Anna Von Hausswolff is a singer-songwriter who has always embraced a progressive attitude to creativity. Never unafraid to straddle genres as diverse as metal, Krautrock, and dark pop, and always remaining elusively undefinable, she has made waves over the past decade with her four previous albums and numerous illustrious collaborations. As well as following her own unique musical path, Von Hausswolff (to name just a few of her achievements and endeavours): runs a record label, has guested with Wolves in the Throne Room and Swans, has supported Nick Cave & The Bad Seeds, and has hosted visual art exhibitions. Continue reading
All good things come to an end, and as of March 2015, the legendary Black Metal double act of Abbath Doom Occulta (real name Olve Eikemo) and Demonaz Doom Occulta (real name Harald Nævdal) reached its disappointing and unfortunate conclusion. For years, Demonaz had acted the straight man, a perfect foil for his gurning, crab-walking, tongue-waggling partner, but since the pair went their separate ways, he has now chosen to step forward and take centre stage in what appears to be a more focused and serious vision of Immortal. Continue reading
Estonian folk metallers Metsatoll have been added to the upcoming 70000 Tons Of Metal Cruise, setting sail in less than a months time. As of now 46 of the 60 bands have been announced for the cruise, which is sold out but has a wait list that makes it possible to get a last-minute ticket. Continue reading
Holy shit. Pain is finally coming our way. The Swedish industrial-metal powerhouse, led by Peter Tägtgren, will make their first ever North American appearance this upcoming September with Orphaned Land, and special guest Voodoo Kungfu. Continue reading
Pain, the industrial rock band led by legendary multi-instrumentalist and producer Peter Tägtgren (Hypocrisy, Lindemann) just released a new music video. You can watch the clip for the track ‘Coming Home’ below: Continue reading
Check out all of today’s new releases in the heavy metal world! 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.
Sometimes, you really are better off not knowing. Now, I understand millions of German speaking Rammstein fans haven’t been kept in the dark like I have as to the lyrics and subjects intoned in that most Teutonic and distinctive of near barks belonging to Til Lindemann, but for myself, the fact his debut solo album Skills In Pills (Warners) is in English means my blissful ignorance of subject matter is shattered, and, much like finding out the contents of your late night kebab actually is rat and dog, I’d rather have not been enlightened.
For Skills In Pills is a forty-five minute juvenile lesson in puerility that makes you wonder as to the mental state of 52 year old Lindemann as his album makes Steel Panther seem erudite and poetic. While the opening title track is childish twaddle about different drugs doing different things, the downhill descent begins quickly with the immature ‘Ladyboy’, before the inane combo of ‘Fat’ and ‘Fish On’, respectively featuring the lines “When I break open your king-size bra, your giant boobs are wunderbar” and “It smells like fish, My rod is stiff” plumb new depths. ‘Golden Shower’ is an excuse to gleefully drop the C-bomb with the relish of a child who has first learnt it in a song that is the polar opposite of subtlety, let alone the crassness of lead single ‘Praise Abort’.
This isn’t a complaint from a position of prudishness, but even my 14-year-old self playing ‘Get In The Ring’ at parent-offending volumes would have dismissed this fatuous nonsense. The biggest shame comes from the fact that Lindemann, musically, ticks every box you’d want from a collaboration of Mr Rammstein and Pain/Hypocrisy’s Peter Tägtgren, and really could be a new Rammstein album, it’s just the lyrics really clash with, and irretrievable detract from, the music.
Had this been a Steel Panther parody, fine, but the fact is there are some epic, powerful musical motions throughout, especially the aforementioned ‘Fat’, with big, dark, symphonic catchy motifs, and grooving guitars. Tägtgren has defended the album, saying it is a “Party album” and the lyrics are ironic and as a result of Lindemann’s poor English, a statement that’s nearly as full of crap as this wasted album.