It seems like the journey to Toothgrinder‘s I Am (Spinefarm Records) has been one full of trepidation and behind the scenes issues. Vocalist Justin Matthews has certainly been open about his demons in the promotional materials stating: “My alcohol and drug use were pretty prominent on the last two albums and on tour.” And nothing but the utmost respect to him for being able to put those demons behind him in the lead up to their third proper full length. Continue reading
Some good advice I received from my mentor in music criticism was to never underestimate or pigeonhole an artist. Cradle of Filth has made a twenty-five year career out of Black and Death Metal music supremacy, often covering the dark and all about that blasphemous life. Although she definitely has earned her place in that world as a member of that band, singer and multi-talented musician Lindsay Schoolcraft displays a wide array of gifts will not fit in a neat box for you to file and categorize. On her debut solo album Martyr (Self-Released), she satisfies her jones (and ours) for all types of Gothy Metal and Rock styles.
Ghost Cult caught up with Justine Glaser from rising Los Angeles Rock band Blue Midnight for a chat recently to discuss all things about the band. Their 2018 release Eternal Wish is a multi-faceted album blending elements active rock, symphonic and classical influences, and the best progressive metal, all tied together by Justine’s enchanting voice. We chatted about the bands’ formation, Justine’s approach to writing and recording, the bands’ upcoming show at The Viper Room, their upcoming slot at Aftershock Festival opening the main stage in front of heavy hitters like Tool, A Day To Remember and Gojira, and plans for new music in 2020. Continue reading
International sensation BABYMETAL has shared a new live music video of their song ‘Elevator Girl’. The group is set to kick off a headline tour of the USA in just a few weeks. Tickets are on sale now. ‘Elevator Girl’ is the group’s first full English song to go to Active Rock radio. Check it out! They also revealed the full tracklisting and Pre-order for their new album, Metal Galaxy. Continue reading
Ghost Cult is stoked to bring you the new single from Hanna Barakat, ‘Siren’, from her forthcoming new album. Blending active rock, metal, and her considerable World music influences, Hanna has a voice and style that demands your attention. Fans of Evanescence, Within Temptation, Halestorm, New Years Day and Butcher Babies will find a lot to love about the John Moyer (Disturbed) produced rising star. Jam out the track now! Continue reading
If Wes Craven was a genre of music, it would be New Years Day. For the most part, Ash Costello and gang have depended on a recipe of heartbreak mixed in with edgy guitars and a punk rock attitude. On their fourth release Unbreakable (Another Century) they break free from their comfort zone with a more confident, electro-fused, uplifting follow-up. Continue reading
After dropping their brutal new single last week ‘Fuck Love’, All That Remains have announced their new album dubbed Victim Of The New Disease, due out from Fearless Records out on November 9th. The band also shared a killer video for the single as well which you can watch below. The band also booked a winter tour of Europe with Sevendust.
Adelitas Way has always been an above average band. Solid albums, big shows, and a few high-profile hits (WWE/NFL/TV shows) to build houses on and get some occasional bottle service at the club now and then. Live is where the band has thrived, playing big tours and festivals, often upstaging their peers. They have always had the big hooks and catchy songs, no problem. I had always felt what was holding the band back from being truly great was that their albums didn’t sound “live enough”. The best rock albums have a loose feel with big sounding driving tunes. Adelitas Way may finally have hit this 1-2 combo correctly with their new album Getaway (The Vegas Syn/The Fuel Music).
From the sway of the of lead single ‘Bad Reputation’, there is a breezy quality along with the bad boy brooding that you can feel. Always a band to bring monster chorus parts, Getaway has plenty of ear-worm moments. But what it does best musically is sizzle like bacon in bridges and pre-chorus parts that builds the tension. The title track is badass little declaration. Singer Rick DeJesus could basically sing the phone book and it would rule, but seems out to prove something on this one. ‘The Good Die Young’ is one of their best songs to date. A hard rock anthem that is powerful, bluesy, and deep all at once. ‘Low’ has as another good groove and a hummable melody made for summer time.
‘Put You In Place’ has a great bunch of riffs. Robert Zakaryan doesn’t get mentioned often enough with the big name riffers, but this guy has the chops. ‘Filthy Heart’ is another rager. It’s been out for about year since it was the best track on the Deserve This EP, along with a few other tunes that popped up on this album too.
Some tracks go a bit flat-out alt rock on us, but it’s a fine line for the band who sometimes would rather jangle more than crush, guitar-wise. Overall Getaway is the most satisfying album the band has made. Props to the band for their perseverance with the material and Johnny K for working that magic on the tracks.
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Lower than Atlantis also recently made their cover of Vanessa Carlton’s hit song ‘A Thousand Miles’ available to stream. Listen to it here:
Lower Than Atlantis: Lower Than Atlantis Black Edition track listing
1. Here We Go
2. Ain’t No Friend of Mine
3. English Kids In America
5. Words Don’t Come So Easily
7. Stays The Same
8. Live Slow, Die Old
9. Damn Nation
11. Just What You Need
12. Number One
1. Get Over It
2. The Reason
3. I’m Partying
5. Sewer Side
6. Real Love (Live Lounge Performance)
7. Am I Wrong (Live Lounge Performance)
9. Wish You Were Here
10. Everybody Wants To Rule The World
11. A Thousand Miles
12. Here We Go (Alt Version)
13. English Kids In America (Alt Version)
14. Words Don’t Come So Easily (Alt Version)
15. Ain’t No Friend (Alt Version)
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There are a plethora of super young bands being scooped up by big labels left and right lately. Remember that when weighing the merits of wunderkind types, you need to judge slowly. From Mozart to Louis Armstrong, Sinatra to Little Stevie Wonder, Tori Amos to Jason Becker, Fiona Apple, Devin Townsend an now Adele; the bristling energy of a talented prodigy can make hearts pound. Recall that except for Adele, they didn’t have to deal with trolls on current social media who have neither talent nor any nurturing it seems. Since forming ten years ago Floridians Black Tide broke out with their explosive début Light From Above (Interscope), and they blew up as fast as their riffing little fingers were moving. In the years passed they have dealt with changing times, changing members, and a back biting scene.
However, the story does not end here and the arc of Black Tide’s career does fade out yet. Founder Gabe Garcia and longtime guitar partner Austin Diaz have matured past the Trivium-esque neo-thrash of their début and the active rock of Post Mortem to make an interesting mix of all those influences and much more. Chasing Shadows (Pavement Music) sees the band come into its own and becoming comfortable with uncomfortable: adulting in this cray decade.
When Chasing Shadows rocks, it blazes hot. After a dramatic classical intro ‘No Guidelines’ just rips. There is a confidence to match the talent now that has seasoned into form. Thrash, heavy metal, harmony guitar solos, great singing: all in the kitchen sink of well written songs. ‘Angel In The Dark’ has a faint hint of a pop-rock chorus, but doesn’t lose the script of a ballsy rocker. ‘Predator (Animal)’ is the best song on the album. Gabe and Austin are super talented shredders and when the band lets their inner Iron Maiden loose, you are sure to smile.
There are other worthy gems on here such as the title track, the stellar ‘Before We Form’ and the epic thrash closer ‘Promised Land’. There are some missteps too, and despite some competently performed balladry the band will always fall nearer to mid-era Avenged Sevenfold and Bullet For My Valentine than Shinedown or Seether. Nothing wrong with that at all by the way.