Nine Inch Nails
With Zakk Wylde
OZZY OSBOURNE is a multi-platinum recording artist, a Rock & Roll Hall of Fame inductee and a three-time Grammy® winning singer and songwriter, who has sold more than 120 million albums worldwide. OSBOURNE’s career has spanned more than four decades (as both a successful solo artist and as the lead singer of Black Sabbath) and his music is as relevant today as ever, still being heard daily on TV, in movies, on radio and at stadium sports events. In 2011 OZZY reunited with Black Sabbath and in June 2013, after more than three decades of waiting, the band released their critically acclaimed 13 album (Vertigo/Republic), which entered the charts at #1 in 13 countries. Produced by seven-time Grammy-Award winning producer Rick Rubin, 13 features the original BLACK SABBATH: OZZY OSBOURNE, TONY IOMMI and GEEZER BUTLER. In 2014 the group won a Grammy® Award in the Best Metal Performance category for the album’s first single “God Is Dead?” In May 2014 OSBOURNE was honored with the Stevie Ray Vaughan Award for his dedication and support of the MusiCares MAP Fund at the 10th anniversary MusiCares MAP Fund® benefit concert. Later that year (November), OZZY was presented with the “Global Icon” award at the 2014 MTV Europe Music Awards in Glasgow. This year also marks 20 years since OSBOURNE created his name-sake hard-rock/metal touring festival, OZZFEST, which has had a hugely successful run across North America, Europe and Japan and will return to the U.S. this September. OZZY is currently on tour in Europe with Black Sabbath on their massive 2016 The End world tour, which will return to North America in August.
A Perfect Circle
Five Finger Death Punch
Run The Jewels
El-P and Killer Mike, two of the most distinctive and celebrated names in rap, might have seemed like an unlikely pairing on paper, but the duo subverted and pulverized all expectations with their critically lauded Run The Jewels collaborative LP. Tapping into the creative synergy they’d discovered in 2012 on Mike’s R.A.P. Music album (produced by El-P) and El’s Cancer 4 Cure album (featuring Mike), Run The Jewels cemented their musical alliance with a set of uncompromisingly raw, forward thinking hip-hop, garnering limitless critical accolades including the likes of Rolling Stone, Pitchfork, XXL, SPIN, New York Times, and many more.
Every living creature must face the will and judgment of time.
Ancient Greeks personified time in the form of the titan Kronos, father of Zeus, and Egyptians celebrated Heh as an abstraction of endless years. Famously, William Shakespeare lamented humanity’s immutable fate as “time’s subjects” in Henry IV. GRAMMY® Award-nominated hard rock band Mastodon ponders the nature of time on their eighth full-length album, Emperor of Sand, on Reprise Bros. Records. Threading together the myth of a man sentenced to death in a majestically malevolent desert, the Atlanta, GA quartet—Troy Sanders (bass/vocals), Brent Hinds (guitar/vocals), Bill Kelliher (guitars) and Brann Dailor (drums/vocals), and conjure the grains of a musical and lyrical odyssey slipping quickly through a cosmic hourglass.
“Emperor of Sand is like the grim reaper,” admits Dailor. “Sand represents time. If you or anyone you know has ever received a terminal diagnosis, the first thought is about time. Invariably, you ask, ‘How much time is left?’”
Since forming back in 2000, Mastodon have certainly made the most of their time. Most recently, their 2014 seventh offering Once More ‘Round The Sun bowed at #6 on the Billboard Top 200, marking their highest chart entry to date and second consecutive Top 10 debut following 2011’s The Hunter. Casting a shadow over pop culture, they received “Best Hard Rock/Metal Performance” GRAMMY® Award nominations in 2007, 2014 and again in 2015. Their music blasted through the Academy® Award-winning comedy The Big Short, animated blockbuster Monsters University, and sci-fi western Jonah Hex starring Josh Brolin—for which the group composed the score. After contributing “White Walker” to HBO’s Catch The Throne, Vol.2 mixtape, Dailor, Hinds, and Kelliher appeared as “Wildlings” in a popular episode of Game of Thrones Season 5.
Not only did they earn the appreciation of Time, Rolling Stone, Stereogum, Billboard, and more, but they also turned many peers into fans, including Metallica, Pearl Jam, Tool, Queens of the Stone Age, CeeLo Green, and Feist, to name a few. Performing everywhere from Coachella and Bonnaroo to Download and Sonisphere and nearly every major festival, they’ve headlined legendary venues such as Red Rocks and sold out shows around the globe. Emperor of Sand offers the next conceptual and instrumental evolution for these musicians.
“Since it regards enduring insurmountable odds, it’s a continuation of the Mastodon catalog,” explains Sanders. “That started in 2002 on Remission. Two years later, Leviathan was about hunting a metaphoric whale that could solve all of your problems, or it could kill you in the hunt. We took a journey up Blood Mountain and vaulted all of the hurdles that needed to be cleared for survival. Crack The Skye was its own deep and twisted concept. The Hunter was loosely based on dealing with death. Once More ‘Round the Sun was about being given an opportunity to do this one more time, one more trip, one more tour cycle, one more year, and one more birthday. Now, we’re reflecting on mortality. To that end, it ties into our entire discography. It’s 17 years in the making, but it’s also a direct reaction to the last two years. We tend to draw inspiration from very real things in our lives.”
A trying, turbulent, and tragic turn of events transpired as Dailor and Kelliher began writing music in the latter’s brand new basement studio. The guitarist received news of his mother’s brain cancer diagnosis during May 2016. He spent the next six months making regular trips to Rochester, NY before her untimely passing in September.
“When my mom became ill, it was really heavy,” Kelliher sighs. “She’s the person you know best. She’s the person who brought you into the world, nurtured you, and cared for you. No matter how old I was, my mom never let go of worrying about me, checking in on me, and trying to give me advice on life. It’s a sad and terrible thing when you have to watch your mother die. It’s something I think about every single day.”
Dailor recalls, “Writing was like a distraction to give Bill a release. There’s nothing you can do, but you can say, ‘Let’s go in the basement and see if there any riffs.’”
“One of the things I appreciate about my bandmates is we channel our current energy— although it may be dark—through the art we call Mastodon,” adds Sanders.
As jamming ramped up, a narrative took shape for Emperor of Sand. Dailor details it: “A Sultan in the desert hands down a death sentence to this guy. He’s running from that. He gets lost, and the sun is zapping all of his energy akin to radiation. So, he’s trying to telepathically communicate with these African and Native American tribes to get rain to pour down and kill it.”
In order to capture the vision on tape, the guys enlisted producer Brendan O’Brien (Pearl Jam, Neil Young, Red Hot Chili Peppers, etc.) with whom they worked on 2009’s seminal Crack The Skye. For several weeks, the band recorded with O’Brien at The Quarry Recording Studio in Kennesaw, GA.
“Brendan is a charismatic and funny guy,” smiles Hinds. “He knows us so well, and it felt like like we picked up right where we left off. He adds all of these bells, whistles, and perks outside of being an awesome musician in his own right. Everything came together lickety-split.”
“I feel like we had an even better time with him,” says Kelliher. “We trust his opinion, and he’s super hands-on. He was always in the room with us, and he knows what we’re going for.”
Emperor of Sand commences with the unpredictable swell of “Sultan’s Curse.” A storm of muscular guitar riffs and a thunderous bellow rages amidst a deluge of acidic percussion. Opening the storyline, our hallucinating protagonist, “believes he’s being bathed by the Sultan’s daughters, but he’s being carried to his assassination by the Sultan’s men,” as Dailor says.
“It felt like a natural beginning,” agrees Kelliher. “It’s got traditional Masto elements, and it’s fucking rockin’.”
Next up, “Show Yourself” alternates between Dailor’s hypnotic croon and Sanders’ overpowering roar, trudging into one of Mastodon’s most chantable refrains.
“It’s about revealing your inner strength to power through a bad situation,” Dailor goes on.
“It’s outside the box,” Hinds comments. “That’s exciting for us to do things people don’t expect.”
Whether it’s the thought-provoking elegy of “Roots Remain” punctuated by a searing Hinds solo or the hammering “Andromeda,” which boasts a primal scream by Brutal Truth’s Kevin Sharp, the music ebbs and flows inside of an emotional hurricane awash in cinematic keys and mellotron, fret fireworks, and the push-and-pull of three distinct voices. On the latter half of the record, the venomous and vital “Scorpion Breath” upholds a tradition of cameos by longtime friend Scott Kelly of Neurosis. Conclusion “Jaguar God” hinges on a delicate acoustic intro by Hinds before climaxing in a head- spinning last gasp of crunching distortion and a polyrhythmic percussive flood.
In the end, Emperor of Sand siphons raw emotion through the framework of an immersive story and intricate musicianship, digging to the core of what defines Mastodon and all timeless rock ‘n’ roll.
“When people hear it, I want them to experience the spectrum of emotions that we put into it,” Dailor leaves off. “We’ve been through everything together. We still have the same four guys after 17 years. It’s been the wildest of rides. I love it, and I love those dudes.”
“If our songs can touch someone in a positive manner, that’s the magic of what music can do,” concludes Sanders. “I know for a fact that music is the universal language. I hope someone will find it touching. As far as the fan base we’ve built up over the years, I hope they’ll give it a listen and stay on this ride with us. It’s a marriage! At the end of the day, we’re four guys in a rock band. We navigate through difficult circumstances musically and in life as brothers. It’s the next chapter of our adventure.”
With “INTO THE WILD LIFE” Halestorm reach deep within and conjure their most engaging and eclectic songs to date. On “INTO THE WILD LIFE” they push their musical boundaries further than we’ve seen thus far in their catalog, crafting songs that rise from a whisper to a scream and back again, proving that there’s no limit to creativity. And nothing will stop them from realizing their artistic vision.
On “Sick Individual,” which opens with a drum solo and blends into a dramatic rock anthem, Hale sings, “I’m doing this thing called ‘whatever the f— I want, want, want.’” The attitude- laden lyric encapsulates the vibe and versatility of the record. Shards of metal, passages of pop and reams of rock – both classic and contemporary — abound throughout “INTO THE WILD LIFE,” the exuberance of which is only matched by the band’s passion and confidence.
“On the last record, we hit all these crazy milestones,” Hale says. “All of a sudden the world was aware of us so we celebrated unabashedly.” Indeed, “Freak Like Me” and “Love Bites (So Do I)” both reached #1 on Active Rock charts, making Halestorm the first ever female-fronted band to top the format’s airplay ranking. In addition, the band won a Grammy for Best Hard Rock/Metal Performance for “Love Bites (So Do I).” The accomplishments didn’t stop there. Hale collaborated with “America’s Got Talent” star Lindsey Stirling on the EDM song “Shatter Me” and performed with country maverick Eric Church at the CMT Awards, demonstrating her versatile vocals mix with any genre. On top of that, Hale was honored by Gibson Guitars, which celebrated her accomplishments by creating a Lzzy Hale signature Explorer guitar.
“All of the attention was amazing and fueled our confidence,” Hale says. “So we decided to throw everything we were used to out the window and just go for it.”
Indulging every whim, Halestorm wrote songs that pulsate, pound and soar, as well as confessional, heartstring-tugging tunes and everything between. “Amen,” grooves to a chain- gang shuffle and sparse keyboards, featuring a verse reminiscent of Fleetwood Mac and a chorus that has more in common with Joan Jett. Then there’s “Mayhem,” a confrontational blast of adrenaline that builds from echoey seduction to full-blown euphoria.
“To me, this album is about independence and the bravery it takes to step into the unknown,” Hale says. “It’s not like we strayed from what we are, it’s just a lot more of what we are.”
In addition to experimenting with previously unexplored styles, Halestorm took an equally bold approach to recording. Instead of tracking all the instruments separately and then tweaking them later, Halestorm recorded everything live in the studio with the help of producer Jay Joyce (Cage the Elephant, Eric Church).
“It was literally the four of us in a circle in this church playing everything the same way we do onstage,” Hale says. “We had to play everything over and over again until we were all riding the same wave. Without making a live record, we wanted to capture the kind of chemistry and energy we have in concert.”
After Halestorm recorded the songs, Hale went back and redid some of her vocals to maximize their emotional intensity. And Joyce applied the same rigorous standards to her final vocal takes as he did to the band’s initial recordings. “If I wanted to do something over again, I strapped on the guitar and sang all the vocals from start to finish,” Hale says. “In the beginning I said to Jay, ‘Hey, if I don’t quite hit that note we can just fix it, right?’ And he said, ‘No, that’s not what you guys said you wanted. You gotta do it all over again.’”
As frustrating as the process sometimes was, by the end of every final take Halestorm were ecstatic. “It really brought out the best in us because we had to trust ourselves and literally be ‘on,’” Hale says. “It was hard, but the results were so much more rewarding because we didn’t try to compromise, and I feel like the excitement of that shows through all over the record.”
Instead of recording in a major studio in Los Angeles or New York, Halestorm created “INTO THE WILD LIFE” in East Nashville, and when they weren’t at the studio they soaked in the musical culture of the legendary city. “I’m sure a Southern bug crawled into my ear just from hanging out there for a while,” Hale says. “There are a lot of great musicians there, for sure, as well as a lot of great classic rock. That was a big part of this album. While we were doing it, I was listening to a lot of the same stuff that first got me inspired. I went back and listened to a lot of Black Sabbath and Alice Cooper and some Zeppelin. Our attitude was, ‘Let’s immerse ourselves in the things that got us excited in the first place. Instead of trying to reinvent the wheel we
said let’s be the wheel and be the best wheel we can be.’”
The first single from “INTO THE WILD LIFE” is “Apocalyptic,” a bluesy belter about a turbulent relationship and amazing chemistry between the sheets. While Halestorm alluded to sex and decadence in past songs like “I Get Off” and “Love Bites (So Do It),” on “Apocalyptic” and “Amen” Hale drops the metaphors and tells it like it is. “I wanted some songs were a little confrontational and sexual,” Hale says.
The more acoustic-based songs on “INTO THE WILD LIFE” are just as revealing as the rockers. In the confessional folk-pop number about love gone wrong, “What Sober Couldn’t Say,” Hale sings, “Heading for a blackout, hurting like hell/finding my way to the bottom of the bottle.” And on “Dear Daughter,” she starts with spare, delicate piano chords and builds into a poignant ballad filled with pearls of wisdom: “Dear daughter, hold your head up high/there’s a world outside that’s passing by.”
“The last album cycle we did was the first time my mother didn’t come with us; for a long time both of my parents were working for us,” Hale says. “As soon as your parents are gone, at first there’s a stage where you go, ‘Whew, nobody’s going to tell me what to do!’ And then you think, ‘You know what? If it wasn’t for my parents’ support we would have never started the band as early as we did. And we probably wouldn’t have gotten to this point.’”
With “INTO THE WILD LIFE,” Halestorm have developed as a band without compromising their identity. From the start, they’ve had the conviction and songwriting skill to appeal to fans of both Heart and Metallica. Now, they’ve stretched their musical boundaries even further to come up with an album that exhibits a sheer joy for whatever style of music they chose to embrace.
“Doing this album reminded us that being in a band is still magical. And four people that actually love each other and can rock out with each other can experience this refreshing kind of creative freedom,” Hale says. “At the end of the day, we can laugh and turn to each other and say, ‘Look, guys. We are still here! For whatever reason, we still dig each other and we still love making music together.’ And now we can go out there and do whatever the hell we want.”
It has always been hard to put a tag on GOJIRA, one of France’s most extreme bands the country’s musical pallet has ever known. But then again, the band has never really sought out such a tag, instead letting the music do the talking, preferring introspection and intelligence over preconceived notions and preexisting tags. Ever since the 1996 formation in town of Bayonne in the southwest of France, GOJIRA has been an ever- evolving experiment in extreme metal ultimately built upon a worldly, ever-conscious outlook with roots firmly-planted both in the hippie movement and an environmentally-conscious, new age mentality. This time, with The Way of All Flesh, GOJIRA harnesses a spiritual consciousness as well, but still culminates in a sound wholly heavy.
Originally dubbed Godzilla, after the scaly, green film star with an equally huge reputation as the newfound band’s sound, the brothers Duplantier – guitarist/vocalist Joe and drummer Mario – and fellow Frenchmen Jean Michel Labadie on bass and Christian Andreu on guitar, quickly released several demos, ultimately changing the band’s name and independently releasing the first GOJIRA album, Terra Incognita, in 2001, offering up a brief glimpse into the giant GOJIRA would eventually become through persistent hard work and years of toiling in the metal underground.
After the 2003 release of the band’s follow-up, The Link, throughout Europe and the subsequent live DVD release the next year, of the aptly-titled The Link Alive, 2005 brought the release of From Mars To Sirius, the band’s breakthrough release, garnering high praise and a North American release through Prosthetic Records in 2006. Fans of not only heavy, extreme music took notice, but so did the intellectual world, thanks to Sirius’ thoughtful and expansive inner examination of the world at hand and the consequences of humanity’s struggle to coexist without harm. The metal world was amused and amazed: much of it hadn’t yet seen an equally intelligent and pummelingly heavy release that was as expansive and open as it was dense and concise.
Following the immense praise of From Mars To Sirius and recurring trips across the Atlantic for North American touring alongside the likes of Lamb of God, Children of Bodom, and Behemoth among others, GOJIRA established its stranglehold on the extreme metal spectrum with a linguist’s touch, a lyricist’s finesse, and a
crushingly heavy live show that left audiences astounded, establishing the band’s live performance as a spot-on recreation of the band’s increasingly adept and intelligent studio output.
While 2007 wrapped with GOJIRA again touring North America on the Radio Rebellion Tour alongside Behemoth to the best reaction yet, the dawn of 2008 saw a nearly 10 month wait for while the band assembled The Way of All Flesh, one of the year’s most anticipated records. This time revolving around the undeniable dilemma of a mortal demise, GOJIRA’s soundtrack to the situation seems fitting. Shifting ever-so-slightly from the eco-friendly orchestra of impending doom on From Mars To Sirius to the band’s new message of the equally uncontrollable inevitability of death, The Way of All Flesh melds the open and airy progressive passages GOJIRA has become famous for with the sonically dense sounds and bludgeoningly heavy rhythms that makes the band an equally intelligent force as it is unmatchably heavy.
Featuring a guest vocal spot on “Adoration For None” from Lamb of God’s Randy Blythe – one of GOJIRA’s most vocal supporters from their first moment making an impression in the Americas – and the now familiar Morbid Angel-isms of The Way Of All Flesh’s title track join the angular riffing more akin to Meshuggah on “Esoteric Surgery” and the epic, artful plodding of the nearly 10-minute “The Art of Dying,” showing that GOJIRA have indeed opened a new bag of tricks for The Way Of All Flesh, while not abandoning the sound that first showed a massive promise of potential on Sirius.
“It’s more inventive than From Mars To Sirius and at the same time more straight to the point,” GOJIRA frontman Joe Duplantier says of The Way of All Flesh. “The whole album is about death, death is like a step on the path of the soul. The mystery surrounding this phenomenon is just so inspiring, and death is the most common thing on earth.”
“This album is also a ‘requiem’ for our planet,” Duplantier continues. “We don’t want to be negative or cynical about the fate of humanity, but the situation on Earth is growing critical, and the way humans behave is so catastrophic that we really need to express our exasperation about it. It’s not fear, but anger. But we still believe that consciousness can make a difference and that we can change things as human beings.”
You may have been to that party—the one where a guy plastered in ink showed up on a motorcycle with a guitar slung around his back. You probably either rolled your eyes and raised your fists, or asked, “Who is that?”. When it comes to Brooklyn rock trio Highly Suspect, all three members–Johnny Stevens, (guitars and lead vocals) and twins, Rich, (bass/vocals) and Ryan Meyer (drums) — are that guy. The trio have played 800 shows in six years, having supported bands like My Morning Jacket and Grizzly Bear, and, as the day’s opener no less, have drawn the biggest audience to-date to the Lollapalooza BMI Stage. They’ve also raged in all of your basements.
The boys moved in together after high school in 2006 and would share a few years, a few fist fights and more than a few drug and alcohol fueled parties, before they ever even knew that they had started a band. “Playing music together was just something we did when we were fucked up, or if there were girls over, or if it was raining out. Its cold in the Northeast,” says Johnny. But it wouldn’t take long for them to realize that they had accidentally created the very foundation of what would eventually become the band. Once they noticed just how many people could identify with the energy they produced and the lyrics they were sharing, there was no other option than to take it on the road.
The second these guys get on stage, you discover that their burnt out cigarettes, leather jackets, and well traveled boots aren’t a front. You’ll hear their raspy vocals, amped-up guitar chords and ambitious rhythms blending so uniquely with cocaine-covered lyrics telling you the true story of three guys who know what it means to go hungry. Their forthcoming debut album is set to release in the summer of 2015 and was produced by Joel Hamilton, who has worked with such artists as The Black Keys, Tom Waits, and Elvis Costello. On it, you’ll find the songs that you’re always hoping to hear (but never actually do) when you push your favorite alt radio station preset button.
Just as these twenty-something guys–who were invited back to play SXSW for their second year in a row this spring–so happen to dabble in graffiti, sex, and rock & roll, so do their songs happen to feel like a page out of your own wildest life moments. Titled ‘Mister Asylum’ the album takes the listener on a deep journey exploring the beauty and pain that all of us can relate to as we navigate through the vast and uncertain universe we live in. Of the LP’s first single, “Lydia,” Johnny shares that the song is a true story about love lost. ” I met her when we moved into our Brooklyn apartment. It was literally slow-motion love at first sight. We went through so much together. I still have Pam, the cat I got her for a birthday present one year. I’ll always wish her the best but sometimes things don’t work out the way you had planned” This, and each of the other tracks work together to remind you that outlaws always have, and always will write the realest of the real. Exposing their souls on the deepest of levels, these are the songs that most bands are afraid to write.
Eagles Of Death Metal
While crafting what would be one of the most important albums of his career, Tech N9ne thought back to some of his early material. Before Strange Music became the No. 1 independent rap music label, the Kansas City rapper released The Calm Before The Storm. The acclaimed collection included songs that hinted at the type of artist he would become, from the conceptually rich “Questions” to the devilishly clever “Mitch Bade.”
So for The Storm, Tech N9ne wanted to revisit and build upon his musical foundation. “I knew if I named it The Storm, it would push me to do the best music I’ve ever done,” Tech N9ne explains. “I’m coming off of Special Effects, which featured songs with Eminem, Krizz Kaliko, 2 Chainz, B.o.B and T.I. But it’s not just the features. It was a big record, period. I just couldn’t come with a title that wasn’t going to push me. It actually pushed me to do some damn good music, man.”
The resulting The Storm features Tech N9ne delivering 20 stellar songs that fit into three sonic worlds. The Storm kicks off with the “Kingdom” section, a showcase for the rapper’s narcissistic side. He then travels to “Clown Town,” which finds him at his darkest. The set closes with the “G. Zone,” a nod to the gangster side of his personality.
Longtime Tech N9ne fans will recognize this type of layered artistry, something he introduced on 2001’s Anghellic, his first national release and the first album released on Strange Music. Anghellic features Tech N9ne navigating through “Hell,” “Purgatory” and “Heaven.” The conceptual master later explored his “The King,” “The Clown” and “The G” personas on his 2006 album, Everready (The Religion).
With The Storm, Tech N9ne reintroduces “The King,” “The Clown” and “The G” to his longtime listeners. He also introduces them to his new fans, people who may have become Technicians thanks to his more recent material, including the gold certified singles “Fragile” with Kendrick Lamar and ¡Mayday!, as well as “Hood Go Crazy” with 2 Chainz and B.o.B.
The Storm’s first single “Erbody But Me” fits perfectly in the “Kingdom” section of The Storm. On the kinetic cut, Tech N9ne deflects detractors and salutes his swag, while the percussive “Wifi (WeeFee)” trumpets Tech N9ne’s status as a plug as he delivers some intricate alliterative rhyming. Elsewhere, the raucous “Sriracha” features Logic and Joyner Lucas, both of whom asked Tech N9ne to appear on the cut after hearing an early version of the Michael “Seven” Summers-produced cut. Thanks in part to his guests on the song, “Sriracha” evolved into something different from how Tech N9ne first imagined it.
“It was not meant to turn into a chopper song, but Joyner Lucas, whenever he gets on anything, he has to kill everything,” Tech N9ne explains. “Almost nobody ever sends me tracks for real, so the people that send me ones are brave. Joyner Lucas sent me one because he’s a brave soul. That’s cool ‘cause I’m usually the one always sending tracks out. So what I did on ‘Sriracha’ is what the beat needed.”
Things get confrontational on the mesmerizing “Get Off Me,” a collaboration with Problem and Strange Music’s recently signed new artist, Darrein Safron. The three showcase their braggadocio side with high-powered lyricism, something that was of particular importance to Darrein. Tech N9ne says that because Safron in known as an R&B singer, people don’t think he can rap. “He’s a product of his environment,” Tech N9ne says. “He’s not trying to act like nobody. He’s like, ‘These people don’t think I can rap.’ So he rapped and he killed it. I love that. Problem did what he does and he killed it to. Everyone’s going to love this song when they hear it.”
Tech N9ne descends into “Clown Town” with “I Get It Now,” the darkest portion of the album, which details the rapper’s longstanding struggle with not fitting into the traditional rap world, while “Hold On Me” features him taking a sobering look at his relationships with women. Then there’s “Poisoning The Well,” which showcases a bluesy sound. As Tech N9ne emerges into the “G. Zone” section of the album, he laments that he’s not as successful and acclaimed as he should be on “The Needle” and he imagines getting away to find peace on “Anywhere” with Marsha Ambrosius.
Tech N9ne’s creative prowess shines throughout The Storm, as does the work of primary producer Michael “Seven” Summers. “We’re a great team,” Tech N9ne says. “We bounce ideas off each other all the time. Seven is just so diverse that he can do a song like the one I did with Jonathan Davis on here called ‘Starting To Turn,’ which is super metal, and then turn around and do ‘Get Off Me’ with Problem and Darrein Safron. He’s also able to do ‘No Gun Control’ with Gary Clark Jr. and Krizz Kaliko and then do ‘Buss Serves,’ the Too $hort remake of ‘CussWords.’ If I had a word for Seven, it would be ambidextrous.”
For his own work, Tech N9ne has a high standard. “I have to rap against Tech N9ne every time I do a record,” he says. “And that’s hard to do.” Tech N9ne has been doing just that since he emerged in the mid-1990s. Subsequently, the visionary rapper has become as one of the genre’s most prolific and acclaimed artists. He and business partner Travis O’Guin have built Strange Music into the industry standard with robust music, touring and merchandise components. Even though Strange Music remains fiercely independent, Tech N9ne still enjoys major label level success. He earned his second and third gold certifications in 2016 for his “Fragile” and “Hood Go Crazy” singles, testaments to O’Guin’s and his dedication to the company. “Reinvest, reinvest, reinvest,” Tech N9ne says. “That’s how you build. That’s how we built this empire.”
As Strange Music grew into a music industry force, it developed a reputation over the last decade-plus as one of the only reliable businesses in the field. All of that made the The Storm so striking to Tech N9ne’s fans and Tech N9ne himself, but the workload is not easy. “It’s hard, but I make sure that I have some happiness around me at all times” Tech says.
Revisiting his roots and overcoming adversity helped shape The Storm, Tech N9ne’s most powerful musical moment. Brace yourself.
In This Moment
The number five holds a deep significance.
We have five senses. Five points adorn a star. Five represents man in theology. For the five members of Hollywood Undead—Johnny 3 Tears, J-Dog, Charlie Scene, Funny Man, and Danny—the digit perfectly encapsulates their fifth full-length offering—FIVE [Dove & Grenade Media/BMG].
“We’re five brothers, and this is our fifth record,” affirms Johnny 3 Tears. “Nothing gets to the essence of the music like this number does. Numerology has a lot of power. When we said Five, it just made sense. The fact that we could all agree on one word codifies who we are. It also nods back to ‘No. 5’ from our first album, because it was our fifth song. Moreover, it hints at this secret society of fans supporting us for the past decade. The number is significant, and this is a significant moment for us.”
It’s also a moment that the Los Angeles band has been working towards since the release of their RIAA platinum-certified 2008 debut, Swan Songs. Along the way, the group’s unmistakable and inebriating distillation of rock, hip-hop, industrial, and electronic incited the rise of a bona fide cult audience comprised of millions. For the uninitiated, think Trent Reznor producing Enter The Wu-Tang Clan – 36 Chambers in 2020, and you’re halfway there…Quietly infecting the mainstream, their 2011 sophomore effort American Tragedy went gold and bowed at #4 on the Billboard Top 200, while 2013’s Notes From The Underground seized #2. In 2015, Day of the Dead spawned another smash in the form of the title track, which amassed 21.1 million Spotify streams and 17 million YouTube/VEVO views. Known for atomic live performances, the quintet regularly sells out shows around the world from Massachusetts and Miami to Moscow and Manchester. They’ve toured alongside the likes of Avenged Sevenfold, Korn, and Stone Sour in addition to notching features from Billboard, Rolling Stone, Alternative Press, Revolver, and more.
2016 saw Hollywood Undead unfurl the next chapter of this saga. For the first time, the band found itself free from the major label system. They launched their very own imprint Dove & Grenade Media and forged a strategic alliance with BMG. That independence became a cornerstone of the creative process behind Five.
“This time around, we took matters into our own hands more as a band,” says J-Dog. “We did more writing and producing ourselves. We were more hands-on than ever before. We realized that nobody knows our music better than we do. When we made this record, we didn’t have to think as much. We could go with our hearts more. It’s a group effort. One or more members put their blood, sweat, tears, and soul into every song. We took the reins of our own destiny.”
“We had complete creative control,” Johnny 3 Tears continues. “BMG is a partner with us. We’re working together. They saw our vision. It wasn’t about pandering to anyone or having to write a hit single. Because everything fell on our shoulders, we really held ourselves accountable. Also, now that we’re an indie band, we might finally get some of that hipster pussy.”
…Time certainly hasn’t softened their sense of humor, nor their edge for that matter—only sharpened both. Five bursts out of the gate with the opener and first single “California Dreaming.” Powered by neck-snapping guitars and fast and furious bars, the song cycles between guttural rapping and quick quips. Everything culminates on the choral chant “We never sleep, in California we’re dreaming.”
“It dissects both sides of California,” J-Dog reveals. “You’ve got the glitz, glamour, sun, and surf. Then, you’ve got the super fucked side of people not being able to afford rent, celebrities being assholes, and that fake façade. We wanted to do a heavy song with a Red Hot Chili Peppers-esque chorus. It’s an old school vibe explored in a new way.”
Elsewhere, “We Own The Night” struts between stadium-size guitars and a visceral volley on the verses punctuated by lines like, “If you fuckers want to die, fucking with Undead is like committing suicide.”
“It’s the quintessential Hollywood Undead song,” exclaims J-Dog. “It’s got that shit talking. There’s a fresh vibe with the organ though. We were inspired by Hans Zimmer’s use of it in Interstellar, so we added this cinematic element to the track.”
The airy and ominous “Bad Moon” explores “a fascination with the occult and fucked up things people do at night,” while “Ghost Beach” represents another breakthrough as the first “HU song with all clean vocals.”
“Your Life” closes Five with elegiac keys, jagged riffing, and an 808-boom propelled by edge-of-your-seat raps and an undeniable plea, “It’s your life. It’s do or die.”
“We were shitfaced drinking in the rain under an awning on Wilcox Avenue in Hollywood at three in the morning,” recalls J-Dog. “That’s how the chorus came about.”
“It’s true,” smiles Johnny 3 Tears. “I love when ideas come about organically. It’s personal, but it’s a statement for everyone. It might be cliché to say, but it needs to be repeated: You can’t waste your fucking time. It’s a self-affirmation. Every moment you waste worrying is a moment you could’ve been done something that might actually have consequence by the day you die.”
Threading together this collage of metallic instrumentation, street corner poetry, and industrial haze, the group tapped the mixing talents of Dan Lancaster [Bring Me The Horizon] for all 14 tracks, while reteaming with longtime collaborators Griffin Boice and Sean Gould behind the board.
A decade on, the raw anger and passion that defined Hollywood Undead since day one is more dangerous than ever before.
“A lot of guys who have been in bands a lot longer than we have say stupid shit like, ‘It’s just a paycheck at this point,’ but that is so not the case—we still eat, breathe, and live Hollywood Undead,” J-Dog leaves off. “We still write music as if it’s our first record, and we have to prove ourselves every single time. This is our whole world. We appreciate how far we’ve come. We appreciate that we’ve gotten to travel the world. We’re passionate about life, family, and shit we put our energy into. We’ll forever be Hollywood Undead. It’ll always be ingrained in us. I think that’s why people connect to us. They know it’s genuine.”
“Everything else in my life has come and gone at some point or another except for Hollywood Undead,” concludes Johnny 3 Tears. “It’s much more than just a band. We had a fellowship long before we started writing music together. I’m just so happy the people I get to write music with happen to be my best friends as well. It’s interesting because we’ve gone through so much in life together before Hollywood Undead. Going through this experience, it’s much more than the band to me. I can’t imagine life without it. Long after we stop someday, it’s going to be something I look back on and appreciate. Our fans make us feel like we’re in the biggest group in the world. How much they care about the music inspires us to never let them down. Five is for them.” – Rick Florino, July 2017
Of Mice & Men
August Burns Red
AUGUST BURNS RED is Jake Luhrs (Vocals), JB Brubaker (Guitar), Brent Rambler (Guitar), Matt Greiner (Drums), Dustin Davidson (Bass). Since their formation in 2003, the local upstart from Lancaster, PA has evolved into one of the biggest names worldwide in the modern metal scene, continually growing and connecting fiercely with a colossal legion of fans. August Burns Red has spent years skillfully crafting a balance between a ferociously heavy sound, with empowering lyrical content, while showcasing a rich surplus of inventive guitar riffs, blistering solos, and dynamic drumming. The band’s impressive resume includes a solid collection of 5 previous albums, Thrill Seeker (2005), Messengers (2007), Constellations (2009), Leveler (2011), Rescue & Restore (2013), and 2015’s Found In Far Away Places.
The newest release debuted at #4 on the Billboard Top Albums Chart, #9 on the Top 200, and featured the single “Identity”, which received a nomination for Best Metal Performance in the 58th Annual Grammy Awards. The road to the top has seen the band on stages across the globe alongside the likes of Underoath, A Day To Remember, Lamb of God, Bring Me The Horizon, Every Time I Die, from South America, to Europe and the UK, to Australia, Japan, and Russia, South Africa, and headlining the Vans Warped Tour in both 2013 and 2015.
There are a lot of bands who claim to wear their hearts on their sleeves, but for Texan quartet Nothing More that sentiment could scarcely be more literal. “When we first started, we branded ourselves on the arm after each year of touring, so we’ve all got these scars now, reminding us of the commitment we made to each other,” confides frontman Jonny Hawkins. To say that this is a band who are dedicated to their cause would be to understate the case somewhat.
Hailing from San Antonio, Nothing More is a four-headed musical hydra that runs on frenetic passion, unswerving DIY spirit and relentless sonic experimentation. Part schizoid System Of A Down weird-isms, part Mars Volta-esque prog rock freak out, part effortless pop nous, they seamlessly barrel from churning headbang to skyscraping chorus and back again in the blink of an eye. Capable of bombastic bounce that hits as hard as an uppercut to the jaw when they fancy it, the boys from The Alamo City are equally able to dial down their bluster into deft moments of crystalline beauty when the mood takes them. It’s a gut-punching blend made all the more powerful by a keen lyrical sophistication and philosophical undertone which both belies their years and marks them out from their contemporaries.
Forming initially as Middle school kids whose aspirations were as serious then as they are now, Nothing More’s early development took place against a backdrop of suburban boredom and rabid musical obsession. Having tasted the addictive elixir of rock ‘n’ roll the band realized they were at a crossroads when they reached college age. “Everyone was telling us to stay in school,” admits Hawkins “but for us that would have been settling. Having a plan B is a recipe for failure. We decided that we had to ignore everyone’s advice and totally dedicate ourselves to being in this band.”
And dedicate themselves they did. From fixing up their first tour van out of a derelict, raccoon infested RV to making their own stage rigs for their impassioned live show, the quartet literally built everything they have from the ground up. Those first tours, the ones that wrought the aforementioned scars, were formative in more ways than one. As the four young men saw and experienced more of the world, their spiritual and philosophical outlook began to evolve. “That period of growth was a real struggle for us individually and collectively,” confirms Hawkins “but it made us a lot more open to other ideas and gave us a deeper faith in our own instincts. I think that reflects in our music.”
The drips of those new ideas eventually became a flood and the narrow lens of the western paradigm they were born into was soon replaced with a more holistic world view, striking a balance between rationalism, empiricism and their own intuitions. It’s the journey to find truth that has enabled them deal with the existential and the personal in equal measure, and, more importantly, rendered them a band with something to say and no fear of saying it.
“There’s an old adage which goes ‘If you want to go fast, go alone. If you want to go far, go together.’ That is basically what we are about,” intones the singer. “It’s not about us ramming our views on religion, or philosophy, or politics down anyone’s throats – it’s about providing the opportunity for people to explore things themselves and challenging their reality.”
That Nothing More have undergone a spiritual awakening of sorts ought not to distract from the fact that, in the live arena, they are absolute animals. Raw aggression crashing alongside precise riffing, thunderous bass and nigh on tribal percussion to jaw-dropping effect on a nightly basis. The dictionary definition of ‘get in the van and play until you’re dynamite live’, they’ve grown through the grassroots by dripping blood sweat and tears across America, challenging the stereotypes of what you might think a band like this can incorporate into their show. Four way drum battles? Three members playing one bass guitar? These guys push the limits in more ways than one.
Nothing More are that rarest of things, a band with the heart, the soul, the brains and the guts to capture your heart and spark your mind. A new generation of rock stars who are unconcerned with fabricated notions of how and where they might fit in or what the hottest trend is, but simply focused on making honest, passionate art with real intent. “We want to be a church for people who don’t believe the things that churches believe,” concludes Hawkins. “We want to connect people and connect with people.” And what better way to do that than with uncompromising music built on uncompromised principles, fought for and earned the hard way. Nothing More? Accept nothing less.
Deap Vally landed in ‘2013’ with their rock debut ‘Sistrionix’. The LA duo bombed down the Transatlantic speedway, lighting psych-blues fires throughout the US and Europe. Lindsey Troy’s whiskey-soaked vocals and killer guitar riffs were chaotic, but found a degree of order in the heat of Julie Edwards’ drumming. After several loops around the world, they returned from their travels and decided it was time for a gear shift. The change was inspired by the pair’s need to create their vision on their own terms, without label input. Lindsey and Julie needed to be able to operate in a way that didn’t suck the living joy out of their creations, otherwise that blues synergy of rock’n’roll (forged between them at a knitting club in Echo Park some five years ago) would simply not be able to reach its pinnacle.
So the two-piece took a risk, parted ways with their label (amicably so), and wielded the time they needed to reassess matters by themselves, even doing short stints as touring bass players: Lindsey in White Lung and Julie in JJUUJJUU. “We were given this gift of time to make the record,” explains Julie, optimistically. “We kept writing, recording, exploring all these flavours. It was a real luxury.”
It’s a luxury many bands don’t get, and it’s strengthened their identity, which has now become an “ism”: specifically ‘Femejism’. That’s the name of the second record. “We don’t ever wanna do what people expect of us, we always want to do the opposite of that,” says Lindsey, ever the rebel. “Like after a break-up when you cut your hair, dye it, and just explore being free on so many levels.” Julie intercepts, “But, y’know, within the confines of guitar and drums.” Their new labels – Cooking Vinyl and Nevado Records – have put their faith in the ladies’ vision entirely.
‘Femejism’ has been two years in the making. “This is what we wanted: total freedom,” says Julie. The pair explored new territory at recording studios in Downtown LA and the San Fernando Valley. They had a third character in the mix, too, Yeah Yeah Yeahs guitarist Nick Zinner, who lent key production skills to the pair’s own chemistry. “He’s pushed our songwriting a lot,” says Lindsey. The pair also explored new territory at recording studios in Downtown LA and the San Fernando Valley, this time honing their producing skills too. The track ‘Julian’, for instance, was produced entirely by them. Both ladies insist that theirs is a love/hate relationship they’re incapable of explaining. “It’s a mystery that neither of us understand,” says Julie, the yogic yin to Lindsey’s dramatic yang. “We’re giving ourselves to an alchemy we don’t control but it creates art. It’s raw, hot and loud, you know?”
The duo always keep their cards close to their chests when it comes to offering explanations. “What do you think it means?’” defers Julie on the subject of titles, lyrics, etc. Although they take what they do seriously, Deap Vally try not to take themselves too seriously. There’s a sense of humour that catches you off guard. The only thing they do offer is that true crime and historical characters have inspired some songs. Maybe the self-produced ‘Julian’ or ‘Little Baby Beauty Queen’, but who knows? They both kick like a mule regardless.
“I always want there to be some philosophical endgame,” adds Julie. “They’re personal songs and they’re universal. Nothing’s too mired in emotion.” Lindsey agrees. “We wanna give people music they deserve.” Take ‘Teenage Queen’, which comes over like an Alex Turner anthem. //I’m gonna live forever, Snapchat, sex and cigarettes, life is but a dream for a teenage queen// hollers Lindsey. It’s a feverish poke at societal ills, without getting too preachy. In ‘Critic’ there’s a stripped-back grunge vibe as Lindsey drawls //everyone is a fucking critic, a fucking cynic// in a way that’s so blasé as to be positively liberating. The song is sonically the “biggest departure” for them.
“It was hard sitting on this record for so long, not knowing what was gonna happen,” says Lindsey. But that waiting made the pair even more ambitious. Julie went ahead and had a baby. “The baby came out, then we found the perfect partners. It was like it had to happen that way,” Julie muses. Lindsey adds, brazenly, “Now that we have a home I just wanna put out a tonne of records.”
“’Sistrionix’ was a document of the early years of Deap Vally”, Julie concludes. “’Femejism’ is a document of the metaphorical desert we’ve been crossing between towns.” Make sure you bring a bottle of Jack for the ride. You might need it to take the edge off.
Collaborative creativity can produce brilliant results, but there’s something almost otherworldly about what emerges from the minds of remarkably talented artists, the types who’ve lived many lifetimes in a short period, left to his/her own devices.
As much as Nine Inch Nails, Smashing Pumpkins, The Cure or Foo Fighters (particularly on that first album) are considered “bands,” they brazenly exhibit the precision focused passion of a specific person; often a person bursting at the seams with something to say. BEARTOOTH began and in many ways continues to be such an artist, bubbling forth from the psyche, soul and complex emotions buried in multitalented instrumentalist and songwriter, Caleb Shomo.
Beartooth shares equal inspiration with brutal metalcore as with old-school punk like The Ramones and the bombastic theatricality of Queen. The end result is a back-to-basics hardcore stomp that would get the crowd moving at a Hatebreed or Terror show, interspersed with a steadfast determination to give equal importance to anthemic choruses.
“I made the whole thing by myself,” Shomo says of Beartooth’s debut album, Disgusting. “The entire record, front to back, is literally a reflection of my thoughts and my mental well-being at the time. The album captures every end of the spectrum musically and lyrically. I know this may sound strange, but I didn’t write these songs for anyone. I wrote just to write. All of the songs came about because I love writing Beartooth songs. That’s it. I won’t record a song unless I love it, unless I believe in it. I won’t do it any other way.”
Beartooth began as a way to blow off steam and add another dimension to Shomo’s genre-hopping creative output. He and his hometown friends started jamming; hanging out in his Columbus, OH basement studio and playing music for fun. They released an EP, Sick, and then hit the road, touring North America and Europe with genre titans August Burns Red, Memphis May Fire, The Word Alive and Of Mice & Men, among others. In between support slots the five-piece headlined everything from basements to club shows, building a strong and devoted following. The EP’s accompanying music videos for “Go Be the Voice” and “I Have a Problem” (both live and traditional) quickly accumulated over 1 million views, and set the stage for the band’s next endeavor, Disgusting.
While he’s still a very young guy, Shomo has lived a lifetime in music already. He had already dabbled in a project with Escape The Fate cofounder Max Green and Craig Mabbit (Blessthefall/The World Alive/Escape The Fate) when he was called up to play keyboards for Attack Attack! at the tender age of 15. The band incited polarizing dialogue around the world, as some jaded critics mocked the group’s “crabcore” while a new generation of fans followed the band’s every move. Shomo found himself thrust into the front man role following a series of lineup changes. The band’s self-titled sophomore effort debuted at #1 on Billboard’s independent chart.
Shomo was handling all of the vocals, programming and production duties by the time the third Attack Attack! album, This Means War, broke into the Top 10. The record sold 17,000 copies in its first week, debuting at #8 on the Billboard Top 200.
Battling the same type of depression, anxiety and overindulgence as many of his fans, Shomo bowed out of Attack Attack! to get himself together, and the songs on Disgusting reflect that struggle.
The closing track, “Sick and Disgusting,” is so personal that Shomo has trouble listening to it. It an intense exploration of the mental health issues he’s struggled with, not dissimilar from the raw truth found on Korn’s eponymous debut, or Reznor’s open confessions of drug addiction scattered throughout NIN. It’s a song where Shomo just hit “record” and let it all pour out.
“I almost didn’t put it on the record because I felt embarrassed about people hearing it,” Shomo confesses. “It is really intense for me personally. It’s hard to explain but suffice it to say, it’s a song about a lot of mental health things I’ve dealt with. If people listen to it and understand where I’m coming from and respect it, great. If other people think I sound like an idiot because I start crying in a song, I really don’t care. I know how much I put into that song emotionally. It’s one straight take, all the way through. I realized I’d be shorting myself if I didn’t put it on the record.”
Alternatively, a track like “Beaten in Lips” is written from Caleb’s experiences outside his own world: he wrote it from the perspective of abused kids with nowhere to turn. “I was just thinking about it one day, about how absolutely ridiculous it is that some parents abuse their children,” he explains.
The album’s opening track, “The Lines,” hits a lighter note. “We have been playing that song live before the record comes out. It’s just a fun jam. I wanted to write riffs that people can jump around and get wild to. People can sing at shows and have fun. I want people to sing along so they feel as much a part of the show as we are. I love doing house shows, shows without barricades, floor shows.”
There’s a beautiful authenticity in Beartooth’s music, which is the result of Shomo’s simple intention: to write songs for the sake of writing songs. There is nothing calculated, nothing crafted for mass appeal. It’s simply the truth of his experiences and emotions.
“Red Bull has been backing whatever I want to do musically which has been really refreshing,” Shomo says. “There isn’t any pressure to write certain types of songs or to have a certain sound. I don’t go into my basement thinking, ‘OK, I’ve got to write a pop song’ or ‘I’ve got to write a heavy song.’ The songs are what they are and are allowed to be whatever comes out of me. Beartooth ends up having a lot of dynamics that way, a lot of diversity. I never want to make a record that becomes boring.”
In the early hours of New Years Day 2013, a radio astronomer at the Allen Telescope Array in northern California discovered a mysterious signal emanating from a star within the Ophiuchus Constellation.
Contained within the signal was a Message–of human origin–foretelling the details of man’s imminent demise. The Message was brought to The Starset Society, who quickly realized the importance of its immediate publication.
Risking extreme danger, The Starset Society commissioned a group of musicians and scientists to assist them in spreading the knowledge to a broader audience. This group became known simply as STARSET.
Please hold. STARSET will begin the TRANSMISSION of the Message to the public shortly.
ignorance : slavery :: knowledge : power
Fozzy has always been about a heavy groove and a good time. And when you have two high-energy performers like Rich Ward and Chris Jericho (it’s debatable on who jumps higher onstage) in the band, grooves and good times come easy; but these guys aren’t just entertainers. Ward is one of the most versatile and underrated riffers in rock and metal today, who has created his own style of heavy riffs, melodic choruses and the Duke groove…oh that crushing groove! And Jericho’s singing ability and overall passion for music makes one wonder just how he is able to find the time to excel in pretty much everything he does. It was these qualities that pushed the band to become one of the hottest up and coming rock acts of the past five years.
After the release of 4 studio albums, each more successful and critically acclaimed than the last, it wasn’t until 2012’s “Sin & Bones” that the band started to hit their stride. Jericho was winding down his involvement with the WWE, the band was touring more, with their live show reputation growing stronger than ever. The entertainment, the fun factor, the showmanship and most importantly, THE SONGS, were all there in full force. After touring all of 2012-13 with Metallica, Shinedown, Avenged Sevenfold and Saxon, the band saw their fanbase grow and diversify.
After their hugest charting (#54 on the Billboard 200) and most successful record, 2014’s “Do You Wanna Start A War” and subsequent tour finished at the end of 2015, the band began focusing on taking their future to a new level creatively and enlisted critically acclaimed song writer Johnny Andrews to produce the new record. With Andrews, Ward and Jericho (the team who created Fozzy’s highest charting single “Lights Go Out”) at the helm, Fozzy spent 2016 crafting their new masterpiece for a spring 2017 release.
“After the huge success of the Do You Wanna Start A War record and the tour that followed that saw us share the stage w such incredible bands as Kiss, Slash & Myles Kennedy, BuckCherry and Theory Of A Deadman, we decided to take 2016 off to recharge and write songs. But now WE’RE BACK with our best album EEEVVVEEERRR and are so excited to destroy stages all across the globe again! There is nothing like playing FOZZY rock n roll to our amazing friends worldwide and watching you guys smile, laugh and have a blast…after all, isn’t that what rock n roll is all about? We believe that there’s only three things you can count on in life: death, taxes and the fact that if you come to a FOZZY show, you are GOING to have a great time!! That’s the FOZZY money back guarantee…”- Chris Jericho.
Power Trip executes music with raw energy. They’ve trimmed the fat on every reference they pull from – whether that’s Hardcore, Metal or Punk – to make music that actually cuts in 2017. Hailing from Dallas, the band have toured the world relentlessly for years. Their musical proficiency, perfect song structure, rich tones, fierce riffs, delivery and collective attitude has seeded them as one of today’s most prolific acts in any astute or heavy genre. Power Trip boldly surprise their broad fan base by performing alongside less obvious artists – closing the gap that in 2017’s social climate desperately needs to be filled. One month you can catch them playing with Title Fight, Merchandise or Big Freedia, the next you can catch them on a long tour with Napalm Death or Anthrax. They’re a powerful storm of aggression, gaining more and more momentum with true, honest spirit.
Nightmare Logic has taken Power Trip’s classic Exodus-meets-Cro-Mags sound to new places. With hooks and tightness rivaling greats like Pantera or Pentagram and production by the esteemed Arthur Rizk, Nightmare Logic punishes fans not only sonically but with pure songwriting skill. The sophomore release and second on Southern Lord Records, raises the bar and pushes Power Trip to new extremes. Since 2013’s Manifest Decimation, the band admits they’ve not only gotten better at their instruments, but have also reinvented their songwriting process into a more nuanced and clever system. The shift shows on this record and does so without losing any of the aggression so essential to the band.
Gale’s lyrics reflect that aggression by honing in on the devaluation of human life by those who’ve gained power through money and politics. By creating a broad dissection of human suffering above reproach from personal agendas, the lyrics attempt to unify and inspire listeners. Coming from the hardcore world, where every band vaguely fights “the man”, wants to live free and break down the walls, Power Trip noticeably stands out. Instead of skirting around the fetishization of fighting back, Nightmare Logic focuses in on real oppression felt by many all over the world, whether that’s fighting addiction and the pharmaceutical industry (Waiting Around to Die) or right-wing religious conservatives (Crucifixation). Taking cues from Discharge and Crass in Margaret Thatcher’s UK, Nightmare Logic delivers poignant social information directly into those homes engulfed in the sour turn of global politics towards right-wing agendas. Touring the world on Nightmare Logic, Power Trip will play to scenes much further outside the bubble of contemporary underground punk music than any other current band, all while pushing the envelope of the modern punk ethos.
Nightmare Logic hits stores February 24th on Southern Lord Records.
Whether you’re a man or a woman, chances are you’ve heard the phrases ‘man up,’ ‘be a man’ or ‘take it like a man’ at one time or another. We all have. Butcher Babies took that old school goading and transformed it into the inspiration at the core of their second full-length album, Take It Like a Man [Century Media Records].
“We all come from different places and backgrounds, but every member of this band had to fight to be the person he or she is today,” affirms co-vocalist Carla Harvey. “That’s the whole basis for the record. It’s not a gender thing. It’s the inner strength you have to find in order to pull your boots up and keep moving forward, whatever the situation may be.”
The group—Harvey, Heidi Shepherd [co-vocals], Jason Klein [bass], Henry Flury [guitar], and Chris Warner [drums]—literally never stop. For the unfamiliar, Butcher Babies rose up out of the Los Angeles scene by throwing down a blood-soaked live show rife with the fierce theatricality heavy metal had been missing for quite some time.
Their 2013 debut, Goliath, landed at #3 on Billboard’s Heatseekers Chart, while the quintet charged across North America. Night after night, they delivered aggressively unforgettable performances alongside the likes of Marilyn Manson, Danzig, and In This Moment and on the Rockstar Mayhem Festival with Rob Zombie and Five Finger Death Punch.
Following up this whirlwind of touring, they hunkered down at a Hollywood Hills studio with producer Logan Mader [Gojira, Fear Factory] to cut what would become Take It Like a Man in November 2014. The structured 10am-6pm daily sessions allowed the group to amplify their attack exponentially.
“Goliath was written over a lifetime,” says Shepherd. “We went out to prove something. However, it wasn’t as heavy and thrash-y as we knew we could be. We wanted to embrace that side. We’d been touring for almost four years straight, and we saw what the fans liked. This is more us.”
While penning lyrics, Shepherd and Harvey also opened up like never before. Blatant, brutal, and (sometimes) belligerent honesty was the only rule.“You have to dig to get that emotion out,” sighs Harvey. “Metal heads can sense authenticity. They know when you’re real. Everything we write comes straight from the heart and our own experiences. It’s not cookie cutter bullshit.”
“Many times, Carla and I would be going over ideas together and be on the verge of screaming or crying as we literally extracted feelings we’d suppressed from childhood,” admits Shepherd. “There were a couple of songs that came from really dark places in our respective pasts. We turned those negatives into positives.”
As a result of that cathartic process, the first single “Never Go Back” pairs a bruising riff with the girls’ haunting and hypnotic harmonies as a darkly catchy refrain takes flight. “It’s written for anybody who has had that moment in their lives where they feel like, ‘I’ve been stuck in this place, and I’m finally free of it. I’m never going back!’” declares Shepherd. “You could base it on a relationship, but it could be any bad situation in life you’re finally free of.”
“Gravemaker” begins with an ominous hum before slipping into polyrhythmic assault and battery fueled by the girls’ growls. “That’s an important one,” explains Shepherd. “You go on tour and kids will look up to you like you’re a god. On the inside, you think, ‘We aren’t those people. We have flaws. We have things that will ruin others.’ It reminds everyone we’re normal.”
Elsewhere a delicate clean guitar opens up “Thrown Away,” simultaneously showing Butcher Babies at their most vulnerable and vibrant. “It’s beautiful,” Harvey goes on. “In this lifestyle, you go from city to city like a ghost. You walk through these towns, play shows, make people happy for a small period of time, and you leave like a ghost again. Your whole family is at home, and you’re out on the road. There are moments at night when you feel completely disenchanted and lost.”
At the same time, they find empowerment in the music, literally confronting abandonment and abuse on the searing “Dead Man Walking.” It also ignites the titular line—Take It Like a Man—like an atom bomb. “The lyrical content is so personal for us in different ways, but it’s similar,” says Shepherd. “Carla’s dealt with abandonment from her father, and I dealt with abuse from mine. It’s about how that changed the course of both of our lives. It’s extremely emotional to put ourselves back into those suppressed memories.”
That openness has already turned countless fans into believers. Take It Like a Man espouses an inspiring final word. “We want to coerce feeling,” Shepherd leaves off. “If you’re a musician who does that, you’ve succeeded. We just want to inspire anyone who listens to us—and melt their faces off.”
Nothing lasts forever. All things decay, all things change. The mightiest empires crumble to dust as their kings bleed. Forever, it would seem, is unobtainable.
Code Orange, with their new studio album, seek to obtain the unobtainable; pushing against every boundary, shedding every label. The band has grown immensely, and yet still retains the distinct edge and harshness that has become their caustic calling card. Ever defiant, Code Orange breaks any mold and refuses to be easily defined.
Recorded with producers Will Yip at Studio 4 in Conshohocken, PA and Kurt Ballou at GodCity Studios in Salem, MA, FOREVER is an album without limits. Jami Morgan (Drums / Vocals), Eric Balderose (Guitar / Vocals), Reba Meyers (Guitar / Vocals) and Joe Goldman (Bass) pushed themselves to create something wholly unique and startling. “We don’t just jam out and make an album. It’s meticulous. It’s hard. It’s a lot of hours. It’s a lot of frustration,” Morgan remarked of the experience. “It took a lot of effort, but we wanted to create something that, when I put it on my headphones, I just knew. There was no doubt that this was it. If there was doubt, we’d scrap it and we’d do it again. It was tough getting it all to fit together, but when it did it was beautiful.”
The easy route would have been for Code Orange to simply make another record like their 2014 breakthrough, I AM KING. It would have been easy to just enter the studio and churn out the same old thing, but for Code Orange, easy is never an option. “We aren’t just making records to make records. When you start doing that, you’re everyone else,” Morgan said. “We’re built on not doing the same old shit. When you put on a Code Orange record, you don’t know what you’re gonna get. You know it’s gonna be painful, that’s it.”
The contrast between beauty and pain is prevalent throughout FOREVER. The album’s title track is a sludge-fueled nightmare that pummels the listener; it’s Code Orange at their heaviest. Moments later, melody and hints of gracefulness enter with Meyers’ striking vocals on the song “Bleeding in the Blur,” only to be ripped away a track later during the electronic hellscape of “The Mud.” FOREVER is consistent only in its willingness to change and shift.
“We just take it further, but keep it brief,” Morgan stated of the record’s more transcendent moments. Beauty and grace leak through, but are crushed under the weight of the band’s sonic assault. “We want to keep it painful, because we’re not post. We’re not post anything. We’re current. We’re now.”
Of the new album, Rolling Stone said, “FOREVER captures some of the most punishing noise the band has recorded to date, featuring songs rife with sudden transitions to still-harsher textures.” The Nerdist added, “There’s growth here, for sure, but that unmistakable Code Orange sound is still present and pounding you into submission.”
Nothing lasts forever, so Code Orange is content to live in the moment. All they want is to challenge themselves and those around them. To push every button they can. To cause some mayhem and see some blood.
“For us, it’s about reinforcing that we are the four. We’re Code Orange,” Morgan declared. “We’ve been Code Orange since we were fourteen years old.”
New Years Day
NEW YEARS DAY follow in the dark tradition of tragic high-drama and grand theatricality embodied by the hitchhiking ghosts of Disneyland’s Haunted Mansion, the churning emotional smolder of HIM, iconoclastic bombast of Marilyn Manson and the savage flamboyance of Motionless In White. Gothic vampirism, heady fantasy and an adventurous spirit akin to Alice tripping through the looking glass swirl within New Years Day, led by the charismatic thunder of Ashley Costello.
Strikingly confident, dangerously disarming and hauntingly beautiful, Costello grabs the mantle laid down by iconic larger-than-life performers like David Bowie, Amy Lee and Shirley Manson, belting out increasingly malevolent cries with power while maintaining a heeled boot-hold in the pop-punk catchiness of dark muses like Alkaline Trio.
New Years Day is heavy, bold and emotional, challenging social media bullies and championing gloominess and melancholy in an empowering way. Costello is a more confessional singer than ever, too, opening up about issues like family and self-worth. The songs swing and bounce with an almost radio anthem certainty, while eliciting head banging with crowd-moving crunch in equal measure. Catchy, gritty, primal guitar riffs collide with the electro-influx of neo-industrial rock like White Zombie and Marilyn Manson, all with an eye toward memorability.
There’s an immediate, jarringly authentic punk-rock chaos about New Years Day, an attitude of challenging, scrappy contrarianism against a backdrop of charming vulnerability. The sensitive melancholy in their music and imagery, coupled with a self-assured trumpeting of the pushed aside and the broken, has resulted in a new and unique tsunami that has thrilled crowds at Vans Warped Tour and in sweaty clubs with Motionless In White, Escape The Fate and Combichrist.
The band’s earliest work threatened to give Panic! At The Disco and Taking Back Sunday a run for their money, but ultimately, New Years Day was beckoned by darker callings. Songs like “Two in the Chest, One in the Heart” and “Let’s Get Dead” from The Mechanical Heart EP alerted the world to New Years Day’s burgeoning abilities, which were cemented by their first album for Century Media.
Produced and mixed by Erik Ron (The Word Alive, Motionless in White), Victim to Villain maintains a 5 star user rating on Amazon.com, and with good reason. Standout tracks like “Do Your Worst” and “Angel Eyes” pickup the blueprint laid down by the prior EP and supercharge it.
The Epidemic EP further crystalized New Years Day as a force to be reckoned with, pointing the way toward an even more triumphant future.
Costello has assembled a band around her that shares not only her artistic vision, but her steadfast determination to succeed against the odds, as well. The lineup exudes a glamorously inviting mystique with unique personas, not unlike the separate but unified characters played by the members of Kiss and Slipknot.
The New Years Day audience is heavily made up of all genders, including a legion of young women who identify with the balance of strength and femininity inherent in Costello’s overall stage presence and personality. Costello commands the overall environment as swiftly as she belts out her lyrics, delivered with deep feeling, the experience of someone who’s been singing since the age of 13, and a sense of yearning. She’s someone who had her favorite bands’ posters on her bedroom wall, just as her fans have her picture glowing from their smartphones.
As UK hard rock tastemaker Rocksound rightly pointed out, New Years Day is to be cherished for their “admirable bite and sharp hooks laced with a plentiful amount of scene pomp.”
British mainstay Metal Hammer cheerfully agreed: “They’re on a mission to make rock n’ roll theatrical again and have one of the most formidable young frontwomen in their ranks. Get ready for the unstoppable, spooktacular rise of New Years Day.”
Greta Van Fleet
Firing twin barrels of arena-rock muscle and moving melodies, Greta Van Fleet is a modern rock & roll band rooted in the genre’s strongest traditions: super-sized hooks, raw riffage and the sweeping vocals of a front man who was born to wail.
The four-piece formed in Frakenmuth, Michigan, just outside of Detroit, where 20 year-old twin brothers Josh and Jake Kiszka began playing shows with their 17 year-old younger brother, Sam, and 17 year-old family friend Danny Wagner. Holding their practices in the Kiszka family garage and road-testing their songs onstage throughout Michigan, the four became a band of brothers whose songs mix classic chops with the thrill of teenage angst.
From sing-along choruses to fiery guitar solos, Greta Van Fleet rounds up a highlight reel of rock & roll heroics. These guys aren’t revivalists; they’re looking ahead, breathing new life into a sound that’s blasted out of car dashboards and living room stereos for decades.
If you’re not pissed off, then you’re not paying attention. Heavy music is alive and DED is bringing back the aggressive spirit that is authentic to the genre. “There is an honesty and a “fuck you” about hard core music that I don’t feel as often anymore,” says lead singer Joe Cotela. DED is loud and aggressive – but it serves as a positive outlet: the band produces an unapologetic sound that draws from the art of fantasy and expressive screams.
DED was born in the music scene of Phoenix, Arizona and has been together for 2 years. Band members Joe Cotela (Vocals), David Ludlow (Guitar), Kyle Koelsch (Bass), and Matt Reinhard (Drums) developed a friendship and ultimately a musical partnership that mixes horror and dark imagery to develop a familiar, yet unique sound that sets them apart from other bands. Cotela says “With our music – we want to make the listener feel like how you feel after you’ve watched a really good horror movie – on edge, jittery… And very much alive”. They incorporate these volatile elements into their lyrics – with the hopes that it will breathe new life into the hard core genre. Imagine an inspired take on outward thinking that transcends screaming, and low tuned riffs. Their sound is meant to “be in your face and tell it like it is”, while paying homage to Korn and Pantera, who served as early inspirations. DED are also influenced by more recent bands like Slipknot and Bring Me The Horizon. This is modern hard rock & alt. metal that goes beyond anger – including themes like existentialism and ego in everyday life.
The band’s work ethic, drive, and dedication led them to record an EP that quickly made the rounds of the music industry, and started a buzz that opened doors. Using that as a springboard, the band hit the road and toured with Beartooth, Asking Alexandria, Atreyu, Every Time I Die, Upon a Burning Body, The Acacia Strain, John 5, Powerman 5000,and Insane Clown Posse among others.
Their touring helped grow awareness in the business and brought them to the attention of producer John Feldmann (Disturbed, Blink-182, Beartooth). Their collaboration with Feldmann culminated in the band signing with Jordan Schur @ Suretone Records – who discovered and grew the careers of platinum rock acts Staind and Limp Bizkit, among others. Suretone released their first track “FMFY” in December 2016, with their debut single “Anti-Everything” began to impact radio this February and is steadily climbing the charts. The band’s first full-length album MIS•AN•THROPE is slated for a July 21 release.
If HR Geiger’s art work had a soundtrack, it would be DED. Hard core music bands aren’t cannibals anymore and DED aims to shake fans out of stagnant silence and carve out the sound of today. The band has signed with CAA for booking, and will be hitting the road in early 2017 in support of the upcoming releases. Dedication and hard work have paid off – and the sky’s the limit for DED.
“Genius might be the ability to say a profound thing in a sim ple way.” – Charles Bukowski
Black Map creates music driven by the pulse of their early genesis as a trio who packed itself into a rehearsal room with pure intentions, a 12-pack and a boundary-smashing lack of prohibitions or rules. Their commitment is to each other, to what feels right; to meditation on big riffs that lurch and churn, dripping with atmosphere, powering bold and evocative statements.
Strip away pretension, forego the focus on shiny perfectionism, and the heavy rock roots of massive guitars, drums, bass and vocals evoke primal feelings and channel universal urges more complicated styles seldom touch.
They say the road to hell is paved with good intentions, but in the case of Black Map, the destination beckoning from within the soundscape of their songs is someplace much less literal, ‘though no less devilishly foreboding.
Black Map is the union of three established Northern California rock musicians, driven by a shared dedication to big riffs, big drums and powerful, straight-ahead, all enveloping rock n’ roll. Black Map consists of the versatile voice and walloping bass groove of Ben Flanagan (Trophy Fire), the wall-of-sound big riff histrionics of guitarist Mark Engles (dredg) and the unstoppable driving force and tasteful skill of drummer Chris Robyn (Far).
Their visceral approach turned the heads of the people who connect with the atmospheric hard rock of Deftones and Tool, the melancholy beauty of A Perfect Circle, the cerebral yet primal drive of Baroness, with a definitive knack for the melodic and delicate, from the Cardigans to Elbow, and even the theatrically dramatic, from Peter Gabriel era Genesis to Pink Floyd.
A few songs became a few shows and an EP which begat a debut album, …And We Explode (2014), which featured the buzzy single, “I’m Just the Driver.” The metaphorical “black map” of the band’s steadily building catalog and dedicated following led them to secure live performance spots alongside the mighty Chevelle, multi platinum rockers Bush, Circa Survive, and Highly Suspect in addition to multiple club shows as a headlining act.
Bloody Disgusting describes the band as “a unique mixture of A Perfect Circle, Helms Alee, and even dashes of Death Cab For Cutie.” Revolver breathlessly premiered their debut album, …And We Explode, in 2014. The New Fury complimented the record’s driving riffs and “absence of filler.”
Black Map returned to the studio with producer Aaron Hellam at Oakland’s Hellman Sound and created an ambitious but no less intense sophomore set, a boundary smashing, downtu ned heavy rock slab called In Droves.
Songs like “Run Rabbit Run,” “Foxglove,” “No Color,” and “White Fence” are united in a lyrical exhortation toward staunch individuality in the face of soul-crushing conformity. These are songs that challenge listeners to focus on what makes them unique as people, to shake off the gloomy dystopian results of mass groupthink, to actualize and harness one’s own humanity.
As they continue forward, ever united in that original pureness of intentionality, Black Map covers bigger ground. Bursts of ambience and mellow contemplation compliment the broadly shaped melodic noise. Unafraid experimentation gives way to a strong dichotomy, to new elements, all within that original structure of Black Map’s monster riffing.
Sonic treasure hunters who study Black Map will find themselves transported to the spirit of the early 90s rock resurgence, when bands jettisoned the superficial fluff of the previous decade without wandering too far into dense pretension and delivered authentic and heavy music. Black Map combine flourishes of beauty alongside the bombast and a modern sensibility that nevertheless will not sacrifice its raw realness.
He Is Legend
Belief can be a powerful thing. When shared even among a small group, possibilities remain endless.
That brings us to He Is Legend’s fifth full-length offering, few [Spinefarm Records]. The communal faith belonging to a cadre of musicians, artists, and fans brought the collection to life. That’s why the title, a nod to Madame Helena Blavatsky’s occult treasure The Voice of the Silence, feels so cosmically apropos for the Wilmington, NC quartet—Schuylar Croom [vocals], Adam Tanbouz [lead guitar], Matty Williams [bass], and Denis Desloge [guitar].
“This is dedicated to the people who supported us through everything,” declares Croom. “I was inspired by the words of Helena Blavatsky. She’s basically the godmother of the occult, and she dedicated one of her books to the few. Basically, that means the few that follow the way. I thought it was very fitting for what we do. It took just a few artists and a few thousand of our fans to come through and say, ‘Fuck yeah, we want you to do another record.’ We left it up to them.”
In 2015, He Is Legend wrapped up a marathon tour cycle for 2014’s triumphant Heavy Fruit with the likes of Maylene and the Sons of Disaster and Wilson. As songs like “This Will Never Work” cracked 370K Spotify streams, Heavy Fruit elevated the group to a new plateau with acclaim from Alternative Press, Revolver Magazine, L.A. Music Blog, New Noise, Ultimate Guitar, and many more.
Returning home, the boys allowed their audience to make a decision on what would become album number five…
“We started a crowdfunding campaign on Indiegogo,” Croom goes on. “If we met the goal, we’d do it. If not, we wouldn’t. It was all or nothing. The response was pretty overwhelming. We found new life, energy, and creativity in this as a result.”
With unique incentives like smoking jackets, amulets, and action figures, He Is Legend impressively raised 124% of their goal. During December 2015, the band retreated to a remote cabin in Carrboro, NC just 20 minutes from Warrior Sound: the studio where they cut both Heavy Fruit and It Hates You. The snowy setting and isolation instigated inspiration within Croom.
“The cabin was really pivotal for us,” he says. “There was no cell phone service. The couple that owned it had dogs and cats roaming free. It’s this nice place literally in the middle of nowhere. Rather than turning on the TV at night, we’d be sitting around a fire to stay warm drinking wine. It brought an element of darkness out of me. I was in a strange place, dealing with some personal and family issues. I channeled that as I was stuck in the snow lonely. There was this longing for summer. In my eyes, the cabin had more to do with this music than we would readily admit.”
This time around, the guys produced few with Warrior Sound owner Al Jacobs. They amplified every element of their signature style. Summoning ghosts of White Zombie, Soundgarden, and Nirvana, the riffs hit harder, the lyrics cut deeper, and the rhythms stick longer.
“We tried to go for a minimalist approach,” he goes on. “We wanted to focus on all of the aspects we’ve ever brought to the table. There was a lot of anger and hostility in the music. That mainly came out of us redefining what we used to do really well. Our sound has changed a lot over the years, but that’s important for us to grow. Our fans expect us to morph a little. There’s a little bit of all our previous records in this.”
few takes flight on the hypnotic guitars and haunting harmonies of opener “Air Raid.” It quickly blasts off into a gut-punching slam and powerful chant, “I don’t know why she’s out of breath at the door of death.”
“‘Air Raid’ hits you like the fucking end of the world,” he exclaims. “It’s pretty self-explanatory as far as the lyrics go. It’s about how the earth wants humans to be gone. We’re a fucking cancer. It could shake us off like a dog shakes off flees. It’s as political as I’ve ever gotten.”
“Sand” snaps into a barrage of distortion and percussion before slipping into one of the set’s most unforgettable choruses. “It’s the shortest song,” he continues. “It’s a banger that gets in and gets out. Lyrically, it’s about personal issues in my life I’ve been facing for a while.”
Elsewhere, the psychedelic elegance of “Gold Dust” unlocks another facet of the fours-piece. “That might be my favorite song,” he admits. “There’s always one song that pushes where we are and shows where we could go next—or might not ever go again. I used a lot of imagery from a story that a friend told me. He ate mushrooms and had a spiritual awakening. I wrote from his experience and weaved some of my own into it. It’s about trying to see again what you’ve seen when you’re under the influence.”
Completing the album, He Is Legend found the right partner for release in Spinefarm Records. Now, few are about to become many in 2017.
“I want fans to feel like this album is theirs since they were ultimately responsible for it,” Croom leaves off. “We had to make it perfect for them. It’s important for us to hug them and say thank you as much as possible. We accomplished something great through having a cult following that wanted us to continue. I think it’s important for people to know that and see this came to life because of them.”
THEM EVILS are a late-night joyride through rock and roll’s seedy underbelly. Born in the shadows of neon vice and nocturnal living in Las Vegas, nurtured by the proximity of Hollywood’s famed Sunset Strip, and cradled in the same Orange County, CA home that has become synonymous to punk attitude and hard-driving rock history, the leather-and-black clad trio pen unapologetic songs that bristle with a nasty energy befitting their name.
Inspired by equal parts of rock giants like Led Zeppelin, AC/DC, and Queens Of The Stone Age, among others, guitarist/vocalist Jordan Griffin, bassist Jake Massanari and drummer David Delaney pay tribute to their roots with every crushing note on their latest self titled EP, a 4-song homage to the unholy goodness that is THEM EVILS.
“We pretty much made our own scene,” Griffin says. “We started out doing straight up rock and roll, and that’s what we’re still doing… that said, we’re always evolving.”
Griffin and Massanari moved to Orange County, CA from Las Vegas in 2013, with nothing else to fall back on. It was there they met Delaney – the final piece of the THEM EVILS puzzle they’d been trying to complete for years. Two EPs later (their self-titled release and the lineup’s Cold Black Love debut) they are set to embark on their longest tour to date, which includes a fall headlining jaunt set to run directly into a full tour in support of The Pretty Reckless.
Buckle up, this is gonna be one hell of a ride…
PALAYE ROYALE is a FASHION ART ROCK BAND. Toronto, Canadian born Palaye Royale members are Remington Leith (lead singer), Sebas?an Danzig (guitar-organist) and Emerson BarreB (drums) whom are brothers from Las Vegas they are set apart by their arNstry & integrity. They are “indie” in every sense of the word; completely “hands–on” from their words & musical arrangements as well as direcNng & producing their own music videos, to handling their own social media. The band’s look, feel and authenNc style makes them stand out while they remain true and pure to their music. Palaye Royale’s musical output is primarily based around the rock genre, with some classical influences and bring their theatrically charged fashion-forward art rock to life in vivid and vibrant Technicolor.
Palaye Royale made history being the first unsigned band ever to win a fan voted MTV Award. Their fans “Soldiers Of The Royal Council” voted around the clock beaNng out bands like Coldplay, Linkin Park, 30 Seconds to Mars and Tokio Hotel. The bands first radio single is on the American Music Charts “Get Higher” is this week at #43 … no wonder the song is climbing the radio charts as it was the song that launched Samsung’s global commercial Campaign. Palaye Royale received their first AlternaNve Press APMA nominaNon of being the “Best Underground Band”.
Palaye Royale enNre Boom Boom Room , Side A record is in the Iconic Rock n Roll movie “American Satan” coming out in October on Friday the 13th, 2017. Remington Leith’s one of a kind rock vocals are featured in all songs that Andy Black’s (from Black Veil Brides) character lip syncs to throughout the movie..
The band is currently on the road touring naNonally to support their debut record “Boom Boom Room , Side A” Palaye Royale has played over 330 shows , while successfully doing sold out VIP acousNc experiences for fans prior to their show daily.