In order to be a blizzard beast, gotta have a sense of humor that surpasses all the rest. Check out this untouchable Abbath interview conducted two years ago during the Copenhell festival in Copenhagen, Denmark.
Note the way he refers to metal as “rock n’ roll” just as his idol, Lemmy Kilmister did.
In response to the controversy surrounding Phil Anselmo‘s Nazi salute and “white power” remark onstage at the end of his performance at Dimebash last week, MACHINE HEAD‘s Robb Flynn has posted a video that provides additional facts of what happened at the show and his opinion of Phil Anselmo‘s latest and past racist remarks. Robb‘s new facts provide additional context and meaning to Phil Anselmo’s antics. Watch as he brings the hammer down:
Be sure to watch this in its entirety. Go, Robb!
Iceland’s greatest export, SÓLSTAFIR, have done it again with another absolutely jawdropping, powerful video. This time around, “Miðaftann” from last year’s Ótta gets the music video treatment. Words simply can’t do the video justice.
The clip was directed by Harri Haataja and Vesa Ranta and shot with renowned actor Gudmundur Ingi Thorvaldsson, at the famous black sand beach which inspired the band’s album title Svartir Sandar close to Iceland’s southernmost village Vík í Mýrdal.
Frontman Aðalbjörn Tryggvason comments on the video: “The track is about wandering in darkness. Playing chess with Death, getting burned by salt, drowning in the ultimate wave of sin and returning back home by using moonlight as navigation.”
Directors Harri Haataja and Vesa Ranta further elaborate: “They told us a real-life story about a sailor, who lost his crew at sea and was stranded to shore as the only survivor-. He proceeded to find his way to town and en route he found a barrel filled with water. Yet the water was frozen, so he had to punch through the ice with his bare hands to fight dehydration. Eventually, after a long journey, he reached the town and survived.”
The closest thing to a MERCYFUL FATE reunion thus far in DENNER / SHERMMAN, featuring Michael Denner, Hank Shermann, Snowy Shaw along with Sean Peck (CAGE) and Marc Grabowski, has posted their new video for the title track of their debut EP, Satan’s Tomb.
Hank Shermann comments: “We are happy to be able to release a video for the title track, which was the first song that really got us going as a band.
Now we are building upon the shadowy metal essence of what we created with the ‘Satan’s Tomb‘ EP, and are moving forward with a full-length release for next year.”
In a world where most metal videos are simply terrible, INTRONAUT has come to save the day with their new video for “Fast Worms.” The video does in a brilliant job in taking the piss out of the metal video genre along with being the most over the top, ridiculous video possible.
It greatly helps that the song rules. A great nod to the past and present of INTRONAUT.
Talking about the new music video, Sacha Dunable (vocals, guitar) comments, “This video is ridiculous. Please don’t hate us now. Much thanks to Pat Lascu for making it. We’re on tour getting ready to meet up with BTBAM, Enslaved, and Native Construct, as well as a bunch of our own headlining dates. Check our facebook for those, and go buy our record! Thank you to everyone who has bought it so far, we love you guys!”
KARYN CRISIS’ GOSPEL OF THE WITCHES have launched a video for the song, “The Ascent.” The song comes off of their powerful debut, Salem’s Wounds, which was released earlier this year via Century Media Records.
On the nature of “The Ascent” specifically and the release of the new video, Karyn Crisis comments: “The Ascent is about the transformative ancient rite of Death and Resurrection. It also alludes to the wisdom attained through attuning to the nature of energies which often appear to us as illusions of opposites. To be incarnated again we must first go through the death transition; we must enter the darkness to find the light; to hear the voice of the Universe we must go within, turning attention away from the physical world. Opposites are merely halves of a whole: masculine and feminine energies, the macrocosm and the microcosm, life and death.
“In pen and ink I drew a storyboard of the video that I sent to Bob Vigna, who filmed and edited the entire video. I explained to him I wanted to depict this rite of dying unto oneself, represented by the Hanged Man Tarot card.. For our story, I felt it was important to have the male Druids taking action in the first part of the story which is about a seeker in the physical world, and for the female Priestesses to complete the creative inward rebirthing process.
“I was inspired by a story authored by Carlo Napolitano where a character seeking answers to the Great Mysteries was hung upside down on a tree, with a mask tied to his face, gaining a previously unknown view of the world around him as pagan rituals took place around him. Bob elevated these ideas and turned them into a cohesive storyline that’s both tangible and earthly, dreamy and spiritual.”
It should be noted that KARYN CRISIS’ GOSPEL OF THE WITCHES features the IMMOLATION writing core of Ross Dolan and Bob Vigna.
While the world awaits for ABBATH‘s first solo album, the band launched a video of a live version of “Fenrir Hunts.” This version will be different from the version that will appear on the album.
The band states: “We have performed ‘Fenrir Hunts‘ live since our debut concert at Tuska Festival in Finland. This led to the decision to record a few live songs properly. With the aid of a camera team, we have recorded three tracks in a live setting at the beginning of September. Along with ‘Fenrir Hunts‘, which you can see today, there will be two cover versions coming up soon. Now, here is ‘Fenrir Hunts‘, the first glimpse from our upcoming debut album!”
The band also features King ov Hell (ex-GORGOROTH) on bass. Spot the CONVERGE Jane Doe tattoo in the video.
MY DYING BRIDE has released a music video for the title track off its upcoming 12th opus, Feel the Misery.
Using “The Raft of Medusa” by French romantic painter Théodore Géricault as visual inspiration, as well as taking cues from the band’s own bleak and foreboding music, MY DYING BRIDE‘s latest video is a harrowing tale of tragedy and loss.
Filmed on the stunning Pembroke coast of South Wales, and in particular St. Govan’s Chapel, the scenes were set to play out the narrative as vocalist Aaron Stainthorpe takes the role of a lone musician and poet who stumbles upon a fallen maiden while combing the seascape for curiosities. Clearly the victim of a recent shipwreck, she is gathered up and removed to a suitable, somber resting place, all the while the mournful “Feel the Misery” plays alongside, marrying the rich visuals with the melancholic song.
Directed by James Sharrock and Ryan Mackfall, Sharrock explains: “The concept for ‘Feel the Misery’ has been in my head for a while. It is loosely based on the famous painting ‘Raft of Medusa‘ by Theodore Gericault painted in 1819, and when I heard the song it invoked the creative idea I had been thinking about.
“In May this year I read in the news reports of a ‘Ghost ship’ carrying 350 starving Rohingya Muslims vanishing off Thailand. Indonesia, Malaysia and Thailand refused to engage in search-and-rescue operations, instead pushing the boats back to sea, letting the people starve and refusing to accept the asylum seekers – similar to the story behind ‘Raft of Medusa.’ It was only later in the year as we were filming the music video down around the Pembrokeshire coast that the media took a greater interest in the deaths of asylum seekers in the Mediterranean. The song has allowed me to bring to life not only issues that are currently facing us all, but a masterpiece that reflects a similar tragedy from centuries ago.”
Feel the Misery, the band’s 12th album, comes out today. It can be ordered on CD, vinyl, plus a special edition 2CD/2×10 vinyl set in deluxe earbook format with exclusive music and expanded booklet, online at: https://burningshed.com/store/peaceville/.
We are all guilty of taking metal legends for granted by thinking they’ll always be around. So what happens? We skip out on seeing them when they come through town for what sometimes turns out to be years.
Next thing you know, someone like Ronnie James Dio suddenly passes away and you’re just left regretting not seeing him every chance you had. I had the chance to see DAMAGEPLAN on what turned out to be their final tour and stand in the photo pit in front of one of my teenage heroes, Dimebag Darrell. Well, when news hit about his murder, part of me was deeply regretting leaving that show early and missing their whole set.
Now, with SABBATH‘s recent announcement that they will embark on a final tour early next year, it really clicked for me that time is precious. I’m sure it’ll be virtually the same safe set that they’ve always played since reuniting with Ozzy but that’s not the point now. Tony Iommi wants to focus on his health and that’s all that matters. Let’s hope Bill Ward can be apart of this as well.
Lemmy‘s ailing health has caused cancelled or curtailed shows, which indicate the need to go see MOTORHEAD before it all possibly ends in the near future. Check out this footage from the band’s show in Austin, Texas last week:
Hard to watch, right?
Let’s seize the opportunities that we have and pay homage to the legends while we still can.
Back in 2000, the, now, juggernaut known as OPETH was only known by the most devotee followers of underground metal. While the first three albums were released domestically in the U.S. via Century Black (AKA Century Media Records), the newest one at the time, Still Life, was available as an import only. You had to throw down $20+ dollars for that album but it was well worth it. The lack of an official U.S. release for Still Life for many years really hurt that album’s exposure to fans. It was like the final chapter on the early OPETH sound.
Lucky fans got to witness the band’s U.S. debut at Milwaukee Metalfest 2000 (Remember those awesome fests?). Check out this video of their full set, complete with rental equipment. So damn cool.