FORGET CONFORMITY: LANÇADO O NOVO SINGLE “JUGGERNAUT”

A banda norte-americana Forget Conformity, lançou no dia 20 de maio o seu mais novo single, intitulado “Juggernaut”. Apresentando um Metalcore pesado, agressivo e com boa técnica, a canção vai agradar em cheio ao fã, com sua pegada mais cadenciada, que a deixa ainda mais bruta. O novo single já se encontra disponível para audição nas principais plataformas de streaming, podendo ser ouvido no Spotify a partir do link abaixo.

https://open.spotify.com/track/1yy4I9yNFOXBJYiY4fqcin?go=1&sp_cid=9a3a0daab59530d590ee094a23176b28&utm_source=embed_player_m&utm_medium=desktop&nd=1

Black Sabbath é um dos pais do metal; veja a árvore genealógica

No tronco da poderosa árvore do heavy metal, ao lado do Led Zeppelin e do Deep Purple, grupo deu origem a dezenas de estilos em permanente mutação,

Um novo estilo sempre nasce em contraponto ao anterior. No Reino Unido e nos Estados Unidos, no fim da década de 1960, o sentimento era de frustração frente à Guerra do Vietnã e ao esgotamento do flower power. Um cenário mais do que adequado para o nascimento de um gênero que primava, basicamente, pela força das guitarras (distorcidas, com acordes graves, solos em quase todas as músicas e muitos riffs). Completando o cenário, baixo e bateria bem marcados e um vocal dramático e sombrio.

O termo heavy metal já existia antes de Ozzy Osbourne, Tony Iommi, Geezer Butler e Bill Ward se reunirem para tentar fugir do maçante cotidiano das fábricas na região de Birmingham. Mas foi com seus dois primeiros discos, Black Sabbath e Paranoid (ambos de 1970), que eles o popularizaram, dividindo com Led Zeppelin e Deep Purple o posto de precursores do gênero.

Forma mais extrema do rock’n’roll, o metal é também a que mais gerou filhotes. Há autores que consideram cinco os subgêneros mais importantes: thrash, death, power, black e gothic metal. Todos nasceram no início dos anos 1980 e geraram seus respectivos frutos, que vão se modificando ao longo dos anos, numa trajetória que não dá mostras de perder o fôlego Mas que ninguém tire do Sabbath o posto soberano, no tronco da árvore.


FOLK METAL
(A partir de 1990)
Originário da Europa, mistura um estilo de metal (black, death, thrash etc) com elementos da música folclórica. Conta com cenas bem distintas que forjaram subgêneros como Celtic Metal (música celta) e Viking Metal (música nórdica).Bandas: Primordial, Finntroll, Tuatha de Dannan

METAL CORE
(A partir de 1985)
Funde o metal extremo e o hardcore punk. Gerou subdivisões como a New Wave of American Metal.
Bandas: Suicidal Tendencies, Machine Head, Hatebreed

GRINDCORE
(A partir de 1987)
Vocais guturais, músicas de duração curta e andamentos muito velozes.
Bandas: Napalm Death, Extreme Noise Terror, Brutal Truth

DEATH METAL
(A partir de 1985)
Vocal áspero, com a música variando do hardcore intenso ao “suave” por meio do uso de samples. Gerou inúmeros subgêneros como Brutal Death Metal, Death Metal Progressivo, Deathcore, entre outros.
Bandas: Death, Morbid Angel, Autopsy

NU METAL
(A partir de 1994)
Fusão que combina elementos do metal com outros gêneros, como o hip-hop e a música industrial.
Bandas: Biohazard, Korn, Limp Bizkit

FIRST WAVE OF BLACK METAL
(1981/1986)
Sonoridade sombria, crua e agressiva, que incorpora em suas letras temas como o satanismo e o paganismo.

Bandas: Venom, Mercyfyl Fate, Celtic Frost

GRUNGE
(1988/1993)
Subgênero do rock alternativo nascido na cidade de Seattle, inspirado pelo hardcore punk, heavy metal e indie rock. As letras caracterizam-se por altas doses de angústia e sarcasmo, com temas como alienação social, apatia, confinamento e desejo de liberdade.
Bandas: Soundgarden, Mudhoney, Nirvana, Pearl Jam

GOTH METAL
(A partir de 1990)
Em bom português, metal gótico. Marcado por clima melancólico e enfoque sobrio em temas como religião, sexualidade e morte.
Bandas: Paradise Lost, Therion,
Type O Negative

THRASH METAL
(A partir de 1983)
Riffs de guitarra limpos e claros, porém muito rápidos e agressivo; letras que falam de destruição e morte.
Bandas: Metallica, Slayer, Sepultura, Megadeth, Anthrax

PUNK
(1976/1979)
Músicas simples (que geralmente não passam de três acordes), rápidas e ruidosas, com canções que abordam ideias políticas anarquistas, niilistas e revolucionárias.
Bandas: Ramones, Sex Pistols, The Clash

HARDCORE
(1980/1986)
Parte do punk (é mais duro e rápido que seu antecessor), com vocais gritados, que expressam sentimentos inflamados.
Bandas: Bad Brains, Misfits, Dead Kennedys

STONER METAL
(A partir de 1982)
Riffs de guitarra graves e lentos, vocais melódicos e produção retrô.
Bandas: Trouble, Cathedral, Kryss

INDUSTRIAL METAL
(A partir de 1988)
Uso intenso do sampler e dos computadores.
Bandas: Ministry, White Zombie,
Nine Inch Nails

NEW WAVE OF BRITISH HEAVY METAL
(1979/1983)
A Nova onda do heavy metal britânico não foi um movimento exclusivo da Inglaterra, se espalhando por boa parte da Europa. As bandas retiraram o blues e adicionaram peso e velocidade.

Bandas: Motorhead, Saxon, Iron Maiden

POWER METAL
(A partir de 1976)
Versão mais melódica e rápida do heavy metal, daí seu outro nome, metal melódico. Os temas são bem variados, há bandas que falam sobre fantasia e misticismo e outras com uma dose de romantismo.
Bandas: Helloween, Scorpions, Judas Priest, Blind Guardian

HARD ROCK
(1974/1979)
Ritmos energéticos, batida marcada e melodias curtas são as características básicas do gênero, que também se caracteriza pelo alto volume e afirmação da masculinidade.
Bandas: Thin Lizzy, Aerosmith,
Ted Nugent

GLAN METAL
(1973/1990)
Estilo mais comercial, com forte impacto visual, que teve enorme sucesso comercial na década de 1980. Há quem o chame também de pop metal, soft ou lite metal. Foi o grande responsável pela ruptura entre o metal, a MTV e as rádios.
Bandas: Slade, Motley Crue, Twisted Sister, Skid Row,
Van Halen, Guns N’Roses




HEAVY METAL
(1966/1971)
Chamado por muitos apenas de metal, desenvolveu-se primeiramente no Reino Unido e nos EUA. Com raízes no blues rock e no rock progressivo, traz como características básicas distorções amplificadas, longos solos de guitarras, alguma teatralidade e um volume sempre muito, muito alto. Seu som é baseado principalmente nas guitarras; as letras, em parte das bandas, são associadas à masculinidade e ao sexismo. Bandas: Led Zeppelin, Black Sabbath, Deep Purple

MICHAEL SCHENKER CRITICA KK DOWNING SOBRE A ALEGAÇÃO DA GUITARRA FLYING V: ‘POR QUE ELE MENTIRIA SOBRE ISSO?’

 

Em uma nova entrevista com o show de rock clássico “Rock Of Nations With Dave Kinchen” , o lendário guitarrista alemão Michael Schenker foi questionado sobre a afirmação do ex-guitarrista do JUDAS PRIEST KK Downing de que ele “foi o primeiro cara a trazer o Flying V [ guitarra] ao heavy metal de todos os tempos.” Schenker disse: “Essas pessoas estão tão desesperadas por reconhecimento e por serem as primeiras e levar todo o crédito sangrento, como meu irmão. É inacreditável. Não tenho expectativas, e porque disso as pessoas pensam que podem passar por cima de mim e me enganar e levar o crédito. Eu ouvi até o METALLICA dizendo, os guitarristas, que inventaram o galope. Eu tinha o galope no ‘Rock Bottom’ [do UFO ] – bem antes do [ METALLICA o fazer]. Essas pessoas são loucas. Eles estão tão desesperados pela fama.“


https://www.podbean.com/podcast-detail/dvh4s-8a499/Rock-of-Nations-with-Dave-Kinchen–Shane-McEachern-Podcast

Voltando à afirmação de Downing , Schenker disse: “Primeiro de tudo, JUDAS PRIEST e UFO estavam gravando no mesmo estúdio. E os guitarristas do JUDAS PRIEST são fãs de Michael Schenker . Esse é o número um. Então, se eles são fãs de Michael Schenker , é o mais provável é que KK Downing tenha me enganado e não o contrário.“



“Então, quando eu fui ao Whisky A Go Go quando fiz minha primeira turnê americana, com minha namorada, quando eu tinha 19 anos – em algum lugar em 74 ou 75 – vimos JUDAS PRIEST no Whiskey A Go Go Quando eles entraram no palco, eu olhei para minha namorada e ela olhou para mim. Ele era um dublê de mim – ele era um dublê absoluto. Ele tinha o cabelo encaracolado, ele tinha o Flying V, ele tinha minha roupa de palco o mais próximo possível. Você pode entender. Foi inacreditável. E o fato é que todo mundo sabe que ele é fã de Michael Schenker , então por que ele mentiria sobre isso em primeiro lugar? Isso é simplesmente louco.”

Questionado sobre quando foi a última vez que ele conversou com Downing , Schenker disse: “Nós tocamos no local dele [KK’s Steel Mill em Wolverhampton, Inglaterra], e no meu camarim havia um presente de KK Downing com um envelope de boas-vindas com chocolates e uma cesta cheia de guloseimas e coisas assim e com uma nota de agradecimento, et cetera, et cetera. Obviamente, ele estava muito feliz que eu estava tocando em seu lugar.”

Quando o entrevistador Dave Kinchen questionou Schenker se ele está “surpreso” pelo fato de Downing estar levando o crédito por ser “o primeiro cara” a trazer a guitarra Flying V para o heavy metal, Michael disse: “Estou chocado, para ser honesto – que as pessoas estão tão desesperadas que até mentem sobre isso. Mesmo que as pessoas possam rastrear suas entrevistas do passado quando disseram que são fãs de Michael Schenker , etc., etc. É inacreditável. Mas vou dizer uma coisa: Já ouvi e vi muitas coisas. Nada mais me surpreende.”

Schenker anteriormente expressou sua crença de que Downing copiou seu visual quando falou com o The Metal Voice do Canadá no início de abril. Depois que o entrevistador Jimmy Kay observou que é “incrível” como “todo mundo estava copiando” o visual de Schenker e seu jeito de tocar guitarra, Michael disse: “Sim, pelo menos isso foi nos anos 80. É o que acontece. Eles me copiaram ou Eddie Van Halen , ou eles se copiaram na cena dos anos 80, apenas para fazer parte de uma tendência.”

Nos últimos anos, Schenker acusou repetidamente seu irmão, o guitarrista do SCORPIONS , Rudolf Schenker , de “distorcer completamente” a “personalidade de Michael como um ícone usando o próprio Flying V” . “Às vezes, Rudolf vinha até mim e relatava com orgulho quem lhe deu um tapinha no ombro e disse: ‘Ei, Michael, como você está?’ Slash e Joe Perry, por exemplo”, disse Michael ao Guitar World em uma entrevista em 2020. “Enquanto eu não estava olhando, ele conseguiu por anos distorcer a imagem dos irmãos Schenker. As pessoas não têm mais ideia de quem é quem. É incrível como ele conseguiu distorcer a coisa toda. Rudolf fez um acordo com Gibson para guitarras em preto e branco. Ele me perguntou se eu me importava se ele jogasse um Flying V em preto e branco. Eu me perguntei por que ele quer ser eu, mas eu apenas disse: ‘Vá em frente.’ Então ele foi tão longe na tentativa de tornar a imagem em preto e branco dele. Ele não sabe quem ele é. Então ele teve a coragem de fazer um acordo com Gibson para uma assinatura Flying V.”


No ano passado, Downing disse ao Sonic Perspectives que ele se inspirou para tocar uma guitarra Flying V em uma idade precoce. “Isso veio de quando eu era criança”, disse ele. “Eu vi a Flying V na loja e não podia pagar. E eu costumava olhar para ela. Eu era aquele tipo de criança Oliver Twist – [eu] não tinha dinheiro, mas de alguma forma eu sabia que era a guitarra para o que eu queria fazer. E agora, obviamente, o Flying V é sinônimo de metal e rock pesado. Para mim, nunca houve dúvida.”

“Universal” , o novo álbum de estúdio do MICHAEL SCHENKER GROUP de Schenker , será lançado em 27 de maio pela Atomic Fire Records .

Fonte: https://blabbermouth.net/news/michael-schenker-blasts-k-k-downing-over-flying-v-guitar-claim-why-would-he-lie-about-this

REACH: SUECOS APRESENTAM O NOVO SINGLE “TIME (SHUT UP)”

 

Embarcando em uma extensa turnê pela Europa apoiando o H.E.A.T e se preparando para o lançamento da versão estendida de seu último álbum de estúdio, “The Promise of a Life”, programado para 2 de junho e que contará com faixas inéditas, a banda sueca de Rock Alternativo, Reach, acaba de lançar seu mais novo single. Se trata de “Time (Shut Up)”, uma das novidades do trabalho e sobre a qual o vocalista Ludvig Turner fez alguns comentários:





“Se você cuidar do seu tempo ou se você deixar, não importa. Ele cuidará de si mesmo e seguirá em frente de qualquer maneira. É disso que trata essa música. Em algumas das músicas de The Promise of a Life, as letras compensam muito o que a música é. O tempo é o outro lado dessa moeda. Nós nunca colocamos essa música no lançamento original de The Promise of a Life porque estava um pouco “lá fora”. Mas todos nós amamos essa música pela ação disco enérgica que ela traz e estamos felizes em vê-la na versão estendida do álbum.”

ANVIL - IMPACT IS IMMINENT

 

Nineteenth studio album by the Canadian metal force who have been consistently releasing albums since 1981. The core of the three piece still the same, Steve Kudlow on vocals/guitar, Robb Reiner on drums, with Chris "Christ" Robertson on bass since 2014. Like Saxon, Raven, Anvil are also all about being trite and true to their roots, as evident on opening mid pace banger "Take A Lesson" and first single video track "Ghost Shadow" which burst from the speakers with urgency, tight riff and rhythm and tasty melodic solo. "Another Gun Fight" riff, bass, drum beat takes its time and crawls about during the verses. Great fun loose catchy guitars and rhythm for "Fire Rain".

Riff and bass trades off during two and a half minute instrumental jam "Teabag" in the spirit of early ‘80s Anvil. "Don't Look Back" talks about just that, not looking back and moving ahead. Half way through, bass comes through on the up tempo "Someone To Hate", and at three minutes and thirty seconds "Bad Side of Town" like the rest of the songs up to this point gets in and out only two barely over four minutes. On the production side this album has a great balance between the guitar crunch, the clanky at times bass ("Wizard's Wand"), and punchy drums. Lead guitar melody follows a slower doomy riff on "Lockdown" about the Covid 19 pandemic.



At fourteen songs it's a bit lengthy, some sameness by this point, could shave off three or four, but even by song eleven, "Explosive Energy" still maintains the interest in getting to the chorus. Anvil is Anvil, and after all these years and albums there is still enough metal in its form to (as per the artwork) circle the planet once again.

CRISIX - HEALING THE WORLD WITH MOSH

 

Crisix just may be the unsung heroes at the head of the new wave of thrash metal, and the uncrowned flag bearers of Spain’s bubbling heavy metal scene.

The Barcelona based demolition artists have put their collective foot on the proverbial gas during the pandemic, for a ridiculous output of music, branding like no one’s business (Crisix pizza and beer anyone?!) and level-up status as the heir-apparent to the global thrash crown.

Bassist Pla Vinseiro caught up with BraveWords for a deep dive into their new album Full HD (out April 15th through Listenable Records), collaboration with the best of the new wave of thrash metal movement (“W.N.M United”), growing in Spain and beyond, and healing the world with mosh!

BraveWords: You guys have been so active throughout the pandemic. Just nonstop. A lot of bands have taken time to recharge from the road or get back in the studio. But you've managed to cram so much into this span of time. It's absolutely crazy.

Pla: “I mean, that was the idea, you know? Because the pandemic thing got us in the midst of kind of the greatest year for the band. And it was like, ‘No, fuck it. We will just find a way to reach people with whatever we can do’. And I think it turned out great. Yeah, we could have stopped, but it wasn't in us. We just needed to keep going.”

BraveWords: I really dig what you guys are doing here, some of the ways you guys have been branching out in recent years with the cookbook, the pizza, the beer. You guys are branding like crazy. And I think that's awesome because there are so many bands, particularly in heavy metal, that just want to play shows. They could put out the best album possible, but if you're not out there, if you're not in people's faces, it's a crowded marketplace. You have to compete and you guys are definitely pushing your brand.



Pla: “Yeah, thank you. I mean, we just love to do things a bit different sometimes. And now it's more than music. If you want to get to people and you can't even play live shows, what are you going to do?”

BraveWords: Your output for actual music has been crazy these past four years. Three albums and an EP. Has it kind of been a conscious decision that when you guys have material ready to go, you're going for it? You're not staggering things out. You're going to keep the momentum going.

Pla: “Yeah, that's what you got to do when you come to this mindset of this band is the center of my life, this is where I will develop all these crazy ideas with my friends and everything. What else do you want to do, man? Just get your ass to fucking rehearsal and write some songs, just fucking play. And it's this mood. You know how many ideas we got there just hanging in waiting for the moment. But yeah, it's always in our minds that we gotta keep going, keep offering everything because we've got a lot to offer I think and the ideas never end.

“We didn't plan the EP, the EP just came to us. And then from the EP, the cookbook, the pizza, the sauces, the game, everything just came naturally during this horrible moment where we couldn't play and we just had to put our psycho minds into something. So it was just too much riffs. This was the original problem. Too many riffs, too many songs. So what do we do? Okay, let's do an EP. OK Let's do a crazy culinary EP. OK, let's do a cookbook and you connect the points and this is how it ends.”

BraveWords: There's so much to be said about this kind of new wave of thrash that you guys are part of. I think about the single “W.N.M United” and it really kind of hammered that home to me. There's so many fucking awesome thrash bands worldwide right now.

Pla: “Yeah! I mean, in the end that was the main goal. We were talking about this for some time now. We wanted to do something like this because Crisix came by during this original new wave of thrash era, but we were not the first. When the band was writing the songs, they were already hearing the first record from Violator, the first record from Evile. All these bands, we felt them as part of our generation. But you know, this music was around when the Crisix sound began to take form. So this made a lot of sense to us now that OK, now after pandemic thrash is the answer to all this evil that is inside of us because it's contact. Moshing is contact, you know?

“We were in rehearsal. We were like, ‘Yeah, mosh is fucking love. Mosh is the answer’. And then it gave me the idea. Just call some friends. Everybody was super into it. It was kind of easy. Then we even got Chuck Billy, who was super nice and was also part of the video. So everything came out great. And we just want this to be this reminder to everyone that the new wave of thrash is here, it's alive and it's kicking and it's time to take the venues back. That's the idea.”

BraveWords: I loved in the beginning of the video when you guys had Chuck and it was almost like this deity or this overlord of thrash sending you down to find these other thrashers.

Pla: “In the end, it's like fan fiction done by these thrashers. It's like ‘Yeah, that Chuck BIlly is the galactic chief!’ We don't care, man. We just do this stuff and we're laughing and having the greatest time.”






BraveWords: That's one thing I like about this record in particular. It's not just straight up thrash. You guys have a ton of different stuff going on here. There's heavier, almost death metal influences. You got some Municipal Waste almost comedy elements in different spots. It's really all over the map and you're getting a ton of your different influences in this record, and it's not copy and paste.

Pla: “I think it’s part of the DNA in Crisix to be a colorful thrash band. It’s a thrash band before everything else, but it's a colorful one. We all love punk so much. We listen to a lot of different punk styles and bands, new and old. We love heavy metal. We have this funky part in a song. We just put these little pieces over the thrash thing and we really have a great time with that.

“And with this album I think we really went into all the things that worked out on previous albums and built over it. But absolutely, death metal is a part of the band and the lighter elements like more comedy kind of register. It's a fundamental part of this band. We may sometimes go more serious. We may get a bit more of a modern thrash kind of feeling. But the old school and the funny side of Crisix, I think it's just one of the most important parts of it.”

BraveWords: It feels like it's taken a while, and I could be totally off on this being in North America, for a band to really rise up to be the flag bearer for metal in Spain. It feels like you guys are really on the cusp of doing that. For you personally, does it feel like there is almost this void for a band to come up and be the big international metal band representing Spain?

Pla: “Yes. You know, for Crisix it was always like we are not aiming for Spain ... Crisix was always the band that we just wanted to go. We just want to tour outside. In a way, even if the band got big in Spain, the band was always striving for this outer part of the scene out of Spain. And I think it's not really what you usually see in the Spanish scene. We've been a bit out of the global scene. Maybe if you go into more underground stuff, there's always people that are coming and going, but there was never this band yet, an English speaking Spanish band that would go to all the main festivals that would represent the Spanish scene. And of course we would love to reach this. I mean, we're breaking a lot of barriers here. But Crisix always wanted to take the world by storm.”

BraveWords: Do you ever feel resentment in the local music community for branching out? Or is it the type of thing where because you guys are being so industrious and you're branching out and doing these big tours now that there's a lot of pride amongst the local music community for what you're doing.

Pla: “I feel a lot of pride and a lot of support everywhere I go here in Spain. You know, you will always have people that don't like you and it's part of it. It's part of life. But I think people really understand in Spain what we are trying to do, and they understand how hard it is, how we are crossing to these unexplored parts for the older Spanish fans. And I don't see a problem, really.

“Sometimes it would be so much easier for this band to just stay in Spain for a while. This is like the easy route, really, I can tell you. But we always take the decision to go farther and reach new places, and I think a lot of people really understand this about Crisix. I don't see a problem.”

BraveWords: Obviously there's a ton of influences we can feel on this record. But for you coming up as a young man, was there a particular band or album that really drew you into heavy metal?

Pla: “My father is a prog guy. ‘70s prog. So when I was a kid, and I always still talk about it because I play bass here and I play bass with the pick. And then a guy will come up, 'Huh! You play bass with a pick! Do you know who Chris fucking Squire from Yes is?!' Because Yes was kind of my father's favorite, but I always see Chris Squire with the pick! ‘Of course you play bass with the pick! Here's the fucking master!’

“But after that and coming into metal, I think for me Rust in Peace by Megadeth was the album, because it had all these little jazzy passing notes and a bit of progressive structures that really let me into the more aggressive sound because I think the prog part of it was kind of a bridge for me to go into the aggressive. I would say Rust in Peace is maybe the album that I listened to the most, maybe that and also Kreator. I got into Kreator, when I went into the more and more aggressive thrash. And it was all Pleasure to Kill, Extreme Aggression. I love that stuff too.”

BraveWords: It really feels like momentum is on your side now. You rode this wave of the pandemic. You're playing some of the biggest shows of your career. Are you guys feeling that momentum now? Is it like, ‘OK, we're getting ready to level up here’?

Pla: “Yeah. It's been like this, and we really were one of the first metal bands touring Europe back in September ... We were kind of the first show for so many people for two years. This happened in September, happened in November, it happened now in March. We were going to the Netherlands and people would come and be ‘like this is my first show in two years’.

“I remember the other day in Eindhoven in Dynamo, which was one of the first places where Exodus played when they came to Europe. So there's a lot of old school guys there when thrash came to Europe and some of these guys were like ‘man, this is my first show in two years. But the best part is I've never been to this kind of energy thrash show since I was here in 87 seeing Exodus!’ And this kind of stuff, how you come back home feeling. It's not about ego, but just about man. If this guy that was there felt that again, we are onto something right now.

“People just have a lot of fun at our shows. They go out and they are smiling. I'm 100 percent sure that we have something going on, but not because I think high of myself or anything. It's just what I see in people after the show, how they feel. They just feel great. And yeah, I think we've got some momentum going.”

Rush’s iconic album Moving Pictures!

The Super Deluxe Edition includes three CDs, one Blu-ray Audio disc, and five high-quality 180-gram black vinyl LPs. The set encompasses the Abbey Road Mastering Studios 2015 remastered edition of the album for the first time on CD, along with two discs of previously unreleased and newly restored bonus live content newly mixed from the original analog live multi-tracks by Rush’s original producer, Terry Brown, featuring the band’s complete, unreleased Toronto concert from Maple Leaf Gardens in Toronto, Ontario, on March 25, 1981 (designated here as “Live In YYZ 1981”). The fourth bonus disc is a Blu-ray Audio disc with the core album newly mixed from the original multi-tracks in Dolby Atmos (a Rush catalog first!), Dolby TrueHD 5.1, and DTS-HD Master Audio 5.1 surround sound as done by noted producer/engineer Richard Chycki, alongside the previously available PCM Stereo mix. Also included on the Blu-ray are four bonus videos: a brand-new video for “YYZ” plus three remastered vintage promo videos for “Tom Sawyer,” “Limelight,” and “Vital Signs.” Additionally, all of the vinyl in the Super Deluxe Edition has been cut via half-speed Direct to Metal Mastering (DMM) (another Rush catalog first!) on five 180-gram audiophile LPs.

The Super Deluxe Edition of Moving Pictures - 40th Anniversary also includes several exclusive items, including a 44-page hardcover book with unreleased photos and new artwork by original album designer Hugh Syme, along with new illustrations for each song; extensive liner notes by Kim Thayil (guitarist, Soundgarden), Les Claypool (bassist/vocalist, Primus), Taylor Hawkins (drummer, Foo Fighters), Bill Kelliher (guitarist, Mastodon), and Neil Sanderson (drummer, Three Days Grace); a Red Barchetta model car mounted on a black perch with an MP40 nameplate; two Neil Peart signature MP40 branded drumsticks; two metal-embossed guitar picks, one each with Geddy Lee and Alex Lifeson’s respective signatures engraved on them; a replica of the Moving Pictures 1981 official tour program; an MP40 logo enamel pin; a 3D lenticular “Moving Pictures in motion” lithograph; an 18x24-inch Toronto 1981 concert poster; a replica concert ticket from the 1981 Maple Leaf Gardens show; a 12x36-inch Rush Through The Years 1973-1981 poster; a YYZ luggage tag; and a All Access World Tour ’81 insert. All contents are housed in a premium lift-top box, which features movingly reimagined cover artwork by Hugh Syme.