My Metal Club http://www.mymetalclub.com Wed, 23 Oct 2013 19:00:57 +0000 en-US hourly 1 http://wordpress.org/?v=3.6.1 Streaming: Pentagram (Chile) — “The Apparition” http://www.mymetalclub.com/news/streaming-pentagram-chile-the-apparition/ http://www.mymetalclub.com/news/streaming-pentagram-chile-the-apparition/#comments Wed, 23 Oct 2013 19:00:57 +0000 Decibel Magazine http://www.decibelmagazine.com/?p=29159 We have some streaming goodness available for the Deciblog faithful today. Please check out the new tune “The Apparition” from Pentagram (Chile) below. Frontman Anton Reisenegger said the following about the track: “‘The Apparition’ must be one of my favorite tracks on the album because it has this amazing early Slayer vibe. Haunting The Chapel […]]]> pentagramchile_decibel

We have some streaming goodness available for the Deciblog faithful today. Please check out the new tune “The Apparition” from Pentagram (Chile) below.

Frontman Anton Reisenegger said the following about the track: “‘The Apparition’ must be one of my favorite tracks on the album because it has this amazing early Slayer vibe. Haunting The Chapel is still my favorite Slayer record ever and was a huge influence on our demos, so this is kind of a tribute. The vocal reverb actually sounds a lot like ‘Hell Awaits’ as well. The lyrics are about hidden fears and superstitions which often run deep in a family’s history. I tried to evoke pictures of an old decaying house as a symbol for those fears.”

Get in touch with Pentagram Chile here and preorder The Malefice from Metal Blade. It will be released on November 11th.

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EXCLUSIVE STREAM: EMPIRE OF RATS http://www.mymetalclub.com/news/exclusive-stream-empire-of-rats/ http://www.mymetalclub.com/news/exclusive-stream-empire-of-rats/#comments Wed, 23 Oct 2013 16:21:36 +0000 Decibel Magazine http://www.decibelmagazine.com/?p=29158 Today we’re streaming the uber-brutal debut full-length from Columbus, Ohio skull-crushers Empire of Rats — and it’s basically an unforgiving swan dive into the metallic hardcore abyss. Check it out below, then preorder this monster as an early Halloween gift for yourself here before heading over to get tickets for the band’s A389 X Bash […]]]> 06.21update_eor

Today we’re streaming the uber-brutal debut full-length from Columbus, Ohio skull-crushers Empire of Rats — and it’s basically an unforgiving swan dive into the metallic hardcore abyss. Check it out below, then preorder this monster as an early Halloween gift for yourself here before heading over to get tickets for the band’s A389 X Bash appearance with Bloodlet, the Systems Overload Integrity line-up, Weekend Nachos, etc.

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Sucker For Punishment: My soul, it’s breaking! http://www.mymetalclub.com/news/sucker-for-punishment-my-soul-its-breaking/ http://www.mymetalclub.com/news/sucker-for-punishment-my-soul-its-breaking/#comments Wed, 23 Oct 2013 13:30:20 +0000 Decibel Magazine http://www.decibelmagazine.com/?p=29148 Despite a pair of albums that will be on my personal year-end list, this week is on the light side, which admittedly is a welcome breather, because it’s a mere ripple compared to the tsunami of new stuff coming out in a week’s time. Seriously, next week looms over me like Ivan Drago. But first […]]]> snaggletoof

Despite a pair of albums that will be on my personal year-end list, this week is on the light side, which admittedly is a welcome breather, because it’s a mere ripple compared to the tsunami of new stuff coming out in a week’s time. Seriously, next week looms over me like Ivan Drago. But first things first, here are this week’s offerings.

This week’s essential albums:

Motörhead, Aftershock (UDR): I’ve gone on at length about Motörhead’s 21st album at MSN, as well as another magazine I probably shouldn’t mention here, but to reiterate what I’ve said then and what I’ve been blathering on Twitter for the last month, this is flat-out the best Motörhead album since 2004’s Inferno. Granted, there’s no such thing as a bad Motörhead album, but Lemmy, Phil Campbell, and Mikkey Dee sound particularly inspired on Aftershock. Lem’s full of piss and vinegar, there’s a snaggletoothed bite in Campbell’s guitar work audiences haven’t heard in years, and you can practically envision Dee having a blast maniacally pounding out those double-kicked beats. It snarls (“Heartbreaker”), it dips into the blues (“Lost Woman Blues”), it has fun (“Going to Mexico”), and even shows a little soul (“Dust and Glass”). It’s a joy, and you know with Lemmy’s recent health issues his fans will be savoring this record a little more than the last few. Of course, we’d all love at least one more record as good as this one from him, but this late-career peak will do just fine for the time being.

Ihsahn, Das Seelenbrechen (Candlelight): One of my strangest music critic adventures this year involved Ihsahn’s fifth solo album, or what I thought was his new album. No one had any idea. He was putting something out called Das Seelenbrechen – a Nietzsche quote meaning “the breaking of the soul” – and all I had to work with was a zipped file of MP3s, no background info, nothing, with two days to write a review. Was this an actual album? Studio leftovers? Either way, once I played the music, it turned out to be a fascinating little journey. It starts out in fairly conventional fashion, the kind of progressive metal he’s thrown himself into since After (“Regen” and “NaCl” are spellbinding), but midway through things get very weird as he starts experimenting with time signatures and melody to the point where that great old word “krautrock” can legitimately be applied, climaxing with the oddly pretty “Sub Alter” and the harrowing, Scott Walker-influenced “See”. It’s a wildly uneven album, but Ihsahn is clearly relishing his new role as prog metal auteur. You can understand his willingness to ride the festival circuit with nostalgic Emperor sets: make the rabble happy, then go back to Norway with enough money to fund a couple more crazy, highly creative albums, which is obviously what he most wants to do.

Stallion, Mounting the World (Sarlacc): I’m trying to figure out just why I’m so over the (funeral) moon with this EP by the German duo. Could it be that they sound exactly like the obscure melodic heavy metal bands I used to listen to on Banzai Records and the Moose Molten Metal compilations nearly 30 years ago? Or that the singer sounds exactly like the dude in the weirdo Yugoslav/Canadian ’80s band Warriors? Maybe it’s the way it veers from speed metal to full-on cock rock (“Give it to Me”). Or the song “Canadian Steele”, the best tribute to Canadian metal since Darkthrone’s tune of the same name. Or the fact that they quixotically sing, “I’m moving to Toronto,” clearly having never been to the blandest city in the Western Hemisphere. Then again, it could be the most literal album cover art ever. Either way, this music puts a big dumb smile on my face, and will warm the cockles of any metal traditionalist’s heart. Highly, highly recommended. Stream and purchase it via Bandcamp.

Also out this week:

Beehoover, The Devil And His Footmen (Exile On Mainstream): There are moments when the German bass/drums duo hint that they’re on to something on their third album, guitar-less stoner jams are cranked out, vocals are drawled, but nowhere near enough of this album makes a lasting impression at all.

Cult of Erinyes, Blessed Extinction (Code666): The songwriting struggles at times to be more than pedestrian black metal, the production might be overbearing, but for all its flaws this album is made interesting by the sheer presence of Thierry Dossogne. Performing under the moniker Mastema, the Belgian vocalist shows admirable range and charisma throughout this record, from authoritative bellows, to tortured snarls, to soaring melodies.

Death Toll Rising, Infection Legacy (self-released): Some very good things are happening in Western Canadian metal these days, and Edmonton’s Death Toll Rising have come through with a very impressive second album. While rooted in death metal, they occasionally dip into thrash groove and progressive metal technicality, which you don’t see very often, and which gives the music a good, dynamic quality. Savage one minute, intricate the next, the quality on this record is well above your average self-released album, a true diamond in the rough. Don’t miss out on it. Stream and purchase it via Bandcamp.

Def Leppard, Viva! Hysteria (Frontiers): Looking at the track listing for this double CD set recorded during their Las Vegas residency earlier this year, you can’t help but think, Wow, this sucker is stacked. But Def Lep sound nowhere near as potent as they did a quarter century ago, and despite the strength of so many classic songs, despite the good musicianship, hearing Joe Elliott struggle through them is depressing. It’s unbearable. If you want a definitive live document of Def Leppard, it doesn’t get better than the bonus live CD on the Pyromania deluxe reissue. Back then they exploded with ferocious energy, but unlike many of their NWOBHM peers who are still going strong, they’re sad shadows of their former selves on this release.

Eden’s Curse, Symphony Of Sin (AFM): Like Avantasia, the UK-based band unabashedly dish out progressive power metal at its cheesiest, and there are times, like on “Evil & Divine”, that they’re capable of some knockout hooks and riffs. But just when you find yourself enjoying it, the Genesis-tinged pop of “Unbreakable” comes on, you snap back to reality, and you reach for that Motörhead album one more time.

Lodz, Something In Us Died (Klonosphere): Combine churning post-metal with melancholy melodies reminiscent of Katatonia, and you’ve got the debut album by French band Lodz. It’s a good idea, as that gothic undercurrent makes the painfully obvious Cult of Luna worship more palatable, but these kids need more work when it comes to their clean singing, which is far too weak. Still, though, it’s a decent start.

Meek Is Murder, Everything Is Awesome Nothing Matters (Threshold of Pain): “Eight songs in the first seven minutes” isn’t exactly the strongest selling point, but the Brooklyn band combines noise and grindcore with adequate intensity, its skronks and squeals as playful as they are jarring. Kurt Ballou is behind this one again, so depending on where you stand, enjoy, or be forewarned.

Metal Church, Generation Nothing (Rat Pak): The best band of the 42 that played this year’s 70,000 Tons of Metal cruise was, surprisingly, the reunited Metal Church, who played two sensational sets devoted to their classic 1980s material. Well, it turns out Kurdt Vanderhoof and the guys decided to stick together, and they’ve now put out their tenth album. While it doesn’t measure up to Metal Church, The Dark, nor Blessing in Disguise – how could it ever? – it’s good enough to sound like a veteran band holding their heads high, honoring that classic pre-thrash sound, as opposed to losing the plot entirely.

Monolithe, Monolithe IV (Debemur Morti): Another Monolithe record, another hour-long slog through the deepest, murkiest corners of funeral doom. This music requires a ton of patience from the listener, but as they proved on the previous three albums, once you settle in the French band creates a rather spellbinding, surprisingly fluid suite.

Paavoharju, Joko sinä tulet tänne alas tai minä nousen sinne (Svart): This is by far the weirdest album to come out this week, and of course, it comes from Finland. The third album by the duo of brothers Lauri and Olli Ainala (translated as “Either you come down here or I will rise there”) takes their bizarre cut-and-paste sound and juxtaposes it with a hip hop element, which when combined with the Finnish rapping by Paperi T, actually sounds even more otherworldly. Its highly creative, dissonant arrangements will remind some of Dälek at times, and the darker side of 1990s Tricky at others, the dark, nocturnal beauty sounding like it can only come from a place that doesn’t get much sunlight this time of year.

Prospekt, The Colourless Sunrise (Sensory): The debut by the UK band is robust progressive metal in the vein of Symphony X, built around the strong tenor vocal style of singer Richard Marshall. They still have some growing to do, as the songs tend to bleed into one another, but every so often you get a good track like “Shroud”, which shows this young band’s potential.

Rosetta, The Anaesthete (Debemur Morti): One of the only post-metal bands still worth caring about, the Philly band is in terrific form once again on their fourth full-length, once again balancing robustness and glimmering beauty with a level of skill never seen often enough in the subgenre. Available independently back in August, this record been picked up by Debemur Morti, which is good to see, because the band and this album are far too good to slog it out under the radar. More people need to hear it. Stream and purchase it via Bandcamp.

Reflections, Exi(s)t (Good Fight): Good lord, more children imitating Meshuggah.

Seremonia, Ihminen (Svart): I’ve always liked this weird Finnish band, from their highly unique take on psychedelic heavy rock, to the strange, detached way Noora Federley sings (in her native Finnish, to boot), to their equally surreal live show. The follow-up to their 2012 debut tones down the doom influence just enough to let more of a garage rock in as well, which not only makes for a more dynamic record – think Horisont meets Dungen – but a more energetic one as well. You might not have any idea what Federley is carrying on about, but she keeps you transfixed.

Various Artists, Thriller: A Metal Tribute to Michael Jackson: Yep, another all-star tribute album helmed by Bob Kulick, and this one surreal. Wanna hear Chuck Billy sing “Thriller”? Corey Glover sing “Billie Jean”? A nu-metal version of “Beat It”? Chris Jericho sing a tone-deaf “Dirty Diana”? Paul Di’Anno absolutely butcher “Bad”? Yeah, these covers are every bit as dismal as they look.

Not metal, but worth hearing:

Omar Souleyman, Wenu Wenu (Ribbon Music): The speed at which Syrian wedding singer Omar Souleyman became the hottest thing in indie circles totally smacks of tokenism, but make no mistake, for all its novelty this album of dabke songs – a traditional line dance popular in rural areas of Syria – is an absolute banger. Coming on the heels of a series of acclaimed re-released recordings, producer Kieran Hebden of Four Tet creates a beautiful, lush yet minimal backdrop of percussion and synths on this new album, but for all the musical intensity it’s all about Souleyman’s rich voice, which weaves in and out of the arrangements with astonishing skill. And the translated lyrics are devastating in their romanticism. Don’t let the hipsters scare you off; this must be heard to be believed. Try it out.

Follow me on Twitter at @basementgalaxy

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TRACK PREMIERE: Czar’s “Lurvy” http://www.mymetalclub.com/news/track-premiere-czars-lurvy/ http://www.mymetalclub.com/news/track-premiere-czars-lurvy/#comments Tue, 22 Oct 2013 19:00:21 +0000 Decibel Magazine http://www.decibelmagazine.com/?p=29122 That stark, black and white photo of a line of men dangling from nooses on the cover of No One Is Alone If No One Is Alive doesn’t exactly paint Czar as a cheery band. They aren’t, really – but they also don’t sound as lifeless as one might expect.  they basically play noise rock, but […]]]> cz2 web

That stark, black and white photo of a line of men dangling from nooses on the cover of No One Is Alone If No One Is Alive doesn’t exactly paint Czar as a cheery band. They aren’t, really – but they also don’t sound as lifeless as one might expect.  they basically play noise rock, but in this case, the emphasis is on the “rock.” While the lyrics and the overall vibe are not what one would label “cheery,” they bring in enough industrial (guitarist/vocalist Jason Novak also performs in Acucrack) atmosphere and straight up classic rock swagger to keep things from getting to suicidal. Like in the track that we are premiering today, “Lurvy,” astute listeners will not only notice some Mastodon prog twisting , but also some post-rock mountaineering. Elsewhere on the record, you’ll even find some up-tempo stuff, grooves, and a Beatles cover! And lots and lots of despair. It’s good stuff. Check it out for yourself below.

***No One Is Alone If No One Is Alive Comes out November 5 on Cracknation records. Check out their website here.

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Visual Violence: Freya’s Brendon Flynn http://www.mymetalclub.com/news/visual-violence-freyas-brendon-flynn/ http://www.mymetalclub.com/news/visual-violence-freyas-brendon-flynn/#comments Tue, 22 Oct 2013 12:26:50 +0000 Decibel Magazine http://www.decibelmagazine.com/?p=29126 This morning Decibel is pleased to exclusively premiere this video interview with Freya guitarist/visual artist Brendon Flynn in which he discusses the intricate, elegant artwork he created for the band’s most diverse and intriguing offering yet, Paragon of the Crucible: Preorder Paragon of the Crucible here. Check out a track from the album here. Download […]]]> Freya

This morning Decibel is pleased to exclusively premiere this video interview with Freya guitarist/visual artist Brendon Flynn in which he discusses the intricate, elegant artwork he created for the band’s most diverse and intriguing offering yet, Paragon of the Crucible:

Preorder Paragon of the Crucible here. Check out a track from the album here. Download a free Freya EP here. Friend Freya on Facebook. Another edition of Visual Violence starring Magic Bullet Record’s Brent Eyestone delving into a recent Iron Reagan cover is here.

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INTERVIEW: Fight Amp’s Mike McGinnis http://www.mymetalclub.com/news/interview-fight-amps-mike-mcginnis/ http://www.mymetalclub.com/news/interview-fight-amps-mike-mcginnis/#comments Mon, 21 Oct 2013 19:00:53 +0000 Decibel Magazine http://www.decibelmagazine.com/?p=29115 Even though they are just off the red-eye after spending 30 days playing 30 shows across Europe with Black Tusk, there is plenty juice left in Fight Amp. New Jersey/Philly’s undisputed heavyweight noise rock/HC/punk/sludge/OTHER champs have one show left on the calendar, but Mike McGinnis just wants to keep on going. The Deciblog caught up […]]]> fightampbigpromocropped

Even though they are just off the red-eye after spending 30 days playing 30 shows across Europe with Black Tusk, there is plenty juice left in Fight Amp. New Jersey/Philly’s undisputed heavyweight noise rock/HC/punk/sludge/OTHER champs have one show left on the calendar, but Mike McGinnis just wants to keep on going. The Deciblog caught up with Fight Amp’s principal riff-master and vocalist and found him still buzzing for the road, and ready to put some of that nervous energy down on tape.

Here is your chance: plug your post-tour/pre-hibernation show at Kung Fu Necktie.
“We’ve tried to limit what we do here locally in Philadelphia, just so we don’t over-saturate. This is only our third home town show of the year. The first one we were direct support for Weedeater and the second one we were direct support for Pentagram. This one, we just wanted to do a local show once we got back from Europe, the last show of the year with us headlining. I’m really stoked about who is on the bill. We handpicked the bands. We did a split with Ladder Devils on Brutal Panda records; it was a three-way split between us, Ladder Devils and Kowloon Walled City out of San Francisco. Ladder Devils is a Philadelphia band, reminiscent of Young Widows, and our old drummer [Mike Howard] who played on our second full-length Manners and Praise is currently their drummer. Empty Flowers has one of the guys who runs Translation Loss, and the rest of the dudes were in that metalcore band that was on Hydra Head, Cable, which is pretty fucking cool. Braille is a band who we share a practice space with; they are young and up-and-coming dudes. They play in a few noise rock bands like Bubonic Bear and Ape, and they kind of have their own crowd here in Philly. They are an awesome band. When we play Philly it’s all familiar faces; basically, it’ll be a big party. It’ll be a good for us to get home from tour and see everybody, have a good time and hang out.”

Do you feel now that you’ve done so many dates in Europe that you’re a lot tighter unit?
“Every show we play together, the bond gets stronger. I mean, really, since Dan joined the band he’s done a full North American tour with Weedeater and Saviors, and he’s done a full American tour with Black Tusk, KEN mode and Today is the Day. This was his third major tour with us, the Black Tusk European tour. Going overseas and adding another major tour playing with us, it definitely strengthens the way we play together, and how, live, we are really like a well-oiled machine by this point. We can just step onto a stage at anytime and play, and it’s pretty smooth.”

You did 30 shows in 30 days in Europe. What was that like?
“It was relentless. There were a lot of overnight drives. Luckily we had a hired driver, a guy named Adam from Hungary, and he was awesome. He was a machine. We can’t really complain because any time we were driving overnight we were sleeping in the van. But, y’know, we were burning the candle at both ends. There was not much sleep to be had. It was awesome. We were there to play shows and not to relax, and as much as it is gruelling at the time, when we get back it’s great to say, ‘Hey, we took full advantage of every single place we were.’ It’s funny, you really get into that [playing] mind-set and I come home from touring and—I can only speak for myself here—I take about a day to sleep it off and then I wake up and I feel like I am ready to get back into the van and get to the next show. For the first few days when I get home, I don’t even know what to do with myself.”

Do you feel like you should be getting out there on another tour or is this the time to put that restless energy into writing and recording?
“It’s a double-edged sword. Personally, as tough as it is, I could easily have kept on going for another month. Like, Black Tusk? They get home for only 10 days and then they get back out there on their North American tour. I kinda envy their position. I would love to do something along those lines but that’s just not on the cards for us right now. We are writing for new releases and that’s exactly where our energy has to be focused, taking that energy that we’d normally spend on tour and putting it into new releases is the way that we have to look at it.”

What releases are you writing for?
“An EP and a seven-inch, and then we are going to continue writing for a full-length. We have a whole lot of writing ahead of us and I am sure tour offers will come our way—that remains to be seen right now. We did four major tours for Birth Control. It may not be as much as some bands where they tour half the year or three-quarters of the year but we toured a quarter of a year and for a band our size that is quite a lot of touring.”

Have you got a label to release these?
“At the moment we are free agents. We completed our deal with Translation Loss with Birth Control, so right now we are just weighing up label options, taking a look at some offers and seeing what comes our way. We are being patient with it; we’re not eager to jump into something as we’ve just got out of a deal that was pretty long. While we are free agents right now, we’re going to do the EP through Brutal Panda; they are really close friends and they’ve done a lot of our vinyl releases for our first two full-lengths and a couple of splits. We’re going to do a vinyl release with the EP, and go down the route that Rosetta did with their latest record and self-release the digital and CD EP ourselves and see how it goes. It’s kind of an experiment.”

Have you got any songs written?
“We’ve got five songs that are not completed but are on the drawing board. We finished them before we went on tour but they’re not quite done. They don’t have lyrics or vocals yet, and the music still needs some tweaking but the ideas are there. The idea we had going into it was to take a little bit of everything that we’ve had in our sound; since Fight Amp started ‘til now, we wanted to take something from everything. Like Birth Control is really like a noise rock record, but Hungry for Nothing has some sort of hardcore/D-beat stuff on it and we wanted to combine it and really have a little bit of everything. That’s the path we are going down. We still want to maintain that noise rock sound but we want to reach down through our back catalogue and bring some D-beats back; while we want to progress through the noise rock realm we want to reach back and touch our hardcore roots.”

I guess for your sound it is a question of balancing the freer elements of noise rock with the physicality of hardcore.
“Yeah, definitely. By no means are we going to write a hardcore album. But we want to incorporate it a little bit. Like on Hungry for Nothing, our first full-length, we had those elements peaking through the surface and I think that’s the goal, to go back and let those hardcore roots peak through the surface a little bit, while still retaining that noise rock sound and, at the same time, trying to do some things that we have never done before. We are experimenting a little bit with some of the dynamics, like some of the loud/quiet/loud, almost like the Nirvana thing . . . A little bit. We’ll see how it goes. So far, the five new songs we have are a mixed bag and that’s what we’re aiming for. It’ll have a cohesive sound but each song will have its identity.”

Birth Control was an album with a concept, at the heart of which was a central character—is that concept, that character something that could appear again on record?
“Probably not, to be honest. I am not saying that we’ll never touch on that again but I think that this EP coming up is going to be a little bit more stripped down, and each track is going to be its own song. I think we’ll leave the bells and whistles out of this one and it’s going to be pretty straightforward. I really liked the way we did it on Birth Control, and we might go back to that—but this time, and it’s kinda inadvertent, we are just writing all the music and leaving the lyrics and the vocals ‘til all the music is done. The idea is to write too many songs for the EP and have them left over for other releases, and then continue to write. Once we have the songs picked out better on the EP, I think we’ll probably go back and start filling in the vocal patterns and lyrics. We’ve never really discussed it, but it just seems to be the way that we are doing it.”

Do you feel that you’ve got room to rework your songs after touring them and playing them live night after night?
“There are definitely songs on this tour where we were adlibbing here and there, and there’s nothing that’s crazy but if you’re really paying attention you could probably hear it. But it’s really just to keep things interesting; we’re not machines so we don’t really like to play it to the fucking key every time. It’s nice to go off just a little bit.”

****Fight Amp on Facebook
**Click here to get tickets to Fight Amp’s Philly show at Kung Fu Necktie on Nov 9th.

FIGHT AMP SHOW 2

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Vincent Cavanagh (Anathema) interviewed http://www.mymetalclub.com/news/vincent-cavanagh-anathema-interviewed/ http://www.mymetalclub.com/news/vincent-cavanagh-anathema-interviewed/#comments Mon, 21 Oct 2013 13:30:37 +0000 Decibel Magazine http://www.decibelmagazine.com/?p=29108 ** Decibel caught up with Anathema guitarist/vocalist Vincent Cavanagh on the group’s first headline tour of North America. Since we’ve been into the Liverpudlians before they had a full-length [many thanks to tape-traders and Witchhunt Records], we jumped at the chance to talk to Cavanagh, who was clearly having moments of his life while on […]]]> anathema_progressiverock_decibel_2013

** Decibel caught up with Anathema guitarist/vocalist Vincent Cavanagh on the group’s first headline tour of North America. Since we’ve been into the Liverpudlians before they had a full-length [many thanks to tape-traders and Witchhunt Records], we jumped at the chance to talk to Cavanagh, who was clearly having moments of his life while on stage and off. Read on… Anathemaheads.

What’s it like to headline a tour in North America after all these years?
Vincent Cavanagh: It feels like a complete eye-opener. We are here with complete open minds and ready to absorb the experience and everything it has to offer. We’ve been meeting people every night. It feels right. There’s something about this place. It feels natural. Strangely familiar. I like it. It feels good to us. I really hope—I’m quite sure, actually—this is just the beginning of something. We know what kind of shape the band is in. We have a hell of a lot of new material.

Does it feel like the same band from 10 years ago? Twenty years ago?
Vincent Cavanagh: Oh, no. Not even the same band it was two years ago. We’re always fucking changing. That’s the nature of who we are. As people. It’s what drives us. Change. Evolution. Musical as well as personal. The two go hand-in-hand. If what you’re doing is honest or outside of genres, really, then it’s hard to paint yourself into a corner. If you really know us anything we do isn’t really a change in direction. We’re always a few steps ahead. Changing things. For us, we always know what the next album’s going to be like. And the one after that. For us, we’ve got lots of fuel left in the tank, so that’s why this tour feels like the beginning.

Are you kind of happy you waited this long to kick things into high gear?
Vincent Cavanagh: In every cloud… you can always find something positive out of it. That’s one way of looking at it. I’m always looking at things from a positive angle. We’re positive people. We always have been. We’re completely open-minded individuals. We have a very strong identity. With each other, too. There’s so many other areas of musical exploration. And we’ve given ourselves so many ways to explore. We’re improving in the sound, the production, our techniques. The creative process is always the same. That doesn’t change very much. None of have any classical schooling. It’s all auto-didactic. There’s no rule book or study mechanism to write songs. It comes naturally for us. It’s deep and personal. It’s as natural to us as getting out of bed and having a cup of tea.

Were you surprised at the success of Weather Systems? It elevated the visibility of the band a bit, right?
Vincent Cavanagh: Ah, no, not really. It’s all about keeping the momentum going. It was obvious that if followed We’re Here Because We’re Here quickly, people would have a strong interest in the band. That’s exactly what happened. And we’ve just released Universal, which was a lot of work. Now, we’ll be recording the new album in December.

Who will be producing it?
Vincent Cavanagh: Christer [André Cederberg] again. He’s our guy now. He’s our George Martin. [Laughs] Yeah, man. He’s the guy we’ve been waiting for all these years. He’s kind of in the band, in a way. When we’re in the studio, he’s right there. He’s part of the team. He’s part of the sound we’re trying to create.

Oh, so tell me a bit more about Universal.
Vincent Cavanagh: It was a massive budget. I realized, to play with an orchestra like that [Plovdiv Philharmonic Orchestra], was an opportunity we couldn’t pass up. After doing the last three records—We’re Here Because We’re Here, Falling Deeper, and Weather Systems—it felt natural. The next step. The opportunity presented itself in a country where the audience is ideal for the band. Then, of course, the setting itself was a huge incentive. It’s a huge, ancient monument [Philippopolis]. Imagine something that looks Greco-Roman, but derelict. Really beautiful, actually. The orchestra was, well, wow! We couldn’t play that concert and not film it. It was a one-off. How could we not record it? It turned out really well.

What do you make of trying to get away from the “metal” tag and yet you’re touring with “metal” bands?
Vincent Cavanagh: They’re not metal bands. Mamiffer is very far away from being a metal band. Nothing like it. At all. It’s a mix of ambience, field recordings, beautiful piano. It’s completely unique. Alcest, if you listen to them, sound nothing like a metal band. If it was up to me, I’d be on tour with Radiohead. I mean, if you look at our second record [The Silent Enigma], it was very much metal, but it was edging away. Eternity was a different direction. Alternative 4 was a big step forward. Every record is different. For us, what we like to do is change all the time. We’re basically refracting our own personal change through the music. In the most honest way we can. In a way, when our music shifted away from metal, it became more honest. In the early days, we’d play a metal gig and when we’d get back on the bus, we’d be playing The Beatles on the stereo. And Pink Floyd. That’s what we’ve always been into. It’s one of those things when you’re 15, 16, or 17, you want things to be loud and heavy and aggressive. Some of us grow out of that. Some of us. I don’t have interest in genres. A song’s a song.

What do you want fans to take away from Universal and Weather Systems?
Vincent Cavanagh: Like us, to be in the moment. Everything we do is kind of in the moment. Whether you’re singing, playing guitar, or whatever, it’s important to capture the honesty of the moment.

** Anathema’s new album, Universal, is out now. The audio CD is available HERE. The Blu-Ray DVD is right HERE. Imbibe now or forever hold your peace.

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For Those About to Squawk: Waldo’s Pecks of the Week http://www.mymetalclub.com/news/for-those-about-to-squawk-waldos-pecks-of-the-week-33/ http://www.mymetalclub.com/news/for-those-about-to-squawk-waldos-pecks-of-the-week-33/#comments Fri, 18 Oct 2013 19:00:25 +0000 Andrew http://www.decibelmagazine.com/?p=29098 Sorry I’ve been away for a little bit, but your old boy Waldo took a little trip to his roots and hit the Amazon. I’m back now. Let’s dive right into it, shall we? The term “supergroup”: well, what else would you call a band comprised of Scott Kelly, Mike Williams, Sanford Parker and Bruce […]]]> forthoseabouttosquawk_2013oct18

Sorry I’ve been away for a little bit, but your old boy Waldo took a little trip to his roots and hit the Amazon. I’m back now. Let’s dive right into it, shall we?

The term “supergroup”: well, what else would you call a band comprised of Scott Kelly, Mike Williams, Sanford Parker and Bruce Lamont?  CORRECTIONS HOUSE Last City Zero has been described by the band as four solo sets contained in one record, and they’re kind of right. I personally like this record, but it can be a challenge; it goes from proto-industrial to acoustic to head-jarring noise rock. At times this comes off as nothing more than the sum of its parts, and at other times a cohesive unit that is out to both disturb you and murder you in its sleep. Last City Zero doesn’t really pack the same kind of wallop asany of the these musicians’ last efforts in their main bands. Sonically, this will challenge most of its listeners to really open up and allow the listening experience to take them on a journey. That being said, this is a pretty interesting experiment, and at times hits the mark with deadly accuracy. I dunno, I’m digging the peck out of this, but I will say that it’s not for everybody. 6 Fucking Pecks.

IMPALED re-release The Dead Still Dead Remain… well sorta. It’s been out of print forever, making it impossible to find. This is the same record, re-recorded, and while it certainly does sound better production-wise, the original artwork was way cooler. But all in all, this is a pretty good slab of crusty-ass death metal, and fans of this band will not be disappointed. This type of thing always leaves your boy Waldo flat. It’s always weird to see a band re-record material, but at least they did it for the right reasons, and it IS a ripping beaking record, so go pick it up. 8 Fucking Pecks.

HAIL OF BULLETS are releasing their third record, III The Rommel Chronicles. I’m not too sure that a lot of people like these guys, although its hard to see why not. This is brutal thrashy death to a T. III harkens back to their debut release, meaning it’s a bit nastier and meaner in song and lyrical approach. Maybe people do like these guys; I just don’t really know too many of them. The production here has bite and, well, the record is pretty tough. Basing a whole record on Erwin Rommel aside (your boy doesn’t like concept records, really), this is cool. It’s good to know that death metal bands still want to put out records that are brutal. If you’re not really a fan of these guys, do yourself a favor and check them out. You won’t be disappointed. 6 Fucking Pecks

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BREWTAL TRUTH: Beer-Soaked Doom at the GABF http://www.mymetalclub.com/news/brewtal-truth-beer-soaked-doom-at-the-gabf/ http://www.mymetalclub.com/news/brewtal-truth-beer-soaked-doom-at-the-gabf/#comments Fri, 18 Oct 2013 15:11:49 +0000 Decibel Magazine http://www.decibelmagazine.com/?p=29071 Great American Beer Festival, Denver, Colorado Oct. 10-12, 2013 It would be an overstatement to say that this was the Year of Metal at the Great American Beer Festival in Denver, but the handful of extreme music diehards—from TRVE, Surly, Real Ale and Three Floyds pictured above—among the 600-plus breweries present at the festival, definitely […]]]> Bonded by Beer crew

Great American Beer Festival, Denver, Colorado
Oct. 10-12, 2013

It would be an overstatement to say that this was the Year of Metal at the Great American Beer Festival in Denver, but the handful of extreme music diehards—from TRVE, Surly, Real Ale and Three Floyds pictured above—among the 600-plus breweries present at the festival, definitely made their presence known in a big way, both during the festival and in the many extra curricular events surrounding it.

Thursday, Oct. 10
As detailed in previous coverage of this annual event both on the Deciblog and in Decibel magazine, the GABF is three days filled with literally thousands of beers to sample. To even make an attempt to drink, let’s say, five percent of the brews on tap in any one of the festival’s four sessions would require a drinker to down close to 150 samples in less than five hours. We don’t doubt that it would be physically possible to consume that much beer—about a 12-pack—but with all the lines and walking around, it just ain’t gonna happen. So there you are in an enormous hall filled with more beer than you might ever know in a lifetime and you get to drink a teensy tiny bit of it. It’s, honestly, too much to think about.

Our plan this year was to just hit breweries whose beers we’ve never tasted before, who we don’t have access to due to limited distribution and who, quite simply, we want to try. This led us to one tasty beverage after another from the likes of Kuhnhenn, Fat Heads, Crooked Stave, Boulevard, Destihl, Real Ale and many, many others. One of the best tastes was handed to us by our old pal, Brett Porter, the head brewer for Goose Island in Chicago. GI has gotten some grief from the craft beer elite since it was sold to A-B InBev, but Brett was the head brewer before the sale and he’s still the brewer, so that’s good enough for us. He gave us a taste of his Kisetsu, a saison/saké blend that was boozy, complex and somewhat surprisingly light and drinkable.

The first day’s session of the GABF went until 10 pm, but we buzzed out an hour early to attend a craft beer and metal event, Bonded By Beer, at the nearby Moon Room. Put together by the aforementioned metal-loving crew from Surly, TRVE, Three Floyds and Real Ale, each brought several different offerings which the respectable crowd chugged while watching unrelentingly brutal sets from Denver’s Rottenness, Stillborn Fawn, Primitive Man and Stoic Dissention. We started with a pint of Three Floyds’ wet-hopped (with fresh Michigan hops, no less) Broo Doo and finished up, fittingly, with a can of Surly Hell. Hopefully this will be the first of many such events at future GABFs, where metal-loving craft beer drinkers can get brewtal with some of the best beers available at the GABF (more on that later).

Stillborn Fawn at the Summit's Moon Room

Stillborn Fawn at the Summit’s Moon Room

Friday, Oct. 11
Day two for us didn’t involve another session at the festival. Anyone who attends regularly will tell you that there’s plenty of action to be had at multiple venues/brewpubs/breweries around town, pretty much all day and night. In fact, the craft beer brotherhood/sisterhood is so tight, a lot of the visiting brewers check out the local scene themselves. Case in point when we rolled into TRVE’s blackened bar/brewery an hour before they opened, we discovered folks from San Diego’s Ballast Point and Durango, Colorado’s Ska Brewing already there sampling brewer/owner Nick Nunn’s wares. Nunn set us up with samplers of not only everything they had on tap, but also his first bottled release, Vexovoid, and his upcoming bottle release, Eastern Candle. There were 10 brews in all, and not a single one that wasn’t superlative.

Vexovoid

Bear with me here, but coincidentally enough, the Denver Doom Fest happened to be taking place during the GABF this year. And the Skull, a band featuring three-fifths of the members who played on Trouble’s album of the same name—drummer Oly Olson, vocalist Jeff Wagner and bassist Ron Holzner—were the first night’s headliner at the 3 Kings Tavern on Friday. What does this have to do with craft beer and the GABF, you may ask? Well, Olson works for Allagash brewing in Maine, for one thing, and secondly, TRVE provided the official festival brew, Doombier, a “blackened grätzer.” We enjoyed both immensely. Particularly, the Skull’s excellent versions of numerous tracks from Trouble’s Decibel Hall of Fame-inducted, Psalm 9.

The Skull at 3 Kings Pub

The Skull at 3 Kings Tavern


Saturday, Oct 12

OK, we’ll admit that we weren’t actually around for the last day of the GABF. But it’s worth noting that three of the four breweries responsible for bringing the metal to the festival this year, scored medals of their own in the various categories of competition at the awards ceremony that day. Three Floyds even won one for their Pig Destroyer collab, Permanent Funeral.

Real Ale
Silver: Brewers Cut Altbier, German-Style Altbier

Three Floyds
Gold: Blot Out the Sun, Wood- and Barrel-Aged Strong Stout
Silver: Permanent Funeral, Imperial India Pale Ale

Surly
Bronze: Pentagram, Wood- and Barrel-Aged Sour Beer

The metal minority made a good showing at the GABF this year. Hopefully this is the beginning of something bigger, as new metal-centric breweries like Black Sky come on line. It wasn’t exactly the Year of Metal at the GABF, but it was a big first step in the right direction.

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VIDEO PREMIERE: Seeker’s “When Hope Fails” http://www.mymetalclub.com/news/video-premiere-seekers-when-hope-fails/ http://www.mymetalclub.com/news/video-premiere-seekers-when-hope-fails/#comments Fri, 18 Oct 2013 13:30:07 +0000 Decibel Magazine http://www.decibelmagazine.com/?p=29076 Okay kids, I’ve seen a LOT of horror movies. It’s hard to freak me out. But this video FREAKS ME THE HELL OUT. That’s a real woman and that’s real steel through her flesh and that’s her real skin stretching like that and urgh. It’s way too early in the morning for Hellraiser shit. That […]]]> Seeker_JasonLink_7945_opt

Okay kids, I’ve seen a LOT of horror movies. It’s hard to freak me out. But this video FREAKS ME THE HELL OUT. That’s a real woman and that’s real steel through her flesh and that’s her real skin stretching like that and urgh. It’s way too early in the morning for Hellraiser shit. That said, for those of you who are into body modification – you don’t get much more modified than what’s happening here. I have to admit, it is impressive in its own way. Also there is music, and it’s pretty good. It’s by Seeker, and it comes from their upcoming record Unloved. So if you enjoy technical death metal and pretty ladies hanging from hooks, Victory Records and we here at Decibel are proud to premiere the video for “When Hope Fails.” It’s certainly memorable. I’m going to go watch some kittens now.

 

***Pre-order packages for Unloved are available now at VictoryMerch.com. Stay tuned for tour announcements from Seeker, coming soon. Unloved drops October 29th.

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