Friday, November 29, 2019

VISIONS OF ATLANTIS Announces 2020 European Headline Tour

Order their Chart-Breaking Album, Wanderers, NOW!

VISIONS OF ATLANTIS embark on yet another journey to remember!

Following the release of their latest chart-breaking studio album, Wanderers (#17 UK, #30 US, #39 DE), symphonic metal alliance VISIONS OF ATLANTIS have announced the first leg of their European headline tour, beginning in February 2020. The band’s seventh album offers a musical and lyrical journey across the untamed seas along a powerful path towards self-discovery and overtakes your mind to another sonic dimension.

After releasing Wanderers, VISIONS OF ATLANTIS followed up with a European Tour as special guest for Freedom Call, but they’re not finished yet! The symphonic metal quintet continues to conquer Europe with their emotional and powerful live performances.

The beautiful, bittersweet duets of Clémentine Delauney and Michele Guaitoli, accompanied by monumental soundscapes made up of heavy guitar riffs and smashing drums will make this experience truly unforgettable.

They proved their unique interpretation of symphonic heaviness once more at this year’s Bang Your Head!!! Festival, where they played an exclusive and full headliner-set with the Bohemian Symphony Orchestra Prague. VISIONS OF ATLANTIS now continue their everlasting journey right into the vastness of the sea and is inviting you to the depths of their maritime universe.

w/ Chaos Magic featuring Caterina Nix, Morlas Memoria

13.02.20 AT – Bruck/Mur / Dachbodentheater  2.0
14.02.20 IT – Mantova / Arci Tom
15.02.20 IT – Retorbido / Dagda Club
16.02.20 FR – Lyon / CCO
17.02.20 FR – Marseille / Jas’Rod
18.02.20 ES – Barcelona / Sala Boveda
19.02.20 ES – Madrid / Caracol Club
21.02.20 PT – Porto / Metalpoint
22.02.20 PT – Lisbon / RCA Club
23.02.20 ES – Vitoria / Urban Rock Concept
26.02.20 FR – Nantes / Le Ferrailleur
27.02.20 FR – Colmar / Le Grillen
28.02.20 DE – Memmingen / Kaminwerk
29.02.20 DE – Nuremberg / Der Cult

w/ Edenbridge, Scarlet, Leecher

17.04.20 AT – Graz / Explosiv
18.04.20 CH – Wetzikon / Hall of Fame
19.04.20 DE – Trier / Mergener Hof
21.04.20 DE – Aschaffenburg / Colos Saal
22.04.20 FR – Paris / Backstage By The Mill
23.04.20 UK – London / The Underworld
24.04.20 UK – Manchester / Rebellion
25.04.20 NL – Utrecht / De Helling
26.04.20 DE – Leipzig / Hellraiser
28.04.20 DE – Cologne / Helios 37
29.04.20 NL – Tilburg / 013
30.04.20 DE – Hamburg / Headcrash
01.05.20 DE – Erfurt / From Hell
02.05.20 CZ – Prague / Nova Chmelnice
03.05.20 AT – Vienna / Szene

Get into the VISIONS OF ATLANTIS vibe and watch
“Heroes Of The Dawn” HERE:
Order Wanderers NOW:
For more information on VISIONS OF ATLANTIS, visit:


VISIONS OF ATLANTIS is an Austrian-French-Italian symphonic metal band formed in August 2000 in the beautiful town of Bruck an der Mur. Since the beginning, VISIONS OF ATLANTIS have featured harmonies of male and female vocals, making them extraordinary and distinctive from other bands of the genre. The band consists of Clémentine Delauney (vocals), Michele Guaitoli (vocals), Christian Douscha (guitar), Thomas Caser (drums) and Herbert Glos (bass).

Clémentine Delauney - Vocals
Michele Guaitoli - Vocals
Christian Douscha - Guitar
Herbert Glos - Bass
Thomas Caser - Drums

Wednesday, November 27, 2019

The Xroadie Files

Nox Irae – Here The Dead Live
Herostratos -  Vocals, Damien – Bass, Fred – Guitar, Jerome – Drums

Phantom Parasite Trauma fast heavy shredding rip your face off death metal mayhem. All Is Over hit the pit and just slam away all your aggressions. Knife Under Throat chugging chainsaw riff thundering bass pounding drums and dark demonic vocals. Cold Wind slow eerie tones that just slice you into small pieces before they just mash you into oblivion. Primordial Lie crunchy riffs thundering rhythms that just pummel you into the ground. Supposed Dead hard heavy thrashing shredding slicing and dicing of your brain.

Pencey Sloe – Don’t Believe Watch Out
Diane Pellotieri, Clement Baptiste, Valentin Beaucort

Lust Of The Dead eerie music that just envelops your senses and pulls you into a dark place n your mind. Buried Them All slow plodding drums and guitars riffs with lumbering bass and vocals that just pierce thru you. All Ok close your eyes and let your imagination flow into dark places. Don’t Believe Watch Out eerie tones that envelop your senses as they take you into a dark abyss. Gold And Souls steady beats melodic guitars and thumping bass with soaring vocals. Sins dark dreary music that will have you looking over your shoulder. Empty Mind drifting thru the deep recesses of your mind. Follows melancholic tones that just take your imagination away. Bright Water slow drifting melodies that just pull at your heart. 17 Springs eerie catchy enveloping music and emotional vocals.

The Rightly So – Vandura
Jess Chizuk – Vocals/Guitar, Greg Zeis – Guitar/Vocals

Black And Blue take a trip back to the folk rock of the 60s and just enjoy. You Can Bet On Me grab your guitars and just play along with one catchy folk rock tune. Honest Kind Of Peace close your eyes and just drift along. Ball And Chain soaring organ soulful vocals and strumming guitars. All These Things just drift along in your imagination. Dying Day a musical trip back to a simpler time and place. Devils Work strumming guitars soulful folky vocals that just gar your senses. Nothing But The Weather soft melodies just let your imagination flow along. Good Luck And Godspeed soft guitar melodies and soulful vocals. The Lucky Ones sitting around strumming your guitar and singing with friends. Not Coming Home a countrified folk tune with tons of emotion.

Blacktop Mojo – Under The Sun
Matt James – Vocals/ Nathan Gillis – Drums, Ryan Kiefer – Guitar, Matt Curtis – Bass, Chuck Wepfer – Guitar

Lay It On Me on your feet moving to a catchy heavy groove and just rocking out. Set It Free crunchy riffs powerful vocals and a solid rhythm. Come Get Your Coat scorching leads pounding drums thundering bass and very soulful vocals. Keep will have the crowd on its feet swaying and singing along. It Won’t Last slow bluesy guitars and emotional vocals that just pierce the soul. All Mine Now fist pumping head banging slow and steady heavy metal magic. Can’t Sleep melancholic guitars just slide along and grab your imagination with some thumping bass and pounding drums add soulful vocals and you have one memorable tune. The Lashing (Ghost) just close your eyes and drift along with one excellent tune. The Void strumming guitars powerful vocals that just take over your senses. Under The Sun heavy riffs pounding rhythms scorching leads and emotional vocals.

Toxikull – Cursed And Punished
Lex Thunder – Vocals/Guitar, Michael Blade – Guitar – Antim The Viking – Bass/Vocals, Garras – Drums

The Summoning Pit sounds of a storm with scorching lead guitars that slowly build. Cursed And Punished shredding guitars thundering bass pounding drums and soaring vocals just hang on for a wild ride. Sacred Whip bells chiming and spoken words then a fast as hell thrash speed metal crushing tune. Killer Night fist pumping head banging soaring vocals crunchy guitars and thundering rhythms. Helluminate get out the air guitars and just thrash about and enjoy. The Revival screaming vocals spoken words and searing guitars. Rising Dust chugging riffs pounding beats thundering bass scorching leads and soaring vocals. Dark Glory fist in the air thrash about metal madness. Speed Blood Metal hit the pit and just let all your aggression out. In The Name Of Evil searing leads thundering rhythms soaring vocals that just pull you in and won’t let go.


Tuesday, November 26, 2019

Cleopatra Entertainment To Release Festival Award Winning Documentary “MELODY MAKERS the Bible of Rock 'n Roll” - November 29 in Los Angeles

Featuring ERIC BURDON (The Animals), IAN ANDERSON (Jethro Tull), YES (Steve Howe, Chris Squire, Alan White), DAVE COUSINS (The Strawbs), JUDY DYBLE (Fairport Convention), Nazareth (PETE AGNEW & DAN MCCAFFERTY), STEVE ABBOTT (UK Decay) and SONJA KRISTINA (Curved Air)

Los Angeles, CA – Cleopatra Entertainment will release the rock music magazine story “MELODY MAKERS the Bible of Rock 'n' Roll,” in Hollywood CA on November 29, 2019. The directorial documentary debut feature from venerable and respected Canadian award-winning filmmaker, and Female Eye Film Festival founder/director Leslie Ann Coles, the immensely entertaining and insightful documentary MELODY MAKERS will screen at the ARENA CINELOUNGE, from NOVEMBER 29 to DECEMBER 5th, 2019 with a special Q&A with Director Leslie Ann Coles, on Monday, December 2nd at 6:30pm. In addition, Cleopatra will release the film to VOD Platforms coinciding with a home entertainment DVD version on December 17th, 2019.

MELODY MAKERS is not just another music doc. It chronicles the birth of music journalism and the world’s oldest and longest standing seminal music magazine; Melody Maker. Through a series of interviews from artists (Ian Anderson/JETHRO TULL, Eric Burdon/THE ANIMALS, Alan White, Steve Howe and Chris Squire/YES, among others) and journalists of the time, the film tells the true story of the rise and fall of the world’s most influential music publication and uncovers an era of tremendous creative freedom.

At the heart of the story is Barrie Wentzell, Chief Contributing Photographer of Melody Maker Magazine (1965-1975) and his iconic photographic archive of legendary musicians during the birth of the rock 'n roll era, who along with his journalist colleagues gained unprecedented access to bands and musicians that would go on to become the legends of rock n' roll. Wentzell's photos are the touchstone of this documentary as the photographer and others recount the many untold stories from behind the pictures. Barrie recalls a Peter Townshend telling him about an idea he had for a rock opera when Tommy was a concept. Melody Maker journalist, Chris Charlesworth recalls when the magazine tried to expand into the US market without paying off the mobsters who controlled magazine distribution in key cities such as New York, and PR Keith Altham shares an anecdotal story about a publicity stunt gone awry involving the notorious drummer, Keith Moon and a hovercraft.

Beyond the visual stories told, Melody Maker includes interviews ERIC BURDON (The Animals), IAN ANDERSON (Jethro Tull), YES (Steve Howe, Chris Squire, Alan White), DAVE COUSINS (The Strawbs), JUDY DYBLE (Fairport Convention), Nazareth (PETE AGNEW & DAN MCCAFFERTY), SONJA KRISTINA (Curved Air) and SEVE ABBOTT (UK Decay); journalists CHRIS WELCH, CHRIS CHARLESWORTH, ALLAN JONES (Senior Editor UNCUT Magazine); ALAN LEWIS; and other notable subjects PETER WHITEHEAD (filmmaker Charlie My Darling), ROGER DEAN (artist), JEFF DEXTER (DJ/ Promoter), KEITH ALTHAM (PR for The Rolling Stones, The Who) and GLEN COLSON (Stiff Records) to name a few.

Leslie Ann is thrilled to launch her debut feature documentary MELODY MAKERS with the enhanced Apple Book made possible with the generous support of Telefilm Canada’s Marketing and Promotions Program. As the executive producer and director of LA Coles Fine Art Films she is currently engaged in a wide variety of works which include theatrical features, non-scripted TV, documentaries, shorts and interactive digital media. Her company is committed to producing films and cross platform projects that combine art, entertainment and social justice. Coles is a Women In the Director’s Chair alumni, and a recipient of three CTV Banff Fellowships for original series. Founder of the Female Eye Film Festival (FeFF) in 2001 to address gender parity in the film industry, she has executive-produced 46 short films directed by at risk female youth through the Young Filmmaker Development Workshop (YFDW), a program established under the auspices of the FeFF.  In her capacity as Festival Director for the past 17 years, she oversees the rigorous evaluation and selection of independent films for FeFF from over 2,500 entries every year. Intimately familiar with the local and international filmmaking community since 2001 with the inaugural festival and her debut multiple-award-winning film “In The Refrigerator: Spirit of a Haunted Dancer,” Leslie Ann’s strength is her ability to creatively strategize projects and determine market potential during the development process, always with a critical understanding of a film’s milieu, be it social, cultural, or art-focused.

MELODY MAKERS will see a limited theatrical release on November 29, 2019 at the Arena CineLounge Sunset, 6464 Sunset Blvd, Hollywood CA,  followed by the Apple iBook on the same day and the DVD Release on December 17, 2019.

MELODY MAKERS,  English, Color, Stereo, 5.1 HD, 78 min., Canada

“A cinematic love letter to late British weekly music magazine Melody Maker — captures a vital passage in 20th century music history.” - Kim Hughes, Original Cin

“This cheerful history of the music weekly Melody Maker has enough inside dope to maintain interest.” - Adrian Mack, The Georgia Straight

“Whimsically titled Melody Makers leans heavily on Barrie Wentzell, chief photographer from 1965-1975, both for his recollections and his amazing collection of images.” - Chris Knight, The National Post

“Melody Makers is charming, informative, and highly entertaining.” - Andrew Parker, The Gate

“The narrator-less film rattles along to the extent that I couldn’t believe it was over, so enthralled was I by the anecdotes, analysis, pictures and film of such an extraordinary ten years of music.” - Martin Webb, A New Day

“The tunes and the images, combined with countless inspiring and entertaining first-hand recollections brilliantly resurrect a time that produced some of the most remarkable artists that have ever lived.” - Amy Balog, 60’s Today

WINNER Best Music Documentary, 18th Bare Bones International Film Festival 2017
WINNER Best Documentary, 8th Fort Myers Film Festival 2018
WINNER Best International Documentary, 16th Garden State Film Festival 2018
WINNER Audience Choice Award, Hot Springs Women’s Film Festival 2018
WINNER Gold Award Best Documentary, Spotlight Film Festival 2018
WINNER Best International Documentary, Color Tape Film Festival 2018
WINNER Best Documentary, Meraki Film Festival  2018
WINNER Best Director, Borderlands Film Festival 2018
WINNER Best Feature Documentary, Nice IFF 2018
WINNER Best Documentary, MedFF 2019

Monday, November 25, 2019

Swedish hard rock purveyors KAMCHATKA unleash new single off upcoming album 'Hoodoo Lightning'; out Dec. 6th on Border Music

Sweden's blues rock veterans KAMCHATKA share the second single taken from their new album "Hoodoo Lightning", due out December 6th on Border Music. Get groovy with "Fool" now!
Bassist and vocalist Per Wiberg comments: "Since both me and Thomas sing it’s cool to mix it up and share verses and choruses. I’ve always liked rock bands that have two or more lead vocalists, like Kiss, Grand Funk & ZZ Top for example. It brings more life to the songs I think and also underlines the fact that we’re a band. Obviously it’s fun and entertaining for both us and the audience in a live situation as well and it takes away a little of the pressure of having one guy doing the majority of the lead vocals."

Stream Kamchatka's groovy new single "Fool" HERE

Sonically it’s a grittier KAMCHATKA we hear this time and it’s evident that there’s a new level of energy shining through Hoodoo Lightning, a more confident take-no-prisoners kind of attitude and closer to the uncompromising experience of seeing the band live. Also introducing the shared lead vocals from Thomas & Per on many of the tracks gives the power trio format an extra punch and a wider dynamic range.

'Hoodoo Lightning' was produced by KAMCHATKA & Jonas Kjellgren. It was recorded by Tobias Strandvik at Kamchatka Shelter, mixed and mastered by Jonas Kjellgren at Black Lounge Studios. First single "Rainbow Ridge" can be streamed at this location.

KAMCHATKA New album 'Hoodoo Lightning'
Out December 6th via Border Music
and November 29th on streaming platforms
After an unforeseen break during 2017 due to various injuries and surgeries KAMCHATKA came back last year to play live again. What was supposed to be a few low key gigs to get back together and write some new music quickly turned into 50 shows, headline tours, support slots and festival appearances. The band also recorded and released a well received 7-inch on the German boutique vinyl label H42 Records with 2 new exclusive tracks.

One step back but two steps forward might be an appropriate way of describing Hoodoo Lightning as all the signature ingredients we’ve come to know are there. The guitar wizardry and heartfelt vocals from Thomas Juneor Andersson as well as the rock solid swinging rhythm section of Tobias Strandvik & Per Wiberg are present as always and guides the listener through all the rock and roll twists and turns imaginable.

As usual the music itself is heavily rooted in the 60’s & 70’s but Jonas Kjellgren has managed to avoid all the pitfalls of the slick retro sound and instead found a great balance between an up to date powerful in-the-moment sound with lots of creative details. Combined with the classy as ever songwriting and vigorous performances it’s the sound of a band who knows what they want and what they’re good at! Hoodoo Lightning strikes!

KAMCHATKA will be presenting the album during their full European tour with Graveyard and Clutch:
02.12.19 GER Wiesbaden - Schlachthof
03.12.19 GER Oberhausen - Turbenenhalle
05.12.19 GER Bremen - Aladin
06.12.19 GER Nurnberg - Löwenbsaal
07.12.19 FR Strasbourg - La Laiterie
08.12.19 FR Lyon - Le Transbordeur
10.12.19 SP Barcelona - Sala Apolo
11.12.19 SP Madrid - Sala But
14.12.19 SP Bilbao - Santana
15.12.19 FR Bordeaux - Le Rocher de Palmer
17.12.19 UK Southampton - O2 Guildhall
18.12.19 UK London - Roundhouse
19.12.19 UK Leeds - O2 Academy
20.12.19 UK Nottingham - Rock City

Thomas Juneor Andersson - Vocals, Guitar & Percussion
Tobias Strandvik - Drums & Percussion
Per Wiberg - Vocals, Bass & Keys


Sunday, November 24, 2019

A Ripple Conversation With Cybernetic Witch Cult

When I was a kid, growing up in a house with Cat Stevens, Neil Diamond, and Simon and Garfunkel, the first time I ever heard Kiss's "Detroit Rock City," it was a moment of musical epiphany. It was just so vicious, aggressive and mean. It changed the way I listened to music. I've had a few minor epiphany's since then, when you come across a band that just brings something new and revolutionary to your ears.

What have been your musical epiphany moments?

Alex: I remember the day my dad sat me and my sister down and dusted off a Uriah Heep album and played us ‘July Morning’. I’d heard rock and metal before, either from ‘The greatest rock album in the world ever’ or from Kerrang TV, but when I first heard July Morning it blew my mind. So haunting. So many intricate things happening tonally at once. Even now it still gives me goosebumps when the intro settles down into the first verse.

Lewis: There's been so many! When I was about 10, one of my dad's friends gave me a bootleg copy of The Black Album. I'd never heard that kind of guitar sound before, it blew my mind! That kind of distortion, I remember thinking "That must be what bass guitars sound like!"
The other big one was obsessively watching this Led Zeppelin Concert DVD, way before I ever started playing the drums myself, watching Bonham's soloing would fascinate me. I figured he must've been cheating somehow because I hadn't worked out that you played drums with your feet too!

Doug: My musical epiphany was when Lemmy took over The Friday Rock Show back in the early / mid 80s. He played the live version of Master the Universe from Hawkwind's Space Ritual album. And it was the first time I heard the MC5. Ramblin Rose.

Talk to us about the song-writing process for you. What comes first, the idea? A riff? The lyrics? How does it all fall into place?

Alex: I usually start with a riff, or a concept and then write riffs to match the concept. Lyrics usually come last, sometimes I’ll write a vocal hook and then build the riff around it, but I like to have a mostly finished song before I start getting deep into the lyrics. It gives you more time to think through a concept as you hear the music materialize.
Sometimes we’ll write together and jam certain riffs and then go back and decide what’s worth expanding on. But I like to sit down and work things out.

Lewis: we've written in a few different ways I guess, on this latest one there were a lot of jams that we filmed and picked apart, but Alex would often come to a writing session with a riff in mind. I suppose I see my job as trying to inspire the guys by orchestrating the drums a certain way.

Who has influenced you the most?

Alex: This is a tough one, I like to think different bands influence different songs. We’ve definitely described parts of songs as ’Sleep riff’, ‘Hawkwind riff’, even some of the bands in the current UK ’Boss Keloid riff’, ‘Lacertilia riff’ etc.
Biggest influence though?
I reckon Cathedral. Riffs, Scifi, Horror, Tongues in cheek and a lack of regard for sticking to one style of music.

Doug: My influences are everything from the psych of Steve Hillage, to the power of Black Sabbath, Fury of The Who and the MC5, Hawkwind to Electric Wizard…

Lewis:  I don't think many of my early influences really apply anymore! I used to learn a lot of prog metal songs note for note, but these days, if anything I'm trying to sound less like those influences. I try to let the riffs influence me above anything else.
Having said that, the drummer from Smash Mouth imparted some wisdom that has been a real focus on my playing lately... no joke!

Where do you look for continuing inspiration? New ideas, new motivation?

Alex: I like to pick up a different guitar, try a different tuning, experiment with a new fx pedal or watch some sci-fi/mind bending movies.

Lewis: Being involved in this little underground scene is by far the biggest inspiration for me, the bands we play with are often so incredible it's hard not to feel inspired, bands like Elephant Tree, Tuskar, Beggar, Ritual King, and too many others to mention all spring to mind for me, nothing but love and respect, and being able to watch all these great bands definitely drives me to better myself.

We're all a product of our environment. Tell us about the band's hometown and how that reflects in the music?

Alex: The band are from the county of Cornwall in the UK, it’s a weird place that is hours away from anything resembling a ‘big’ city. There’s beautiful coastline, weird and wonderful people and some rich heritage. I think life is a bit slower here and you’ve got the surfing scene so we can get away with writing music as weird as we like and be completely different to anything else for miles around.

Lewis: Being somewhere as geographically inaccessible as Cornwall has apparently instilled a frantic work ethic for touring. We get a lot of 'you drove HOW FAR?' When we come from home. As far as the local scene goes, I think it's safe to say that we're carving our own path, and I think our desire to be a little weirder, take ourselves less seriously while still imposing the biggest heaviest sound we can. I think the genesis of that has come from growing up playing in other Cornish bands.
Where'd the band name come from?

Doug: I don't know where the band name came from!

Lewis: Alex is the sole bearer of these secrets, being the only remaining founding member.

Alex: A week of brainstorming names that mixed sci-fi and horror.
It started as something literal, but now it feels like more of a name for a bunch of collective weirdos, I really love how well it works to sift out the normies/civilians from the freaks and fringe dwellers.

You have one chance, what movie are you going to write the soundtrack for?

Lewis: I'd love to do the soundtrack for Starship Troopers. I think that movie has the perfect self aware tone for us. It would benefit from some big dumb riffs!

Alex: Gotta go big I suppose, I’d like to do the soundtrack for 3001: The Final Odyssey.
(The 4th in the 2001: A Space Odyssey series). It's got a guy waking up in space after getting killed by a robot, it's got the creators of the human race deciding whether we should be sacrificed to save life on Europa. AND IT'S EVEN GOT VELOCIRAPTOR BUTLERS ON THE SPACECRAFT. This is making me think the next album should just be this. Hmm. Thank you Ripple!!!

You now write for a music publication (The Ripple Effect?).  You're going to write a 1,000 word essay on one song. Which would it be and why?

Alex: Mad John by Small Faces, it's such a short song but paints such an awesome picture of this character. The lyrics are brilliant, you can picture this wizened old forest man that's in tune with nature and the animals and is just misunderstood.
Not sure which music publication would run this piece though

Lewis: I could write endlessly about Gavin Harrison's playing on Anaesthetise by Porcupine tree. He is a master of turning the drums into as musically sympathetic instrument as they can be.

Come on, share with us a couple of your great, Spinal Tap, rock and roll moments?

Alex: I think my favourite was sleeping in the back of a Hertz rental van with all the gear whilst up in the Peak district on the highest road we could find because we wanted to have a nice view on our night off on tour. It was snowing and extremely cold, but we had petrol station snacks and beers. Very wholesome!

Lewis:So when we were playing ‘Hard Rock Hell: Doom V Stoner; there was a moment where my drum monitor fell from the riser, I have no idea what was causing it but I noticed a sudden cutting out of monitor noise and looked over to see the speakers falling away from me! We played through the rest of the set but it wasn't until later that I found out that Doug's entire sound was cut from the falling monitor, it was kind of mad. That was our highest profile show to date as well! Nothing is ever smooth for us haha!

Saturday, November 23, 2019



“It all flows beautifully, a career peak 30 years after no-man’s debut” Mojo

“An immersive, luxurious experience.” Classic Pop 4/5

“Love You To Bits is a compelling listen.” Record Collector 4/5

“Manages to convincingly combine both euphoria and pensive reflection.It sounds like little else around…” Electronic Sound

“A revelation.” AllMusic

“A fantastic mix of Goldfrapp, Kraftwerk and Robert Fripp.” The Electricity Club

“Evidence of no-man changing and evolving into something new.” The Music Shack

“The long-running partnership between Tim Bowness and Steven Wilson has long shied away from conventional genrefication, but even for them 'progressive melancholy disco' is a new frontier. Imagine Pink Floyd mixed with Tears For Fears, by Giorgio Moroder, and you're in the right ballpark.” Classic Rock, Track of the Week

Eleven years on from the band's last release – the melancholy song suite, Schoolyard Ghosts - no-man returns with a gloriously ambitious statement unlike anything in its back catalogue. Consisting of two connected 20 minute long, five-part pieces (Love You To Bits and Love You To Pieces), the album combines shimmering Pop and pulsating Electronica elements in fresh and surprising ways (incorporating aspects of Fusion, Ambient and much more).

Twenty-five years in the making and lyrically chronicling the aftermath of a relationship from different perspectives, Love You To Bits features poignant melodies, big beats and breathtaking solos that collide with ethereal textures and bold experiments to create the most dynamic and diverse no-man release to date.

Adam Holzman, David Kollar, Ash Soan and the Dave Desmond Brass Quintet guest. Produced by no-man, Love You To Bits was mixed by Bruno Ellingham and mastered by Matt Colton.

About no-man:
Formed by Tim Bowness and Steven Wilson in the late 1980s, no-man’s first single, "Colours," was released on UK independent label Probe Plus in 1990. Becoming Melody Maker, Sounds and Channel Four Music "single of the wee" and garnering Radio One airplay, "Colours" led to the band being managed by Talk Talk’s manager Keith Aspden and signed to One Little Indian in the UK and Epic/Sony in the US. The band were compared to artists as diverse as Massive Attack, Roxy Music and Prefab Sprout.

The band’s second album, Flowermouth (1994), was more expansive and experimental than anything that preceded it and more accurately reflected the band's eclectic tastes (Robert Fripp, Jansen, Barbieri & Karn (from the legendary band, Japan) and Jazz legend Ian Carr guested).

Releasing four more progressively experimental studio albums between 1996 and 2008 (most notably on the Kscope label), no-man drew from a diverse mix of singer-songwriter, post rock, minimalist classical, progressive rock, jazz and contemporary ambient sources for inspiration, producing a distinctive yet difficult to categorize music.

Described by Drowned In Sound as "Probably the most underrated band of the last 25 years," the band built up a dedicated audience which led to sold out performances in the UK, Germany, Poland and Holland on its 2012 tour (documented on the album Love And Endings).

Love You To Bits represents a return to the band’s Electronica and Dance roots that incorporates the creative advances and sophistication seen on the band's later albums.

Tim Bowness’ recent quartet of solo releases - including 2019’s Flowers At The Scene - have entered the official UK Top 5 Rock, Progressive, and Vinyl charts. Steven Wilson’s most recent album, To The Bone, was his most successful to date, reaching No 3 in the UK Album Chart and the Top 20 in 15 countries.
photo credit: Carl Glover

Friday, November 22, 2019

A Ripple Conversation With Void Vator

When I was a kid, growing up in a house with Cat Stevens, Neil Diamond, and Simon and Garfunkel, the first time I ever heard Kiss's "Detroit Rock City," it was a moment of musical epiphany. It was just so vicious, aggressive and mean. It changed the way I listened to music. I've had a few minor epiphanies since then - when you come across a band that just brings something new and revolutionary to your ears.

What have been your musical epiphany moments?

It's funny you mentioned Kiss. I grew up listening to The Beatles, Elton John and Classical music because of my Mom. My Dad was more into 80’s pop. I wasn’t necessarily super interested when I was a little kid - I just listened to whatever my parents were listening to. My first musical epiphany happened when I was about 9 years old. Going through my grandpa’s vinyls I found Kiss Alive II. The album cover caught my attention immediately. I can’t remember what song I played first, but I remember being blown away by the song “Watching You”.  I thought the intro riff was the heaviest and meanest riff I’d ever heard. Another important moment was listening to Nirvana for the first time, and unlike most people at that time, it was the song “Scentless Apprentice”, not “Smells Like Teen Spirit” that introduced me to them. That takes me to the next epiphany: I was visiting my uncle who was a little younger than my parents so my cousins and I kind of looked up to him. He was the cool, bad- ass uncle. At some point that day, he asked me what music I was into - so I told him I liked Nirvana, Kiss, Guns & Roses, etc. He looked at me with great disappointment, which was weird to me because I thought I was a bad-ass for being a rocker, and he said, “You think you are tough because you listen to those bands?”. Then he called me a fag, and said I needed to start listening to metal and lifting weights. So, to counterbalance the insulting portion of our interaction, he gave me three cassette tapes that would change me forever: Testament The New Order, WASP The Last Command, Slayer Seasons In The Abyss and Iron Maiden Piece Of Mind. I wore those tapes out man. I felt like I knew something no one else knew; and the music made me feel very empowered.

Talk to us about the song-writing process for you. What comes first - the idea? A riff? The lyrics? How does it all fall into place?

Never the lyrics; and that’s because the lyrics are inspired by the vibe I get from the music. My writing process goes like this: I smoke a bowl and record a bunch of riff ideas on my phone. I do that for a few days and end up with maybe 10 or 15 song ideas. Then a week later I review the ideas and get rid of the crappy ones. It’s important not to be enamored with the smell of your own farts. Meaning - not every single idea you have is going to be good. I usually end up with maybe four ideas I think are worth developing, and I work on those. I record the riffs to a metronome, and then it’s time for another bowl so I can try ideas for vocal melodies and determine which vowel sounds I want. This is crucial - determining the vowel sound for the end of each line and how you structure the rhymes. Based on that, and the vibe I get from the music, I write the lyrics. So, my lyrics are forged by vowel sounds and the vibe I get from the music.  I think this is the best way to write a song - where the lyrics blend with the music. Other writing methods haven’t been as effective for me.

Who has influenced you the most?

My dickhead uncle who gave me all those awesome cassette tapes. Other than him, I would say Jimi Hendrix. He was the first guy that made me understand how to play from your soul instead of your brain. His Live at Monterrey album was very important for me. When you compare the studio version of “Hey Joe” to the Monterrey version, you can hear the difference between a guy tracking guitars at a studio and a guy connecting with the universe through his guitar. I still get chills listening to that album.

Where do you look for continuing inspiration? New ideas, new motivation?

Nowhere - I don’t look for it. If you are looking for inspiration, it’s because you are not inspired. To quote one of the greatest bands in the world, the almighty Tenacious D, “You can’t force inspirado”. If you do, you end up with an uninspired and contrived piece of music. You have to know when to stop trying. If I’m not inspired, I don’t even pick up the guitar.  I can do other things like go to the beach, watch a movie, go to the gym, skate or whatever. After not playing for a few days, the desire to play guitar makes it easy to be creative, because I feel more enthusiastic about playing. It’s all about balance.

We're all a product of our environment. Tell us about the band's hometown and how that reflects in the music?

When I turned 13, we moved to a beach town and most of my peers in high school were the unbearable hippie types - obsessed with ska and reggae music. This was after my uncle gave me those awesome tapes. I absolutely hated reggae and ska, so I hung out with the kids who listened to metal and punk rock. That’s around the time I got into The Ramones, who I still love to this day. By the time I was 15, I had my own band and we were playing shows with other metal bands, so I got into that scene. They were mostly NWOBHM bands and some Pantera wannabes. We were all very young and were trying to emulate bands we liked. My band was very Iron Maiden-influenced, and I was trying to play like Yngwie Malmsteen. This was also around the time I met German – who played drums in Void Vator until earlier this year. He was into prog bands like Dream Theater, Symphony X and stuff like that. His band was super proggy and extremely tight. I thought he was the greatest drummer ever, so we became friends and he passed me some prog albums. A few years later, I joined his band and we played very complex prog music. That band was called Tempo - you can look it up on YouTube.  There’s a video of us playing “Instrumedley” by Dream Theater. It’s like a 10-minute prog jerk-off session. We were obsessed with practicing and rehearsing at that time. There was nothing better to do. We used to rehearse five times a week.

Where'd the band name come from?

It’s supper silly. People always want a grandiose explanation; but in our case, it’s kind of funny. My wife and I were living in a 5th floor efficiency apartment in an old building in Korea Town, and it had this shitty elevator that would frequently be out of order. So yeah, the name Void Vator pays homage to that ancient, sometimes scary, super unreliable, accordion-gate elevator. I figured it doesn’t have the word black, red, or any color for that matter, steel, dark, last - and it also didn’t sound like an unfinished sentence like While She Awaits…which was a common trend for bands six years ago. I thought Void Vator had a good ring to it; and it sounded cool. It’s also unique and it was available online.

You have one chance: what movie are you going to write the soundtrack for?

A bad 80’s throwback movie with winners, losers, a clueless cheerleader, an outcast, a bad boy with a mullet and leather jacket, adults who never believe their children and some sort of supernatural villain. That way I can write an epic 80’s metal song with the most ridiculous and cheesy snare sound. I’ve been on an 80’s movie kick lately, so If you ask me the same question again in a month, I might have a different answer. If we were talking about more serious movies, Nosferatu (the Warren Herzog version) is one of my favorite movies of all time so I would love to write a super dark-sounding score for a movie like that. I really like John Carpenter’s movies; but he is a master at creating awesome soundtracks, so I wouldn’t even want to mess with that.  His scores are pure perfection.

You now write for a music publication (The Ripple Effect?).  You're going to write a 1,000-word essay on one song. Which would it be and why?

I don’t know man, I’m not a critic. I think music is self-explanatory; and when it’s not, it leaves room for interpretation, which I think is great for the listener because it lets them pour a little bit of their own creativity into the song - especially when the lyrics are a bit more cryptic.  To answer the question, though, I think Led Zeppelin has a lot of great songs with a lot of nuance and depth. Songs like “Ramble On”, “The Rain Song” and “No Quarter” are beautiful. Being that I’m a musician, I would probably dissect it and explain it from a musician’s standpoint, so almost no civilian would understand it. I’m not going to be using terms like “razor-sharp tone”, “rumbling bass lines”, or other such verbiage. I’d be talking about time signatures, key changes, chord progressions, etc.  I’d probably put everyone to sleep and get fired after one article. I guess I’m a nerd.

Come on, share with us a couple of your great, Spinal Tap, rock-and-roll moments?

When I first came to Los Angeles, I had two ridiculous experiences with the band I was in at the time. The first one was maybe our second show. We were playing covers at this shitty bar in Altadena and everything was fine until we played “Superstition” by Stevie Wonder. The owner lost his shit and started yelling “You don’t play that shit in my bar!”, and he proceeded to unplug the power, while telling us to get the fuck out. It sucked because we were playing great and people were having a good time. We later found out the guy was some sort of crazy racist, so I guess that explains it. The second one was at a place called Molly Malone’s on Fairfax Blvd. We had no idea how things worked in L.A. as far as booking shows was concerned, so we got to the gig and loaded our gear in; but when it was time for us to play, the owner told us that we couldn’t because there wasn’t one person at the venue. We had ZERO attendance, so we packed our gear and left– in retrospect, it was kind of hilarious! I think the funniest Void Vator Spinal Tap moment was the time we played a show in Ohio at a place called The Tree Bar. It was winter, so it was freezing and as such, the show was poorly attended – we were playing for about five people. The venue had been hosting a comedy show before our set, so Erik had the fantastic idea to invite all the comedians to watch our show and roast us for one minute in between songs; and they happily obliged. It was hilarious, and the gig ended up being super fun. I think my favorite roast was when one of the comedians said, “You guys look like Metallica if Napster had won.”.

Thursday, November 21, 2019

L.A hard-hitting rockers VOID VATOR share rip-roaring album 'Stranded' via Metal Injection ; out this Friday on Ripple Music

Los Angeles one and only VOID VATOR share their debut album 'Stranded' in its entirety via Metal Injection today, before its release this November 22nd on Ripple Music. Metal up with VV's sharp and stomp-inducing tunes now!

"One of the most exciting bands in rock right now. (...) The tracks on their latest offering, Stranded are full of energy and life, they are driving and fascinating, and they constantly push the band to new heights. They clearly want it, and they want it bad. (...) Void Vator at their finest is rip roaring rock and roll that understands the magic of the genre" says Matt Bacon from Two Guys Metal Review.

Let there be maximum voltage with 'Stranded' NOW

VOID VATOR position themselves as worthy heirs of the New Wave of Traditional American Heavy Metal with eight blistering and massive tracks. Counting on Bill Metoyer’s production skills (Slayer, Body Count), the L.A. four-piece is delivering a sharp, pedal-to-the-metal brand of heavy. 'Stranded' is filled with impeccable hooks and driven by a contagious energy that will make any decent human headbang to death, the 'metal up your ass' way.

'Stranded' was initially recorded and self-released as a digital six-track earlier this year. VOID VATOR inked a deal with Ripple Music and will release it as a full-length with two new songs and a new track listing on November 22nd.

VOID VATOR Debut album 'Stranded'
Out November 22nd on Ripple Music
Los Angeles-based hard-rock/heavy metal VOID VATOR are striking since 2014, and have quickly developed a reputation as a take-no-prisoners live act. They collaborated with Grammy nominated producer Ulrich Wild (Pantera, Deftones, Metalocalypse) on their 2017 debut EP “Dehumanized” on WURMgroup. Void Vator dove back into the studio with world renowned producer Bill Metoyer (Slayer, DRI, Body Count) to record their 6-track self-released EP "Stranded". Eager to once more take to the wicked ways of the road, the "Skeleton Crew" tour will take Void Vator further than ever before, spanning a full month and reaching out to northeastern US cities including NYC, Boston, and New Haven.


Wednesday, November 20, 2019

The Xroadie Files

Horror God – Cursed Seeds
Sergey Borisov  - Guitar/Bass, Pavel Smirnov – Guitar, Max Stepanov – Vocals, Lev Kurgansky – Drums, Kevin Hufnagel – Guest Guitar Solo (They Were Behind The Barbed Wire)

Cursed Seeds eerie disharmonic guitars slither all around your senses before the aggression slaps you in the face. Age Of Madness crunchy guitars that just slice at you with pounding rhythms and thundering bass along with dark demonic vocals. They Were Behind The Barbed Wire a slow steady riff that just slides along the ground at you with deep growling vocals and thundering beats. We Built these Walls Ourselves grabs you and pulls you into the dark black abyss of nothingness. Sunset lost in the darkness of your dementia. Face Of War emptiness ad fear surrounds you. Throne aggression and hatred just annihilate your soul.

The Narrator – Dark Rails
Fabi – Vocals, Tom – Guitar/Vocals, Jan – Guitar, Rob – Bass/Vocals, Fritz – Drums
Guest – Jay Kucera/ Christoph Koterzina

Palisades crunchy guitars pounding beats thundering bass and growling vocals. Rails hard heavy music that just grabs you and slams you into a wall over and over. Renegade hit the pit and just mosh till it hurts. Average chugging riffs pounding rhythms and hoarse vocals. Dark pounding crunchy riffs that just pull you into the pit.

The New Death Cult – ST
Alpha – Vocals/Guitar, Beta – Guitar, Gamma – Bass, Delta – Drums

Light Spills Over fast heavy riffs that just pull you in with a solid beat and excellent vocals. Zeitgeist thumping bass pounding drums crunchy guitars and sing along vocals. True Eyes has a very catchy riff that just envelops you. Moon strange chords just slither all around with a pounding beat and sing along vocals. The War a slow melancholic tune that just takes over your senses. Blood Of Babylon get on your feet and just rock out. ColoursOf The Mind low bass catchy riffs and solid beats. Home has a very interesting twist to it with a crunchy guitar riff. Edel just close your eyes and let the music envelop you.

Kelly Carmichael – Heavy Heart
Kelly Carmichael – Guitar/Vocals, Jesse Schultzberger – drums

Shadows Will eerie tones envelop you with some interesting vocals and pounding drums. Desires Tragedy just close your eyes and let the music take your imagination away. Soupers classical piano stylings with melancholic emotions that just flow thru your senses. The Palmist heavy dark emotions just slide all around and take you over with some very doomy music. The Way She Heals melancholic guitars just worm their way into your soul with a steady beat. Vine Of The Soul has a very catchy riff and some interesting vocals. Starless Divine kicking back with friends having a few brews and listening to the band on stage. Heavy Heart on your feet sway and groove to the music as you sing along. 

Skanska Mord – Blues From the Tombs
Janne Bengtsson – Vocals/Harmonica, PatricCarlsson – Bass, Petter Englund – Guitar, PatrikBerglin – Guitar, Thomas Stromberg Jonsson – Drums

Snow on your feet and just move to the catchy bluesy groove and searing leads. Simon Says has a groove that will just grab you and not let go till the last note. Edge of Doom a slow slithering bluesy tune that just envelops your soul. The Never Ending Greed takes you back to the late seventies and the great blues base hard rock of the time. Blinded By The Light close your eyes and let one very emotional tune take you away with some great musicianship and soulful vocals. Sun psychedelic acid blues rock that just has you drifting along. Death Valley Blues swing sway and just let the music envelop your very soul. The Coming Of The Second Wave on your feet fist in the air and just take a very emotional trip thru one magical tune.


Tuesday, November 19, 2019

Dark jazz quartet MACELLERIA MOBILE DI MEZZANOTTE unveil first single off "Noir Jazz Femdom"; out 29.11 on Subsound Records.

Italian dark jazz unit MACELLERIA MOBILE DI MEZZANOTTE announce the release of their new album "Noir Jazz Femdom" this November 29th on Subsound Records, and unleash a bleak first single exclusively on Metal Hammer Italy.

"Devotion" is an occult dive into the depths of the soul. MMM's first single highlights the duality between happiness and pain, infusing explicit lyrics, metaphysical questions, feelings, violence and sex into funeral jazz noise sounds. Including special guest Paolo Bandera from power-noise dark-ambient unit Sigillum S.

Find you own definition of "Devotion"

MACELLERIA MOBILE DI MEZZANOTTE explore Love and Death with a range of sonic references. Power electronics, ambient, industrial and noir jazz sounds sublimate Passion, Eroticism and the inescapable ending of Life. Special guests Paolo Bandera (SigillumS) and Fabrizio Giannese (Aborym) bring compelling shallowness to this dark jazz gem.

New album "Noir Jazz Femdom"
Out November 29th on Subsound Records
1. Death was last to enter the Nightclub
    2. Devotion
    3. Heavy Clouds Like The Skyline Of Your Heart
    4. Noir Jazz Femdom
    5. Neon Lights Say You Will Die Tonight
    6. Methadrome

MACELLERIA MOBILE DI MEZZANOTTE, also known as MMM, started as Adriano Vincenti's solo project. The sound was focused on power electronics and harsh noise. Sex explicit lyrics and pictures have been a peculiar rough constant, as seen on the first legendary record "Profilo Ottimale delle Ferite" wich features raw murder stories, sinister atmospheres and extreme minimal noise.

In 2013, "Black Lake Confidence" album got worldwide excellent recognition and introduced doom drone jazz sounds into MMM's style. Saxophone player Pierluigi Ferro became a full-time member of the band.
In 2015 the band signed with Subsound Records label and released "Funeral Jazz", a collection of doom funeral jazz ballads, with all lyrics in italian. Manuele Frau (Der Noir, Blackland) joined the band to play guitar tunes, along with Riccardo Chiaretti (Moonlite Bunny Ranch, Chaos/Order).

Brand new MMM album "Noir Jazz Femdom" celebrates the band's twentieth anniversary (2000-2020). Many years after their noise and industrial debuts, MMM explore corrosive sounds while not giving up their noir jazz touch. "Noir Jazz Femdom" is due out November 29th on Subsound Records.

MMM is:
Adriano Vincenti - Vocals, drones
Lorenzo Macinanti - Synth, drones, drum programming
Riccardo Chiaretti - Synth, drones
Pierluigi Ferro - Saxophone


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