DEVILDRIVER Announce Co-Headline Tour With Trivium/ Pittsburgh’s Stage AE 10/4

  New Album Winter Kills Available August 27th in North America 
In support of their new release Winter Kills California Groove Metallers, DEVILDRIVERwill be hitting the road this fall on a co-headlining tour with Trivium.  Trivium will also be on the road in support of their new release, details on which will be announced soon.  Support on the tour will come from After the Burial and Sylosis.  Everything kicks off in Boise, ID on September 12th and rolls through October 17th in San Diego, CAFrontman Dez Fafara cannot wait to be back on the road in North America:

“It’s been almost a year since DEVILDRIVER have toured the US. I am Stoked to finally be getting the chance to go back out and hit the road with “The Groove Machine”!

This tour will be a mixture of DEVILDRIVER favorites and a bunch of new stuff off of our new record Winter Kills. I cannot wait for the record to come out and to get back to what we do best, play live. Touring with our friends in Trivium, After the Burial and Sylosis is just the fucking bonus!

Come on out for a great night of metal, get ready to get down and dirty, see you in the pit!”

 

DEVILDRIVER will be releasing their sixth studio album Winter Kills  August 27th via Napalm Records.  Winter Kills is available in four configurations including a Deluxe Digibook with CD (including two bonus tracks: “Shudder” and “Back Down to the Grave”) and Live DVD (Featuring 45 minutes of live raw DEVILDRIVER power. No studio over dubs at all just the band at their best and includes fan favorites “Clouds over California” and “The Wretched”), standard CD version, digital version and for the first time inDEVILDRIVER history, and a 2LP Gatefold edition.

Winter Kills is now available for pre-order on iTunes.  Pre-ordering the album entitles you to an instant grat track download of “Ruthless”.  The album can also be pre-ordered on Amazon

A lyric video for the first single “Ruthless” is available for viewing HERE.

The band recorded the album in Florida at Audio Hammer Studios and vocals in Los Angeles, CA at Dez’s home studio with Mark Lewis (Black Dahlia Murder, Whitechapel, All That Remains) handling production duties.  DEVILDRIVER has worked with Lewis previously on “Beast” and “The Last Kind Words” and producer Mark Lewis’s prolific leadership of the new school of metal has yet again helped DEVILDRIVER deliver another Epic heavy Metal record.  This record melds what the band does best. In your face power as well as the California Groove sound the band pioneered.

DEVILDRIVER has always been a band on a three-pronged mission: Work hard, rock harder, and kick as many asses as possible in the process. The band tours forever and has since its beginnings. Their live performances and circle pits are as legendary as their music.

DevilDriver with Trivium, After the Burial and Sylosis:

9/12: Boise, ID @ Knitting Factory

9/13: Spokane, WA @ Knitting Factory

9/14: Vancouver, BC @ Commodore Ballroom

9/16: Calgary, AB @ Macewan Ballroom

9/17: Edmonton, AB @ Union Hall

9/18: Saskatoon, SK @ Odeon

9/19: Winnipeg, MB @ Garrick

9/21: Minneapolis, MN @ First Avenue

9/23: Columbus, OH @ Newport Music Hall

9/24: Toronto, ON @ Phoenix

9/25: Montreal, QC @ Corona

9/27: New York, NY @ Best Buy Theater

9/28: Boston, MA @ House of Blues

9/29: New Haven, CT @ Toad’s Place

9/30: Philadelphia, PA @ Theater of the Living Arts

10/2: Silver Springs, MD @ Fillmore

10/3: Cleveland, OH @ House of Blues

10/4: Pittsburgh, PA @ Stage AE

10/5: Detroit, MI @ Harpos

10/7: Charlotte, NC @ The Fillmore

10/8: Atlanta, GA @ Masquerade

10/10: Oklahoma City, OK @ Diamond Ballroom

10/11: Wichita, KS @ The Cotillion

10/12: Denver, CO @ Summit Music Hall

10/13: Albuquerque, NM @ Sunshine Theater

10/15: San Francisco, CA @ Regency

10/16: Los Angeles, CA @ House of Blues

10/17: San Diego, CA @ SOMA

For More Info Visit:

http://www.devildriver.com

https://www.facebook.com/DevilDriverOfficial

http://www.napalmrecords.com

https://twitter.com/evilriver

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LAMB OF GOD Teams Up with AXS TV for Live Broadcast

Currently on tour in the United States supporting their latest album Resolution, LAMB OF GOD is pleased to partner with AXS TV for a live broadcast of their Philadelphia show on November 24th from the Electric Factory. Traveling with a full multimedia production, the band chose Philadelphia, site of the platinum DVD Killadelphia, knowing that it would be a wild night of metal. The broadcast will run from 10 p.m. until 11:15 p.m. ET. For more information on AXS TV and on the Lamb of God broadcast go to www.facebook.com/AXSTVConcerts or follow @AXSTV on Twitter.

As part of the promotion for the broadcast, LAMB OF GOD has given AXS TV a signed Willie Adler ESP guitar for a giveaway. Here is the Facebook link to sign up for that promotion: http://bddy.me/P8hF53

Check out LAMB OF GOD’s exclusive announcement about the LIVE concert event on AXS TV:

The Resolution U.S. tour continues until December 16th with In Flames and Sylosis on all dates. Hatebreed will appear until November 19th and then HELLYEAH will appear through December 16th. Dates are below.

LAMB OF GOD Tour Dates:

7-Nov / St. Louis, MO / Pageant /

8-Nov / Indianapolis, IN / Egyptian Room /

9-Nov / Milwaukee, WI / Eagles Ballroom /

10-Nov / St. Paul, MN / Myth /

12-Nov / Louisville, KY / Expo Five /

14-Nov / Stroudsburg, PA / Sherman Theater /

15-Nov / Glens Falls, NY / Glens Falls Civic Center /

16-Nov / New York, NY / Roseland Ballroom /

17-Nov / Silver Spring, MD / Fillmore /

19-Nov / Orlando, FL / House of Blues/

20-Nov /Atlanta, GA / Tabernacle /

21-Nov / Charlotte, NC / Fillmore /

23-Nov / Wallingford, CT / Oakdale Theater /

24-Nov / Philadelphia, PA / Electric Factory

25-Nov / Boston, MA / House of Blues

26-Nov / Niagara Falls, NY / Rapids Theater

27-Nov / Pittsburgh, PA / Stage AE /

28-Nov / Richmond, VA / The National /

30-Nov / Chicago, IL / Congress Ballroom /

1-Dec / Detroit, MI / Fillmore /

2-Dec / Columbus, OH / LC Pavilion / (Cannibal Corpse replacing HELLYEAH)

3-Dec / Grand Rapids, MI / Orbit Room /

4-Dec / Des Moines, IA / Val Air Ballroom /

6-Dec / Houston, TX / Bayou Music Center /

7-Dec / Dallas, TX / Palladium Ballroom /

8-Dec / Kansas City, MO / Uptown Theater /

9-Dec / Denver, CO / Fillmore /

11-Dec / Farmington, NM / McGhee Park

12-Dec / Las Vegas, NV / House of Blues (Rescheduled from 11/1 show) – Tickets purchased for original performance will be honored

13-Dec / San Francisco, CA / Warfield /

14-Dec / Medford, OR / Medford Armory

15-Dec / Spokane, WA / Knitting Factory

16-Dec / Seattle, WA / Showbox SoDo /

LAMB OF GOD @ STAGE AE WITH INFLAMES, HELLYEAH AND SYLOSIS 11/27

After a frustrating and heartbreaking postponement of their tour due to the insane incarceration of lead singer Randy Blythe in Czechoslovakia, Lamb of God returns to Pittsburgh with a vengeance. Touring with the All-Star lineup InFlames, HellYeah, and Sylosis, LoG will grace Stage AE with their brutal brand of metal. But, as we all know there are metal bands, and then there is Lamb of God.

A new breed of modern American metal was erected in the 2000s, with Lamb of God serving as the architects who designed the blueprint that would become the standard by which the bands that came after them would be judged. So often, the European metal scene set the tone and establish the creative high watermark of the global metal scene, providing the template that their American brethren would follow. Then Lamb of God came along and all bets were off.

It was Lamb of God who rewrote the rules, devised a new playbook and raised the standard. The genre was forever and irrefutably changed by what the band has done.

By the mid-00s, there was a full metal Renaissance, if you will, in America, with the genre enjoying several years of renewed success and critical respect. Lamb of God worked to establish themselves, without question, as the scene’s alpha males, dominating at every turn, leaving a parade of other acts to merely feast on their leftovers and scraps. Mind you, this was not a scene, style or era populated by middling acts, either. The era was filled quality bands and still, it was Lamb of God who defined the time period and that quickly ascended as the game changers and torch bearers. No. Questions. Asked.

Turns out, they’ve merely nicked the surface of what they can do and plan on accomplishing.

In 2012, Lamb of God remain the pre-eminent metal band and not by default, either. The scene is still healthy, even if some of the peers who stood shoulder-to-should with them during that period of growth have fallen by the wayside. Lamb of God still reign atop of the genre, thanks to their consistent ability to feed fans with only the best extreme metal there is. Their seventh album Resolution finds the band firing on all cylinders and doing things their way. As if we’d expect anything less from this Virginia wrecking crew.

With a rich history that includes three Grammy nominations, an invitation to tour with Metallica (which they did in 2008 through 2010 on the World Magnetic trek); debuts in the Top 10 on the Billboard Top 200 (2009’s Wrath debuted at No. 2 while 2006’s Sacrament debuted at No. 8); multiple Platinum-selling DVDs (Killadelphia and Walk With Me in Hell); an arena tour with Slipknot (which took place in 2005); the main stage of OZZfest (2006) and wearing the fact that they were banned in Los Angeles (the Forum had a problem with their name and booted them off the bill of two shows, one with Slipknot and one with Metallica) as a badge of honor, there’s no question that Lamb of God rule the metal roost. Everyone else is left to watch and marvel, and choke on their dust. They’re not resting on past successes or what they’ve done, though. For Lamb of God, what happened in 2002 happened in 2002. It’s about the right now and what’s next and that’s Resolution.

With Resolution, Lamb of God emerge for their haven in the South as powerful, as hungry and as extreme as ever. While most bands are running on fumes or coasting and sputter to album No. 7, Lamb of God are reinvigorated. They still have something to say and more to prove… to themselves and no one else. This sonic terror squad has come along way from playing squats in basements as Burn the Priest, but there is one constant: the instinct to make legit, honest music their way and that’s just what they’ve done with Resolution.

“The first and foremost thing that you have to realize about LOG is that we do exactly what we want, when we want, and how we want to,” declares vocalist Randy Blythe. “We always have and we always will. That’s why each record is a snapshot in time. We never consciously sit down and say ‘We’re going to keep it heavy. We’re going to keep it metal.’ We just do that because that’s what we want to do. If we felt like putting out a polka record tomorrow, we would. We’re trying to make ‘smart’ heavy music.”

Point taken and mission most certainly accomplished with Resolution, a 100 percent trend-free and intelligently constructed album that could power a small country with its unstoppable energy and potent riffery. In a scene littered with “here today, gone tomorrow” bands, Lamb of God have survived because nothing stops them from staying the course they’ve purposely chosen to embark upon. They’re not here to collect a check or respond to a label exec’s request to pen a “radio song.” It’s none of the above for Lamb of God. The men that comprise the band are a little older, a lot wiser and have families to support. Yet despite all those realities, making this music and making it their way is something that compels them, drives them and sustains them.

“You can still be a band that goes to the practice space, actually writes music together and then records. Being an actual band is still a viable option,” Blythe says. “Bands are disappearing with digital recording today. Things are progressing to the point where people are just playing a riff or pattern and programming the drums, and at the end of the day, they have a technically perfect record, but it isn’t a real record. We didn’t do that. Our record is a REAL record.” Indeed, there is blood and adrenaline coursing through every vein of Resolution and its pulse will be felt by all who listen. It’s an incredibly human record.

“We’re not spitting out a Lamb of God template record,” guitarist Mark Morton says. “If it’s uninspired or you have nothing left to say, you stop. We’re all putting other things in life off to do this, and we’re not going to do it if gets boring to us. It’s still exciting on our seventh studio record. We’re still gaining momentum and getting better.” That’s not a quality you come across often with aggressive bands. Playing physically taxing music at full tilt leads to wear and tear on the body and the mind, but Lamb of God are not affected by such issues. They’re like mutants made stronger by challenging themselves. While 2009’s Wrath was sonically forceful enough to shift tectonic plates, Resolution finds the band knocking out their songs with the signature groove and swagger that made them heir apparent to Pantera’s throne –an accolade left at LOG’s doorstep by critics over time– but with a little more refinement and attention to dynamics.

Overall, Morton feels that Resolution is the natural next chapter in his band’s history, albeit one that harks back to the past, saying, “It almost completes the circle. There is a purity in the music, like when you first begin and you don’t have those big aspirations, in a business sense, other than to play.”

Drummer Chris Adler, long regarded as one of the most jaw-droppingly talented and proficient rhythm keepers in metal, concurs, “Wrath was a bit of a first round knock-out punch to the face album and was purposefully very aggressive. Resolution is much more of a dynamic album.” He also feels that Resolution is born of the desire to surprise himself along with the fans who are happily along for the ride. He says, “A lot of bands get to the point where they put out seven or eight records and fans start to take them for granted. They aren’t the ‘cool guys’ anymore. I’m not immune to that, and we wanted to push ourselves and surprise ourselves by not resting on prior successes and by default surprising our fans.” Even so, he’s not interested in following any sort of trends. He continued, “The biggest thing is that we don’t all want to be the next ‘fill in the blank.’ We don’t have a unified influence as a band. Because of that, our approach and our sound is slightly different than most bands. We fight and argue which makes it a more honest process.” As bandmate Blythe said earlier, Lamb of God, as an entity, is like a living, breathing creature, not one that is plugged in.

The desire to maintain a “personal best” also keeps Adler and his bandmates at the very top of their game this deep into an enviable career. “What inspires me is to outdo the 21-year-old that I was,” he states. “I have to prove to myself that I am still a player in this game and keep up with the best. As a band it was important to us to prove to ourselves that we have something left to offer. We don’t need to put out records anymore, but we want to put out records. We don’t want to tarnish the legacy of the band, so whatever we do has to be stronger than what we’ve done. And we’ve done it with Resolution.”

The fact that band owns the same goals since their humble beginnings is what makes the album so real, as Blythe decreed. Bassist John Campbell says, “Putting out heavy music has been our aim since we started this. We wanted to be a great, heavy band. It was never a thought to us that this would be conceptual commercially. We’re all the original members and this is what we do. This isn’t a contrived business thing to get famous and make money. Our core value is to write heavy music, and I think that’s what makes a great band.” Amen to that!

So with that mindset firmly and collectively in place, when it came time to write and record Resolution, and to get into the meats and the guts of the album, the band elected to let producer Josh Wilbur become involved sooner, to direct what was flowing out of them, egos be damned. “We did incorporate Josh [Wilbur] a bit earlier in the process this time around,” guitarist Willie Adler says. “To have an objective ear early on in the process allowed us to sideline our egos at times and really drive for the best shit possible. We also wanted, as far as guitars are concerned, to really capture our live tone to record.”

Morton also revealed that the band did try something new and different with Resolution. “Unlike any other album before, this album was written over the course of a couple of years, at least with the guitars. Willie and I starting songwriting as soon as we started touring with Wrath,” instead of their usual M.O. of touring writing upon their return from the road. “Due to having the recording software, we were able to take down ideas,” he says about the head start. As a result, Resolution boasts some of the most punk rock moments and some of the bluesiest moments of the band’s recorded career, perhaps fostered along by the liveliness of the writing-on-the-road process.

The album may display some of the band’s deeper and less obvious influences, but Chris Adler is quick to assess the album’s frantic energy. You can feel tension and release in the songs, making the album as a whole a truly cathartic experience. He says, “We really were living on a bit of the edge of our capabilities. There are some frantic moments in the music; they sound almost panic-inducing. The album is overwhelmingly aggressive and will definitely get people off their asses and driving fast.”

Blythe, he of the booming, bellowing voice, is known for spitting out provocative verses in a militaristic, almost drill-sergeant style bark. His voice and his style demand and command your attention. What he declares in the space of his lyrics isn’t always comfortable –for him or for you- but he will always make you think about what he is saying. “I’m 40 years old, and I’m just now really getting some clarity on where my place in my life is,” Blythe admits. “This is about me getting clarity after partying for a long amount of time, looking at my life and saying ‘This is where I am, where do I want to go now?'”

Asking that question, which is something more than a fair share of the band’s red-blooded, average American fans are likely to pose to themselves, allowed the singer to enter an entirely different zone on Resolution. While he may have experienced discomfort, LOG ended up with a better and more honest record for it. He continues, “It’s an introspective record and goes over some uncomfortable things for me. I hope people that hear those lyrics will look at themselves and look at the world around them and say ‘This is where I am, I don’t like this.’ and try to invoke a change in themselves. My overall feeling for this record is ‘awakening.'”

The singer admits that he was attracted to underground, aggressive music in his youth because it offered a voice of dissent, one that he could relate to, so he attempts to distill that same feeling into Lamb of God. “That’s what I’m trying to put forth in my music,” he says. “Not everything is really okay. You can have your cable TV and Xbox in your car or whatever, but that doesn’t mean that everything is okay and you can just stop because it’s easy. The root of what I try to put forth lyrically is ‘Think for yourself.’ Do something, do anything.” And that’s precisely what bonds Lamb of God to their legion of loyal fans that have stuck with them for seven albums. Well, that and those bludgeoning riffs and technically proficient grooves have something to do with it, as well!

While Resolution admittedly contains some of “the swampiest, sludgiest stuff” of their career, according to Morton, as well as some of the aforementioned “most punk” songs they’ve ever laid to tape, the album also boldly goes elsewhere and features strings, orchestral movements and bluesy, acoustic guitars living among the band’s patented, potent groove and swagger. The song “Insurrection” is a signature, natural and instinctive moment for Chris Adler, who revealed the song was born when the group was locked together in a room and tasked with seeing what it could come up with.

Album closer “King Me” is a real showpiece on an album full of showpieces. As Resolution’s punctuation mark, it’s a beautiful piece of music from grizzled, meat-and-potatoes-peddling veterans. It was purposely placed at the end of the album, as an unexpected pay off for the fan who spent an hour of his or her life listening to what came before it. Even though Lamb of God make music that could put hair on your chest, underneath the buzz of the guitars, the thunder of the percussion and the ferocity of the vocal declarations, this is still thinking man’s metal.

“”King Me’ is an epic song,” Blythe declares without hesitation. “It fits that definition, there’s no way around it. When a song is an epic song, you want to make it as big as possible, which is what we did with the opera singer and the string incorporation.” Morton shared a little more about the process and how they arrived at such an “epic” moment, saying, “This isn’t necessarily us changing our songwriting approach or the method, but we really stretched out in the way we ‘treated’ the songs. Those are things that are added to the song after the fact, but they have a very impact on the overall sound. I don’t think we looked at it as ‘re-inventing’ ourselves; it’s really as simple as that we’re continuing to strive to make music that we’re interested in and that we’re challenged to play, and that we enjoy performing.”

Now that Resolution is in the books and has asserted its rightful place as one of the most cohesive, dynamic and boot-to-the-throat heavy albums in Lamb of God’s already extensive body of work, complete with epic and provocative moments, the goal remains singular: to move fans and connect with them, all the while creatively stimulating themselves. Lamb of God are pleased with the album. The only question mark is the fans and judging from the heft and the intensity of Resolution, there will be nothing but pleased fans once they get a load of the album.

Willie Adler said, “To see someone who has really been touched by the music is inspiring to me. Regardless of what emotion they’re feeling, what they’re going thru in their life at that moment, as long as they feel something, I feel as though I’ve done my job.” It’s true that Resolution has the capacity to connect with its listener on multiple emotional levels, in addition to the sonic one.

Perhaps Morton sums up Resolution the best: “If it doesn’t make you want to push the accelerator to the floor a little harder, flip off a cop or throw a bottle against a brick wall, then I haven’t have done my job.”

Few bands can craft an album that’s as thoughtful as it is visceral. One is often sacrificed in favor of the other. But such is not the case here. Lamb of God have managed to create a masterwork that allows the listener to unlock layers of sound and meaning on each consecutive listen.

There’s a whole host of reasons that Lamb of God remain at the top of their game in 2012, while others have faded and fallen away. Resolution is evidence of the band’s stronghold on heavy metal in 2012. None can match it, nor do they come close.

LAMB OF GOD Announces Fall U.S. Tour

IN FLAMES to Support HATEBREED and HELLYEAH Split Tour Appearances

SYLOSIS to Open

After a successful reunion with singer Randy Blythe at the two Knotfest shows in mid-August, LAMB OF GOD is pleased to announce a 38-date fall U.S tour starting October 30th in Phoenix, Arizona. Joining LAMB OF GOD as direct support for the entire tour is In Flames. Hatebreed will be joining the package from October 30th until November 19th at which point HELLYEAH will replace them for the remainder of the shows. British band Sylosis will open all dates. Due to Randy Blythe’s continuing legal situation, the band will not be able to perform in Canada on this tour but look forward to doing an entire Canadian run in the near future.

The tour will be the first U.S tour in support of the band’s CD, Resolution, which debuted at #3 upon its release in January, and will be the last tour dates of 2012. Tickets for the tour will begin to go on sale the weekend of September 21st.

Below are the dates for the tour:

Tue/Oct-30 Phoenix, AZ @ Comerica Theater
Wed/Oct-31 Los Angeles, CA @ TBA
Thu/Nov-01 Las Vegas, NV @ House of Blues
Sat/Nov-03 Lubbock, TX @ Lonestar Pavilion
Sun/Nov-04 San Antonio, TX @ Sunken Garden
Mon/Nov-05 Oklahoma City, OK @ Diamond Ballroom
Wed/Nov-07 St. Louis, MO @ Pageant
Thu/Nov-08 Indianapolis, IN @ Egyptian Room
Fri/Nov-09 Milwaukee, WI @ Eagles Ballroom
Sat/Nov-10 St. Paul, MN @ Myth
Mon/Nov-12 Louisville, KY @ Expo Five
Wed/Nov-14 Stroudsburg, PA @ Sherman Theater
Thu/Nov-15 TBA
Fri/Nov-16 New York, NY @ Roseland
Sat/Nov-17 Silver Spring, MD @ Fillmore
Mon/Nov-19 Orlando, FL @ House of Blues
Tue/Nov-20 Atlanta, GA @ Tabernacle
Wed/Nov-21 Charlotte, NC @ Fillmore
Fri/Nov-23 Wallingford, CT @ Oakdale Theater
Sat/Nov-24 Philadelphia, PA @ Electric Factory
Sun/Nov-25 Boston, MA @ House of Blues
Mon/Nov-26 Niagara Falls, NY @ Rapids Theater
Tue/Nov-27 Pittsburgh, PA @ Stage AE
Wed/Nov-28 Richmond, VA @ The National
Fri/Nov-30 Chicago, IL @ Congress Ballroom
Sat/Dec-01 Detroit, MI @ State Theater
Sun/Dec-02 Columbus, OH @ LC Pavilion (no HELLYEAH)
Mon/Dec-03 Grand Rapids, MI @ Orbit Room
Tue/Dec-04 Des Moines, IA @ Val Air Ballroom
Thu/Dec-06 Houston, TX @ Bayou Music Center
Fri/Dec-07 Dallas, TX @ Palladium Ballroom
Sat/Dec-08 Kansas City, MO @ Uptown Theater
Mon/Dec-10 Denver, CO @ Fillmore
Tue/Dec-11 Farmington, NM @ McGhee Park
Thu/Dec-13 San Francisco, CA @ Warfield
Fri/Dec-14 Medford, OR @ Medford Armory
Sat/Dec-15 Spokane, WA @ Knitting Factory
Sun/Dec-16 Seattle, WA @ Showbox SODO