The Foggy Few: "Pint of No Return" Video
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Shot in one day in Glasgow in November 2003, "Been Falling" is the first music promo featuring the Scottish 3-piece rock band Diadem.
Capitol Music Group will release Teenager, the third album from acclaimed Irish rock band The Thrills, on October 23rd. The five-piece Dublin band had recorded its two previous albums – 2003’s So Much For The City and 2004’s Let’s Bottle Bohemia – in sunny Southern California, but this time round they opted for The Warehouse (which was a makeshift morgue in a previous incarnation and is rumored to be haunted) in Vancouver, BC’s seedy Gastown district.
With this video it seems like the core solution involves lots of heavy metal head banging. There is no doubt that the second full-length album from Norway's ZYKLON is a platter highly anticipated. Fans and critics alike have followed the album's progress as various news and music gossip pages have meticulously tracked the band's trips and sightings during the making of this all-important recording. And now, with worldwide release set for early September, "Aeon" - as it is titled - will come to represent more than just a stronger and more potent ZYKLON; it will righteously disclose for all a band in possession of steadfast determination, focus and poised to wave their personal banner of musical independence for years to come. Escalating the extremity factor, Aeon gives witness to equal measure death and black metal. But as those who know ZYKLON's sound can attest - so much more can and will be found within. Guitarist Samoth and drummer Trym together with guitarist Destructhor and new vocalist/bassist Secthdamon bestow an incredulously cold and calculated metal, a sound that is light years apart from the duo's later Emperial days. And as monumental as 2001's "World ov Worms" was ("a mighty, snarling beast," said Malcome Dome/Metal-Is), Aeon's musical palette needs but a solitary sitting in which to bare its raging power. Recorded at Akkerhaugen Lydstudioin in Norway and mixed at famed Studio Fredman in Sweden under the watchful eye of Fredrik Nordstr?m, "Aeon" sees B?rd "Faust" Eithun returning to handle lyrical duties while Secthdamon takes his first steps on record behind the mike and on bass. Earning his vocal stripes while touring (the band supporting Morbid Angel and Deicide for their maiden US adventure), the drummer turned bassist/vocalist settles perfectly into the position left vacant in late 2001 by Daemon. Destructhor will continue to impress the guitar aficionados with his lightning-fast solos and technique. Add to it the long-respected play of Samoth and the inspiring skins of Trym, "Aeon" is a record that builds upon an already revered sonic recipe. Founded in 1998, it was evident from the start that ZYKLON was to be more than just a "side project" for the then-Emperor guitarist and drummer. Teaming with Destructhor (also of Myrkskog), the trio's rehearsals ignited a spark that would put them on the fast track. Enter England's Candlelight Records. Already home to Emperor, Candlelight was the best and obvious first choice for the band and their recording future. Enlisting Daemon from Limbonic Art for vocals and featuring a guest appearance from Kristoffer Rygg (Ulver, Arcturus), "World ov Worms" was recorded and released February 2001 in Europe and followed in April for the United States. The band would tour worldwide with Morbid Angel and by year's end the album would find itself upon many magazine and critic "Best of Year" lists. Work began on Aeon in early 2002 with the band's writing and rehearsing seeing out the end of the year. Recording commenced in February 2003 with final work completed in May. The album's cover art was created by long-time friend and accomplished designer Stephen O'Malley. Whereas previous work catered around the studio, ZYKLON is equally dedicated to the live arena. With festival appearances already confirmed and tours looming on a horizon that will see the band living for the stage till the early months of 2004, "Aeon" will ultimately earn its merit where it ought to - in front of the band's dedicated and growing fan base.
An escalating drum roll opens Our Ill Wills, the sophomore album from Shout Out Louds… and rightly so. It's been a few years since the release of their first full-length record, the critically acclaimed, Howl Howl Gaff Gaff, and anticipation is great. But the band's been anything but idle. These last years have seen their passports fill up with stamps and their photo albums with snap shots from all corners of the world. They've done their own headline tours as well as being the support act of choice for bands such as The Strokes, The Magic Numbers and Kings Of Leon. Being on the road means you have plenty of time to think, to drink, to reminisce on the past. To play computer games. To miss loved ones. To get lost in new towns. To misbehave and to get your priorities in order. It's all there, on Our Ill Wills, out September 11th on Merge Records. Well, maybe not the computer games so much.
On January 1, 2008, TBD Records/ATO Records Group will release in North America the physical version of Radiohead's In Rainbows. Released in download format earlier this year, In Rainbows has already received tremendous acclaim in the press. British music magazine Q wrote "In Rainbows is a brilliant work" while Rolling Stone said the album delivers an emotional punch that proves all other rock stars owe us an apology.New York magazine raved, &Radiohead has made their best music in years, maybe ever. TBD/ATO are currently focusing on both "Bodysnatchers" and "Jigsaw Falling Into Place" as the North American radio singles. Produced by Nigel Godrich, In Rainbows is the band's seventh studio album and the follow-up to 2003's RIAA certified Platinum Hail to the Thief. More information about the album release and the band's touring plans to follow.
On January 1, 2008, TBD Records/ATO Records Group will release in North America the physical version of Radiohead's In Rainbows. Released in download format earlier this year, In Rainbows has already received tremendous acclaim in the press. British music magazine Q wrote "In Rainbows is a brilliant work" while Rolling Stone said the album "delivers an emotional punch that proves all other rock stars owe us an apology." New York magazine raved, "Radiohead has made their best music in years, maybe ever." TBD/ATO are currently focusing on both "Bodysnatchers" and "Jigsaw Falling Into Place" as the North American radio singles. Produced by Nigel Godrich, In Rainbows is the band's seventh studio album and the follow-up to 2003's RIAA certified Platinum Hail to the Thief. More information about the album release and the band's touring plans to follow.
?The intensity. The drama. The emotion. The colors. The darkness. The melodies. The anger. The honesty. The drive. The new. All of the above and more.? According to Stone Sour frontman Corey Taylor, those are the things that define Stone Sour?s passionately pulsing second album, Come What(ever) May (Roadrunner). Stone Sour?s first album in four years finds the band firing on all cylinders, and primed to capture the attention and the hearts of the rock ?n roll masses.Stone Sour?s self-titled debut was twice Grammy-nominated and RIAA Certified Gold. It was an eclectic album, propelled by the band?s busy tour schedule, the contemplative smash single ?Bother,? and a series of groovy, melodic metal numbers. In 2002 and 2003, Stone Sour established itself as a multi-faceted hard rock force of nature.While Taylor is one of the most recognized figures in rock music, thanks to his role as the frontman for Slipknot, a Grammy winning, multi-platinum act, Stone Sour is anything but a side project. It?s a full-time band that all members are fiercely dedicated to. Taylor spent much of 2004 and 2005 supporting his other band, but will spend 2006 and 2007 focusing on Stone Sour and Come What(ever) May. Also comprised by guitarist James Root, who does double duty in Slipknot, bassist Shawn Economaki, guitarist Josh Rand and new drummer Roy Mayorga, Stone Sour is armed with an album that expands beyond the palette of its predecessor. The band was afforded more time to craft songs, and it shows. The album, produced by Nick Raskulinecz (Foo Fighters, Velvet Revolver), is tight, crisp, and full of rowdy rockers and melodic numbers.?With Stone Sour, I loosen up and show more of myself,? Taylor reveals. ?As soon as the fans hear this new record, they?ll see it?s different than anything that we have ever done. It gives me a chance to do the singing that I love to do, the type of singing that I do when I?m walking around my house.? Taylor, a self-described extrovert, may be the mouthpiece for Stone Sour, but he insists the band is a truly collaborative effort, and that?s something he thoroughly enjoys. ?I?ve been able to blend into the background if needed, you know? You grow up thinking being recognized all the time will be sweet, but sometimes you just want to be one of the guys. I think I balance it fairly well, without killing people.?Guitarist Josh Rand, who ran 3-5 miles a day during the recording process to clear his mind for each day?s highly creative atmosphere, believes that the diversity of Come What(ever) May, which features guest appearances from The Wallflowers? Rami Jaffee and Godsmack drummer Shannon Larkin, will be what hooks fans, and what keeps them. ?This album?s content will fit any mood you may be in,? the guitarist says. ?If you?ve had a shitty day at work, you could crank ?Hell And Consequences.? If you need a little optimism, you could listen to ?Through Glass.? If you are feeling depressed, you could listen to ?Zzyzx Road.??Obviously, Come What(ever) May is a sensory experience, encompassing a wide spectrum of emotions. ?30/30-150? and ?Reborn? are bruisers that?ll get the blood coursing through listeners? veins, while the first single, ?Through Glass,? takes up real estate in your brain for days at a time, thanks its unforgettable melodic twists and chorus. Try and purge your brain of Come What(ever) May?s melodies, and you?ll fail miserably. Taylor concurs, ?So many bands are so genre-specific these days. No bands cover the middle ground. If they try, it?s lifeless and limp. Our album has such a pulse. The cool thing is that when we write stuff, it turns out catchy whether we want it to or not. It?s just something that we do.? He?s right. Crafting melody and mixing it with metallic maelstrom is definitely something that Stone Sour does better than most.Jim Root, who contends that ?life? itself influenced this album and who claims he consumed nerve-shattering, tooth-staining amounts of coffee during the recording process, sees Come What(ever) May as a necessary evolution in the band?s sound. ?We?re taking every aspect to the next level. As an artist, no matter what you do, you must evolve. That?s very important to me. Some people fear change. I embrace it. This record is a testament to where I am at, musically and spiritually. Life is a learning experience and so is song writing. As with everything I try to improve. I can sit back and listen to these songs and know that I have.?Taylor understands that as his career goes on, he will be less and less understood and he likes it that way. ?I?ve lost a little sleep over the fact that people don?t get what I do and how I do it. I do everything I can to entertain, educate and infuriate the status quo. If I give the mainstream a headache once in a while, that works for me.? It?s that attitude that attracts the disaffected youth, the kids, the anti-conservative thinker, as well as the casual rock fan to Stone Sour. ?I have a conscience,? Taylor says about his songwriting style. ?I have a respect for the music and I have an agenda. I have an individualistic mind to botch the ?product? mentality, and I am not out to further myself in a spotlight that knows no favorites. This could all be gone tomorrow. If all you?re doing is trying to build your Q points, what are you going to do when no one wants to see you anymore? At least I?ll be happy about the music I left behind.?The songs and music on Come What(ever) May ensure that Stone Sour?s legacy will endure for a long time to come.
Milwaukee, Wisconsin's Decibully is a band's band. Featuring numerous multi-instrumentalists and having earned a strong reputation for their live performances, Decibully brandishes a wide variety of influences, mixing a rich blend of finely interspersed layers tinged with country-esque flourishes, subtle electronic twinges, and rockist undertones. Formed as a trio in Fall 2001 by William J. Seidel (vocals, guitar, percussion, Rhodes), guitarist W. Kenneth Siebert and keyboardist Nick Westfahl, the group soon added Ryan Weber (lap steel, synths, guitar, percussion), bassist Justin Klug, and drummer Jason Gnewikow to further round out their sound. Decibully spent the rest of 2001-02 practicing when time could be found, touring and self-releasing their debut album You Might Be A Winner, You May Be A Loser, But You'll Always Be A Gambler. When Gnewikow moved to New York, he was replaced on drums by Aaron Vold. At the same time, banjo player Eric Holliday joined the band. Following a successful January 2003 tour, Decibully returned to the studio to begin working on their second full-length, the tentatively-titled When We Learned How To Dance. In late May 2003 Westfahl was replaced by Nicholas Sanborn on keyboards and the band began looking for a label. Prior to Decibully, Seidel and Weber were founding members of Camden. In 1999, Camden recorded demos with Chris Rosenau, guitarist for Pele and Collections of Colonies of Bees. Based on their prior relationship and having seen Decibully live numerous times, Rosenau contacted Polyvinyl Records via a two o'clock in the morning phone message lauding the band. A few days later, an unmastered, incomplete version of the album arrived by mail. Band and label began talking and, following a return to the studio, the album was released as City of Festivals on October 14, 2003 followed by a self-booked national tour and an appearance at Polyvinyl's 2003 CMJ Showcase. With nearly a hundred shows played in support of City of Festivals, Decibully again returned to the studio to begin recording their follow-up album to the Polyvinyl debut. City of Festivals had been a mix of different songs written while the band was undergoing personnel changes. A little over half the songs had been written before the band became the solidified line-up that toured in support of City of Festivals. From the initial roughs sent to Polyvinyl, it was obvious the dividends from touring were paying off in the studio. Sing Out America! (scheduled for release March 8, 2005), Decibully's third album, is the first one to be written entirely by the band as a cohesive septet from start to finish. Although more stylistically varied than previous albums, the continuity of Sing Out America! reflects the consistency that can only be found by a band spending so much time on the road together. Sing Out America! is the most representative work the band has turned in to date, bringing their recorded output in step with their live show.
A band you have to see to believe, the Black Lips are the kings of today's psychedelic garage rock underground. They started the band when they were 15 years old and spent the next seven years touring the world, booking themselves, playing for scraps. Underground parties, basement shows, outlaw festivals, the odd tour opening for Yeah Yeah Yeahs, The Dirtbombs, and Be Your Own Pet in actual legitimate venues(!), plus three classic albums, countless 7"s, a couple DVDs, and their own vinyl garage rock label Die Slaughterhaus cemented their reputation. They're now 22 years old, grizzled veterans of the underground, and legends in the scene.
Formed in their entirety in 2000 five piece Latino dance funk band KINKY have emerged from relative obscurity in the desert city of Monterrey, Mexico to a phenomenal worldwide success. With two triumphant albums under their belt and many more tours, soundtracks and award nominations (including not one, not two, but three Grammys) to date, the boys begin 2005 on a very high note indeed. The original KINKY line-up comprised of Gilberto Cerezo, Ulises Lozano and Carlos Chairez who experimented with alternative genres. Three became five when Omar Gongora and Cesar Pliego joined in early 2000 and everything clicked into place. With such diverse influences as traditional Samba beats to techno and rock 'n' roll, KINKY tapped their resources of rich talent and varied musical styles, to create their distinctive new sound. By mid 2000 they were gaining a reputation for their unique blend of Latin rock and when Chris Allison, British record producer of Coldplay and the Beta Band, heard them, he decided to sign them to the his Sonic360 group of labels. The deal lead to a licensing agreement for the U.S. and Canada through Nettwerk America and BMG Mexico for Latin America. The rest, as they say, is history. Aided by the production skills of Chris Allison, by 2002 KINKY had recorded and released a fine self-titled debut album, received by critical and public acclaim. Following the band?s effervescent SXSW appearance, critics from highly respected International press described KINKY?s music as ?feverishly danceable,? ?groovy electro-pop? and even going so far as to proclaim their unique blend as the ?future of music.? As an album, ?Kinky? combined the stylishness of discerning American and European dance grooves and straight-ahead rock ?n? roll, with traditional rhythms from throughout South America. Their fresh new sound and extensive touring attracted fans and supporters all over the U.S., Latin America and U.K. With live performances so well received, KINKY played over 180 shows in the year, travelling the world while working on their next album ?Atlas?. KINKY changed location for the recording of ?Atlas?, heading to a secluded ranch in Quintana Roo, Mexico. In the serenity of the isolated jungle, they found both creativity and productivity, composing seven of the album?s eleven songs. ?It was vacation and hard work at the same time,? remembers Gil, ?and when we were in the jungle we were surrounded everywhere by insects and animals. One time as I was recording vocals, a bug came directly in to my mouth .... It was fun to have that kind of interaction!? For the remainder of the album, KINKY travelled to Los Angeles to work with venerable engineer Thom Russo (System of a Down, Audioslave). Russo helped the band bring out a more raw and rock-driven sound in comparison with their electro-pop dominated debut; ?The approach for this album was different from the first in that on this one we wanted to focus on a live, organic band sound,? says Ulises. ?In the first album we recorded ourselves and made loops. On this record we didn?t use as many loops or samples. It was more like a live session where we?d record the whole track on tape [too], rather than just digital. You can hear all the organic sounds like guitar, drum, bass and vocals all sounding live.? ?Atlas? has enjoyed huge success and confirmed KINKY?s status as the Mexican demi-Gods of the music world. With singles ?Presidente? and ?Headphonist? A and B listed on radio playlists worldwide and many high profile performances, including the MTV Latin Music Awards, and supporting the almighty Vasco Rossi on his Italian arena tour, KINKY are in an amazingly good place right now. To keep up to date with all the exciting KINKY news as and when it happens, keep your eyes and ears open and alert on the Sonic360 web site.
