Author: planetsixstring

This week’s slate of new releases includes bangers from Blazon Rite, The Day of the Beast, Eye of Purgatory and more!
The post Five For Friday: June 18, 2021 appeared first on Decibel Magazine.

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In a new interview with Rolling Live Studios, Ronnie James Dio’s former wife and longtime manager Wendy Dio spoke about how he popularized the the so-called “devil’s horns” hand gesture. She said (as transcribed by BLABBERMOUTH.NET): “A lot of people claim that it was theirs, and it’s okay. It wasn’t Ronnie’s. It’s an old Italian sign called malocchio [the evil eye], to ward off evil. His grandma, when he was about five, used to walk down to town to give his granpa lunch at the steel mill, and he’d see his grandma [doing] the sign — it was, like, warding off evil — and he didn’t think about it; it was just part of his heritage. And then when he joined [BLACK] SABBATH, of course, Ozzy [Osbourne, original SABBATH singer] was doing the peace sign. And he didn’t wanna do that. And then one day he just did it, and it just took off. And it was just something that Ronnie became popular for.”

The late BLACK SABBATH and RAINBOW singer is frequently recognized for making the hand gesture mainstream — a staple at rock concerts for decades. However, this past March, SABBATH bassist Geezer Butler said that he was using the so-called “devil horns” years before Dio adopted it as his own.

“I’ve been doing that sign since — I’ve got pictures of me doing it since 1971,” Butler said during an appearance on SiriusXM’s “Trunk Nation With Eddie Trunk”. “And I always used to do it in the breakdown in the song ‘Black Sabbath’ — just before it goes into the fast part at the end, I’d do that sign to the audience. And on the first couple of ‘Heaven And Hell’ tour shows, Ronnie was saying, ‘When I’m going on stage, everybody is doing the peace sign to me, and that’s an Ozzy thing. I feel like I should be doing something back to them.’ He says, ‘What’s that sign that you do in ‘Black Sabbath’?’ And I showed him the devil horns sign. And he started doing it from there and made it famous.”

Asked why he had never publicly revealed before that he was responsible for showing Dio the devil horns, Butler said: “I didn’t really think much of it. As I say, I’ve got pictures of me doing it in 1971. And it was just an alternative to Ozzy’s peace signs, I was doing it. And if you look at the ‘Yellow Submarine’ album cover [from THE BEATLES], John Lennon’s cartoon character is doing it, in 1966 or whatever it was. So it’s an old sign. I was just doing it ’cause [English occultist] Aleister Crowley used to do it.”

According to Geezer, the devil horns isn’t the only thing that Ronnie took credit for that he didn’t come up with on his own. “There’s a lot of things that he nicked off me that he claimed that he was the originator,” Butler said. “But he made it famous, so I didn’t care. The [DIO] album title ‘Sacred Heart’; that’s where I used to go to school. And he called one of his songs ‘One Foot In The Grave’. I jokingly said, ‘We should call the album ‘One Foot In The Grave’.’ And then when he left [SABBATH], he called one of his songs that. He was very naughty about things like that. And when I did an autograph, I’d write ‘Magic’. So Ronnie started writing ‘Magic’ as well. In fact, he called his [DIO] album ‘Magica’. He was very naughty about things like that.”

Asked if he ever confronted Ronnie about it, Geezer said: “Nah. Only about the devil horn sign.”

Ronnie wasn’t the only high-profile rocker to take credit for the devil horns. Back in June 2017, KISS bassist/vocalist Gene Simmons filed an application with the U.S. Patent and Trademark Office for a trademark on the hand signal fans and rockers alike hold up during shows, in which the index and pinkie fingers are extended, the middle and ring finger are curled into the palm, and the thumb either sticks out from the hand like an errant branch from a tree or is also curled into the palm. Gene claimed the gesture was first used in commerce on November 14, 1974, which corresponds to KISS’s “Hotter Than Hell” tour. He wrote in his signed declaration that he believes “no other person, firm, corporation or association has the right to use said mark in commerce, either in the identical form or in such near resemblance.” Less than two weeks later, Simmons withdrew the application.

Most music fans slammed Simmons for the trademark request, saying the symbol has become ubiquitous and means different things to different people.

During an appearance on the “Talk Is Jericho” podcast, Simmons said that his version of the hand gesture is actually “I love you” in American Sign Language, with the thumb extended, rather than the thumb holding two middle fingers close to the palm as popularized by Ronnie James Dio and used by everyone from rock stars to chefs as a salute of musical inclusiveness and triumph since the ’70s.

“When [KISS] first started doing photos in 1973, in the last century, I was doing an homage,” he explained. “I didn’t know what to do with my hands… ’cause I had wings [as part of my costume] and I wanted to show the wings. So you spread your arms, kind of like a Christ-like pose, but I didn’t know what to do with my fingers. So I did what an artist named Steve Ditko did with Spider-Man and Doctor Strange, both of whom did the hand signal. So when Spider-Man shot the webbing, he would do the two middle fingers. And the eternal Vishanti doing the hoary hosts of Hoggoth, that’s Doctor Strange. So I was just giving an homage to Steve Ditko, and it caught on. And so when we were playing live, I wanted to wave back at the fans who were just, like, ‘Wow, you guys are kind of hot shit,’ but I’m holding the pick in my hand. So I’m trying to hold up both my fingers. And so they all started to do that. To this day, whether you’re going to a soccer match in Ukraine or in Africa, or wherever, the fans may not even think about Gene Simmons, but they’ll do a version of those outstretched fingers and stick their tongue out without knowing why. It’s become the thing. I don’t care if you’re Rihanna or Chubby Checker, everybody does that stuff, although they may not realize it started with the powerful and attractive Gene Simmons.”

Asked why he eventually decided to withdraw his application to trademark the gesture, Simmons told “Talk Is Jericho”: “The uneducated, the uninformed and the otherwise passionate got so hot under the collar that I just didn’t think it was worth it.

He continued: “People from the peanut gallery, and I love ’em… But the idea that everybody’s opinion is worth the same as everybody else is… I don’t wanna say ‘bullshit,’ but it’s uninformed. You know, your car breaks down and some guy walks up and says, ‘Here’s what’s wrong with it.’ That’s one opinion. The other guy that walks over is a mechanic who works on cars all the time. Both those opinions are not equal. One is more important because it’s based on resume and qualification, and the other one is based on popcorn farts — he knows nothing. Well, your opinion is worth nothing, ’cause it’s based on nothing and no experience. Mostly people that have opinions express them just because they have no qualification or resume.

“So, it just wasn’t important enough for me to go do that, ’cause everybody’s doing my hand gesture anyway — whether it’s the Dalai Lama or the Pope. I win.”

Simmons added: “But, truly, when somebody criticizes you or whatever, take a moment to think about, ‘Gee, I wonder what they’ve done.’ In other words, it’s not what somebody says — who’s saying it? If I get criticized as a bad person, as an example, by somebody standing next to me, that’s not the same as the Pope or my rabbi or somebody in a ethical position of power. I might still object, but that’s a qualified opinion.”

Copyright lawyer Ronald Abrams told Forbes that it’s unlikely Simmons would have succeeded in his attempt to trademark the “devil’s horns” symbol, explaining that such hand gestures can’t be trademarked unless they are part of a logo. Trademark attorney Michael Cohen with Cohen IP Law Group in Beverly Hills, who deals with trademark, patent and copyright infringement cases, concurred, telling the Los Angeles Times that it would have been very difficult for Simmons’s application to be approved because the gesture has become “genericized.”

Gene’s KISS bandmate Paul Stanley said that he had no idea why Simmons attempted to trademark the hand gesture, telling the Loudwire Podcast: “Well, you know, Gene elicits some very strong reactions from people. And what he does he does for the reasons that only he knows. So I can’t really say that I have really any thought about it. It was really something that he wanted to pursue, and the reaction was how people felt about it. So I don’t know why he pulled it, and I don’t know why he started it. I really have no… I haven’t asked him.”

During an episode of her show “The Talk”, Sharon Osbourne slammed Simmons for the trademark request, accusing the rocker of “trying to make money from posters and t-shirts.” She said: “He’s crazy. He’s trying to get money from the merch where you see this [gesture] on merch, but actually this [symbol], in Italian, which has been going for hundreds of years, means ‘the devil.’ That’s what it means. And so kids at concerts have been doing it for years and years and years. And in ’74? Where were you in the ’60s when they were doing it, kid, because they’ve been doing it forever.”

Wendy also criticized Simmons for attempting to trademark the hand sign. She told TheWrap: “To try to make money off of something like this is disgusting. It belongs to everyone — it doesn’t belong to anyone. It’s a public domain, it shouldn’t be trademarked.”

Ronnie himself has poked fun at Gene for attempting to to take credit for the devil horns. “Gene Simmons will tell you that he invented it,” Dio once said. “But then again, Gene invented breathing and shoes and everything else.”

As previously reported, the Ronnie James Dio Stand Up And Shout Cancer Fund, founded in memory of the late heavy metal icon, will join forces with virtual event producers Rolling Live Studios to celebrate Ronnie’s birthday on Saturday, July 10. The global livestream fundraising event will bring together celebrities and fans all over the world to honor Dio’s undeniable impact both on and off the stage. The frontman for ELF, RAINBOW, BLACK SABBATH and DIO, Ronnie lost his battle with gastric cancer in 2010.

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FOO FIGHTERS have announced that they will dedicate their June 20 concert at the Madison Square Garden in New York City to the memory of the band’s longtime stage manager, Andy Pollard.

Pollard passed away the morning of June 18. He served as FOO FIGHTERS’ stage manager for 12 years.

The band commented: “We are shocked and devastated by this loss. We can’t imagine being onstage without Andy there by our side. He was not only a key member of our team but a dear friend and wonderful father. Our hearts go out to his partner Sophie Peacock, their children Arlo and Ren, and his family and loved ones.”

As a warm-up gig for the Madison Square Garden show, FOO FIGHTERS performed this past Tuesday (June 15) at the Canyon Club in Agoura Hills, California.

FOO FIGHTERS first headlined a sold-out Garden in February 2008 on their “Echoes, Silence, Patience & Grace” tour, returning to rock the venue for another sell-out show in November 2011 on the “Wasting Light” tour. Most recently, the band sold-out two nights at The World’s Most Famous Arena in July 2018, on their “Concrete And Gold” tour.

pic.twitter.com/5sMG85IzlP
— Foo Fighters (@foofighters) June 18, 2021

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In a new interview with Kylie Olsson’s YouTube show “Life In Six Strings”, former MEGADETH guitarist Marty Friedman discussed why he hates being called a “shredder.” He said (as transcribed by BLABBERMOUTH.NET): “To me, it just sounds like someone just playing mindlessly fast. When I played in the really early part of my career and even now, sometimes things sound really fast because the choice of notes is so unusual that the notes go by and they make different clicks in your head when it’s registering in your ears. If you play a succession of notes that people are used to hearing, you have to really play it fast, like two hundred beats per minute, for it to sound fast. Like, if you just play a scale up and down, it’s gonna sound fast. But if you do unusual groups of notes and unusual subdivisions of notes and unusual melody note choices, it can be not even that fast at all and it’ll just sound fast because so many things are going by that you’re not used to; you’re not accustomed to hearing these sequences of notes. So people think that, ‘Oh, it’s so fast,’ because they try to play it and it’s quite difficult. But there’s a difference between speed and difficulty, for sure.”

He continued: “It’s a term that happens with a lot of young guitarists that doesn’t exist in the real world. I think a lot of young guitarists, and myself included when I was a little kid, they’re fascinated with things that they’re unable to do, and one thing that they’re not able to do is play really fast when you’re a beginner. Your fingers just don’t work that way, and your mind doesn’t work that way yet. So when you see a guy across the street in his basement playing really fast, you’re, like, ‘How come I can’t do that?’, and it just becomes this holy grail for one-year-, two-year, three-year guitarists. And those are the people who are active [in online] chats and things like that, and those are the people who buy guitar magazines and buy lots of gear, those are the people that are keeping the industry of guitar alive, and those are the people who are fascinated by quickness of fingers and just really fast playing. But little do they know, playing slow is a thousand times more difficult than playing fast — it really, really is. Playing slow is where you can separate the men from the boys, so to speak… When you hear somebody play something slow, you can tell if they’re any good right then and there; you can tell. When you hear something fast — even eight-year-old kids can play really fast and really clean and really accurately. So it’s really an illusion, but it’s the thing that keeps guitars selling. You’ve gotta have something that is like a holy grail for beginner people to get inspired by. So a lot of ’em hear this fast stuff and they’re, like, ‘I wanna do that so bad.’ Okay. Now you’ve done it. You practiced for a couple of years. You’ve done it. Now what?

“I kind of don’t like being lumped into that because there’s a lot of people out there who just play really, really fast all the time, and to me, it just sounds like noise,” Marty added.

“Playing fast was interesting when I just picked up the instrument, but it certainly lost its interest quite quickly after you were able to do it. Then it became interesting [to play] interesting things on the instrument, creating interesting music.

“Now, it has really has nothing to do with speed, whether it be slow, medium, fast or anything in between, because music is of all tempos — every tempo is in music; every single tempo.

“But, again, that term is just something I don’t like to be lumped into,” he repeated. “But at the same time, if you love shredding and you think I’m a shredder and you love my music, we’re bros. I still love you. It’s all good. It’s all terminology. It doesn’t matter. The only thing that matters is if you like the music or not. So you can call me anything, as long as you like the music. And even if you don’t like the music, it is what it is.”

Marty’s latest album, “Tokyo Jukebox 3”, received a North American release on April 16 via The Players Club/Mascot Label Group. The record, which was made available in Japan last October, is the third in a series that began with “Tokyo Jukebox” in 2009, and then “Tokyo Jukebox 2” following in 2011. The trilogy presents Friedman’s inspired performances to Japanese repertoire he’s chosen to cover.

Marty has spent the last few years working on a documentary called “Spacefox”. The film, which is being directed by Jeremy Frindel, the founder of Substratum Films, follows Friedman’s reinvention from lead guitarist in MEGADETH to one of the most famous TV personalities in Japan.

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Stream Vouna’s monumental new track black doom track “Grey Sky.”
The post Track Premiere: Vouna – “Grey Sky” appeared first on Decibel Magazine.

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Preorder an exclusive Swamp Green with Mint Splatter double LP of the first new Carcass record in eight years and a special Decibel Album-of-the-Decade reissue of Surgical Steel on Green with Brown Splatter.
The post EXCLUSIVE Carcass ‘Torn Arteries’ 2xLP Color & ‘Surgical Steel’ Reissue LP Color Pre-Orders Available NOW! appeared first on Decibel Magazine.

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For the first time in his 35-plus-year history of as the lead singer and frontman of KIX, Steve Whiteman will release a solo album, “You’re Welcome”, on July 2. The 12-song LP was co-produced by Whiteman along with his trusted collaborators Brad Divens, Jimmy Chalfant and Bob Paré; it was recorded and mixed by Divens at Fixintogetmixin Studio.

Though the recent pandemic essentially derailed the last year-plus of KIX’s touring plans, it gave Whiteman the chance to settle in at home for a critical period of time and vocal rest, the results of which he was able to channel directly into writing and recording “You’re Welcome”.

“Not being able to play for over a year gave me the opportunity to get together with some friends and make an album of these songs,” said Whiteman. “It was great having something to do during COVID. We all had a great time making this record and I’m very proud of it!”

“You’re Welcome” is chock full of hard-rock gems.

“I knew pretty early on this music wasn’t KIX music and that it was definitely going to be for my solo thing,” says Whiteman. Whether it’s the harmonica-splattered conflict of “Bad Blood”, the bluesy strike of “Lightning Bolt”, the instantly catchy “Do Me Like You Done Me Before”, the heartfelt and somewhat melancholy “Kid Dynamite”, a tribute to Ronnie Younkins (KIX guitarist), who’s been going through another bout of rehab, or the lusty wink-nudgery of “Tug Of Luv” (one of the artist’s personal favorite tracks), “You’re Welcome” adds yet another exciting chapter to Whiteman’s storied recorded legacy.

If Whiteman’s loyal KIX fanbase feels like the album title sounds familiar, they’d be right. “It comes from a bit I do during KIX shows where I ask our crowds for a response. I demand they reply, ‘You’re welcome’ every time I say, ‘Thank you,'” Whiteman explains. And if the cover art gives them an incredible sense of déjà vu — it depicts Whiteman’s signature at the top, and a large, self-drawn stick figure underneath it, they’re exactly right. “Yeah, that started when KIX’s first album came out and the label had us do all these local in-stores,” Whiteman recounts. “It was madness, because we would be sitting there for like two or three hours just signing albums. People were always saying things like, ‘Write something special to me’ or ‘do something special,’ and I just ran out of ideas. Finally, I just started doing this little stick man as a portrait — and it kinda stuck. When people ask for my autograph now, they want my stick man — and now everybody can get it on the cover of my album.”

KIX has released seven albums over its career, including last year’s “Midnite Dynamite Re-Lit”, which was made available on the 35th anniversary of the release of “Midnite Dynamite”.

KIX will be on the road for the rest of the year, including headlining the M3 Rock Festival at the Merriweather Post Pavilion in Columbia, Maryland on July 2.

“You’re Welcome” track listing:

01. Easy
02. Talking Bout Luv
03. Get The Wild Out
04. Shock
05. Prick Teaser
06. Bad Blood
07. Kid Dynamite
08. Lightning Bolt
09. Strip
10. Tug of Luv
11. Do Me Like You Done Me Before
12. Shook Me In My Shoes

Photo credit: Mark Weiss

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The reunited expanded classic lineup of German power metallers HELLOWEEN has just released its self-titled album Nuclear Blast Records. The official lyric video for the disc’s third single, “Best Times”, can be seen below.

The cover artwork for “Helloween”, which can be seen below, was painted by artist Eliran Kantor, who has previously worked with HATEBREED, SOULFLY, TESTAMENT, ICED EARTH and SODOM, among others.

The “Pumpkins United” lineup features returning singer Michael Kiske and guitarist/vocalist Kai Hansen alongside current singer Andi Deris, guitarists Michael Weikath and Sascha Gerstner, bassist Markus Grosskopf and drummer Daniel Löble.

Produced by Charlie Bauerfeind and Dennis Ward, the new HELLOWEEN LP was recorded in part at the H.O.M.E. Studios in Hamburg (where everything started in 1984). The same recording console used for such HELLOWEEN albums as “Master Of The Rings”, “Time Of The Oath” and “Better Than Raw” was utilized to record the band’s new material. The effort was mixed at the Valhalla Studios of Ronald Prent (IRON MAIDEN, DEF LEPPARD, RAMMSTEIN).

Said Löble: “This record is the coronation of the ‘Pumpkins United’ journey. I have always been fascinated by the different character traits and facets of HELLOWEEN’s history. For example, the legendary voices of Michi, Andi and Kai. To enjoy them now together on one record, under one flag, is the ultimate HELLOWEEN experience.”

Bauerfeind said: “After 30 years with different lineups of the band, I really thought I was well prepared for another extreme challenge, but I was wrong. My expectations were highly exceeded in every way with this super-sized package of creativity.”

Musical dexterity aside, it is also the immense passion of the band that defines HELLOWEEN. Weikath describes it thusly: “It is the incomprehensible encounter of seven musicians who are working as friends and even family who have created something that no one would have thought could be possible. It is like awaking from a sleep but still being in an incredible dream.”

Hansen reflects: “Being in the studio with my old companions after 30 years away was very emotional for me. But at the same time, it was a completely different experience with the ‘new’ boys. The collaboration of different songwriters, each of them strong characters in their own right, has made the album very special. A unique mix which draws from all chapters of the band’s history.

“HELLOWEEN is a big part of my life and I am looking forward to celebrating the songs live for and with our fans!”

Grosskopf agrees: “For me, being one of the last ‘survivors’ who played every note from the beginning, it was a fantastic experience and a very emotional process. I think everyone can hear it on this album. I love it.”

HELLOWEEN’s new album saw the legendary German power metallers going “back to the roots,” with the band recording fully analogue and Löble playing the drum kit previously used by HELLOWEEN’s original drummer, the late Ingo Schwichtenberg, on the legendary “Keeper Of The Seven Keys” recordings.

Track listing:

01. Out For The Glory
02. Fear Of The Fallen
03. Best Time
04. Mass Pollution
05. Angels
06. Rise Without Chains
07. Indestructible
08. Robot King
09. Cyanide
10. Down In The Dumps
11. Orbit
12. Skyfall

The “Pumpkins United” tour marked the first time Kiske had played live with HELLOWEEN since 1993. Hansen, who departed HELLOWEEN in 1988, had been joining the band onstage on various tours and festival appearances throughout the years. The set featured several duets with Kiske and his replacement, Deris, along with many rarely played songs, including “Kids Of The Century”, “Rise And Fall” and “Livin’ Ain’t No Crime”. Hansen — who fronted HELLOWEEN until late 1986 — sang a medley of several early HELLOWEEN classics, including “Ride The Sky”, “Judas”, “Starlight” and “Heavy Metal (Is The Law)”.

HELLOWEEN’s European “United Alive World Tour Part II”, which was originally scheduled to take place in September and October will now take place next year.

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The official Riivata Visuals-directed music video “Recode”, a brand new song from FEAR FACTORY, can be seen below. The track is taken from the band’s latest album, “Aggression Continuum”, which is being released today (Friday, June 18) via Nuclear Blast Records.

FEAR FACTORY guitarist Dino Cazares comments: “The day has finally come for all to finally enjoy the new FEAR FACTORY album, ‘Aggression Continuum’. It’s been a long journey to get to this date and I can’t say enough of how proud I am of the album. Thanks to everyone involved in making it possible for this record to come out. This is all for you, the amazing FF family!! Machines Of Hate!”

“Aggression Continuum” features Cazares; drummer Mike Heller; and former vocalist, lyricist, and co-founder Burton C. Bell. It was produced and engineered by Damien Rainaud (DRAGONFORCE, ONCE HUMAN), with keyboards by Igor Khoroshev (ex-YES), and programming on two songs from longtime collaborator Rhys Fulber (FRONT LINE ASSEMBLY). “Aggression Continuum” was mixed by A-list rock and metal producer Andy Sneap (MEGADETH, KILLSWITCH ENGAGE, TRIVIUM), who also mixed FEAR FACTORY’s previous album, 2015’s “Genexus”.

Cazares previously commented: “This record is one of my proudest achievements and I’m really excited for it to finally be released. There were a lot of personal struggles, sacrifices, and legal issues involved with this record which almost didn’t see the light of day, but through passion, determination, lots of hard work and not giving up the fight, it’s finally ready for the world to hear. I felt that I needed to prove myself once again as I always try and make each record better than the last. Listen, and understand! This album is pissed! It can’t be bargained with. It can’t be reasoned with. It doesn’t feel pity, or remorse, or fear and it absolutely will not stop, ever, until you are hooked. You must fight to survive in the ‘Aggression Continuum’.”

“Aggression Continuum” track listing:

01. Recode
02. Disruptor
03. Aggression Continuum
04. Purity
05. Fuel Injected Suicide Machine
06. Collapse
07. Manufactured Hope
08. Cognitive Dissonance
09. Monolith
10. End Of Line

Last September, Bell issued a statement officially announcing his departure from FEAR FACTORY, saying that he “cannot align” himself with someone whom he does not trust or respect.

Bell’s exit from FEAR FACTORY came more than two weeks after Cazares launched a GoFundMe campaign to assist him with the production costs associated with the release of FEAR FACTORY’s long-awaited new LP.

Bell later told Kerrang! magazine that his split with FEAR FACTORY was a long time coming. “It’s been on my mind for a while,” he said. “These lawsuits [over the rights to the FEAR FACTORY name] just drained me. The egos. The greed. Not just from bandmembers, but from the attorneys involved. I just lost my love for it.

“With FEAR FACTORY, it’s just constantly been, like, ‘What?!’ You can only take so much. I felt like 30 years was a good run. Those albums I’ve done with FEAR FACTORY will always be out there. I’ll always be part of that. I just felt like it was time to move forward.”

Pressed about whether there is any chance of a reconciliation with FEAR FACTORY down the line, Burton said: “I’m done. I haven’t spoken to Dino in three years. I haven’t spoken to Raymond [Herrera, drums] and Christian [Olde Wolbers, bass] in longer than that, and I have no intention to. I’m just moving forward with my life.”

In October, Dino issued a statement in which he said that the door for Burton to come back to FEAR FACTORY wouldn’t “stay open forever.” The guitarist also revealed that Burton “lost his legal rights” to the FEAR FACTORY name “after a long court battle” with Herrera and Olde Wolbers. “I had the opportunity to do something right, and I felt that obtaining the name in full was the right thing to do for the both of us, so after nearly four years we can continue as FEAR FACTORY, to make more records and to tour,” he said. “That is why it is sad to hear that he decided to quit and, in my opinion, for whatever issues he has it seems like it could’ve been worked out.”

FEAR FACTORY’s fundraising campaign marked the first public activity from the band since it completed a 2016 U.S. headlining tour on which it performed its classic second album, “Demanufacture”, in its entirety.

Photo credit: Stephanie Cabral

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