Recent Posts in metal - Page 3
April 11, 2014
by Doug Moore
Opeth at MHOW, 2013 (more by Caroline Harrison)
A lotta cool bands are putting stuff out soon! Let's dig into it.
Long-running Swedish prog metallers Opeth have announced that they will release their 11th album, Pale Communion, on June 17. (Okay, so they haven't been all that cool for a while now, but still, people love them.) Meanwhile, local black/death heavyweights Tombs have released a trailer for their upcoming third album, Savage Gold, which will be out on June 10 and which is now available for preorder. Trailer's below if you're into it.
The Dillinger Escape Plan, Mayhem and Diocletian have all debuted new songs, while NYC wallopers Tiger Flowers are streaming their album in full -- you can catch their record release show on Saturday (4/12) at the Gutter, along with Meek Is Murder, So Hideous, and Dead Channels. You can check all four of those streams out below as well.
While we're on the live local tip: sadistic Philly noise-metal greats Starkweather will be hitting Brooklyn for a one-off on May 3 at The Grand Victory, along with Lament, The Communion, and Pyrrhon (my band). Tix are available. Further, White Widows Pact (feat. members of Primitive Weapons and Grudges) have announced a roughly two-week East Coast tour, part of which will also involve Hollow Earth, including the concluding NYC stop at The Acheron on 5/20 (tix).
As far as other live options this weekend go:
TONIGHT (4/11): the much-ballyhooed Decibel Magazine tour, which features Carcass, The Black Dahlia Murder, Gorguts, and Noisem, will hit NYC at the Best Buy Theater (tix). If dropping $40 to see 40-somethings rage out onstage seems like a little much, you could opt instead for Hivesmasher, The Great Sabatini, Radiation Blackbody, Mother Brain, and Geryon (stacked!) at the Acheron (tix). Or if you wanna get the old-school vibe in a smaller space, UK proto-thrashers Satan are bringing their first-ever North American tour to Black Bear Bar (formerly Public Assembly), with support from Natur and Sacrificial Blood (tix).
TOMORROW (4/12): the aforementioned Tiger Flowers / Meek Is Murder / So Hideous / Dead Channels record release gig at the Gutter goes down. Sweden's Infernöh and BK's own Nomad will rock their previously TBA show at the Acheron, along with Who Killed Spikey Jacket?, Green Beret, & Ivy (tix). Infernöh and Nomad will be back next weekend for New York's Alright.
For more, scan our NYC Metal Show Calendar. It rules.
In the Invisible Oranges corner: we scoped out new music by The Oath, Aurvandil, Of Feather & Bone, and A Pregnant Light. We dispensed some helpful advice for independent bands who want to get music critics to check out their work. We gave away one last set of tickets to see Godflesh on our East Village Radio show, which was brought to you this week by Irving Plaza. (This Tuesday's show (4/15) features an interview with Godflesh, so be sure to tune in for that.) We also ran down all the metal fit to buy, as ever.
That does it. Check out that bundle o' streams and the White Widows Pact dates below. Anything else?
Godflesh @ Irving Plaza 4/10/2014
There is no way I can adequately describe how stoked I was to see the Godflesh tour at Irving Plaza last night (4/10). I was nearly catatonic with frenzy; exhausted from excitement and impatience for the show. Since about 1991, Justin K. Broadrick has been a personal hero of mine. Through all of my musical and personal-stylistic phases, from metalhead to poseur punk to hardcore dork to rude boy to skinhead to motorcycle enthusiast, Justin K. Broadrick and all his various projects are one of the few things I have carried with me lo these many years. My first and only time seeing Godflesh was as a 13 year old, 70 pound, pint-sized mullet head in 1992 at the now-defunct but endlessly important Club Babyhead in Providence Rhode Island. That show was in the days before I even remotely considered wearing earplugs and will go down in history as the loudest, bassiest experience of my life. I remember having to retreat to the back of the room because the bass was vibrating my body so bad I wasn't sure if I'd end up puking or crapping my pants. I regret passing up every subsequent opportunity to see Godflesh, so last night -- which itself was postponed from October -- was years of waiting come to fruition.
Now that Godflesh is a completely independent entity and no longer bound by the whims and oversight of a label, the two opening acts felt more carefully curated than obligatorily tacked onto the bill. The first opener was Pharmakon, a one woman onslaught of industrial dirge and ear splitting terror. The brainchild of New York City native Margaret Chardiet, Parmakon was a very crowd-polarizing act. Pharmakon plays extremely loud and chaotic beats and textures accentuated by Chardiet's brutal, from-the-guts screams. Some people were clearly not impressed. For me, though, it was a phenomenal experience. I watched her set with my friend Kurt aka Submerged aka the guy who owns and operates OHM Resistance, and we were both floored. She isn't for everybody, but it sure as shit tickled the fancies of me and Kurt. Her set seemed really really short, and when I saw her afterwards I asked why her set was so short and she said she was having some technical difficulties. And that's too bad. I could have listened for hours.
After a brief intermission, the next act up was Cut Hands, a one man electronic act featuring legendary noise master William Bennett. For the uninitiated, Bennett founded Whitehouse in the UK in 1980, a band who was at the forefront of the experimental and noise scene for 27 years before finally disbanding. Although known as a godfather of noise and experimental music, I found his set last night to be extremely cohesive and easy to get hooked into. It was sort of a bastard child of classic-era Underworld with a dash of darkness, violence, and physical abuse. Accompanied by a series of incredible projections, his semi-dancy set had the entire room transfixed and, I don't know, sort of.... dancing? As dancy as a sausage-fest can get I reckon. But people were way into it. I was way into it. The inclusion of Cut Hands by Broadrick was such a great nod to the era when Broadrick was starting to bloom in the Birmingham underground scene with bands like Napalm Death. I feel lucky to have been able to witness such a master at work.
After Cut Hands and what had to be the easiest and fastest stage changeover, two-man sonic powerhouse Godflesh took to the stage. As the house lights dimmed and fog began to rain down from the heavens, Broadrick and Green turned up their guitars and filled the room with a growling, feedback laden wall of sound that lasted for about three minutes. Suddenly a projection appeared at the back of the stage, a programmed cymbal counted off 4 beats and then... KABOOM! Godflesh exploded into one of their most legendary tunes "Like Rats." I thought the place was going to implode.
Let's face it; I am a dork with a penchant for nostalgia. When I say I was anticipating this moment for years, I am not exaggerating. That opening explosion of Like Rats signaled the arrival of one of the most important shows of my life. And the setlist they put together was plucked straight out of my dreams. "Christbait Rising," "Streencleaner," "Spite," "Mothra," "Avalanche Master Song," "Defeated," and "Crush My Soul" all made the playlist of the evening. The technologies the band uses has changed considerably over the 20+ years since I last saw them, but the crossover has not changed Godflesh's signature sound one single iota. Benny Green's bass tone is as crushing as it ever was. All the beats sound exactly as they did all those years ago, and Broadrick's vocals are as devastating as ever. A video of "Like Rats" from last night, plus pictures from the whole night, are below. Unfortunately, Godflesh live is really only adequately experienced... well... live. No video could possibly capture the volume and uber-heaviness of their performance. Last night's show was a flawless triumph. End of story.
If you need more Godflesh, be sure to tune into Invisible Oranges show on East Village Radio this Tuesday (4/15) at 10 PM EDT where they'll air an exclusive interview. In the meantime, more pics and video from Godflesh's Irving Plaza show, below...
by Doug Moore
Whitehorse at the Acheron, 2012 (more by Fred Pessaro)
Both Australian sludge/noise unit Whitehorse and prolific and like-minded Americans The Body (who, for the record, are in fact currently based in Portland, OR) are both at Roadburn this weekend and will embark on separate European tours afterwards. Once they've wrapped those up, the two will reconvene for a NYC show at Saint Vitus on May 8. along with compelling local support from Gnaw & Theologian. Tix are available now.
This won't be your only opportunity to catch The Body live this spring/summer -- they'll be back on July 5 at ABC No Rio as part of their tour with Thou, whom they just released a collaborative EP with. Not to be outdone by their tourmates in the absurdly-prolific department, Thou have also released another EP, this one a standalone entitled The Sacrifice. You can stream it below. In a thematically appropriate but wholly unsurprising twist, it features a Nirvana cover ("I Hate Myself and I Want to Die," specifically), a band they've covered before.
(And speaking of Saint Vitus and Nirvana...)
Check out the Thou stream and all lists of tour dates below...
by Wyatt Marshall
Gwar at the Housecore Horror Fest in Austin, 2013 (more by Trent Maxwell)
We lost Gwar frontman Dave Brockie, aka Oderus Urungus, a couple weeks ago and now the surviving Gwar members have released an official statement on his death via a video. In it they talk about the memorial service that will happen just before August's annual GWAR-B-Q in Richmond, VA which will continue as planned in Brockie's honor. (The band added that Brockie passed away peacefully in his sleep.) Watch the video below, in which Gwar gives a forceful reminder that "Orderus would order you to be present and to pay tribute to Dave Murray Brockie, his own personal slave!" In just over two weeks, the universe has lost two ultimate overlords.
Gwar has also announced the creation of The Dave Brockie Foundation. Here's a mission statement from Gwar's site:
The Dave Brockie Foundation is a charity fund with the mission of promoting the advancement of music, images, letters and performances in the arts. It will endeavor to encourage promising talents, as well as preserving the legacy of Dave's body of works. It intends to be a support system to those who have dedicated their lives in pursuit of creativity. The Dave Brockie Foundation will be a resource for artists in the fields of music, film, literature and all visual arts who cannot find funding through mainstream channels. The DBF will also strive to catalog and preserve Dave's vast collection of original images, recordings and written words, and make them available for the world to appreciate. The foundation's first goal is to finance the creation of a memorial monument in Richmond, Virginia to provide the world with a place to pay respects to the memory of a very cherished man.
Donations can be made on Gwar's website.
Watch Gwar's message below...
April 10, 2014
by Doug Moore
Eyehategod at Saint Vitus, 2013 (more by Caroline Harrison)
Rumors of an Eyehategod / Ringworm / Enabler tour in support of the former's upcoming self-titled album (their first in almost 15 years) have been floating around for a few days now, but it's now officially been announced. The three bands will take to the road in North America from late May through late June, shortly after EHG complete a brief run of West Coast and festival dates.
The tour will hit NYC on 6/7 at Europa -- not my first choice for venue, but this lineup will destroy no matter what the surroundings. Tickets aren't on sale yet, but will be available at this link soon. All dates are listed below.
In the meantime, stream both of EHG's recently-released singles and check out their full set of announced dates below...
by Doug Moore
You may not have heard of Denver, CO's Of Feather and Bone, but if you like your hardcore stern, tight, and delivered with grind-speed ferocity, you'd best make yourself acquainted. Their new EP Adorned in Decay comes out on April 12 via Mind Melt, and we just premiered a full stream over at Invisible Oranges this morning. It's as shredding as it is straight-ahead. From our writeup:
Like Cop Problem's powerful 2013 EP Buried Beneath White Noise, Adorned in Decay doesn't give you time to get bored. Only two of its five tracks pass two minutes. It plays; you rage; it ends just as you break a sweat.Stream the EP below. They will also be on tour with Centuries for much of the month; no NYC stop unfortunately, but all dates are listed below.
This single-minded efficiency is evident in the content of those quick-hitter songs too. Of Feather and Bone use familiar tactics, but they pay careful attention to the execution of those techniques. From the just-noisy-enough riffs to the taut performances to the punchy production, everything is in its right place here.
April 9, 2014
by Wyatt Marshall
James Kelly with Altar of Plagues at Saint Vitus in 2012 (more by Fred Pessaro)
In 2013, Irish experimental black metal stalwarts Altar of Plagues broke up, an event that understandably left fans bummed out -- they turned out some of the most interesting and heavy hitting black metal out there for the better part of a decade. As you may know, some members went on to form Malthusian, and guitarist/vocalist James Kelly went on to start an electronic project, WIFE.
WIFE will finally come to NYC to play a show on Saint Vitus on April 16. It's a full night of outer sound with gloomed-out one-man experimentalist Planning for Burial, avant-metal band Psalm Zero and experimentalist Greg Fox (ex-Liturgy). Tickets are on sale now. Planning for Burial is the headliner on this one, and though it's his only date at the moment, he's planning a summer tour.
Also, James Kelly's WIFE is not to be confused with California duo WIFE (aka Nick Steinhardt of Touche Amore and Andrew Thomas of Vow). To make matters more confusing, neither WIFE has played many shows, but both have shared bills with Deafheaven, Nick Steinhardt's in LA, and James Kelly's in London.
Stream the new James Kelly WIFE clip, plus some recent Planning for Burial, below...
Presented without comment:
by Doug Moore
Goatwhore at Bowery Ballroom (more by Fred Pessaro)
The ongoing Metal Alliance tour -- which features Behemoth, Goatwhore, 1349, Inquisition, & Black Crown Initiate -- is one of the bigger package metal roadshows of the year. It's hitting NYC on 4/19 at Irving Plaza for a sold-out stop, but if you failed to acquire tickets, you may be in luck anyway. The Metal Alliance tour proper has the day after the 4/19 show off, and almost the entire lineup (everyone except for Behemoth) will play at Saint Vitus Bar the following night, which happens to be both Easter and, well, 4/20. It should be a rager, though -- Inquisition released one of 2013's best albums, Goatwhore are a dominating live act, & 1349 have reportedly pulled themselves together after releasing two disastrous albums in a row during the late '00s.
Buy your ticket for the inverted blasphemic potsmoke Jesus death ceremony -- chances of this one selling out are pretty high.
Remaining Metal Alliance dates are listed, along with a stream of last year's Inquisition album, below.
April 8, 2014
by Wyatt Marshall
Grand Rapids, Michigan's one-man band A Pregnant Light started out as an obscure, lo-fi, tape-only black metal band before heading in a direction that's likely to appeal to more ears without sacrificing the heaviness. A Pregnant Light's new compilation album that shows the arc of the band's later material (and includes two new songs) came out today (purchase), and we premiered a stream over at Invisible Oranges. Here's a bit of what we had to say about it:
Before I Came showcases A Pregnant Light's movement away from comparatively grimmer origins to a hookier and dare-I-say-poppier sound. The massive, arcing "DMHD" ("Death My Hanging Doorway") that anchors the compilation was a turning point for A Pregnant Light, and I know from speaking with [A Pregnant Light sole member] Damian Master that he considers it one of the the most important songs he's written with A Pregnant Light. Originally released as a single, "DMHD" clocks in at 21 minutes and has more furious blasting and big, sweeping riffed-the-hell-out movements than you can shake a stick at. A little after the 12-minute-mark of the song, there's a moment that in hindsight seems prescient -- five minutes of slow-building punk riffage with a swagger that was previously kept under wraps. (To be fair, APL had already released a killer cover of Madonna's "Live to Tell" by this point.)The album's opening two tracks are the new songs, which showcase A Pregnant Light at its most ambitious. Stream them, and the rest of Before I Came, below...