Filter has signed a new record deal with Golden Robot Records. The brainchild of Richard Patrick has had multi-platinum album sales, headliner status, and critical acclaim. The band is best known for their enormous worldwide hits, “Hey Man, Nice Shot” and “Take A Picture.”Continue reading →
The Kings of Quarantine, led by members Slaves on Dope previously dropped an awesome cover of Faith No More’s “We Care A lot” with a gang of rock and metal stars. Now they are back and covering Jane’s Addiction’s Alt-Rock classic “Mountain Song!” The clip features Wes Borland (Limp Bizkit), Tanner Wayne (In Flames), P-nut (311), Louise Post (Veruca Salt), Richard Patrick (Filter) and, Bert Mccracken (The Used). One hundred percent of the profits for “Mountain Song” will be donated to ROADIE RELIEF, a fundraising effort to aid qualifying Roadies who have submitted an application for financial help during the Covid-19 crisis. Watch it now!
Multi-Platinum Rock band Filter is celebrating the 20th anniversary of their sophomore album Title of Record with a deluxe reissue, due out on August 9th via Craft Recordings. The album will be available in various formats including vinyl, CD and include many bonus track and exclusive liner notes. All formats are expanded featuring four bonus tracks: ‘(Can’t You) Trip Like I Do’ (originally recorded for the cult-classic soundtrack Spawn The Album), ‘Jurassitol’ (previously released on The Crow: Original Motion Picture Soundtrack), plus remixes of the singles ‘The Best Things (Humble Brothers Remix)’ and ‘Take a Picture (H&H Remix).’ Both the two-LP set, and CD will feature new liner notes by author, journalist, and Side Jams podcast host Bryan Reesman. The expanded digital album also offers five additional rarities, including a live version of ‘Take A Picture,’ ‘The Best Things (Dub Pistols Club Mix)’ and more. The band is streaming one of those tracks, a live version of their smash hit ‘Take a Picture’ live from Hammerstein Ballroom in 1999, which you can hear below. Continue reading →
Filter has returned and needs the help of their fans to join in the creative process for their new album. Great news: for the first time in over 20 years, the original founding members – Richard Patrick and Brian Liesegang are making a new Filter album together. Both men have had distinguished careers together and apart, so this is exciting news for Filter fans. The band has launched a Pledge Music campaign (Sevendust, Judas Priest, Collective Soul) where the fans will help with the direction of the material, choose the final album title, and of course, purchase limited edition and custom merch earlier than the release pre-orders. Continue reading →
You think I’d have learned with Slugdge. That whole book/cover, band/band name thing is long established by now… So, let me start by saying loud and clear, judge Awooga by their band name maybe not at your peril, but most certainly at your immense loss. Because debut full-length Conduit (Rockosmos) is truly excellent ,and if every person that finds something of interest in the barrage of words I’m about to spew about them goes and checks them out, and passes on the name to a friend or two, we have a chance of getting this quite special new band the coverage they deserve. Continue reading →
Monster Energy Carolina Rebellion has been confirmed for May 6, 7 and 8, 2016 at Rock City Campgrounds at Charlotte Motor Speedway in Concord, NC. Confirmed acts so far include:
Disturbed The Scorpions Rob Zombie ZZ Top Five Finger Death Punch Shinedown Deftones Lynyrd Skynyrd A Day To Remember 3 Doors Down Alice Cooper Bring Me The Horizon Cypress Hill Pennywise Lamb Of God Megadeth Ghost Sixx:A.M. Anthrax Collective Soul Clutch The Sword The Struts Asking Alexandria Yelawolf BABYMETAL Pop Evil Bullet For My Valentine P.O.D. Sevendust Hellyeah Between The Buried & Me Parkway Drive Black Stone Cherry Saint Asonia Trivium Escape The Fate August Burns Red Turbowolf Enter Shikari Sick Puppies Filter Candlebox Tyler Bryant & The Shakedown New Years Day Aranda Thousand Foot Krutch Red Sun Rising Texas Hippie Coalition Hands Like Houses Code Orange Failure Anthem Avatar Lacey Sturm The Glorious Sons From Ashes To New Wilson I Prevail Monster Truck Audiotopsy Wild Throne RavenEye
With a stellar canon in their back pocket, Shihad are arguably New Zealand’s greatest rock export, with five number one albums in their home country and a slew of alternative rock anthems to rely on for their vaunted live performances. While FVEY has been available in the Southern Hemisphere, since August last year, 2015 sees it breaking through the surface in the northern half of our planet via a PledgeMusic campaign.
The first thing to note is that Jaz Coleman (Killing Joke) is once more at the production helm, turning in a crystal clear, juddering sound that particularly suits the heavier, clanking grooves of the opening tracks, of which ‘The Big Lie’ takes the most plaudits with powerful heaves of guitar mugging before Jon Toogood invites you to share in a great chorus. Elsewhere, Coleman adds touches of appropriate class as the adrenaline drains away to more mid-paced lurches as the album progresses, ‘The Great Divide’ in particular touched by the dark rock of Coleman’s day job.
Kicking out the jams with the rockers and a run of songs that are reminiscent of Filter at their loudest, the album turns more brooding as it progresses, while still maintaining sufficient energy to stop matters from tailing off before ‘Model Citizen’ convulses and spits to pick up the aggro, and ‘Wasted In The West’ has a neck-snap that builds to an understated, chorus over a barrel of guitar.
FVEY (or Five Eyes – a reference to an intelligence alliance comprising Australia, Canada, New Zealand, the US and the UK) adds the nous and cynicism of a band with their heads and foil hats screwed on to the class and depth of seasoned professionals yet manages to avoid sterile songwriting, even though the album pacing could have been helped by one of the rockers appearing later down the order.
At this stage in their twenty-six year career, Shihad could release good albums in their sleep; their stomping intros, questioning verses and intelligent choruses could almost write themselves. Yet their renewed focus and vigour, aided by the cerebral touches of Coleman’s production, answer the question the band themselves pose in ‘Think You’re So Free’, where Toogood hollers “Do you think we’ll wake up?”
Shihad are wide awake, five eyes open, and back at the top of their game.
Yes, Coal Chamber and Filter sharing a tour in 2015. Not too bad for a couple of bands that were regularly appearing on Dimension Films’ soundtracks 15 years ago.
For attendees like myself the night was an odd nostalgia trip to the Family Values Tour days, but to most in attendance who haven’t learned to part with their Tripp pants it was a reaffirmation. In a crowd fully donned in leather, spikes, smeared makeup, top hats, goggles (I kid you not) I felt oddly exposed and slightly out of place in my blue jeans and Shai Hulud hoodie. But this is not a knock on those who prefer their pants extra baggy and wallet chain excessively long. If anything, I salute you. Your fashion choices show that you have stronger convictions than I could ever have.
American Head Charge, Photo by Meg Loyal Photography
I am glad to report that American Head Charge still show a lot of the promise that surrounded them during releases like The War of Art and The Feeding. The rampant personnel changes and hiatus gave me worry, but see them tear into tracks like ‘Ridicule’ and ‘All Wrapped Up’ put all my woes to rest. It could be their inability to find a supporting label, but I wonder why they aren’t more successful? Their combination of heavy, catchy songs with strong clean vocals suggests that they should be sharing the stage with Five Finger Death Punch at the least. If the new material they premiered live was any indication, they can still live up to those expectations.
Combichrist, Photo by Meg Loyal Photography
Not so promising for me were Combichrist. Their brand of industrial metal was lost on me. People have informed me that the particular genre is known as “aggrotech”. Their excessively black attire and makeup seemed bordering on every metal cliché in the book. While some may say the same about the night’s headliners, I feel like Coal Chamber have a tongue in cheek quality to them. Combichrist plays their electronic/metal mashup a little too seriously. So much so that songs like ‘Never Surrender’ and ‘What the Fuck is Wrong with You?’ just come across as juvenile. Next time just smile a little more, guys. And let some more live drums and guitars into the mix.
Filter, Photo by Meg Loyal Photography
On the opposite end of the musical and visual spectrum, Richard Patrick led a fresh lineup of Filter though a nine song set that touched upon their entire discography. I’m serious about that entire discography bit. They even busted out ‘(Can’t You) Trip Like I Do’ from the Spawn soundtrack. Good song from a not very good movie. The new lineup had the material down pat and Patrick was spry even though his voice has gotten raspier over the years. He was also quite vocal about his respect for the troops and his disdain for Beyonce and her pop contemporaries. He’s really not happy about her. Like he’ll bring her up on three separate occasions before starting the next song. While it was quite nice to cap off the set with staples ‘Hey Man, Nice Shot’ and ‘Welcome to the Fold’, I would’ve loved to hear that rock radio mainstay ‘Take a Picture.’ I’m sentimental about the 90s like that.
Coal Chamber, Photo by Meg Loyal Photography
Years of regular gigging since their 2012 reformation has paid dividends for Coal Chamber’s morale and live performance. Aside from vocalist Dez Fafara’s quickly graying hair, the energy on display by the band rivaled any of their younger counterparts. Wasting no time or momentum they started things off with mainstay ‘Loco’ and ‘Big Truck’ setting the stage for a set list heavy with numbers from their 1997 self-titled debut. While it was great fun to indulge in nu-metal jams like ‘Oddity’ and ‘Sway’, Coal Chamber made sure to showcase its new tunes. Fret not Coal Chamber faithful, ‘I.O.U. Nothing’ and ‘Rivals’ groove just as good as anything else in their catalogue live. But for this writer’s money the best bits of the night came in the form of Dark Days songs like ‘Rowboat,’ ‘Something Told Me’ and that album’s title track.
Coal Chamber, Photo by Meg Loyal Photography
Coal Chamber, Photo by Meg Loyal Photography
The real ace in the hole for Coal Chamber is their live production. They are aware that they aren’t bringing Rush levels of songwriting. Let’s face it, Coal Chamber songs aren’t the most dynamic in metal. And that’s fine because with this Fafara venture it’s about having fun. Apparently borrowing Rob Zombie’s DVD collection, every song is backed by macabre/entreating horror film footage from yesteryear. To add even more visual flare they also bring one of the most elaborate light shows I’ve seen for a Palladium show.
The dream of the 90s was very much alive in Worcester last Saturday night. Cheers.