"Made of Metal" News \m/

[metalrover]

ROCKUMENTARY

This Video Of Grannies Blasting Out Death Metal In New Liquid Death Commercial Is All You Need In Life

Besides slamming back a tall boy of LD today

By

Dan Alleva

Published

March 4, 2023

If you're not aware, allow me to hip you to the latest craze in bottled water: Liquid Death!

 

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The beverage market may be bombarded with new products every day, making it nearly impossible to tell one from the other. And with a name like Liquid Death, you'd be forgiven if you thought it like Everclear, or some other grain alcohol sure to put her on your ass in an instant. But, nothing could be farther from Liquid Death's tall boy cans of "natural artesian water" that the company describes as water sourced "from a deep underground mountain… protected by a few hundred feet of stone and contains naturally occurring minerals (aka electrolytes) that aren’t just good for your body, they will murder your thirst. Instantly."

Murder your thirst… Sounds like a death metal song, right?

Well, so funny you should agree, because Liquid Death's new marketing campaign has tapped into the extreme realm of heavy metal for a new commercial. You can check it out below.

Challenged by the notion that LD's new line of iced tea is "like his grandma's iced tea," some seriously metal grannies appear out of nowhere and hit the "go" button hard, blasting out some seriously fierce lyrics about… iced tea, I guess? I couldn't really understand the vocal, personally. Maybe if somebody want to take a stab at a transcription, there could be mashup opportunities galore! But in all seriousness, I am really curious about who wrote the music to this commercial. Can you imagine being the person in marketing whose job was to present that concept? Like, what was his cold open — "Raise your hand if you're a fan of Witch Vomit"?

 

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Regardless, enjoy this really funny video, and if you wanna learn more about Liquid Death, you can visit their site here.

Source :  metalinjection.net

[metalrover]

MUSIC VIDEOS

CRADLE OF FILTH Drops New Single "She Is A Fire," Announces First Live Album In 21 Years

One of two new songs!

 

Cradle Of Filth is back with a new song called "She Is A Fire" and their first new live album in 21 years titled Trouble And Their Double Lives (the last being Live Bait For The Dead in 2002). The live album was recorded at performances between 2014 and 2019 and was produced, mixed and mastered by Scott Atkins at Grindstone Studios. Trouble And Their Double Lives also features "She Is A Fire" as well as a second new track named "Demon Prince Regent."

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"This track and the other original track on this album, 'Demon Prince Regent', were both written after the recording of Existence Is Futile and present a perfect, but not necessarily related, bridge between our Nuclear Blast days and the forthcoming album on Napalm Records," said Cradle Of Filth frontman Dani Filth.

"It was always intended to be a double album, so we just thought, 'fuck it! Let's cram some original material on there as well! The absolute worst of both worlds!' The song itself is about the epitome of burning passion; the dark inspiration of love and the creature that has ignited it."

On the live record, Filth offered: "I would say a live record was long overdue, judging by the 20-odd year gap between this and our previous offering! It also serves as a great accompaniment to the forthcoming co-headlining 'Double Trouble Live' tour(s) with DevilDriver, and strangely enough is also a notable gap-filler whilst we prepare our debut album for Napalm Records, due for mass excretion in 2024."

Pre-orders for Trouble And Their Double Livesare available here. The album runs as follows.

"She is a Fire" (New Studio Track)

"Heaven Torn Asunder"

"Blackest Magick in Practice"

"Honey and Sulphur"

"Nymphetamine (Fix)"

"Born in a Burial Gown"

"Desire in Violent Overture"

"Bathory Aria"

"The Death of Love" (Bonus Track)

"Demon Prince Regent" (New Studio Track)

"Heartbreak and Seance"

"Right Wing of the Garden Triptych"

"The Promise of Fever"

"Haunted Shores"

"Gilded Cunt"

"Saffron's Curse"

"Lustmord and Wargasm (The Lick of Carnivorous Winds)"

"You Will Know the Lion by his Claw" (Bonus Track)

Cradle Of Filth and DevilDriver will hit the road with Black Satellite and Oni for the first leg of their Double Trouble Live tour starting this March. Get the dates below.

 

Source : metalinjection.net

Edited March 25, 2023 by metalrover

[metalrover]

NEW MUSIC

IMMORTAL Streams "War Against All," Announces New Album

As blackened as ever.

 

Immortal, now just founding member Demonaz, has announced their new record War Against All for May 26 and is streaming the blackened title track below. And don't worry – it's intentionally just as fast as old Immortal.

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"'War Against All' was the first track I wrote for this album," said Demonaz. "It's a fast one where the riffs are mostly inspired by my riffs from Battles in the North. The lyrics are in the true Blashyrkh battle feel and mood for an opening track too. The frosty, raw, and fast battle songs in this style mean everything to me. I will never forget the early years, or disappoint the fans with slowing down the pace."

On creating War Against All, Demonazoffered the most black metal answer possible. "Even though the studio work is necessary to get an ultimate recording, the writing process is obviously my favorite. I still write all the guitar riffs/music at home with the same old vibe, and the lyrics as well. The early days of black metal inspire me the most. Cold nights in the woods, on the mountains under the winter moon. That's what keeps the spirit alive, and the foundation to all our music."

Pre-orders for War Against All are available here. It's not clear who else played on War Against All, as the press release only mentions it features Demonaz and "some session members, like in earlier recordings."

War Against All was produced by Arve Isdal(Enslaved), and recorded at Conclave & Earshot Studio in Bergen, Norway by Herbrand Larsen and Isdal. The album was mastered by Iver Sandøy at Solslottet and given artwork by artist Mattias Frisk.

 

Demonaz also commented on working at Earshot & Conclave Studios, saying "It's actually the same studio where I recorded the guitars and vocals for Northern Chaos Gods. They also did a great job with the new album, and it was a pleasure to go back and work there again. I am especially pleased with the outcome on this one. It's got that cold-biting guitar sound, yet powerful production.

"Immortal have never compromised on the original vision, which is taking fans on a journey through Blashyrkh with our most grim and dark music, with every new release. These songs are no exception to this. I am proud of the final result, it's got a distinct expression, and I can 't wait to let the fans hear it!”

 

Source : metalinjection.net

[The_King]

Heavy metal fanatics don their wildest get-up for music festival headlined by legends Slipknot and Megadeth

 

 

Thousands of heavy metal fans have taken to the mosh pit in wild outfits for Knotfest. 

Revellers packed out Centennial Park, in Sydney's inner-east, on Saturday for the festival headlined by heavy metal legends, Slipknot.

The 2023 line-up for the festival also features genre heavyweights Parkway Drive, Megadeath, Trivium and Swedish heavy metal staple, Amon Marth. 

The internationally touring festival landed in Melbourne on Friday on the first of their three Australian legs.

Among the thousands was Married at First Sight star, Jesse Bufford, who was one of the many attendees dressed in all black for the event and enjoying a quick meal before the headlining acts performed. 

•  

Old School Cool!: Double denim, mullets and Converse are back on the menu for heavy metal fans at Knotfest in Sydney's East

•  

These boots were made for moshing: Knotfest attendees were rushing into the festival grounds as early as 11:30am for the opening act, Malevolance

•  

Heavy metal circus! Fans have donned their most heavy metal-acceptable outfits for Knotfest in Centennial Park, in Sydney's inner-east on Saturday 

 

Peace to the world: Heavy metal fans have been waiting for the festival, created by heavy metal legends Slipknot, since its inception in 2012 and touring across the world since

 

This Trivium trio were just some of numerous fans wearing their favourite bands merchandise for the event on the second of three legs of the Australian Knotfest tour

 

Numerous festival goers dressed in their favourite band's merchandise for the event while others paid homage to musicians personas.

One attendee dressed in a clown mask, much like Slipknot's Shawn Crahan who wears a clown mask onstage and goes by a stage name of 'The Clown'.

Another fan wore a Jesus Christ costume, nodding to stereotypes that heavy metal is satanic. 

Many revellers dressed in all black for the occasion, with many wearing leather boots and showcasing large tattoo pieces. 

Other excited fans were seen giving the classic 'hand horns' symbol as they entered the festival.

Wear your heart on your chest: While some fans went extravagant, others chose to go back to basics that harkened back to the Riot Grrrl era of punk rock in the 90s

The Tellytubbys' Tinky-Winky and co were some of the more colourful attendees that filed into the festival in Sydney's east 

The 'hand horns' symbol has been a staple of the heavy metal scene since inception and was not missed for Knotfest

Pladway Drive!: Plad outfits have been a massive at Knotfest

 

Knotfest was first announced in mid-2012 and backed up a promise of a 'dark carnival experience' complete with circus big-top tents, amusement park rides and drum circles made of junkyard cars.

The festival has since toured every year to countries across world, including Japan, Mexico, Colombia, Finland, Germany, France, Brazil, Chile and Argentina.

It has also played stage to a myriad of the genre's largest names including Marilyn Manson, Korn and Deftones.

Brisbane is the next, and last, stop of the Australian tour on Saturday. 

•  

Married At First Chip: Jesse Bufford, of MAFS fame, was pictured one of the thousands dressed in all black for the festival and pictured enjoying a quick meal before the headlining acts perform

•  

Colour in a sea of black: Dyed hair and a neon skeleton printed shirt would set these attendees out of the crowd 

•  

Communication is key!: Walkie-talkies are at hand for this duo wearing merchandise of the 8-piece heavy metal band, Slipknot, who have long been a cornerstone of the genre 

Edited March 25, 2023 by The_King

[metalrover]

 

REVIEWS

Album Review: KOMMAND Death Age

8.5REVIEWER

By

J. Andrew

Published

6 days ago

A symphony of harsh negativity and violence. That's it. That's the review.

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Just kidding, of course. But there really isn't too much you need to explain to get to the essence of this album. This is Kommand's second full-length album, a follow up to 2020's Terrorscape. The terror continues on Death Age, with a fully coordinated assault mounted from every angle of the sonic battlefield. The guitars lead the attack, with the blasts from the bass and drums providing close ground support. Meanwhile, the cavernous guttural vocals infiltrate behind enemy lines to ensure maximum devastation. It's a lean, devastating work at just over 26 minutes.

If you're not familiar with Kommand's sound, I'd describe as a primary mixture of two bands with accoutrements of a few more blended in at key moments. At the foundational level, it's a blend of Bolt Thrower's muscular style with Incantation's dark and ominous atmosphere. Think of a Warhammer 40k army on the move … but make it vaguely demonic. You get the idea. The balance is fairly even throughout the record, though the ending riffs on "Collapse Metropolis" are very reminiscent of the more melodic moments from Onward to Golgotha("Immortal Cessation", for example).

 

But there are moments that recall other bands as well. Pay attention to some of the riffs on "Chimera Soldiers", especially the part at the 52-second mark. The sudden break with the riff on its own instantly reminded me of Demoncy. Check out "Fleeing Western Territories" and you'll hear it right away as the song starts. Swap in Ixithra's raspy voice and it wouldn't be too out of place on Joined in Darkness. Listen close and you might hear some reminders of Finnish acts like Convulse and Purtenance, along with inescapable similarities to Funebrarum and their dark brethren.

Topically, the subject matter should be pretty obvious. It's an album about the final death-throes of civilization through war, plague and general collapse. The band presents it as a nightmare vision to behold on its own terms, and leaves the listener to decide how to feel about it. The band doesn't have anything to sell but the work itself.

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For conflict torn nations across the world, it's a vision that's already coming true. For those lucky enough to be at peace, it's a reminder of the tenuous nature of safety and stability in a world always collapsing and reforming across the violent storm of history.

It's a vision both captivating and horrifying. You're aghast at what you see, but it's presented in such a fascinating way that you can't turn away. And so it is with death metal done right. Kommand does it just right.

[metalrover]

REVIEWS

Album Review: BABYMETAL The Other One

6REVIEWER

By

Max Morin

Published

March 27, 2023

Babymetal provoked stronger reactions than anyone this side of Limp Bizkit when they debuted back in 2015. The sight of these teenage girls dancing choreographed routines over melodeath-style fretwork sent the purists into spirals of existential dread. That didn't stop Babymetal from climbing the ladder to superstardom, becoming one of the most recognizable acts in modern metal and one of the few still pushing the genre into totally uncharted territory. Album number four sees them expanding their sound to put more emphasis on Su-Metal and Moametal's considerable vocal talent. The novelty hasn't worn off. But by the end of this 41-minute record, it's starting to show some wear and tear.

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Maybe Babymetal works best in small doses. Taken individually, any of the songs on The Other One is a confirmed banger. The metal part of this J-pop crossover group remains as heavy as any headbanger could ever hope for, even if it's often drowned out by pounding synth. While the focus remains on the two frontwomen, it's hard not to be distracted by the whirlwind being kicked up by the backing band. There's galloping rhythms, flying guitar solos and bombastic orchestration, all the elements of a great metal crossover.

But that's all stuff we already knew. The Other One continues to ride the train Babymetal started all the way back in 2015. Su-metal has taken over writing the lyrics on this album, injecting her own brand of Disney princess magic into "Mirror Mirror". Some of her verses are of questionable quality, such as the repeated "The seasons change, we are not the same" of "Believing". But on the other hand, few listeners are here for the lyrics. The Other One is all about the vibes, the irresistible urge to dance and party to the sounds Babymetal are putting forward.

Ironically, "Metalizm" turns out to be one of the most synth heavy tracks on the record. It picks up with a guitar solo and crunchy riff at the end, but it's after two minutes of dance beats. For the real heavy stuff, fans will have to go to "Maya", which opens with a lick worthy of Architects and continues to deliver djenty goodness for its entire runtime. Lead single "Monochrome" plays the same way, channeling the best of the instrumental djent sound pioneered by the likes of Intervals and adding the girls J-pop to great effect.

The problem is that so much of it sounds like what we've heard before. The genuinely heavy moments are farther between than they were on previous albums, where each song could be depended on to cause at least one instance of windmill headbanging. Here, there is stuff like "Time Wave" and "Light and Darkness", straight up J-pop anthems with only the slightest sprinkling of metal. The exceptional drummer is pushed aside to make room for synth beats that will light up any dancefloor at the expense of the musicians.

It's nearly impossible to imagine Babymetalwithout Su-metal and Moametal fronting, so maybe it's a good thing that they seem to be taking more control of the project. As they approach their ten-year anniversary of their first album, people will have to get used to the idea that Babymetal are here to stay.

There's more than enough of The Other Oneto justify giving it a listen. But whether this will reach the heights of Babymetal's previous crossover efforts is less certain. This album seems more aimed at J-pop audiences than metal ones. One can hardly fault Babymetal for doing this, especially as Asian pop music of all kinds continues to grow its audience in the west. But it's slightly disappointing for the fans who came expecting something like the Sabaton and Arch Enemy collabs of the last record.

 

[Huat Zai]

 

[The_King]

Exmortus Premiere New Single & Music Video "Mind Of Metal" From Upcoming New Album "Necrophony"

 

 

http://www.metalunderground.com/images/bandphotos/Exmortus_photo.jpg

Band Photo: Exmortus (?)

Melodic death metal outfit Exmortus will release their sixth full-length record “Necrophony” on August 25th through Nuclear Blast Records. Today the band premiere their new music video and single “Mind Of Metal“ streaming via YouTube and Spotify for you below.

 

Comments vocalist/guitarist Jadran “Conan” Gonzalez:

“‘Necrophony‘ was an album title idea for as long as I can remember. This Symphony of the Dead couldn’t be realized for a collection of songs until now. Finally, we have our darkest and most Classically inspired work yet, with artwork by the great Toha Mashudi to match perfectly. We returned to Sharkbite Studios to have the mighty wizard that is Zack Ohren aid us again in forging our metal, and resulted in the finest steel we’re all proud to wield on the battlefield.

‘Mind Of Metal‘ is a great compliment to our previous single ‘Oathbreaker;’ in that it has contrasting rhythms and structure, but shares lyrical inspiration by Tolkien. It’s a tribute to the wizard Saruman and other like characters in the legendarium, for their will to power and domination by crafty and industrial means. This song features groove, fast licks, and some of our favorite riffs ever written. Can’t wait to perform it live!”

“Necrophony” tracklist:

01 – “Masquerade”
02 – “Mask Of Red Death”
03 – “Oathbreaker”
04 – “Mind Of Metal”
05 – “Storm Of Strings”
06 – “Test Of Time”
07 – “Darkest Of Knights”
08 – “Prophecy”
09 – “Children Of The Night”
10 – “Beyond The Grave”
11 – “Overture”
12 – “Necrophony”
13 – “Moonchild”

[metalrover]

REVIEWS

Album Review: ASYSTOLE Siren To Blight

8REVIEWER

 

I, Voidhanger records is in the mind-bending metal business, and Asystole's new album, Siren to Blight, is the type of record where you'd know the label without having to look. For people who seek the dissonance and blistering riffs and rhythms of classic Demilich and Gorguts, this is the album for you.

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Of course, the challenge with this form of metal is that its inherent complexity makes it impenetrable to most listeners, including most metal listeners. Thus, just as with any form of prog-metal or technical metal, it takes a talented group of composers to frame the style in a memorable way. I'd say this New York-based quintet has done solid work on this record.

The immediate hooks on songs like "Sophist Paralysis" and "Song of Subservient Bliss" show that the band aren't just out to impress people with songs that are difficult to play. They seek to use their talents to make you raise the horns in metallic satisfaction. To that end, the guitar tone is clear yet crushing. The drum parts are dazzlingly impressive, but still have enough consistency to guide the listener through the songs. And the vocals are standard low gutterals. Nothing wrong with that; John Dunn IV knows his role and fulfills it with gusto.

Listeners looking for the most straightforward crusher should probably check out "Privatio Malus." The interplay between the drums, vocals and riffs all comes together brilliantly here. It's the best kind of technicality, the sort you can get lost in and yet still recover your place when you regain concentration. Trust me, crank this song and try to resist the urge to make the goblet hands expression. You will fail.

There is, of course, another advantage to this album in that it's not too long. And the songs aren't too long. A lot of similar bands belabor the listener and overstay their sonic welcome with 8-, 10-, or 12-minute songs that are really just self-fellating wastes of time. These guys are smart. They give you proper punches that hover around the 4- and 5-minute mark.

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As with so many things, this band is definitely a mood band. But when the moment calls for scrambling your brains under the weight of crushing blastbeats and notes played at odd intervals, it's just what the mad doctor ordered.

[metalrover]

Welkin

Country of origin: Singapore

Location: Singapore

Status: Active

Formed in: 2017

Genre: Black Metal

Themes:  Nature, Philosophy, Chinese history, War

Current label: Pest Productions

Years active: 2017-present

 

In 2022, the band also started going by the name 皇天.

Discography

Members

Reviews

Similar Artists

Related Links

Complete discography

Main

Lives

Demos

Misc.

NameTypeYearReviews

WelkinDemo2018 

Tri-Necromantic Black MassSplit2019 

Recollections of Conquest and HonourFull-length20201 (79%)

除邪 Will to PurificationCompilation2023 

武勇 / Emblems of ValourFull-length2023

 

Black metal band from Singapore

 

 

https://welkin.bandcamp.com/

Edited April 18, 2023 by metalrover

[metalrover]

REVIEWS

Album Review: LAMP OF MURMUUR Saturnian Bloodstorm

9

REVIEWER

Following Lamp of Murmuur these last few years has been a fascinating journey. The project began as one of many voices screaming out raw, lo-fi black metal, releasing a steady stream of demos leading up to 2020's excellent Heir of Ecliptical Romanticism. The voyage then took us to death-rock territory, seeing the mysterious "M." explore his love of Sisters of Mercy and similar acts on Submission and Slavery. And so we come to 2023, and Lamp of Murmuurhas brought us to a new destination. Well, it's actually one that will feel like home to dedicated black metal fans, as it looks an awful lot like the frozen shores of Blashyrkh.

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Alright, so I don't want anyone to get the wrong idea and think this album is solely an Immortal tribute. That is the first thing that comes to mind, and it's especially apparent on "In Communion With the Wintermoon" (I mean, Christ, it has the word Wintermoon in it). But this album is better understood as a conglomeration of three of the best black metal recordings of all time: Immortal's At the Heart of Winter, Satyricon's Nemesis Divina and (to a lesser extent) EnslavedFrost.

The Immortal influence is apparent from the guitar tone and riff structure through much of the album. And I choose At the Heart of Winter as the riffs and their accompanying rhythms remind me very strongly of songs like "Withstand the Fall of Time," and "Tragedies Blows At Horizon." But M.'s vocals most certainly do not mimic Abbath's signature snarl. Rather, they sound a lot more like Satyr's grunts on songs like "Mother North" and occasionally like Grutle's growls on songs like "Jotunblod." This goes for some of the song structures as well, as some of the grander moments recall those on Satyricon's "The Dawn Of A New Age."

 

 

This is all to make clear what M.'s influences probably were on this album. And these are just the immediate ones that come to mind. It's all still filtered through the Lamp of Murmuur filter. Don't worry, M. didn't lose his chorus pedal, he's just become much more meticulous about how and when he uses it.

There's an overall feeling of discipline and intention that flows through this album. Lamp of Murmuur no longer feels like a fun project that produces some really cool variations on the raw black metal template, but like a serious force that means business! Fans of the project's earlier work will probably enjoy "Hymns of Death, Rays of Might" the most, as the mood here most-closely resembles that of the demo-era material.

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From the moment "Conqueror Beyond the Frenzied Fog" comes on, there's a immediate punch and precision to the music. All the cold and raw energy is still there, but M. has channeled it in a brilliant way that gives it more force and power. Anyone who needs convincing should crank up the double-kick pounding on "Seal of the Dominator" or the absolutely epic and multifaceted title track at the end of the album.

No longer a flowing flurry of snow, Lamp of Murmuur now has the effect of a crushing ice storm. At this rate, I hope the sun never comes out.

Source : metalinjection.net

[metalrover]

METAL MERCH

Liquid Death Makes Enemas Now

Alrighty.

Liquid Death, makers of seltzers that you drink and then urinate out eventually, would like liquid to go in a different direction for you. Liquid Death has teamed up with Blink-182 drummer Travis Barker for their new Enema Of The State enema (a play on Blink-182's 1999 album of the same name) which, all jokes aside, should not actually be used as an enema.

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"Enema of the State is a limited edition collectible adult art piece and not intended for use as a real medical device," writes Liquid Death ahead of some folks not getting the joke and actually hurting themselves. "Enema of the State should never be placed in or near your butthole without consulting a doctor first. Also, you should not place it in or near your friend’s butthole without consulting them or their doctor first either."

Get the enema here for $182. It probably won't give you the drumming abilities of Barker either, but it's worth a shot.

 

Source : metalinjection.net

[The_King]

This Metal Song Was Entirely Generated by AI

 

 

There has been no shortage recently of Artificial Intelligence (AI) making its way into the entertainment business, and more specifically into the music world.

AI software has been used to replicate the voice of iconic singers, and can even lend a hand in songwriting, leading to debates on its proper use and the value of the human element when it comes to music.

Now, a group of software engineers has taken things one step further, with the creation of the Metalverse, an online realm designed to showcase different bands with music entirely generated by AI.

The first example to come out of this concept is Frostbite Orckings, which are a digital band playing the melodic death metal sound usually associated with bands like Amon Amarth.

In an interview with Nik Nocturnal, one of the team members behind the band explained the difference between Frostbite Orckings and the majority of AI-generated music.

While most AI algorithms use a database of pre-existing songs to be trained and later generate new songs or vocal lines, the Metalverse guys used a different approach to avoid copyright issues and keep the project as ethical as possible.

Employing several session musicians and computer linguists, the in-house team generated their own new database of music and lyric ideas, which the AI software used as a training model to generate new songs from.

The first sample is "Guardians of Time", which you can check out below, with promises of regular releases in the Metalverse. Can AI bands take over the scene in the future? Let us know what you think in the comments.

 

 

 

[metalrover]

 

[metalrover]

TIM LAMBESIS EXPLAINS HOW NEW AS I LAY DYING MEMBERS WILL CONTRIBUTE TO NEW ALBUM

 

As I Lay Dying have made some significant changes since their last studio album, leaving many to wonder how their new additions might play into the band's future recordings. According to frontman Tim Lambesis, the full current lineup of the group has been working toward the next album.

While speaking with Heavy New York (as seen below), Lambesis provided a studio update on the new album, specifically breaking down how the new members fit into the record. For those needing a refresher, Lambesis and guitarist Phil Sgrosso remain, with former Unearth drummer Nick Pierce behind the kit, Miss May I's Ryan Neff on bass and Unearth's Ken Susi on guitar.

Lambesis said of the recent sessions, "Nick Pierce just finished tracking drums for the As I Lay Dying record a couple of weeks ago. Unfortunately, in modern times, that doesn't mean the record's coming out very soon, but it's in the works. We're working with Ryan Neff. Ken Susi's doing some solos. Nick Pierce already tracked the drums. So to answer some of those questions about, 'Are those guys contributing in any way?', obviously they are. We just haven't really had a final product to deliver yet."

READ MORE: Tim Lambesis Has Married for a Third Time

In addition to Lambesis' comments, the band has posted a few images through Instagram of themselves working in the studio. You can seethose below.

 

As I Lay Dying kept their core lineup intact through a very successful start to their career and managed to put differences aside after Lambesis' incarceration for attempting to hire a hitman to kill his estranged wife. During the singer's prison sentence, the band members formed Wovenwar, but after his release they reactivated the band and released 2019's Shaped By Fire.

Guitarist Nick Hipa was the first to exit the reformed As I Lay Dying lineup in 2020, while bassist Josh Gilbert and drummer Jordan Mancino both exited in 2022.

As I Lay Dying's Tim Lambesis Chats With Heavy New York

Read More: Lambesis - New As I Lay Dying Members Will Contribute to Album | https://loudwire.com/tim-lambesis-new-as-i-lay-dying-members-contribute-new-album/?utm_source=tsmclip&utm_medium=referral

Edited May 3, 2023 by metalrover

[metalrover]

Interview: Burning Witches Talk Classic Albums, Live Shows and Women in Heavy Metal

May 1, 2023  Emily Bellino

Swiss heavy (and speed and power) metal torchbearers Burning Witches have spent the last eight years making a name for themselves as an all-woman band keeping the spirit of traditional metal alive. Even more impressive than their songwriting prowess is their ability to do so much of it—their new album, The Dark Tower, is their fifth since 2017.

As Burning Witches prepare to release The Dark Tower this Friday, Decibel spoke to founding drummer Lala Frischknecht about The Dark Tower (and last album The Witch of the North), their focus on live shows and what it’s like to play in an metal band made exclusively of women.

This is your fifth album in six years. Where do you find inspiration to keep cranking out new tunes, especially writing two of the albums in a pandemic?
Romana [Kalkuhl, guitar] writes all the songs since the beginning of the band. She’s a natural born musician and well blessed with her ability and skills in making music. She always has a lot of ideas. Our previous album, The Witch of the North, was made during the peak of the pandemic where everything was closed and there was only a limited amount of people to gather together. But it didn’t affect us much because we had all our time to concentrate on every song. Romana wanted it to be an epic album. Compared to our new album, The Dark Tower, our time was limited since we just came back the first week of October from our tour in South America with the mighty Destruction and recording started in the first week of November. 

Everyone is so curious about this album. But I guess this album is something to be proud of despite the lack of time. 

The Dark Tower is a very classic heavy/power metal album. What influences are you working with?
Yes, absolutely. I remember when Romana told me that she really wanted this album to be in the veins of classic heavy metal. Judas Priest and Iron Maiden are the most bands that influenced us. We always love to play heavy metal. Our first two albums (Burning Witches and Hexenhammer) are the same, it’s all in the vein of classic heavy metal with a touch of the more modern era. Perhaps it’s about time to bring back the classic Burning Witches sound. 

The band is based in different parts of Europe, right? Did the pandemic make writing this album and the one before ur more difficult?
As I mentioned before, the pandemic did not affect us making the album The Witch of the North. In fact, it helped us big time to take everything smooth and easy. Unlike The Dark Tower, we were on tour almost the whole year, too busy and didn’t have time to make new songs. But before that, we already had four songs written, which includes the songs “The Dark Tower,” “Doomed to Die” and “World on Fire.”

We are all living in Switzerland except for Laura [Guldemond, vocals], she lives in Holland. When Romana has material, we are the first ones who will jam the song here in Switzerland and then we usually send the material to Laura. She will send us rough recorded demo vocals and then we will continue to process the song together with Jay [Grob, bass] and Larissa [Ernst, guitar]. The Little Creek Studio is the place where the songs will have a final touch like additional melodies, other beat or groove, backing vocals and so on. We need to be creative and have ideas or other options to make the songs complete.  

Guitarist Larissa Ernst joined the band in 2020. How has her presence changed the way the band writes or records?
Romana is making all the riffs and writing the songs except for lyrics. We are so happy that Larissa joined us. Our sound on stage is way heavier and clearer than before. Larissa is a great guitarist and [I] love her rhythms. She has a different style of solos which fits to the sound of Burning Witches.

Now, she is on maternity leave and has been replaced by a shredder queen Miss Courtney Cox of the Iron Maidens. So everyone is looking forward for the next shows and we think that it will be amazing and will sound like a bomb.

You’re a band of all women in the heavy metal scene. Has that affected your experience as a band thus far?
Absolutely not. We always ignore the negative vibes and use it as a key to be strong. We love what we are doing. I think every person regardless of gender has a place in the music scene. As long as you can deliver it well and make justice of what you are doing, every woman can do whatever she wants to make her dreams come true. It doesn’t matter if it’s in the metal scene, or if you work for a company or somewhere else.

We are also grateful to have our metal family like Damir Eskić (Gomorra & Destruction), Schmier (Destruction) and the rest of our family that always stands behind us no matter what. It would be for sure a hard journey without these people. We always work as a team. Love, respect and friendship are the important keys in Burning Witches.

You basically have two albums that released during a time when live shows weren’t happening, and now a new one. Will you keep cranking out studio output or shift the focus to playing live now?
We actually had a chance to promote The Witch of the North during the pandemic. We actually had some gigs and were one of the first bands that toured when the pandemic allowed it again! 

We also did a live streaming to help to promote the album. Nice to have social media and internet platforms that helped every band to get connected to their fans and listeners. Our focus is to promote our fifth album, The Dark Tower. We are always ready for live shows. We have many confirmed shows for now and offers keep on coming. We are so happy having this opportunity and always grateful to our fans that support us since the existence of the band. Nice to do something that you love and give that good energy to the people and make them smile. Totally priceless.

Source : https://www.decibelmagazine.com/2023/05/01/interview-burning-witches-talk-classic-albums-live-shows-and-women-in-heavy-metal/

[The_King]

How Israel's metal music community remains supportive

 

 

The country’s close-knit metal music community is coming together this weekend to help perhaps the main driver in supporting and promoting the scene, Yishai Sweartz.

 

Often referred to as “The Raven,” Sweartz is beloved by metal artists and fans alike. Since the early 1990s, he has pioneered Israel’s metal music industry and created a community for metalheads.

 

Sweartz recently underwent very complex surgery and is recovering but the vocalist and producer has been forced to slow his work pace. Consequently, his ability to support himself and the industry has become increasingly difficult. 

 

 

 

 

 

 

Given the state’s limited support for Israelis who are self-employed, the financial burden has taken its toll on Sweartz so on Saturday, May 6, at the Gagarian club in Tel Aviv, the metal community will come together to show their appreciation and to help ease Sweartz’s difficult economic situation.

 

Among the performers and friends who will perform is Yossi Sassi, metal vocalist, guitarist and frequent collaborator with The Oriental Rock Orchestra. He said Sweartz is one of the main pillars of the metal community and its continuity for the past 30 years. 

 

“He has been holding the flame of hope, we all owe him a lot,” Sassi said.

 

Bringing metal bands to the holy land

Working as a producer and promoter, Sweartz has been responsible for bringing international metal bands to Israel. Through his influence, metal bands such as Behemoth, Septicflesh, Sabaton Cannibal Corpe, Satyricon, Rotting Christ, Nightwish, Paradise Lost and others have visited.

 

 

Also appearing on Saturday will be one of Sweartz’s oldest metal friends, Polish star Adam Darski of Behemoth. Better known by his stage name Nergal, Darski is a legendary figure among the metal community and, thanks to the duo’s friendship, he has performed in Israel on six occasions in the last 20 years. When Darski heard about the evening, he insistent on supporting and playing at the event. 

 

“[Darski] has given me a lot of inspiration for how to survive the worst,” Sweartz says.

 

The night will also see a reunion for Sassi with his former band Orphaned Land – one of Israel’s best-known metal music exports. Sassi will also be performing alongside the band’s current members Kobi Farhi, Uri Zalka and Chen Belvos.

 

As well as co-founding Orphaned Land and pioneering a solo career, Sassi has created his own instrument. A ‘bouzoukitara’ is a combination of an acoustic Greek bouzouki and an electric guitar, creating a unique rock sound with Middle Eastern tones and he said he has prepared a special arrangement [with the instrument] for the event.

 

For one night only, these metal forces will perform together to celebrate not only Sweartz but the metal community itself. For Sassi, it is a reunion of friends onstage, backstage and in the audience.

 

Other Israeli acts performing include Shredhead, Scardust, Tabernacle!, Eran Tzur and Subterranean Masquerade.

 

For more information, visit: https://eventbuzz.co.il/lp/event/ravenheart.

[metalrover]

NEW MUSIC

BLACKBRAID Announces Second Album, Streams Massive & Blackened New Single

Sgah'gahsowáh, black metal genius.

 

Blackbraid, the one-person Native American black metal project headed up by Sgah'gahsowah, is back with a fantastic (and lengthy) new single "Moss Covered Bones on the Altar of the Moon". The single is off the coming Blackbraid record Blackbraid II due out July 7. Now wait await a tour featuring Blackbraid and Panopticon, because that's gotta happen right?

 

 

 

Blackbraid will hit the road with Dark Funeral, Cattle Decapitation, and 200 StabWounds this May. Get the dates below and get tickets here.

5/11 The Observatory – Santa Ana, CA
5/12 Nile Theater – Mesa, AZ
5/13 El Rey – Albuquerque, NM
5/15 Granada Theater – Dallas, TX
5/16 Empire Control Room – Austin, TX
5/17 The Warehouse – Houston, TX
5/19 The Orpheum – Tampa, FL
5/20 Variety Playhouse – Atlanta, GA
5/21 The Underground – Charlotte, NC
5/23 Baltimore Soundstage – Baltimore, MD
5/24 Irving Plaza – New York, NY
5/26 Club Soda – Montreal, QC
5/27 Phoenix Concert Theatre – Toronto, ON
5/28 Crofoot Ballroom – Pontiac, MI
5/30 The Metro – Chicago, IL
5/31 First Avenue – Minneapolis, MN
6/2 The Summit – Denver, CO
6/3 The Complex – Salt Lake City, UT
6/5 El Corazon – Seattle, WA
6/6 The Vogue Theater – Vancouver, BC
6/7 The Roseland Ballroom – Portland, OR
6/9 The Regency Ballroom – San Francisco, CA
6/10 Regent Theater – Los Angeles, CA

 

source : metalinjection.net

Edited May 9, 2023 by metalrover

[metalrover]

REVIEWS

Album Review: UNEARTH The Wretched, The Ruinous

The glorious nightmare continues. Unearth is back with the follow up to 2018's Extinction(s), their eighth album since they were first shattered by the sun. (Post your favorite Unearth pun in the comments). 

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Stylistically, the album will satisfy long-time Unearth fans. There aren't a lot of surprises on this offering, though "Broken Arrow" does mix things up a bit with a straightforward heavy rock drive. The song almost has a Queen of the Stone Age-feel to it. No complaints from me there. Otherwise, the band sounds like itself: 2000s metalcore with an emphasis on dual-guitar theatrics, crushing breakdowns, and the rest of the band's standard-issue weaponry.

 

Fans looking to hear vintage metalcore excellence should proceed straight to "Cremation of the Living", as it contains all the Gothenburg riffs, anthemic vocal lines, and nose-cracking breakdowns you could ask for. Perhaps you didn't know, but 2000s metalcore is making a bit of a comebacklately. Lots of younger bands are out there sounding like 2004 never ended. And while I definitely dig it, it's good to hear some of the originals show how it's done.

It will come as no surprise that the guitars sound fantastic. A good friend of mine once labeled The Oncoming Storm "Megaman metal" due to all of the heroic riffing peppered across the band's music. And that's definitely still the case here, showing Buz McGrath's devotion to peak-era In Flames and Dark Tranquility remains intact. There are several moments that show his and Peter Layman's ability to build drama into a song, particularly on "Eradicator" and "Into the Abyss".

 

Another blaring headlight on this album is Mike Justian's drum sound. Returning after a long absence, Justian was, of course, behind the kit for Unearth's heyday albums in 2004 and 2006. From the lead-in to "The Wretched, The Ruinous," it's immediately a pleasure to listen to him shoulder the band's sonic machine. I particularly like how the kick-drum sounds: pulsing and powerful, but not overproduced to where it sounds like pens clacking against a desk.

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There's just one aspect to this album that kept taking me out of the music, which is how Trevor Phipps's vocals were produced. For some reason, you hear a lot of gushing and squishing sounds when he enunciates certain syllables. It's as if there's a separate track for all the air passing between his tongue and cheeks whenever he hits an "sh" or "ch" sound. Perhaps this was on purpose and Trevor digs this sound. Maybe you do too. But I found it kind of distracting.

As for the album's lyrical content, Unearthhas long mined apocalyptic language, one that borders on the Christian eschatology of the day of judgment and revelation. The band's muse is of course the degradation of the environment and our shared habitat from the myriad human activities that affect it. This certainly makes for gripping and compelling material, though I will point out that preachers, philosophers and thinkers of all stripes have been predicting humanity's self-inflicted destruction since time immemorial, and yet we stubbornly remain here.

And while I agree that some changes are needed, we should take great care in the steps we take, lest we wind up causing greater exploitation in our efforts, or simply backslide due to our own idiocy. We should also take heart in the progress we've made, particularly in the United States as well as signs of nature's resilience elsewhere in the world. Additionally, time has shown that increased economic development, growth and prosperity leads to greater conservation efforts and habitat protection, meaning that self-immiseration and misanthropy are very much not the answer. I'm with the band in principle, just some things to consider.

Anyway. This is a solid offering from one of the metalcore greats. I'm sure these songs will fit nicely with the band's repertoire and motivate the usual forceful (and often scary) reaction in the pit from their diehard fans.

 

Source : metalinjection.net

[The_King]

Metal music from the Adirondacks: Blackbraid on edge of fame

 

 

Living in the Adirondacks near Sacandaga Lake in Spectulator is a star among black metal fans.  In the next couple months, his profile within that genre is about to rise even further. 

Blackbraid, the stage name for Capital Region native and solo indigenous American artist Sgah’gahsowáh, recently announced his second LP will be released on Friday, July 7. “Blackbraid II” comes on the heels of his first-ever national tour, which starts this week. Both the tour and new album build off the buzz he gained for his 2022 eponymous debut, a surprise hit that had a run as a top seller on Bandcamp last summer and was named the 14th best metal album of the year by Rolling Stone. 

When he first started recording material as Blackbraid a couple years ago, this type of success wasn’t on Sgah’gahsowáh’s mind. He was working full time as a carpenter and just looking to have some fun and exercise his creativity. 

“It’s pretty nuts,” Sgah’gahsowáh said. “I’ve been a musician my entire life, playing guitar is my bread-and-butter, but it had been five-to-10 years since I had been playing music at all, before this I was in smaller, (crummy) things when I was young. Then I met my wife, got married, traveled, bought a house, all that (stuff). 

For more info

Blackbraid

• You can order “Blackbraid I” and other items, and check out tour dates here: https://blackbraid.us/  
• To stream “Blackbraid I” and the single from the impending “Blackbraid II,” visit: https://blackbraid.bandcamp.com/  

“By summer 2020, music was more a hobby at that point,” he continued. “I was messing around on some instrumentals and liked them so much, I knew I wanted to do a full album. It was supposed to be a side endeavor that I’d put on Bandcamp, maybe print some CDs. Then it ended up being number one on Bandcamp for quite some time, it was insane. Now there’s this tour, which is really wild. I’m in my 30s and, until now, I had never planned on doing music for a career.” 

And it’s definitely become a full-time career for Sgah’gahsowáh. He’s an independent artist, unsigned by a record label and looking to keep it that way. Blackbraid business is a two-person enterprise; he handles the music end of the operation, while his wife manages the logistics and “makes sure everything runs smoothly.”

Much like he didn’t expect music to become his primary occupation, Sgah’gahsowáh didn’t know that maintaining it was going to be quite so intense. 

“I’ve turned down every metal label under the sun and I’m really sticking by being independent,” he said. “A label is unnecessary to me. We’re in a very unique position where me and my wife handle everything a label would do. She’s the other half of Blackbraid and makes everything functional. She handles the merchandise, design elements, really spearheaded the business side. Anything a label would do, she does. 

“It’s still definitely extremely stressful; I quit my job around this time last year as a carpenter — building houses, doing handyman stuff — as Blackbraid became substantial income,” Sgah’gahsowáh added. “I thought, ‘Oh man, I’m a career musician now, life is going to be so great.’ It’s so much more stressful than working 40 hours a week. Blackbraid is my baby and on my mind 24/7. Orchestrating everything, from the store, shipping, recording, it’s very hard to not just work.” 

Sgah’gahsowáh’s workload continues to increase. He had wanted to keep Blackbraid as a studio project and until recently, continued to turn down shows until he received offers he couldn’t refuse. His current tour is sponsored by Metal Blade Records and Decibel Magazine, key brands in the metal world, and features major black metal acts Dark Funeral and Cattle Decapitation as headliners. On June 15, in what he describes as an “I made it moment,” Blackbraid will be playing on the same bill as Kiss at HellFest just outside of Paris, France. 

Since Blackbraid is a solo affair in the studio, Sgah’gahsowáh had to assemble a band for these performances. To accomplish that, Sgah’gahsowáh reached out to Eduardo “EDO” Mora, who runs the Los Angeles-based, all-indigenous Night of the Palemoon black metal label.  

“The guys I use live are all friends from L.A.,” Sgah’gahsowáh explained. “Once Blackbraid got to the point where we had to do live shows, I talked to EDO to put the lineup together. It was kind of nerve-wracking, but I trust him with my music. 

“All of the other members have their own solo thing, which honestly it’s pretty standard for black metal to be solo projects,” he continued. “These dudes are all great and not unfamiliar to the dynamic (of being accompanists for a solo project), they understand my thing and it works out great. We’re really pumped to play.” 

Putting together an all-indigenous black metal band was, all things considered, pretty simple. Black and death metal are thriving subcultures in Native American communities and Blackbraid joins artists like Lamp of Murmuur and Of Feather and Bone as indigenous acts to become breakout genre acts.  

Black metal and its themes are rooted in Scandinavian culture. As Sgah’gahsowáh explains, the music translates seamlessly to indigenous peoples and their cultural experiences. 

“I’ve listened to black metal for many, many years, since I was a teen. It’s kind of my default,” he said. “I’m a very nature-oriented person and spend a lot of time in the wilderness, which goes hand-in-hand (with black metal). If you look at the origins of black metal in Scandinavia in the 1980s and ’90s, there’s pagan, anti-Christian, nature-worshipping themes. That goes hand-in-hand with the Native American experience; the themes are interchangeable with both cultures. 

“Pagan religions in Scandinavia were oppressed and subjected to rape and murder by White Christians, it’s a pretty bloody history,” Sgah’gahsowáh added. “Most Native Americans I know would say they experienced that same treatment from White Christians. Black metal is about the divinity of nature. It’s more based on oppression than rebellion, which is more relevant to indigenous culture and experience.” 

[metalrover]

Photo by Christelle Duvenage

Vulvodynia Fire Vocalist After He ‘Tried to Kill’ Their Drummer, Share Photos of Injuries

The South African death metal band Vulvodynia have fired their longtime vocalist Duncan Bentley after he allegedly injured and "tried to kill" the group's drummer, Tom Hughes, the act said this week.

Hughes was apparently hospitalized with a broken nose, Vulvodynia added, as seen in photos of the reported injuries they shared on social media.

Last year, Vulvodynia performed in North America on a tour supporting Archspire. Vulvodynia, which included Bentley as lead vocalist since their 2014 inception, are named after the medical termfor chronic pain or discomfort around the opening of the vagina.

See the photos of Hughes' injuries below.

In a statement alongside the graphic photos on Sunday (May 7), Vulvodynia explained, "Due to recent events and recurring uncontrollable violence from Duncan Bentley. We can no longer have him in the band."

 

They continued, "This has been something we have been considering even before this tour but had to just continue and try our best because the financial losses would have been too devastating."

Statement - Vulvodynia Say Vocalist "Tried to Kill" Their Drummer (May 7, 2023)

Vulvodynia said that Bentley "threatened and tried to kill our drummer Tom. Tom ended in hospital and sustained various injuries including a badly broken nose. This is also not the first time he's attacked Tom and displayed this type of violence. Its been a recurring problem for a while. We thought it was alcohol related but we now know its just who he is."

They added, "We will be continuing [our current] tour without him. We are going to try make plans to get some friends who are vocalists to help us out on the way and still bring you the best show possible."

 

Response From Drummer Tom Hughes

 

Hughes issued a separate response on his personal Facebook page. "I'm doing ok other than being in a little pain and we just want to try to continue … and make the best of this awful situation," he said.

He explained that he and Bentley were "not in any sort of drunken brawl. We had an amazing night out with friends after the show and towards the end of the night started noticing changes in his behavior with him becoming [erratic] and irritable and unnecessarily mean about people and towards homeless people around so when we got back to the hotel I asked him if he had been drinking at all and he absolutely snapped. I literally said 'Duncan as a friend I need to know if you have been drinking tonight' and he absolutely lost it."

Hughes added, "This is not the first time this has happened at all, had to deal with a very similar situation in the Philippines just over a month ago when he was late for lobby call for our flight and I went to his room to wake him and when I did he snapped and attacked me punching me multiple times, breaking my ribs."

Vulvodynia's latest album is 2021's Praenuntius Infiniti. They released "Eulogy of Ashes" last month.

Source : metalinjection.net

 

[metalrover]

METAL INJECTION EXCLUSIVES

BRANDON ELLIS Of THE BLACK DAHLIA MURDER Shows Off His Insane Guitar Collection

It's insane.

 

We meet up with Brandon Ellis of The Black Dahlia Murder at his home for an exclusive tour of his guitar collection. Join Brandon as he gives you a brief rundown of his prized possessions of over 50 collectibles!

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Catch The Black Dahlia Murder on the remainder of this tour dates with Terror, Frozen Soul, Fuming Mouth, and Phobophilicas the openers. Get your tickets here.

5/10 The Nile – Mesa, AZ
5/11 Belasco Theater – Los Angeles, CA
5/12 House Of Blues – Anaheim, CA
5/13 UC Theatre – Berkeley, CA
5/14 Ace Of Spades -Sacramento, CA
5/16 The Depot – Salt Lake City, UT
5/18 Neptune Theatre – Seattle, WA
5/19 Roseland Theater – Portland, OR
5/20 Rickshaw Theatre – Vancouver, BC
5/22 Union Hall – Edmonton, AB
5/23 Palace Theatre – Calgary, AB
5/25 Park Theatre – Winnipeg, MB
5/26 Skyway Theatre – Minneapolis, MN

Source : metalinjection.net

[The_King]

[The_King]

 

[metalrover]

LATEST NEWS

DEFEATED SANITY Signs To Season Of Mist, Readies First Album Since 2020

Get ready for some slams.

 

Defeated Sanity has left their longtime label Willowtip for a new home at Season Of Mist. Defeated Sanity is working on the follow-up to their 2020 album The Sanguinary Impetus, which the band points out we should expect to know more about soon.

 

"We are extremely pleased to announce our signing to Season of Mist," said Defeated Sanity of their signing. "We want to thank Willowtip for their contributions to Defeated Sanity's legacy. Looking back, it has been quite a journey for us, from Chapters to Sanguinary. The band has musically grown immensely over the years, and so has our fanbase.

"We are ready to start our next chapter under the Season of Mist banner and have never been more committed to delivering the finest blend of technical and brutal death metal that's ever been brought forth. More album details coming soon!"

If you're unfamiliar with Defeated Sanity, check out their single "Imposed Corporeal Inhabitation" from The Sanguinary Impetus below. It's ridiculous.

 

Source : https://metalinjection.net/news/defeated-sanity-signs-to-season-of-mist-readies-first-album-since-2020