And Christy For All…

By: Shawn Macomber Posted in: featured, gnarly one-offs On: Thursday, August 7th, 2014

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Howard Stern Show regular, Charred Walls of the Damned drummer, Halloween enthusiast, and Decibel contributor Richard Christy sure does get around. A few months ago I saw him sit in with Stryper for “Sing Along Song” at Terminal 5 in New York City — clad in a sweet vintage To Hell With the Devil shirt, no less — and now comes video of the man jamming with Kirk Hammett and Robert Trujillo of Metallica as well as other luminaries at the Fear FestEvil after party.

Check out a stuff-of-legend video of Christy and crew slaying “Jailbreak” below…

And, after the jump, a picture of the aftermath…

Decibrity Playlist: Young Widows (Part 1)

By: zach.smith Posted in: featured, interviews, listen, lists On: Thursday, August 7th, 2014

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Given how well our last and only playlist from a Louisville native turned out courtesy of Coliseum’s Ryan Patterson, we had high hopes for one from his brother and fellow Derby City dweller Evan. While the former focused solely on Killing Joke and caused me to listen to “Total Invasion” on repeat for months, the latter focused his energies on dark country and folk. Not surprisingly, Young Widows‘ guitarist/vocalist did not let us down. In fact, he gave us such an extensive list of picks that we’ve split his tome into two parts. We’ll let Evan take things from here:

“When asked to make a playlist for Decibel, I thought about all the music I’ve been affected and inspired by. I thought about Crime & the City Solution’s record Shine, Swans’ Soundtracks for the Blind, Angels of Light’s We Are Him, Mark Lanegan’s Bubblegum, Iggy Pop’s The Idiot, Love and Arthur Lee’s entire catalog and their dark crooning voices. I thought about Tangerine Dream’s Sorcerer and Phaedra, Throbbing Gristle’s Greatest Hits, Silver Apples’ first record and Ennio Morricone’s vast collection of film scores. Then I thought about the dark county and folk records that I’ve been collecting the past few years.

Being from Louisville, Kentucky, I’ve always strayed from or, even better, rebelled against giving these genres of music any of my direct attention. Louisville is somewhat of a subcultured island in a sea of suburban families and farms. These surroundings could make a young punk downright despise country and folk music, but I have true love of all music and don’t align myself to just one club.

Most of these records were found and/or discovered through hours of digging through 45s at a hole-in-the-wall record store called Highland Records that carries exclusively used vinyl. The owner of the store chain smokes and complains about ‘the kids these days,’ but when I ask him to play a stack of singles that I’ve never heard before, he perks up and rattles off a good story about damn near every song. Every Saturday and Sunday, the owner shuts down the shop and heads 20 miles east to Simpsonville, Kentucky to run his all-vinyl flea market booth. The Simpsonville booth has an even larger selection.

After researching my selection of songs for this playlist, I discovered a strong connection between many of these singers and songwriters. In particular, Lee Hazlewood seemed to have his finger on the pulse of exceptionally odd country music. From a time when 7″, 45 rpm, two song singles could make or break an artist, here’s my dark country and folk playlist in chronological order. Enjoy.”

You can pick up a copy of Young Widows’ latest record Easy Pain–which includes two songs that Nick Green described as having “the kind of chimerical Frankenstein inventions that used to only reside in Napoleon Dynamite’s sketchbook or soda fountain ‘suicides’” (one of my favorite sentences in ten-plus years of this magazine)–here.

Sanford Clark’s “The Fool” (from 1956′s “The Fool”/”Lonesome For A Letter” 7″ single)
Luckily for Sanford Clark, Lee Hazlewood was around to write songs for him. “The Fool” maybe should have been the b-side to Elvis’s single “Jailhouse Rock”. It was released the same year and Elvis did eventually end up covering the song. This single was reissued and became Sanford Clark’s most well-known song. Though this version still stands high above the Presley version, Sanford Clark didn’t find much success beyond being a support act for Roy Orbison. Hazlewood and Clark went on to make two albums together on Hazlewood’s record label.

Bonnie Guitar’s “Dark Moon” (from 1957′s “Dark Moon”/”Big Mike” 7″ single)
I’m a sucker for a song about the moon. Bonnie Guitar strutted in just after Patsy Cline paved the way for women in the country music world. Bonnie Guitar can do no wrong, she generally rides the same mood throughout most of her songs. “Dark Moon”, written by Ned Miller, was Bonnie Guitar’s second single and was covered by many classic country crooners, such as Jim Reeves’ hit version.

Red Kirk’s “It’s Nothing To Me” (from 1957′s “It’s Nothing To Me”/”How Still The Night” 7″ single)
Originally written by Leon Payne under the pseudonym P. Patterson. Payne also wrote the gruesome murder ballad “Psycho” and the classic country hit “Lost Highway”, made famous by Hank Williams and covered by many, many others. Loy Clingman was the first to record “It’s Nothing to Me” and Red Kirk was the second. A simple story about a bar fight gone fatal, written from a postmortem perspective. Sanford Clark recorded a Lee Hazlewood produced version in 1967 under the pseudonym Harry Johnson. Much later, Hazlewood recorded his own version on his last album, Cake or Death.

Tex Ritter’s “Bury Me Not On The Lone Prairie” (from 1960′s Blood On The Saddle)
Yes, Tex is John Ritter’s father. Yes, Tex was also an actor. Unlike John, Tex was a country music singer. This song is from his album Blood on the Saddle, and the album has a unique tongue-in-cheek sense of fictional western darkness and horror, unlike any other than I’ve heard. Tex moans his way through this song and about halfway through, I almost get reeled, believing that maybe he did live the life of cowboy.

Tommy Tucker’s “Miller’s Cave” (from 1960′s “The Stranger”/”Miller’s Cave” 7″ single)
Tommy Tucker lived a unlucky life. After recording a few singles, this being one of them, he spent some time in prison for a deadly drunk driving accident. Soon after his release, he died in a house fire due to falling asleep while smoking in bed. He has not received much, if any, recognition as an artist. Though he didn’t write “Miller’s Cave”, he was the first to perform it. The song was later made famous by Hank Snow and has been covered by many others since. One cover in particular is by Gram Parsons’ International Submarine Band, which is thought to be the first country rock album, and put out by Lee Hazlewood’s record company.

Marty Robbins’ “Don’t Worry” (from 1961′s “Don’t Worry”/”Like All The Other Times” 7″ single)
Marty can sing. Almost a little too well for my taste, but when the fuzz bass makes an appearance in this song, I’m sold. Don’t expect to find similar instrumentation in any other of his vast catalog of songs. Supposedly, he wasn’t fond of the fuzz.

Lee Hazlewood’s “Look At That Woman” (from 1963′s Trouble Is A Lonesome Town)
“Look at that Woman” is from Lee Hazlewood’s first official full-length album as a singer, a storytelling concept album called Trouble is a Lonesome Town. This particular song is about his woman, or rather, his ball and chain. It’s a rough and humorous stereotype, but the rhythmic sample of dragging chains and the vocal drop at the end of the chorus is a one of a kind move that only Hazlewood can pull off.

*Stay tuned for Part 2 next week!

**Photo by Amber Estes Thieneman

***Pick up a copy of Young Widows’ Easy Pain here and check them out on the following dates opening for Minus The Bear:

10/21 Cleveland, OH – Grog Shop
10/22 Detroit, MI – Magic Stick
10/23 Chicago, IL – Bottom Lounge
10/24 Minneapolis, MN – Triple Rock
10/25 Des Moines, IA – Wolly’s

****For past Decibrity entries, click here

Low Fidelity: Haunted House Summers

By: justin.m.norton Posted in: diary, exclusive, featured On: Wednesday, August 6th, 2014

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Long before he took up residence in a pair of New Jersey record stores Krieg frontman Neill Jameson (aka Imperial) was a kid looking to make a buck during the long, hot East Coast summers. He found a job as a professional ghoul at a boardwalk haunted house in Wildwood, New Jersey. The Deciblog convinced Jameson to take us outside of the record store world for one episode of Low Fidelity and give us his thoughts on his summer job at Castle Dracula.

This fall promises to be a good one for Jameson. Krieg’s first album in four years Transient will be released by Candlelight this September (Chris Dick got the scoop). Some touring is likely in the works. And with any luck Jameson will share more record store stories in the future. But for now, to the boardwalk.

There’s something about summer that makes people nostalgic. I’m no different. More than a decade ago, I would spend fifteen hours a day wearing grease paint and a filthy robe while jumping out and scaring people in the hopes that they would empty their bowels. While this sounds like I was trying out for “Watain: The Musical” I was working at Castle Dracula, a two level haunted attraction in scenic Wildwood, New Jersey.

Built sometime in the 1970s using the finest stucco and plywood, the Castle stood on the boardwalk like a menacing sore thumb. In its heyday, it lured tens of thousands of customers a summer. It had two parts: the first were rooms where various types of frightening shit would happen according to a script that read like the finest plot points of 1970’s pornographic films between the naughty bits. There was a front room, a laboratory, an execution hallway and other displays with moving parts and sound effects. The other part was a downstairs boat ride that would take you from gory scene to gory scene. Costumed actors would jump out and pray you didn’t have good enough reflexes to land a punch. By the time I started working there in 1998, a lot of this was in severe disrepair but we managed to keep it going despite lack of air conditioning and Wildwood’s very lax view on drunks on the boardwalk.

I was obviously drawn to this place because I got paid to look like the first few Darkthrone covers and belligerently yell at people. Seems like a perfect match, right? Being nice to people was discouraged unless you were the poor sap who got stuck taking tickets. We were put on a rotation of what spots we were doing every night, mostly playing up our strengths and ability to memorize lines convincingly enough to scare small children.

Parents were the absolute worst; I can see how millenials have grown into the worst generation so far. The parents would pull you aside and ask you to pay close attention to their five-year-old, the one with asthma and a heart condition. Sometimes, if they were really paying attention to their Dr. Spock books, they would tell you their child’s exact phobia. Other times, we’d catch wind of someone’s name and then use it in one of the speeches, to fantastic results. I never got tired of seeing a grown adult who somehow believed we were fucking monsters. We had people faint, fall paralyzed or just lose their shit like they were being tortured.

Or, they’d retaliate. Some of my earliest life experiences of Americans with a little booze in them acting like unrestrained children took place at Castle Dracula. In the downstairs boat ride you’d have guys stand up and try to get out and fight the displays, swing at the workers and, in special cases, just start pissing. It’s a lot harder to scare a standing man with a blood alcohol level of .09 and his dick in his hand than you would imagine. It was easier to move out of someone’s way in the basement but upstairs you had to guide groups of people through dimly lit mazes so it was difficult to dodge a punch.

One thing “The Jersey Shore” got right was the instinctual urge of the intoxicated frat boy to strike whoever is near them, usually the closest female. You’d also get the guy who was an impossible mountain of a man: thousands of years ago people would have written poems about how he carried six horses upstream during a flood to save a village. Yet this his man will scare easily in a castle made out of stucco on the boardwalk. He will also throw a haymaker that will have you planning your coworker’s funeral before they hit the ground.

Much like the record store you would get people who were avid fans (in this case, of haunted attractions). They would fucking ruin it for everyone else because they’d talk through the entire thing about the similarities to Bob’s Haunted Cave in South Dakota. Also like the record store, you would get your creeps who would harass the female staff and catcall during each scene. Finally, you got the people who would work to ruin the fun in a vain attempt to appear witty. If this were occurring today they would be filming themselves in hopes that their YouTube video would help land them a lucrative career as a public asshole. You would have to do your best to push through it and ignore them.

Places like this always have some kind of story or rumor attached to them; Castle Dracula was no different. Workers always claimed to see things when they were alone, shadows and red orbs. The one thing that was consistently working was the sound system and the recordings were really well done so it’s not a jump to figure that being in a dark room for hours on end with looping nightmare sounds is enough to trick you into thinking there’s a ghost. Other rumors included someone dying in the boat ride when it was a previous attraction and that our handy man was mute because he had his tongue cut out for being a mercenary.

We were sold to a water park in 2000 and the new owners demolished half of our building to make room for a fancy new waterslide that kids pissed in nonstop. The staff changed from younger, vibrant folks who got along and worked together to older, surly men and women with drinking problems and marks on the sex offender registry.

In January 2002, I turned on the TV to see Castle Dracula going up in flames. I didn’t really feel very much. I drove down the parkway and up to the boardwalk with a few friends and for a few hours sat and watched it burn. The space still remains vacant next to their water park more than ten years later.

A Spirit Wasting Away: Exclusive U.S. Premiere of Triptykon’s “Aurorae” Video

By: Shawn Macomber Posted in: exclusive, featured On: Wednesday, August 6th, 2014

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No need to fuck around too much here: Triptykon’s Melana Chasmata is an absolute beast of an album — a churning cauldron of clever invention and legit representation that expands the boundaries of a genre in pretty desperate need of boundary expansion. It is that rare release to which — whether one eventually loves or hates it — attention must be paid.

For confirmation check out our exclusive U.S. premiere of the video for “Aurorae” below, keep up with the band via Facebook, and be sure to check out Justin M. Norton’s stellar cover story from a few months back.

Sucker For Punishment: Godsmack Day Edition

By: Adrien Begrand Posted in: featured On: Wednesday, August 6th, 2014

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Happy Godsmack Day to all you Boston readers. You must be so darn proud.

Anyway, on with the show:

Alestorm, Sunset on the Golden Age (Napalm): What grades did the pirate get in school? HIGH SEAS!!!

Belphegor, Conjuring the Dead (Nuclear Blast): A merciless return to simple, blasphemous black metal, the Austrian veterans keep it quick and simple on this new album. Which is all well and good, it’s nice to see them re-energized after Helmuth’s typhus scare, and the band clearly knows exactly how an album this simple should be paced. My only gripe is that it lacks a couple tracks that truly pop out, but those craving honest-to-goodness extremity will likely get a kick out of this.

Blues Pills, Blues Pills (Nuclear Blast): Two years ago this Swedish band caught my attention with a debut EP that put a different spin on the whole Swedish proto-metal thing that was exploding. With more emphasis on blues and boogie rather than Pentagram/Sabbath doom ‘n’ gloom, and featuring a powerhouse singer in Elin Larsson, the music immediately set itself apart from the rest of the retro rockers out there. At long, long last, Blues Pills’ debut album is finally out, and it completely delivers on the promis of the previous EPs the band’s released. It’s devoid of frills, firmly rooted in Cream and early Fleetwood Mac, with Larsson adding welcome doses of soul to tracks like “High Class Woman”, “Jupiter’, and “Black Smoke”. What more could you want from a band like this? It’s one of the year’s finest.

Bolzer, Soma (Invictus): After percolating in the underground, the buzz surrounding the Swiss/New Zealand death metal duo grew steadily throughout 2013, thoroughly impressing yours truly at the Noctis fest last September. By 2014, the hype grew exponentially, with overflow crowds clamouring to witness the band’s formidable sound firsthand at Roadburn in April, and by the time they played to the American critical hive mind at Maryland Deathfest, that was it, Bolzer had officially exploded. Although the guys have yet to grace folks with a proper album, they’ve slapped together another EP follow-up to last year’s revelatory Aura, and this new music continues to refine that primal yet deceptively musical sound. For a duo Bolzer is able to sound towering, as the 12-minute epic “Labyrinthian Graves” is positively monstrous. However, the real advancement just might be the much shorter track “Steppes”, which is not only relentlessly punishing, but easily the catchiest song they’ve ever written. At the rate they’re advancing, if and when they actually create a proper album, it could be the most exciting death metal release in ages. Very big things are in this band’s future.

Cold World, How the Gods Chill (Deathwish): The Pennsylvania band might have a pretty good gimmick involving various cameo appearances by several rap artists, but at heart this is a fairly straightforward hardcore album, and in a good way, performed with ferocity and featuring blunt yet often startlingly eloquent lyrics.

Columns, Please Explode (Relapse): Grindcore songs that are smart enough to be catchy, yet at the same time make you want to hurl yourself into the nearest wall. Plus a terrific sense of humor. What more could you ask for?

Eluveitie, Origins (Nuclear Blast): By now we all know that every Eluveitie album will basically rip off At the Gates and toss in violin, penny whistle, and hurdy-gurdy all over it. But they do it exceedingly well, and those Celtic arrangements burst out beautifully on this latest album, which sometimes comes close to recapturing the magic of the band’s two breakthrough albums Spirit and Slania. Still, it would be nice to hear this band turn things down a bit – this album is horrendously loud – and simplify like on the superb Evocation I: The Arcane Dominion, but tunes like “The Call of the Mountains” and “From Darkness” will nevertheless go over extremely well in a live setting, as they always do.

Entombed A.D., Back To the Front (Century Media): The split between LG Petrov and Alex Hellid has resulted in yet another one of those stupefyingly dumb situations with neither musician willing to let go of the Entombed brand. Petrov’s version, Entombed A.D., does absolutely nothing to live up to his band’s legacy. Granted, Entombed hadn’t put out a great album in a very long time, but this effort is boring, tepid, and most troublingly, devoid of solid grooves.

John Garcia, John Garcia (Napalm): You can’t listen to an album by John Garcia and not hear Kyuss in it, but there are moments on this new solo album where you can hear the influence of Glenn Hughes-era Deep Purple, the broader heavy rock sound allowing for some singing from Garcia that sounds more soulful than usual. Highlighted by “My Mind” and “Flower’, this is a much more impressive record than last year’s release by Vista Chino.

Kix, Rock Your Face Off (Loud and Proud): It’s no Blow My Fuse, but it’s great to have these Maryland rockers back in action after all these years, playing music with plenty of raunch and energy on “Rollin’ in Honey” and “Love Me With Your Top Down”.

Mutilated Veterans, Necro Crust Warhead (Hells Headbangers): Look at that title, and note the record label. This EP sounds exactly like the title implies, and this being a Hells Headbangers release, it’s a total death crust scorcher.

Nachtmystium, The World We Left Behind (Century Media): Blake Judd got into so much trouble in the past year or two, burned so many bridges with people, that a lot of folks are ready to pillory this latest attempt to restore some credibility and respectability. Personally, I have no beef with the guy and have thoroughly enjoyed his music over the past decade, and contractual obligation or otherwise it’s good to see Judd (hopefully) cleaned up and focusing on music once again. In fact, this latest album, while not in the same league as the landmark Instinct: Decay or the Black Meddle albums, is nevertheless stronger than 2012’s Silencing Machine. Unlike that record, which was a full-on assault of black metal, the pace is a lot more measured on The World We Left Behind, simple, catchy riff patterns and groovy tempos allowing plenty of room for psychedelic-tinged melodies and Judd’s expressive vocals. True, the album tends to run a bit too long – something this simple doesn’t have to be an hour long – but based on the strength of such tracks as “Fireheart”, “In the Absence of Existence’, and the bluntly defiant “Voyager”, this is a surprisingly inspired effort. Maybe this’ll be the fresh start Judd needs.

Swashbuckle, We Hate the Sea (Get This Right): What do you call a pirate with two eyes and two legs? “Rookie.”

Unisonic, Light of Dawn (earMUSIC): Michael Kiske and Kai Hansen are meant to make music together. The singer and guitarist are power metal incarnate, and this follow-up to their 2012 reunion once again trounces anything Hansen’s Gamma ray has done lately. In fact, this album is a lot more consistent, combining classic heavy metal, flamboyant power metal, and streamlined hard rock very well, Kiske still hitting the high notes as strongly as he did more than a quarter century ago.

Wovenwar, Wovenwar (Metal Blade): The more you read about how convicted murder conspirator Tim Lambesis ran As I Lay Dying, you couldn’t help but notice how he was the sole reason that band sucked so badly, and wonder just how much the rest of the band had been held back. Now that they’ve shed the loathsome Lambesis from their lives, they’ve started anew with singer Shane Blay, they definitely sound reborn on this debut. Granted, this is still very much in keeping with the metalcore formula, but while As I Lay Dying felt lazy and featured boring grunted vocals, every song on this record bursts with life, guitars often soaring, Blay holding his own with some very strong singing. It’s all you ever ask for from a metalcore album, but never hear consistently enough, and Wovenwar’s album is a triumph, very much on par with the best work by Killswitch Engage and All That Remains. Here’s hoping the band gets the sales they so deserve after their ordeal.

Not metal, but worth hearing:

Mozart’s Sister, Being (Asthmatic Kitty): Because Caila Thompson-Hannant is based out of Montreal and creates solo electronic music, the comparisons to Grimes are inevitable, but unlike Claire Boucher’s carefully contrived quirkiness, Mozart’s Sister is decidedly more up front, not to mention coherent, more rooted in ‘90s R&B diva singing. Atop clever arrangements of minimalist synths, loops, and glitchy beats, she brings some genuine soul rather than sound precious, which works to her great advantage on standouts like “Lone Wolf”, “Salty Tear”, and “Don’t Leave it to Me”. This is well worth seeking out.

Follow me on Twitter at @basementgalaxy 

TRACK PREMIERE: Freak Kitchen’s “Mathematics of Defeat”

By: Jeff Treppel Posted in: exclusive, featured, listen On: Tuesday, August 5th, 2014

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Although Freak Kitchen don’t have much of a presence in the US yet, apparently they’re popular enough to be able to raise $140,000 on Kickstarter for an animated video, not to mention consistently selling out guitar clinics. SOMEONE must like them. That someone might even be you. If you’re into progressive metal with a really goofy sense of humor, these guys will be right up your alley. Check out our exclusive premiere of the song “Mathematics of Defeat” off of their new album Cooking with Pagans.

***Cooking with Pagans comes out September 16 on Laser’s Edge. Keep your eyes peeled at their website for updates.

Pulp (Audio) Horror: Exclusive Crypticus Premiere!

By: Shawn Macomber Posted in: exclusive, featured On: Tuesday, August 5th, 2014

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Hot on the shambling undead heels of the uber-sick 2013 full-length The Barrens, Denver’s masters of smart, dark n’ dirty death metal Crypticus are set to return with Chains for Devils, the second in the band’s Horror Grind Mixtape series — i.e. “an original Death Metal mini-anthology designed to confound, horrify, & delight.”

This morning, for those who dare click “Play,” we have an exclusive premiere from the upcoming mix entitled “Strike the Iron Stake/Transformation Scene”…

For more information keep up with Crypticus via Twitter and Facebook. The first Horror Grind Mixtape is available here. Pick up The Barrens on CD here. An interview with Crypticus appeared in Decibel‘s special zombie issue.

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Get Horny: Stream a New RHINO EP

By: Dan Lake Posted in: featured, interviews, listen On: Monday, August 4th, 2014

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Sometimes, the unhipness of a sound is a pretty good measure of a band’s dedication to their craft.  While some bands chase trends and recording perfection as if precise alignment will translate directly into merch sales and Facebook likes, other artists burrow their own tunnels, regardless of what they think will be hot this afternoon.

Rhino are one such band, a Montreal quintet with all ten of their eyes set on the sludgy soundscapes that were shoved to the fore of our scene a decade ago by bands like Isis and Cult of Luna.  Lots of metal devotees will tell you that the style played itself out years ago, but Rhino disagree and have turned in a 22-minute argument in their favor.  The Footnotes EP, released in June through Deathbound Records, stomps through four succinct craters of unhurried speculation that include all the really good qualities of the genre.

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While you check out the full EP, streaming here from Bandcamp, we thought you should read through the band’s responses to our probing questions.  And if you’re a Montreal local, you should get out to Petit Campus to see Rhino play a show with SubRosa and Near Grey this Wednesday, August 6th.  Support!

Who are Rhino? How did the band get started and settle on its sound?

Guillaume [Duguay, guitar] started what would later become RHINO with Vincent [Seguin, guitar]. They grew up in the same home, listening to the same bands, so their musical references were in perfect sync. Maxime [Legault-Venne, drums], who had previously been playing drums in a hardcore band with Guillaume, joined the guitar bros, setting up RHINO’s backbone. They started writing songs together, but creating an instrumental band was never in Guillaume’s plans. I [Simon Blaquiere, vocals] knew Guillaume and Maxime, I had been playing music with them, so I was called after a few months to add a little aggression to the mix with lyrics. Over the years, the 4 of us played with several different bassists. We’re glad that Patrick joined us lately, he brought RHINO’s sound to a higher level.

What are the musical backgrounds of Rhino’s members?

We all grew up listening to a variety of different rock styles which serves as our real foundation. Eventually, we all discovered the heavier side of music with punk, hardcore and metal but this represents just a fraction of our individual backgrounds which go all the way from electro and trip-hop to jazz. Of course, a lot of our common and more obvious influences for RHINO can be found in the post-rock and post-metal scenes with Cult of Luna, ISIS and Neurosis, each playing a big role in our sound. It was actually upon discovering ISIS that Guillaume wanted to start the band.

What do you enjoy about the Montreal music scene right now?

Lots of new webzines, distro/record labels, booking teams and cool new venues have emerged over the last couple of years. For smaller bands like us, it really helps a lot to get booked on good shows. Exciting times for the Montreal scene!

How widely have you traveled to perform? Who have you shared the stage with?

Montreal is as far as where we have been playing. Our very first show this year was with THE OCEAN and THE ATLAS MOTH back in April. Later this year, we played with THE GREAT SABATINI , FUCK THE FACTS and APPALACHES (an awesome post-rock band!). In the past years, we shared the stage with many good bands such as GODSTOPPER, HAMMERHANDS, LUTHER HIGGS and IN AEONA.

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Can you describe your process for writing songs for Footnotes?

It generally starts off with Guillaume coming up with a main heavy guitar riff. We then jam it and lock it to a tight time signature. From there, we make the structure of each song evolve, keeping some riffs more empty guitar-wise to let the vocals breath through their parts. When composing, we record our jams and listen to it on our own until our next practice. At our following session, we try out new ideas to improve the sound that best represents us and the song we are writing.  Repeat until satisfied.

Footnotes is pretty short, especially for the norms with this style of music.  What were your goals with this set of songs?

When writing, we don’t give much importance to the length of the songs. We’re not going to write a 12-minute song just for post-rock/post-metal’s sake. If a song feels right for us after only 5 minutes, then that’s what it’s going to be.  For Footnotes, we gave ourselves a strict deadline. We were finalizing “Fading inn” and decided to cut off some of the intro to use it as an appetizer for the EP intro. We went on writing a last “5-minute short” one called “Tinnitus of the deaf,” and that was it. We’re ok with the fact that Footnotes is pretty short. We hope that people enjoy every minute of it and that it leaves them wanting more after their first listening.

What are you working on now… new songs, tour plans, other stuff?

With Footnotes officially released, we’ve taken most of the summer to play shows to do promotion for the EP and it’s been a lot of fun. With that said, it’s also time to start writing again! We’ve basically just started working on new music so it’s quite early, but we can tell you that it will most likely be another EP. This one is going to be more of a concept EP, but it’s still a little blurry even for us, so we’ll just see where it takes our sound.  We also want to keep working on having new merch available because… who doesn’t love merch!

For Those About to Squawk: Waldo’s Pecks of the Week

By: admin Posted in: a fucking parrot previewing new releases, featured On: Friday, August 1st, 2014

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Squawk it, I’m not into an intro today. Let’s just get into it, shall we?

Now, this will be a difficult one for me to review. It’s a little hard to separate people from the music they create at times, but I’m going to give this one a fair peck… or attempt to anyhow. NACHTMYSTIUM’s swansong, The World We Left Behind, comes out and, well, it’s okay.  I really have a hard time separating Blake Judd’s issues from this music. (Can we all agree Blake is a lame name?) So, let me perch on the music here; that’s why you’re reading, right? This is a pretty good note to go out on. This, and black metal in general, has never really been in my cage, but this record kind of covers the gamut. There are black metal parts, thrash riffs, definitely psych riffs, and each of these tracks has its own mood and atmosphere; yet the album seems cohesive as a whole. I dunno, fans of this band will really like this, I feel. And although I don’t dislike it, I can tell you that it’s not really my thing. The production here is properly black metal — there’s not a lot of low end, and sometimes the lyrics come across as a little tacky and pedantic. Like I said, it’s hard for me to hate on this, but I don’t really love it either. I know I’m going to get blasted on this one, so go ahead and pecking hate me. 5 Fucking Pecks.

Well, Tim Lambesis may be rotting in a prison cell, but his bandmates have carried on and seemingly wasted no time at all getting a new band together and recording their first full-length. WOVENWAR release their self-titled debut with new vocalist Shane Blay from Oh, Sleeper. Not a huge fan of either band, but I can hear a difference from AILD. True, there are a lot of similarities to the last AILD record, but there seems to be a stronger focus on melody here. There are little screamed vocals here; they’re really just used for punctuation. There will be complaints of “not heavy enough,” and justifiably so. This is the sound of a band that can’t change their sound, but wants to make it a little more marketable. So, you know, it’s tight and the production is pretty good, albeit a little dry. Pretty low in my pecking order.  4 Fucking Pecks.

SWASHBUCKLE, We Hate the Sea EP. Well, I hate this record. (I’ve never heard it.) Bonus points for have a song title with the word “poopdeck” in it. 2 Fucking Pecks.

STREAMING: Krieg “Order of the Solitary Road”

By: Chris D. Posted in: featured, listen On: Friday, August 1st, 2014

krieg_blackmetal_decibel_2014

Krieg’s new album, Transient, is killer. It’s a logical step after The Isolationist with a few surprises. No, Krieg braintrust Imperial (aka “record store” guy, Neill Jameson, aka Imperial) hasn’t injected his USBM crown with EDM beats (or light show) or Juggalo culture aesthetics. He’s simply taken Krieg and its music to the next logical place. Further down the rat hole of desperation, frustration, and monochromatic hate.

Said Jameson back in March: “For me personally, I just finished recording the new Krieg album, Transient at Machines with Magnets in Rhode Island, which should be coming out on Candlelight in the summer and we’re getting ready to do an obnoxious amount of releases on various formats.”

That’s right. Transient, scheduled to hit stores September 2nd, sounds incredibly bleak. The Machines with Magnets production accentuates Krieg’s place in the world. The record also features members from Occult 45, Chaos Moon, and Castle Freak, so it’s not just Jameson banging the instruments of eschaton.

OK, it’s Friday! Thank Sumerian gods with unpronounceable names! Get grim with new Krieg!

** Krieg’s new album, Transient, is out September 2nd on Candlelight Records USA. It’s available HERE for pre-order. Click the link before the world ends! Probably by end of year using our Decibot calculation.