Purchase And Stream All The New Music Released Today!
Purchase And Stream All The New Music Released Today!
Sad news on the Festival and Convention front as the long-running Rock and Shock Festival in Worcester, Massachusetts has disbanded after 15 years. The announcement was made in a post to social media about the festival canceling all further festivals. The fest paired the best Horror convention and concert series in the USA and made use of both the famous Worcester Palladium venue and the convention center at the DCU Center up the block. Ghost Cult covered many Rock N Shock fests which featured incredible conventions, horror celebrities, amazing vendors , indie films, headliners such as Rob Zombie, Alice Cooper, Disturbed, Danzig (including a pre-reunion Misfits headline set with Doyle), ICP, Ministry, GWAR, King Diamond, Type O Negative, Lordi, Disturbed, Mushroomhead, Voivod, Amorphis, Twiztid, Dark Tranquility, Hatebreed, Devildriver, Motionless In White, Death Grips, Superjoint, Wednesday 13, Sabaton, Prong, Witch Mountain, Sanctuary, Soilwork, OTEP, Shadows Fall, God Forbid, Cavalera, Conspiracy, Anthrax, Overkill, Misfits, and more!Continue reading
Check out all of today’s new releases in the music world!
Rockharz Open Air has added a flurry of new bands for this July’s festival! Soilwork, Omnium Gatherum, Grave, Lordi, Visions Of Atlantis, Burning Witches, Combichrist, Elvellon, Hell Boulevard, J.B.O., Lacrimas Profundere, and Witt have joined the event. The fest already boasts Amon Amarth, Dimmu Borgir, Saltatio Mortis, Children of Bodom, Cradle of Filth, Hypocrisy, Epica, DragonForce, Wintersun, Korpiklaani Overkill and many more! Rockharz Open Air will take place at Flugplatz Ballenstedt from July 3rd to July 6th, 2019. Tickets are available now at the link below.
Myrkur has generated lots of attention, and seemingly Amalie Bruun, primus motor, has received threats to her life for being a female musician doing the post black metal thing. It seems to be the ultimate blasphemy to certain individuals, that probably haven’t been there from the inception of the scene nor have they understood the rebellious primary foundation of the initial scene, where most of the legendary figures embrace both musical diversity and experimentation. I must admit to first seeing it as yet another cash-cow of everything that is black metal, like most things these days, it seems. However, with the release of her début album, M (Relapse), she won me over. Therefore I really wanted to catch her full set, as this would be my first exposure to her music in a live setting. Sadly, we didn’t manage to be at the festival site until Myrkur were in the middle of their set. Yet, even from afar, in between all the bustle from festival-goers elsewhere on the site, her angelic voice penetrated and created a welcoming atmosphere.
Gojira were simply incredible! It’s not the band I have played the most, although I became a fan around From Mars To Sirius (Roadrunner). But as a live band they are simply amazing! The level of musicianship, the songs’ ability to balance brutality and catchiness… It’s simply one of the best live bands in the metal genre these days, just like Behemoth. Both bands are able to create this energy that just makes the audience feed from it for the entire time the show lasts. With a set consisting of twelve songs, and with a good variation of songs from all their five albums, the show had a little for everyone of their fans. But maybe the most spectacular about the show was seeing them perform ‘Stranded’ live for the first time. That song manages to take some minor details and create an enormously catchy extreme metal song.
The mood was entirely different as we entered the tent stage again to catch Swedish gloomsters Katatonia. The band used to struggle live, but has since the mid 2000’s also become a live band worth catching. Their new album, The Fall Of Hearts (Peaceville) is really good, and it was nice to get to hear a couple of songs from it. The only negative aspect of the show was really that it didn’t last long enough, and that they neglected their back catalogue somewhat. Then again, they played ‘Nephilim’, and ‘In The White’, two personal favourites of mine, and two songs I never had expected for them to play. And of course the band played the hits, and by saying that, I am thinking of ‘My Twin’, and ‘July’.
Finishing off the Tuska experience: Children Of Bodom. Actually they seem to be more about calling themselves The Children of Bodom Hate Crew these days, which makes Alexi Laiho slightly come across as an emo boy at 37 years of age with mascara and nailpolish and an attempt at the teenage rebellion thing going with his image. Musically on the other hand the band are rock solid, and if you enjoy seeing keyboards tilted forwards to show off solo skills or you enjoy endless solos more reminding of power metal than extreme metal, I’m sure this would be the show for you. I, as you might have figured out, think Children Of Bodom are a bit too cheesy to my taste. I enjoyed my sixth serving of muiku immensely more than this last Tuska headliner.
WORDS BY PÅL LYSTRUP
PHOTOS BY TJ FOWLER PHOTOGRAPHY
Saturday was hot, and very very bright, and somehow the head had felt better. With a yearning for some sunglasses, it was time to get to the main stage and catch Primordial’s set. The band where one would think it was a solo performance with some backing musicians, but it has always seemed like nobody minds Alan Nemtheanga stealing the spotlight. Seven songs with what one can only assume is filled with the struggle of Irishmen and dissatisfaction with modern times – of course without any countering solution, but at least in ‘Bloodied Yet Unbowed’ what seems to be a defense and rationalization of black-and-white thinking.. But it’s good fun! And who were we to ever expect intellectualism or deeper psychological self-awareness from extreme metal, and to most of us I expect the intellect to seek out food for thought elsewhere.
Next up was Tsjuder, the festival alibi for true Norwegian black metal, anti-life anti-human, so on and so forth. Right from the start no energy was saved as the band kicked off their set with ‘The Daemon Throne’ and ‘Slakt’. What from afar looked as a tent crammed to the brim with people actually turned out to be a half empty in the front towards the stage. Apart from the disappointment in terms of turnout, it didn’t seem to have any effect on the band, who kept the audience on their toes throughout their entire set. In terms of putting on a proper show the trio may have fallen short though, compared to other bands. Not that primitive black metal was ever about putting on a show – or so they would probably claim –, but three guys in makeup on a large stage lacks a little in terms of the visual aspects.
Back at the main stage Anthrax was about to prove that age is no limit to putting on a good show. As someone said: “I’m amazed at how they still have all that energy and jump and run around on stage as if they were still teenagers”. Indeed this was true, the band were on fire! Yet, it was somewhat special to have crossover thrash metal legends on stage for ten songs, when one fifth were actually covers. Then again, their own songs included ‘Indians’, ‘Caught In A Mosh’, ‘Madhouse’, and they did finish it all off with ‘Among The Living’. As this for some reason was my first time experiencing the band live, I can’t say anything else than that I would sure like to be able to experience it again sometime. On our way to catch Anthrax we were also able to visit the smaller Inferno stage at the other side of the festival area. On stage Jess And The Ancient ones were seemingly pulling of a great gig, but staying at the smaller club scene was not an option when Anthrax were set to perform, as much as the Finnish band recently released a great album.
Finishing off the second day of the festival were none other than Ghost, the band that have grown to mega size over the course of just three albums. The melodic rock had people come from all sorts of places to catch the band live, at least judging from the people I was able to talk to before, during, and after the show. Where the first album was a bit more on the hard rock side of things the music has also taken a turn towards the more poppy. And there’s nothing wrong with that, it’s just that love songs about the devil seems a bit far out there, and almost completely surreal. The lyrics could just as easily have been about the more worldly concepts of love, but I guess the satanic stuff makes it a little more mysterious, or something like that. I think it’s starting to become slightly cartoonish by now. That the weather turned full on Marvel with thunder and lightning as they finished off their set only seemed even more fitting.
WORDS BY PÅL LYSTRUP
PHOTOS BY TJ FOWLER PHOTOGRAPHY
This was my second time in Finland, the first stay having taken place as recently as during last December. Back then I experienced Finland, all the way from Helsinki to Jyväskylä, as mostly pitch black or artificially lit up. The contrast to a hot and sunbathed Helsinki was immense. Was this what the city looked like in proper lighting? Was this even the same city? The architecture seemed typical Scandinavian, the people and concepts quite alike those I was used to at home, in Bergen, Norway. However, during the first hour after we stepped off the boat from Stockholm I had Muiku, a Finnish dish, basically consisting of small fishes that were fried, salted and served with garlic sauce. I was sold! This delicious genocidal maritime creation set the tone for the stay at Tuska. It might have looked like a bunch of sardines crammed together, and one might imagine it to be an experience easily forgotten, even one had wanted to forget. However, muiku, like the Tuska festival isn’t easily forgotten, and I have a feeling that the festival will see me again, probably with a tray of these delights of the sea in hand.
Tuska was one smoothly run festival, everything organized and probably streamlined over the course of the years since its inception back in 1998. From picking up our passes, to buying beer in time for opening act Cattle Decapitation, it all proceeded with smiles and an air of general politeness. The audience turnout for the band of American grindcore purveyors was even much better than anticipated, and as ‘Manufactured Extinct’ aired from the massive speakers in the front, it seemed that all was set for a proper open air experience. Somehow, even though the band aren’t about theatrics or any dark overlord, Cattle Decapitation seemed a little off in sunlight. I don’t know what it is, but somehow sunlight seems to take that aggressive edge off the music, and it’s usually the only real drawback to these outdoor summer festivals that start early in the day.
On our way to catch Kvelertak we made time to catch some twenty minutes of Lordi. The band looks like something left over from the He-Man franchise in terms of the way over-the-top costumes and stage props. As for the music it’s pretty dumbed down heavy metal, probably catering to the fans of catchy tunes and sing along choruses. It’s easy to see how it gets a following, although for the ones among us that prefer our metal a little more extreme, it falls short of being all that impressive. Of the Norwegian eclectic ensemble of Kvelertak there was something else to be said. They were impressive in both sound and in how the minimalist approach they had seemed to get a huge crowd at the Helsinki stage (second largest stage, in a tent) going, fist pumping and headbanging, and even, from the looks of it, singing along to their Norwegian lyrics. Especially the songs off the new album seemed to get on well with the audience, and maybe especially so ‘1985’ and ‘Bersekr’. It’s pretty obvious that this is not the last Tuska sees of Kvelertak, at least not judging from the response.
The wait to see Behemoth perform the entirety of their The Satanist (Metal Blade) was shortened considerably by how the veterans in Testament made time a negligible concept during the hour they played the Radio Rock main stage. Twelve songs in total, and all the classics from starter ‘Over The Wall’ to ‘The Formation Of Damnation’ that rounded up their set and gave us five minutes to get to the tent stage and some real damnation. But first it was all about stocking up on beverages at the beer tent, and grabbing yet another serving of those lovely small fishes, muikku. It’ s like a good version of french fries, though it’s fish. Topped with garlic dressing it becomes the junk food of the gods – or beer swinging Norwegians. It must be said that the prizes for beer were almost as high as back in Norway. Granted it was probably 2EUR less than back home … And hey, I forget, there was also a 1 Euro return to be had if you handed in your empty can. I think I at some point paid 11 Euros for a bottle of Brooklyn lager. Now that is madness, and not just on my own behalf. According to my sources it will also be possible to enjoy alcoholic beverages outside the specific fenced off sections from next year, due to new Finnish laws. That means it won’t be necessary pretending to drink soda from paper cups anymore. Anyways, the partying was mostly in the parking lot outside the festival area. Everyone sat down on the lawns in the sun, played music from portable stereos, and from the looks of it most were in the good festival mood, were we all share the fun with each other. I can’t say that I saw a single fight or argument during the entire stay at Tuska.
At five to nine Behemoth took to the stage, led by mastermind Nergal. Flanked by bass player Orion and second guitarist Seth, and backed by drummer extraordinaire Inferno, Nergal commenced the task of delivering the audience a run-through of their last album, back to front. In other words the band did all of The Satanist, even the closing track, the bombastic ‘O Father, O Satan, O Sun!’. What separates Behemoth from many other bands is the professionalism, be it both in choreography, playing, and in general showmanship, be it Nergal’s communicatiopn with the audience or the stage props and pyrotechnics. They don’t just offer a concert, they offer an entire package, and ever since I saw them in the early 2000’s they have just kept getting better and better at this. Behemoth blew us all away, again, and even threw in three extra songs as an encore; ‘Ov Fire And The Void’, ‘Conquer All’, and the classic ‘Chant For Eschaton 2000’, from what has always been my favourite album, the ferocious Satanica.
As we tried gathering ourselves after being utterly blown away by Behemoth’s performance, we caught some songs from Avantasia. It seemed as if the crowd in front of the main stage were having a blast, but as this was just as little my cup of tea as Lordi, we choose to move on and into the night. Because when in Finland you do as the Finns do, which seemingly means partying till you eat table plants and fall off chairs, after everyone has helped emptying the entire tax-free liquor cache.
WORDS BY PÅL LYSTRUP
PHOTOS BY TJ FOWLER
The documentary on the Finnish band Lordi, Monsterman, directed by Antti Haase, will get an international premiere on Saturday, May 9, 2015 at the DOXA Documentary Film Festival in Vancouver, BC, Canada. The film was produced by Illume Ltd (Finland), in co-production with Film i Väst AB (Sweden), JAB Film AS (Norway) and Common Ground Pictures AB (Sweden). Watch the trailer below.
The film tells the moving story of the heavy metal monster band, which unexpectedly won the 2006 Eurovision Song Contest and its frontman Tomi Putaansuu, a.k.a. Mr. Lordi. It is described as “a real-life drama about a boy who wanted to be a monster and who did everything to live his dreams.”
Director Antti Haase will attend the DOXA Documentary Film Festival from May 4 to May 11.
Here are the “Top 25″ albums I heard this year that didn’t quite make my Top 25. Maybe there’s something in this for you to check out?
As is always the way I’m discovering more great albums from this year now from everyone else’s lists, so, looking forward to checking out Code Orange, Indian, Krokodil, Hark all amongst others!
ANAAL NATHRAKH – Desideratum
Relentless anarchic vitriolic mix of black metal and intense industrial. Reviewed this one – you can read the review here: https://ghostcultmag.com/anaal-nathrakh-desideratum/
ANTROPOMORPHIA – Rites ov Perversion
Old school influenced Death Metal. Good vibe. Nowt new, but bloody well done. Reviewed this one n’all: https://ghostcultmag.com/antropomorphia-rites-ov-perversion/
ARCH ENEMY – War Eternal
Best one they’ve done since Burning Bridges. New vocalist is better than Gossow too. Ha, another I reviewed if you’re interested. https://ghostcultmag.com/arch-enemy-war-eternal/
ARTIFICIAL BRAIN – Labyrinth Constellation
Mental Death Metal.
AUTOPSY – Tourniquets, Hacksaws & Graves
More great Autopsy, innit
COFFINWORM – IV.I.VIII
Hateful, with big, skull crushing riffs. Heavy, weighty. Bit of sludge, bit of doom.
CONAN – Blood Eagle
Epic, heavy doom, innit. Reviewed n’all: https://ghostcultmag.com/conan-blood-eagle/
DARKEST ERA – Severance
Bit of trad, bit Celtic, good riffs, strong vocals. Promising. Good band, good album. Another I wrote about. https://ghostcultmag.com/darkest-era-severance/ (Not necessarily the song I’d have chosen for a vid, but decent enough)
DELAIN – The Human Contradiction
Poppy, bit more symphonic than I was expecting. Went down a storm at Wembley with Within Temptation too.
DEVIN – Dark Matters
Aka Ziltoid 2. The heavier, more symphonic, more metally of the two parts of the double album. I like it, just a bit too much monkeying around at the expense of the songs, for me.
DRAGONFORCE – Maximum Overload
Not quite as good as ‘The Power Within’ but still proving they write better songs since changing vocalists. Some belters on here, tbf.
ENGEL – Raven Kings
Like In Flames, but heavier guitars and catchier choruses. I like this one (well, I like them all on here, or they wouldn’t be on here, but this surprised me). Wrote about it, too. https://ghostcultmag.com/engel-raven-kings/
EPICA – The Quantum Enigma
Took a few listens, but once it clicked, there’s a lot going on but it’s bloody massive. Symphonic to the max. Another I wrote about. https://ghostcultmag.com/epica-the-quantum-enigma/
GRAND MAGUS – Triumph & Power
Ronseal Metal. Doesn’t quite compare to Hammer of the North or Iron Will to me, but big Valhalla filling songs. Very enjoyable, if no surprises. Another of mine. https://ghostcultmag.com/grand-magus-triumph-and-power/
I AM HERESY – Thy Will
Haven’t listened to it for a while, but appealed a lot at the start of the year, and a good combo of metal and hardcore that mixes it up a bit. https://ghostcultmag.com/i-am-heresy-thy-will/
JOB FOR A COWBOY – Sun Eater
Took me by surprise this one. Adding a large dose of Ulcerate to their sound, but all the better for it. Rather than rattle clattering through a load of sterile overly tight DM/core, they wrote some (very) heavy songs, too.
KING 810 – Memoirs Of A Murderer
The marmite album of 2014! Ha, I liked it. Big angsty anthems. Not perfect, but some quality tunes. Korn meets Slipknot fo’ sho’, but some different stuff going on too. Another one off the review list! https://ghostcultmag.com/king-810-memoirs-of-a-murderer/
LORDI – Scare Force One
I like Alice Cooper. I love King Diamond. This mixes the two with aplomb, delivering a monster munch bunch of good fun tracks. https://ghostcultmag.com/lordi-scare-force-one/
MORBUS CHRON – Sweven
Interesting album, this one. Don’t think I’ve quite given it all the time it deserves, but another I’ve liked this year that doesn’t just sit in a box. It starts from Death Metal but doesn’t stay there.
OBITUARY – Inked In Blood
Really good comeback album. Big grooves. Big riffs. Great tunes. Well done. Best Obi’s album since ‘Cause of Death’ , for me.
ORIGIN – Omnipresent
This is a relentless fucker, this one. Love the aggression, love the riffing, love the technicality, love how much it just wants to punch you in the ear drums.
SLEEP OF MONSTERS – Produces Reason
Babylon Whores are one of my “hidden treasures”, probably the most underrated band of all time, always loved Ike’s vocals, too. He doesn’t quite hit it with his new outfit, but some cool gothy, dark/death rock going on. Grabbed this one for review as soon as it appeared in the inbox. https://ghostcultmag.com/sleep-of-monsters-produces-reason/
SLUGDGE – Gastronomicon
Only heard this once so far, but really impressed me on first go, will be getting a fair few listens going forward. Interesting modern melodic death metal.
TOMBS – Savage Gold
Black metal meets post-metal. Really good shit.
WITHIN TEMPTATION – Hydra
Started the year with this one. Massive pop-metal. Preferred the last one and Silent Force, but it’s got some big old songs, mofos. https://ghostcultmag.com/within-temptation-hydra/
Eight years on from their Eurovision Song Contest triumph, Lordi are on their seventh album, Scare Force One (Warners) and you’d think the joke would be stretching thinner than the invisible point of Death’s scythe by now. Yet, more than 20 years after Mr Lordi first assembled a troupe of monsters to try and take over the world, no one seems to have told the band.
And a bloody good job that is, too, because Scare Force One is a surprisingly good album. Not surprisingly good as in “ah, it’s a bit shit, but, y’know…”, but surprisingly good, as in it is packed with Alice Cooper meets King Diamond anthems, and spurts fun, stomping hard rocking metal Glasgow-kissed by a splatter of Twisted Sister.
Lordi, for those who, probably quite rightly, pay little or no attention to the Eurovision Song Contest announced themselves by decimating the competition and winning it with their ‘Hard Rock Hallelujah’s and rubber-monster outfits (I have to confess to loving Eurovision – there’s something about a plethora of cheesy EuroPop mixed with a dross of wannabe Nightwish ballads interspersed by patronising stereotypes, national folk outfits and sorely dated ditties) in 2006 with the biggest ever points total and largest winning margin. They are, fact fiends, still the only Rock band to win the contest.
Mr Lordi, with gravelled tones instantly recognisable and reminiscent of Taneli Jarva in his Sentenced days, knows how to write a catchy, hooky pop-metal song, with choruses that dig their claws into your brain and, like Critters, gnaw their way through the cerebral cortex and implant their earworming gnashers into your memory sacks.
With uptempo zombie stomps deep down the order, with only ‘The United Rocking Dead’ taking it’s mammoth foot off the pedal of quality, Scare Force One is littered with bangers that prove Lordi are much more than just a PG-13 version of GWAR, with the riotous ‘Hell Sent In The Clowns and more-infectious-than-ebola ‘She’s A Demon’ vying with ‘House of Ghosts’, a track which could easily have Lordi-ed it up (sorry) on Alice’s Trash (Epic), as pick of a deadly bunch.
Lorks a-Lordi, I can’t believe how enjoyable this is!