segunda-feira, 5 de fevereiro de 2024

ATANIC EMPIRE: Split álbum com Satanic Ritual, “Satanic War Kommand”







Contagem regressiva para o primeiro lançamento de 2024 do SATANIC EMPIRE! A banda já prepara o split álbum — ao lado do duo mexicano/guatemalteco Satanic Ritual —, intitulado “Satanic War Kommand”, e acaba de liberar o pré-save oficial nas principais plataformas de streaming. Faça agora o seu CLICANDO AQUI: https://onerpm.link/853751306477

“Satanic War Kommand” contará 7 faixas inéditas e será lançado em outros dois formatos: internacionalmente em fitas cassete pelo selo norte americano Jems Label e no Brasil em CD de forma independente pelo SATANIC EMPIRE (ambos previstos para fevereiro deste ano).

Um dos singles deste trabalho já foi divulgado, trata-se “Legions Attack” que foi gravado em conjunto com Satanic Ritual, ouça:




Encontre, salve e ouça todos os trabalhos lançados — até o momento — pela banda em sua plataforma de streaming e download mais utilizada AQUI: https://li.sten.to/SATANICEMPIRE

ASSESSORIA DE IMPRENSA: SANGUE FRIO PRODUÇÕES
Contato: www.sanguefrioproducoes.com/contato

Sites relacionados:
https://www.instagram.com/satanic_empire6
https://satanicempire.bandcamp.com/
https://www.youtube.com/@SatanicEmpire-lo5zi
https://li.sten.to/SATANICEMPIRE

ALTERNATIVEFEATURESINTRODUCINGMETALCOREPOST-HARDCORE






One of the names off of Ambiviolent, the debut EP from KITE THIEF, is called Judge Judy & Executioner. The name came about “because a lot of the lyrics have symbolism of being in court or on trial. In my head, I thought it could be called The Trial or something along those lines,” explains vocalist Elin Allan. “It was all about a time where my ex boyfriend took me on holiday to see if our relationship could work, despite us being together for five years.”



She took the song to the rest of the band – guitarists Max Harris and Josh Bailey, bassist Henry Stone and drummer Zac Lever – who agreed that it didn’t have the ring that Elin thought it would. She decided to call it Judge, Jury and Executioner, which she says is how her ex boyfriend was acting at the time. “Josh was like, ‘well, wouldn’t it be funny if it was Judge Judy & Executioner, like in the film Hot Fuzz?’” Elin explains.

“The more we said it, the funnier it got,” Max agrees. The band got together by attending the same university in Bristol. Elin says she started scouting potential band members, looking at who was working hard and turning up to lectures, as they all studied music together. She messaged them all and they ended up getting together for a specific performance. After auditioning for and winning a performance night, the band decided to stick together.

“A lot of the writing was done in the practice room when we first got together,” Max says, explaining about their first few writing sessions. “The first four or five songs were written all together. However, I pioneered recording the demo songs on a computer and sending them to the others. We’d get to the point of them coming over to my house. We started as an in-the-room band, and then transitioned into an online band.”

Whilst the COVID-19 pandemic caused bands to have to work out interesting ways to work on new music, KITE THIEF continued doing what they were doing by recording music over the internet. They still work like this to this day, because they don’t always have the money to go away on writing retreats. Although they’ve also experimented with writing demos without certain instruments, such as the drums or bass, being recorded, so that the other members could work on their part.


“We get a lot more done remotely because we can experiment more,” Elin adds. “We much prefer to piece it all together rather than sitting in a loud recording studio. Plus, we live all over the country. Max and I live in Bristol, Josh lives in either Surrey or Surbiton. Henry lives in Street, which is next to Glastonbury. Zac lives in Brackley in West Northamptonshire. We’ve come up with new ways of writing, and they work a lot better.”

The band were playing the singles game by releasing individual songs. However, they were ready to do something different as the songs they were writing sounded different to anything that they had released before. “It was almost like a new chapter for us,” Max explains. “We then thought that we should start doing a body of work. We don’t want to write an album yet until our profiles are a bit bigger.”

“We put off doing an EP for a while as well,” Elin adds. “We decided that we wanted to release the odd song whilst we found ourselves and we played loads of gigs. I remember we had loads of different demos, and in one of our weekly meetings, we decided to release an EP.”

In the band’s heads, they envisioned that the EP would be released in six months from that weekly meeting. However, it is instead being released two years later. “It was still quite daunting,” Max admits. “Although our EP is only five songs long, it’s the first time we’ve done a collective body of work. We had about 20 or 30 demo songs, which were enough for an entire album. We went through all of them and decided to find the ones that worked together as a journey and a listening experience. We’ve still songs that we wrote in our writing retreat to Devon last year, when we were in the crux of getting this whole thing together.”

Musically, the band describe themselves as pop-metal. “We’re angry in a happy way,” Max explains, with Elin adding: “We’re very tongue-in-cheek, metal with a hook. We’ve got the big riffs, and we have the odd heavy vocals, with the addition of very pop melodies and synths going on.”

“We’re probably quite exciting,” Max says. “I usually take into consideration our live shows as well. When I think about the band, it’s not just how we sound. It’s the whole vibe we bring as well.”

A lot of bands can sound a lot better in a live setting rather than a studio version, due to the fact that a live setting is rawer. This is the case for KITE THIEF. “When we started, we didn’t make any social media or record any music for about a year or a year and a half,” Elin explains. “That’s because we wanted to find our feet live, and we love playing live. It’s why we do it anyway.”

“It’s the best way to experience us,” Max adds. “On Spotify, a band’s music can not sound as polished due to a lower budget, but their live shows can be insane and memorable. That’s why we focus so hard on the live shows. We want it to be the biggest thing we can offer, instead of just getting up and playing a gig.”

Ambiviolent is out now via Year Of The Rat Records.

A viagem pelo tempo que é a ‘Future Past Tour’ do Iron Maiden




A viagem pelo tempo que é a ‘Future Past Tour’ do Iron Maiden
A passagem da Donzela pelo Brasil acontece nos dias 06 e 07 de dezembro


O Iron Maiden deu início à Future Past Tour em maio de 2023. Ela chegará ao Brasil nos dias 06 e 07 de dezembro e os fãs já estão ansiosos para ouvir músicas nunca antes tocadas.

O show de abertura das noites ficará a cargo da banda dinamarquesa Volbeat.

No setlist da turnê o foco principal se divide entre o clássico Somewhere In Time (1986) e o trabalho mais recente da Donzela, Senjutsu (2021). Steve Harris explicou, em um comunicado, a escolha da temática para esse novo giro: “Decidimos revisitar Somewhere In Time, pois essa turnê não apareceu nas várias retrospectivas de turnês históricas que fizemos ao longo dos anos”, conta.

“Elas foram baseadas em nossos vídeos de shows dos anos 80 e, infelizmente, não filmamos essa turnê (culpe o gerente!). Recebemos muitos pedidos de fãs ao longo dos anos para muitas faixas, então agora vamos tocá-las, além, é claro, de algumas outras que sabemos que você vai gostar! Também será particularmente satisfatório finalmente tocar algumas das faixas mais épicas do Senjutsu. Tem sido uma longa espera! 2023 será um momento emocionante e estamos realmente ansiosos para ver todos novamente no Reino Unido, Irlanda e na Europa.”

O álbum de 1986 traz uma das músicas mais queridas pelos fãs, “Alexander The Great”. Muito do que envolvia a faixa, tinha a ver com o fato de ela nunca ter sido tocada ao vivo, até o dia 28 de maio de 2023 — primeiro show da turnê — em que o Iron Maiden agraciou os fãs depois de quase quarenta anos de seu lançamento.

Tudo sobre essa turnê gira em torno do conceito tempo. Durante os shows, os fãs embarcam em uma viagem, voando para o futuro, com Somewhere In Time e voltando para o passado, com Senjutsu. No primeiro, é possível perceber uma ligação com temas futuristas, não apenas nas músicas, mas também na própria capa do álbum, desenhada pelo parceiro de longa data do grupo, Derek Riggs, que traz o mascote do Maiden em uma versão de robô com uma arma na mão, além de diversas referências à banda.

Para a composição do Somewhere In Time, a banda usou sintetizadores nas guitarras, justamente com o objetivo de trazer uma ambientação futurista para o álbum.

Os shows do Iron Maiden são conhecidos por serem um verdadeiro espetáculo em termos visuais — além das músicas, obviamente. Até mesmo no palco que a banda está utilizando para a realização dos shows é possível perceber elementos futurísticos, inclusive, na questão do jogo de luzes. Rob, o engenheiro de luz da banda, explicou que se inspirou no filme Blade Runner para a realização dessa parte cenográfica, especificamente, o edifício Tyrell.

Depois da passagem pelo futuro que o álbum propõe a quem ouve, os fãs são convidados a adentrar o passado em Senjutsu. Como é de costume do Iron Maiden, acontecimentos históricos estão muito presentes nas composições e aqui, a banda traz referências ao Japão antigo.

O WikiBrother Diogo Tomaz Pereira escreveu uma análise a respeito da faixa título e o livro “A Arte da Guerra”, escrito por Sun Tzu que pode ser conferida aqui.

Com um Eddie samurai em sua capa, o registro traz dez músicas e quase uma hora e meia de duração.

A turnê já passou por grande parte do globo, e o último show do Iron Maiden, até o momento, aconteceu no festival Power Trip, na Califórnia, no dia 06 de outubro de 2023.

Alguns fãs podem estranhar músicas como “The Number Of The Beast” ou “Run To The Hills” não estarem no setlist da Future Past Tour (via Setlist.fm), mas essa turnê os convida a navegar pelos anos, em um mix de passado e futuro, revisitando músicas não tocadas há anos e ouvindo outras pela primeira vez na história.

Do clássico The Number Of The Beast (1982), a banda está tocando “The Prisoner” que, apesar de não muito comum em sets anteriores da banda, é uma grande música para se ouvir ao vivo.

Com relação à fase de Paul Di’Anno na banda, a Donzela manteve apenas “Iron Maiden”, faixa título do homônimo de 1980, já característica por encerrar os shows do grupo, última música antes do bis.

É comum, por parte do Maiden, alterar uma música ou outra quando se encerra a primeira perna da turnê e se inicia a seguinte, portanto, é possível que haja alguma surpresa no setlist quando eles retornarem às atividades no dia 1º de setembro, na Austrália.

Poucos ingressos estão disponíveis para a passagem da banda pelo Brasil, mas a compra pode ser realizada pelo site da Livepass.
Bruce Dickinson no Brasil

Enquanto dezembro não chega, os fãs brasileiros podem assistir ao show solo de Bruce Dickinson. A turnê passará por Curitiba (24/04), Porto Alegre (25/04), Brasília (27/04), Belo Horizonte (28/04), Rio de Janeiro (30/04), Ribeirão Preto (02/05) e São Paulo (04/05).

As vendas dos ingressos de São Paulo e Curitiba são realizadas pelo Uhuu e as restantes pelo Bilheteria Digital.

STRIKER – “WE’LL MAKE IT A HARDER SAX SOLO NEXT TIME”









“We went with Josh mostly because we thought his productions for deathcore albums were so sick.” Fans of Striker would shudder to hear such words, but vocalist Dan Cleary wanted to try something different with the band’s seventh full-length album. Six years – and their longest layoff between records – since 2018’s Pay To Win, Edmonton’s fiery metallers are finally back with Ultrapower, out now via their own label Record Breaking Records.

Self-producing their own records since 2016’s Stand In The Fire, the Edmonton metallers decided to branch out and bring in Josh Schroeder – known for his work with Lorna Shore, Mental Cruelty, Tallah – to helm the production duties of Ultrapower.

Rest assured, the album is 100% Striker without an ounce of deathcore in sight. Cleary explains the rationale behind using Josh, “We thought, hey, why don’t we just try recording with him and see what happens, you know? We thought we would have a lot of crazy heavy stuff on the album. I mean, we had some crazy heavy ideas, but in the end, it all just sounds like Striker.”

SLAYER GUITARIST KERRY KING





SLAYER GUITARIST KERRY KING UNLEASHES DEBUT SOLO SINGLE "IDLE HANDS" FEATURING MARK OSEGUEDA, PHIL DEMMEL, KYLE SANDERS AND PAUL BOSTAPH (VISUALIZER)



Slayer guitarist, Kerry King, is gearing up to release his debut solo album, From Hell I Rise, on May 17 via Reigning Phoenix Music. The album will feature King backed up by vocalist Mark Osegueda (Death Angel), guitarist Phil Demmel (Vio-Lence), bassit Kyle Sanders (ex- Hellyeah) and drummer Paul Bostaph (Slayer).

Check out the first single, "Idle Hands", below.

sexta-feira, 2 de fevereiro de 2024

NEMOPHILA - EVOLVE





NEMOPHILA - EVOLVE




Japanese metallers Nemophila are back at it with their third full-length Evolve. The ladies don’t fit into any box as they are a mish-mash of metalcore, rock, nu-metal, early 2000’s rock, j-rock, and power metal with shredding solos. They are not afraid to take chances and write off-the-wall songs and it’s made for entertaining, although uneven records. On Evolve, the songwriting finally reaches a steadier ship with tighter compositions that are still fresh and brave.

Evolve leads with the spunky go-getter singer Mayu and she has found the right balance of using her tough scratchy vocals along with her bright, clean singing voice. She is on point throughout the record – just check out the vicious rapping sequence (no, I promise it’s not bad!) on the strange, folky, tribal, but danceable “Ama-Te-Ras”.

Nemphila also must be sensing a growing international market as more of the lyrics are in English although the majority is still in Japanese. There’s also more distinct electronic influence in the songs like the rapid, aggressive opener “Evolve” – a barn burner of a track and the dance pop infused “Night Flight”.

LINDSAY SCHOOLCRAFT RELEASES LOVELORN AND HOPESICK ALBUM VIA PATREON






Former Cradle Of Filth backing vocalist / keyboardist turned solo artist, Lindsay Schoolcraft, has checked in with the following update:

"Went and did a thing. Dropped another collection of songs that I’m calling an 'album.' Now I can start the next new and fresh chapter of my sophomore follow-up to Martyr.

Today is emotional. I’m relieved. I feel accomplished. So much free space in my brain to create new tunes. Nothing left on loop nagging me to be written and recorded. It’s liberating and a bit scary. But the team for the next album is awesome and I know we’ll make magic together.


















This little ditty is a rather chill collection of songs that echoes my love of trip-hop, chamber pop, and darkwave. Heavily influenced by VAST, Broken Iris, Ellie Goulding… the list goes on..."