Archive for the ‘Band Updates’ Category

KING PARROT: Australian Thrash Grind Misfits To Return To North America Supporting Down This Saturday!

Wednesday, November 26th, 2014

Australian thrash grind misfits, KING PARROT, will return to the road later this week for a final run of live assaults on North America supporting Down, Orange Goblin, and Bl’ast. Set to commence November 29th in New Orleans, the band will steamroll their way through nearly two dozen cities, with the final performance taking place December 21st in Houston.

Dispatches the band: “KING PARROT is honored to be heading the round with some of our all-time favorite bands and musicians in Down, Orange Goblin and Bl’ast this December in North America. This is our fourth tour of the region this year and it’s been an incredible journey for us in 2014. To cap it off on this tour, with these bands, is amazing and beyond what we’d ever envisioned when we started out just a few years ago. As an Australian band cracking into the scene over here, the odds are always stacked against you, but we are keen and dedicated to working hard and it’s nice to see some rewards coming about. We have our new album written and we’re looking forward to recording and releasing it in 2015. It’s going to be a big step forward for the band and really shows how much work we’ve been putting in over the last few years. We’re hoping that we can continue to tour steadily and build King Parrot into a regular touring band here. We’re confident North America will be seeing and hearing plenty more from us in the next year or two, and if you haven’t seen us yet, get down early to one of these shows! It’s gonna be wild!”

KING PARROT continues to tour in support of their Bite Your Head Off full-length released via Candlelight Records last year. Championed for its “ceaseless brutality,” by Ghost Cult and dubbed “aggressive as fuck,” by Headbang Or GTFO, the record was produced by Jason Fuller (Blood Duster, Dern Rutlidge) and Adam Calaitzis (Damaged, Abramelin) and manages to capture the raw intensity of their furious live assault, defying genres with a cross section attack of thrash, grind, punk and hardcore. Watch fan-filmed footage of the band dismantling this year’s Housecore Horror Film Fest below.

KING PARROT w/ Down, Orange Goblin, Bl’ast:
11/29/2014 Southport Music Hall – New Orleans, LA *Down, KING PARROT only
11/30/2014 The Lost Well – Austin, TX *KING PARROT only
12/01/2014 Aztec Theater – San Antonio, TX
12/02/0214  Fly Catcher – Tucson, AZ *KING PARROT only
12/03/2014 House of Blues – Las Vegas, NV
12/04/2014 Epek Print – Salinas CA *KING PARROT only
12/05/2014 Riverside Municipal Auditorium – Riverside, CA
12/06/2014 Wiltern Theatre – Los Angeles, CA
12/07/2014 Ace of Spades – Sacramento, CA
12/08/2014 The Fillmore – San Francisco, CA
12/09/2014 Tonic Lounge – Portland OR * KING PARROT, Author & Punisher only
12/10/2014 Showbox at the Market – Seattle, WA
12/11/2014 Commodore Ballroom – Vancouver, BC
12/13/2014 Union Hall – Edmonton, AB
12/14/2014 Flames Central – Calgary, AB
12/15/2014 Knitting Factory – Spokane, WA
12/16/2014 Area 51 – Salt Lake City, UT *KING PARROT, Wolvhammer only
12/17/2014 Summit Music Hall – Denver, CO
12/18/2014 The Riot Room – Kansas City, MO *Orange Goblin, KING PARROT only
12/19/2014 Diamond Ballroom – Oklahoma City, OK
12/20/2014 Gas Monkey Live – Dallas, TX
12/21/2014 Warehouse Live – Houston, TX

“A nice little cross-up of musical ability and amusing visuals (the videos for ‘Dead End’ and ‘Shit On The Liver’ are quality viewing), KING PARROT should be able to find their place in a  relatively stale and average grind scene. And frankly, thaty’s what grind needs: A shot in the arm, a mix-up, and some well-intended goofiness… this should do it. 8.5/10” – Dead Rhetoric

“Bite Your Head Off has a punk, DIY ethic running through it as well as a dark, black humor… raucous, uncouth, rude, scatological and completely compelling.” – This Is Not A Scene

“Every track on Bite Your Head Off is a brutal showing of absolute speed, power and destruction…” – The Metalithic

“I’ve never felt so personally threatened by a record before” — Hysteria Magazine

“…a must for any fans of Australian metal or extreme metal 4/5” – Sputnik Music

“…a calculated piece of extreme art, with strong musicianship and a production job skilfully left just on the right side of raw and dirty…” – Beat.com




http://www.facebook.com/kingparrotband
KING PARROT on YouTube

MUSK OX: Canadian Neofolk Trio Reveals Woodfall “Making-Of” Footage Via Decibel Magazine

Wednesday, November 26th, 2014

Woodfall is the latest full-length from Canadian neofolk trio, MUSK OX, self-released earlier this year. Nearly six years in the making, Woodfall is an hour-long, five-part progressive chamber folk epic captured via classical guitar, cello, and violin. Inspired by Canada’s brilliant landscapes, MUSK OX meshes the acoustic textures of neofolk with the expansiveness of post rock, the intricacies of progressive rock, and the emotional weight of metal into a forlorn sonic passage through natural realms where darkness and light, substance and void, sorrow and joy, exist as a single entity.

In commemoration of its release, today Decibel Magazine reveals the first of a “making-of” series which brings MUSK OX fans up-close-and personal with the band during the Woodfall recording sessions. In part one, band founder/guitarist Nathanaël Larochette discusses Woodfall’s inspiration and concept.

Check it out at THIS LOCATION.

In related news, MUSK OX recently released the official Woodfall guitar book. Every note, including which fingers Larochette uses to pluck them, has been meticulously put to paper and beautifully packaged and bound thanks to the support and guidance of Luke Hoskin (Protest The Hero, Sheet Happens Publishing). A must-have for anyone interested in exploring the guitar stylings found on Woodfall.

Albums and books are available for order through the MUSK OX BandCamp page and official website.

Now featuring members Raphael Weinroth-Browne (cello) and Evan Runge (violin), MUSK OX has released two full-length albums and three self-recorded demos. Additionally, Larochette offered three interlude contributions to Agalloch’s latest full-length release The Serpent & The Sphere, out now on Profound Lore.

“…an elegant, chamber-folk air that manages to be earthy and ethereal at the same time.” – A.V. Club

“Whatever it may lack in heavy metal thunder or ravishing grimness, MUSK OX more than makes up for with its richness in atmosphere and emotion, created in tune with the natural world and its terrifying beauty.” – Pitchfork

“A captivating, emotional, and masterfully-crafted achievement of not only neofolk music, but of music in general.” – Sputnik Music

“A beautifully sculpted instrumental classical folk album…nothing short of epic.” – Echoes And Dust

“…the most beautiful album of the year so far. Soft, dreamy, upbeat and ethereal, this needs to be heard by everyone everywhere.” – Swirls Of Noise

I have never heard anything quite like MUSK OX.  The closest I can come to a comparison is a baroque quartet who is led by an accomplished classical guitarist.  What is truly impressive on Woodfall is how these lengthy songs, ranging from nearly ten minutes long to almost eighteen minutes, are cohesive, and never become dull.” – Burning Point

“Despite its relative softness, Woodfall refuses to work as background music; there’s too much going on for the album to come together at the subliminal level, a reminder that complexity (both emotional and aesthetic) doesn’t have to bang you over the head to demand your attention.” – Exclaim


http://www.muskoxofficial.bandcamp.com
http://www.muskoxmusic.com

LAE: Debut Album By Montreal Psychedelic Post-Rock Troupe Featuring Steve Austin From Today Is The Day Streaming At The Quietus Break The Clasp Out Now Via The Compound/Battleground Records

Wednesday, November 26th, 2014

The official debut recordings from Montreal-based LAE are out this week in the form of the collective’s Break The Clasp full-length — a monumentally dejected yet inspiring nearly hour-long psychedelic journey through thirteen dynamic movements — and the entire record is now playing at prevalent online magazine, The Quietus.

LAE’s Break The Clasp was recorded in full analog in main songwriter Marc Lucas Ablasou’s woodshop in Montreal by Steve Austin of Today Is The Day and Austin Enterprises, who coincidentally ended up providing lead vocals to the entire album, bringing out some of the most heartfelt and non-violent verbal deliveries from the infamous frontman to date, making him a full-time member of the outfit, completed by Ronald Jean-Gilles, Serge Nakauchi Pelletier, Stephane Desgroseilliers. This crew of multi-instrumentalists envisioned the band’s original anthems, penned under initial moniker LAE-TSEU in the mid-late 1990s, and recreated them fully live on vintage equipment, utilizing a range of guitars, basses, drums, accordion, trumpet, saws, organs, pianos, electronics and a multitude of vocal styles into a four-part storyline of life, love, hope and death. Completed through several overdub sessions at Austin Enterprises where the final product was mixed and mastered, and embodied with uncanny artwork by Sonny Kay (The VSS, Angel Hair, Gold Standard Laboratories label), Break The Clasp closes 2014 with an incredibly transcendentally gloomy yet beautifully delivered opus.

In honor of its release, UK-based online magazine, The Quietus, was pleased to host this exclusive stream of LAE’s long-awaited and hard-earned debut release. The site’s account of Break The Clasp breaks it down, including, “The resultant record is a fragmentary, shifting record, switching between Slint-like passages of angular guitar and sung-spoken vocals and abrasive assaults (witness the caustic fuzz at the core of ‘Sister’), punctuated by acoustic sketches in the shape of ‘Broken Knee’, ‘Let Me Die In The Memory Of Her Arms’ and ‘Space Travel’, and we’re hugely pleased to be able to host a full stream…”

Listen to all of Break The Clasp now at THIS LOCATION.

A new gear feature on LAE’s Marc Lucas Ablasou’s main guitar setup is live at PureGrainAudio now RIGHT HERE, and an Albums We Like feature on drummer Serge Nakauchi Pelletier’s infatuation with the Bad Brains is live at No Echo HERE.

Break The Clasp is out this week through a collaborative effort between The Compound and Battleground Records. The six-panel, spot-varnished, eco-friendly digipak can be ordered HERE, and digitally via BandCamp, iTunes , Google Play and more. A gatefold 180-gram 2xLP is coming from the same union in early 2015 as LAE begins touring the East Coast of North America and beyond in support of the album.

“…the heart-on-sleeve frontman that Austin occasionally embodies is on full display here, with only snippets of backwoods dementia seeping through. And the band has created an ideal atmosphere, borrowing liberally from the likes of Slint and Tortoise with mesmeric rhythms and askew harmonies, while adding dollops of psych and the occasional metallic bombast that’s actually reminiscent of early TITD. 8/10” – Decibel Magazine

“…echoes psychedelic progressive rock and post-rock but the overall picture is far more expansive… wholly unique and escapes categorization.” – American Aftermath

http://www.laetseu.com
http://www.facebook.com/pages/LAE-Band/614579391922975
http://laemusic.bandcamp.com
http://www.thecompoundrecs.com
http://www.thecompound.bandcamp.com
http://www.facebook.com/thecompoundrecs
http://www.earsplitdistro.com
http://www.facebook.com/battlegroundrecords

CORRECTIONS HOUSE Prepares For US Assault Next Week; Live Record To Drop Via War Crime Recordings + Neil Young Cover Streaming At Noisey

Wednesday, November 26th, 2014


CORRECTIONS HOUSE is packing up their munitions in preparation for their imminent, near three-week live assault on the US. Scheduled to commence on November 30th in Boston, Massachusetts, the legion will raze nineteen megalopolises, with the overthrow coming to a halt on December 20th in Portland, Oregon.

Proclaims recently institutionalized minister of propaganda, Seward Fairbury: “CORRECTIONS HOUSE will bring their truncheon down on your head repeatedly until you submit or vacate the premises. This band has grown into a force since their initial trek through the landscape known as the United States of Unamerican activities. They will bludgeon you with no apology. Test us.”

In conjunction with the tour, CORRECTIONS HOUSE will release Writing History In Advance, a debaucherous testament of audio decomposition recorded live in Los Angeles earlier this year. The release will come available in a CD digipack via War Crime Recordings December 1st, 2014 and is currently available for pre-order at THIS LOCATION.

In the meantime, check out a rare, non-album exclusive cover of Neil Young classic “Cortez The Killer,” currently streaming at Noisey RIGHT HERE.

CORRECTIONS HOUSE Tour 2014:
11/30/2014 Brighton Music Hall – Boston MA
12/01/2014 St. Vitus – Brooklyn, NY
12/02/2014 Café 9 – New Haven, CT
12/03/2014 Metro Gallery – Baltimore, MD
12/04/2014 Strange Matter – Richmond, VA
12/05/2014 Grog Shop – Cleveland, OH
12/06/2014 Pro Arena – Dayton, OH
12/07/2014 Magic Stick Lounge – Detroit, MI
12/08/2014 Cobra Lounge – Chicago, IL
12/09/2014 The High Tone – Memphis, TN
12/10/2014 Siberia – New Orleans, LA
12/11/2014 Fitzgeralds – Houston, TX
12/12/2014 Hotel Vegas – Austin, TX
12/14/2014 Three Links – Dallas, TX
12/16/2014 Club Red – Mesa, AZ
12/17/2014 Complex – Los Angeles, CA
12/18/2014 Soda Bar – San Diego, CA
12/19/2014 DNA – San Francisco, CA
12/20/2014 Rotture – Portland, OR

CORRECTIONS HOUSE features Fairbury alongside sound conspirators Mike IX Williams (Eyehategod), Scott Kelly (Neurosis), Bruce Lamont (Yakuza) and Sanford Parker (Minsk). The collective released their Last City Zero debut full-length via Neurot Recordings last year. Produced by Parker at Electrical Audio, Soma Studios, 60 Psycho Hum and Nodferatu’s Lair, Last City Zero is the audio end product of government conspiracies, societal ruin and psychological decay.

CORRECTIONS HOUSE recently put the finishing touches on their forthcoming new full-length, set for release sometime in 2015. Further info to be revealed as it develops. Until then, writhe.

“Whether it’s Mike IX Williams’ grim spoken word poetry or Scott’s coarse, monotone groan overlaying the clangorous soundscapes, it’s the utter bleakness that binds.” – Meta Hammer


http://warcrimerecordings.bigcartel.com
http://www.facebook.com/WarCrimeRecordings
http://www.neurotrecordings.com
http://www.facebook.com/neurotrecordings

EOLIAN EMPIRE’s Near-Year-End Playback; HEAVYVIBES Holiday Sale

Tuesday, November 25th, 2014

It was the best of times, it was… sorry, what was that? Anyway, before you are deluged by a slew of half-assed year-end lists and enter into a thunderdome of thread battles with commenters much less sophisticated than you, the consummate discerning listener, EOLIAN EMPIRE is here with the playback of the heavy, noisy, weird highlight reel of 2014.

WHORES and RABBITS answered the age-old question, “Darf man alte The Cure Klassiker so behandeln?” with a definitive, “Ja, wir können,” on their 7-inch split–co-released by Brutal Panda–of Cure covers. Verbicide called it “a gloriously deranged take on a few songs from one of alt rock’s heavy hitters done by a couple of bands who are keeping it dirty and nasty in the underground,” and CVLT Nation effused, “off the freaking charts.”  WHORES hit the road hard this year, wowing crowds at SXSW (one of Spin’s “The Five Best Things We Saw on Friday”), Heavy Montreal (its “secret champions” according to exclaim.ca), Fun Fun Fun Fest, and elsewhere, plus have a brand new track on the 13th installment of AmRep’s Dope, Guns, & Fucking in the Streets. RABBITS released their latest 12-inch, Untoward, on Lamb Unlimited in August to much acclaim, like The Onion’s A.V. Club, who spat, “Like a shovelful of sludge to the skull, the record reeks of blood, mud, and the rancid pheromones of AmRep veterans like Cows and Killdozer,” Verbicide who came in with, “Their ability to absorb outside influences makes even more deadly,” and Invisible Oranges said some cool shit like, “In a noise rock scene dulled by younger musicians trying to be someone else, RABBITS have been RABBITS. Lines can be drawn — you could add the descriptor ‘heavier’ to Flipper or Shorty and be in the ballpark — but nothing really sticks besides ‘RABBITS.” The band spent October crushing skulls in Europe with Norwegian touring partners Arabrot and MoE. Old school Lehigh Valley zinester Frank FOE put it simply, but perhaps best: “WHORES and RABBITS are two modern day noise rock bands. Unsane set the standard in my books back in the day, these two bands carry the torch mightily.” Hear hear. (Cough cough.)

Gruesome bass-and-drums twosome TOWERS redefined what it means to be a “doom” band with their second LP, aptly titled II, “a portrayal of otherworldly toxicity made real and concrete through righteously vile and unwelcoming noise” (The Obelisk).  The stunning apocalyptic symphony of four movements through mutant grooves, weird hooks, sludgy crawls, cavernous explorations, and haunting nightmares had UK zine The Quietus championing it as “vivid, vicious, viscous, deeply psychedelic stuff,” adding: “Submit yourself to the mindflames immediately.” Mindflames.

PRIZEHOG released their third LP Re-Unventing the Whool, driving esteemed Aquarius Records to heap on the praise: “PRIZEHOG should be adored, they should be worshipped the way Harvey Milk and Boris and the Melvins are… as hard as it may be for some folks to believe, PRIZEHOG might have outheavied, and outweirded, and outgeniused those masters, and become masters themselves, masters of fucking alien prog-doom, long haired, psych sludge, dirge-drone, damaged art pop.  Fuck yeah.” Fuck yeah indeed.  The celestial space sludge trio trekked across the US and back this summer for the umpteenth time with their “oppressively bodacious guitar/synth/drum attack (Boston Hassle), bludgeoning, bewildering, and bewitching in equal measure. Get your “Whoady” on with the video for that mindwarper by Cinco Sanders and starring Newt Gingrich HERE.

Doom devastators GRAVES AT SEA relocated and reformed with a new rhythm section in Portland, Oregon, and wasted no time reminding everyone why they were missed. Their first new track in four years, the A-side title track of the This Place Is Poison EP, was a crusty taste of their energetic path forward, backed by their heavily damaged and deconstructed take on Black Sabbath’s “Lord of This World.” The Sleeping Shaman smoked the EP with accolades including, “The riffs are monstrously heavy and there is a groove that will not let you go. Everything is covered in a thick crust of filth and the vocals are still insane and hateful. These guys do such a great job at pounding their listeners into a pulp.” Apoch’s Metal Review roasted it with a 9/10 review: “…by the end you’ll have the urge to go to your favorite (or the most suiting) vice, flip the record, and experience this solid doom metal EP all over again.” Longtime fans and newbies alike were treated–or rather, mistreated–with intense performances at Roadburn, Maryland Death Fest, and Heavy Days in Doomtown [links for full sets] as well as a UK tour with Sourvein. What’s next?! Live footage from Maryland Deathfest is rolling HERE.

Cyberneticists HOT VICTORY dropped their first ever full-length, “an album’s worth of jarring samples and polyrhythmic propulsion unmatched by anyone this side of Ralf Hütter and Florian Schneider” (Willamette Week), “throw[ing] a kitchen sink of drums, drum pads, synths, tape loops, samples–you name it–together in pretty fascinating ways” (Brooklyn Vegan). This Summer HOT VICTORY supported the mighty Floor, The Obelisk calling their set “some of the most satisfying prog I’ve seen live since the early days of Zombi.” You can see how just how much racket two people can make while sitting down in their tripped-out performance video for “Island Realm” RIGHT HERE.

DRUNK DAD dropped their debut Ripper Killer LP this year, “combining the thunderous sludge of Melvins, the confrontational punk rock of Flipper, and the abrasion and psychosis of Harvey Milk” (Decibel). Invisible Oranges likened the record to, “a triple word score for ‘noise rock’ and ‘grunge’,” Verbicide called it “equal parts shocking, thrilling, and kick ass,” and Metal Descent stated succinctly, “Finally, someone uses the monikers grunge and hardcore and that’s exactly what you get all modernized and shit.” All modernized and shit–it’s a new age. DRUNK DAD got weird on a whirlwind US tour with Portland and Eolian party-violence pals HONDURAN in September. New friendships were forged, old brain cells were lost. You can check out a live-in-studio performance from KEXP:          CLICK THIS.

Those surly space punks BIG BLACK CLOUD gave us Lessons in Fuck You 2, a collection of weird and wild anxious alien anthems and monster madness, a reckless rollercoaster ride through punk, noise, garage, surf, and B-movie soundtracks, “a musical narrative that would seem suitable for a Repo Man reboot (though this should never happen), sci-fi for cassette geeks still firmly attached to underground anti-everything” (Stereokiller). Do like the Portland Mercury says and get “all loud and mad and splattery.”

EOLIAN also added a couple special editions to the digital discography: the mind-melting psych/kraut/protometal jams of UNDERLORDS TAKE ACID, featuring members/ex-members of RABBITS, FIST FITE, and DIESTO, and the twelve-band live compilation (We’ve Gotta) KEEP OUR HEAD Alive — culled from last year’s release shows for (We’ve Gotta) KEEP OUR HEADS: Heavy Vibes from Portland, Oregon featuring ACRE, IX, NORSKA, HOT VICTORY, BIG BLACK CLOUD, GAYTHEIST, REDNECK, SIOUX, PALO VERDE, TOWERS, HONDURAN, and RABBITS.

And this week is the HEAVYVIBES sale.  Vinyl and cassettes are 11% off with code HEAVYVIBES, and digital releases are 10% off with code heavyvibes, including BIG BLACK CLOUD, DRUNK DAD, HOT VICTORY, GRAVES AT SEA, PRIZEHOG, TOWERS, WHORES, RABBITS, DEAD, DIESTO, HONDURAN, ARABROT, ORDER OF THE GASH, GONE TO CROATOAN, REDNECK, SLAM DUNK (WITH AUTHORITY!), ACRE, THE CYSTS, UNDER MOUNTAINS, CITY OF CHURCHES and PURPLE RHINESTONE EAGLE. Happy motherfucking holidays. God hates you.

Oh, you check out lots of videos, including live and in-studio stuff, of EOLIAN EMPIRE bands at https://www.youtube.com/user/EolianEmpire.

http://www.eolianempire.com
http://goods.eolianempire.com
http://www.facebook.com/eolianempire

TODAY IS THE DAY Continues To Book New Tours Supporting Animal Mother LP

Tuesday, November 25th, 2014

Violent, visionary, longstanding metal trio, TODAY IS THE DAY has issued a new list of target cities for live actions in support of their brilliantly destructive tenth full-length album, Animal Mother, released in mid-October via Southern Lord.

Having just completed an exhaustive US trek with a month of headlining tour dates and then another two weeks directly supporting Eyehategod, TODAY IS THE DAY issues a new warning to humans in the Midwest and Northeast regions that the outfit’s newest tour itinerary includes a metropolis in your locale. The brand new dates will kick off this weekend, with the first slated for this Saturday, November 29th in Pittsburgh. The routing will then slither north and south through the eastern half of the country through December 21st, with the latter half of the tour still being finalized, and to be announced in the coming days. So come on down and get saved this holiday season! Additional live TODAY IS THE DAY offensives will be broadcasted through the coming months.

Following the release of the official video of TODAY IS THE DAY’s brutal immediate classic, “Masada,” late this past Summer, a new visual version of “Animal Mother” is in construction for release in the coming weeks, with David Hall of Handshake Inc. responsible for masterminding both projects. Watch “Masada” RIGHT HERE.

Animal Mother is out now via Southern Lord, available on CD colored vinyl LP including bundles HERE, and via BandCamp HERE.

TODAY IS THE DAY Tour Dates:
11/29/2014 The Shop – Pittsburgh, PA
11/30/2014 Yonka House – Detroit, MI w/ Hollow Earth
12/01/2014 Frank’s Power Plant – Milwaukee, WI w/ Northless
12/02/2014 Hexagon Bar – Minneapolis, MN
12/03/2014 Eronel – Dubuque, IA
12/04/2014 Fubar – St. Louis, MO
12/05/2014 TBA – Champaign, IL
12/06/2014 Cobra Lounge – Chicago, IL
12/07/2014 Blind Bob’s – Dayton, OH
12/08/2014 Tremont Music Hall – Charlotte, NC
12/09/2014 Bandito’s – Richmond, VA w/ Hex Machine
12/10/2014 Cafe Nine – New Haven, CT

Dispatching nearly an hour of TODAY IS THE DAY’s creepiest and heaviest chaos in years, Animal Mother’s wrath recalls elements of their most seminal albums, as always merging murderous anger and horribly depressed vibes into a volatile, unclassifiable, prophetic style of metal all its own. With cult leader and guitarist/vocalist Steve Austin joined by drummer Jeff Lohrber (Enabler, ex-Harlots) and bassist Sean Conkling (Regression, Burn Your Halo, Sprawl), the album was recorded, produced and mastered at the frontman’s Austin Enterprises in Maine, features original artwork by Samantha Muljat (Bl’ast, Earth, Baptists), and has reaped international critical acclaim for several months now. Part of Exclaim! Magazine’s featured 9/10 review of Animal Mother issued, “While reminiscent of the band’s late-’90s works Temple of the Morning Star and In the Eyes of God, the new album includes gorgeous melodic elements,” calling it, “another jarring and powerful offering in TODAY IS THE DAY’s unique and emotive catalogue.” Terrorizer Magazine’s outstanding review included, “Ten albums in, TODAY IS THE DAY still stand as the ultimate rebuke to genre-obsessed boilerplate metal, wrenching exorcisms into artworks and imbuing them with a heaviness that goes right down to the marrow,” Ghost Cult gave it an 8.5/10, stating, “Animal Mother’s main musical coin is the filthy, heaving riff topped with Austin’s pained, furious roars and screams, but these collide with deliberate awkwardness into melodic passage, uncomfortable acoustic explorations and electronic noises,” and Last Rites proclaimed Animal Mother is, “the most depressing album since Sadness Will Prevail by a longshot. It may even out-sad Sadness, continuing, “existing fans of the band are going to go apeshit for this one. It’s some of Austin’s more masterful work in a career already lined up with minor classics.” Cvlt Nation said that TODAY IS THE DAY, “has been the essence of avant-garde metal and it remains, as of this day, its quintessence; the womb that once enfolded it, and the phallus that continues to demand both dominion, and reconstruction of its initial, perfect image,” and Punknews.org crowned the album with a 4.5/5 review: “This album begs to be listened to from start to finish…Austin has a knack for laying bare the depravity of the human condition. It conveys feelings of pure unadulterated rage, and bottomless despair… It can be painfully brutal and hauntingly beautiful, sometimes over the course of the same song. This is a nearly flawless blend of artistic expression and skull-crushing heaviness. Animal Mother has to be considered a serious contender for metal album of the year.” Lambgoat informs the masses, “For the few of you that haven’t heard TITD at some point, you’ve most certainly heard something just one step away. Do you like Converge? Austin produced their When Forever Comes Crashing album. How about Lamb Of God? Austin produced New American Gospel. What about that obscure band Mastodon? Well, Mastodon’s rhythm section was once TODAY IS THE DAY’s rhythm section. Alright, I’m sure you get it. Austin is a lifer, and TODAY IS THE DAY has been a faithful component of our little scene for two decades… Whether you call TITD noisecore, noise rock, noisegrind, post progressive rock, or metal, there’s sure to be something on the album that appeals to you.

http://www.todayistheday.us
http://todayistheday.bandcamp.com
https://www.facebook.com/todayisthedayofficial
http://www.southernlord.com
http://southernlord.bandcamp.com
https://www.facebook.com/SLadmin
http://twitter.com/twatterlord

ORANGE GOBLIN To Kick Off North American Live Takeover

Tuesday, November 25th, 2014

Following their mammothly successful tour through Europe alongside Saint Vitus, UK stoner metal icons, ORANGE GOBLIN, will bring their heavy grooves Stateside next month for a two-week bout of live takeovers supporting Down. Slated to embark December 1st in San Antonio, the trek will run through fifteen cities, coming to a close on December 21st in Houston. Additional support will come from Bl’ast, and King Parrot.

ORANGE GOBLIN will be touring in support of their road-raging, Back From The Abyss full-length, released last month via Candlelight Records. Produced by Jamie Dodd, who worked with the band on 2012’s chart-topping A Eulogy For The Damned long player, Back From The Abyss has been reaping mass approval from fans and media globally. In an 8/10 review, Decibel Magazine notes, “Pegging OG as simply a ‘stoner’ or ‘doom’ band these days is a little shortsighted. They range from epic, classic-ish metal (‘Heavy Lies The Crown’) to Motörhead-inspired thunderbolts (‘The Devil’s Whip’) while maintaining a soulful bluesy vibe wherever they travel musically,” Ghost Cult christens the record, “a must listen stoner album for the year,” and About.com commends, “another fine slab of metal sludge that oozes into your pores and latches onto your metal soul.” This Is Not A Scene agrees in a 9/10 review, calling Back From The Abyss, “another triumph for ORANGE GOBLIN,” and, “their most accomplished album to date.” In an 8.5/10 verdict, Blabbermouth boasts, “Back From The Abyss is everything ORANGE GOBLIN fans are craving: a bit of Black Sabbath, a bit of Motörhead and a whole lotta cool… where even fifty-four minutes doesn’t seem like enough,” while The AngryMetalGuy calls the record, “a manly, punch drunk listen, full of beans and ready to rumble. It may even grow some extra hair on your chest, if you’re into that kind of thing. Goats everywhere should be worried.”

ORANGE GOBLIN w/ Down, Bl’ast, King Parrot:
12/01/2014 Aztec Theater – San Antonio, TX
12/03/2014 House of Blues – Las Vegas, NV
12/05/2014 Riverside Municipal Auditorium – Riverside, CA
12/06/2014 Wiltern Theatre – Los Angeles, CA
12/07/2014 Ace of Spades – Sacramento, CA
12/08/2014 The Fillmore – San Francisco, CA
12/10/2014 Showbox at the Market – Seattle, WA
12/11/2014 Commodore Ballroom – Vancouver, BC
12/13/2014 Union Hall – Edmonton, AB
12/14/2014 Flames Central – Calgary, AB
12/15/2014 Knitting Factory – Spokane, WA
12/17/2014 Summit Music Hall – Denver, CO
12/19/2014 Diamond Ballroom – Oklahoma City, OK
12/20/2014 Gas Monkey Live – Dallas, TX
12/21/2014 Warehouse Live – Houston, TX

Back From The Abyss is out now on Candlelight Records. The album is available to order on CD, deluxe CD, and double vinyl as well as digitally via iTunes and Amazon.

http://www.facebook.com/orangegoblinofficial
http://www.orange-goblin.com
http://www.candlelightrecordsusa.com

UNSACRED: Virginia Black Metal Outfit Debuts Single From Debut LP At Cvlt Nation

Tuesday, November 25th, 2014

Having recently locked a deal with their home state-based Forcefield Records for the release of their debut full-length, False Light, Virginia’s UNSACRED has just unloaded the first auditory rapture from the album via underground music/arts outlet, Cvlt Nation, with the crushing track, “Plague.”

Recorded by Ricky Olson and mixed by Bryan Walthall and Ricky Olson at Rusty’s and mastered by Brad Boatright at Audiosiege Engineering, UNSACRED’s False Light delivers a punishing slab of seven tracks of bludgeoning black metal infused with spine-shattering low-end death metal infiltrations and driving punk-inspired beats. Merging classic elements with its contemporary delivery, it’s more than a safe bet to state that False Light will incite the inner heathen in devotees of the works of artists including Craft, Horna, Arkhon Infaustus, The Secret and Mutilation Rites. Cvlt Nation’s exclusive stream of the album’s third track, “Plague,” is joined by an appropriately grim write-up of the album’s carnage, issuing in part, “When UNSACRED drops the tempo down a notch, they hammer the riffs home like a train slowing down to plow a car parked on the tracks. When they go fast, they sound like they do performance-enhancing drugs. You won’t find me philosophizing like a street preacher on this review. When you hit the play button on UNSACRED’s False Light, it’s moshpit time! This album doesn’t stop and go without dynamics, though. They write carefully controlled songs that set up the best moments – the mid-tempo grooves that leave you headbangin’ like a lunatic before knockin’ your balls out of the park with the blast-sections.”

Allow UNSACRED’s “Plague” to infect your existence today at THIS LOCATION.

Having formed in 2012, UNSACRED — comprised of bassist/vocalist Hunter McCarty, guitarist Miguel Falcon and drummer Scott Bartley — has issued three well-received independent EPs upon humanity in their short time together preceding False Light. Channeling primordial, threatening metal riffage and scathing vocal torment UNSACRED pumps their organic black metal full of punk-inspired rhythms and crust blasts; thus birthing an output fit for consumption by both devotees to the Scandinavian black metal sound and also to adherents of the more contemporary, black metal inspired acts who are currently wreaking havoc throughout the underground.

Watch out as Forcefield prepares to unleash False Light on LP and digital formats on December 9th. Preorders for the album are now live including package deals HERE.

Having performed regional live performances with countless local and national acts including Integrity, Toxic Holocaust, Gaza, Full Of Hell, Code Orange Kids, Ash Borer, Obliteration, Kylesa and more, UNSACRED is planning more widespread tour offensives in support of False Light which will be announced as soon as new dates are confirmed.

http://www.facebook.com/unsacredva

http://unsacred.bandcamp.com

http://www.forcefieldrecords.org

http://forcefieldrecords.bandcamp.com

http://www.facebook.com/ForcefieldRecords

HIDEOUS DIVINITY: Bass Play-Through Video From Italian Death Metal Unit Now Playing At Gear Gods + Cobra Verde Streaming In Its Entirety

Tuesday, November 25th, 2014

Cobre Verde is the latest long player from Italian death metal draftsmen, HIDEOUS DIVINITY. Released late last month via Unique Leader Records and appropriately dubbed, “an uber-brutal, churning platter of tech-y death metal” by Decibel Magazine, Cobre Verde is a concept record based around Werner Herzog’s 1987 film of the same name.

Tracked at 16th Cellar Studios (Hour Of Penance, Fleshgod Apocalypse, Vomit The Soul), Cobra Verde thrusts forth nine smoldering tracks of discontent, revulsion and unrelenting audio deviance and includes a guest vocal appearances by Nile’s Dallas Toler-Wade on “The Alonest Of The Alone” as well as a ravenous rendition of Ripping Corpse’s “The Last And Only Son,” which Covering The Scene commends for its “Opeth-meets-Maiden absinthe tainted riff,” “Death-inspired bass groove,” and, “ultra-technical Schuldinerish guitar progression.”

In celebration of its release, premier tech site, Gear Gods, is currently hosting a HIDEOUS DIVINITY bass play-through video noting, “Ever since HIDEOUS DIVINITY…utilized Stefano Franceschini for their dark purposes, the quality of their bass work has been godlike. I have no need to praise the band’s dark works myself; that’s what YouTube was invented for. So feast your gluttonous eyes and ears upon this play-through of ‘Sinister And Demented,’ a track off of HIDEOUS DIVINITY’s just-released Cobra Verde (it’s a bit less spicy than Cobra Rojo).”

Dig it at THIS LOCATION.

And check out Cobra Verde in all its maniacal glory below:


Cobra Verde is out now on Unique Leader. Order your copy at THIS LOCATION.

“…without a doubt one of the best releases of 2014.” — Headbangorgtfo

“…a brutal death record that starts with progressive sensibilities but then moves at the speed of a grind album, minus the fact that every song is a five-minute demonstration of these guys being way better musicians than I could ever hope to be… Unique Leader knew damn well what they were doing when they grabbed these guys again for this album, as Cobra Verde is a great get. It’s well-produced and rings through super-clear, and that forty-three minutes of headbanging is enough to leave you with a bangover for days.” – No Clean Singing

The band sounds amazing and delivered a quality release that’s sure to impress death metal fans all over.” – Unhinged

Cobra Verde is an album upholding skillful songwriting, melancholy and ferocity, as well as glimpses of subtlety as key elements which present the album as an innovative and unique work endorsing the highly acclaimed values of HIDEOUS DIVINITY.” – Metal Wani


http://www.facebook.com/hideousdivinity
http://www.uniqueleader.com
http://www.facebook.com/UniqueLeaderRecords

AMERICAN HERITAGE: Prolapse LP Released Today Via Solar Flare Records; Full Album Streaming At Decibel Magazine

Tuesday, November 25th, 2014

Prolapse, the ravenous sixth full-length studio output from Chicago-based hardcore earthmovers, AMERICAN HERITAGE, is now publicly available worldwide via Solar Flare Records. To dispatch the news of its release, mighty Decibel Magazine’s online entity, The Deciblog, is running a stream of the entire LP alongside a track-by-track deconstruction of the album’s six brand new originals and accompanying three cover tunes courtesy of the band.

Swing by Decibel Magazine to get pummeled by Prolapse in its intoxicating entirety now at THIS LOCATION.

Additionally, PureGrainAudio is now running a gear feature on AMERICAN HERITAGE guitarist Scott Shellhamer’s rig which helps unload the band’s potent sound RIGHT HERE.

AMERICAN HERITAGE has delivered their ever-evolving brand of diverse, sludge-amplified hardcore mayhem through eleven official releases since their 1996 inception, and their sixth full-length, Prolapse keeps things fresh and distressing without a moment of filler on the LP. The six new original tracks unload some of their most destructive but well-constructed material to date, and at the tail end of the record, the band lives up to their moniker by paying homage to some of their most influential US acts, including covers of the Descendants classic, “Hürtin’ Crüe,” Black Flag’s infamous booze rager, “Thirsty And Miserable” and Girls Against Boys’ emotive “Bulletproof Cupid.” Produced by Sanford Parker at SOMA Studios — who also supplied keyboards and handled mixing duties — Prolapse was created with additional recording contributions from Mike Lust (Tight Phantomz, Football) and Che Arthur (Pink Avalanche), and includes guest vocals and guitars from Lust and guest vocals from Jeffrey Lohrber (Enabler, Today is the Day).

Clermont-Ferrand, France-based Solar Flare Records this week issues Prolapse on CD, LP and digital formats; orders for the physical product are available HERE and the digital HERE.

http://www.facebook.com/americanheritageband
http://americanheritage.bandcamp.com
http://www.twitter.com/fuckingheritage
http://www.solarflarerds.com
http://facebook.com/solarflarerecords
http://solarflarerds.bigcartel.com