Whitechapel reveals details for new album, ‘The Valley’

– November 1st, 2018 –

New single, “Brimstone”, now online; “Ten Years of Exile” USA tour with Chelsea Grin, Oceano, Slaughter To Prevail kicks off today!

On March 29th, Whitechapel will release their 7th full-length, The Valley, via Metal Blade Records. Produced once again by Mark Lewis (Cannibal Corpse, The Black Dahlia Murder) and featuring artwork by Branca Studio, The Valley is a reference to the part of Hardin Valley (west of Knoxville, Tennessee) where vocalist Phil Bozeman grew up. Set against this backdrop, he approaches his subject matter unflinchingly, building upon everything that came before, making it clear that he has survived that which he was forced to endure and is not afraid to confront it. “Phil has been upfront in his lyrics in the past about hardships he endured in his life as a child, and I believe with this record we tried to paint a better picture of that,” says guitarist Alex Wade, who alongside his bandmates, stands 100% behind everything their vocalist has to say. “I feel our music is Phil’s release from his past, being able to get it out and speak about it, and hopefully anyone who hears it that may have gone through similar experiences can find some release in it as well.”

For a preview of The Valley, the first single, “Brimstone”, can be heard now at: metalblade.com/whitechapel – where the album can also be pre-ordered in the following formats:


–digipak-CD
–box set (digipak CD, shoulder bag, 10 art prints, poster)
–clear w/ black smoke vinyl (US exclusive – limited to 600 copies)
–transparent red w/ black smoke vinyl (US exclusive – limited to 500 copies)
–opaque red inside black haze vinyl (US exclusive – limited to 300 copies)
–opaque cream w/ black splatter vinyl (US exclusive – limited to 300 copies)
–black inside transparent orange haze vinyl (US exclusive – limited to 300 copies)
–orange / red marbled vinyl (EU exclusive – limited to 500 copies)
–180g clear vinyl (EU exclusive – limited to 500 copies)
–clear / black marbled vinyl (EU exclusive – limited to 200 copies)
–white / orange / red marbled vinyl (EU exclusive – limited to 200 copies)
–orange / purple marbled vinyl (EMP exclusive – limited to 100 copies)
–blood splattered vinyl (Impericon exclusive – limited to 100 copies)
* exclusive bundles with shirts, plus digital options are also available!

Anyone throwing The Valley on for the first time will immediately recognize it as the work of Whitechapel, yet as has been the case with each release, there is also evolution in play. “Sound-wise, it’s all over the place,” Bozeman states plainly. “There’s aggression, and then you’re hit with ominous and emotional guitar riffs. It’s mean, but then transfers to soft and inviting. It’s a whirlwind of emotions throughout.”

Stay tuned for more news about The Valley coming soon!

The Valley track-listing
1. When a Demon Defiles a Witch
2. Forgiveness Is Weakness
3. Brimstone
4. Hickory Creek
5. Black Bear
6. We Are One
7. The Other Side
8. Third Depth
9. Lovelace
10. Doom Woods

Starting today, Whitechapel will be on the road for their “Ten Years of Exile” USA tour, commemorating the 10th anniversary of This Is Exile. Featuring Chelsea Grin, Oceano, and Slaughter To Prevail as support, this trek will also see Whitechapel perform This Is Exile in its entirety, plus a selection of other songs – and will be the last run of shows before the band tours in support of The Valley. See below for all dates!

Whitechapel tour dates
w/ Chelsea Grin, Oceano, Slaughter To Prevail

Nov. 1 – Pittsburgh, PA – Rex Theater
Nov. 2 – Syracuse, NY – Westcott Theater
Nov. 3 – Easton, PA – One Centre Square
Nov. 4 – Providence, RI – Fete Ballroom
Nov. 5 – Hartford, CT – Webster Theater
Nov. 7 – Richmond, VA – Canal Club
Nov. 8 – Huntington, WV – V Club
Nov. 9 – Dayton, OH – Oddbodys
Nov. 10 – Greenville, SC – The Firmament
Nov. 12 – Athens, GA – Georgia Theater
Nov. 13 – Orlando, FL – The Abbey
Nov. 16 – Toledo, OH – Civic Music Hall
Nov. 17 – Milwaukee, WI – The Rave II
Nov. 18 – Ft Wayne, IN – Piere’s
Nov. 20 – St Louis, MO – Delmar Hall
Nov. 21 – Lincoln, NE – Royal Grove
Nov. 23 – Wichita, KS – Wave
Nov. 24 – Colorado Springs, CO – Sunshine Studios
Nov. 25 – Ft Collins, CO – Aggie Theater
Nov. 27 – Salt Lake City, UT – The Depot
Nov. 28 – Spokane, WA – The Pin
Nov. 29 – Seattle, WA – Showbox at the Market
Nov. 30 – Jerome, ID – Diamondz Event Center
Dec. 1 – Portland, OR – Bossanova Ballroom
Dec. 2 – Bend, OR – Domino Room
Dec. 4 – Chico, CA – Senator Theater
Dec. 5 – Santa Cruz, CA – The Catalyst
Dec. 6 – Bakersfield, CA – Bryder’s
Dec. 7 – Los Angeles, CA – Fonda Theater
Dec. 8 – San Diego, CA – House of Blues
Dec. 9 – Tucson, AZ – The Rock
Dec. 12 – Austin, TX – Come and Take It Live
Dec. 13 – Tulsa, OK – Cain’s Ballroom
Dec. 14 – Memphis, TN – Growler’s
Dec. 15 – Birmingham, AL – Zydeco
Dec. 16 – Knoxville, TN – The Mill & Mine

Whitechapel online:
https://www.whitechapelband.com
https://www.metalblade.com/whitechapel
https://www.facebook.com/whitechapelmetal
https://twitter.com/whitechapelband
https://www.instagram.com/whitechapelband
https://www.youtube.com/WhitechapelTV

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Anal Trump Premiere New Lyric Video “The First 100 Songs – Part 1” From Upcoming New Album “The First 100 Songs”

Anal Trump premiere a new lyric video called “The First 100 Songs – Part 1”, taken from their upcoming new album “The First 100 Songs”, which will hit shelves on November 6 (also election day in the United States) via Joyful Noise.

Check out now “The First 100 Songs – Part 1” below.

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Metallica “One” Live Video From 1988 Streaming

Metallica share the below live footage of “One” filmed during their December 07th, 1988 live performance at the Long Beach Arena in Long Beach, CA. 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 through the band’s own Blackened Recordings label.

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Metallica: Video Of The Only Live Performance Of “To Live Is To Die” From 2011 Streaming

Metallica share the below live footage of “To Live Is To Die” filmed on December 07th, 2011. This performance marked the only time the group have played the track live in full and it took place as part of their then four-night 30th anniversary celebration at the The Fillmore in San Francisco, CA.

Metallica 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 through the band’s own Blackened Recordings label.

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Gorod Premiere Official New Music Video “Bekhten’s Curse”

Along with the release of their new studio album “Aethra” comes the below premiere of Gorod‘s official new music video for their song “Bekhten’s Curse“. Watch it now below:

Comments Gorod‘s frontman Julien Deyres:

“Out of all of the songs on the album, these lyrics required the most research. I am not at all a specialist in Egyptian antiquity, but in doing my research on lunar deities I discovered this extraordinary story about a so-called miraculous healing of Ramesses II’s sister-in-law. This legend is engraved on a stela that is currently in the Louvre Museum and is a proven historical fake.

In this song, I am playing the role of a Bekhten’s city survivor, which was completely destroyed to restore a form of eventual reality… because way too often, popular legends such as this one were created to hide misdeeds by those who have the power and wish to be considered as heroes…”

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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

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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.

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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.

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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.

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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.

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