In honoring the 40th anniversary of “Ace Of Spades”, Motörhead released a limited batch of cask strength bourbon in a partnership with award-winning worldwide brewery Hillrock Distillery. The release is limited to 1100 bottles, each bottle is hand-numbered and includes a bespoke “Ace of Spades” gift box.
Louisville Kentucky’s top flight metal and hard rock festival, the 3rd annual Louder Than Life festival has announced its 2016 lineup. Avenged Sevenfold will headline, with Slipknot, Slayer, Disturbed, Korn and The Cult performing among others on October 1st and 2nd.
Tickets go on sale this Wednesday at noon EST at www.LouderThanLifeFestival.com. Prices will be $79.50 for a single-day general admission, $89.50 for a general admission weekend pass, and $234.50 for a VIP weekend pass. Other packages are available, with prices increases soon.
Other bands performing at Champions Park on River Road are Ghost, Cheap Trick, The Pretty Reckless, Alter Bridge, Pierce the Veil, Clutch, Anthrax, Hellyeah, Sevendust, Trivium and Sick Puppies. More than 50,000 fans attended last year’s sold-out festival, most from out of state.
With the Louisville locale in the forefront, the festival also features on bourbon and “gourmet man food”.
Celebrity chefs will be Edward Lee, Tom Coghill, Bill Kunz and Jonathan Schwartz, while the Gourmet Man Food Village will have several dozen choices, including Doc Crow’s, El Luchador,: 502 Café, Aporkalypse Now, Hi-Five Doughnuts, Holy Mole, The Comfy Cow, Gelato Gilberto and Cheese Louise.
Slipknot, by Melina D Photography
Bourbon World, presented by the Louisville Courier-Journal, will feature Angel’s Envy, Basil Hayden’s, Benchmark, Buffalo Trace, Bulleit, Eagle Rare, Evan Williams, Four Roses, Jim Beam, Knob Creek, Maker’s Mark, Michter’s, Old Forester, Town Branch, Willett, Wild Turkey and Woodford Reserve.
Here are the daily line-ups:
Saturday, Oct. 1 – Avenged Sevenfold, Slayer, The Cult, The Pretty Reckless, Pierce The Veil, Cheap Trick, Chevy Metal, Anthrax, Motionless In White, Hellyeah, Sick Puppies, The Amity Affliction, Avatar, Neck Deep, Young Guns, Being As An Ocean, ’68, Twelve Foot Ninja, Dinosaur Pile Up.
One of the great conceits about reviewing music is just how awfully seriously people can take it: I know, for I am one of the worst culprits. Each new release is often treated as if it were the Second Coming with journalists falling over themselves in the search for innovative epigrams or snarky turns of phrase that underscore just how enamoured they are of the latest release from someone you’ve never heard of and are unlikely to hear of again. Similarly, the attempts to shoehorn a pretty mediocre record into the fabled canon of classics is another default setting of those who would seek to “criticise music”.
Sometimes, it’s a relief to go back to basics and consider a record as unfettered entertainment: no airs, no graces, just solid rock n roll that makes you bang your head and punch the air in vicarious delight. So let’s do just that, kids.
Stockholm’s ThunderMother are a rip snortin’, hard drinkin’, ever flirtin’ rock n’ roll outfit with more nods to AC/DC than an Angus Young headbanging session. This is the sort of rock ‘n’ roll that fuels a Friday night after a hard week at work, when you’re looking to let your hair down and have a damn fine time. It’s the aural equivalent of a Jaegerbomb.
The AC/DC influence is palpable and worn as a badge of honour. In some respects, this could be a female version of Airbourne but without the grating insufferableness of the Antipodeans. With songs like ‘It’s Just a Tease’ (a great putdown of boorish males); ‘Deal with The Devil’, ‘Roadkill’ or ‘Thunder Machine’ you know that ThunderMother aren’t looking to win the Booker prize, but there is an energy and a wit to the song-writing and the playing: this is an album that gallops along breathlessly, stopping only for another beer and a shot of bourbon.
Road Fever (Despotz) has no qualms or anxieties about whether you think that this is a record that matters or will be changing the world. It is a record that comes in, does a bit of a turn, shouts a bit and then leaves. It has a pile of energy and a feisty set of lyrics that conjure an infectious image of the last-gang-of-girls-in-town, partying all day and night and rightly belittling the male population for being idiots: in many ways, this is Lena Dunham’s Girls with a hard rock soundtrack.