Para icônico guitarrista do Queen, grupo de John Lennon e Paul McCartney sempre funcionou como uma “bíblia” para sonoridade de sua banda
Não é novidade que os Beatles sempre foram uma grande referência para Brian May. Mas o que será que o icônico guitarrista do Queen acha sobre a atual relação da nova geração de crianças com o Quarteto de Liverpool?
“Para mim, eles são os maiores. Eles são o auge da composição, performance e ethos da música de rock. Eles derrubaram tantas barreiras e mudaram o mundo muitas vezes. Eu sempre amarei os Beatles sem nenhuma reserva”, disse.
A banda semblant acaba de lançar seu novo single Purified , já esta disponivel em todas as plataformas digitais.com uma arte impecavel a banda se prepara para lançar o sucessor de obscura ,esperamos mais um grande album dessa grande banda brasileira..
O segundo álbum do grupo de death metal curitibano Deformed Slut, At The Inhumane Cesspool está disponível para pré-venda no valor de R$ 25,00 (Pacote) + taxa de frete (Correio). O material pode ser adquirido em mãos (Curitiba/PR), através das redes sociais, Mercado Livre (+ taxas adicionais), Shopee (+ taxas adicionais) ou direto pelo email deformedslut@gmail.com.
São nove faixas distribuídas em mais de trinta minutos de pancadaria. O novo álbum segue as mesmas linhas extremamente brutais e agressivas do primeiro CD oficial, Stench Of Carnage (2011). A discografia do Deformed Slut está nas melhores plataformas digitais.
Pacote Contendo:
> 01 CD Digipack, 02 painéis, Lacrado (Numerado a mão) > 01 Adesivo do EP ‘Ruthless Malignancy’ (Brinde)
Tracklist:
Asphyxiated And Beheaded The Predator´s Lair Eater Of Convictions The Vilest Leech At The Inhumane Cesspool Forced To Puncture A New Abismal Era Traces Of My Rotten Flesh Ruthless Malignancy
Gravações feitas em 1971 serão lançadas agora em versão física e digital
Ano passado, o Aerosmith divulgou uma versão inédita do clássico “Movin’ Out”, que foi gravada durante um ensaio em 1971. Na ocasião, a banda disse que preparava o lançamento de Aerosmith — 1971: The Road Starts Hear apenas em edição de colecionador.
Agora, o grupo irá lançar o trabalho em todas as plataformas de streaming e em lojas no dia 8 de abril. Para celebrar a novidade, o Aerosmith divulgou a demo de “Somebody”, gravada dois anos antes dela ser lançada oficialmente.
O “álbum perdido” foi produzido por Steven Tyler, Joe Perry e Steve Berkowitz, e ainda inclui uma versão demo do clássico “Dream On”. A gravação que deu origem a esse disco foi feita em 1971 com a máquina de fita wollensak de Joe Perry por Mark Lehman.
O Aerosmith não se lembra exatamente onde o registro ocorreu, mas foi dois anos antes do lançamento de seu icônico trabalho de estreia.
Been 14 years since the Swedish power metallers' last release, even longer, going back to their best material (Sunrise In Riverland, from '01, strongly recommended!). OK, it wasn't very original, but it WAS the best Helloween album of that era, as the Germans struggled with their legacy, trying to pull rabbits out of a hat, with a darker ride. Once Deris and Weiki righted the ship, Insania attempted to alter course (slightly), precipitated by line-up changes and musical winds of change.
Now, on album number five, the years away have given Insania new focus and allowed fans to re-embrace the speedy, non-Teutonic derivative power metal. A dual vocalist sextet, with two guitars, neo-classical flourishes are inserted throughout the eleven cuts. Fleet fingered "Praeparatus Supervivet" opens, digits bouncing off strings and ivories alike. Orchestral strings kickoff the traditional, high vocal Euro power metal of "Solur". Kick drum pedals get a workout, big time! Retelling the mythological tale, "Prometheus Rise" opts for a slower, mid-tempo stomp, punctuated by some (restrained) histrionics.
The sawing of symphonic strings commences the otherwise full-on, fist pumping metal of "Moonlight Shadows". Downplaying the synth, a bouncy "My Revelation" is up next and comes closest to the band's prior Weenie infatuation. "We Will Rise Again" is meant to be an autobiographical mantra. After the keyboard intro it speeds off, probably the fastest passage on the entire disc. Unfortunately, "Like A Rising Star" is the brand of rapidly played, but heartless metal that's all too common these days (especially overseas). Nice twin leads though.
Timing is everything and the galloping hard rocking "Blood, Tears & Agony" recalls the concurrently issued Alcatrazz platter (ironically also entitled V). Nothing wrong with "Entering paradise", checking off the requisite boxes, but feels more like filler, rather than sporting any distinguishing characteristics. The subject matter might be hackneyed, but "Power Of The Dragonborn" is a mead flagon rising anthem of the first degree, while there's more prominent use of keyboards in the grittier toned finale, "The Last Hymn To Life".
Could have used more material like the standouts found in the middle of the running order, but welcome back nevertheless.
While certainly a stand-alone concept album, the Swedish musical historians' latest eleven stories should be viewed as a companion piece to The Great War (2019), fleshing out the history with more tales from what is considered, in the USA, a forgotten conflict. Late to enter the war, American deaths (horrific as 117,000 is) were "light" compared to those who had been fighting for years. Some totals, regardless of Allied or Central Powers were 10, even 25 times higher. Canada lost about half the US number, but a greater number, overall, than in WWII. After the Second World War, much of Europe had to be rebuilt, but the remains of WWI: statues, major military cemeteries and uninhabited tracks of Belgium and France still off-limits due to stockpiles of deadly gas and/or unexploded munitions, survive, to the present day.
Throughout their discography, the Swedes have recounted "The Price Of A Mile" or "Cliffs Of Gallipoli", realistic anecdotes from the (not so) Great War. This time around, while not arranged chronologically, the album DOES open (courtesy of some female narration) with the assassination of Austrian Archduke Franz Ferdinand, which quickly spiraled out of control, into a continental conflict. The table setter is a riffing, (Russian goose-step of a) slow march, complete with orchestral strings and group chorus (a recurrent motif): "From a shot that would change the world. Tensions rise and a war is unfurled. Nothing like what had come before. It's the war that will end all war." Two-thirds of the way through, the guitars buzz, before falling back to the belabored pace. Conversely, the disc ends with "Versailles", site of the treaty that not only brought the whole affair to a close, but (unfortunately) set the stage for the global conflagration that would unfold two decades later: a fact eluded to in the final voiceover. In between, the sadly incompetent military "minds" on both sides, fed soldiers to the meat grinder of technological advances (machine guns, bombs, tanks, gas/fire, even bi-planes) using inferior/out-dated, Old World tactics. As a visual compendium, would suggest movies like 1917 and the old Mel Gibson vehicle, Gallipoli.
So, this is not some mindless, throw-away, "Sex, drugs & rock n roll" platter. Nor is it a sterile, dusty museum piece. While a few of the songs will undoubtedly survive to become setlist favorites, it should be listened to/viewed as a collective. It's a work of art, destined for the largest concert stages of Europe, littered with barb wire, period era costumes, fire cannons and pyro galore, plus military accouterments. Sabaton always attempt to imbue the historical accuracy with an emotional component. Witness "Lady Of The Dark", regarding Milunka Savic, a Serbian who initially took her brother's place in the army (disguised as a man), then, over the course of three separate conflicts, became one of the war's most decorated soldiers, ultimately receiving medals from France, Russia and Britain, as well as her own country. Drummer Hannes Van Dahl punctuates this staccato mid-tempo number.
Guitarist Chris Rörland received five co-writing credits, for the music. Rest of the lyrics/music was done by the long-running masterminds Pär Sundström & Joakim Brodén, either in unison,or solo. Experts in the use of dynamics, the all-out speedster of the batch is "Stormtroopers", #2 in the running order, about the pre-blitzkrieg German infantry, charging out of the trenches. Can't have a slow mover for the subject matter! Come the chorus, Brodén announces, "A glimpse of the future, new tactics in war. New doctrine in combat explored. As fast as lightning, no time to mourn. A glimpse of the future, a blitzkrieg is born." Hope this one's featured in the live set.
The sound of lapping waves greets "Dreadnought", a paean to the early 1900s UK's big gun battleship HMS Dreadnought. Such an imposing vessel, eventually all similar ships were simply referred to as "dreadnoughts." Get your "sea legs," as the tune rolls, like a slightly unsettled (but not violently pitching) sea. Add Sir Adrian Carton De Wiart to the list of incredible fighting men immortalized by a Sabaton song. "The Unkillable Soldier" is a rousing, gallop-shuffle (can almost hear the melody running) as it imparts the laundry list of wounds the British officer endured. Initially shot twice, in the face, losing his left eye and part of an ear, he would be hit seven more times, including through the skull and ankle in the Battle Of The Somme, in the hip, at Passchendaele, stomach, then ear, before losing his left hand in 1915. If that weren't enough (and it should have been!), he pulled off his fingers, when doctors refused to amputate them. In WWII, he survived two plane crashes and escaped from a POW camp, by tunneling out (one-handed?). Wow. Some called him the toughest SOB who ever lived. This guy doesn't deserve a song, he should get a full album (if not a movie). After that, rock/metal seems tame!
I’m just glad it’s coming out. I’m really happy that it’s finally time,” says vocalist Lauren Hart, who along with guitarist Logan Mader (Machine Head / Soulfly) spearhead modern metal band Once Human. The group will release their explosive third album, Scar Weaver, on February 11 via earMusic. Described by the label as, “a versatile and sinewy new strain of brutal but accessible metal,” Scar Weaver is comprised of ten musical compositions that are both captivating and dynamic.
“It was done a year or two ago, pre-Covid,” reveals Hart, referring to Scar Weaver. “But then when we were given more time; I’m a perfectionist! So, I’m going to take it and re-write and re-write and re-write. I work best under deadlines, and I write best under pressure. But if I’m given too much time, I’m just going to try and make everything better. Max (Karon, guitarist) did some re-writes, I did some re-writes; we scrapped some songs and put some new ones into the mix. But the good news is, it really helped us through that first year of being in lockdown. We were all in a studio together, cause at the time we all lived together in Vegas. Logan (Mader, guitarist) had a studio in the house, so it was very productive. We were all really lucky that we had that access.”
Scar Weaver is super aggressive and energetic, while simultaneously being cathartic, making the frustrations of everyday life due to pandemic-related restrictions easier to deal with. Logan commented, “The first two albums, we were still finding our way.” Lauren shares what sets Scar Weaver apart from its predecessors – The Life I Remember (2015) and Evolution (2017): “The biggest change was the introduction of (guitarist) Max Karon. We met during the tour for the first album with Fear Factory; he was their guitar tech. Max showed us his music, and the riffs that he wrote. We immediately asked if he would be interested in joining the band or writing with us. He said yes, and soon after he began writing, he did join the band officially. So, Evolution was the introduction of Max; yet Logan and I still played a big role in the writing of everything. But Scar Weaver is 100% Max Karon! Logan didn’t write on this album. Max wrote all the music; I wrote all the lyrics and the top lines (vocal melodies). Maybe the next album won’t be like that, but we wanted Max to feel like he could be 100% himself on this album. He wanted to express himself as a musician, and we wanted to give him that. Plus, Logan was on tour with Machine Head (celebrating the 25th anniversary of Burn My Eyes). When he came home, Max had already done ten songs! And Logan felt they didn’t need any re-arranging or changing, so that’s how the music came about. Then I took my time with the lyrics and the top lines, simply because I had a lot of extra time.”
