Iced Earth announce new album “Plagues of Babylon”

iced_earth-live_in_ancient_kourionPower metal is a sub-genre composed of aggregates. The most basic definition of it is heavy metal catching up with speed metal and (sometimes) death metal. There are variants within that.

For example, there’s the Blind Guardian fusion of inspirational rock, speed metal, death metal technique, glam metal and heavy metal that forms one branch. Then there’s Helstar, who sound like Iron Maiden meets Slayer. And on the far side, there’s Iced Earth, which sounds like really advanced speed metal.

Plagues of Babylon is to be Iced Earth’s latest album. Frontman Jon Schaffer describes the release as having a “late 2013” touch-down date, and being “something very special” and that he is “very excited about how killer things are sounding this early in the writing/demo process.”

Iced Earth is coming off the release of Live in Ancient Kourion, a CD/DVD of a recording of a 2.5 hour show in a 6,000 year old amphitheater on the island of Cyprus. In support of this and other past work, the band is touring Europe this summer.

The tracklist for Plagues of Babylon was announced by Schaffer as follows:

1. Plagues of Babylon
2. Democide
3. Among The Living Dead
4. The Resistance
5. If I Could See You
6. Peacemaker
7. Cthulhu
8. Parasite

Iced Earth will be appearing at numerous festivals and a full range of European dates this summer. Catch them at the following locations:

ICED EARTH – summer festivals 2013:

  • 6.20.2013 – GER Sankt – Goarshausen Metalfest
  • 6.21.2013 – NED Dokkum – Dokkem Open Air
  • 6.22.2013 – GER Dischingen – Rock am Härtsfeldsee
  • 7.12.2013 – GER Ballenstedt – Rock Harz Open Air
  • 7.13.2013 – GER Balingen – Bang Your Head Festival
  • 7.25.2013 – SLO Tolmin – Metaldays
  • 7.27.2013 – GER Obersinn – Eisenwahn Festival
  • 8.8.2013 – SWE Gävle – Getaway Rock Festival
  • 8.10.2013 – POR Quinta do Ega, Vagos – Vagos Open Air

ICED EARTH – European Tour 2014:

  • 1.9.2014 – GER Saarbrücken – Garage
  • 1.10.2014 – NED Hengelo – Metropol
  • 1.11.2014 – BEL Antwerp – Trix
  • 1.12.2014 – GBR Birmingham – O2 Academy
  • 1.13.2014 – IRE Dublin – Button Factory
  • 1.14.2014 – GBR London – O2 Academy Islington
  • 1.15.2014 – FRA Paris – Le Trabendo
  • 1.17.2014 – ESP Madrid – Sala Caracol
  • 1.19.2014 – ESP Valencia – Rock City
  • 1.20.2014 – ESP Barcelona – Razzmatazz 2
  • 1.22.2014 – SWI Pratteln – Z7
  • 1.23.2014 – ITA Romagnano – Rock ‘n’ Roll Arena
  • 1.24.2014 – SLO Ljubljana – Kino Siska
  • 1.25.2014 – CRO Zagreb – Pogon Jedinstvo
  • 1.26.2014 – BIH Sarajevo – Club Sloga
  • 1.28.2014 – ROM Bucarest – Juke Box
  • 1.29.2014 – TUR Istanbul – Kucukciftlik Park
  • 1.31.2014 – GRE Athens – Gagarin 205
  • 2.1.2014 – GRE Thessaloniki – Principal Club
  • 2.2.2014 – BUL Sofia – Mixtape 5
  • 2.4.2014 – SER Belgrade – Dom Omladine
  • 2.5.2014 – HUN Budapest – Club 202
  • 2.7.2014 – GER Nürnberg – Rockfabrik
  • 2.8.2014 – TCH Zlin – Masters Of Rock
  • 2.9.2014 – GER München – Backstage Werk
  • 2.11.2014 – GER Berlin – Astra
  • 2.12.2014 – GER Köln – Essigfabrik
  • 2.13.2014 – GER Bochum – Zeche
  • 2.14.2014 – GER Osnabrück – Rosenhof
  • 2.15.2014 – GER Hamburg – Markthalle
  • 2.16.2014 – DEN Copenhagen – Vega
  • 2.18.2014 – SWE Gothenburg – Sticky Fingers
  • 2.19.2014 – SWE Stockholm – Debaser Medis
  • 2.22.2014 – ISR Tel Aviv – Reading 3


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Control Denied – The Fragile Art of Existence (1999)

Control Denied was formed in the mid-1990s by late Death-frontman Chuck Schuldiner to cater to his desire to explore more traditional metal stylings.  Schuldiner, however, was still bound to Death’s contract with Nuclear Blast and thus agreed to record one more album under the Death-moniker before concentrating fully on his new band and musical direction.  As a result, songs originally intended for Control Denied were shoe-horned into a death metal context on The Sound of Perseverance (1998) which partly explains the lackluster, two-faced nature of the last and arguably worst Death-album. With contractual entanglements finally sorted out, Control Denied’s debut The Fragile Art of Existence saw the light of day in 1999.


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Weathering the Storm as a Republican Metalhead

November 8th, 2016.  Manhattan, NY.  Election night.  I was there.

Wading back and forth between a crowd of suits and red hats gathered outside the Fox News building on 6th ave and a similar group gathered a few blocks north outside the Hilton hotel where the soon-to-be President-Elect was present, I celebrated ecstatically as electoral college results came in showing my favorite politician on the cusp of capturing the presidency.  All of us were over the moon with excitement and bliss, particularly because New York City had seldom presented a place where support of the man the media branded as Hitler 2.0 could be expressed openly.

While walking home and passing virtually every media truck parked for a mile along the road where America’s next President prepared his victory speech, a young NPR reporter excitedly rushed over to me with her microphone and cameraman after seeing the ridiculous “Trump 2020” pins on my shirt.  I agreed to her request for interview and explained why I thought Trump’s non-interventionist foreign policy and realist economic objectives would benefit the country’s middle and working classes.  Admitting her surprise to learn that I was a compliance director working near Wall St. and not the basic redneck Trump voter the media had branded us as, she asked if I was excited about the likelihood of supporting Trump being more socially acceptable now that he was president.  “Yeah” I said “It finally won’t be taboo now!”

We could not have been more wrong.


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The Haarslev PB30/60 As Big As The Ritz

Dennis Emmental hated being late because it revealed to everyone how little he wanted to be there. Slipping past the creaky back door, he took his place in the line at OptiFood. Orders came from the digital kiosk at the drive-thru and Dennis had twenty-four seconds to assemble the ingredients for the OptiMeal:

  • Chinese: steak|chicken|fish, Szechuan sauce, noodles, lettuce, pepper, peanuts, onion
  • Mexican: beef|chicken, cheese 1, Picante sauce, lettuce, pepper, Guacamole sauce, sour cream
  • Italian: beef|chicken, Diable sauce, noodles, pepper, lettuce, onion, cheese 2
  • Thai: beef|chicken, cheese 1, noodles, Picante sauce, Szechuan sauce, pepper, onion
  • Murican: beef|chicken, cheese 2, Diable sauce, bread 11, Gaucamole sauce, cheese 1, lettuce
  • European: steak|chicken|fish, lettuce, pepper, sour cream, cheese 2, onion, bread 11

He and his cohorts were dumping ingredients in the short, stout, beaker-shaped commemorative plastic buckets used to serve the twenty-four ounce meals. The store was open twenty-four hours a day, and had a thirty-eight percent turnover rate at a six month interval. The owners were unconcerned; they had reached the point where it took a million bucks just to think about suing them, and everyone knew that most of their employees were retards and flakes and so just laughed off their complaints.



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Sadistic Metal Reviews: Incineration of 2017 Metal

2017 was a shit waste of a year when it came to metal music.  Yet with a whole generation of useless neckbeard millennials frantically trying to pursue a career in metal journalism via a desperate pursuit of vindication from that $40,000 of communications-degree student loan debt we have hundreds of “best metal albums” lists every year.  Because there are thousands of metal releases each year hundreds of shitty musicians and journalists are somehow convinced that their opinion matters and that people care about their lists, we now have list after list with totally different picks because no one can possibly sit through a listen of thousand releases ever year.  Where the commonality lies is that all of the number one picks are fecal matter on toilet tissue, usually not metal and certainly not even worth listening to.

Let’s cremate the foul miasma of 2017 with a funeral pyre of epic proportions: a sadistic metal review carbonization of #1 picks from the fakest of the fake metal news outlets…


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Underground Record Labels in the Year 2159

It is the year 2159. All the world’s capitols have been obliterated- save South America and Africa (the only continents free of nuclear weapons)- and humanity is no longer able to reproduce due to the over-manufacturing of sex-bots.  There had been three nuclear wars already, first of which involved USA and North Korea and the most recent involving Britain and Iran.  EMP’s and cyber-hacks had taken out the grid long ago, leaving only a strand of humanity left whose bodies could physically adapt to life without WI-FI.  Most of the main bands in the US which were based out of major cities perished as urban conditioning caused them to starve with no wherewithal to survive in the wild.  All that was left were rag tag bunches of malnourished but darkly inspired bands of street trash scavengers who roamed the land with metal detectors seeking alkaline batteries to power their equipment (though these were also needed to power their sex-bots).  Guitarists went back to using hand cranked Pignose amps, with vintage EV megaphones held in front to further amplify the vocals and guitars.


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Danzig Liberates Concertgoers

A growing trend among some metal and rock bands is the aggressively enforced ban of cell phones during live performances.  While their motivations are not unlike those of Metallica at the height of the Napster controversy (as these bands want their only live footage to be sold at dying retail stores in the form of $40 DVDs) they are actually doing their fans a great service by mitigating the amount of millennial vanity happening in the live concert environment.  Nobody likes the hipster douchebag belligerently sticking a phone in front everyone’s view to pad his YouTube stats, and young people are better off liberated from the soul consuming cell phone screen for awhile.



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