HARM’S WAY Announces North American Summer Headlining Tour With Support From Jesus Piece, Portrayal Of Guilt, And Fuming Mouth

HARM’S WAY has confirmed a North American summer headlining tour. The near-two-week trek will begin August 7th on their home turf of Chicago, Illinois and run through August 18th in Washington, DC. Support will be provided by Jesus Piece, Portrayal Of Guilt, and Fuming Mouth. See all confirmed dates below.
 
HARM’S WAY w/ Jesus Piece, Portrayal Of Guilt, Fuming Mouth:
8/07/2019 Beat Kitchen – Chicago, IL
8/08/2019 The Sanctuary – Detroit, MI
8/09/2019 The Foundry – Cleveland, OH
8/10/2019 Hard Luck Bar – Toronto, ON
8/11/2019 Chemung County Fairgrounds – Horseheads, NY
8/13/2019 House Of Independents – Asbury Park, NJ 
8/14/2019 The Palladium – Worcester, MA
8/15/2019 Chrome – Waterford, NY (no Jesus Piece)
8/16/2019 The Webster Underground – Hartford, CT (no Jesus Piece)
8/17/2019 Brooklyn Bazaar – Brooklyn, NY 
8/18/2019 R&R Hotel – Washington, DC  
 
HARM’S WAY continues to tour in support of their most recent full-length, Posthuman, out now on Metal Blade Records. Having grown with each subsequent release, Posthuman is a devastating addition to HARM’S WAY‘s catalog. Exclaim! hails, “an impressive display of brute force that keeps its momentum up from beginning to end.” Pitchfork writes, “The swole Chicago hardcore band’s latest album shows their raw strength while adding shades of industrial and groove metal for character.” Adds Metal Injection, “HARM’S WAY Posthuman gives fans absolutely solid hardcore material, promising utter chaos while providing some welcoming blends in variety in regards to tone and sound. From beginning to end, Posthuman is pure savagery and an early contender for one of the year’s heaviest albums.”
 
Earlier this year, HARM’S WAY released a remix EP of Posthuman titled PSTHMN. Commented the band, “PSTHMN is the evolutionary counterpart to our 2018 full length, Posthuman. It includes four remixed and reinterpreted tracks by artists that have continually inspired and influenced the band throughout its tenure. These artists include Justin Broadrick (Godflesh, Jesu, JK Flesh), Andrew Nolan (Intensive Care, The Endless Blockade, Column Of Heaven), and Sanford Parker (Mirrors For Psychic Warfare, Corrections House). Additionally, the release includes a reimagined version of the track ‘Unreality’ by our very own bassist, Casey Soyk. PSTHMN follows the vision of Posthuman and sheds light on influential aspects that have shaped the sound and aesthetic of HARM’S WAY.”

AMON AMARTH Releases Berserker Full-Length; North American Tour With Slayer, Lamb Of God, And Cannibal Corpse Underway

AMON AMARTH is in the midst of their North American tour with Slayer. The journey will make its way through sixteen cities upon its conclusion at the Xfinity Center Amphitheatre in Mansfield, Massachusetts on May 25th. Additional support is being provided by Lamb Of God and labelmates Cannibal Corpse. See all confirmed dates below.
 
The tour comes in conjunction with the release of Berserker, AMON AMARTH‘s eleventh full-length studio offering. Out today via Metal Blade Records (North America)/Sony Music (International), the record features twelve monstrous heavy metal anthems. From the disarming melodrama and explosive riffing of opener “Fafner’s Gold” and the brutish simplicity of the rampaging “Crack The Sky,” to the epic fury of “Raven’s Flight” and the grim, gritty storytelling of “Ironside” and “Skoll And Hati,” Berserker is an album full of trademark AMON AMARTH bluster and bite but with every aspect of the band’s sound somehow refined, sonically enhanced, and made vastly more potent, both in terms of metal oomph and emotional power. 
 
Berserker was recorded in Los Angeles with renowned studio guru Jay Ruston (Anthrax/Stone Sour). After recording several rounds of professional demos for the new songs — initially with fellow Swedish metal icon Peter Tägtgren and then later with Ruston himself — the band crossed the Atlantic to make final the recordings in LA, eager to take a fresh approach to the album-making process.    
 
Preview and purchase AMON AMARTH‘s Berserker at https://amonamarth.lnk.to/berserker.
 
AMON AMARTH w/ Slayer, Lamb Of God, Cannibal Corpse:
5/03/2019 Isleta Amphitheatre – Albuquerque, NM
5/05/2019 UTEP/Don Haskins Center – El Paso, TX
5/07/2019 Bert Ogden Arena – Edinburg, TX
5/08/2019 The Pavilion At Toyota Music Factory – Dallas, TX
5/10/2019 MidFlorida Credit Union Amphitheatre – Tampa, FL
5/11/2019 Coral Sky Amphitheatre – West Palm Beach, FL
5/13/2019 Big Sandy Superstore Arena – Huntington, WV
5/14/2019 Merriweasther Post Pavilion – Columbia, MD
5/16/2019 Ruoff Home Mortgage Music Center – Noblesville, IN
5/17/2019 Providence Medical Center Amphitheatre – Bonner Springs, KS
5/19/2019 DTE Energy Music Center – Clarkston, MI
5/20/2019 Covel Centre – Youngstown, OH
5/22/2019 Canadian Tire Centre – Ottawa, ON
5/24/2019 BB&T Pavilion – Camden, NJ
5/25/2019 Xfinity Center – Mansfield, MA
 

ATALA: West Coast Desert Doom Trio To Release The Bearer Of Light Full-Length Via Salt Of The Earth Records; “Desolate Lands” Video Now Playing, Tour Dates Announced + Preorders Available 4/20

West Coast desert doom trio ATALA will release their The Bearer Of Light full-length via Salt Of The Earth Records on May 21st.
 
Returning to their DIY ethos, the seven-track desert voyage was captured and self-produced in just five days at Gatos Trail in Joshua Tree with engineer Jeff Thomas. “It’s a true roller coaster of emotions: sad, angry, confused, lost… but, you can’t help but feel hope as you follow the journey,” notes founding guitarist Kyle Stratton.
 
“After working with producers who I admired,” Stratton continues of the decision to record The Bearer Of Light on his own, “I felt it was my time to do it my way while implementing some of the tricks they used. I wanted to record live and not overthink the process. I just wanted to capture the moment take by take. It was a learning process for both the band and myself as a producer. I literally had no idea what I was doing but I wanted the record to have a ’90s DIY feel like the stuff I grew up listening to and I think we achieved that.” 
 
In advance of the release of TheBearer Of Light, ATALA is pleased to unveil their video for first single“Desolate Lands.” Issues Stratton of the clip, “‘Desolate Lands’ was written spontaneously in a jam and it was devastatingly heavy. Lyrically, it’s about the desert and our connection to the surrounding landscape and creatures. It’s about understanding that nature is the only true connection we have to any kind of a god or higher power. The video was created by our friend Zak Kupcha at Circulation Media. He did a great job.”
 
View ATALA’s “Desolate Lands” at THIS LOCATION. 
 
The Bearer Of Light comes swathed in Stratton’s striking cover art and will be available on, CD, LP, and digitally. Preorders begin this Saturday, 4/20 via Salt Of The Earth Records at THIS LOCATION or the ATALA website HERE. 
 
The Bearer Of Light Track Listing:
1. Desolate Lands
2. Upon The Altar
3. Naïve Demure
4. Sun Worship
5. Venomous Lure
6. Won’t Subside
7. Dark Skies 
 
Catch ATALA live in support of The Bearer Of Light on a near-three-week US tour this June alongside Sixes. See all confirmed dates below. 
 
ATALA w/ Sixes: 
6/14/2019 O’Malley’s – Mountain View, CA 
6/15/2019 Mummer’s – Sparks, NV 
6/16/2019 Beehive – Salt Lake City, UT
6/17/2019 Streets Of London – Denver, CO
6/18/2019 The Riot Room – Kansas City, MO
6/19/2019 The Lift – Dubuque, IA
6/20/2019 Reggie’s Music Hall – Chicago, IL
6/21/2019 Mohawk Place – Buffalo, NY
6/22/2019 Café 611 – Frederick, MD
6/23/2019 The Drunk Horse – Fayetteville, NC
6/24/2019 Alabama Music Box – Mobile, AL
6/25/2019 Come And Take It Live – Austin, TX
6/26/2019 Bond’s 007 Rock Bar – San Antonio, TX
6/27/2019 Rockhouse Bar & Grill – El Paso, TX
6/28/2019 House of Bards – Tucson, AZ
6/29/2019 Yucca Tap Room – Phoenix, AZ 
6/30/2019 Slidebar – Fullerton, CA

EYEHATEGOD Announces Second Leg Of 4 Strikes From The Elementary To The Penitentiary Tour

EYEHATEGOD are pleased to announce the second leg of their previously announced 4 Strikes… From The Elementary To The Penitentiary tour. Slated to commence on May 7th in Hamden, Connecticut and run through May 25th in Lafayette, Louisiana, the band will trample nineteen cities alongside Negative Approach and Sheer Terror as well as Phobia, Disassociate, and Fuck You Pay Me on select dates with more shows to be announced in the weeks to come.
 
EYEHATEGOD‘s ongoing world-wide live takeover begins again this week with a short bout of shows in California and Mexico from February 27th through March 3rd. From there, the band will play two shows in Japan with Napalm Death, Melt-Banana, and Misery Index, followed by one-off gigs in The Philippines, Malaysia, and Singapore. Beginning March 29th in Houston, Texas, EYEHATEGOD will deafen sixteen more US cities, concluding April 13th on the band’s home turf of New Orleans, Louisiana. Support for will be provided by doom icons The Obsessed and punk rock veterans Antiseenon select dates. See all confirmed dates below. 
 
EYEHATEGOD  4 Strikes… From The Elementary To The Penitentiary Tour:
2/27/2019 Jerry’s Pizza & Pub – Bakersfield, CA
2/28/2019 Oakland Metro – Oakland, CA w/ Black Cobra, Brainoil
3/01/2019 5 Star Bar – Los Angeles, CA w/ ACxDC, Ruin, Beyond Pain
3/02/2019 Club Paradise – Tijuana, MX
3/03/2019 Alex’s Bar – Long Beach, CA * Matinee Show
3/05/2019 Club Quattro – Osaka, JP w/ Napalm Death, Melt-Banana, Misery Index
3/06/2019 Club Quattro – Tokyo, JP w/ Napalm Death, Melt-Banana, Misery Index
3/08/2019 Darkside – Manila, PH
3/09/2019 Rumah API – Kuala Lumpur, MY
3/10/2019 Decline – Geylang, SG
w/ The Obsessed:
3/29/2019 Warehouse Live – Houston, TX
3/30/2019 Lost Well – Austin, TX
3/31/2019 Gas Monkey – Dallas, TX
4/01/2019 89th Street – Oklahoma City, OK
4/02/2019 Fubar – Saint Louis, MO
4/03/2019 Sidetracks – Huntsville, AL
w/ The Obsessed, Antiseen:
4/04/2019 The Earl – Atlanta, GA
4/05/2019 The Tap Room – Nashville, TN
4/06/2019 Ground Zero – Spartanburg, SC
4/07/2019 Cosmic Charlies – Lexington, KY
4/08/2019 The Riff House – Chesapeake, VA
4/09/2019 506 – Chapel Hill, NC
4/10/2019 Nighthawks – Jacksonville, FL
4/11/2019 Crowbar – Ybor City, FL
4/12/2019 Gramps – Miami, FL * EHG + The Obsessed Only
4/13/2019 Howlin’ Wolf – New Orleans, LA
End Tour
5/07/2019 Amityville Music Hall – Amityville, NY * EHG Only
w/ Negative Approach, Sheer Terror, Disassociate:
5/08/2019 Space Ballroom – Hamden, CT
5/09/2019 Middle East Restaurant And Nightclub – Cambridge, MA
5/10/2019 Voltage Lounge – Philadelphia, PA
5/11/2019 The Kingsland – Brooklyn, NY w/ Fuck You Pay Me (no Disassociate) * SOLD OUT
5/12/2019 The Kingsland – Brooklyn, NY w/ Phobia
w/ Negative Approach, Sheer Terror, Phobia:
5/13/2019 Geno’s Rock Club – Portland, ME
5/14/2019 Big Jar – Rochester, NY
5/15/2019 Café 611 – Frederick, MD
w/ Negative Approach, Sheer Terror, Phobia, Fuck You Pay Me:
5/16/2019 Cattivo – Pittsburgh, PA
5/17/2019 Northside Yacht Club – Cincinnati, OH
5/18/2019 Sanctuary – Detroit, MI
5/19/2019 Grog Shop – Cleveland Heights, OH
w/ Phobia:
5/20/2019 Black Circle – Indianapolis, IN
5/21/2019 X-Ray Arcade – Milwaukee, WI
5/22/2019 Vaudeville Mews – Des Moines, IA
5/23/2019 Riot Room – Kansas City, MO
5/24/2019 Vino’s Pizza-Pub-Brewery – Little Rock, AR
5/25/2019 Freetown Boom Boom – Lafayette, LA
In a review of their New York City performance at Brooklyn Bazaar last year, Rolling Stone crowned EYEHATEGOD, “one of America’s great live bands,” further and accurately elaborating, “There are certain bands who are very good at playing heavy rock or metal music. They’re tight, intense, professional; they project just the right air of macho authority. You might catch them in a club, nod your head and shoot ‘not bad’ looks to your friends during their set, and spring for a T-shirt at the merch table afterward. Then there are other bands, a very small handful, who, through some alchemical combination of execution and attitude, transcend their subgenre completely and connect with the primal root of rock & roll, offering showgoers a hint of that sacred, ‘What in the fuck is happening right now?’ wildness that’s been the hallmark of great American artists from Howlin’ Wolf to Jerry Lee Lewis and the Stooges. EYEHATEGOD are one of these bands.”

NEUROSIS To Headline Supersonic Festival 2019 In July; Tickets On Sale Now

Supersonic Festival is immensely proud to announce iconic pioneers of heavy music, NEUROSIS, as the headliners of their fifteenth installment taking place July 19th through 21st.
 
Showing their discontent with convention from the very beginning, NEUROSIS revealed what would become an instinct for transformation in sound and scope. Over the collective’s past eleven albums and their utterly memorable live shows, the band has invited listeners to join them on the path their music carved. Going beyond the remarkable, NEUROSIS has become unforgettable.
 
For over thirty years, NEUROSIS has relished in the unpredictable and embraced the unknown possibility of where the music was capable of taking them. For fifteen years, Supersonic has been guided by the same adventurous spirit, and fiercely independent principles, playing host to groundbreaking musicians and artists from around the globe, from LCD Soundsytem, Anna Von Hausswolff, Holly Herndon and The Bug, to Goblin, SUNN O))), Jenny Hval, and Godflesh, to Mogwai, Gazelle Twin, Moor Mother, and Shirley Collins. Supersonic is delighted to fulfill a life-long dream in welcoming NEUROSIS to Birmingham next July.
 
NEUROSIS Steve Von Till adds, “It’s been a long time coming, but finally NEUROSIS is teaming up with the folks at Supersonic for a special event in Birmingham, a holy land for heavy music. We have known Supersonic to be kindred spirits since we first met years ago to discuss our mutual commitment to supporting independent, emotionally intense artists. Their lineup over the years has mirrored our own appreciation for eclectic sound with a depth of spirit and passion, creating a platform for some of the most interesting and inspired artists around. This is not to be missed.”
 
Supersonic Festival 2019 will also run in parallel with a major Home Of Metal exhibit — celebrating the forefathers of metal — Black Sabbath. This immersive exhibition will feature portraits from the Home of Metal Black Sabbath fan archive, historical photos, ephemera, and memorabilia sourced directly from the band members, joining the dots between music, social history, visual art, and fan cultures to produce a new perspective on heavy metal. One that is celebratory, eschews notions of high/low art and joins audiences and performers together. See more on Supersonic Festival HERE and HERE.
 
NEUROSIS will also team up with their friends in Converge for Leave Them All Behind 2019 when both bands tour across Japan together for the first time. Watch for additional NEUROSIS tour dates to be announced in the months ahead.
 
NEUROSIS Tour Dates:
2/14/2019 Trad – Osaka, JP w/ Converge
2/15/2019 E.L.L.  Nagoya, JP w/ Converge
2/16/2019 O-East – Shbuya, Tokyo, JP w/ Converge, Endon, Self Deconstruction
2/17/2019 Unit – Daikanyama, Tokyo, JP w/ Converge, Palm, Black Ganion
7/19-21/2019 Supersonic Festival – Birmingham, UK [info]

Ghost Performs in Sin City

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Ah Vegas.  Full disclosure, this is only my second time here, gambling isn’t my thing and, generally, neither are manufactured experiences.  There is, however, an allure, a temptation to revel in the tawdry displays of tourists on Fremont, convincing themselves they’re being entertained, convincing themselves that the shiny dress, the cheap suit, the almost fashionable, is real – even if it’s just for a moment.  The exuberance can so easily feel manic and desperate – a high that takes a wrong turn and becomes dark, feverish, and somehow sad.

But there are moments.  Moments when people come together to experience something they deeply love, that the bad trip is forced back behind joy, excitement, and connections with people who share a passion.

Ghost is a band that brings out that passion and excitement.  The community that gathers at The Joint in The Hard Rock is primed for connections – connections with each other and with the band.  Vegas is a notoriously difficult venue.  Artists have an audience that might have picked up the tickets at random, and there for a myriad of reasons where the show isn’t the primary focus.

Ghost, though, brings fans to them; as easily across geography as emotionally during a show.  Current front persona Cardinal Copia, deftly draws the crowd into his sermon – never stranding the audience in a lull, but carrying them through the changes in tempo with witty banter, and faith that, wherever he’s taking them, the journey will be rewarding.

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Cardinal Copia’s persona bridges priest and lounge singer in a playful, joyous manner that, somehow remains unironic.  And while he may lose a few of the less faithful during his earnestly delivered monologue on the cycles of depression and hardship to highs and loves that we all experience; more are with him.  It might be partially this supportive, positive, fun philosophy that backs all Ghost does that engenders such love from their fans.

It is the passion from the fans that is partially responsible for the current rise in Ghost’s popularity.  Passion, and a fun pop-rock accessibility that has been missing from the larger music scene since the eighties.  A pop rock that is backed with skilled musicians; clever, articulate songwriting; and a colorful, engaging narrative live show.

“Are you with us?” is a mantra of sorts for Ghost, and for Ghost fans. A question that is always replied with an emphatic affirmative.

Review written by Forrest Kenworthy

Russ Tippins of Satan

russ

Your most recent release “Cruel Magic” is such a fantastic album. What’s your favorite song you wrote for it?

Speaking personally it has to be ‘Ophidian’ because it’s so different from everything else we play. It was the last track to be written for the album. We’d been working for two years on writing & arranging. It had slowly become clear that the vocal ideas on two of the songs we’d chosen weren’t working, and Brian pointed out that much of the music was so fast he didn’t think he’d be able to do anything with it. He asked if I had anything at mid-pace tempo – something he could really get his teeth into. Well I didn’t, none of us did but it made me pause to take stock and consider his point. To cut a long story short, that is how the song ‘Ophidian’ came into being. I’m grateful that Brian spoke up because the vocal on this track is one of his finest moments ever. I think from that point onwards we became much more focused on getting the best ‘vocal’ arrangements and four of the songs got major overhauls to facilitate this.

Recently you’ve started to tour the USA for “Cruel Magic”, has there been any memorable moments from the tour so far?

At the time of writing, we’ve now completed the tour, which is definitely the most successful run we’ve ever had. The interest and attendance have been phenomenal and I guess it really peaked at our Brooklyn show at Saint Vitus. We hadn’t played New York in two years and the venue was at bursting point. The noise at the end of our set was deafening. The loudest thing I’ve ever heard in my life! We were just looking at each other with our hands over our ears! Another memorable moment for me was at the Cleveland show. We got into town late from Seattle and I really wanted to catch the opening set by Destructor. I arrived guitar case in hand just as they were beginning and went straight to the front. On the first number, the guitarist/singer Dave broke a string and I thought, “Oh no!” Then I remembered I had my guitar with me. I reached down to my case and pulled out a ‘bottom E’ string and when the song finished I stepped forward to hand it to Dave. The look on his face was absolutely priceless! A mix of relief and astonishment I’d say. It felt really good to be on hand to help a fellow musician and their set was friggin awesome!

How did everyone in the band meet?

We were at school together. Myself, Steve, Graeme & Andy (Reed). It was the last year of high school and Steve had the idea to form a metal band and that it would be called Satan. At that point, he couldn’t play any instrument but decided that he would be the rhythm guitarist and I would teach him since I could already play (a little). Well at 15, we all thought it was a pretty cool idea haha. Graeme was studying classical guitar so got the bass job. And Andy was famous for kicking over his drum kit at a school concert so it was a no brainer he should be the drummer. We always struggled to find someone who could front the band. Nobody wanted to do it!

What was it like playing your first show together?

That would’ve been the school Christmas concert in 1980 haha. We had to play three songs and a classmate had volunteered for the job of singing but he was a little bit shy and kept his head down the whole time while mumbling inaudibly into his mic. Our drummer Andy Reed had no drum mat and he was hitting the bass drum so hard that it jumped forward an inch with every hit. By the end of the set he was right at the front of the stage and we had to cut the last song shortly before he fell off the edge. Then he stood up and kicked it over! We loved it.

Being around the music scene for almost forty years, what is it like seeing all the changes in the metal scene?

My very first awareness of getting excited by music was in the early 70’s when bands like The Sweet and David Bowie played on British TV shows. The thing that really got under my skin was pure classic Rock – Zeppelin, Deep Purple, Sabbath. I so wanted to do that and would posture in my room pretending to be a guitar player with a broomstick. Later, two guitar bands like Judas Priest and Wishbone Ash became the thing. Then, when I saw Iron Maiden it totally made me want to be in a band for real. They really increased the speed factor. I wanted to take it further still with Satan which we did, but then thrash came along and speed went off the scale! The thing all of the above bands had in common was that they recorded live to analog tape. I never appreciated how much I would miss that sound until years later when it was gone completely. By the early 1990’s I’d given up my music career and I kind of switched off as a listener when the digital age started to kick in – Grunge, Nu Metal, it all seemed to be louder and simpler – bands playing to a sound grid. Horrible. Slip Knot increased the excitement for sure but it was still micromanaged and quantized to Hell. Nothing sounded real anymore. Even Maiden & Priest were on the grid. To me, it was like the Invasion of the Body Snatchers. And then the very worst of all happened… Symphonic Metal! Nooooooo……

Thankfully there’s been a recent revival of underground bands recording live to tape including Anti Christ and Black Magic from Sweden, Danava and Natur from the US, and my own new project Tanith. This is very promising and I’m hopeful that it will catch on in the mainstream. If nobody uses analog studios then the engineers & machines will become obsolete and this beautiful medium will be gone forever.

If you could collaborate with any artist/band, who would it be?

It’s funny but I’ve never worked with an organist/keyboards player before and I’ve always been an admirer of Ken Hensley from Uriah Heep. I would totally love to do something with that guy, both in terms of writing and performing on stage.

What do you think your life would be like without music?

I have no clue. The only real job I ever had was as a motor fitter for two years when I gave up music in the 90’s. It nearly wrecked my hands and to be honest, I don’t think I am cut out to work full time five days a week. I’m very much a night person and I guess if I couldn’t play guitar I would have found something, anything that meant I didn’t have to get out of bed early every day! A Night Watchman says…

If you could change anything about today’s music overall, what changes would you implement?

Well, I know this will sound old-fashioned and somewhat Luddite, but as I’ve already stated I’d really like things to go back to how they were before Pro-Tools and autotune, where it was simply about recording a band playing their songs as if it was a live gig or dress rehearsal. It’s hard for me to listen to 21st-century recording because nearly all of it sounds so phony. Nothing ever goes wrong or stands out in excellence. There is no spontaneity and it’s boring as Hell to listen to. Compared to say, the excitement of Raven’s first album or Iron Maiden’s debut.

Lastly, if you could give your past self-advice, what would you tell them?

This one is easy. I’d go back to 1984 after ‘Court in the Act’ was released. I’d tell myself not to listen to the negative press reviews. And to pay no attention to the dismal sales of the first six months. Most of all, do NOT break up the band and follow a different direction with another singer. I’d persuade my younger self to keep the faith and get to work on the second Satan LP. In the same style with the same line-up. All of that should have happened.