Fear Factory and Coal Chamber will be hitting the road together on an upcoming North American tour with Saint Ridley and Madlife. Jasta and Devil You Know will on select dates.
Jul 24: Rialto Theatre – Tucson, AZ (with Devil You Know) Jul 25: Sunshine Theater – Albuquerque, NM (with Devil You Know) Jul 26: Tricky Falls – El Paso, TX (with Devil You Know) Jul 28: Alamo City Music Hall – San Antonio, TX (with Jasta) Jul 29: Gas Monkey – Dallas, TX (with Jasta) Jul 30: Granada – Lawrence, KS (Jasta) Jul 31: Pop’s – Sauget, IL (with Jasta) Aug 01: Bogart’s – Cincinnati, OH (with Jasta) Aug 02: Track 29 – Chattanooga, TN (with Jasta) Aug 03: The Orange Peel – Asheville, NC (with Jasta) Aug 04: Music Farm – Columbia, SC (with Jasta) Aug 06: Concord Music Hall – Chicago, IL (with Jasta) Aug 08: Water Street Music Hall – Rochester, NY (with Jasta) Aug 10: London Music Hall – London, ON (with Jasta) Aug 11: Irving Plaza – New York, NY (with Jasta) Aug 12: The Chance – Poughkeepsie, NY (with Jasta) Aug 15: Underground Arts – Philadelphia, PA (with Devil You Know) Aug 16: Agora – Cleveland, OH (with Devil You Know) Aug 18: Bourbon Theatre – Lincoln, NE (with Devil You Know) Aug 19: The Summit Music Hall – Denver, CO (with Devil You Know) Aug 20: The Complex – Salt Lake City, UT (with Devil You Know) Aug 21: Brooklyn Bowl – Las Vegas, NV (with Devil You Know) Aug 22: The Observatory – Santa Ana, CA (with Devil You Know)
Devil You Know have completed pre-production for their sophomore release with producer Josh Wilbur (Lamb of God, All That Remains, Killer Be Killed), and will begin recording in early June.
Howard Jones (vocals) states:
“Hey everyone, so we are all really excited as 2015 is going to be a huge year for DYK. I think spending quality time together sweating on stage and holding hands in vans, buses, planes, boats, trains and submarines has helped us become a true unit, and it’s definitely showing in the new tunes. Josh Wilbur is super talented and he has a proven history of bringing out the best in bands, so we are excited to say the least. Now it’s time to stop showering and shaving so we can transform back into metal mode and get to work! More news to follow in the coming weeks people… It’s on.”
Howard Jones (Ex-Killswitch Engage, Blood Has Been Shed) – Vocals Francesco Artusato (All Shall Perish, The Francesco Artusato Project) – Guitar John Sankey (Devolved, Fear Factory, Divine Heresy) – Drums Ryan Wombacher (Bleeding Through) – Bass Roy Lev-Ari – Guitar
It’s hard to believe we’ve already reached the end of another year packed tighter than Joey de Maio’s loincloth with incredible genre-pushing, eardrum-violating, neckache-inducing metal.
So we can begin to tell the story of a year which saw us give more top marks than any other year so far (and more 2’s and 3’s out of 10, too!), a year that left us inundated with so many great releases, we sought the opinions of our esteemed and respected writing team and we offer forth their albums of the year.
The countdown to the Official Ghost Cult Magazine Album of the Year for 2014 has commenced. Please consume and enjoy the results of our 2014 Writers’ Poll. We hope it will introduce you to some of the incredible works of art you may have missed that we have had the immense pleasure of listening to and writing about this year.
In our first installment we bring you albums 50 through to 41.
50. HARK – Crystalline (Season of Mist)
Genre-bending aggression with doses of Doom, Prog, Psychedelia and Hardcore. Heavy as a very heavy thing.
49. THE HAUNTED – Exit Wounds (Century Media)
“The album is filled with urgency and manages to be relentlessly heavy without compromising on those insanely catchy riffs. The Haunted have come back stronger than ever… easily the band’s best effort a decade” DAN SWINHOE 9/10 Full review here
48. THE WOUNDED KINGS – Consolamentum (Candlelight)
“Favouring lengthy yet subtly evolving guitar workouts that never lapse into repetitive dirge territory,The Wounded Kings go about working their dark, smoky magic with grim elegance… Simply put, The Wounded Kings are the quintessential English doom band “ JAMES CONWAY 8.5/10 Full review here
47. SCHAMMASCH – Contradiction (Prosthetic)
“The quality of this album is obvious right from the beginning. Schammasch have created a record both challenging and endlessly refreshing, a truly remarkable sonic journey from beginning to end.” CAITLIN SMITH 9/10 Full review here
46. AUTOPSY – Tourniquets, Hacksaws and Graves (Peaceville)
“Tourniquets… continues in gnarly, raw and near sludgy death metal vein, but maintains their run of high quality and in fact tops anything that has come from their return.” CHRIS TIPPELL 8/10 Full review here
45. KROKODIL – Nachash (Spinefarm)
“With a heavy dose of Mastodon in its veins, Krokodil are a groove juggernaut that pummels all in its path with its three guitarists of fury” DAN O’BRIEN 9/10 Full review here
44. INTER ARMA – The Cavern (Relapse)
“The sheer gravity and fulminating power of much of the music here is oppressive yet it carries the weight easily, this blend of raw animal force, aching melody and immeasurable creativity marks out this fantastic band” PAUL QUINN 10/10 Full review here
43. DEVIL YOU KNOW – The Beauty of Destruction (Nuclear Blast)
“(with) all the promise of a powerhouse, and it delivers on all fronts. The songs are well-crafted, nicely developed and excellently executed.” LYNN JORDAN 9.5/10 APRIL ALBUM OF THE MONTH Full review here
42.BLUES PILLS – Blues Pills (Nuclear Blast)
“…a record that understands and curates its heritage and lineage but is fresh, contemporary and massively memorable. This is the record that you’ll be recommending to your friends for months to come” MAT DAVIES 9/10 Full review here
There are some great tour packages these days, but the tradeoff is that each band may get a little less stage time than they (or their fans) may be used to. An example of this is the Golden Gods Tour headlined by Black Label Society. The opening bands, in order, are Butcher Babies, Devil You Know and Down. However, it is a quality bill, and I highly recommend that you catch this tour when it rolls your way.
Skipping the bigger city of Atlanta and stopping in Birmingham, AL at the venue Iron City Birmingham, the show started early with one of the “love them or hate them” bands, Butcher Babies. I happen to like them, and they are showing that they aren’t some kind of fluke as they continue to tour off of their summer 2013 release Goliath (Century Media). The band wasted no time getting down to business for their 30 minute set. Of course, the lead-singing ladies Carla Harvey and Heidi Shepherd command the stage and everyone’s attention with the strong voices, looks, and constant motion, but their band should not be overlooked. Solid and keeping it tight, they were a great musical support while the ladies did their thing. Butcher Babies has grown in notoriety, and I am sure there were many there who were curious or waiting to hate. But I have a feeling that by the time their set was over, Butcher Babies had themselves some new fans.
In our last issue, I had reviewed the Devil You Know’s debut album, The Beauty of Destruction (Nuclear Blast), and rated it very highly. But of course, I couldn’t wait to see them perform the material live, and they did not disappoint. Warmly welcoming Howard Jones and his return to the stage, the crowd was ready to absorb the new music. I was curious as to how the band would be received since the material is still so new and there are no ‘classics’ to fall back on, but the crowd was into it, and the band was flawless. Musicians Francesco Artusato (lead guitar), Roy Lev-Ari (guitar), Ryan Wombacher (bass) and John Sankey (drums) are technicians, but the taste they display when they could easily over do it really showed their skill. Another short set, they crammed in ‘A New Beginning’, the single ‘Seven Years Alone’ and the closer ‘Shut It Down’. They were polished, but did radiate enough raw energy to keep the crowd more than *ahem* engaged. Howard’s stage banter was humorous as always and he sounded fantastic, and it was great to see and hear him in such fine form and getting back into the grind of touring.
I absolutely love Down and have had the pleasure of seeing them on several occasions. However, this is first time I’ve seen them with second guitarist Bobby Landgraf and bassist Pat Bruders, who are just great and seem like they were always there. I did miss seeing Kirk Windstein at first, but the solidity of the new members made me forget about that quickly. They opened with ‘Eyes of the South’ and played new favorites ‘We Knew Him Well’ and ‘Witch Tripper’ off of Down IV Part 2 and Down IV Part 1 – The Purple EP (Down Records/Independent Label Group) respectively. They made the most of their 40-minute set, and Phil Anselmo was gracious and self-deprecating. He apologized for the band, saying that they really didn’t get to practice much, but it certainly didn’t show. Jimmy Bower kept it tight, and Pepper Keenan was just on fire. I am loving where Phil’s voice is right now as it has really rounded out, and sounded warm and full. They closed with the mighty “Bury Me in Smoke” before they left the stage. While myself and many others in the audience wished they had more time, they made good song choices such as ‘Lifer’, ‘Stone the Crow’ and ‘Losing All’.
While the crowd showed respect to Devil You Know and for Down, there were very many there to see Black Label Society. Once Down was done, the crowd clearly became more anxious and rambunctious, getting ready for Zakk Wylde and crew. I have not seen BLS in a very long time, so I was overdue to catch them live. The huge BLS banner dropped and the band kicked in with ‘My Dying Time’, the killer track from BLS’ latest release, Catacombs of the Black Vatican (E1 Music), then dove right into ‘Godspeed Hellbound’. BLS had the audience in the palm of their hand from the get-go. With his band Dario Lorina (rhythm guitar), John DeServio (bass) and Jeff Fabb (drums) backing him, Zakk clearly has the foundation from which his guitar can soar, and the crowd ate it up. Other songs performed included ‘In This River’, ‘Suicide Messiah’, and they ended the night with ‘Still Born’. It was a great set, and what you go to a rock show for.
This is definitely a tour worth catching, and dates have been selling out. So if you are considering going, don’t wait too long to get a ticket. Reasonably priced with a dynamic and diverse lineup, this is one tour that will give you a great bang for your hard-earned buck.
When Howard Jones parted ways with Killswitch Engage in 2010, his departure sent waves throughout the music world due to his sudden departure. His absence throughout that time period was kept well hidden over the year.
But when Devolved drummer John Sankey and All Shall Perish guitarist Francesco Artusato started jamming together in 2012, they began seeking out vocalists for their then unnamed project.
So how did he find himself involved? “Just through mutual friends. They sent me the demo.”
“It was weird. I was definitely hiding for three years. No cell phone…no nothing. For three years I disappeared and it was great!” he said.
So he found himself back with a new band and with new bandmates since his departure from Killswitch Engage in The Devil You Know. “It wasn’t like I realized it. I got the music and I met the guys. We made a demo and it kept going from there. All of a sudden ‘holy crap I’m doing this again?’ It just kinda happened. I’m in a much better place now.”
The Devil You Know played their debut show at Chain Reaction in Anaheim, CA on February 15, 2014 in front of an eager, yet curious crowd of fans who wanted to get their first look at the new band. They debuted songs from the Beauty of Destruction (Nuclear Blast) album, which this was the first time Jones had stepped onto a stage in a few years.
“I was thinking ‘oh my god…I’m doing this again. This is weird.’ That was pretty much what I was thinking. I had fun. I was trying not to think it. I didn’t think about it too much. It was definitely like ‘holy crap…I can’t believe I’m doing this again after so many years of not doing this.’ I seriously thought I was done.”
Jones claims towards the end of his time in Killswitch Engage, he was battling depression and signs of bipolar, which stunted his ability to maintain his sanity. But he claims it was an issue he was dealing with and had nothing to do with his former bandmates.
“Trust me. There was nothing wrong with the band. It was all me. I was nuts. I was manic depressive and bipolar and everything else. I’m sure I was driving them insane and I was going nuts. So I’m done.”
So how close was he from entering the funny farm? “Oh wow. Probably when I went there…and was in one for about a month. I don’t think I ever told anyone that.”
“Dude I was gone. I’m on good prescription medication. I was definitely in a place for a month. I went nuts. I’ve never told anybody that!,” he added, laughing at himself.
So he explains how bad things got towards the end of his time in Killswitch Engage:
“So here’s what happened – we started writing the album that Jesse (Leach) just did. We met at Adam [Dutkiewicz]’s place and we were going over ideas. ‘So let’s meet for two weeks…and let’s come back at noon tomorrow.’ And I just didn’t come back. That’s what happened. I talked to them a week later…’we should move on without you because you hate this.’ No I’ll still do the job. No big deal. ‘You hate this. You don’t wanna do this anymore.’ And I was like…yeah….you’re right. That’s what happened.”
“It was nothing to do with them. It had everything to do with me. I was severely depressed and very bipolar and everything else. The thought of doing another album and going on tour for another couple years…it drove me insane. I was done.”
He also dealt with issues with diabetes, which also hindered his health. “That definitely happened. I was dizzy for a week. I didn’t know what was wrong with me. I was walking up the steps, I passed out and broke a finger as I fell down the steps. I was walking up the steps and passed out and then broke a toe when I fell down the steps. I completely passed out in my bathroom and my friend threw me into his truck and took me to the hospital. I went into a coma for three and a half days. I woke up and didn’t know my name for 48 hours. It was pretty screwed up. My short and long term memory was gone for six months to a year. Basically I watched a lot of TV and read a lot. It came back. I didn’t remember songs I did with Killswitch. It was bad. But now I’m doing very well.”
The Beauty of Destruction became an album of songs largely about Jones’ struggles, and easily became a heavy, emotion driven record that is heard immediately. “What I wrote for this album is so personal. I’ve never written anything this deep before. Basically the past five years of my life, that’s what I wrote, especially if you listen to the last song on the album, ‘Surprise In the Darkness’, that was the last three or four years of my life. It’s the most depressing thing I’ve ever written. But it’s the truth. That’s my life. This album was my life.”
Producer Logan Mader helped Jones sort out his ideas throughout the record. His guidance helped shape the songs on the record and creating powerful sounding songs that are felt as much as heard.
“Logan definitely had great ideas. We really worked well together. He’s awesome. Seriously it was awesome working with the guy and then he became one of my really good friends. He basically saw I was going through and what I was writing, he got it. We would go to lunch and said ‘this is what you’ve been going through, isn’t it?’ Yeah. What was awesome was we finished writing the album and went fishing. It was awesome. Logan definitely helped out. This album is personal.”
“Yeah it’s basically a diary. It really is. I know it’s goofy to say that, but it really is.”
Musically, between the four other players in the band – Sankey, guitarists Artusato and Roy Lev-Ari, and bassist Ryan Wombacher – they created a diverse record that brought a vast sound to the band.
“Writing new stuff differently…this band doesn’t sound anything like All Shall Perish or Fear Factory or Devolved or anything like that. Of course I sound like me. Some of it sounds a little like Killswitch or Blood Has Been Shed, but I really did try to do things differently. That’s why more than half of the songs I pretty much sang. It’s a different album. We really wanted to do something different. It wasn’t like ‘we’ve gotta try to not sound like everything else.’ Let’s try to write an album we’re happy with and doesn’t sound what we’ve done before. That’s what happened.”
“That’s what’s awesome. I’ve been lucky when it comes to that, like playing with the guys in Killswitch which were amazing, and then these guys who are absolutely amazing. We did the whole album ourselves and it’s been awesome. Being on stage with those guys, it was so much fun. I’m a lucky guy. That’s pretty much what I think.”
So who’s the devil in the Devil You Know? “That’s all me. I came up with that. There’s times when I’m a terrible person, and that’s where it came from. I always try to be a better person but there’s times where I’m awful. So I’m the devil you know. That’s where it came from.”
They recently visited the Soundwave Festival in Australia, in which people got their first taste of the band. While most fans had no idea who the band was or had heard any music, they still made a first impression that got attendees figuring out quickly who they were.
“Oh they had no idea what was happening. People started recognizing me. ‘Hey I know that guy! I’ve seen that guy before. That black guy looks kinda familiar.’ It was kinda like that. It was fun and weird the position we were in. We played right after Rob Zombie, and right before Avenged Sevenfold. It was very strange. It was like ‘we’re this band you don’t know…so let’s have some fun.’ And buy our record…eventually. It worked out. We had a blast and of course I made fun of people the whole time. That’s what I do. I was going to town on people. It was terrible! I was like ‘I’m the worst human being ever!’”
Now it’s the Americans’ turn on the Revolver Golden Gods tour, headlined by Black Label Society. “I cannot wait. Down played Soundwave and I got to hang out with Phil a bit. That dude is amazing. I absolutely love Zakk. That dude is a great guy. And plus both bands are awesome. I can’t wait to hear Zakk do a bunch of guitar squeals. I’m stoked.”
Hells to the yes! The brand spanking new issue of our digimag is out today! Issue #17 features a revealing interview with Howard Jones (ex-Killswitch Engage) of Devil You Know. Issue #17 also contains interviews with Twilight, Anneke Van Giersbergen, Apocalyptica, The Wounded Kings, Nothing, Delain, Steve “Zetro Souza” of Hatriot, Carnifex, Scott Lee of the New England Metal and Hardcore Festival, Immortal Bird, a tribute to Dave Brockie of GWAR, an exclusive guest editorial from Davide Tiso on his new project Gospel of the Witches. Plus we have a recap of Blastfest from Norway, and other live reviews such as Behemoth & Cradle of Filth in the UK, The Winery Dogs in the USA, Ulver in The Netherlands, Apocalyptica in Finland and special features with Paul Masvidal and Chance Garnette. Made especially for your tablet device or smartphone! Check it out here!
Formed by Francesco Artusato (All Shall Perish , Francesco Artusato Project) a beast of a guitarist, fleet-footed drummer John Sankey (Devolved, Divine Heresy) and vocalist Howard Jones (Killswitch Engage, Blood Has Been Shed), Devil You Know had all the promise of a powerhouse, and with its release Beauty of Destruction (Nuclear Blast) it delivers on all fronts. The songs are well-crafted, nicely developed and excellently executed. This actually sounds more like Divine Heresy than Killswitch Engage as it has a lot of gnat-ass tight Dino Cazares-inspired stutter riffs and relentless drumming.
‘A New Beginning’ kicks right in with pure a All Shall Perish ggression and a wall of guitars. ‘My Own’ makes a grand entrance with an almost Pantera-like drive, and goes into staccato rhythms with a tasty guitar lick on top and a catchy chorus. Here, Jones sounds most like the Howard we know (no pun intended) with some metalcore vocal stylings in places. ‘Embracing the Torture’ features some very nice drum work by Sankey and shows off Jones’ range as he goes from growls to melodic chorus hook. ‘For the Dead and Broken’ dials it back a bit, and may be the most commercial sounding song on the release. Bringing in melodic vocals with effects, tamer guitars, and a sing-along chorus, it is reminiscent of In This Moment or Fall Out Boy (if they went Metal). ‘Seven Years Alone’ is very well-arranged song. The multi-layered vocals shine, but Artusato gets to flex his guitar chops quite a bit as well. This is also more on the commercial side of metal but it still hits hard. ‘It’s Over’ is more of a straight-ahead tune that has a Sevendust-like bent; pounding yet soulful. ‘A Mind Insane’ lives up to its title, a mix of tempos and mood with all members showing their strengths and then ending quietly, as if the subject broke free…or got his medication. ‘Crawl from the Dark’ has a sweet, almost dreamy groove in the verses while easily siding into a heavy bridge and chorus, and ending with a blistering solo by Artusato. ‘The Killer’ is a stuttering, creeping thing, with an almost subversive layer of acoustic guitars and a sneaky guitar riff slithering through the chorus. ‘I Am The Nothing’ is a song that features little hooks throughout with just enough keyboards/programming to add interest and color, and Jones really keeping the mood of the vocals in line with the subject matter. ‘Shut It Down’ is a show-closer, with a vocal line that begs to be shouted along with and an outro that will get folks mixing it up in the pit. Closer ‘As Bright as the Darkness’ is dark and cool with flanged-out guitars and vocals layered with echo. It reminded me a bit of ‘Aerials’ by System of a Down in flow and mood, and Jones channels a little bit of Pete Steele as well vocally which is cool as hell.
The production by Logan Mader (Gojira, Divine Heresy, Soulfly) and the mix job by Chris “Zeuss” Harris provides a crisp, big, in-your-face sonic experience. Jones is in excellent vocal form, and while you can recognize the voice, there is definitely a growth and depth that is great to hear. He has clearly found a new “home” in Devil You Know, and in this reviewer’s humble opinion, this release is superior to KsE’s last as good as that was. Good for him…and us.