As most metal fans know by now, Metallica, Avenged Sevenfold, and Volbeat will be headed out on the road this summer for a slew of stadium dates here in the U.S. If that does not tickle your fancy then how about Volbeat doing their own thing with some interesting support acts? You are in luck then because Volbeat has announced a handful of off-dates on the tour where bands such as Baroness, Iron Reagan, and Power Trip will provide them support.
Check out the full range of dates below, including the original stadium dates:
Volbeat headlining tour dates:
05/07 Charlotte, NC – Carolina Rebellion
05/09 Hershey, PA – Giant Center
05/10 Baltimore, MD – M&T Bank Stadium (w/ Metallica & Avenged Sevenfold)
05/12 Philadelphia, PA – Lincoln Financial Field (w/ Metallica & Avenged Sevenfold)
05/13 Portland, ME – Maine State Pier (w/ Iron Reagan)
05/14 East Rutherford, NJ – MetLife Stadium (w/ Metallica & Avenged Sevenfold)
05/16 Sayreville, NJ – Starland Ballroom (w/ Iron Reagan)
05/17 Uniondale, NY – Nassau Coliseum (w/ Metallica)
05/19 Boston, MA – Gillette Stadium (w/ Metallica)
05/20 Lewiston, NY – Artpark Amphitheater (w/ Baroness)
05/21 Columbus, OH – Rock On The Range Festival (w/ Metallica)
06/03 Kansas City, MO – Rockfest
06/04 St. Louis, MO – Busch Stadium (w/ Metallica)
06/04 Grand Rapids, MI – 20 Monroe Live (w/ Power Trip)
06/07 Denver, CO – Sports Authority Field (w/ Metallica & Avenged Sevenfold)
06/10 Oklahoma City, OK – The Criterion (w/ Power Trip)
06/11 Houston, TX – NRG Stadium (w/ Metallica & Avenged Sevenfold)
07/05 Orlando, FL – Camping World Stadium (w/ Metallica & Avenged Sevenfold)
07/07 Miami, FL – Hard Rock Stadium (w/ Metallica & Avenged Sevenfold)
07/08 Biloxi, MS – Hard Rock Live (w/ Power Trip)
07/09 Atlanta, GA – SunTrust Park (w/ Metallica & Avenged Sevenfold)
07/10 Cincinnati, OH – Riverbend Music Center (w/ Avenged Sevenfold)
07/12 Detroit, MI – Comercia Park (w/ Metallica & Avenged Sevenfold)
07/13 Cadott, WI – Rock Fest
07/14 Oshkosh, WI – Rock USA
07/16 Toronto, ON – Rogers Centre (w/ Metallica & Avenged Sevenfold)
07/18 Gilford, NH – Bank Of New Hampshire Pavilion
07/19 Montreal, QC – Parc Jean-Drapeau (w/ Metallica & Avenged Sevenfold)
‘Worth Checking Out In Case You Missed It – Review Feature’
OTUS – 7,38 Hz
Argonauta Records – CD // DD – Released March, 2016
Reviewed by Ric “Suisyko” Dorr
Founded 2012 in Rome Italy
Band members –∴Andrea Adesso: Drums / ∴Brunomaria Cosenza: Guitar / ∴Daniele Antolini: Bass / ∴Fabio Listrani: Guitar, Back Vocals / ∴Fabrizio Aromolo: Vocals, Synth
…and per the band’s own description, they take elements from ambient music as well as post-apocalyptic metal, syphon that through their BLACK SABBATH filter of doom and give us their interpretation that OTUS says “was inspired in fact, by the desire to deal with concepts related mainly to Eastern philosophies, which intersect with the more recent discoveries of modern physics, and who find in authors such as Fritjof Capra and Jiddu Krishnamurti, some of the most important sources of inspiration. The band enrich their sound playing ethnic instruments, building their own synthesizers, chanting mantras and taking particular care of their own visual and symbolic identity, handling everything from show posters to onstage visual projections. The result of this research, moves the band’s approach on mainly long and complex compositions, that evolve smoothly between aggressive and relaxed moments, atmospheric and violent resolutions — all in the service of the concept among occult and science that OTUS offer through their lyrics and visual art. ” enquote. Well, OTUS is definitely sure of what they want to convey and seem very focused in how to accomplish this.
“7.83Hz” is the first full-length album from this 5 man band and is true to the stated focus tying science and music together in a manner most have not yet witnessed. Stating that “7.83Hz” is a concept album divided in 3 chapters and inspired by Timothy Leary’s quote: Turn on, Tune in, Drop Out” it would seem that this would leave this album as the third chapter representing the Drop Out portion what with the March 2013 Demo debut release already containing ‘Turn On Pt I & II’ and ‘Tune In Pt I & II’. Spaced 4 years apart, the conceptual continuity seems flawless and they tie together beautifully when A/B’d together as one recording. Fabio is credited with the artwork and again, ties perfectly with the demo in concept and execution.
Opener ‘Avidya’ summons forth the throat singing previously featured in ‘Tune In-Pt I’ and then advances with a precise swing of aggro riffs and a tempo that jumps and weaves all over, never losing the core beat of this brutal swagger that suddenly jumps to a run for the last minute and half and there is no option to do anything other than keep up until the last chord fades into the floating keys that keep floating above the ground, serving as the perfect lead into ‘Last Of The Four’, that meanders slowly forth before the power chords grab your face pulling along this pure sludgefest of growls of rage and enough bass to pull you under the very ground beneath your feet, unrelenting in the hold until the final minute, when everything gets slower and softer and then the air shifts as ‘Echoes And Evocations’ serves up an almost menacing tone that is phase-shifted to an extreme that seems to entrance as the clean notes bounce around you, echoing with repeat and slow fade, enticing you along and then the time shifts and there is a feeling of light growing around you in a mystic fog, all the while the layers growing number and complexity as this instrumental deluge has you in it’s feather sift grasp and keeps washing over you and around you and almost through you as the throat singers fade back in from the edges of your astral vision and then ‘Phurba’ begins and the fog is cleared in hyper-fuzzed out majesty of guitars and bass full force. Eight minutes into this opus the music fades and the throat singers have entered again yet seemingly having never left as the pulses come and go until the punch of ‘Theta Synchrony’ hits with the edge of pick-ripping down-slides set the tone for this 11 and a half minute dirge that is the ultimate wet dream for those doom-sludgers that want an even darker edge that they have imagined could be delivered using the power of physics to further explore the inner-power purportedly contained within us all.
Title track ‘7.83 Hz’ utilizes the “Earth’s healing frequency” and the use of “binaural beats” to explore the theorem of how all of these frequencies and the effects they have on the brain that have been studied by scientists over the past 40 years, mainly accredited to Robert Monroe of The Monroe Institute. From the extensive research done and on the strength of Monroes’ findings, he concluded that inducing brainwave frequencies through the use of binaural beats causes a wide range of effects. There are lots of other scientists that have also noted that these lower brainwave frequencies are accompanied by deep tranquility, flashes of creative insight, euphoria, intensely focused attention, enhanced learning abilities, spiritual awareness, and so much more. From the fade in to the slow drop out before ‘Black Lotus’ begins will leave you ready for the remainder of this journey through several realms including ‘Alpha Phase’ with it’s spaced out stoner-chug along tempo and slicing staccato guitars that keep you moving in perfect time until the closer ‘Res Cogitans, Res Extensa’ opens with a lone bass line, then a soft cymbal crash, repeat and enter sinister six-strings to clear the path for this book-end track that ties everything together that we have just experienced here from the front until now. There is no turning away from the revelations and insight revealed as even this tome fills you with that mystical feeling of ‘something more’.
Was not sure of what to expect when I read their own descriptors and entered in with one brow raised in curious disdain but once I opened my ears and followed along, I understood… so will you!! Get this one like, YESTERDAY and make an hour plus of it.
It is suggested that to properly enjoy binaural beats, Find a comfortable place free of distractions. It’s important not to listen to binaural beats when you need to do something that requires your full attention like driving. Avoid any tasks that are mentally demanding because the meditative state is not conducive to quick, action-oriented critical thinking. Listen to binaural beats when you want to relax, clear your mind, get your creative juices flowing, engage your intuition to help solve problems and for personal development work such as repeating affirmations and doing visualization. Be sure to give yourself enough listening time! The brain requires about 7 minutes to entrain, or fall in sync, with the audio stimulus. Give yourself at least 15-30 minutes of listening time to experience the benefits. You must use stereo headphones for binaural beats to work. Why? Because the ‘beats’ themselves are created in your brain The word binaural means “having or relating to two ears.” It works like this: each ear receives a slightly different frequency at the same time, and the brain perceives the tone that is the difference of the two.
Buy the record, share it out and support OTUS when they come to your area!! The complexity and intensity of the band’s material will translate well in a live setting or at Volume 11 in the comfort of your home and/or your car!!
You must use stereo headphones for binaural beats to work. Why? Because the ‘beats’ themselves are created in your brain The word binaural means “having or relating to two ears.” It works like this: each ear receives a slightly different frequency at the same time, and the brain perceives the tone that is the difference of the two. If 400Hz pulses into one ear and 410 into the other, the brain will process the two sounds into a 10 Hz frequency, which happens to be the same frequency produced by the brain during meditation.
The truest of desert rock bands, Twentynine Palms, CA’s Atala, have just debuted their latest Official Video for ‘Grains Of Sand‘. The track hails from the band’s upcoming debut record for their recent signing withSalt Of The Earth Records, ‘Labyrinth Of Ashmedai‘. It will be the revered band’s third studio album after the previous critically lauded efforts, Shaman’s Path Of The Serpent (2016) and self-titled debut, Atala (2014). But make no mistake, 2017 is most definitely the year of Atala as their popularity continues to increase with fans of atmospherically alternative music.
Atala recently underwent a membership change as bassist John Chavarria amicably exited the band and newcomer Dave Horn (original Rise Of The Willing rumbler) came aboard. He joined guitarist/vocalist Kyle Stratton and drummer Jeff Tedtaotao and now the trio are preparing for an incredible series of imminent events. Not only will Atala be releasing the Billy Anderson-produced ‘Labyrinth Of Ashmedai‘ soon via Salt Of The Earth Records but they’re also preparing for their first jaunt to Europe. That journey will see the band perform two sets at this year’s prestigious Roadburn Festival in Tilberg, The Netherlands.
Born in 2008. Hometown – Florence, Italy. Band members listed as FRANCE – GABO – LORE
GENRE – Post Metal / Sludge / Noise / Psychedelic / Doom
A band that says they hate turning down the volume, hates genres and hates biographies; so we can throw those topics out the window then with this review.
“Bury My Innocence” appears to be the fourth release from NUDIST, beginning with the 2010 “S/T” release, followed by 2014’s “Appetizer For Monsters” and 2015’s “See The Light Beyond The Spiral” bringing us to now.
Five songs included and NUDIST seems to get more brutal with each release, this being no exception. ‘Strengthless’ and the title track ‘Bury My Innocence’ are both full speed, full attitude shredders the like of which NUDIST has made their standard and these are gems of just that ferocity, wherein ‘Bloody Waters’ brings a slower if not more even-handed back-beat that is as heavy as ever, but gives this track an almost MUDVAYNE/HELL YEAH sort of taste and feel and is a welcome new flavor for these guys. ‘Dead Leaves’ rips it up out of the gate at full gallop before stopping it up a minute and a half in with a grinding staggered beat that is almost dizzying until kicking back into the ultra-heavy slamming again that rolls right into the guitar chords that follow every beat out of until the last lingering chord drops off into the slow fade in of ‘Drift’ that carries on for over the first minute before the drum line strikes up the pace and then the bass begins it’s thundering and lumbering until that vocal growl takes its place in this closer that serves and the perfect wrap-up to this 26 minute offering that has just been released. This band deserves to be experienced LIVE to get the full effect. Do yourself a favor and buy the record, go see and support live and share this one with anybody you know that may dig it as much as we do!!
Drummer Axel Sjöberg (ex-Graveyard), bassist/vocalist John Hoyles ( guitarist for Spiders, ex-Witchcraft) and guitarist Pontus Westerman from Swedish garage rack band Lady Banana have united asBig Kizz. The trio plays a feel-good mix of energized rock ‘n roll with elements of power pop and punk and has signed to Tee Pee Records for the release of their debut album. The 3-song ‘Eye On You‘ EP will be released on June 9 and will feature the originals ‘Eye OnYou‘and ‘Baby Boy‘ and a rousing remake of the Roky Erickson classic ‘White Faces‘. This offering will serve as the primer for the band’s planned full-length debut which is tentatively expected this fall.
“I’ve been doing this too long to quit rocking now,” AxelSjöberg comments. “When I turn a page and wonder what to do in life, I go to country lyrics and in this case Willie Nelson: ‘The life I love is makin’ music with my friends, and I can’t wait the get on the road again.’ So that’s just what I did; I made music with my friends. We’re taking it to Norway first and then we’ll just see where it takes us after that. That’s the beauty of it: music is fucking magic. I hope you feel it too.”
It may come as a surprise to some people given my pedigree, but I’ve got a real soft spot for the guitar driven indie/alternative rock of the 90’s. My favorite band and biggest influence in high school was The Smashing Pumpkins. When you really think about it, it’s not that surprising at all. Growing up in Western Mass, some of our most prominent local bands were The Pixies, Dinosaur Jr, and Sebadoh. Also, growing up in a small town with no music scene whatsoever, none of us realized that it wasn’t cool to like both Metallica and R.E.M. Our musical tastes were allowed to develop organically, outside of the confines of the types of local scenes that often promote purism, elitism, and insularity, a hive mind whose tastes are established by a few strong personalities within the group who have a strong influence over what’s defined as “cool”, and what’s musical taboo.
What I liked about these indie bands were that they were distinctively guitar-centric bands, and they were distinctively rock bands, with an emphasis on distortion, volume, big rhythm sections to back up the guitars, and elements of anger mixed with other various emotions within the songwriting. Which transitions us right into NARCS, the little Leeds U.K. band that could. Wow, that was a rather short tangent for me, I may have to drudge up another one later in the review!! The first sentence of this paragraph accurately describes their sound, though I’d obviously like to get into it a lot more. I’m not much of a fan of one sentence reviews, although I do believe the review I wrote for Metallica’s new record was right on the money, and distinctively wrapped up everything I had to say on the matter in a single sentence: “Wow, Metallica tries really, really hard….” I’m just quoting it here for posterity, and to also start my second tangent, which is basically to say that more and more, I’m realizing I don’t want to fall into any kind of formula when I review records. I used to talk a little about each individual song, because a lot of other reviews do that and it seems impressive. It also makes the reviews lengthy, and maybe too much so for a society that’s been conditioned to have such short attention spans. I’m largely going to start avoiding this practice, because it is formulaic, and it’s redundant. Plenty of other reviewers do it, and I’ve said time and time again that their opinions are just as valid as my own. Read their reviews. I’m not taking it totally off the books, as it may make sense at times, just like my Metallica review makes perfect sense for me in the context of that record.
What I’d like to really get into during this review is a point of contention: I do read other reviews because I’m insatiable curious about the thoughts and opinions of others, and what keeps reoccurring is this tendency to refer to NARCS as a grunge band. And I don’t really like that, perhaps because for me, grunge pretty much died with the release of Nirvana’s Nevermind. Seriously, from my perspective that’s the nail in grunge’s coffin. To me, grunge was the sound of early Soundgarden, Melvins, Green River, Mudhoney, and TAD. These bands initially recorded their records loudly and cheaply, often with Jack Endino, and often releasing them with Sub Pop. They tended to mix elements of punk and metal in a way that differed vastly from crossover thrash. These records came out in the late 80’s and early 90’s, and yes, I’d include Nirvana’s Bleach as a prime example of an actual grunge record. Later on, the term became applied to just about ANY band that came out of Seattle in the record industry’s attempt to figure out what in the fuck had actually happened with Nevermind, to replicate that magical yet allusive formula, and most of the aforementioned bands got major label contracts and mainstream-ized their sounds. Of course, this also led labels to sign just about any band with “alternative”/underground credibility, which led to the term “grunge” also being applied to bands like The Meat Puppets, Cell, The Screaming Trees, and Nudeswirl. I can accept that, and in this terms, I can also accept that NARCS are a “grunge” band. They’re loud, swanky, aggressive, quirky, catchy, noisy, and draw from a wide variety of influences. However, another part of me thinks that it’s really a disservice and a bit lazy to call them a “grunge” band. They certainly draw influence from almost all of the bands that I’ve listed, and their sound is extremely 90’s centric. With that being said, I can hear also hear elements of The Jesus Lizard, Unwound, and Fugazi in certain songs, and none of those bands fit very neatly into the grunge category. There’s also a lot of shoegazing going on in terms of the production and the way that the guitars are layered. Some of the stereo panning is quite lovely.
The vocals are also quite lovely and subdued at times, though at other times, they’re snarling, over-the-top blasts of bile and vinegar. For me, they’re one of the high points, and frontman Wilko (not to be confused with the critically acclaimed band that I do not really care for) is to be commended for his performances. The juxtaposition of his soft, lulling indie adulation and roaring punk sneer is one of the main things that makes this record sound so vital and so immediate, and his performances always mirror the instrumentation. Wilko should also be commended for the passion of his lyrics, and their political relevancy. England needs more bands like this right now, hell….we all need more bands like this right now.
Despite that no two songs sound all that much alike, there’s a strange coherency to the record, largely in part due to how eerily the guitars, vocals, bass and drums are always clearly on the same page stylistically. It’s rather magical to listen to. At 11 songs in 43 minutes, NARCS don’t overstay their welcome, and it’s the perfect length for vinyl. I feel like the supremacy of the CD in the 90’s often led to albums that were overlong, had filler, weird “hidden” tracks that were ultimately annoying, etc. You’re not going to find any of that on A Thinking Animal, just another demonstration that these definitely were using their heads when they made this record. It’s aptly named. Do yourself a favor and check out the single “Pigs”, which I’m sure is up on YouTube. It’s a pretty accessible place to start. If you really want to hear something wild, see if you can find some of the more acetic tracks like “Mile Die” or “Empathy The Dog.” Everything is on YouTube these days, so you can make up your mind if this is an album that’s worth your continued attentions beyond reading this review. For me, I’m kind of kicking myself that I didn’t hear this last year when it came out, though they were largely off my radar. I’m seeing an extremely bright future for these Leeds lads, as long as they can keep thinking like animals.
The founding guitarist of legendary U.S. progressive metallers Fates Warning, Jim Matheos, has announced the release of the debut album from his new ambient instrumental rock project, Tuesday The Sky. ‘Drift‘, the band’s first full-length effort, is set for release on June 30th via InsideOut Music, and sees Matheos pushing the envelope of his sound and playing ever further. Tuesday The Sky will allow Matheos to explore a type of atmospheric and instrumental music, including expansive textures and ambient electronica, that his fans might not expect of him. The music of the project is being compared to that of such acts as Brian Eno, Boards Of Canada, Sigur Ros and Explosions In The Sky.
‘Drift‘ also features the talents of God Is An Astronaut’s drummer Lloyd Hanney, who provides a rhythmic backbone that is rampant with alternating styles and precision playing. Other guests include long-time OSI collaborator and former Dream Theater member Kevin Moore who plays keys on two songs as well as Anna-Lynne Williams (Trespassers William, Lotte Kestner), who provides ethereal, ambient vocals (of the non-verbal kind) on two other songs.
The album will be released as special edition CD, black LP + CD & digital download. Further details will be revealed soon.
The revival of the band Bloodclot is something I have been extremely excited about since I first learned it was happening awhile back. Not only because the iconic vocalist John Joseph of Cro-Mags fame has reactivated the band but because of who has joined him in this latest incarnation of it. Alongside him in Bloodclot circa 2017 are guitarist Todd Youth (Youth Of Today, Warzone, Murphy’s Law), drummer Joey Castillo (ex-Queens of the Stone Age, Blast!, Sugartooth) and bassist Nick Oliveri (ex-Queens of the Stone Age, Dwarves, Mondo Generator)! The band has announced that their upcoming album, ‘Up In Arms‘, is due to be released on July 14th viaMetal Blade Records. A Lyric Video for the album’s title track is streaming below and Joseph recently commented on the band’s mission statement more or less saying:
“In this band we’re doing what each of us have always done: give it our all,” John Joseph states plainly. “We work hard, and we have a lot to say. Look around the planet – people are fed up with the corrupt ruling class. They destroy the planet and kill millions for profit, and the formula for our response is simple: Anger + applied knowledge = results. Don’t just bitch. Change it.”
To accompany this fantastic news is some other cool news, that Bloodclot will be hitting the road on a touring run with Negative Approach. Here are the scheduled dates so far:
14 – Amityville, NY – Revolution Bar and Music Hall
15 – Philadelphia, PA – Underground Arts
16 – Washington DC – DC9
18 – Virginia Beach, VA – Shaka’s
19 – Baltimore, MD – Ottobar
20 – Belmar, NJ – Paul’s Tavern
21 – Brooklyn, NY – Saint Vitus
23 – Buffalo, NY – Studio at the Waiting Room
25 – Pittsburgh, PA – Cattivo
26 – Cleveland, OH – Now That’s Class
27 – Cincinnati, OH – Northside Yacht Club
28 – Detroit, MI – The Magic Stick
29 – Chicago, IL – Cobra Lounge
30 – St. Louis, MO – Blueberry Hill
1 – Denver, CO – Marquis Theater
3 – San Francisco, CA – Thee Parkside
4 – Los Angeles, CA – The Echoplex w/ Nails, Final Conflict
5 – Santa Ana, CA – The Constellation Room w/ Nails, Final Conflict
6 – San Diego, CA – Brick by Brick w/ Nails, Final Conflict
OF THE SUN BEFORE A HUMAN PATH – CD//DD Self-Release April 14, 2017 Reviewed By Pat ‘Riot’ Whitaker
Are you familiar with Texas’ Of The Sun? If you aren’t then this may take some creative imagination on your part. So, if you are ready to utilize such then just imagine if you will, or can, a Southern Progressive Metal band that taps into a wide variety of influences. A little Pantera, a little Gojira, a little Alice In Chains and a tanker truck full of creativity and talent are infused into the musical content contained here. Of The Sun, aka Patrick Duvall (Lead Vocals/Guitar), David Duvall (Bass/Vocals) and Johnny Reed (Drums), will self-release their ‘Before A Human Path‘ EP on April 14th. And to be honest, I don’t know if metal fans are ready for a release of this caliber, one that’s as genuinely unique as this one is. This is metal but it is also quite beyond metal too.
From Poznań, Poland we have received the impressive new effort from Strange Clouds, ‘Calm Before The Storm‘. This five song album possesses an interesting potency of melodic rock that’s founded on bluesy swagger and solid playing. Those bringing that surety through in the music are vocalist/guitarist Lucky, guitarist Żożo, drummer Czarek and bassist Kajo. What they manage to capture in that self-same music are hazy, ethereal qualities that add an intriguing texturing to these songs. Laid back with a definite carefree vibe to them, songs like the scorching introductory cut ‘Heal The Ghosts‘ hit great heights within their groove-laden release. Killer guitar work is stitched throughout the song, including some cool, meandering moments laced with trippy psyche touches. Continue reading…