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Check out acoustic renditions of Stone Temple Pilots’ ‘Interstate Love Song,’ ‘Big Empty’ and ‘Pretty Penny.’
From:: http://loudwire.com/stone-temple-pilots-arizona-acoustic-set/
Swedish rockers CRASHDÏET have parted ways with vocalist Simon Cruz.
Says the band in a statement: “There is a reason for our lack of news lately. The reason for that is that Simon Cruz has left CRASHDÏET. Well, actually, he decided to leave in the midst of our mini tour in Japan… With no notice whatsoever.
“The last few months have been confusing, to say the least, and we haven’t been sure of what to make of this… other than that our collaboration with Simon is over.
“However… The recording of the new album will proceed as planned and you can expect hear more from us soon!”
Cruz, who was previously a member of the Stockholm act JAILBAIT, joined CRASHDÏET in 2009 as the replacement for H. Olliver Twisted (now in RECKLESS LOVE).
Former CRASHDIET singer David Hellman (a.k.a. Dave Lepard) was found dead on January 20, 2006 at his apartment in the Swedish city of Uppsala, north of Stockholm. It was reported in several places that he hanged himself, although this was never officially confirmed.
CRASHDÏET‘s fourth album, “The Savage Playground”, entered the official chart in Sweden at position No. 2. The CD was released in January 2013 via Frontiers.
“The Savage Playground” was recorded during summer/autumn 2012 at Kingside Studios outside Stockholm with producer Otto Wellton.
CRASHDÏET released a DVD titled “Shattered Glass And Broken Bones – Three Years Of Generation Wild” on December 4, 2012. The disc featured three hours of live and behind-the-scenes footage complied by the band with Bear Productions.
From:: http://www.blabbermouth.net/news/crashdiet-parts-ways-with-singer-simon-cruz/
Do you like post-metal? Do you like sludge? What about Rosetta? Soundclips of men with Scottish accents? Finally, do you have 72 minutes to kill? If, dear reader, you answered yes to three out of those five questions, then you would be obliged to take my hand as I journey through Izah‘s gargantuan debut Sistere. This young Dutch band is ambitious, out for blood and has no semantic understanding of the ‘single.’ In the paragraphs below, the following will be evaluated; four songs, the longest clocking in at just over half an hour; six men, three of them playing guitars; and one music critic, whose finite attention span may be in lethal danger.
Imagine that The Ocean and Rosetta had been asked to collaborate on Altar of Plagues‘ Mammal and you’ll begin to understand the scope of this album. It’s as atmospheric as Saturn and about as long as a photon’s trip from there to the sun – post-metal’s War and Peace and Heart of Darkness wrapped into one. There are insects whose entire adult life is shorter and less brutal than this album. Sistere is the first album of 2015 that I don’t want to forget about by June.
“Indefinite Instinct” begins as a slow burn, but ignites into a rolling brush fire as the guitarists fire out massive, sludgy Rosetta riffs until they run out of oxygen. Mournful arpeggios, smoky synths and soaring, wailing guitar lines gradually build up again under the sampled monologue of an anguished Scotsman, and the song comes to an intense peak as synth player / vocalist Sierk Entius screams and roars with more angst than a man whose thousands of tulips suddenly became worthless. The song finally breaks down into a noisy, blackened sludge dirge, and almost a quarter hour has passed without you noticing.
Next up is “Duality,” which makes no attempt at a subtle entrance, cracking out a mammoth death metal riff right off the bat, but takes a surprising turn into Amorphis territory a few minutes in. Izah excels at transitioning between styles and moods, not only because of the tightly executed riff and tempo changes, but because the songs are written in such a way that each new section seems to follow logically from the last one. “Duality” goes from atmospherics and unabomber news clips to sludge doom almost effortlessly, speeding up the tempo and slowly introducing distortion as the sound clips become more layered, panicked and frenetic. Atop the meaty growls and shrieks, Sierk Entius belts out some very tasteful cleans, comparable to Amorphis‘s Tomi Joutsen (or, for the plebs out there, that Zoltan dude from Five Finger Death Punch). “Finite Horizon” utilizes these very effectively, especially during its melodic emotional peak at around the eight minute mark. His performance overall is something of a standout, especially since Izah‘s music isn’t in the least bit technical or showy; the band is very reserved and cohesive, and Izah‘s stage has no spotlights.
Worryingly, after Sistere‘s third song, when most listeners would be content calling it quits, there’s still the 800-pound gorilla of a title track lurking in the shadows. The end of “Finite Horizon” is an excellent time to take a mid-album intermission and go squeeze kittens or whatever it is you do to relieve tension, because there’s a whole lot headed your way. “Sistere” is certainly epic in length, but doesn’t end up offering much that the other three songs didn’t have, despite its use of horns and choral vocals. While it’s pleasing to hear the band transition so fluidly through so many riffs and atmospheric passages, “Sistere” won’t change your mind if you’ve written Izah off as needlessly ponderous.
Overall, Sistere sounds very good and is mixed well, resulting in a constant sense of atmosphere. It might not be instantly catchy, but the songs do have some staying power and are remarkably not that boring. The band is restrained, but active enough and clever enough in their writing that these very long songs don’t start feeling stale after the first few ideas. If you’re looking for some atmosphere, Sistere is the source for the seven-hundred-odd millimeters of mercury you crave. While this album won’t be on daily rotation for me, it’s clear that Izah have created a pretty substantial mountain of music and done so without being plagued by the boredom that sets in during similarly long and atmospheric albums. Yes, it is too long, but it’s worth your hour and some change, especially given how disappointing the release schedule for 2015 has been so far.
Rating: 3.0/5.0
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Nordvis Produktion
Websites: IzahOfficial | Facebook.com/Izah
Release Dates: Out Worldwide: 02.23.2015
The post Izah – Sistere Review appeared first on Angry Metal Guy.
More Angry:
From:: http://www.angrymetalguy.com/izah-sistere-review/
2014 was a HUGE year for the good dudes in Orange Goblin. Their eighth studio album, “Back From The Abyss,” came out via Candlelight Records, and it received a ton of love from both press and fans all over the world. These British metallers have been kicking ass for many years now, but it seems like they are finally getting the respect they deserve here in the States. It also helps when you tour the country with the almighty DOWN. Orange Goblin ended the year supporting DOWN with Bl’ast! and King Parrot, and we have killer footage of their entire set from San Antonio, Texas! Enjoy the riffage below, and spread the word about the great Orange Goblin!
The post Watch Orange Goblin’s Full Set From San Antonio, Texas! appeared first on SkullsNBones.
From:: http://skullsnbones.com/watch-orange-goblin-full-set-san-antonio-texas/
Last week the good people at Relapse Records released a HUGE sampler that spanned their entire history (download it here), and now we have more free music for you! Our friends at Century Media have unveiled the “Redefining Extremes” sampler for 2015, and it’s absolutely FREE! Why? As they say, “Because you’re awesome!”
On this sampler you will find tracks from At The Gates, Napalm Death, Sanctuary, The Haunted, Triptykon, Insomnium, Iced Earth, Arch Enemy, and MANY MORE! Just check out the full track listing below! It’s one hell of a sampler, and did I mention it’s totally FREE!
Download Century Media’s “Redefining Extremes” Sampler Right Here, Right Now!
The post Download Century Media’s “Redefining Extremes” Sampler FOR FREE! appeared first on SkullsNBones.
From:: http://skullsnbones.com/download-century-media-redefining-extremes-sampler/
According to The Pulse Of Radio, SMASHING PUMPKINS frontman Billy Corgan has declared war on pop music. Corgan stopped by a local morning show this week while on tour in Australia, where he was asked about the state of pop and replied, “To me [pop music) is headed towards a form of pornography. You have young women sexualizing themselves earlier and earlier in really inappropriate ways to gain attention because it’s really all about getting YouTube hits.”
Corgan blamed the decline of the music industry not on streaming or illegal downloading, but on the dumbing down of music itself, saying, “Our business is shrinking because it’s becoming more lowest common denominator.”
Corgan also said that rock acts need to take a “more aggressive” stance against pop artists, explaining, “Particularly in America there’s a very cozy relationship between rock stars and pop stars — and I don’t think that’s a good relationship. Everybody belongs on their own side of the street for a good reason.”
The singer and guitarist was also asked about the recent incident at the Grammy Awards where Kanye West rushed the stage after Beck won an upset victory over Beyonce for “Album Of The Year.”
Corgan responded, “I think it’s inappropriate for any artist to take somebody else’s moment and make it their own… I’ve stood at that podium too and I’ll tell you what, if somebody got up on my stage, I would knock them out.”
Corgan and the current version of the PUMPKINS are touring behind the band’s latest studio album, “Monuments To An Elegy”.
From:: http://www.blabbermouth.net/news/billy-corgan-declares-war-on-pop-music-disses-kanye-west/
The official lyric video for the song “Kuraman” from SOEN — the Swedish progressive rock band featuring drummer Martin Lopez (ex-OPETH, AMON AMARTH), vocalist Joel Ekelöf (WILLOWTREE), guitarist Joakim Platbarzdis and bassist Stefan Stenberg — can be seen below. The song is taken from the group’s sophomore studio album, “Tellurian”, which was released on November 4, 2014 via Spinefarm Records.
As “Tellurian” makes plain, SOEN is not concerned with the simple or the shallow; their musical journey takes an altogether more ambitious path, and the result is an expansive body of work, wrapped up in the stunning art of Mexican painter José Luis López Galván, that consistently challenges without being “clever-clever” or tough to enjoy.
The melodies are intricate, the playing muscular and the choruses soaring; overall, the feel is one of a band whose intent is very much in synch with the sort of core values — skilled musicianship, emotion over precision, importance of album artwork — that seem to be back in vogue.
Produced by Platbarzdis, mixed by the legendary Grammy Award-winning David Bottrill (TOOL, SMASHING PUMPKINS, MUSE, KING CRIMSON) and mastered at Bob Ludwig‘s Gateway setup in the U.S. by Adam Ayan, also a Grammy winner, “Tellurian” sees SOEN taking the approach of their “Cognitive” debut (2012, Spinefarm) and pushing the boundaries in terms of musical scope, the whole thing shot through with the confidence of a band who have found their voice.
Rhythmic, experimental and flowing, and with the “muso” side never taking precedence over a good song and a telling chorus, “Tellurian” (“relating to, or inhabiting the earth”) will appeal to anyone with an ear for quality playing, and there’s further reward to be had below the surface, with the lyrics taking a more direct route than on “Cognitive”, and the construction of the material — including first single/video “Tabula Rasa” (“Clean Slate”) — allowing room for the raw emotion to shine through.
“Tellurian” track listing:
01. Komenco
02. Tabula Rasa
03. Kuraman
04. The Words
05. Pluton
06. Koniskas
07. Ennui
08. Void
09. The Other’s Fall
