Six Feet Under: Cianeto Discos lança álbum clássico e mais três CDs da banda no Brasil

A CIANETO DISCOS está lançando no Brasil quatro álbuns da banda de Death Metal norte-americana SIX FEET UNDER, liderada pelo icônico e polêmico vocalista Chris Barnes, ex-Cannibal Corpse. Com licenciamento exclusivo para o Brasil, os álbuns “Maximum Violence” (1999), “Undead” (2012), “Unborn” (2013) e “Crypt of the Devil” (2015) terão distribuição em formato slipcase com 300 cópias cada, exceto “Maximum Violence”, com 500 unidades. Na pré-venda, os CDs terão um preço especial até dia 02/04, com valor de R$ 30,00 cada.

Formado em 1993, em Tampa, Flórida, como um projeto paralelo enquanto Barnes ainda fazia parte do Cannibal Corpse, o grupo passou por várias mudanças na formação ao longo de sua carreira, com Barnes sendo o único membro constante desde o início. Nos primeiros álbuns, a banda contava com o baixista Terry Butler (Death, Obituary) e o guitarrista Allen West (Obituary). Seu álbum de estreia, “Haunted” (1995), rapidamente consolidou sua reputação no cenário do Death Metal, apresentando um som cru e agressivo que atraiu uma base de fãs dedicada.

Desde então, o SIX FEET UNDER lançou uma série de álbuns aclamados pela crítica, incluindo “Warpath” (1997), “Maximum Violence” (1999) e “Bringer of Blood” (2003), entre outros. Além de sua música própria, o SIX FEET UNDER também é conhecido por suas versões de clássicos do Metal, apresentando covers de bandas como AC/DC, Black Sabbath, Exodus, Deep Purple e Savatage. As quatro partes de “Graveyard Classics” se tornaram itens amados e odiados em sua discografia, mas revelaram ao público um pouco das influências do vocalista.

“Maximum Violence” é o terceiro álbum de estúdio, lançado em 1999 pela gravadora Metal Blade Records. Este trabalho é frequentemente considerado um dos pontos altos da discografia e um clássico do Death Metal, repleto de riffs de guitarra intensos, uma cozinha pesada e o tradicional vocal gutural de Barnes. Faixas como “Feasting on the Blood of the Insane”, “Victim of Paranoid”, “Short Cut to Hell” e “Torture Killer” exemplificam a abordagem lírica direta e visceral da banda, que complementa perfeitamente sua música brutal. Há ainda um cover para “War Machine”, do Kiss. Além de sua força sonora, “Maximum Violence” também é elogiado por sua produção sólida, liderada por Brian Slagel, fundador da Metal Blade Records. capturando a intensidade crua de sua performance. No total, “Maximum Violence” vendeu mais de 100 mil cópias em todo o mundo.


Para adquirir “Maximum Violence”, acesse:

https://cianetodiscos.com.br/produtos/pre-venda-six-feet-under-maximum-violence-cd-slipcase

Assista ao vídeo de “Victim of Paranoid”:


A década de 2010 foi particularmente profícua para o SIX FEET UNDER. Dentre os lançamentos da época, “Undead” é o nono álbum de estúdio do grupo, lançado em 2012. O registro marca uma volta às raízes, com influências diretas do Death Metal dos anos 90. Na sequência vem “Unborn”, lançado em 2013, continuando a tendência estabelecida por “Undead”. Por fim, “Crypt of the Devil”, de 2015, que se destaca pela participação especial dos integrantes do Cannabis Corpse.

Para adquirir “Undead”, acesse:

https://cianetodiscos.com.br/produtos/pre-venda-six-feet-under-undead-cd-slipcase

Para adquirir “Unborn”, acesse:

https://cianetodiscos.com.br/produtos/pre-venda-six-feet-under-unborn-cd-slipcase

Para adquirir “Crypt of the Devil”, acesse:

https://cianetodiscos.com.br/produtos/pre-venda-six-feet-under-crypt-of-the-devil-cd-slipcase

Assista ao vídeo de “Open Coffin Orgy”:


Contatos:

Site: www.cianetodiscos.com.br

E-mail: info@cianetodiscos.com.br

Bandcamp: www.cianeto.bandcamp.com

Review: Pink Floyd – The Dark Side of the Moon (1973)

The Dark Side of the Moon, oitavo álbum do Pink Floyd, foi lançado em 1 de março de 1973. Em termos musicais, o disco foi desenvolvido durante os shows do quarteto, que experimentou e aprimorou as faixas em cima do palco. Já liricamente, foi concebido como um álbum conceitual que explora as pressões enfrentadas pela banda e também aborda os problemas de saúde mental que levaram o vocalista e guitarrista Syd Barrett a deixar o grupo.



As gravações aconteceram no Abbey Road Studios, na época conhecido como EMI Studios, em Londres, em duas sessões realizadas em 1972 e 1973. Há uma série de inovações e experimentações técnicas no álbum, com o então engenheiro de som Alan Parsons, que mais tarde lançaria a sua própria carreira como músico, tendo um papel central na sonoridade do disco.



The Dark Side of the Moon explora temas como conflito, ganância, passagem do tempo, morte e saúde mental. A ideia veio de Roger Waters, que concebeu um álbum que tratava de coisas que “enlouquecem as pessoas”. David Gilmour, Richard Wright e Nick Mason aprovaram o conceito proposto por Waters e mergulharam juntos no processo de composição das músicas. O álbum então recebeu o título provisório de Dark Side of the Moon, uma alusão à loucura e não à astronomia. Após descobrir que esse título já havia sido usado por outra banda inglesa chamada Medicine Head em um disco lançado em 1972, ele foi temporariamente alterado para Eclipse. No entanto, o fracasso comercial do disco do Medicine Head fez a banda retomar a ideia original.

The Dark Side of the Moon foi construído a partir de experimentos que o Pink Floyd havia tentado em seus shows e gravações anteriores, porém sem as longas passagens instrumentais que marcavam a banda na época. As músicas foram concebidas com uma abordagem mais direta, e tanto David Gilmour quanto Roger Waters citam Meddle (1971), sexto álbum do grupo, como o ponto de virada para a sonoridade que seria explorada em Dark Side. Cada lado do vinil funciona como uma peça musical contínua e completa, com o lado A iniciando em “Speak to Me” e indo até “The Great Gig in the Sky”, enquanto o lado B começa com “Money” e vai até “Eclipse”. As cinco faixas de cada lado refletem vários estágios da vida, começando e terminando com uma batida de coração e explorando a natureza da experiência humana.



A clássica capa foi desenvolvida pelo estúdio Hipgnosis e pelo designer inglês Geordie Hardie. A Hipgnosis já havia trabalhado em capas anteriores do Pink Floyd, artes essas que não agradaram a EMI, como as de Atom Heart Mother (1970) e Obscured by Clouds (1972). A gravadora eria designs mais convencionais, incluindo o nome da banda e o título do álbum. O design foi inspirado na fotografia de um prisma com um feixe de luz branca projetado através dele e emergindo nas cores do espectro visível que Storm Thorgerson, diretor criativo da Hipgnosis, havia encontrado em um livro de física de 1963, bem como em uma ilustração de Alex Steinweiss, o pioneiro designer que desenvolveu na década de 1940 a ideia inovadora de cada álbum possuir uma capa única em uma época onde os lançamentos da gravadoras vinham embalados em artes padronizadas. Foram apresentadas sete opções para a banda, e a imagem do prisma foi aprovada por unanimidade.



The Dark Side of the Moon é considerado não apenas um dos melhores álbuns de rock de todos os tempos, mas também é um dos discos mais vendidos da história. Estima-se que, em uma semana considerada fraca, são vendidas entre 8 e 9 mil cópias do álbum no mercado norte-americano, e que um em cada quatorze moradores dos EUA com menos de 50 anos possuam uma cópia de Dark Side em suas casas. No total, foram mais de 15 milhões de cópias vendidas somente nos Estados Unidos, e aproximadamente 45 milhões de unidades em todo o mundo, o que faz de Dark Side o quarto álbum mais vendido de todos os tempos atrás apenas de Thriller (1982) de Michael Jackson, Back in Black (1980) do AC/DC e a trilha de The Bodyguard (1992), de Whitney Houston. O disco vendeu tanto que, sozinho, provocou um revitalização na venda de LPs durante a segunda metade da década de 1970 e, diz a lenda, levou a EMI a dedicar uma fábrica de vinis para produzir exclusivamente novas edições do álbum 24 horas por dia.

Frequentemente apontado como um dos melhores álbuns de todos os tempos, The Dark Side of the Moon traz entre suas dez faixas canções espetaculares como “Time”, “Money” e “Us and Them”, além da sensacional “The Great Gig in the Sky”, em que a cantora Clare Torry faz um solo vocal improvisado que está entre os momentos mais emocionantes da história da música.

O oitavo álbum do Pink Floyd não apenas mudou a trajetória da banda, a vida dos músicos e conquistou milhões de fãs em todo o planeta. O disco impactou profundamente o rock e a indústria musical, e é um dos maiores documentos culturais e históricos que o ser humano já produziu. Passados mais de cinquenta anos de seu lançamento, continua com o poder intacto de conquistar novos ouvintes e revela novos detalhes a cada audição. Um trabalho atemporal e um dos poucos álbuns em que o termo genial, usado de maneira tão frequente nos tempos atuais, se aplica com precisão e justiça.

HEAVY MUSIC HISTORY: All You Can Eat – Steel Panther

Hold on to your pearls Mrs Lovejoy, we’re going on the prowl. Not with the STEEL PANTHER record which was released in 2023, but the close-to-the-bone glam metal sphere is where we shall stay. Come one and all ye power bottoms and settle down for All You Can Eat.



April Fools Day 2014 may have brought some silly little pranks but it also heralded the return of one of Los Angeles’ sleaziest exports. Hoping to capture the lightning in a bottle status of Feel The Steel (2009) and Balls Out (2011), the filthy foursome slapped the metaphorical phallus on the table in the form of All You Can Eat. For a band with such a balls to the wall approach however, could the tertiary album measure up?

Before fans and critics alike could dive into the main course, lead single Party Like Tomorrow Is The End Of The World dropped with a star-studded video. UFC fighter Chuck Liddell was joined by Jackass star Steve-O and Breaking Bad’s RJ Mitte to encourage us all to “Get drunk/ Till you puke all over the floor”. Here was this boombastic approach. A very “look at me” attitude. With a potential magnum opus waiting in the wings, STEEL PANTHER demanded the metal sphere’s attention. On October 29, 2013 Party Like Tomorrow Is The End Of The World garnered it. The only issue was they needed to hold it for another five months.


Enter viola led second single The Burden Of Being Wonderful. A catchy power-ballad of sorts about empowerment and self-image. “I’m just a Maserati in a world of Kias” became the badge of honour for STEEL PANTHER fans. The “take me as I am approach” STEEL PANTHER always came to the table with had allowed The Burden Of Being Wonderful to become a fan favourite and a live staple in the years to come. It may not have lived up to Community Property but it’s not all about size, right? We do have to point out that according to certain theories, Leonardo Da Vinci may have not been jealous of the album cover’s interpretation of The Last Supper.

The denouement of the menage á trois came with the rather controversial Gloryhole. A now iconic riff from Satchel (guitar) opened the album release like a speculum. Michael Starr’s (vocal) trademark squeals and sleazy recountings of “a place in France where the naked ladies dance” brought fans flocking in their thousands. While there were no aids needed with this particular number, a video which can’t be described as anything other than x-rated dominated the internet. It was fun, ludicrous, STEEL PANTHER in all their glory… holes.

The third volume of STEEL PANTHER’s Karma Sutra opened on April 1, 2014. The band have prided themselves on creating a division with tongue-in-cheek lyrics which step over and snort the line of misogyny. Their writing style, while clever in some regard, would be akin to something you find scribbled on the toilet cubicle of The World’s End. All You Can Eat was certainly no different.

Opening with flamenco style Pussywhipped felt reminiscent of the deliciously grimy 17 Girls In A Row. The lyrics were as snappy as Lexxi Foxx’s basslines. Stix Zadinia (drums) drove the beat through If I Was The King. With Bukkake Tears (Google it), we were buying what Michael Starr was selling. Nothing was off limits. Moreso when DEF LEPPARD’s Vivian Campbell ripped a new solo through Gangbang At The Old Folks Home. Hey, age doesn’t mean libido dies out. It was this humour which kept people hooked. Up until a certain point.

Campbell’s revisitation of joining the band for a rendition of DIO’s Rainbow In The Dark back in 2012 couldn’t sweeten the bad taste of hinting towards talk of necrophilia. Did the ick list we all keep as Ten Strikes You’re Out pokes fun at really need that zest of beastiality? All You Can Eat started to show fans that while you drew the line somewhere, STEEL PANTHER clearly didn’t. How do you stay relevant if you don’t push the boundaries? Though we will praise the sentiment behind She’s On The Rag – “riding the Crimson Tide” isn’t a fun time for women either.



It wasn’t just this butting of the boundary STEEL PANTHER was coming up against. Some people were simply not finding the joke funny anymore. Stephen Hill of Metal Hammer wrote “The whole bawdy ‘Oooh matron!’ shtick has been stretched to breaking point further than one of the Panther’s earliest groupies”. Stereoboard’s Alec Chillingworth added about She’s On The Rag in particular that the joke goes “a tad too far”.

Yet critics weren’t as savage as they would be towards 2017’s Lower The Bar. In fact there was a counter for every negative written. In the same review for Metal Hammer, Hill penned “Lesser bands would be long forgotten by now with this approach. Luckily for Steel Panther, they’re still better than all their peers.”. Chillingworth argued for Stereoboard “they play hard, they play heavy”. While Classic Rock’s Jon Hotten stated “Good ideas aren’t always new but they have their time, and Steel Panther’s timing has been perfect.”.

Ten years on and All You Can Eat is showing signs of fading into the background. Fan favourite Pussywhipped was the flagship of STEEL PANTHER shows as it set the tone for ninety minutes of debauchery. Now with newer material needing promotion, it’s simply left to watch the fun from the corner. The only song now to be played in the live arena is Gloryhole – a time where more than 17 girls are brought up on stage to celebrate the inclusion the sex aid can bring. Aside from this, and a rare performance of Bukkake Tears with a fan in London’s Crobar (RIP), the All You Can Eat buffet is rarely visited by the band. Yet it’s The Burden Of Being Wonderful, Bukkake Tears, and Gangbang At The Old Folks Home which keeps the fan coming back. As some will say, stamina is far more important than size and All You Can Eat has stamina by the bucketload.



All You Can Eat was originally released on April 1, 2014 via Open E Music.

Like STEEL PANTHER on Facebook.

SCORPIONS SHARE LAS VEGAS RESIDENCY REHEARSAL FOOTAGE FROM HANNOVER'S PEPPERMINT PARK STUDIOS

SCORPIONS SHARE LAS VEGAS RESIDENCY REHEARSAL FOOTAGE FROM HANNOVER'S PEPPERMINT PARK STUDIOS




Scorpions are returning to the Las Vegas Strip in 2024 with a brand new exclusive headlining residency show in celebration of the 40th anniversary of Love At First Sting, performing the album plus all of their biggest hits.

Video of the band rehearsing "I'm Leaving You" in Hannover at Peppermint Park Studios can be viewed below.



Scorpions - Love At First Sting Las Vegas kicks off on Thursday, April 11, 2024 at Bakkt Theater at Planet Hollywood Resort & Casino. The new show follows the band’s popular “Sin City Nights” residency which sold out all nine performances at the venue in 2022.

"We're very excited to return to Las Vegas in 2024 for nine more concerts at Planet Hollywood Resort & Casino’s Bakkt Theater. We can't wait to share our new show with our fans in the US, celebrating the 40th anniversary of the iconic Love At First Sting album along with our biggest Hits! Get ready for another Desert Sting … it's gonna be a Hell of a Ride!!!" - Klaus Meine

For more information and and to claim your tickets, visit The-Scorpions.com/RockZone.

The nine performances on sale are:

April 2024: 11, 13, 18, 20, 24, 26 & 28
May 2024: 1 & 3

THE WHO - LIVE AT SHEA STADIUM 1982

THE WHO - LIVE AT SHEA STADIUM 1982





Nowadays when a veteran popular music artist announces a 'farewell tour,' quite a few fans merely roll their eyes – as the power of the almighty dollar will eventually lure them out of retirement. And one of the first rock acts to launch a substantial farewell tour before reuniting just a few years later, was The Who.

But as exemplified by the release of the 2-CD or 3-LP set, Live at Shea Stadium 1982, the band was still a mighty powerful live act at this point – despite no Keith Moon in their line-up and touring in support of one of their weakest studio efforts, It's Hard.

With ex-Faces drummer Kenney Jones still keeping time – alongside long-time Who-sters Roger Daltrey, Pete Townshend, and John Entwistle – the set is mostly front-loaded with then-newer material, including the Entwistle-sung “The Quiet One” and a tune which proved popular on MTV, “Eminence Front.”

: Dookie – Green Day

LADY GAGA once told NME GREEN DAY’s Dookie (1994) was the first album she ever bought; “I just wanted to lick the pages from the booklet! That particular album, I mean, it is iconic.”. Now Dookie’s booklet-licking goodness celebrates its 30th anniversary, it’s only right we dive into what makes the album so iconic.



Dookie came at a time when things needed rearranging. Much like one’s guts after a bout of the diarrhoea from which this album draws its name. Grunge was the pinnacle of the mainstream with the likes of NIRVANA dominating the airwaves morning ‘til night. It could be argued spiralling mental illness had become a content farm for media corporations at this juncture… we won’t jump down that rabbit hole just yet. With Dookie, the mainstream jumped from the depression of Kurt Cobain to the anxiety of one Billie Joe Armstrong (vocal/guitar).Photo Credit: Ken Schles

A source of the displacement would come with GREEN DAY’s signing to a major label: Reprise Records. Not wholly due to new distribution factors. Rather it would come from the visceral reaction of Berkeley, California’s prolific punk scene. Notably fanzine Maximumrocknroll and iconic venue 924 Gilman Street. After playing a show at the club in September 1993, GREEN DAY would be banned from the venue altogether. Yet Armstrong would later reflect as Kerrang!’s Stevie Chick wrote: “I couldn’t go back to the punk scene, whether we were the biggest success in the world or the biggest failure. The only thing I could do was get on my bike and go forward.”.

Now labelled “sell outs” and exiled from the scene they once called home, despite ensuring previous label Lookout! Records retained 100% of the rights to previous Kerplunk (1991) and 39/Smooth (1990), GREEN DAY entered the studio with Rob Cavallo and were exposed to a whole new world. Prior to Dookie, the most time the band had spent recording was three days for Kerplunk. Thrust into the mahogany realm of Fantasy Studios and confronted with change, anxiety hoisted a barrier in the way of Armstrong, Mike Dirnt (bass), and Tré Cool (drums) reaching their full potential. After a night at a Mexican bar with Cavallo, despite Cool not being of legal age, GREEN DAY came back with fresh yet tentative vigour and set to work.

Recording sessions for Dookie would last three weeks. Admittedly this would be due to the material already being written, the trio just needed to turn up and play. Yet Armstrong would insist on recording his vocals with urgency; tracking 17 songs in two days. One of these would be the single Good Riddance (Time Of Your Life), though this wouldn’t see the light of day until 1997’s Nimrod. What emerged from those recording sessions were 14 which culminated in arguably one of the most vital records within the punk rock genre.


It’s not just the raw sonic freshness which makes Dookie so relatable. It’s the content itself. The ease Armstrong had in bearing all not only with sensitive subjects like Pulling Teeth’s domestic violence but the mundanity of chronic masturbation was unparalleled. Slipping from lyrics such as “I better tell her that I love her/ Before she does it all over again” to “I’m so damn bored, I’m going blind/ And loneliness has to suffice” is what makes Armstrong an incredibly underrated lyricist. This was a band brashly talking about every facet of mental health long before it was acceptable to today’s standards.

Though not all the material has aged well. Having A Blast comes from the perspective of a mentally ill young man who plans to kill himself, and others, with the use of explosives. While it wasn’t seen as an issue at the time and society allowed the idle fantasy to slip by, this wouldn’t be the case some five years later. After the events of the Columbine Massacre in 1999, Having A Blast is undoubtedly an uncomfortable listen if allowed to be.

There was some controversy surrounding the trio’s third album but we’ll get to that in a moment. Dookie released to critical acclaim. Basket Case’s ability to speak to those also addled with panic disorder paired with When I Come Around’s perspective on relationships saw GREEN DAY catapulted into the stratosphere. Rolling Stone’s Paul Evans would pen; “They’re convincing mainly because they’ve got punk’s snotty anti-values down cold: blame, self-pity, arrogant self-hatred, humor, narcissism, fun.”. New York Times’ Joe Pareles would proclaim “apathy has rarely sounded so passionate”, and in a retrospective review for Billboard, Chris Payne would praise the band’s “sugary, almost bubblegum choruses”.Photo Credit: Catherine McGann

So why the controversy? The answer comes in two words: Woodstock ‘94. As future Heavy Music History pieces will bring to light, Woodstock hasn’t always been the peace and love it is synonymous with. On August 14 1994, GREEN DAY would miss a day of Lollapalooza to play the iconic festival. Imagine a rock festival where it’s rained for the past three days. AEROSMITH, JOHNNY CASH, and RED HOT CHILI PEPPERS are billed. Then three Californian upstarts saunter on stage and open with Welcome To Paradise. A bright ditty about undesirable living conditions which is sung with a smile. Members of the crowd, unimpressed with both the irony and the punk rock they were being subjected to, cast clumps of mud on stage. Chaos would ensue with mud slung between band and audience, Dirnt being tackled by security and breaking two teeth (whilst still playing we might add), and Armstrong mooning the crowd upon exit. As a result of the festival being broadcast to millions worldwide via pay-per-view, album sales would sky rocket.

Dookie would go on to sell 20 million copies, achieving Diamond Certification via the Recording Industry Associations of American (RIAA). It would debut at number two on the Billboard 200 and chart in the top ten world wide. In 1995, GREEN DAY would walk away with the Grammy Award for Best Alternative Album. Retrospectively, it has been placed on countless best album lists including Rolling Stone’s three iterations, as well as the publication hailing it as the Greatest Pop-Punk Album.

Artists like LADY GAGA and BILLIE EILISH alongside bands like MY CHEMICAL ROMANCE and SUM 41 have heralded Dookie as the album of a generation. Reflecting on the album with Christina Saraceno of Rolling Stone in 2001, Armstrong would state “They still hold the same relevance that they did and that’s good ’cause ultimately you want your songs to stand the test of time.”. Three decades later, Dookie is just as refreshing and urgent as it was back then and that is a legacy many only dream of having. With a 30th Anniversary Edition box set having been released on September 29 2023 and a tour commemorating both this and the 20th anniversary of American Idiot (2004) taking place this year, the gloomy stoner who simply wanted acceptance and acknowledgement is still received with open arms.



Dookie was originally released on February 1st, 1994 via Reprise Records.

Like GREEN DAY on Facebook.

Rotting Christ release new music video for ‘Saoirse’ March 29, 2024James Weaver

Photo Credit: Chantik Photography


ROTTING CHRIST have released a new music video!



The new music video, for the track Saoirse, is taken from the Greek black metal band’s upcoming new album, Pro Xristoy, which is scheduled to be released in May this year.

Saoirse – emblematic of the album’s overarching concept – intends to showcase a manifestation of ROTTING CHRIST‘s evolution and their unwavering commitment to pushing boundaries. Expect a melodic symphony punctuated with moments of raw, unyielding harshness – a signature of the band’s unique style captured in a fresh light.

Watch the official music video for Saoirse here:


The upcoming album was recorded at Deva Sounds Studios in Athens, Greece and was produced by vocalist/guitarist Sakis Tolis. The album, titled ‘Before Christ’ in Greek, serves as a fervent tribute to the last Pagan kings who resisted the onslaught of Christianity, guarding their ancient values and knowledge. In this thematic odyssey, intricately woven through tracks such as The Apostate and Ygdrassil, ROTTING CHRIST delves into the legacies of historical figures such as Flavius Claudius Julianus and Nordic mythological kings, embodying the might of Pagan wisdom in the face of Christian adversity.

Pro Xristoy is set for release on May 24th via Season Of Mist. Pre-orders are available now and can be purchased here.

For more information on ROTTING CHRIST like their official page on Facebook.