Upcoming tours: Behemoth

Behemoth-Myrkur-tour-2016

Behemoth is still promoting their last album (The Satanist), despite rumors of the next. To this end, the band is going on a lengthy “Blasfemia Amerika” tour where they play the album in its entirety. There are two major legs to this tour – the European portion that is described on Behemoth’s CSS transform heavy official website, and a second part in the United States that is just making its way to major news sites as we speak. Neither supporting lineup is particularly interesting – in Europe they’ll be supported by Abbath, Entombed AD, and Inquisition, while the USA will have to deal with Myrkur. For those who absolutely need this in their lives, the following dates have been announced in the USA:

Apr. 21 – Philadelphia, PA – Theatre of the Living Arts
Apr. 22 – New York, NY – Webster Hall
Apr. 23 – Boston, MA – Royale
Apr. 25 – Montreal, QC – Virgin Mobile Corona Theatre
Apr. 26 – Toronto, ON – The Phoenix Concert Theater
Apr. 27 – Detroit, MI – St. Andrews Hall
Apr. 29 – Chicago, IL – Thalia Hall
Apr. 30 – Minneapolis, MN – Mill City Nights
May 1 – Lawrence, KS – The Granada Theater
May 3 – Denver, CO – The Gothic Theatre
May 4 – Salt Lake City, UT – The Complex
May 6 – San Francisco, CA – The Regency Ballroom
May 7 – Santa Ana, CA – The Observatory

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Upcoming Tours: Ghost

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One of our targets is coming to the United States. Ghost has repeatedly made their way into our Sadistic Metal Reviews for Meliora alone, but their retro rock/metal sound and vaguely clerical aesthetic has won them a lot of fans. Thusly, they’re making their way to the United States. This tour loosely coincides with the upcoming Grammy Awards in February, giving the band many an opportunity to further boost their commercial success. While it’s not necessarily to our fans’ interest, maybe someone could visit a concert and give us a writeup? I’m sure it’d make for interesting reading; we’ve had success with the concept in the past.

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Raven Music selling sheet music of Emperor’s debut

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Raven Music Editions is a relatively new company that sells sheet music transcriptions of various ‘alternative’ musics, including black metal. Recently, they’ve published a transcription of In The Nightside Eclipse, Emperor’s classic debut whose quality and notoriety should require no introduction. While the rest of their catalog is fairly limited at this point (consisting of two non-metal albums by Ulver), supporting the company by purchasing these transcriptions at their website may allow them to transcribe more music. Given how much you can learn about a work of music from reading it and analyzing it, it’s my hope that this company is able to continue their work. I’d also like to hear from anyone who does end up purchasing these transcriptions, since the very act of putting music to notation involves some interpretation and opinions are understandably going to vary on how Raven handles that.

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Upcoming Tours – Absu

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Spring 2016 will see Absu on their… cumbersomely named “Merelogical Nihilism Connexus Tour”. The main purpose of this tour is building up hype for Absu’s next studio album, which creatively will be named Apsu. As of now, said album is partially constructed, band frontman and percussionist Proscriptor claims that he’s completed recording the rhythm tracks, and makes statements that suggest that a great deal of effort has gone into the lyrics. Hopefully similar effort is being placed into the other aspects of the recording; word on the street is that Absu lost some critical direction and cohesion when they reformed. I guess we’ll just have to listen in; a release date has not yet been set for this material.

A list of confirmed tour dates follows. The gig in Somerville, MA places this technically in my commute radius.

March 17, 2016:  Richmond, VA – Strange Matter
March 18, 2016:  Charlotte, NC – Amos’ Southend (with Abbath & High On Fire)
March 19, 2016:  Charleston, SC – The Tin Roof
March 20, 2016:  Jacksonville, FL – Burro Bar
March 22, 2016:  Tampa, FL – Brass Mug
March 23, 2016:  Gainesville, FL – The Atlantic
March 24, 2016:  Atlanta, GA – The Basement
March 25, 2016:  New Orleans, LA – Siberia
March 26, 2016:  Houston, TX – Walter’s
March 27, 2016:  San Antonio, TX – The Korova
March 28, 2016:  Corpus Christi, TX – Boozerz
March 29, 2016:  Austin, TX – The Sidewinder
March 30, 2016:  Arlington, TX – Diamond Jim’s Saloon
March31, 2016:  El Paso, TX – The Sandbox
April 1, 2016:  Scottsdale, AZ – The Rogue
April 2, 2016:  San Diego, CA – Brick By Brick
April 3, 2016:  Los Angeles, CA – Complex
April 5, 2016:  Bakersfield, CA – Babylon
April 6, 2016:  Oakland, CA – Metro Operahouse
April 7, 201616:  Sacramento, CA – Starlite Lounge
April 8, 2016:  Portland, OR – Ash Street Saloon (Northwestern Black Circle Fest)
April9, 201616: Victoria, BC – Upstairs Cabaret
April10, 2016: Vancouver, BC – Astoria Pub
April 11, 2016:  Seattle, WA – The Highline
April 12, 2016:  Missoula, MT – The V
April 13, 2016:  Boise, ID – The Shredder
April 14, 2016:  Salt Lake City, UT – Metro Bar
April 15, 2016:  Denver, CO – Hi-Dive
April 16, 2016:  Kansas City, MO – The Riot Room
April 17, 2016:  St. Louis, MO – Fubar
April 18, 2016:  Omaha, NE – Lookout Lounge
April 19, 2016:  Minneapolis, MN – Triple Rock
April 20, 2016:  Milwaukee, WI – Frank’s Power Plant
April 21, 2016:  Columbus, OH – The Summit
April 22, 2016:  Pittsburgh, PA – The Smiling Moose
April 23, 2016:  Rochester, NY – Bug Jar
April 25, 2016:  Burlington, VT – T.B.A
April 26, 2016:  Portland, ME – Space Gallery
April 27, 2016:  Somerville, MA – ONCE Lounge
April 28, 2016:  Brooklyn, NY – Saint Vitus
April 29, 2016:  Philadelphia, PA – Kung Fu Necktie
April 30, 2016:  Raleigh, NC – The Maywood

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Deströyer 666 premieres “Live And Burn” off Wildfire

It sounds like K. K. Warslut has achieved his humble goals for Wildfire if “Live and Burn” is anything to go by. This promotional single sounds like a fairly by-the-numbers bit of 1st wave black metal worship. The aesthetics are modernized, the songwriting is intentionally basic, and so forth. Wildfire seems to still be on the schedule we mentioned when we first wrote about its upcoming release a few weeks ago. I don’t know how long this is going to stay in anyone’s rotation, but it sounds like reasonably good party metal and a safe bet at live shows, including their upcoming tour in Europe.

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Relapse Records streaming remastered edition of Death’s Leprosy

It’s not the Chris Reifert enhanced Scream Bloody Gore, or the technically proficient (if structurally and aesthetically hollow) Human, but Relapse Records has remastered Leprosy and made it available on YouTube. Whether or not this digital remaster does the album any justice, it’s still a boost in visibility for what’s arguably the strongest era of Death’s career. Leprosy doesn’t bring the structural improvements that would’ve kept “Chuck Schuldiner was a Christian who died of AIDS” from becoming a favorite slogan on the old DLA, but its good production and apparent lack of pretensions towards being high art (compare to Death post-1991) make it difficult to hate. I feel the same way about Spiritual Healing, which is mostly cut from the same cloth and also receives a similar instrumental skill boost from James Murphy.

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Metalcore manager Derek Brewer talks touring and finance

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Finance and accounting skills are useful life skills for everyone, not just Derek Brewer.

In response to the “popular” deathcore act Thy Art Is Murder losing their vocalist over finance, an employee of Outerloop Management, a company that handles the finance of several modern popular metal bands, wrote up a budget analysis of a metal band’s touring budget for our competitors over at MetalSucks. Derek Brewer claims that with sound budgeting techniques and by avoiding expensive luxuries like cocaine, a “mid-level” band can make enough money through touring and merchandise to survive and maintain an okayish standard of living while arguably contributing more to society than a retail drone.

There are a few holes you can poke in Brewer’s assumptions, but overall his numbers give me the impression that a band that gets big enough to receive regular coverage on heavily trafficked news sites can reach some degree of financial security. My real emphasis here is on the idea that getting to the point where your band is even moderately successful to the point of even potentially being fiscally self-sustaining is going to be the difficult part. Barring enormous luck (or a potentially lucrative if musically dubious gimmick like adding a flautist to your grindcore band), building up a fanbase for any sort of creative content requires an immense and persistent amount of work over time. Society in general knows that by now, and by traveling this path you’ll also be in competition with an enormous amount of other bands who think they’re going to be the next big thing and are also working long hours to get noticed. The competition isn’t necessarily going to improve the quality of metal works released (at least by our standards, since most bands aren’t writing specifically for our tastes), but it is something to note if you look at Brewer or similars’ figures and think that someday, you could make it as a metal rockstar.

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Pensées Nocturnes to release À boire et à manger

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I forgot about the ambitious but flawed works of Pensées Nocturnes rather quickly after having heard of them for the first time. Back in the day, DMU contributors wanted them to, amongst other things, “use more oboe“. Parts of the upcoming À boire et à manger have since been released on SoundCloud; if the samples are to believed, then Pensées Nocturnes did not, in fact, end up adding more oboe parts to their music. If anything, it sounds as if their overall musical approach has moved away from the symphonic black metal they were famous for, and more towards some sort of snooty avant-garde cafe black metal. It’d take further listening for me to actually confirm this; À boire et à manger will officially release on January 16th, so it’s presumably only a matter of time to determine whether this band has gone Krallice on us.

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Arghoslent’s Arsenal of Glory and Galloping Through the Battle Ruins reissued

galloping through the battle ruins

Article by Daniel Maarat

Arghoslent’s  Arsenal of Glory demo and their first album, Galloping Through the Battle Ruins have been repressed on CD and made available for lossless digital download on Bandcamp by French underground metal label Drakkar Productions. The original mastering is intact with no signs of excessive dynamic range compression. While lacking lacking the overt pop rock influence of the Gothenburg scene, Arghoslent’s catchy songs and riffs were heavily influenced by the New Wave of British Heavy Metal and classic speed metal bands Mercyful Fate and Running Wild. A new generation of headbangers may now easily purchase the prime material of this politically incorrect melodic death metal band in spite of the Kim Kelly, No Clean Singing, and MetalSucks social justice “metal” gestapo.

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Power metal musicians form “Gathered in Darkness” project

Michael “Dr. Froth” Millsap isn’t exactly a household name in his progressive rock flavored niche of metal, but through some means, he’s managed to put together a formidable roster of musicians for the “Gathered in Darkness” project. Essentially a narrative-heavy concept album; its most notable contributors include Rob Lowe of Solitude Aeternus and Candlemass, and James Rivera of Helstar. If you’ve ever listened to the works of Nevermore or similar bands, you have a good idea of what to expect from this track – power metal vocals over vaguely progressive-rock oriented mid-paced jazz-fusion groove-metal hyphencore. The musicians involved certainly value their own technical prowess, but overall this is a difficult sell to the DMU audience, and it may end up as little more than a footnote about how that alone is not enough to make an album interesting and worthy of discussion.

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