Trivium, featuring Matt Heafy [vocals, guitar], Corey Beaulieu [guitar], Paolo Gregoletto [bass], and Alex Bent [drums] — will release their ninth full length, What The Dead Men Say (read our review here), through Roadrunner Records this Friday, April 24. The album, which was produced by Trivium and Josh Wilbur, is available for pre-order at the links below. The band just dropped a new single ‘Bleed Into Me.’ Listen below! Trivium is embarking on a series of release week events. On the actual Friday, April 24 release date, Heafy will do a full album playthrough on his massively popular Twitch channel at 3pm ET / 8pm BST. The band also announced these release week activities:Continue reading
As the chaotic decade of the aughts was closing down, metal’s upper echelon of bands was never in better hands. Few bands embodied the changing of the guard like Richmond Virginia’s Lamb of God who ushered in the decade with New American Gospel (Prosthetic) after famously changing their name from Burn The Priest and really reset the bar of possibility for modern, popular metal bands. The upper tier of genre greats were struggling to find themselves, so along with other leaders of the era such as Mastodon, Gojira, Amon Amarth, and Machine Head, LoG spearheaded a new generation. The five albums (and one live album/DVD) the band put down in ten years really each marked their own distinct high point for the band. Wrath (Epic/Roadrunner) arrived with fanfare and expectations higher than ever. Three years after the slickly produced Sacrament, the band was craving the rawer, more direct approach of their earlier albums and went with producer Josh Wilbur at the helm. Of course, their musicianship was never higher and lyrically the album would touch on timeless themes of American politics, religion, fear-mongering, desperation, anger at systematic injustice, addiction, and self-analysis. Continue reading
As we reported last fall, Of Mice and Men, went right back to work after releasing their successful release Defy (Rise Records) album last winter. Now they are back with the first track from their next release, the blistering ‘How To Survive’. Purchase and stream the track right now!
Metalcore leaders Of Mice & Men released their new album Defy back in January on Rise Records, and are already hard at work on the follow-up! They have entered the studio with producer Josh Wilbur (Trivium, Lamb of God, Gojira), for an as yet unrevealed new release, due in 2019. They also booked a tour opening for Nothing More in 2019 to compliment already announced dates in Europe, with full dates below. Continue reading
As previously reported, Soulfly’s new album Ritual will drop on October 19th from Nuclear Blast Entertainment. The album will feature guest vocals from Randy Blythe of Lamb of God and Ross Dolan of Immolation. The band has now streamed the first official single, ‘Evil Empowered’, which you can hear right now! Continue reading
Soulfly has announced their new album, Ritual, due out this fall, via their label, Nuclear Blast. Produced by Josh Wilbur. (Lamb Of God, Megadeth, Gojira) who also worked with Max Cavalera on the Killer Be Killed release. Watch fan-filmed footage of a new song, ‘Summoning’. perform live, last month in Europe. Continue reading
As promised, Soulfly entered the studio last night to begin recording their eleventh studio album with producer Josh Wilbur. Continue reading
Soulfly will be entering the studio with producer Josh Wilbur later this month to begin recording their eleventh studio album, and we have our first taste of the new material today. Continue reading
Megadeth is streaming the title track from their up coming album Dystopia, which releases on January 22nd from Universal/Tradecraft. You can hear the track at this link or below:
Produced by frontman Dave Mustaine, Dystopia was recording in 2015 Nashville, Tennessee and mixed by Josh Wilbur (Lamb Of God, All That Remains, Gojira).
Regarding the concept of Dystopia, Mustaine commented:
“I’ve had this outlook for a long time that the world is a really good place with some bad people in it. Others might think the opposite. But I think if you were to take a consensus of people, they know the difference between right and wrong.”
“People have manners and morals — but lately there’s been a decline in how people treat one another. That’s where ‘Dystopia’ comes in. If people don’t start loving each other and helping those in need, then when that becomes more important than power, fame or money, then I think we’re going to be okay.”
Dystopia marks the debut of Megadeth’s new lineup, featuring Mustaine (guitar, vocals) and David Ellefson (bass), with drummer Chris Adler (Lamb Of God) and Brazilian guitarist Kiko Loureiro (Angra).
Dystopia track listing:
01. The Threat Is Real
03. Fatal Illusion
04. Death From Within
05. Bullet To The Brain
06. Post American World
07. Poisonous Shadows
08. Look Who’s Talking (iTunes bonus track)
09. Conquer Or Die
10. Lying In State
11. The Emperor
12. Last Dying Wish (iTunes bonus track)
13. Foreign Policy (FEAR cover)
Bonus Track: Melt The Ice Away (Budgie cover).
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Building a core but steady fanbase out of their roots within the New England metalcore scene, All That Remains have moved forward by revamping their sound and winning over new audiences. They found themselves performing at Knotfest 2015 in Devore, CA and Aftershock 2015 in Sacramento, CA where they were promoting their latest album The Order Of Things (out now via Razor and Tie).
Frontman Phil Labonte shared his thoughts on their weekend:
“It was great. It was really, really cool. Playing a fest like this with all of these heavy bands, we haven’t played a show that consisted of mostly heavy bands in a long time. So we took our set list and adjusted it. We brought back some of the older, heavy ones and stuck them in there. It’s nice to be able to do that.”
“Yesterday we played Aftershock. Shinedown was playing so it was more of a rock…they had heavy bands without question but it was really more of a rock kind of thing and we adjusted the set for that. Today we’re playing with more heavy bands so we were set for that. It’s cool to have that kind of versatility.”
What was the highlight of playing Knotfest? “Playing the show was the best thing. Playing in front of that many people and having the kind of reaction that we had. Kids are singing along and going crazy. It doesn’t get any better than that. That’s the reason we do this.”
He also shared his thoughts on Aftershock. “Same thing – very similar. A lot of the same bands are playing today that were playing yesterday. Bring Me The Horizon is playing. Slipknot played last night. They’re playing here tonight. [It is] a lot of the same vibe.“
Following this weekend, All That Remains has been a regular playing the growing American festival circuit, and had previously hit some of the European festivals in the past. While the European ones have a storied past, he compared the two and how it affected the band.
“We’re a much bigger band in the US than in Europe. We don’t really have a label still after all these years in Europe. We get a lot more press coverage and a much better slot on the bill and people know our stuff better in the US. So for us, it’s much more enjoyable and it’s much better to play the US shows.”
Is there any weirdness playing more melodic tunes after their focus was on the heavy side for so long? “Nowadays no because we’ve been doing stuff that’s played on rock radio since 2008,” he said, on the subject of their stylistic shift. “Right now we’ve had a number one on ‘A War You Cannot Win’ and a number two on ‘A War You Cannot Win.’ We had multiple top fives and multiple top tens so we’ve had a real history at rock radio, so it doesn’t feel odd or weird. We’ve lived in both worlds for a long time now.”
He shared his thoughts on whether he noticed if their audience has attracted more from their recent success at rock radio.
“There’s a significant amount of our fans that come from rock radio. Metal fans are kind of finicky and even though they don’t like to admit it, they do follow trends. There’s a lot of bands that came out when we came out that really aren’t bands any more. It’s because the trend that we got caught up in or were part of, it ended. If there is a trend, there’s only a couple of bands that make it out alive.”
“Essentially you’ve got Killswitch Engage, Lamb of God and you’ve got us. It’s really about it for all of the bands that came out at that time in the early part of the 2000s. We’re the only bands that are left. The fact that we managed to get out of the trend and have our own sound and have our own career independent of the New Wave of American Heavy Metal, that’s cool.”
Over their past few albums, the band has visibly shifted away from their heavier metallic sounds in favor of incorporating clean singing and stronger harmonies. Labonte was quite open about his dislike of their previous album, 2012’s A War You Cannot Win, and felt working with producer Josh Wilbur helped bring out more of their strong points of their sound. Through that, he felt that helped attract a bigger audience for them plus allowing them to transcend their metalcore origins.
“It was more of a challenge to come up with stuff that I was satisfied with. I was fairly dissatisfied with the last record that we did. There was a lot of stuff I had to criticize about it. So it was a lot more work with me and Josh [Wilbur], working on the vocal melodies, making sure that the stuff we were going to put down was really what we wanted to do and not forcing stuff in. If it seemed like it wasn’t working, then we’d change the style.”
“There’s a song on the record called “No Knock” that’s all screaming all the way through. We were trying to come up with an idea that was kind of Alice In Chains-y because the riff has a bent and a swing to it, but we could get something that we liked. We were like scream through the whole thing. That kind of versatility and having that ability is something that we really utilized a lot on this record. It worked out pretty well for the singing stuff that we came up with was really strong.”
One visible change within All That Remains is the loss of longtime bassist Jeanne Sagan, who left the band in September. Former Devildriver bassist Aaron “Bubble” Patrick came in and filled the role immediately.
“We’ve been touring with him for a long time. The first tour we ever did with him was when he was in a band called Bury Your Dead. That was in 2006. We’ve known him for a long time. We have a lot of the same friends. He’s working with a lot of bands that we know. He started being our tour manager and working for us last year in June. He tour managed us for a year and some change and then Jeanne decided that she wanted to leave. It was a real easy fit.”
“We were supposed to play Japan. If you get someone that quits…getting into Japan you have to have a visa in advance so fortunately because we decided to go with our tour manager as our bass player, we didn’t have to cancel the show.”
While they parted on amicable terms, Labonte clarified the reasons behind Sagan’s departure from the band. “She’s engaged. She met a guy and they’re getting married. She joined his band and wanted to focus on him and working on his band. We’re like…it’s cool. Totally amicable and I know what it’s like to be separated. I’ve been married for a couple of years now so I know what it’s like to miss home.”
While All That Remains has made significant progress in the US, their overseas progression has been steadily growing but not quite the way they would like it to go.
“We’ve been to Europe…maybe ten times? We just came back. We were there this summer and it was I think our eleventh trip. We do go over periodically but unless we get our label to get some heat over there, there’s not a whole lot we can do.”
Lastly, Labonte has drawn much attention for his overageous non band related comments in the press and on social media over many political issues, and has drawn public outrage along the way. He shares some of his favorite internet rumors he has learned about himself and his thoughts on fuelling the controversy.
“I heard I did cocaine…a lot….and which I don’t. Every stereotype that people throw at people in bands they’ve thrown at me. Every stereotype you can throw at someone who has unpopular opinions, they’ve thrown at me. It doesn’t matter. My response is do more.”
“There’s this guy named Milo Yiannopoulos. He’s a brilliant guy. I heard something he said and I’ll get the quote wrong – ‘when you’re dealing with people who are outraged at everything, the only option you have being more outraged.’ If people get all kinds of upset because you had the audacity to think a thought, or say something on the internet or type that into your status line, they get really upset about that. The only option you have to say things to make them even more upset. [It’s] because they’re literally upset about nothing. They’re upset because someone might have a different idea in their brain than they do. They think ‘well…I have to let the world know that this person is, in my opinion is wrong. Your opinion of that person being wrong is no more valuable than the other opinion you’re upset about. So get fucked!”
“Once you’ve said something that’s offended them, then it’s easy to keep them wound up. That’s the fun part.”
Being a Libertarian and often siding on viewpoints unpopular within the American public, Labonte claims his views often gets twisted and becomes the subject of web news everywhere. Considering how outrageous some of his comments is shared, he was not surprised by any of this.
“Everything gets twisted. Any chance that someone can twist something around to make a headline on a blog they’ll twist it as much as they can just to get the click. The click is what they want. You click on the link, that goes to their views and that could sell their ads for more money. The more outrageous the headline is the better. But I’ve heard everything from I’m a racist to I’m a bigot to I’m a misogynist…every slanderous thing you could come up with.”
“I’m a Libertarian and I don’t think the government should be involved in people’s lives excessively. Maybe the government shouldn’t be taking care of the roads…you don’t want roads. No I didn’t say I don’t want roads. Maybe government shouldn’t be involved in education. You don’t want kids to be educated. No I didn’t say I didn’t want kids to be educated. So as soon as you say maybe the government shouldn’t be doing this or maybe this shouldn’t be something we should leave up the bureaucracy of whatever, then automatically you don’t want that. Maybe the government shouldn’t be paying for people’s healthcare – you want people to get sick and die. People always do that and twist it around to make it sound shocking.”
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