Ghost Cult is pleased to present the new single from New York City’s progressive metal upstarts Meaxic, entitled ‘Iruka’, as heard below. Combining the best mix of prog, djent and other influences, Meaxic is a definite must listen if you are a fan of Periphery, Animals As Leaders, Dream Theater, TesseracT and the like. Their new EP Synergy drops on March 7th and the band will be celebrating at Santos Party House. Tickets can be bought at this link.
Mar 7th Santos Party House, NY NY (Record Release Party)
Ghost Cult is proud to kick-off the new week by partnering up with the fine folks at the Robotic Empire label to bring our friends the g-g-g-g-roovy sounds of Terminal Fuzz Terror’snew tripped out track, ‘Cycles’. The track is a pure slab of psychedelic rock, inspired by the masters of the genre, blotter acid firmly between tongue and cheek. ‘Cycles’ comes from TFT’s new opus Vol 0: In The Shadow Of The Mountain which drops on March 3rd. Pre-Sales for limited-editon vinyl (300 pieces only) and digital are live (iTunes) now. Vol 0:.. was recorded at Witch Ape Studio, engineered and mixed by Tad Doyle (TAD) and mastered by James Plotkin.
John 5 & The Creatures have updated their tour schedule with more dates. They are currently promoting his solo album Careful With That Axe, out via his website. The band consists of John 5 (guitar), Ian Ross (bass) and Rodger Carter (drums)
Mar 04: Gramercy Theatre – New York City, NY
Mar 05: Jewel Nightclub – Manchester, NH
Mar 06: Stafford Palace Theater – Stafford Springs, CT
Mar 07: Montage Music Hall – Rochester, NY
Mar 09: Cheers Pub – South Bend, IN
Mar 10: The Token Lounge – Westland, MI
Mar 11: Mojoes – Joliet, IL
Mar 12: The Wicked Moose – Rochester, MN
Mar 13: The District – Sioux Falls, IA
Mar 15: Vaudville Mews – Des Moines, IA
Mar 16: The Mad Magician – St. Louis, MO
Mar 17: Riot Room – Kansas City, MO
Mar 19: Sunshine Studios Live – Colorado Springs, CO
Mar 21: Ft. Defiance Chapter House – Ft. Defiance, AZ
Rhode Island noise duo Lightning Bolt will be touring the US with Liturgy this spring. They will be touring in support of their forthcoming Fantasy Empire album, due March 24, 2015 via Thrill Jockey. Stream “The Metal East” here.
Apr 15: Mohawk Place – Buffalo, NY w/ METZ
Apr 16: Double Happiness – Columbus, OH w/ METZ
Apr 17: Beachland Ballroom – Cleveland, OH w/ METZ
Apr 18: The Loving Touch – Ferndale, MI w/ METZ
Apr 19: Empty Bottle – Chicago, IL
Apr 20: Turf Club – Saint Paul, MN
Apr 21: The Luminary Center for the Arts – St. Louis, MO
Apr 22: Jackpot Music Hall – Lawrence, KS
Apr 24: GLOB – Denver, CO
Apr 25: Kilby Court – Salt Lake City, UT
Apr 27: The Shredder – Boise, ID
Apr 28: Neumos – Seattle, WA w/ Liturgy
Apr 29: Dantes – Portland, OR w/ Liturgy
May 01: The Chapel – San Francisco , CA w/ Liturgy
May 02: Leo’s – Oakland, CA w/ Liturgy
May 03: Echoplex – Los Angeles, CA w/ Liturgy
May 04: Constellation Room – Santa Ana, CA w/ Liturgy
May 05: Casbah – San Diego, CA w/ Liturgy
May 06: Valley Bar – Phoenix, AZ
May 08: Austin Psych Fest – Austin, TX
May 09: Siberia – New Orleans, LA
May 10: Mammal Gallery – Atlanta, GA
May 11: Kings – Raleigh, NC
May 12: Rock & Roll Hotel – Washington, DC
May 13: Floristree – Baltimore, MD
May 14: Johnny Brenda’s – Philadelphia, PA
May 15: The Wick – Brooklyn, NY
May 16: Le Poisson Rouge – New York, NY
Richmond, VA post punkers Shadow Age is streaming “A Portrait of a Young Man Drowning,” off their debut EP Silaluk, due out May 19, 2015 via 6131 Records, here.
They have emerged from Richmond, Virginia, playing cold, darkly melodic post-punk, and offering an astoundingly cohesive debut EP that owes more to the sounds of Manchester’s industrial sprawl than Richmond’s southern charms.
While Shadow Age are certainly indebted to the UK post-punk classics, the band’s debut release originates from an even more unlikely place than where they call home. While spending a harsh winter working on a fishing boat in Alaska, singer/guitarst Aaron Tyree was injured. He then spent four harrowing days waiting out an ice storm so that he could be flown out of Dutch Harbor for medial attention. During this time Tyree wrote the title track of their debut EP, Silaluk.
Taking it’s name from the Inuit word for storm, Silaluk is three uncompromisingly dark tracks that swallow the listener in shimmering guitars, pulsating synths, and haunting vocals. Tyree’s affecting voice paints a desperate picture that is perfectly layered amongst the sheets of reverb and angular guitar lines. Shadow Age offer more than just intense atmosphere, though. The band is adept at crafting a hook and despite the EP’s brooding tone, some of the driving beats found on Silaluk are arguably danceable. With disparate influences converge with stunning cohesion, Silaluk is an impressive debut that hints at their potential.
2. A Portrait of a Young Man Drowning
Apr 13: 25 Watt – Richmond, VA (w/ Suicidas, Nocere)
Apr 24: Strange Matter – Richmond, VA (w/ Nearest, Theives of Shiloh, Predation)
The duo met during rehearsals for an off Broadway play where both of them were cast members. They came together to mix her experimental music with his free-form words, described in a press release as springing from “the free-form system of Stanislavski mixed with the daring of Sturm Und Drang and the broken fourth wall of improvisation.” As D’Onofrio says in that same release, “There’s no going back. This is how things are supposed to feel.”
2. My Friend Manchester, Part 1
3. Super Beautiful
4. Size Matters
5. Super Golden
6. Pig Tender
7. I’m A Hamster
8. I’m A Cat
9. Thank God Birds Can’t Talk
10. My Friend Manchester, Part 2
11. President D’Onofrio
12. My Left Hand
Formed in 2013, Jaded Star was founded by vocalist Maxi Nil (ex-Visions of Atlantis) and drummer Raphael Saini (ex-Iced Earth), who recruited guitarist Kosta Vreto (Horizon’s End, Wardrum) and bassist Babis Nikou (Astral DNA, Opened Paradise, Dia Mageias) to complete the lineup. The quartet instantly amassed a vast array of new material and began touring across Europe.
With over forty-five minutes of Jaded Star’s energetic forward-thinking melodic heavy metal, Memories From The Future was produced by vocalist Maxi Nil (ex-Visions Of Atlantis), mixed and mastered by Fredrik Nordstrom at the legendary Fredman Studios in Sweden (Arch Enemy, At the Gates, Dimmu Borgir, In Flames, Opeth, etc.), and features ten brand new epic anthems. The album showcases Maxi’s electrifying vocals and the masterful drum work Saini is known for. Guitar hero Kosta Vreto, with his unique finger strumming style, eschews the plectrum in favor of a raw, organic sound that literally comes straight through his hands. Babis Nikou on the bass brings a solid foundation and the chemistry between he and Maxi as the songwriting team provides emotion to match the power of the sound. The cover artwork for Memories From The Future was created by Lila Belivanaki.
Memories From The Future Track Listing:
1. The Mask
2. Wake Up
3. Keep On Fighting
5. Into The End Of Time
6. Healing The Inner Child
7. You’ll See
8. In Memory
9. Raining In Sao Paolo
JADED STAR Tour Dates:
Mar 27: Fuzz – Athens (GR) (w/ Epica)
Mar 28: Fix Factory Of Sound – Thessaloniki (GR)(w/ Epica)
Minsk is streaming a sample of “To The Garish Remembrance Of Failure” here or SoundCloud here. This is off their forthcoming album The Crash & The Draw, out April 7th, 2015, April 3rd, 2015 in Germany, Benelux and Finland and April 6th, 2015 in the UK and rest of the world via Relapse Records.
Recorded almost exclusively in The Prairie State, The Crash & The Draw was captured by the band alongside Sanford Parker (Twilight, Voivod, Eyehategod, Yob etc.) at Earth Analog in Tolono, mixed by Parker and Minsk at Hypercube in Chicago and mastered by Collin Jordan (Eyehategod, Indian, Wovenhand, Voivod etc.) at The Boiler Room in Chicago with additional vocal tracking by Scott Evans (Kowloon Walled City. Old Man Gloom, Floor etc.) at Antisleep Audio in Oakland, California and further tracking, editing, and mixing by Kevin Rendleman at Trash Rocket Audio and Aaron Austin at We Know Who You Are, both in Peoria. The record includes the striking cover creation of Orion Landau (Yob, Inter Arma, Red Fang etc.), a reinterpretation of original artwork by contributing artist, Corinne Reid.
Symphonic metallers Kamelotwill be releasing their new album Haven on May 5, 2015 in North America and May 8, 2015 in Europe via Kamelot Music LLCon (Napalm Records/Universal and Napalm Records/ADA/Warner).
Produced by acclaimed music producer Sascha Paeth and mastered by Jacob Hansen, Haven is a massive album that is sure to please critics and fans alike. Additional guests include Alissa White-Gluz (Arch Enemy), Troy Donockley (Nightwish) and Charlotte Wessels (Delain). The breath-taking cover and artwork was created by Stefan Heilemann and additional art/layout was done by Gustavo Sazes.
Cover Artwork by Stefan Heilemann
HAVEN Track Listing:
1. Fallen Star
3. Citizen Zero
4. Veil of Elysium
5. Under Grey Skies
6. My Therapy
8. End of Innocence
9. Beautiful Apocalypse
10. Liar Liar (Wasteland Monarchy)
11. Here’s To The Fall
EXCLUSIVE BONUS CD Track List:
Available only with the LTD Mediabook and Deluxe Earbook!
1. End Of Innocence Piano Version
2. Veil of Elysium Acoustic Version
3. Fallen Star Orchestral Version
4. Here’s To The Fall Orchestral Version
5. My Therapy Orchestral Version
6. Fallen Star Instrumental
7. Insomnia Instrumental
8. Citizen Zero Instrumental
9. Veil of Elysium Instrumental
10. Under Grey Skies Instrumental
11. My Therapy Instrumental
12. End of Innocence Instrumental
13. Beautiful Apocalypse Instrumental
14. Liar Liar (Wasteland Monarchy) Instrumental
15. Revolution Instrumental
Catch KAMELOT live on their upcoming shows:
Mar 12: Button Factory – IRL – Dublin (IR)
Mar 13: HammerFest VII Festival – Pwllheli (UK)
Mar 14: O2 Academy Islington – London (UK)
Apr 25: José Cuervo Salón – Mexico D.F (MX)
Jul 09: Masters Of Rock Festival – Vizovice (CZ)
KAMELOT North American Tour With Special Guest Dragonforce:
Apr 27: Soundstage – Baltimore, MD
Apr 28: Trocadero Theater – Philadelphia, PA
Apr 29: Webster Hall – New York, NY
May 01: The Palladium – Worcester, MA
May 02: Metropolis – Montreal, QC
May 03: Phoenix Concert Theater – Toronto, ON
May 05: Newport Music Hall – Columbus, OH
May 06: Mojoes – Joliet, IL
May 07: Mill City Nights – Minneapolis, MN
May 09: Garrick Centre – Winnipeg, MB
May 10: Louis Pub – Saskatoon, SK
May 11: MacEwan Hall – Calgary, AL
May 12: Union Hall – Edmonton, AB
May 14: Regency Center – San Francisco, CA
May 15: City National Grove – Anaheim, CA
May 16: The Marquee – Tempe, AZ
May 18: Ogden Theater – Denver, CO
May 20: Emo’s – Austin, TX
May 21: New Orleans Civic Theater – New Orleans, LA
May 22: Iron City Live – Birmingham, IL
May 23: House of Blues – Orlando, FL
Kamelot on Facebook Kamelot on Twitter Napalm Records on Facebook
Veteran UK metallers Raven will be releasing ExtermiNation in Scandinavia on April 22nd, in Germany on April 24th, in Europe on April 27th and in the USA on April 28th via SPV/Steamhammer. Stream “Thunder Down Under” here.
Track Listing Digipak:
1. Destroy All Monsters
3. It`s Not What You Got
5. Battle March/Tank Treads (The Blood Runs Red)
6. Feeding The Monster
7. Fire Burns Within
9. One More Day
10. Thunder Down Under
11. No Surrender
12. Golden Dawn
13. Silver Bullet
14. River Of No Return
15. Malice In Geordieland (Bonus Track)
1. Destroy All Monsters
3. It`s Not What You Got
1. Battle March/Tank Treads (The Blood Runs Red)
2. Feeding The Monster
3. Fire Burns Within
1. One More Day
2. Thunder Down Under
3. No Surrender
4. Golden Dawn
1. Silver Bullet
2. River Of No Return
3. Malice In Geordieland (Bonus Track)
RAVEN live 2015:
Mar 06: El Circo Volador – Mexico City (MX)
Mar 07: Thrash La Union Festival – Bogota (CO)
Mar 08: Thrash La Union Festival – Pereira (CO)
Mar 11: Wairuru Club – Lima (PE)
Mar 13: Priliampus Bar – Sorocaba (BR)
Mar 15: Manifesto Bar – Sao Paulo (BR)
Mar 27: Club Pkrl – Helsinki (FI)
Mar 28: Iron Steel Fest – Genk (B)
Mar 31: Hafenklang – Hamburg (DE)
Apr 01: Meisenfrei – Bremen (DE)
Apr 02: Helvete – Oberhausen (DE)
Apr 03: Cacaofabriek – Helmond (NL)
Apr 04: Very Eavy Fest – Staadskanal (NL)
When spilling the beans about their critically acclaimed second album London (Candlelight), Voices guitarist Sam Loynes walked Ghost Cult through his own metal journey, and then onto how Voices was spawned from the ashes of the empire that was Akercocke…
Where did the journey to Voices and current album London start from?
The band that got me into heavy metal, the band that got me to being a long-haired teenage twat smoking draw way too young was Metallica. No two ways about that. Metallica and Megadeth. I remember when I first heard ‘Blackened’ and ‘One’, at the time it was as extreme as anything I’d ever heard! In the same way that a few years later when I heard Akercocke and thought “This is the most extreme thing ever”, so ‘One’ did that for me then. After that, Master of Puppets is the most important record in my heavy metal upbringing prior to going into left-field stuff, then definitely Emperor and Death as the gateway, the ones that got me into extreme music and what I then went into.
I can hear a fair bit of Schuldiner in your riffs – the off time, the note patterns and structures…
That’s awesome man, thank you. Death are as close to an acute influence on my playing and Dave (Gray – drums)’s playing as it gets. There are other choice bands we try to emulate but without copying or assuming we can get anywhere near creating songs those guys did.
Have you heard the new Napalm (Death)? The fucking sound of that new Napalm is amazing. Have you seen them live before? I don’t know what it is, but they just blow everyone else off stage when it comes to extremity, and I was trying to realize what it was, to tap into it, and it’s fucking conviction. They play a headline show with a bunch of other bands supporting them, younger bands, and they may be technically better, or they may be faster, or whatever, but it just doesn’t come across. Soon as you hear Napalm Daeth, the punk rock influence elevates it to an unrivalled level of extremity. Totally unrivalled. There’s only a few others, perhaps, maybe Converge can do it, but fucking Napalm Death live is the best thing ever. Oh, mate, you must check them out.
Coming on from your influences, you joined your current band mates Dave Gray and Pete Benjamin in Akercocke as their line up changed. First up, I’ve heard many different pronunciations of the “old band”, so, horse’s mouth, what is it…?
Ack – er – cock – err is how we pronounced it in the band
It’s an association that will always exist for Voices, but does the retained interest in Akercocke continue to surprise you?
I’m just a fan of the band. I was lucky enough to play with them in their last wave, though I’d known them for a number of years, but I was just a fan of the band like everyone else. But the legacy, the fact that people hark back to the Akercocke and say our sound is reminiscent of it sometimes, is all complimentary to me. They’re still an influence on me, particularly Jason’s playing and singing, so I only see the association as a positive thing, but we take that legacy and are looking to move forward with Voices. We are trying to establish ourselves with our own identity, which is happening.
So, what happened with the transition to Voices, and the unwinding of Akercocke?
Unwinding is the right word, the best way to describe it. There wasn’t any specific moment or thing that led to it. Myself, Dave and Pete wanted to continue jamming whilst Jason (Mendonca – guitars/vocals) was in a position where, well, life took over. It got to the stage where we were trying to meet up weekly (with Jason) and it wasn’t happening, so we thought “While we’re here, let’s get some music together”. There was no intention to bring it into a band scenario, but between the three of us, some songs started to form. We realized it had serious legs to it and we wanted to pursue it while seeing if Akercocke would continue, because we didn’t know what would happen there because Akercocke is Jason’s thing.
What we were doing, organically became songs and then within a couple of months a whole album. It happened like that, quick but naturally and organically. There was a general idea to do something more minimal and primal, moving away from the progressive metal that Akercocke was steeped within. We wanted to strip it back and do a cold, harsh black metal band, but at the same time, not shy away from the disposition that Ak always had of doing something a little punky, a little avant-garde, and being open minded, while stripping it back from the complexities that Akercocke pursued.
We were definitely comfortable having played with each other for a number of years and in the same rehearsal space, but it wasn’t like we were looking to do material that would be the next Akercocke, because obviously Jason’s the man when it comes to Ak. So it was “let’s do something a bit different and see where it goes from there”. There was no attempt to re-do Akercocke, and there’s no way we could have done that as they were such an idiosyncratic band, but we have a musical language and understanding between us, which was why it was so fruitious in the early stages.
Do you think Akercocke is an entity that will be revisited?
I don’t have the authority to say one way or the other, but you just never know. Jason’s still a great musician who loves to play, Dave still loves to play, so it all depends on life and if it’s something they want to revisit, or just leave it with the legacy it has. I say, never say never, but right now, Voices is what’s happening and it seems unlikely Ak is going to return anytime soon. But like most other people, I’m saying fingers crossed for some point.
If you have had any interest in the metal underground over the last 20 years or so then there’s a fair chance that you will have encountered the dark, bewildering and occasionally baffling art of Solefald.
World Metal; Kosmopolis Sud (Indie), the latest album from the Scandanavian provocateurs, is as wilfully perverse as it is artistically diverse and challenging. World Metal is an all too simplistic title for a record that covers and extraordinary palette of aural colours from thrash metal that would not go amiss on a Sepultura album through Al Jourgensen inspired electronica and nursery rhyme folk.
It really is all here. And more.
In some camps, this is supposedly representative of some kind of avant-garde genius. Not in this camp, I’m afraid. I bow to no man in my admiration for bands and artists who push the artistic and creative envelope but there is a significant difference between good and bad art and I’m afraid that World Metal is bad art. Lots of people are going to tell you that its density is somehow representative of a deeper intellectual exercise and that the impenetrability of the music is somehow evidence of artistic freedom- artists doing what they please etc etc. This is poppycock of the highest order.
The entire essence of art is that it connects: on an emotional, spiritual and human level. Wilful self-indulgence is not evidence of a higher artistic intelligence; it is evidence of hubris. And there is much hubris on World Metal. I think we need to call this out now: being diverse and idiosyncratic isn’t, in and of itself, good enough. There isn’t anything particularly big or clever at throwing everything including the musical kitchen sink at things. By contrast, it is self-regarding and, ultimately, very boring.
I’m reminded of the now infamous conversation between Harrison Ford who complained about the quality of the script for Star Wars, and George Lucas: “George, you can type this shit but you can’t say it” said the laconic actor to his director. This was, of course, the same Star Wars that went on to change movie history and get an Oscar nomination for Best Screenplay.
My point? I might have got this one wrong. I don’t think I have though. Clearly for some, World Metal will be seen as quite the masterpiece, full of ideas and inspiration. Not for me though. I’ll defend to my dying breath Solefald’s right to make whatever record they want, just don’t expect me to listen to it.