U.K. grindcore pioneers NAPALM DEATH will release their new studio album, “Throes Of Joy In The Jaws Of Defeatism”, on September 18 via Century Media Records. The follow-up to 2015’s “Apex Predator – Easy Meat” was again recorded with longtime producer Russ Russell and features artwork by Frode Sylthe.
NAPALM DEATH vocalist Mark “Barney” Greenway stated about the upcoming album and its theme: “The phrase sticking in my mind when I started thinking about the lyrical direction for this album was ‘the other.’ You could recognize at the time that there was a rapidly growing fear and paranoia being generated about everybody, from migrating people to people with fluid sexuality and this was starting to manifest itself in very antagonistic reactions that you felt were almost verging on violence. Not everybody resorts to such reactions, of course, but even the basic lack of understanding can become toxic over time. I’m not saying that this is an entirely new phenomenon, but it has been stoked in recent history by some particularly attack-minded people in more political circles and, as ever, I felt that it would be the natural antidote to endorse basic humanity and solidarity with all.
“The artwork specifically uses a white dove as a centrepiece, which, of course, is a commonly recognised symbol of peace and cooperation. The dove has been mauled very violently by a sterilizing hand and in death appears particularly broken and bloodied. However, through the violence you can see an equality symbol in blood on the chest of the dove, which perhaps demonstrates — visually at least — that equality cuts through in the end. A positive amidst many negatives then, much like the album title itself being a bit of an oxymoron — the celebration of humanity even in the mangling jaws of negativity.”
From the pinnacle of confrontational instrumental extremity and steadfast lyrical humanity, NAPALM DEATH’s new album warps musical landscapes all over again. “Throes Of Joy In The Jaws Of Defeatism” includes 12 songs seething with caustic evolution and unrelenting scope.
01. Fuck The Factoid
02. Backlash Just Because
03. That Curse Of Being In Thrall
05. Joie De Ne Pas Vivre
06. Invigorating Clutch
07. Zero Gravitas Chamber
08. Fluxing Of The Muscle
10. Throes Of Joy In The Jaws Of Defeatism
11. Acting In Gouged Faith
12. A Bellyful Of Salt And Spleen
A first single off “Throes Of Joy In The Jaws Of Defeatism” will be launched on July 24 together with the pre-order start of the album. Look out for further details and the various album formats to be revealed soon.
NAPALM DEATH is (from left to right in photo)
* Shane Embury – Bass reverberations, barks and moans, noise-testing everyday objects
* Mark “Barney” Greenway – Bawling, shrieking, intermittent baritone
* Danny Herrera – Turbulent beat throes
VENOM formed in 1979 in Newcastle Upon Tyne. Coming to prominence towards the end of the new wave of British heavy metal, VENOM’s first two albums — “Welcome To Hell” (1981) and “Black Metal” (1982) — are considered a major influence on thrash metal and extreme metal in general. VENOM’s second album proved influential enough that its title was used as the name of the extreme metal sub-genre of black metal. The band classic lineup trio of Cronos, Mantas and Abaddon recorded two further studio albums, “At War With Satan” (1984) and “Possessed” (1985), and live album “Eine Kleine Nachtmusik” (1986). Often cited by bands such as METALLICA, BEHEMOTH, CELTIC FROST and MAYHEM as major influences, they are one of the most revered bands of their generation. VENOM are still fronted by original singer/bassist Cronos and headline festivals all over the globe and continue to release new music.
Originally issued within the mammoth “In Nomine Satanas” deluxe vinyl box set last year, “Sons Of Satan” — a collection of the band’s early demo material from the period 1979 to 1983 — now gets its own standalone release this coming August 28 via BMG, on double-album splatter vinyl, digipak CD and digitally.
Featuring a treasure trove of demos from the band’s vaults, some of which prior to the box set’s release, achieved mythical status among fans who have known about their existence, but have never heard them as the tracks alluded bootleggers. Among the tracks are the earliest known VENOM performances, captured where the band rehearsed in 1979 at Westgate Road Church Hall in Newcastle’s West End and featuring original singer Clive “Jesus Christ” Archer on vocals. Also included are the £50 demos from 1980, captured at Impulse Studios, alongside further demos from 1980 and the “At War With Satan” 1983 Impulse Studio demos.
The set includes new sleeve notes and interviews with Cronos, Mantas and Abaddon, plus rare and unseen photos from the band’s early years.
01. Angel Dust (Church Hall Rehearsals 1979)
02. Buried Alive (Church Hall Rehearsals 1979)
03. Raise The Dead (Church Hall Rehearsals 1979)
04. Red Light Fever (Church Hall Rehearsals 1979)
05. Venom (Church Hall Rehearsals 1979)
06. Sons Of Satan (1980 Impulse £50 demo)
07. In League With Satan (1980 Impulse £50 demo)
08. Angel Dust (1980 Impulse £50 demo)
09. Live Like An Angel (1980 Impulse £50 demo)
10. Schizo (1980 Impulse £50 demo)
11. Venom (1980 Impulse £50 demo)
12. Angel Dust (Impulse Studio 1980 demo)
13. Raise The Dead (Impulse Studio 1980 demo)
14. Red Light Fever (Impulse Studio 1980 demo)
15. At War With Satan (1983 Impulse Studio demo)
VOIVOD’s Michel “Away” Langevin said: “To me, VENOM represent the start of a very important movement that has split into many more important movements. It was a revolution. After that moment, death metal, thrash metal, black metal and all these genres exploded and they all owe something to VENOM.”
MAYHEM’s Jørn “Necrobutcher” Stubberud stated: “I didn’t know it back then because everything was fresh. We didn’t know what we were looking for, but when I heard VENOM, that was it.”
VENOM, SONS OF SATAN!
LEGIONS! We will be releasing ‘Sons Of Satan’, the legendary demos from 1979 to 1984 on 28th August on double LP, CD and digital. Preorder yours here and here a demo of the track ‘Venom’ – https://venomlegions.lnk.to/SOSatanFA
Posted by Venom Band on Monday, July 6, 2020
PEARL JAM’s JEFF AMENT Talks New Solo EP, Having To Cancel Tour, And Why ‘Music Is In A Better Place Than It’s Ever Been’
On the latest episode of “ALT CTRL” on Apple Music, Jeff Ament of PEARL JAM chatted with Hanuman Welch about his new solo EP, “American Death Squad”, having to cancel the PEARL JAM tour, the current political climate, what he hopes for the future, and why he’s excited about the current state of new music. A few highlights follow.
On news intake in the current moment:
Ament: “Pretty much after the first week, like March 12th through March 19th, we were like glued to the TV and the radio and trying to get a little bit of news from the other side just to see what they were saying over there. Then we couldn’t sleep. We were just going crazy, so we shut it down. We were like, ‘Hey, let’s just read the news,’ and then you’re taking out the emotive op-ed part of even MSNBC, which I tend to agree with. It still winds you up a bit.”
On canceling PEARL JAM’s tour:
Ament: “Well, I mean, things were really blowing up in Seattle, and everybody sort of knew somebody in the healthcare industry. My niece is a nurse, and so we were getting field reports, pretty gruesome field reports about what was going on, and that combined with how much our fans travel. Somebody said there was like people from 12 countries coming to the first show in Toronto, and that made it pretty easy to postpone just the potential nightmare. Being at the forefront of that, it wasn’t something we wanted to be a part of.
“Yeah. I mean, it’s a big, big industry, and for a lot of people, it’s truly their livelihood. So many great musicians that I know, they’re living tour to tour, and so there’s a lot of pressure on a lot of people, not to mention we have 40 or 50 crew people that we’re trying to take care of. Just in our little bubble, there’s a lot of responsibility.”
On “American Death Squad”:
Ament: “Well, I mean, as I’ve gotten older, you have to do a bit of training leading up and do like a tour season, and so there’s a lot of energy going into rehearsals and working out and just getting mentally ready to leave your household, and so I felt like when we pulled the plug on it, I felt like I had all this energy where I was like… and that first week, just all the anxiety of watching the news and stuff, my wife and I were just saying, ‘We’ve got to pivot this into something positive. We only have so much life left, so let’s just figure out a way to do some things that we’ve always wanted to do.’ We’re doing a lot more hiking and seeing some parts of the country that we hadn’t seen that we’d always been talking about.
“I just started waking up early in the morning and going in the studio, and then it turned into, ‘Okay, I’m going to try to write a song every day. I’m going to try to finish it. I’m going to lay drums down. I’m going to get the instrumentation, figure out the arrangement, write lyrics, and do a rough mix.’ After about a week, it sort of felt like I got into this really great groove with it, and then it lasted like two months. I just kept writing, kept writing, kept writing. These were some of the first songs that came out of that bunch, and they were probably some most anxious of the songs.”
On the current moment and what he hopes for the future:
Ament: “I think with the ‘Black Lives Matter’ thing happening in the middle of this, that gives me even more hope because it just sort of feels like there’s all this shit that most of us didn’t know about. I knew there were some Confederate statues, and I knew that a couple of the bases were named after Confederate generals. I didn’t know there were that many. That combined with just the Washington Redskins and just all the horrible shit that in 2020 we’re still allowing that to happen, it does feel hopeful that it’s like there’s a big wave of change about to happen. Hopefully, [Joe] Biden gets in there, and hopefully he has a great group of people around them, and they just make this place a better place, and — not to mention the environmental… The one positive thing is that this is a little warmup for that.”
On the current state of new music:
Ament: “I think the actual music is in a better place than it’s ever been. There’s so much fantastic music. It’s different than it was a couple years ago. It’s not like you’re going to the record store and talking to the record guy, but it’s going online, it’s talking to your friends. A year ago, I saw this band IDLES, and that just sent me on this incredible journey into MURDER CAPITAL and FONTAINES D.C. and SHAME and all those bands. I feel like that happens every three or four years for me where there’s a subculture happening somewhere that just gets you really excited about music again, and it honestly, it feels as exciting as when I first heard the RAMONES or when I first heard BLACK FLAG and DEAD KENNEDYS and MINOR THREAT and all that East Coast hardcore, and even what was going on here in Seattle in the late ’80s, I mean, there’s incredible art being made all over the place. One of the great things about technology is you can usually find it really fast. You don’t have to order it.
“PREOCCUPATIONS, that’s another band that… They’re kind of one of the first ones where there was kind of this goth post-punk, super heavy. It’s like when people say, ‘Rock is dead.’ I’m like, ‘Man, go check this… because this is rock. This is as good rock music as has been on the planet in the last 20 years.’ There’s young people learning how to play their instruments in a different way than we learned how to play our instruments, and there’s a lot of pissed off people, and there’s a lot of anxious people, and that’s just all a perfect brew for great music and great art. I mean the new IDLES song, ‘Grounds’, it’s the best song of the last three years or however long. It’s just like I couldn’t take it off repeat.”
“American Death Squad” was released on June 26. The effort features five songs. Half of the EP was performed on guitar, while the other was on piano.
PEARL JAM played live for the first time in two years on June 24 as part of “All In WA: A Concert For COVID-19 Relief”, a musical benefit broadcast locally in Washington state and livestreamed online. The full show is also available at Amazon Prime.
PEARL JAM released “Gigaton”, its first album in seven years, this past March. The band was slated to begin a world tour that same month but those plans were scrapped due to the coronavirus pandemic.
METALLICA’s All Within My Hands foundation will provide a second round of new grants totaling $295,000 to five organizations doing essential work during the coronavirus pandemic. In addition to continuing to support Feeding America, which partners with food banks around the United States; Crew Nation, Live Nation’s initiative to provide relief to touring and venue crews; the United States Bartenders Guild Foundation, which benefits bar workers and people in the service industries; and Direct Relief, which aims to support medical professionals and first responders across the U.S.; the band has announced a fifth grantee as its partners with MusicCares in the organization’s efforts to assist music industry professionals affected by the pandemic.
METALLICA says in a statement: “We are truly overwhelmed by the generosity of fans and friends around the world as many continue to face unimaginable challenges in the wake of the Coronavirus pandemic. Thanks to your contributions to our fundraisers during #MetallicaMondays, our #MonthOfGiving, and directly to our site, as well as a substantial donation from our friends at @salesforce, we’re excited to announce that #AWMH will be providing a second round of new grants totaling $295,000 to five organizations doing essential work during this difficult time.
“In addition to continuing to support @feedingamerica, @directrelief, @livenation’s #CrewNation initiative, and the Bartender Emergency Assistance Program (BEAP) through the @usbgncf, we are proud to announce a fifth grantee as we partner with @musicares, in their efforts to assist music industry professionals affected by the pandemic.”
The goal of the All Within My Hands foundation, which was launched in 2016 in San Rafael, California, is to help creating sustainable communities by tackling the issues of hunger and workforce education and encouraging volunteerism.
The METALLICA family and the All Within My Hands foundation board members are committed to running an organization of the highest integrity where expenses are kept to a minimum and are paid for entirely by the band, the board, and friends who have worked with the band over many years and are excited to help in this mission. As such, 100% of all donations from fans and third parties go to the organizations AWMH supports.
All Within My Hands reported assets of $3.2 million on its most recent Form 990.
View this post on Instagram
We are truly overwhelmed by the generosity of fans and friends around the world as many continue to face unimaginable challenges in the wake of the Coronavirus pandemic. Thanks to your contributions to our fundraisers during #MetallicaMondays, our #MonthOfGiving, and directly to our site, as well as a substantial donation from our friends at @salesforce, we’re excited to announce that #AWMH will be providing a second round of new grants totaling $295,000 to five organizations doing essential work during this difficult time. In addition to continuing to support @feedingamerica, @directrelief, @livenation’s #CrewNation initiative, and the Bartender Emergency Assistance Program (BEAP) through the @usbgncf, we are proud to announce a fifth grantee as we partner with @musicares, in their efforts to assist music industry professionals affected by the pandemic. Learn more at allwithinmyhands.org. Link in bio. #MetallicaGivesBack
A post shared by All Within My Hands Foundation (@allwithinmyhandsfoundation) on Jul 7, 2020 at 9:49am PDT
Sonicbond Publishing has released a new book, “Dream Theater: Every Album, Every Song”, from author Jordan Blum.
No other band has affected modern progressive metal as deeply or widely as American quintet DREAM THEATER. Formed at Berklee College Of Music as Majesty in 1985 by guitarist John Petrucci, drummer Mike Portnoy and bassist John Myung, the group have spent 30 years repeatedly pushing new boundaries and reinventing their identity. Although other acts — such as QUEENSRŸCHE and FATES WARNING — paved the way for the prog-metal subgenre, DREAM THEATER were, without doubt, the first to meld influences from both metal and progressive rock into a groundbreaking blend of quirky instrumentation, extensively complex arrangements, and exceptional songwriting. Whether with subtly or overtly, they’ve since left their mark on just about every progressive metal band that has followed.
In this book, Blum examines every DREAM THEATER studio album, and their behind-the-scenes circumstances, to explore how the group impacted the genre with each release. Whether classics of the 1990s like “Images And Words” and “Metropolis Pt. 2: Scenes From A Memory”, benchmarks of the 2000s like “Six Degrees Of Inner Turbulence” and “Octavarium”, or even thrilling modern efforts like “A Dramatic Turn Of Events” and “Distance Over Time”, every sequence of albums contributes something crucial to making DREAM THEATER’s legacy nothing short of astonishing.
Blum is an associate editor at PopMatters, holds an MFA in creative writing, and is the founder/editor‐in‐chief of The Bookends Review, an independent creative arts journal. He focuses mostly on progressive rock/metal and has contributed to many other publications, including Sonic Perspectives, Paste, Progression, Metal Injection, Rebel Noise, Prog and Sea Of Tranquility. He is the author of “Jethro Tull On Track”, published by Sonicbond in 2019. Finally, he records his own crazy ideas under the pseudonym Neglected Spoon. He teaches English courses at various colleges. He lives in Philadelphia, Pennsylvania.
VAN HALEN bassist Wolfgang Van Halen says that he is still “working” on getting his debut solo album released.
Earlier today, a fan asked Wolfgang on Twitter when he expects his solo LP to finally see the light of day. The 29-year-old rocker responded: “I’m working on it! The state of the world has really thrown a wrench into how I saw this releasing (given that no touring is able to happen until this all blows over) but I have a few ideas that I’m really excited about, so stay tuned!!”
This past February, it was announced that Wolfgang had signed a deal with Explorer1 Music Group for the release of his solo album. The disc is being recorded with producer Michael “Elvis” Baskette at VAN HALEN’s 5150 Studios in California. The announcement called the set “a collection of diverse material…original songs ranging from haunting ballads to stomping rock classics, on which [Van Halen] recorded all the instruments and vocals himself.”
Wolfgang has been posting photos and videos from the studio at his Instagram account since early 2015.
He told The Pulse Of Radio a while back that his ability to play different instruments gave him the freedom to do what he wanted on a solo project. “I mean, I feel like it’s just kind of open-ended,” he said. “I feel like since I can play drums, bass, guitar and kind of sing, I guess, I can kind of just decide whatever I want to do. I mean, I’ve always loved the whole Dave Grohl story of how he started FOO FIGHTERS — just did a whole demo album by himself.”
His father described the project in 2015 as sounding like “AC/DC meets VAN HALEN meets aggressive pop,” adding, “It’s a little of everything and sounds like a freight train coming at you. I’ve never heard anything quite like it. It’s so powerful that I’m jealous.”
Wolfgang first performed live with VAN HALEN on the band’s 2007-2008 world tour, which also marked the return of original singer David Lee Roth. He made his recording debut on the band’s 2012 album “A Different Kind Of Truth”.
Wolfgang has also toured as a member of ALTER BRIDGE guitarist Mark Tremonti’s solo band and played bass on TREMONTI’s second album.
Hey thanks! ? I’m working on it! The state of the world has really thrown a wrench into how I saw this releasing (given that no touring is able to happen until this all blows over) but I have a few ideas that I’m really excited about, so stay tuned!! ✌️
— Wolf Van Halen ??? (@WolfVanHalen) July 7, 2020
According to Dagens Næringsliv, SATYRICON frontman Sigurd “Satyr” Wongraven sold 90% of his wine company, Wongraven Wines, in 2019 to Vingruppen, owned by wine and spirits producer Arcus.
Dagens Næringsliv obtained Vingruppen’s 2019 financial records that showed shares in Wongraven Wines were valued at NOK 51.3 million, which is about $5.4 million.
In 2019, Wongraven Wines had sales of NOK 6.6 million (approximately $700,000), ending the year with a profit of NOK 3.7 million ($390,000) before tax.
Since 2009, Sigurd Wongraven has developed and sold quality wines in Norway. From 2014, this has been done in collaboration with Vingruppen.
Satyr’s portfolio includes the popular Wongraven Morgenstern Riesling, Wongraven Alleanza Langhe Rosso and Wongraven Champagne. He blends the wines himself and works closely with the winemakers on both viticulture and vinification. In addition, Sigurd does all design development together with his network of artists and designers. The wines are produced organically, or according to organic principles.
Sales have more than quadrupled since 2015, and in the 12 months ending last December, Norway’s liquor and wine monopoly Vinmonopolet sold nearly one million liters of wine from Wongraven. The brand is thus the tenth largest in the Norwegian market.
Despite Wongraven Wines being majority-owned by Vingruppen, all the work Sigurd Wongraven does to produce fantastic wines continues as before. Symposium Wines also continues to be responsible for the sale of the brand in Norway.
About a decade ago, Satyr partnered with Luca Roagna, a fifth-generation winemaker from Piedmont, Italy, to launch the musician’s own brand of wine.
Wongraven and Roagna first met in the spring of 2003 while SATYRICON was on tour in Italy and spent several months in 2010 creating two classic wines that represented a combination of Roagna’s skilled vineyard work and Satyr’s vision of traditional Piedmontese wines.
Wongraven also has a number of other wine projects. He has collaborated with Baron-Fuente to make 100% organic Champagnes, and Remy and Armin Grassa to create Bordeaux-style whites.
Two years ago, Satyr told Landry.audio that his wine was primarily only available in his home country.
“Some of the wines that I have are, thankfully, extremely successful in the Norwegian market,” he said. “Looking at my white wine, it is the most sold white wine in its price category in Norway, and it’s four times the volume of number two. And they have currently in the Norwegian wine monopoly retail sysem, they have more than 17,000 products — beer, spirits and wine; the vast majority is wine — more than 17,000. And my white wine is in the Top 50 of the most sold products. So we’re having a really, really hard time getting enough of the right quality to make blends. And we manage, but we work really, really hard to make sure that we can get enough of the right quality, as I said. So then it’s hard for us to think about, ‘I should be exporting this to England,’ because we can barely serve the Norwegian market.”
In a 2019 interview with Wines Of Germany, Satyr was asked if it is possible to draw a parallel between the black metal scene and the wine world. He responded: “Yes, of course. The main reason I can make good blends is the experience, intuition and confidence I have when I work. I know what I want, what it requires from me, and I have vast experience in trusting the process. That is how music is made, and wine is no different, I have learned. You must have a vision and commit to it.”
View this post on Instagram
Hope everyone out there is all set for tonight! #wongravenwines #alleanza #langherosso #lamb
A post shared by Wongraven (@wongravenwines) on Apr 11, 2020 at 4:00am PDT
German blasters Wreck are a masterclass in how a modern, clean production should sound for a grindcore band.
The post Blast Worship: Wreck appeared first on Decibel Magazine.
New features include aSchaller Floyd Rose Tremolo system and Fishman Fluence Modern Humbuckers.
LINKIN PARK’s Mike Shinoda spoke to Rock Sound TV about the song “In The End” recently surpassing one billion views on YouTube. It is the second LINKIN PARK track to reach the milestone; back in November 2018, “Numb” achieved the same feat.
Shinoda said: “We were rehearsing in this little room in Hollywood. And when I say ‘Hollywood,’ it was the grossest part of Hollywood. At the time, Hollywood and Vine had prostitutes and drug dealers. And there was a taco shop on the corner, an all-black hair salon next door, a grocery store with a Korean couple who ran that on the corner, and a bunch of Scientologists. There was a place that was calling itself a reading center, to teach you how to read, but all of the books were Scientology books, which is really kind of dark. And that was the place where we found a rehearsal room that we could afford. And we were writing it there. And we were working on our show and our songs there. And I decided to stay overnight in that building, and I wrote ‘In The End’. And I think Rob Bourdon [drums] was the first one to show up the next day for rehearsal, and I played it for him, and he was freaking out.
“There’s a weird battle with hopelessness and the ephemeral nature of time and our lives that the song is really about,” he continued. “And what’s so odd about the song is it’s almost talking about these things and saying, ‘I don’t have any answers.’ ‘Cause usually a song isn’t about having no answers, right? It just kind of runs itself around in a circle, lyrically. And especially as a young person, that’s just how I felt — that’s how we all felt. We didn’t know what to make of things, and, in a sense, that’s still what goes on today. It’s a timeless and universal thing.
“It’s also easy to ‘Monday Morning Quarterback’ these types of things where you go, ‘Okay, it’s popular, so this is why it’s popular.’ You can’t say, ‘This is what will be popular,’ and then make that thing. [Laughs] You can only do it after the fact. The fact is that, yeah, it’s been one of our biggest songs, it’s been our biggest song for a long time.”
The official “In The End” clip that has hit the one-billion mark wasn’t uploaded to YouTube until October 2009, almost a decade after the video’s original release.
Surprisingly, LINKIN PARK frontman Chester Bennington didn’t care for “In The End” when it was first recorded. “I was never a fan of ‘In The End’ and I didn’t even want it to be on the record, honestly,” he told VMusic back in 2012. “How wrong could I have possibly been? I basically decided at that point I don’t know what the fuck I’m talking about, so I leave that to other people who are actually talented at somehow picking songs that people are going to like the most. It also gave me a good lesson, as an artist, that I don’t necessarily have to only make music, in my band, that I want to listen to. More often than not, something that I like, very few other people like, and something that those people like is something that I kind of like, or don’t like at all. And that’s cool, it gives me a new appreciation for the songs. But, you know, now I love ‘In The End’ and I think it’s such a great song. I actually see how good of a song it is, it was just hard for me to see it at the time.”
LINKIN PARK recently said it had some “special things planned” this year to celebrate the 20th anniversary of its debut album, “Hybrid Theory”.
The band’s YouTube channel boasts more than 16 million subscribers, and the highest-viewed video on the channel is the aforementioned official clip for “Numb”, which has been seen 1.4 billion times.
LINKIN PARK has not performed together in public since October 2017, when the surviving members staged a tribute concert in Los Angeles to Bennington.
The band has not officially announced whether it intends to carry on following the death of the singer, who committed suicide at the age of 41.