R.E.M.’s Alt-Rock gem ‘It’s The End of The World As We Know It (And I Feel Fine)’ has re-entered the charts on iTunes as people are streaming and sharing the track in response to the Coronavirus. The track last appeared on the US Charts on Billboard in 1987 when it was a college radio and later mainstream hit, reaching #39 on their album Document (IRS Records). When the song was re-released as a single in 1991, it reached #67 in the UK. In addition to the public reaction the pandemic, the music industry has been crippled by postponements and cancelations. You can track the tour postponements here: Continue reading
One of the long grave omissions of the DSP music streaming experience, Def Leppard have resolved a dispute with their record label Universal Records and their entire catalog of classic and recent albums have hit all streaming services today. One of the most iconic and commercially popular heavy metal bands ever, selling over 100 million albums in their storied career, and their albums are now available on all services worldwide. Continue reading
Metallica‘s Lars Ulrich is taking his love for music to the air waves. Continue reading
Of Mice & Men’s are releasing their highly anticipated new album Cold World on September 9th from Rise Records. Real is the bands’ second video in advance of the new album, after the release of first track/video ‘Pain’, which racked up more than 2.1 million YouTube views. The single for ‘Real’ which premiered recently on SiriusXM’s Octane ahead of the video treatment.
The video for ‘Real’ is dedicated to the memory of 14-year-old Cassy Colunga, who recently passed away after battling brain cancer. The band first met with Cassy through the Living The Dream Foundation and upon hearing that her condition worsened, arranged for a visit while recording the album. The band and director Max Moore the spent the day with Cassy and her family, brought her to the studio for a preview of the record (she was the first person outside of the band, producer and engineer to hear the album) and recorded her hand-claps for ‘The Lie’, an epic Cold World track that finds frontman Austin Carlile, himself having known the harrows of suffering from a long term illlness venting his frustrations about the medical system and “calling out the one percent for not taking care of the people they should be. “Now Cassy’s name and the sound of her clapping hands are on the record. It’s something that captures that moment and that relationship forever. When we think about everything we went through to make this record, that’s something that we’ll never forget.”
The band worked with The Marfan Foundation, Living The Dream Foundation and St. Jude Children’s Research Hospital and asked fans to submit video footage of themselves holding signs that answered the question, “What makes you feel real?”
Of Mice & Men are finishing out the string of their dates opening for Slipknot and Marilyn Manson wrapping up the remaining dates on their summer arena tour before celebrating the release of Cold World with a string of special album release shows in Los Angeles, New York, Cincinnati and New Orleans. Those performances will see the band performing Cold World live in its entirety for the first time ever. The shows will take place between the band’s scheduled performances at a number of major festivals in the U.S. Tickets are available and bundled with a copy of Cold World. Of Mice & Men’s headlining U.K. tour comes next, kicking off September 30 in Birmingham.
The video was directed by Matt Zane (John 5, Wayne Static, Zakk Wylde, DMC, Orgy) for Lord Zane Productions. Formed by frontman Tony West and guitarist and NYHC legend Todd Youth (D Generation, Danzig, The Chelsea Smiles), ‘Evil Eye’ comes from Blacklist Union’s recent album Back To Momo. The Evil Eye single is now available on iTunes.
[amazon asin=B011QP3IVU&template=iframe image1]
Progressive metal stalwarts Periphery, who released the double album Juggernaut: Alpha and Juggernaut: Omega (Sumerian) in January, have made available JuggerDoc: The Making of Juggernaut, The 45-minute long making-of style documentary is available now via iTunes.
Up to now, the documentary had only been available as a bonus item with physical copies of Juggernaut Omega.
The band recently announced a fall tour of Europe with label mates Veil of Maya opening, in addition to summer time appearances at Spain’s Resurrection Fest and Heavy Mtl Montreal.
Periphery tour dates:
Jul 16: Resurrection Fest- Viveiro, ES
Aug 07: Heavy Mtl -Montreal, QC
Periphery tour dates: with Veil of Maya
Nov 13: Marble Factory- Bristol, UK
Nov 14: Academy 2 – Manchester, UK
Nov 15: The Garage- Glasgow, UK
Nov 16: The Library @ The Institute- Birmingham, UK
Nov 17: Waterfront – Norwich, UK
Nov 19: Koko – London, UK
Nov 20: Muziek-O-Droom -Bristol, UK
Nov 21: Essigfabrik – Koln, DE
Nov 22: Epic Metal Fest – Eindhoven, NL
Nov 23: Markthalle – Hamburg, DE
Nov 25: Sticky Fingers – Gotebord, SE
Nov 26: John Dee – Oslo, NO
Nov 27: Debaster Strand – Stockholm, SE
Nov 29: Tavastia – Helsinki, FI
Dec 01: Lille Vega – Copenhagen, DK
Dec 02: C-Club – Berlin, DE
Dec 03: Proxima – Warsaw, PL
Dec 04: Fabryka – Krakow, PL
Dec 05: Rock Café -Prague, CZ
Dec 06: Szene- Vienna, AT
Dec 08: Backstage Halle- Munchen, DE
Dec 09: Schlachthof – Weisbaden, DE
Dec10: Substage- Karlsruhe, DE
Dec11: Kiff – Aarau, Switzerland
Dec12: R’n’R Arena- Romagnano Sesia No, IT
Dec14: CCO Lyon, FR
Dec15: Razzamatazz 2 – Barcelona, ES
Dec16: Caracol- Madrid, ES
Dec17: Rock School Barbey – Bordeaux, FR
Dec18: Divan Du Monde – Paris, FR
|June 12, 2015, Washington, D.C. – Periphery’s|
JuggerDoc: The Making of Juggernaut, the 45-minute documentary that captures the making of the band’s dual albums, Juggernaut: Alpha andJuggernaut: Omega, is available now via iTunes (http://hyperurl.co/Juggerdoc_iTunes).The documentary had been previously only available as a bonus item with physical purchases of
Juggernaut: Omega.Periphery released
Juggernaut: Alpha and Juggernaut: Omega simultaneously in late January via Sumerian Records, with the pair of releases landing at #22 and #25 on Billboard’s Top 200 (#15 and #16 on the Top Albums chart as well as #2 and #3 on Billboard’s Hard Rock Chart).The band recently announced a European tour for the fall with Veil of Maya opening:
Through a Glass, Darkly: 2014 in perspective
Being asked to reflect back on a year in music, much of it spent in the company of the extreme variety sounds like an easy gig; if truth be known, it’s anything but. When you’re writing, your perspective is skewed by the time of year you were writing your review, the mood that you were in when you were writing it so, as with many of these end of year lists/reviews you are probably wise to see this as just another opinion to add to the many that you have probably already encountered.
It’s de rigeur at this junction to opine on “what 2014 will be remembered for”; experience tells me that we will look differently upon the year past in another twelve months time when its ebbs and flows, challenges, opportunities, highs and lows have had some more time to creep into our collective consciousness and sub-conscious. With that caveat in mind, and probably about to look enormously foolish, my reflection on 2014 looks something a bit like this….
2014 has been an odd year. I think of it a little bit like a boxer. Lots of good sparring, lots of interesting upper cuts and deflected jabs but not one knockdown, championship winning punch of an album that could define a year (in the way that 1991 was dominated by Nirvana’s Nevermind or 1987 got taken by the scruff of the neck by a certain Guns ‘N’ Roses and their insatiable Appetite for Destruction).
I think it’s fair to say that 2014 was a year of not necessarily taking stock, but harrying around the canvas wondering where to land the next haymaker. No one trend truly caught the collective imagination, no one band truly dominated, no one sound sat glue like in our collective cerebellum. That doesn’t mean there wasn’t any great music in 2014 (there was bucketloads of it). The big difference is that you had to seek it out rather than it being a constant presence in society’s soundtrack.
The most debated record of the year was unquestionably U2’s Songs of Innocence which landed in the iTunes accounts of some 500m listeners and is, by some considerable margin, their “biggest” (26m copies and counting) record of the last few years. Most of the debate around the record focussed, somewhat understandably, on the process of getting the music out there as opposed to debating the merits of the actual music- ironically, then, as Songs of Innocence is perhaps the band’s best record in a decade. Similarly, the decision of Taylor Swift to remove her country pop album 1989 from all streaming sites again spoke volumes about the record industry’s travails in identifying a long term business model in an age of change and digital ubiquity.
Over here in the boundaries of extreme music, the mainstream is something that most of us don’t generally give two hoots about but there is, for this writer at least, an ongoing frisson of excitement when one of “our” bands makes a breakthrough into the broader public consciousness. I have never subscribed, and never will, to the notion that our music should remain in the underground- on the contrary, I want as many people to hear the amazing sounds, insights, ideas of much of the stuff covered in Ghost Cult. Consequently, the fairly triumphant return of Slipknot to the top of the Billboard charts and to a ground-breaking Knotfest extravaganza is something to be cherished and celebrated. Likewise, a creatively rich album from Atlanta’s Mastodon in the guise of Once More ‘Round the Sun having an equally critically and commercially positive impact is perhaps proof positive that intelligent, diverse and inexorably heavy music can generate a broad based level of support and enthusiasm.
Part II…. next
“You” was co-written by RICHIE’s daughter, August, who appears in the video posted on RICHIE’s official YouTube page. He explains,
“It must have been four years ago and my daughter, who is now 17, was constantly playing this piece of music on the piano. I finally asked her what it was and she said she just made it up. I set up the microphones and recorded her playing for about seven minutes. Years later, I found this on my hard drive and decided to write lyrics to it over this past summer. The end result is what you see and hear in the video. It is one of my favorite things I’ve done and I’m happy to have been able to collaborate on music with my daughter.”
“Cannibals” made its debut during his recent three-month solo tour, which started in Europe, taking him through Mexico, Brazil, Argentina, Columbia, and Chile, and concluding with a month-long trek of the U.S.
“I did something I’ve never done before on this tour,” RICHIE explains, “which is performing an original composition that has yet to be released. The only place you could hear the song ‘Cannibals’ was at the show, and it went over quite well with the fans. Rather than wait to release the song as part of the new album next year, I figured it would be cool to share the studio version now while it’s fresh in the people’s minds who attended my shows. I was able to collect live footage that was shot during the tour and compile a live video to go along with the song.”
RICHIE has been touring in support of THE ESSENTIAL RICHIE KOTZEN, which was released September 2 on Loud & Proud Records. It’s a two-CD and DVD career retrospective set that encompasses this iconic talent’s entire career of his most essential work: classic material; acoustic performances; bootleg material; and two brand new songs (“War Paint” and “Walk With Me”). The DVD features music videos, acoustic performances, and bootleg material.
Portland riff rockers Red Fang has released a free acoustic EP via http://redfang.bandcamp.com/, recorded this past March in London as an Absolute Music Bunker session for TeamRock.com This comes in time for their upcoming European tour starting tomorrow, July 25th in Neuensee, Germany at Rock Im Wald.
The tracklist is as follows:
1. Failure (Acoustic)
2. Human Herd (Acoustic)
3. Malverde (Acoustic)
4. Failure (Album Version)
5. Human Herd (Album Version)
6. Malverde (Album Version)
The band recently shot a new music video with director David Brodsky (Kylesa, Helmet, Municipal Waste) for ‘The Meadows’ from their Scion A/V 7” release from this past May.
The tour dates are as follows:
Red Fang Tour Dates
Jul 25 Neuensee GER Rock Im Wald
Jul 26 Lichtenvoorde NL Zwarte Cross Festival
Jul 27 Saarbrücken GER Garage
Jul 28 Milan IT Magnolia
Jul 29 Rome IT Traffic
Jul 31 Viveiro ESP Resurrection Festival
Aug 01 Nantes FR Le Ferrailleur – SOLD OUT
Aug 02 Albi FR Xtreme Fest
Aug 03 Colmar FR Grillen
Aug 05 Giessen GER MUK
Aug 06 Augsburg GER Kantine
Aug 07 Jaromer CZ Brutal Assault
Aug 08 Waldhausen AUT Lake On Fire
Aug 09 Chemnitz GER Rock Im Betonwerk
Aug 10 Saint Maurice de Gourdans FR Sylak Open Air
Aug 12 Martigny CH Les Caves du Manoir
Aug 13 Martigny CH Les Caves du Manoir
Aug 14 Pisa IT Musica W Festival
Aug 15 Le Locle CH Rock Altitude
Aug 16 Hasselt BEL Pukkelpop
Aug 17 Biddinghuizen NL Lowlands Festival
Aug 19 Osnabrück GER Bastard Club
Aug 20 Bochum GER Matrix
Aug 21 Charleville Mezieres FR Cabaret Vert
Aug 22 Reading, UK Reading Festival
Aug 23 Leeds, UK Leeds Festival
Aug 31 Seattle WA Bumbershoot Festival – Fisher Green Stage
Earlier this year Red Fang drummer John Sherman was interviewed by Ghost Cult, and he detailed the bands’ philosophy about touring, and playing in front of an ever-evolving fanbase:
“We’re gonna try to win them over even if they’re used to listening to screamo bands or whatever, but see what kind of reaction we could get out of our shit. We had a blast. Sometimes it’s tough and scary playing in front of an audience who you think is going to hate you. It’s also a challenge. We think we can win them over, and often we do. I’d like to think that our band is versatile enough. I have a hard time classifying ourselves so we can play with bands like Mastodon and we could also play with bands like Clutch. It doesn’t have to be super heavy but it can be. It’s whoever we’re playing with.”