The Ocean Collective debuts 2nd single ‘Devonian: Nascent’ featuring Jonas Renkse of Katatonia!

– October 2nd, 2018 –

On the heels of their massive, sprawling ‘Permian,’ The Ocean Collective is unleashing another piece of their highly anticipated upcoming album: ‘Devonian: Nascent’ makes its debut today at: consequenceofsound.net

Proving again why they are one of the most respected groups in the contemporary prog-metal world, ‘Devonian’ takes a completely different turn than their previous single, in part due to the vocals of Jonas Renkse, of Swedish metal giants Katatonia. The collaboration has long been in the making, explains Renkse: “Robin approached me for a guest spot already in 2005, and I really wanted to be part, but at that time we were in the studio ourselves recording ‘The Great Cold Distance’ so I felt I had too much on my mind. We have met after that and talked a little about doing something and now it finally happened. ‘Devonian: Nascent’ became a mammoth track without ever losing its initial melancholy.

Adds THE OCEAN mastermind, Robin Staps, “We sent Jonas the track, and what we got back as a “demo” was almost identical with what ended up as the final version on the record. Jonas has a perfect and intuitive understanding of our music, there was no need to explain anything. He came up with his own vocal parts and lyrics, and everything just fit perfectly from the start. Katatonia’s ‘The Great Cold Distance’ was an important album for me and for The Ocean, it was one of the first albums where heavy, low-tuned guitars and clean vocals next to one another were actually working out for me, personally. It was an album that made me reconsider my opinion about clean vocals in metal, and that forged my own desire to look for a vocalist for The Ocean who could also deliver cleans.

Ebbs and flows of proggy melodies, crushing guitars, swelling strings and powerful vocals match the heavy lyrical themes The Ocean Collective has made its signature. ‘Phanerozoic I‘ is now available for pre-order, along with meticulously designed merch bundles, something for which they’ve become known, and will be released November 2nd via Metal Blade Records (CD / digital) and the band’s own Pelagic Records (vinyl). Pre-order now via Metal Blade Records: metalblade.com/theocean

More on The Ocean Collective:

Since 2001, the Berlin-based musician collective The Ocean Collective have released 7 critically acclaimed studio albums, and a split EP with Japanese post-rock legends Mono. With an ever-changing lineup of various on- and off-stage musicians and visual artists, the relentlessly touring group have become well known for their immense, mind-expanding live shows, which they have carried into the most remote corners of the globe, from Siberian squats to colonial theatres in Ecuador.

Over the course of their storied career, The Ocean Collective have toured with Opeth, Mastodon, Mono, The Dillinger Escape Plan, Anathema, Between The Buried And Me and Devin Townsend, and have appeared on major festivals including Roskilde, Dour, Pukkelpop, Roadburn, Wacken, With Full Force, Summer Slaughter, Summer Breeze and Graspop. The band’s own Pelagic Records has also become one of Europe’s leading labels for post-rock and post-metal, with a catalog of 120 releases since 2009.

After 5 years of touring on Pelagial, the band started recording their 8th studio album in February 2018, split into two volumes to be separately released in 2018 and 2020 respectively, titled Phanerozoic. The Phanerozoic eon succeeded the Precambrian supereon, spanning a 500 million-year period leading to the present day, and it has witnessed the evolution and diversification of plant and animal life on Earth, and the partial destruction of it during 5 mass extinction events. Conceptually and musically, The Ocean Collective‘s Phanerozoic is the missing link between the albums Precambrian and Heliocentric / Anthropocentric.

Guitarist and primary songwriter Robin Staps penned Phanerozoic as he did its predecessors, in seclusion in a house by the ocean. The first volume of the double album Phanerozoic is made up of bleak and heavy songs, boiled down to the essential core of the musical ideas driving them. With analog synths merging with the heavy guitars, the addition of Peter Voigtmann to the band’s ranks has made a marked difference. After years of handling the spectacular lighting design at The Ocean Collective‘s live shows, essentially “playing drums on the lighting console every night” as Staps puts it, he now brings a bevy of angry, dystopian sounds to the songs. Phanerozoic also marks the recording debut of bassist Mattias Hagerstrand and drummer Paul Seidel, who both bring their own style and approach to their respective instruments.

As with all of The Ocean Collective‘s releases, the music is only one piece of the puzzle. The collective has always been known for lyrics that are poignant and thought-provoking, and Phanerozoic is no exception. The central idea upon which the lyrics are premised is that of ‘eternal recurrence’, “Nietzsche’s concept that everything happens over and over again, an infinite amount of times throughout infinite time and space“, Staps explains. “When you look at Earth’s history you find a lot of evidence for this: continents have collided and drifted apart across the oceans and collided again, life nearly disappeared various times but then resurged again… this album is essentially about time, perception of time, and repetition. It is about coming to terms with the fact that there are things in life which will recur and which we cannot change and finding ways of dealing with that“.

The immediacy of Phanerozoic can be attributed to the band working out every detail and testing every song live in the rehearsal room prior to heading into the studio, a different approach as compared to their previous releases. The process of laying down tracks began in Iceland, with the drums being tracked at Sigur Ros’ own Sundlaugin Studios with long-time friend and producer Julien Fehlmann. A big drum room with great natural reverb located in a bleak and beautiful place surrounded by nature provided the perfect location for the initiation of this record.

The remainder of the album was tracked in Berlin. A brass section was recorded, and previous collaborators Vincent Membrez (piano) and longtime live cellist Dalai Theofilopoulou are featured. Katatonia vocalist Jonas Renkse delivers a stunning performance on the 11 minute track “Devonian”. However, this is very much vocalist Loic Rossetti’s album. Staps and Rossetti worked extensively, trying out a variety of styles and focusing on finding the best possible approach for each song. “Loic screaming over a heavy part always works great, but our goal was to avoid always going the obvious route this time“, Staps explains. The result is an album which gains its heaviness not from the surface but from below, not so much from the vocals, but from the underlying riffage, bass and drumming.

It was a conscious decision not to let this fondness of experimenting stretch to the choice of the team working on the album: Julien Fehlmann tracked drums, Jens Bogren (Katatonia, Opeth) handled mixing and mastering duties, and Norwegian artist Martin Kvamme, whose only clients are Mike Patton and The Ocean Collective, was once more in charge of the mind-blowing artwork, making this his 5th consecutive collaboration with the collective. “There’s no reason to change a perfectly working formula“, Staps comments. “When Jens played us the basic sound of the record, Loic and I looked at each other and our jaws dropped. It sounded SO FUCKING HEAVY that for a moment we were thinking about what we could potentially do to make it sound a bit more human and a bit less perfect… but we eventually learned to accept that Jens had simply done an outstanding job“.

Each of The Ocean Collective‘s releases has proven a profoundly immersive experience, with an unrivalled attention to detail – something which becomes particularly apparent in the award-winning packaging: for the lavish acrylic boxset that came with 2013′s Pelagial, over 10.000 acrylic layers were individually silk-screen printed and manually assembled. That which accompanied 2010′s double album Heliocentric / Anthropocentric was particularly unique, its gatefold sleeve featuring rotating gold-foiled PVC dials screwed on top of it. Phanerozoic will not fall short of its predecessors: Phanerozoic will come in a trifold (LP) / digipak (CD) with die cuts through multiple layers, creating a 3D effect; topped off by metallic inks and a blind embossing emulating a rock structure.


Phanerozoic I: Palaeozoic:
1. The Cambrian Explosion
2. Cambrian II: Eternal Recurrence
3. Ordovicium: The Glaciation of Gondwana
4. Silurian: Age of Sea Scorpions
5. Devonian: Nascent
6. The Carboniferous Rainforest Collapse
7. Permian: The Great Dying

https://www.facebook.com/theoceancollective
https://twitter.com/OceanCollective
https://www.instagram.com/theoceancollective

Buy iTunes Artist Page Artist News

%images%

Post to Twitter

Fleshgod Apocalypse Enters The Studio To Record New Album

Italian symphonic death metallers Fleshgod Apocalypse are currently in the studio recording the follow up to their critically acclaimed 2016 release, “King.” Frontman and drummer Francesco Paoli recently checked in to offer the following update:

“It’s official, we’re finally back in the studio and it feels absolutely great! This past year marked a new era for the band, so we felt the need to look back at our death metal roots and, at the same time, to push ourselves beyond our limits, reaching a wider level of variety and influences within the songs. We wanted this album to be fierce but also organic and unpredictable, as if it had a life on its own. That’s why we decided to involve several guest musicians, a full classical string section and even a choir!

“We’re also incredibly excited to work with legendary producer Jacob Hansen (Volbeat, Destruction, Aborted, Epica) for the first time. He’s the man behind so many amazing metal records and definitely one of our favourite producers at the moment. On my side, being back as the frontman also means this is my last chance to record drums on a Fleshgod Apocalypse record and this awareness actually inspired me so much while writing the parts. I really think this album will be a true landmark for me, as a drummer.”

The as of yet untitled record is tentatively scheduled for a spring 2019 release.

Post to Twitter

Sigh Reveals New Album, “Heir To Despair” Release Date, Premieres Track With Phil Anselmo

Japanese avant garde metal legends Sigh has revealed that their latest album, “Heir To Dispair” will be released on November 16th through Candlelight/Spinefarm Records. The band has also premiered a new song, “Homo Homini Lupus” featuring Down/Superjoint/ex Pantera vocalist Phil Anselmo, which can be heard when pre-ordering the album here.

While the previous album “Graveward” (2015) was rather symphonic orchestral stuff, “Heir to Despair” is pointing at the completely opposite direction. Heavily inspired by old crazy progressive bands like Brainticket, Embryo, Agitation Free, Between, Gentle Giant, Os Mutantes, Modulo 1000, Black Widow, etc.,”Heir to Despair” turned out to be a heavy, psychedelic and exotic album filled with vintage keyboards and flute.

“Homo Homini Lupus” is the first track to be shared from the record featuring guest vocals from Phil Anselmo. Vocalist Mirai Kawashima comments,

“Homo Homini Lupus” is one of the fastest and the simplest tracks on “Heir to Despair”. Don’t expect other songs to sound like this. “Homo Homini Lupus” means “Man is wolf to man” in Latin. Thomas Hobbes referred to this verb to describe how men would act in the state of nature before we were civilized. The world shown in “The Walking Dead” series should be the best example of what we truly are. Men become wolves, or should I say men are wolves in their real nature. Look what our ancestors did during the wartime! Look what our ancestors did during famine! We have own wolves inside.”

Mirai met Phil 20 years ago when they were both in US death metal band, Necrophagia adding, “it is a great honor for us to finally have him on our album! He added a great atmosphere to the song with his very deep voices! It should be VERY easy for you to tell which parts were sung by Phil”.

What the band describes with this album is the world through the eyes of madness. Yes, the album is about insanity. Music on the album is varied as a mad man’s thoughts. It starts with psychedelic and exotic “Aletheia” but the following “Homo Homini Lupus” is rather a straightforward thrashy song with the typical Sigh twist. “In Memories Delusional” is a brutal tune with heavy Asian touches, which must be an new experience for everybody, while “Heresy Trilogy” is the representation of pure madness and insanity with lots of crazy stuff going on, which has nothing to do with metal at all. The album ends with the title track, which is a 10 minutes long progressive epic song.

It should be nothing surprising for Sigh fans, but the album got everything from extreme metal, 60’s / 70’s rock, jazz, classical, world music, dub, and noise. The music styles it covers are as wide as the world through the eyes of madness.

Also “Heir to Despair” can be taken as Sigh’s first attempt to intentionally take in Japanese / Asian musical feel. Mirai used some Japanese traditional singing techniques and the ex-Estradasphere Shamisen (the Japanese traditional instrument) master, Kevin Kmetz is featured on several songs. Moreover, 90% of the lyrics are in Japanese, which never happened on the past Sigh albums.

The album was mixed by a Canadian engineer, Phil Anderson, and mastered by Maor Appelbaum, who has worked with a lot of great artists such as Faith No More, Yes and Yngwie Malmsteen to name a few. Phil and Maor have a perfect combination and they have worked together on many projects. Thanks to them, “Heir to Despair” turned out the heaviest Sigh album.

The cover artwork, which exactly fits the concept of the album, was again drawn by Eliran Kantor. Eliran did the artworks for the past Sigh albums such as “Scenes from Hell” (2010) and “In Somniphobia” (2012).

Mirai adds, “I just suggested to Eliran that the album is about insanity and gave him some Japanese psychotropic drug advertisement from the 60s / 70s, which I love, to show him what kind of artwork I wanted. The result was perfect. The woman on the artwork looks ostensibly happy but the plant she’s watering is withering, and her room looks like a mess. This is what true insanity is about. This is what true horror is about. These days people are trying to pretend to be as happy as possible on SNS, but what kind of darkness do they have in their mind? You cannot draw the line between sanity and insanity any more.”

“Heir to Despair” tracklisting:

1. Aletheia
2. Homo Homini Lupus
3. Hunters Not Horned
4. In Memories Delusional

Heresy Trilogy

5. Heresy I: Oblivium
6. Heresy II: Acosmism
7. Heresy III: Sub Specie Aeternitatis

8. Hands of the String-puller
9. Heir to Despair.

Post to Twitter

Metallica Share 1991 Live Video Of “Harvester Of Sorrow” From Upcoming Deluxe Edition Of “…And Justice For All”

Metallica share the below live footage of “Harvester Of Sorrow” captured during their August 17th, 1991 concert at the ‘Monsters Of Rock Festival‘ in Donington, England. The group have been highlighting past live performances of all the songs from their “…And Justice For All“ album leading up to its forthcoming November 02nd deluxe reissue.

Post to Twitter

Motley Crue Bassist Nikki Sixx Comments On New Songs

Following yesterday’s announcement that Los Angeles glam metal icons Motley Crue will be returning to record new material, bassist Nikki Sixx has taken to Twitter to confirm singer Vince Neil’s Tweet, as well as the rumours that the songs will be for the forthcoming biopic, “The Dirt.” Responding to a fan, Sixx stated:

“You can trust us these are ball busters. Everybody can relax. We’re soon gonna smack you upside the head with some killer new tracks. Bob Rock is producing. Its our movie. We know what we’re doing.”

The movie has been in development almost since the book of the same name was published and at one stage, Christopher Walken was heavily linked to play Ozzy Osbourne, however the cast has now been mostly confirmed and the Sixx, Neil, Tommy Lee and Mick Mars will be portrayed by Douglas Booth (Jupiter Ascending, The Limehouse Golem,) Daniel Webber (11.22.63., The Punisher,) rapper Machine Gun Kelly and Iwan Rheon (Game Of Thrones, Misfits, Inhumans,) while manager Doc McGhee will be played by David Costabile (The Wire, Breaking Bad, Flight Of The Conchords) and Ozzy will be portrayed by Tony Cavalero of School Of Rock fame.

Post to Twitter

Voivod Posts New Song And Video “Iconspiracy” Online

Ahead of their forthcoming new studio album, “The Wake,” Canadian progressive thrash metal legends Voivod has posted a new music video online for the song, “Iconspiracy.” You can check it out below. The song is the third from the album to receive the music video treatment, following “Obsolete Beings” and “Always Moving.” “The Wake” is set to be released through Century Media on September 21st.

Frontman Denis “Snake” Bélanger checked in with the following comment about the clip: “What I really like about Voivod fans is that they are all able to make their own interpretation of the lyrics or the story of our songs. This video is such a good portrait of “Iconspiracy” and the artist pinpoints awesome visuals in regards to the meaning and representation of the story itself. Thanks to Costin, an amazing artist who did really great work for us in the past and still blows my mind every time again. Question everything! Iconspiracy!!!”

Video director Costin Chioreanu added: “ The most difficult task of an illustrator is to work for his all-time favourite bands. Then he becomes extremely exigent with what he creates and wants to get beyond any known limit. Obviously, this type of experiences are priceless by all means at the same time, because everything goes utterly intense and he feels like a starship exploring the Universe at full warp speed and experiencing several amazing unseen worlds per second. “The Wake” is the album of the year 2018 for me and the video I literally built from scratch for “Iconspiracy” follows the song lyrics and the spaces between them. At the same time, both the story and video fight to remain alive while trying to keep up with the infernal dynamics of the song, which represent another musical proof of the Voivod’s genius. Other than that, this video speaks by itself, just like the music, therefore who is prepared to be awaken, will be!”

Post to Twitter

Voivod Posts New Song And Video “Iconspiracy” Online

Ahead of their forthcoming new studio album, “The Wake,” Canadian progressive thrash metal legends Voivod has posted a new music video online for the song, “Iconspiracy.” You can check it out below. The song is the third from the album to receive the music video treatment, following “Obsolete Beings” and “Always Moving.” “The Wake” is set to be released through Century Media on September 21st.

Frontman Denis “Snake” Bélanger checked in with the following comment about the clip: “What I really like about Voivod fans is that they are all able to make their own interpretation of the lyrics or the story of our songs. This video is such a good portrait of “Iconspiracy” and the artist pinpoints awesome visuals in regards to the meaning and representation of the story itself. Thanks to Costin, an amazing artist who did really great work for us in the past and still blows my mind every time again. Question everything! Iconspiracy!!!”

Video director Costin Chioreanu added: “ The most difficult task of an illustrator is to work for his all-time favourite bands. Then he becomes extremely exigent with what he creates and wants to get beyond any known limit. Obviously, this type of experiences are priceless by all means at the same time, because everything goes utterly intense and he feels like a starship exploring the Universe at full warp speed and experiencing several amazing unseen worlds per second. “The Wake” is the album of the year 2018 for me and the video I literally built from scratch for “Iconspiracy” follows the song lyrics and the spaces between them. At the same time, both the story and video fight to remain alive while trying to keep up with the infernal dynamics of the song, which represent another musical proof of the Voivod’s genius. Other than that, this video speaks by itself, just like the music, therefore who is prepared to be awaken, will be!”

Post to Twitter

Mother Feather announces new album, ‘Constellation Baby’

– September 6th, 2018 –

Stream scorching first single “Red Hot Metal” now

New York City’s Mother Feather have perfected the formula to pay homage to the roots of punk’n’roll and heavy rock injected with their own brand of the divine feminine, and since their debut album have been keeping the audience on their toes. The evolution of their high-energy “pop cock rock” surges forward this November with their sophomore album Constellation Baby, out via Metal Blade Records / Blacklight Media.

The first taste of the new Mother Feather comes in the form of lead single “Red Hot Metal”, now available to stream and download. Just like you’d expect from the name, the track embodies the smoldering nature of the NYC five-piece, radiating controlled adrenaline, highlighted by the production of Grammy-nominated Joshua Valleau. Explains lead singer Ann Courtney, “‘Red Hot Metal is a deathmatch wrestling event of the anxious mind. It’s a fever dream of some of the darkest hours writing the new songs for the album, as I fought to keep my grip on my sanity and the wheel of an old – but fast – red car.”


“Red Hot Metal” indeed gives the listener a vibrant mental image – and Brooklyn Bazaar will witness their glittery, smoky stage presence later this month. Mother Feather will be opening up for metalhead disco-rockers Tragedy this September 29 – for more info, please visit: facebook.com/events/260967624482743/

Mother Feather‘s Constellation Baby will be available November 2 via Metal Blade / Blacklight Media, and is available for pre-order now at: metalblade.com/motherfeather – where you can also stream “Red Hot Metal”.

More on Mother Feather:
New York City. The lights go down, Mother Feather stride onto the stage. The bass frequency clarion call that kicks off their opening song charges its way through the packed room, a ripple of electricity riding off its back. Vocalist Ann Courtney steps to the microphone and purrs the first line: “I need your full attention…” And she’s got it. What follows, every single time the quintet stand before an audience, is pure rock and roll catharsis, for Courtney, for her band mates, and for every individual crammed into the room.

Mother Feather made their introduction with two independently released EPs, which were then released as their 2016 self-titled debut full-length on Metal Blade. Now, the band makes their Metal Blade return with their sophomore album Constellation Baby, an extension on the band’s self-styled pop cock rock, with catharsis bleeding through the speakers in the form of gritty, garage-y glamour. Their songs marry the scratchy yet catchy, swaggering and dangerous sounds of The Stooges, New York Dolls or The MC5 with the playfulness, pop sensibilities and exuberance of the finest 90s alt-rock, a little upbeat 50s rock n’ roll thrown in for good measure. Combined with Courtney’s overtly optimistic, inspiring lyrics, the band deliver an energizing and irresistible concoction that captures the attitude and beating heart of New York City on its best day, empowering everyone in their path.

Of course, the band is far bigger than Courtney alone, having surrounded herself with her best friends, who happen to be extremely talented musicians. Every member plays an intrinsic part when bringing the songs to life, both on record and when unleashed on stage. She affectionately refers to guitarist Chris Foley, bassist Matt Basile and drummer Gunnar Olsen as “three beasts”, all of them bringing so much attitude, energy and personality to the songs. Then there’s keyboardist/vocalist Elizabeth Carena, only ever “Lizzie” to Ann, whose interplay with Courtney is one of the most electrifying facets of their performances. “She’s my best friend, my hype woman, and we support and play off each other. I think it’s such an exciting, empowering thing to see two women on stage supporting each other and totally committed to pop cock rock. It’s an overtly feminist statement. I get excited when I see women with their eyes lit up in the crowd.”

Still, as thrilling as the album is, when it comes to Mother Feather all roads lead back to their incomparable live show. While some may look at the costumes, the makeup and the choreography and see the band as heirs to the crown of the likes of David Bowie and the mystique-chasing glam rock stars of the 70s, the last thing the band want is separation between artist and audience, the connection between them integral. “When I’m on stage it’s not a persona. Mother Feather is not a character. Mother Feather is the real me. Who I am off that stage is more of a persona,” she states plainly. “To make that connection with people you must commit, wholly, and that means being present in every breath and dance move. That’s where the space is, to be wild and crazy and nasty and vulnerable, the space to be terrifying. I want to see everything in a rock show. I want the horror, I want the beauty, I want the fun, I want it to be garish. I want it to be wild, I want it to be loud, I want the drama, I want the camp, I want it to be stripped bare. I want to have the whole world for dinner. So that’s what we try to do, every single time.”

Constellation Baby track-listing
1. Red Hot Metal
2. Man, I Wish You Were Here
3. ICU
4. Snakebite
5. Desert Island
6. Constellation Baby
7. Totally Awesome
8. Shake Your Magic 8 Ball
9. Supernatural
10. I Blow A Kiss

Mother Feather online:
http://www.motherfeather.com
https://www.facebook.com/motherfeather
https://twitter.com/MOTHERFEATHER
http://instagram.com/motherfeatherofficial

Buy iTunes Artist Page Artist News

%images%

Post to Twitter

Mother Feather announces new album, ‘Constellation Baby’

– September 6th, 2018 –

Stream scorching first single “Red Hot Metal” now

New York City’s Mother Feather have perfected the formula to pay homage to the roots of punk’n’roll and heavy rock injected with their own brand of the divine feminine, and since their debut album have been keeping the audience on their toes. The evolution of their high-energy “pop cock rock” surges forward this November with their sophomore album Constellation Baby, out via Metal Blade Records / Blacklight Media.

The first taste of the new Mother Feather comes in the form of lead single “Red Hot Metal”, now available to stream and download. Just like you’d expect from the name, the track embodies the smoldering nature of the NYC five-piece, radiating controlled adrenaline, highlighted by the production of Grammy-nominated Joshua Valleau. Explains lead singer Ann Courtney, “‘Red Hot Metal is a deathmatch wrestling event of the anxious mind. It’s a fever dream of some of the darkest hours writing the new songs for the album, as I fought to keep my grip on my sanity and the wheel of an old – but fast – red car.”


“Red Hot Metal” indeed gives the listener a vibrant mental image – and Brooklyn Bazaar will witness their glittery, smoky stage presence later this month. Mother Feather will be opening up for metalhead disco-rockers Tragedy this September 29 – for more info, please visit: facebook.com/events/260967624482743/

Mother Feather‘s Constellation Baby will be available November 2 via Metal Blade / Blacklight Media, and is available for pre-order now at: metalblade.com/motherfeather – where you can also stream “Red Hot Metal”.

More on Mother Feather:
New York City. The lights go down, Mother Feather stride onto the stage. The bass frequency clarion call that kicks off their opening song charges its way through the packed room, a ripple of electricity riding off its back. Vocalist Ann Courtney steps to the microphone and purrs the first line: “I need your full attention…” And she’s got it. What follows, every single time the quintet stand before an audience, is pure rock and roll catharsis, for Courtney, for her band mates, and for every individual crammed into the room.

Mother Feather made their introduction with two independently released EPs, which were then released as their 2016 self-titled debut full-length on Metal Blade. Now, the band makes their Metal Blade return with their sophomore album Constellation Baby, an extension on the band’s self-styled pop cock rock, with catharsis bleeding through the speakers in the form of gritty, garage-y glamour. Their songs marry the scratchy yet catchy, swaggering and dangerous sounds of The Stooges, New York Dolls or The MC5 with the playfulness, pop sensibilities and exuberance of the finest 90s alt-rock, a little upbeat 50s rock n’ roll thrown in for good measure. Combined with Courtney’s overtly optimistic, inspiring lyrics, the band deliver an energizing and irresistible concoction that captures the attitude and beating heart of New York City on its best day, empowering everyone in their path.

Of course, the band is far bigger than Courtney alone, having surrounded herself with her best friends, who happen to be extremely talented musicians. Every member plays an intrinsic part when bringing the songs to life, both on record and when unleashed on stage. She affectionately refers to guitarist Chris Foley, bassist Matt Basile and drummer Gunnar Olsen as “three beasts”, all of them bringing so much attitude, energy and personality to the songs. Then there’s keyboardist/vocalist Elizabeth Carena, only ever “Lizzie” to Ann, whose interplay with Courtney is one of the most electrifying facets of their performances. “She’s my best friend, my hype woman, and we support and play off each other. I think it’s such an exciting, empowering thing to see two women on stage supporting each other and totally committed to pop cock rock. It’s an overtly feminist statement. I get excited when I see women with their eyes lit up in the crowd.”

Still, as thrilling as the album is, when it comes to Mother Feather all roads lead back to their incomparable live show. While some may look at the costumes, the makeup and the choreography and see the band as heirs to the crown of the likes of David Bowie and the mystique-chasing glam rock stars of the 70s, the last thing the band want is separation between artist and audience, the connection between them integral. “When I’m on stage it’s not a persona. Mother Feather is not a character. Mother Feather is the real me. Who I am off that stage is more of a persona,” she states plainly. “To make that connection with people you must commit, wholly, and that means being present in every breath and dance move. That’s where the space is, to be wild and crazy and nasty and vulnerable, the space to be terrifying. I want to see everything in a rock show. I want the horror, I want the beauty, I want the fun, I want it to be garish. I want it to be wild, I want it to be loud, I want the drama, I want the camp, I want it to be stripped bare. I want to have the whole world for dinner. So that’s what we try to do, every single time.”

Constellation Baby track-listing
1. Red Hot Metal
2. Man, I Wish You Were Here
3. ICU
4. Snakebite
5. Desert Island
6. Constellation Baby
7. Totally Awesome
8. Shake Your Magic 8 Ball
9. Supernatural
10. I Blow A Kiss

Mother Feather online:
http://www.motherfeather.com
https://www.facebook.com/motherfeather
https://twitter.com/MOTHERFEATHER
http://instagram.com/motherfeatherofficial

Buy iTunes Artist Page Artist News

%images%

Post to Twitter

The Ocean Collective announces new album, ‘Phanerozoic I: Palaeozoic’

– September 5th, 2018 –

Stream new single, “Permian: The Great Dying”, now

The Ocean excel in their idiosyncratic nuances and hammering insistence on this Teutonic paean to Earth’s geology.”Revolver

The Ocean do for earth science class what Mastodon did for Melville: make learning brutal.”Decibel

The Ocean remains one of the great optimisms in progressive metal.”Blabbermouth

“…not a band to be taken lightly, even if that were possible…the future of progressive metal itself.”Metal Injection

Expansive, all-encompassing, reaching extraordinary depths…all can be said about both the dark abyss that forms the vast majority of our planet, and the band from which it takes its name. Today, The Ocean Collective announces their massive two-part return, four years in the making. This November, Phanerozoic I: Palaeozoic will be released, with Phanerozoic II to follow in 2020.

The Ocean marks their rebirth with “Permian,” a nine-minute epic about The Great Dying. Explains guitarist and primary songwriter Robin Staps, “About 90% of all life on Earth was wiped out during this mass extinction event at the end of the Permian period, 250 million years ago. The most probable scenario is that The Great Dying was caused by increased volcanic activity inducing a global warming of about five degrees, which led to widespread ocean anoxia and the release of large amounts of methane gas from shallow seabeds into the atmosphere. This fast release of methane, a greenhouse gas, caused even further warming.”

All of this occurred long before humanity appeared on the map, yet the effects of this global warming cannot be ignored. Says Robin, “There is no reason to assume that the results of the current human-caused warming would not be, at best, similarly devastating. The same increase in global temperatures that happened over the course of at least 150,000 years at the end of the Permian is likely to happen in just a few hundred years now. Looking at the five mass extinction events during the Phanerozoic eon reminds us that even without human impact, Earth has the power and potential to wipe out humanity in its entirety, at any given moment in time.”

Ebbs and flows of proggy melodies, crushing guitars, swelling strings and powerful vocals match the heavy lyrical themes The Ocean Collective has made its signature. Phanerozoic I is now available for pre-order, along with meticulously designed merch bundles, something for which they’ve become known, and will be released November 2 via Metal Blade Records (CD / digital) and the band’s own Pelagic Records (vinyl). Pre-order now via Metal Blade Records: metalblade.com/theocean

More on The Ocean Collective:

Since 2001, the Berlin-based musician collective The Ocean Collective have released 7 critically acclaimed studio albums, and a split EP with Japanese post-rock legends Mono. With an ever-changing lineup of various on- and off-stage musicians and visual artists, the relentlessly touring group have become well known for their immense, mind-expanding live shows, which they have carried into the most remote corners of the globe, from Siberian squats to colonial theatres in Ecuador.

Over the course of their storied career, The Ocean Collective have toured with Opeth, Mastodon, Mono, The Dillinger Escape Plan, Anathema, Between The Buried And Me and Devin Townsend, and have appeared on major festivals including Roskilde, Dour, Pukkelpop, Roadburn, Wacken, With Full Force, Summer Slaughter, Summer Breeze and Graspop. The band’s own Pelagic Records has also become one of Europe’s leading labels for post-rock and post-metal, with a catalog of 120 releases since 2009.

After 5 years of touring on Pelagial, the band started recording their 8th studio album in February 2018, split into two volumes to be separately released in 2018 and 2020 respectively, titled Phanerozoic. The Phanerozoic eon succeeded the Precambrian supereon, spanning a 500 million-year period leading to the present day, and it has witnessed the evolution and diversification of plant and animal life on Earth, and the partial destruction of it during 5 mass extinction events. Conceptually and musically, The Ocean Collective‘s Phanerozoic is the missing link between the albums Precambrian and Heliocentric / Anthropocentric.

Guitarist and primary songwriter Robin Staps penned Phanerozoic as he did its predecessors, in seclusion in a house by the ocean. The first volume of the double album Phanerozoic is made up of bleak and heavy songs, boiled down to the essential core of the musical ideas driving them. With analog synths merging with the heavy guitars, the addition of Peter Voigtmann to the band’s ranks has made a marked difference. After years of handling the spectacular lighting design at The Ocean Collective‘s live shows, essentially “playing drums on the lighting console every night” as Staps puts it, he now brings a bevy of angry, dystopian sounds to the songs. Phanerozoic also marks the recording debut of bassist Mattias Hagerstrand and drummer Paul Seidel, who both bring their own style and approach to their respective instruments.

As with all of The Ocean Collective‘s releases, the music is only one piece of the puzzle. The collective has always been known for lyrics that are poignant and thought-provoking, and Phanerozoic is no exception. The central idea upon which the lyrics are premised is that of ‘eternal recurrence’, “Nietzsche’s concept that everything happens over and over again, an infinite amount of times throughout infinite time and space”, Staps explains. “When you look at Earth’s history you find a lot of evidence for this: continents have collided and drifted apart across the oceans and collided again, life nearly disappeared various times but then resurged again… this album is essentially about time, perception of time, and repetition. It is about coming to terms with the fact that there are things in life which will recur and which we cannot change and finding ways of dealing with that”.

The immediacy of Phanerozoic can be attributed to the band working out every detail and testing every song live in the rehearsal room prior to heading into the studio, a different approach as compared to their previous releases. The process of laying down tracks began in Iceland, with the drums being tracked at Sigur Ros’ own Sundlaugin Studios with long-time friend and producer Julien Fehlmann. A big drum room with great natural reverb located in a bleak and beautiful place surrounded by nature provided the perfect location for the initiation of this record.

The remainder of the album was tracked in Berlin. A brass section was recorded, and previous collaborators Vincent Membrez (piano) and longtime live cellist Dalai Theofilopoulou are featured. Katatonia vocalist Jonas Renkse delivers a stunning performance on the 11 minute track “Devonian”. However, this is very much vocalist Loic Rossetti’s album. Staps and Rossetti worked extensively, trying out a variety of styles and focusing on finding the best possible approach for each song. “Loic screaming over a heavy part always works great, but our goal was to avoid always going the obvious route this time”, Staps explains. The result is an album which gains its heaviness not from the surface but from below, not so much from the vocals, but from the underlying riffage, bass and drumming.

It was a conscious decision not to let this fondness of experimenting stretch to the choice of the team working on the album: Julien Fehlmann tracked drums, Jens Bogren (Katatonia, Opeth) handled mixing and mastering duties, and Norwegian artist Martin Kvamme, whose only clients are Mike Patton and The Ocean Collective, was once more in charge of the mind-blowing artwork, making this his 5th consecutive collaboration with the collective. “There’s no reason to change a perfectly working formula”, Staps comments. “When Jens played us the basic sound of the record, Loic and I looked at each other and our jaws dropped. It sounded SO FUCKING HEAVY that for a moment we were thinking about what we could potentially do to make it sound a bit more human and a bit less perfect… but we eventually learned to accept that Jens had simply done an outstanding job”.

Each of The Ocean Collective‘s releases has proven a profoundly immersive experience, with an unrivalled attention to detail – something which becomes particularly apparent in the award-winning packaging: for the lavish acrylic boxset that came with 2013′s Pelagial, over 10.000 acrylic layers were individually silk-screen printed and manually assembled. That which accompanied 2010′s double album Heliocentric / Anthropocentric was particularly unique, its gatefold sleeve featuring rotating gold-foiled PVC dials screwed on top of it. Phanerozoic will not fall short of its predecessors: Phanerozoic will come in a trifold (LP) / digipak (CD) with die cuts through multiple layers, creating a 3D effect; topped off by metallic inks and a blind embossing emulating a rock structure.


Phanerozoic I: Palaeozoic track-listing:
1. The Cambrian Explosion
2. Cambrian II: Eternal Recurrence
3. Ordovicium: The Glaciation of Gondwana
4. Silurian: Age of Sea Scorpions
5. Devonian: Nascent
6. The Carboniferous Rainforest Collapse
7. Permian: The Great Dying

https://www.facebook.com/theoceancollective
https://twitter.com/OceanCollective
https://www.instagram.com/theoceancollective

Buy iTunes Artist Page Artist News

%images%

Post to Twitter