really took the reins, and this record is also the most involved that Alan (Cassidy drums) has been too. The way that we were doing the demos and bouncing things back and forth he had a lot of room to do what he wanted to do, and I think it’s definitely a more colorful album for that. I also think as we get older the emotional content goes up. I think we better realize how to grip the listener. Personally, I try to write lyrics that are going to match each part, and kind of ramp up those feelings that we’re putting across.” Strnad’s statements are vividly borne out by every moment of Nightbringers. For fans attending 2017’s Summer Slaughter tour, the first taste of the record came with the inclusion of the title track in their set, which has an undeniable immediacy to it, rich with hooks and boasting a “circusy, evil and playful” air. By contrast, “Catacomb Hecatomb” is suffused with tragedy, the mournful tone of its slower passages deeply affecting. This too is dramatically different to “As Good As Dead”, which has some swagger to it that Strnad likens to Megadeth, or “Matriarch”, described by Eschbach as a “wild, neoclassical romp” and stands as one of the most cutthroat and all-out aggressive tracks in the quintet’s arsenal. Upon first hearing the latter, Strnad was intent on matching its visceral intensity. “I felt inspired to write very violent lyrics to it. It’s told from the perspective of a woman who is trying to have a child and not having any luck, and she goes kind of crazy and stalks this other woman who is due to have a child. She finds her moment to take it from her, cutting it right out of her stomach.” While Strnad explores a variety of themes and ideas with his lyrics, they are united by the album’s title, which embraces a tenet that has been central to The Black Dahlia Murder‘s output since the very beginning. “Death metal and nighttime are synonymous to me. We are the rulers of the darkened hours that the Christian good fears. A lot of archaic ideas that are still upheld – such as marriage and monogamy – came from Christianity, whether people want to acknowledge it or not, and to me, death metal has always been bucking that. It’s ‘being-the-villain music’, because we’re the enemy of Christianity, the enemy of all that is good and traditional. Death metal is for free thinkers, it’s for showing people the path to inner strength and operating on your own will, instead of being told what to do and living in fear, and songs like the title track and ‘Kings Of The Nightworld’ are about leading a legion of awakened minds into battle.” Following this theme also motivated Strnad to forge into ever-darker territory, even when this meant tearing things up and starting over. “I felt I needed to rise to the occasion to make as much of the blood and guts and heinousness as possible, and there was actually a couple of points where I rewrote some songs. I just didn’t feel like they were dark enough, or violent enough, so I was really trying to ramp up the monstrous aspects of things – the grizzlier the better!”
Rather than decamp to a single studio, the members split off when it came time to start laying down the songs – all well versed in how to get the best out of their individual performances. With former bassist Ryan Williams once again assisting, the drums were tracked at The Pipe Yard in Plymouth, Michigan and rhythm guitars and bass in the band’s practice space in Warren, Michigan. Ellis then recorded his many blistering solos in his home studio, while Strnad opted to record at his home in Auburn Hills, Michigan with Joe Cincotta (Suffocation, Internal Bleeding) of Full Force Studios overseeing his sessions. For the unique and haunting cover art they turned to Kristian Wahlin, aka Necrolord, who has designed seminal artwork for the likes of At The Gates, Bathory, Emperor and also TBDM‘s 2007 release, Nocturnal. “I think he’s the most prominent artist when it comes to classic releases in the melodic death metal genre, and kind of bringing things full circle with it being the ten-year anniversary of‘Nocturnal’felt right. By now people probably wouldn’t have expected us to go back to him, so it’s kind of a surprise, but at the same time it’s a very classic cover too.” With the band celebrating the 10-year anniversary of the aforementioned album by playing it in its entirety on Summer Slaughter, it has given them a moment to reflect not only on the road that has led them to here but also that which lies ahead. “When I think back to when we started the band, I feel very proud of everything we’ve done, and I also see a lot of improvement over the years,” says Strnad. “In the early songs, I can hear us as kids, and then segueing into our adulthood as musicians and writers, but sixteen years in, I still feel young as a band. I feel like we have a shit ton left to do, and I think we’re sitting pretty with the best lineup we’ve ever had. I also think ‘Nightbringers‘ could be our finest hour yet. I feel very strongly that it will affect people, I want to get all of these songs in people’s ears, and I want them to check out everything we’ve got on this record. There’s so much variety and so many great ideas, and I think that this could take us to another place.”
The Black Dahlia Murder tour dates
w/ Suffocation, Decrepit Birth, Necrot, Wormwitch
Oct. 6 – Rochester, NY – Montage Music Hall
Oct. 7 – Lowell, MA – Mill City Ballroom
Oct. 8 – Poughkeepsie, NY – Chance Theater
Oct. 10 – New York, NY – Highline Ballroom
Oct. 11 – Teaneck, NJ – Debonair Music Hall
Oct. 12 – Baltimore, MD – Ram’s Head Live
Oct. 13 – Easton, PA – One Center Square
Oct. 14 – Lancaster, PA – The Chameleon
Oct. 16 – Montreal, QC – Les Foufounes Electriques
Oct. 17 – Ottawa, ON – Bronson Center
Oct. 18 – Toronto, ON – Opera House
Oct. 20 – Joliet, IL – The Forge
Oct. 21 – Ft. Wayne, IN – Piere’s
Oct. 22 – St Louis, MO – Delmar Hall
Oct. 23 – Omaha, NE – The Slowdown
Oct. 25 – Ringle, WI – Q & Z Expo Center
Oct. 26 – Winnipeg, MB – Pyramid Cabaret
Oct. 27 – Regina, SK – The Exchange
Oct. 28 – Edmonton, AB – Starlite
Oct. 29 – Calgary, AB – Marquee
Oct. 31 – Vancouver, BC – Rickshaw Theater
Nov. 1 – Seattle, WA – Studio Seven w/ Exhumed
Nov. 2 – Eugene, OR – WOW Hall w/ Exhumed
Nov. 3 – Lake Tahoe, NV – Vinyl @ Hard Rock w/ Exhumed
Nov. 4 – Petaluma, CA – Phoenix Theater * w/ Exhumed
Nov. 5 – San Bernardino, CA – KnotFest ** w/ Exhumed
Nov. 6 – Mesa, AZ – Club Red w/ Exhumed
Nov. 7 – Las Vegas, NV – Hard Rock Cafe
Nov. 9 – Oklahoma City, OK – Diamond Ballroom
Nov. 10 – Birmingham, AL – Zydeco
Nov. 11 – Louisville, KY – Diamond Pub Concert Hall
Nov. 12 – Indianapolis, IN – Emerson Theater
*= no Suffocation
**= no Necrot, Wormwitch
The Black Dahlia Murder tour dates
w/ Cannibal Corpse, No Return (Feb. 9-25), In Arkadia (Feb. 27-Mar. 18)
Feb. 9 – Hannover, Germany – Musikzentrum
Feb. 10 – Copenhagen, Denmark – Vega
Feb. 11 – Gothenburg, Sweden – Sticky Fingers
Feb. 12 – Stockholm, Sweden – Klubben
Feb. 13 – Oslo, Norway – Parkteatret
Feb. 15 – Kolding, Denmark – Godset
Feb. 16 – Hamburg, Germany – Gruenspan
Feb. 17 – Geiselwind, Germany – Music Hall
Feb. 18 – Bochum, Germany – Matrix
Feb. 20 – Kassel, Germany – 130bpm
Feb. 21 – Prague, Czech Republic – Palac Aropolis
Feb. 22 – Bratislava, Slovakia – Majestic Music Club
Feb. 23 – Munich, Germany – Backstage
Feb. 24 – Magdeburg, Germany – Factory
Feb. 25 – Stuttgart, Germany – im Wizemann
Feb. 27 – Geneva, Switzerland – L’Usine
Feb. 28 – Milan, Italy – Live Club
Mar. 1 – Grenoble, France – Belle Electric
Mar. 2 – Toulouse, France – Le Metronum
Mar. 3 – Bilbao, Spain – Santana 27
Mar. 4 – Madrid, Spain – Penelope
Mar. 6 – Barcelona, Spain – Razzmatazz 2
Mar. 7 – St. Etienne, France – Le Fil
Mar. 8 – Caen, France – Cargo
Mar. 9 – Antwerp, Belgium – Trix
Mar. 10 – Cologne, Germany – Essigfabrik
Mar. 11 – Eindhoven, Netherlands – Dynamo
Mar. 13 – Norwich, UK – Waterfront
Mar. 14 – Manchester, UK – O2 Ritz
Mar. 15 – Glasgow, UK – O2 ABC
Mar. 16 – Bristol, UK – Bierkeller
Mar. 17 – Nottingham, UK – Rock City
Mar. 18 – London, UK – O2 Forum Kentish Town
Mar. 19 – Dublin, Ireland – Tivoli*
Mar. 20 – Limerick, Ireland – Dolan’s Warehouse*
Mar. 22 – Belfast, Ireland – Limelight 2*
*= no The Black Dahlia Murder
Oakland, California rockers Whiskerman mysterious folk-rock has evolved over the years to reveal a unique sound that they’ll be taking on tour this summer.
A west coast favorite and up-and-coming national act, Whiskerman is a five-piece band led by prolific singer-songwriter Graham Patzner. Their eclectic sound brings together classical instrumentation and modern rock and roll. Alongside Patzner are Charles Lloyd (guitar, sitar), Will Lawrence (bass), Trevor Bahnson (guitar), and Dan Schwartz (drums).
Previously, in the spring, Whiskerman completed a successful west coast tour, and kicked off the festival season with an exhilarating set at the Joshua Tree Music Festival. Since 2011, the band has also released four records, each revealing a unique aspect of the band’s eclectic sound.
The band teamed up with veteran producer Jeff Saltzman (The Killers, Blondie) on their record Nomad, an album that Performer Magazine described as “bursting with familiarity and momentum that rejuvenates the classic rock genre with lush strings, guitar-based soundscapes, and expressive lyricism.” A few years before that, they’d transformed their sound with a soul-powered EP Bad News, guided by veteran producer Tony Berg, with engineering by Shawn Everett (Alabama Shakes, Jesca Hoop).
Their latest release Champions—an ambitious double album that leads its listeners on a soulful journey, both dark and joyous—has been extremely well received, both in its recording and live performance. Their show is something you won’t want to miss.
Whiskerman @ Club Café INFO HERE
56 S 12th St, Pittsburgh
“You can’t help but be sold on their sound” -New Noise Magazine
“Oakland’s Whiskerman have been rolling around the Bay Area for long enough to pick up a little bit of everything that’s happening in that scene: ecstatic psychedelia, sturdily constructed pop-rock, pick-and-grin folk.” –Flood Magazine
Thy Art Is Murder just dropped “Slaves Beyond Death,” off their upcoming fourth album Dear Desolation, out 8/18 via Nuclear Blast Records, which marks the return of vocalist CJ McMahon. Check out the blistering track here.
Polish death metal exports Decapitated are gearing up to release their seventh album Anticult on 7/7. “Anticultrepresents the legacy and future of Decapitated,” said guitarist Vogg. “We’re extremely proud of the record, in both the song compositions and the production. This is the best representation of our music and we’re really excited for the world to hear it!” Check out the first single from the album, “Never,” here.
Decapitated and Thy Art Is Murder are playing Rex Theater in Pittsburgh, PA on 8/20.
Click for more ticket information.
May 9, 2017 – Acclaimed singer songwriter Lera Lynn began 2017 with solo dates close to home in GA, TN, and KY. Now, she prepares for a tour with John Paul White (Civil Wars) starting in Birmingham, AL and travelling through Ohio, Pennsylvania, New York, and the Carolinas, to name a few.
This will be Lynn’s first tour with White, however, this is not the first time their music will be heard together. Both contributed original tracks to HBO’s True Detective Season 2 Soundtrack where Lera Lynn also made a cameo appearance as the sultry bar singer and was hailed, the highlight of the season.
“I’ve admired [John Paul’s] work both as a musician and a producer for so long. I’m thrilled to have the opportunity to tour with him. It seems like something that should’ve happened a long time ago!” Lynn says referencing her first tour with White.
John Paul White is touring in support of his latest album, Beulah, while Lera Lynn is currently writing for her next studio release.
6.10 Birmingham, AL – Saturn
6.11 Atlanta, GA – Park Tavern Sunset Series
6.21 Newark, OH – The Ballroom @ Thirty-One West
6.22 Cleveland, OH – Music Box Supper Club
6.23 Pittsburgh, OH – Mr. Small’s Theatre
6.24 Hudson, NY – Club Helsinki
6.25 Rochester, NY – Rochester Int’l Jazz Festival @ Anthology (JPW)
6.26 Rochester, NY – Rochester Int’l Jazz Festival @ Anthology (LL)
6.27 Annapolis, MD – Ram’s Head On Stage
6.28 Charlottesville, VA – The Southern
6.29 Carrboro, NC – Cat’s Cradle Back Room
6.30 Asheville, NC – Altamont Theatre
7.1 Charlotte, NC – Neighborhood Theatre
American Songwriter names Lynn’s latest album Resistor as one of their Top 50 Albums of 2016 – “it’s a rock record at its core, packed with aggression and taunting vamps that are anchored by Lynn’s clever lyricism, daring composition and super-sensual vocals.” – Marissa Moss, American Songwriter
Here’s what else the press are saying about Lera Lynn.
“The heat is in lyrics about desire, pain, betrayal and revenge….the cool is in languorous slow tempos, minor chords, ruthlessly laconic arrangements, guitar lines swathed in reverb and a voice that smolders a long time before it flares up.”
-New York Times
“Lynn has a gift for sensory subtlety, and she uses it to get at emotional truths”
“At once spacey and specific…Baritone guitars, keyboards and looped drums fill the background, while Lynn’s voice — a natural descendent of Hope Sandoval and Margo Timmins’ woozy wails — wafts into the spotlight, singing songs that occupy the outer limits of Americana and indie rock.”
“The Texas native’s delivery…is alternately delicate and menacing, vulnerable and moody.”
“Filling Lynn’s remarkable compositions with exactly enough sound to create an atmosphere for the songs. In some places, they toy with rhythm, in others they tease out the spaces between notes, and in others still, the emphasis is Lynn’s vocal – so completely unique that I can’t think of a single comparison.”
“[Prefers] to push boundaries and create challenging often unsettling music that encourages multiple spins to reveal its substantial pleasures.”
“A strong rock tune that pushes and pulls all the right pop buttons, all while having a DIY attitude.”
– Pancakes & Whiskey
“…an Id-alluring sound that draws you in.”
“In a world where we often forget to handle difficult social situations with grace and wisdom because we get caught up in the emotion of the moment, this song implores us to find the emotion in us that calls up the compassion and strength of character in those difficult moments, so we can turn challenges into opportunities.”
Staying true to their DIY approach, Tiny Mirrors explores the notion of overcoming disconnection with its buzzing synths and serpentine riffs, indelible melodies and sprawling arrangements. Produced with Jack Frost (Antarctica/BlackRock), The New Up previously shared the stark yet shimmering “Black Swan” and the hazy soundscape of “Future Is Now.”
As The New Up prepare to release one of their most ambitious works to date, the band has kicked off a North American tour that will bring them to New York, Philadelphia, and many more – full date listing below. Tickets are available for purchase here.
US born / Germany raised rapper George Nicholas releases his latest effort “SORRY4THEWAIT”, a 4-track free tape of him rapping over hand-picked mainstream instrumentals and classic instrumentals as well. Roughly mixed and unmastered, consider this an appetiser to his upcoming “Capital Gain” EP…No apologies.
Check it out and grab your free copy below.
About George Nicholas
George Nicholas was born a 90’s baby in the Peninsula of California’s Bay Area. After spending his early childhood years in Redwood City his family moved to rainy Hamburg, Germany where he grew up and currently still resides. George first got into contact with Rap music through a friend in elementary school and by the time he was 10 years old he knew that he wanted to be part of the culture. What followed were his first written lyrics and vocal recordings using a shitty laptop microphone. Through his family ties and regular trips back to the Bay Area, George stayed true to his California roots while living in Germany and it wouldn’t be long until the young teen started smoking his first blunts to the sounds of Mac Dre and Andre Nickatina. Throughout the years George recorded various free tracks and mixtapes, which he distributed locally in his hometown Hamburg. In 2014 he released his “Dual Citizenship” EP, which helped him gain attention in the German underground Rap scene (yaay!). The following year he released “The Biopsy” EP in cooperation with German Hip-Hop magazine JUICE. As of right now George Nicholas is working on his latest EP titled “Capital Gain”. Stay tuned…
Find more info on George Nicholas here:
Alternative Press proudly presents the exclusive stream of “Should Know Better”, the single from COMEBACK KID’s forthcoming album, Die Knowing. Due for release on March 4th, Die Knowingfeatures 12 heavy-hitting, hardcore tracks that prove to be some of their most aggressive material to date.
Pre-order packages for COMEBACK KID’s fifth studio album, Die Knowing, are now available exclusively through VictoryMerch.com.
“Die Knowing succeeds where so many others fail: in conveying emotion, engaging the listener and creating an experience.” (Alternative Press)
w/ Truth And Its Burden, Reason To Live
Feb 06 – Port Elizabeth, ZA @ Pool City
Feb 07 – Cape Town, ZA @ Mercury Live
w/ Backtrack, Downpresser, Xibalba
Feb 19 – Burnsville, MN @ The Garage
Feb 20 – Chicago, IL @ Beat Kitchen
Feb 21 – Grand Rapids, MI @ Pyramid Scheme
Feb 22 – Pontiac, MI @ Pike Room
Feb 23 – Cleveland, OH @ Agora Theatre
Feb 25 – Cambridge, MA @ The Middle East
Feb 26 – New York, NY @ Santo’s Party House
Feb 27 – Springfield, VA @ Empire
Feb 28 – Reading, PA @ Reverb
Mar 01 – Charlotte, NC @ The Casbah at Tremont Hall
Mar 02 – Nashville, TN @ Rocketown
Mar 04 – Atlanta, GA @ The Masquerade
Mar 05 – Tampa, FL @ Epic Problem
Mar 06 – Orlando, FL @ Backbooth
Mar 07 – Lake Worth, FL @ The Speakeasy Lounge
Mar 08 – Jacksonville, FL @ Atticus Bar
Mar 09 – Birmingham, AL @ The Forge
Mar 10 – Tupelo, MS @ Goodtime Charlie’s
Mar 12 – Mission, TX @ Las Palmas Race Park
Mar 15 – Houston, TX @ Walter’s on Washington
Mar 16 – Grand Prairie, TX @ QuikTrip Park (South By So What?!)
Mar 19 – Phoenix, AZ @ Pub Rock
Mar 20 – Anaheim, CA @ Chain Reaction
Mar 21 – Lancaster, CA @ Industry Theater
Mar 22 – Oakland, CA @ The Oakland Metro
Mar 23 – Ventura, VA @ Rock City Studios
w/ Xibalba, The Greenery, Malevolence
Mar 28 – Oberhausen, DE @ Resonanzwerk
Mar 29 – Hamburg, DE @ Headcrash
Mar 30 – Copenhagen, DK @ Beta
Mar 31 – Oslo, NO @ John Dee
Apr 02 – Helsinki, FI @ The Circus
Apr 04 – Motala, SE @ Kulturakademin
Apr 05 – Berlin, DE @ Cassiopeia
Apr 06 – Leipzig, DE @ Conne Island
Apr 07 – Ostrava, CZ @ Barrak
Apr 08 – Budapest, HU @ Duer Kert
Apr 09 – Graz, AT @ Explosiv
Apr 10 – Roncade, IT @ New Age
Apr 11 – Ljubljana, SI @ Kino Siska
Apr 12 – Will, CH @ Remise
Apr 13 – Saarbrucken, DE @ The Garage
Apr 14 – Cardiff, UK @ Clwb Ifor Bach
Apr 15 – Glasgow, UK @ Classic Grand
Apr 16 – Manchester, UK @ Sound Control
Apr 17 – London, UK @ Underworld
Apr 18 – Brighton, UK @ Audio
Apr 19 – Eindhoven, NL @ Dynamo
Apr 20 – Hannover, DE @ Chez Heinz
w/ COUNTERPARTS, Backtrack, The Greenery, Alpha & Omega
May 01 – Jonquire, QC @ Le Klube**
May 02 – Sherbrooke, QC @ Le Woodstock*
May 03 – Quebec City, QC @ Chez Dagobert*
May 04 – Gatineau, QC @ Legion Royale Canadienne* (Heart Fest)
May 06 – Montreal, QC @ La Sala Rossa*
May 07 – St Catherines, ON @ Coco Cabana Nightclub
May 08 – Hamilton, ON @ Club Absinthe
May 09 – Toronto, ON @ Virgin Mobile Mod Club
May 10 – London, ON @ London Music Hall (Rum Runners)
May 14 – Winnipeg, MB @ Park Theatre
May 15 – Regina, SK @ The Exchange
May 16 – Calgary, AB @ The Gateway
May 17 – Edmonton, AB @ Bonnie Doon Hall
May 20 – Kamloops, BC @ Cactus Jacks
May 21 – Kelowna, BC @ Level Nightclub
May 23 – Vancouver, BC @ Tom Lee Music Hall
** without COUNTERPARTS and Backtrack
The Rolling Stones kicked off their “50 and Counting” tour Friday, May 3, at STAPLES Center. Mick Jagger, Keith Richards, Charlie Watts and Ronnie Wood played an extraordinary 23-song set to a sold out crowd. Fans got a special treat when they played “Emotional Rescue,” live for the very first time. “Honky Tonk Women,” “Start Me Up,” “Miss You,” “Tumbling Dice,” “Brown Sugar,” “It’s Only Rock ‘N’ Roll,” “Paint It Black,” and “Gimme Shelter” had fans on their feet throughout the entire show.
Photos: Kevin Mazur
The band was joined on stage by special guests, Gwen Stefani on a moving rendition of “Wild Horses” and Keith Urban on a smoking performance of “Respectable.” Mick Taylor, who will be a guest throughout the tour, played with the Stones on “Midnight Rambler.” The Rolling Stones ended their two hour plus show with a three-song encore of “Can’t Always Get What You Want,” “Jumpin’ Jack Flash and “Satisfaction.”
The tour will continue onto Oakland, San Jose, Las Vegas, Anaheim, Toronto, Chicago, Montreal, Boston and Philadelphia.
“50 AND COUNTING” TOUR DATES
May 5 – Oakland – Oracle Arena
May 8 – San Jose – HP Pavilion
May 11 – Las Vegas MGM – Grand Garden Arena
May 15 – Anaheim – Honda Center
May 18 – Anaheim – Honda Center
May 20 – Los Angeles – STAPLES Center
May 25 – Toronto – Air Canada Centre
May 28 – Chicago – United Center
May 31 – Chicago – United Center
June 3 – Chicago – United Center
June 6 – Toronto – Air Canada Centre
June 9 – Montreal – Bell Centre
June 12 – Boston – TD Garden
June 14 – Boston TD – Garden
June 18 – Philadelphia – Wells Fargo Center
June 21 – Philadelphia – Wells Fargo Center
Tickets On-Sale Beginning April 8
The Rolling Stones, who rocked London and New York in 2012, announced today that they will kick off their “50 AND COUNTING” tour in Los Angeles at the STAPLES Center. (Date TBA pending NBA/NHL playoff schedules.) The tour debut will be followed by performances in Oakland, San Jose, Las Vegas, Anaheim, Toronto, Chicago, Boston and Philadelphia.
“50 AND COUNTING” continues the exhilarating celebration of the band’s first 50 years—five decades of Mick Jagger, Keith Richards, Charlie Watts and Ronnie Wood bringing their iconic music and ground-breaking stage shows to audiences around the globe.
The Rolling Stones were recently crowned the ‘Best Live Band’ at the NME Awards in London, and over the past 12 months have thrilled fans with their release of a greatest hits collection, “GRRR!,” a groundbreaking documentary film “Crossfire Hurricane,” a photographic book “Rolling Stones: 50,” and have taken the stage by storm for their first live shows in many years. The tour is the band’s highly anticipated return to the stage.
“’50 AND COUNTING’ has been pretty amazing so far,” said Jagger. “We did a few shows in London and New York last year…and had such a good time that we thought…let’s do some more. It’s a good show. Lots of the classic stuff everyone wants to hear…with a few little gems tucked in here and there. The stage is shaped like lips and goes off into the venue so I get to run around in the crowd. It’s great fun to be able to get that close to the audience.”
“From day one at rehearsals it sounded so fresh. You could tell that everybody was dying to get their teeth into it. It was like…open the gates…let us out!” said Richards. “Cause man, it is the life and blood of us to play in front of people.”
Tickets for Oakland, San Jose, Toronto and Chicago go on sale beginning Monday, April 8 at 10AM local time and will be available at www.rollingstones.com.
Citi® cardmembers will have access to presale tickets beginning April 5 at 10AM local time through Citi’s Private Pass® Program. For complete presale details visit www.citiprivatepass.com.
“Our mission is to offer Citi cardmembers more access to the music and entertainment they love, and the Rolling Stones have been a soundtrack for the life experiences of so many,” said Jennifer Breithaupt, SVP of Entertainment Marketing at Citi. “We are thrilled to be providing exclusive presales and once-in-a-lifetime opportunities for Citi cardmembers to see one of the most iconic bands in history perform live.”
Mick Taylor, who was a member of the Rolling Stones from 1969-74, will be a special guest throughout the tour.
The band will treat their generations of fans to an evening of classic Stones hits like “Gimme Shelter,” “Paint It Black,” “Jumping Jack Flash,” “Tumbling Dice,” and “It’s Only Rock and Roll,” curated with lesser known gems, and a cover or two.
The stage design for the tour is based on the band’s ubiquitous tongue and lips logo, which extends out into the crowd, allowing the Stones to interact directly with their audience. Known for their ground-breaking sets and use of cutting-edge technology, the Stones’ set design will feature video screens and special effects that will enhance the high-octane experience of attending a live Stones’ show.
The band will also play London’s Hyde Park on Saturday, July 6 following a headlining appearance at UK’s Glastonbury Festival on June 29.
The Rolling Stones “50 AND COUNTING” tour will be the band’s first venture with worldwide tour promoter AEG Live’s Concerts West.
“50 AND COUNTING” TOUR DATES
TBA Los Angeles STAPLES Center TBA
May 5 Oakland Oracle Arena On sale April 8 @ 10AM PST
May 8 San Jose HP Pavilion On sale April 8 @ 10AM PST
May 11 Las Vegas MGM Grand TBA
May 15 Anaheim Honda Center TBA
May 25 Toronto Air Canada Centre On sale April 8 @ 10AM EST
May 28 Chicago United Center On sale April 8 @ 10AM CST
June 12 Boston TD Garden TBA
June 18 Philadelphia Wells Fargo Center TBA
Download the official Rolling Stones app, to be presented by Citi, available oniOS and Android – receive breaking news, access to exclusive content, listen and download music, connect with the band and Stones fans worldwide on the app’s fan wall.
For more information, please visit www.rollingstones.com.
Maybe you read about her in the last issue of GQ Magazine (Bill Murray on the cover). Maybe you spied her in the Oakland Raiders parking lot taking pictures with fans. Or maybe you caught her on Gene Simmons Family Jewels. Regardless, Metal Cindy is making the scene and her mark in her own special way wherever she goes. Cindy was kind enough to be a part of our spotlight feature “Girls of Metal” and gives us the lowdown on what this newbie to the Bay has going on. She is so beautiful, kind, and giving we may just even have to forgive her for not liking The Steelers…
How do you feel about your portrayal and the reaction from the article “The Violent Femmes of Football” in GQ?
If I could only change the title that would be great, but it’s too late, it’s been published. I wish they could’ve fixed the title like ‘The Women That Love Football’ or something that sounds good; not violent, because I’m not violent. That’s not what we represent. One thing I don’t like is when people twist our words when I spend my whole time giving them so many positive thoughts about my team. (I’d like to see more of ) What I love to do such as welcome the away gamers, take pics, do our charity events, toy drives, my San Jose Raider drive booster, club events, non-profit organizations and so much good stuff. We already get so much (of a) reputation as crazy, but not everyone is like that, we superfans represent a good reputation.
Your moniker is Metal Cindy- so what metal or non-metal bands are you listening to now? Who are your faves?
I grew up listening to classic rock and metal all my life, but when I want to have my time to rleax I listen to oldies and soft music. My fave artists of all time would be Kiss, Pantera, Iron Maiden, Black Sabbath, Testament, Def Leoppard. And non metal?
I’m an honest person when it comes to music, I like Christina Aguilera, alicia Keys and many amazing artists. I just love
music…if it’s good I listen.
Have you met any bands due to your “celebrity” status? Who would you most like to meet?
I have met a lot of band members, especially at the NAMM show. I met so many artists and I have actually kept in contact with few of them. I already met the person I had been wanting to meet, Gene Simmons, and I was so happy to be part of his TV show Family Jewels. I guest appeared as a Gene Simmons model a couple years ago at Hollywood, CA…this was for the roast they did of him, with all the comedians.
What first drove you to become a ‘superfan’ of The Oakland Raiders and create the Metal Cindy persona?
My name Metal Cindy has been around forever. It started first by me modeling and working with bands to model their merchandise.
Then it lead me to interview bands including big known bands such as Sin Quirin the guitarist of Ministry, Brujeria (extreme metal band from LA), James Kottak of the Scorpions and a lot of underground metal bands. Then I’ve done a lot of hosting at clubs such as BATCAVE in Hollywood. After that I had my own venue where I did Sunday shows. I, myself, was the promoter and called it METALCINFUL SUNDAYS. As far as being a Raiders fan, my family are all Raiders fans. That was the first sport I ever got into and loved, and I started to follow from there, so its been forever. I just love the whole atmosphere on gameday. As a superfan I’m just like any regular Raider fan out there and I don’t label myself number one or bigger than any other fan. I just love supporting my team. I’m a very supportive person and not afraid to show something that i love and that’s being myself…Metal Cindy.
What is happening now with your aspiring modeling career?
Right now I’ve been doing some work here and there, looking to do some different themes to model. I’ts always great to change it up. But for now I’m just concentrating on music more.
Are you drawn to dark fetish work and art? What type of work do you ultimately want to get involved with?
I hosted a fetish club in Hollywood called Batcave L.A. and appeared also in some fetish events, its just for fun
as a hobby, nothing more than that, no torture (lol).
What are your goals and aspirations for the next few years?
Music! My band I just recently formed called KISSERS. It’s an all girl female KISS tribute band to go on tour. And of course at the moment I’m hitting the studio to record original music with other projects I’m working on.
What other types of things are you into when football season is over?
When the season is over we still continue to do our charityies and our booster club events. Raider Nation is always happening
and we Raiders fans always keep it going all year round, Raider Nation is 365 days a year, it’s 24/7… 24hours a day 7 days a week. I’m also an artist. I love to paint and do clay figures for fun too.
Besides the Raiders, what are your favorite things about Oakland and the surrounding area?
I just moved from Hollywood, California, still new to the Bay. I’ve got two years living here and I’m still building my roots.
But the Bay is very beautiful so far and what’s best is that I met a lot of people in the music industry.
Any feelings about the Pittsburgh Steelers?
Not a Pittsburgh fan (lol). I focus on my team and stick to my team.
Check out Cindy at http://www.metalcindy.com/