Aerosmith will celebrate 50 years of music in 2020 with a special 50th Anniversary Show show at Boston’s Fenway Park on Friday, September 18th, 2020 at Fenway Park, Boston MA! With special guests Extreme! Fine the pre-sale information and ticket buy links below! Continue reading
Ghost Cult caught up with KW of Vile Creature at Saint Vitus Bar in Brooklyn, New York. Vile Creature signed with Prosthetic Records and released a compilation on their past work, Preservation Rituals earlier in 2019. At the same time, the Toronto-based, extreme Doom and Drone duo are laser-focused on the future, as they write and prepare for a highly-anticipated full-length label début, perhaps arriving in 2020. KW chatted about signing with Prosthetic, how the group creates their art and music, the honor of being repeat performers at the prestigious Roadburn Festival, the crucial element of great music publicity, and much more. Continue reading
Big news from a story we have been following. Alex Winter and Keanu Reeves announced today that the third movie in the Bill and Ted franchise is moving ahead! Bill and Ted Face The Music will release next summer, in 2020 via Orion Pictures with Winter and Reeves reprising their classic roles as Bill S. Preston Esquire and Ted Theodore Logan. Thirty years ago this month the feel-good comedy Bill and Ted’s Excellent Adventure (Orion Pictures) was released. On the surface, the film was a comedy about two SoCal teens who have to travel through time to write a term paper on history. Starring Winter and Reeves, along with comedy legend George Carlin. Hopefully, the soundtrack will mirror the first tow films and feature rock and heavy metal like to rock like Jane Wiedlin (The Go Go’s), Clarence Clemmons (Bruce Springsteen’s E Street Band), Martha Davis (The Motels) and Fee Waybill (The Tubes). The soundtrack was solid with the debut single from Extreme, Tora Tora, Robbie Robb of Tribe After Tribe, and a track composed by the future band Nelson with an assist from Dweezil Zappa. Bill and Ted’s Excellent Adventure spawned two sequels (the second has an incredible soundtrack), a live-action TV series, an animated TV series, and pop culture iconoclasm. Among the highly quotable film’s lines “party on!” was years before Wayne’s World became a thing. T Continue reading
Garth McKee’s story has had several arcs as an independent record label owner including his current companies Crown and Throne Ltd. and Oinari Media. He’s also had a fascinating personal journey in life and business. Dumb and Dumbest Podcast number #126 is streaming now and it’s an Interview with Garth McKee of Crown and Throne Ltd. Hosted by Matt Bacon (Dropout Media, Ripple Music, Prophecy Productions) and Publicist Curtis Dewar (Dewar PR), they also offer The Music Marketing Challenge, a low cost, super high-value private training to bands and artists. Get hands-on practical experience to market your band like a pro today! Message them at the links below. Continue reading
The Dutch Death Metal act, Sisters Of Suffocation stirred the scene when they released their EP, Brutal Queen (Hammerheart Records) back in 2014. Young and female, SoS was determined to defy stereotypes by making their sound ruthless and unique. Their sophomore album, Humans Are Broken (Napalm Records) continues to carry this conviction and delivers something rather riveting. Continue reading
Before Beavis and Butthead, before Wayne’s World, and before Airheads, there was Bill S. Preston Esquire and Ted Theodore Logan. Thirty years ago the feel-good comedy Bill and Ted’s Excellent Adventure (Orion Pictures) was released. On the surface, the film was a comedy about two SoCal teens who have to travel through time to write a term paper on history. Starring Keanu Reeves and Alex Winter, along with comedy legend George Carlin, there was a lot of teen humor for a late 80s film, but it was also a heartfelt a film about good-natured dudes who play guitar and love rock music with the simple dream in life. That simple dream to play rock music builds a utopian world. Pretty damn cool. When the film came out, the times were pretty friendly to rock the Bill and Ted music had rockers in the film like Jane Wiedlin (The Go Go’s), Clarence Clemmons (Bruce Springsteen’s E Street Band), Martha Davis (The Motels) and Fee Waybill (The Tubes). The soundtrack was solid with the debut single from Extreme, Tora Tora, Robbie Robb of Tribe After Tribe, and a track composed by the future band Nelson with an assist from Dweezil Zappa. Bill and Ted’s Excellent Adventure spawned two sequels (the second has an incredible soundtrack), a live-action TV series, an animated TV series, and pop culture iconoclasm. Among the highly quotable film’s lines “party on!” was years before Wayne’s World became a thing. The film still holds up well today and is being celebrated with an honorary anniversary celebration. by the filmmakers and the fans. Next month shooting begins on Bill and Ted 3, starring Reeves and Winter, due out in 2020. Continue reading
One of Manchester’s brightest up-and-coming lights opened this autumn evening, the first night of a huge week of metal in the city. Impavidus were as tight as hell, the commonly-used MeloDeath soubriquet seeming very wide of the mark despite Michelle Adamson’s staggering use of harsh and clean vocals and some howling leadplay from Gav Smith.
From Aerosmith, The Cars, Dropkick Murphys to Extreme, Pixies and those blokes that sung ‘More Than a Feeling’, Boston has a rich history of producing rock bands and now we can add Worshipper (Tee Pee Records) to that list. Continue reading
The PR notes accompanying Decathexis (Third-I Rex), the second album from Cagliari firebrands VIII, advise comparisons with Extreme experimentalists Deathspell Omega and Manes. The reality, however, is a progressive aural violence full of invention.
Opener ‘Symptom’s early exchanges see a stripped down, Blackened underpin, quirky in its structure and graced by WLKN’s snarled growl, suddenly tempered by maudlin drops which lend themselves to a Shoegaze feel. That Manes comparison manifests itself with a Jazzy sax, which introduces a dream-like sequence: a piano-led ambience; a street walk followed by a nightmarish descent through rapid atonal chords, Freeform pace changes and hostile growls, with those ivories beginning the road to a sample-laden coda in hair-raising fashion.
The early stages of the ensuing ‘Diagnosis’ beautifully blend an emotional, atmospheric Doom with more of that wistful saxophone and the kind of Deathly, downward spirals perfected by the likes of Pyrrhon. A meander through eerie gentleness is followed by a rampant, horrific explosion, the throat morphing from growl to Blackened rasp in a terrifying escalation of anger. This is the depiction of a war zone yet, replete with a subtle piano centrepiece, the apocalyptic, heartbreaking aftermath of battle is gloriously displayed also.
There’s a Blues-Punk edge to the bludgeon of closer ‘Prognosis’ which lends a more traditional edge but the experimentation is still evident: the sparing, neurotic riffs given a tremolo effect; the atmospheric blast of classical acoustic; the brief, gradual drop once again full of melancholy and portent. It’s WLKN’s voice which again provides the savagery, especially in the tolling, Avant-garde atonality of the second movement: his screams and whispers demonical in accompanying the hydraulic Industria and Marco Porcu’s staggering stickwork.
This constant movement through disparate fundamentals can lead to ‘Prognosis’ occasionally feeling a touch difficult to engage with, its cosmic yet serene finale an ineffectual end to the urgency of the previous 45 minutes. The whole is nevertheless an absorbing tour de force, its manic nature running in perfect tandem with a moving ambience to incite all manner of emotion. By no means an easy listen, Decathexis is nevertheless a hugely rewarding journey.
Extreme geeks everywhere rejoice as for the first time in nine years, tangential Watford sextet SikTh returns with a new product. Latest mini-album Opacities (Peaceville) seems a little more influenced by the vocal melodies of natural descendants TesseracT, though their own progressive atmospheres remain in evidence.
hankfully, despite the occasionally touching and sometimes overwrought emotions here, the savage switches and screams that have influenced so much in the emo and djent scenes during the last two decades are coursing through the set, almost as if to justify the band’s re-emergence. The mechanical creativity and robotic rants of ‘Philistine Philosophies’ might easily have been anachronistic but the personalities and character of the protagonists shine through the vocalising to make this over-mined sub-genre vital once again: the brutal drops and duelling screams as organic and fiery as they are entertaining.
Those twisting, intricate riffs baffle and confuse delightfully throughout the soaring ‘Under the Weeping Moon’, but some of the vocal lines here and in the otherwise poignant closer ‘Days Are Dreamed’ appear rough and tired, the harmonic cleans also seeming somewhat strained – the coruscating yells are staccato and feral enough to win the battle but it’s here that an occasional lack of spark is initially highlighted.
Overall this is a welcome return, albeit seeming a little dated, and it’s very possible that new fans of the scene spawned by these guys might find much to like. Borne out further by the more mature (I’m being kind here, you understand) sound of ‘Walking Shadows’, however, the bouncing, switching sound fails to fully disguise the lack of instantaneous chaos and youthful risk that this kind of music – Meshuggah excepted – largely demands. More energy and some fat-trimming please…
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