The first taste of AT THE GATES‘ new album, To Drink From the Night Itself, comes in the form of the video for the title track. It sounds like a return to the style of Slaughter of the Soul. The video was directed by Patric Ullaeus/Revolver.se who has worked with virtually every upper echelon metal band in the business.
AT THE GATES frontman Tomas Lindberg checked in to comment about the track as follows:
“So, for the first song to present to the public, we chose the title track of the album. Which is also the opening track of the record. To us, this gives a presentation of the attitude of the album: raw, hungry and desperate. It also gives an introduction to the whole concept of the record. We live through our art, and the whole album deals with the concept of art. Art as a tool either for revolution, or suppression. To drink from the night itself is just that, a metaphor for living and breathing through art. Of course the concept goes deeper than that, but this song is the heart of the concept, the fierce call to arms so to say. We are still at war, but this time we are fighting the abyss, the abyss of apathy and oppression. It is an aggressive song, but also contains a lot of the other elements of the band´s sound on this record. Melancholia, desperation and struggle. For the first video we chose to use Patric Ullaeus again, as he is good at capturing the raw energy of the band playing live. In the video you can also see glimpses of the art used for the cover, so it binds it all together nicely. Enjoy.”
To Drink From the Night Itself is due out May 18th, 2018 via Century Media Records.
DIMMU BORGIR have been gone for a long time, seven years to be exact. Today, they mark their return with the first single and video for the song, “Interdimensional Summit,” off of their upcoming album, Eonian. The album is set for a May 4, 2018 release via Nuclear Blast.
The band have turned in their white fur coats for black leather trenchcoats. Who else smiles as much as Galder (guitar) does in this video?
In absolutely shocking news, JUDAS PRIEST have just announced that guitarist Glenn Tipton has battling Parkinson’s Disease for the past decade. All seemed normal in the world with the band’s new album, Firepower, set for a March 9, 2018 release date via Epic Records.
For the time being, Glenn Tipton will step aside from the stage and renowned producer/SABBAT guitarist Andy Sneap will perform live with the band. Here is their official announcement:
“Ten years ago Glenn was diagnosed to have the onset of the early stages of Parkinson’s – from then until recently Glenn has lived his life as the great heavy metal guitar player he has always been, maintaining by his own definition a standard of quality and performance that is incredibly important.
“Right now Glenn is able to play and perform some of the Priest songs that are less challenging but due to the nature of Parkinson’s progression he wants to let you all know that he won’t be be touring as such –
“True to the metal spirit of ‘the show must go on’ Glenn has requested Andy Sneap to fly the flag on stage for him
‘“I want everyone to know that it’s vital that the Judas Priest tour go ahead and that I am not leaving the band – it’s simply that my role has changed.
“I don’t rule out the chance to go on stage as and when I feel able to blast out some Priest! So at some point in the not too distant future I’m really looking forward to seeing all of our wonderful metal maniacs once again’
“Rob, Richie, Ian and Scott have this to say:
“‘We have been privileged to witness Glenn’s determination and steadfast commitment over the years, showing his passion and self belief through the writing, recording and performing sessions with Priest – he is a true metal hero!
“We are not surprised by Glenn’s insistence that we complete the Firepower tour and thank Andy for joining us to make Glenn’s wishes become real –
“As Glenn has said we also can’t wait to have him with us at any time any place on the road…..
We love you Glenn!'”
There are few, if any, frontman quite like our friend, Axl Rose. Here is a monumental 28+ minute compilation of his on stage meltdowns in response to rowdy fans throwing objects at or spitting on the band. This is pure unintentional comedy. What frontman routinely brings songs to a sudden halt during a show?
It’s cute when he asks for an interpreter but they do not end up translating the English cuss words. Also, check out Axl‘s highly entertaining rant about James Hetfield not being a fan of black people and Lars being Lars at the 15:00 mark.
Sweden’s TRIBULATION took a big step with 2015’s Children of the Night. Their new one, Down Below, continues where its predecessor left off with a sound focused on incorporating traditional heavy metal, gothic rock/metal, and bigger riffs onto their Swedish death metal foundation. The band continue to capitalize on the fundamentals that “feel” and atmosphere resonate deeper with fans.
TRIBULATION have improved in key areas. First, they improved at creating spacing within each song for each instrument to have its own distinctive voice. For much of Down Below, each member is playing different parts coupled with plenty of twists and turns in each song, which creates the air of musicality. Throw in pianos and synth effects (i.e. tolling bells) and you’ve got plenty of ear candy through out Down Below. Please note that Johannes Andersson (vocals/bass) is an excellent bassist that makes a significant contribution with his playing. Rarely is he simply playing the same riffs as rhythm guitars.
Speaking of dynamics and song structure, TRIBULATION aim higher to make each song an experience. A song like “Lacrimosa” has a great bridge that feels like a haunted graveyard during the witching hour, which then takes off into a great guitar solo and eventually ends with quiet pianos.
Unfortunately, just like Children of the Night, Down Below loses momentum after the first few songs. Both albums are sequenced in a similar fashion with the “big” songs at the top and the more subdued, melancholic songs thereafter. While none of the latter on Down Below are necessarily bad, they simply aren’t as exciting as the former. Thus, the album just kind of ends on a quiet note.
Overall, TRIBULATION are on the upswing and will undoubtedly only get bigger from here. And in doing so, they are keeping the flame of Swedish death metal alive. (Century Media Records)
While Oslo, Norway’s SATYRICON are not calling it quits, they have announced that they will tour the U.S. for the final time in support of their latest album, Deep calleth upon Deep. The band have not had the easiest time bringing over their regular live band with drummer Frost missing tours.
“As our U.S fans will have noticed, we haven’t toured there in nine years. There are many reasons for that. I like America and I like Americans, but unfortunately touring there has been a difficult chapter in the history of SATYRICON. I can’t guarantee what the future holds, but we did not go on the last record, so I am hoping that one final headlining tour can be a good way of sharing some electric musical moments with our U.S fans, whom we love just as much as all our other fans across the world”, states main man Satyr.
The tour starts May 13th in Los Angeles, CA and runs through May 30th in Austin, TX with two stops in Canada. INQUISITION will provide support on the tour. Click here for dates. Needless to say, this tour is not to be missed.
Dependability is crucial to any band’s fanbase and 2017 did not disappoint. All of the bands that we’ve come to depend on for great music more or less delivered the goods. One band stood out to us all were the death metal gods from Yonkers, New York, IMMOLATION. They continue to stand as a pillar for metal with their unending well of creativity and longevity. Atonement blew us away with its complexity, ominous atmosphere, and inventive brutality.
Enjoy our lists of our favorite albums of 2017. And remember: Buy or die!
In grindcore, there is a holy triumvirate: NAPALM DEATH, TERRORIZER, and LOCK UP. It’s no coincidence that all three bands are related in history and members. LOCK UP does the most in terms of honoring the legacy of the other two bands while sounding, arguably, the most fresh overall.
So should you care about the fourth album from a band, one that is essentially a side project, in their 18th year of existence? The answer is a definitive “yes.” Demonization is all about godly riffs, intensity, and most important, excitement. The feeling of a speeding training flying off the rails is invigorating. Right from the start, the album starts rolling and never stops until the final note. It’s unfair to single out songs to be highlighted as they are all of equal quality. Just listen to the whole thing.
While underground metal super groups have become so common and often fail to live up to their hype, the gang of Shane Embury, Kevin Sharp, Nick Barker, and Anton Reisenegger are unequivocally delivering the goods. Without a doubt, Demonization is one of 2017’s best releases.
Bow down to LOCK UP or be damned to a life of subpar grindcore. (Listenable Records)
Six years ago MORBID ANGEL released their most anticipated and ultimately most disappointing album, Illud Divinum Insanus. Instead of the album being a return to the Domination-era sound or a continuation of the very obscure, Heretic, the band experimented with industrial, hardcore, and even rock influences. Well, fans should be happy, and perhaps relieved, to know that Kingdoms Disdained is a return to pure death metal.
With the perpetually underrated Steve Tucker back in the fold, MORBID ANGEL have their best album since Formulas Fatal to the Flesh and Gateways to Annihilation. Former guitarist Erik Rutan handled the production. New drummer Scott Fuller does a solid job.
With full mastery and power, the band goes into full attack mode from the first note on “Piles of Little Arms.” The riff that kicks in late at the 2:50 mark is godly. “D.E.A.D.” is intentionally discordant, schizophrenic and suffocating.
The momentum of Kingdoms Disdained then falls too much into a plodding pace and tone. The riffing is overly busy without strong hooks. There are dynamics but they don’t possess enough charisma and power to excite. “Garden of Disdain” is essentially a little brother to “Where the Slime Live.” Things continue to lose a bit of momentum with “The Righteous Voice” as the fast song sections are the only parts that keep it afloat. Stand out riffs shake the plodding such as the song section that kicks in at the 3:37 mark of “The Pillars Crumbling.” “Declaring New Law” is essentially a war chant. It is the simplest and most straight forward track.
The action picks back up with “From the Hand of Kings” as the band focuses on what works well on the album, speed and brutality, as shallow as that may sound. Closing track, “The Fall of Idols,” is gloriously intense and momentous. Trey Azagtoth‘s guitar solo at the end is the sound of a behemoth falling to earth.
At the end of the day, Kingdoms Disdained is a good but not great album. The magic moments are too few and far between for a band of MORBID ANGEL‘s legendary status. (Silver Lining)