SIX FEET UNDER‘s Killing For Revenge, their fiery fourteenth studio album, is out today on Metal Blade Records!
In celebration of the record’s release, today the band drops a lyric video for “When The Moon Goes Down In Blood,” created by Reino Aedmäe who also produced visualizers for “Zodiac” and “Blood Of The Zombie” from SIX FEET UNDER‘s Nightmares Of The Decomposed offering.
Comments legendary frontman Chris Barnes of “When The Moon Goes Down In Blood,” “I think all of the songs on the album deal with revenge in one way or another. That’s why the album’s called Killing For Revenge. Each song has that as a theme in it, whether it be man against man, or nature against man. There’s a macabre core theme and it’s more straightforward as far as lyrics go and the tone of the storyline really being a lot more horror, and generally speaking, about killing people. My mood is always really just diving into my own imagination and kind of a meditative state of concentrating and listening to the music and letting it lead me into a storyline.”
Adds guitarist Jack Owen, “This was the last song written for the album. Chris suggested something ‘early 1990s.’ I created drum beats reminiscent of early Immolation or Suffocation, where the tempo was somewhere between a thrash beat and a blast beat. Back then we wrote guitar riffs that were simple diminished lines with tons of palm muting, just crunching along with the snare drum. The music was written pretty quickly and I sent it off to Chris and he replied. ‘I got this!’ Boy, did he! It turned out to be possibly the best song on the album. A brutal old-school vibe.”
Watch the band’s previously released lyric videos for “Know-Nothing Ingrate” HERE and “Ascension” HERE.
A gnarly beast of a record that’s not for the faint-hearted, Killing For Revenge dishes up nightmare-inducing imagery courtesy of Barnes via the vocalist’s trademark guttural vocals. Both the album title and darkly detailed red-hued album cover by artist Vince Locke are perfect containers for the brutality within.
Forged as a side project for Barnes during his final years with the band that he co-founded, Cannibal Corpse, SIX FEET UNDER became the frontman’s sole focus in 1995, coinciding with the release of their debut, Haunted. Only Barnes remains from SIX FEET UNDER‘s original incarnation, but the quality has remained remarkably consistent. The current lineup of Barnes, guitarists Jack Owen (ex-Cannibal Corpse) and Ray Suhy, bassist Jeff Hughell, and drummer Marco Pitruzzella make for a devastating unit.
Killing For Revenge marks the second album that Barnes and Owen have created together since reuniting for 2020’s Nightmares Of The Decomposed. Owen also produced the record. The chemistry between the five men is palpable. From the opening moments of “Know-Nothing Ingrate,” which kicks off the vile proceedings, it’s immediately clear that SIX FEET UNDER focused their energies into something that’s as brutal, lyrically visceral, and musically dazzling as one would hope for from the ground-breaking Tampa-bred death metal lineup. As a special bonus, SIX FEET UNDER also recorded a cover of Nazareth‘s “Hair Of The Dog,” which appears on all formats of Killing For Revenge with the exception of vinyl.
Killing For Revenge features a guest appearance by guitarist Jason Suecof on “Neanderthal” and was mixed and mastered by Chaz Najjar at Badlands Recording in Denver, Colorado.
Following the success of their previous four singles “Devil Teasin’ Me,” “The Way I Am,” “Too Soon To Know You,” and “See You Again”, Canadian roots and rock band The Commoners are pleased to announce the Friday 10th May release of “Gone Without Warning” – the fifth single taken from their highly anticipated third studio album, Restless.
Released by Gypsy Soul Records on Friday 5th July 2024, Restless is available to pre-order at www.thecommoners.ca/store.
From today, “Gone Without Warning” is available on all major streaming platforms and promises to be a heartfelt celebration to The Commoners’ ever-evolving musical journey.
The single is available on all streaming platforms HERE. The single is also available to stream on YouTube HERE.
A gritty riff puts fire under “Gone Without Warning”, launching The Commoners into a track that boils over with tension. Featuring a heavy hitting chorus with soulful backing vocals by Chantal Williams, the track is further elevated by the combined backing vocals of bassist Ben Spiller and drummer Adam Cannon.
Combined with Ross Hayes Citrullo’s infectious guitar riffs, the “Gone Without Warning” delivers quality and distinction. It’s the perfect follow-up to the previous singles, “Devil Teasin’ Me” and “The Way I Am.” “Devil Teasin’ Me” proved a popular staple on UK rock radio, with a 10-week run and over 100 spins on Planet Rock.
Having wrapped up a bustling 2023 filled with recording sessions and a UK tour alongside Grammy-nominated duo Samantha Fish and Jesse Dayton, The Commoners have solidified their position as a must-watch act.
The release of Restless will mark the quintet’s return to the road in 2024, with numerous festivals in the UK and EU, including Made of Stone, Steelhouse, and Moulin Blues Festivals, already scheduled for this summer. From the speakers to the stage, one thing is certain: The Commoners are spearheading a party rock renaissance, and the audience is cordially invited.
Album Photography by Lindsay White – Album Design by Emily Goguen
A natural evolution from their 2022 album Find A Better Way, the forthcoming album Restless offers a peek behind the curtain of success, revealing the gruelling routines and ragged emotions that hide behind the glamorous aesthetic of a rock band on the rise. With introspective, slower-tempo numbers pocketed amongst rip-roaring anthems, the new album, recorded at RHC Music, Toronto, is a portrait of a hardworking group revitalizing a classic genre.
“As with our previous album, we wanted to marry old and new southern rock together in a way that was unique to the band’s Canadian roots,” says the Commoners guitarist and producer Ross Hayes Citrullo. “By adding the soul and rock elements of The Black Crowes, and the southern blues rock undertones of The Allman Brothers to a production style akin to Blackberry Smoke and Rival Sons, I think we developed an authentic sound that compares sonically to some of our favourite records across all of those music genres.”
RESTLESS – TRACK LISTING
1. Devil Teasin’ Me (4.24) 2. Shake You Off (3.55) 3. The Way I Am (3.34) 4. Restless (5.18) 5. Gone Without Warning (4.02) 6. Who Are You (Ain’t Knocked Down) (3.59) 7. Body And Soul (5.31) 8. See You Again (4.44) 9. Too Soon To Know You (4.59) 10. All That We Have (3.14)
Approx. Running Time: 45 minutes
TRACK BY TRACK
Devil Teasin’ Me A bonafide banger with anthemic group vocals and electric riffs, “Devil Teasin’ Me” captures self-reckoning wrapped up in rock ’n’ roll. Lush background voices lend heat to the chorus, supporting Medhurst through a feverish performance.
Shake You Off Gutsy guitar and driving percussion push “Shake You Off” from the speakers, initiating a gripping track that will have heads bobbing from start to finish. Punchy bass and searing organ pierce the arrangement, rousing listeners to a fever pitch as The Commoners attempt to break loose from restraints.
The Way I Am A rowdy riff catapults The Commoners into “The Way I Am”, joined by kick drum thuds that strike the chest, immersing the listener in a track made for stadiums. Tension builds into an infectious chorus spiked with vocal support by Sandra Bouza. A guaranteed hit, “The Way I Am” sees The Commoners united in conviction, playing with the confidence of a band that knows exactly who they are.
Restless Delicate picks and strums open “Restless”, lending a subtle Celtic feel to the track which evolves into a flourishing arrangement with piano and harmonic guitar accents. Within “Restless”, The Commoners unpack life on the road, folding the struggle and discomfort of pursuing a dream into a show-stopping number.
Gone Without Warning A gritty riff puts fire under “Gone Without Warning”, launching The Commoners into a track that boils over with tension. Featuring a heavy hitting chorus with soulful backing vocals by Chantal Williams, the track is further elevated by the combined voices of bassist Ben Spiller and drummer Adam Cannon.
Who Are You (Ain’t Knocked Down) Crunchy guitar cuts through the speakers, accented by stark percussion, and piano in this true party rock anthem. Certain to raise listeners to their feet, “Who Are You” features peppy organ alongside call and response vocals that kick this confrontational track into overdrive. Body And Soul Ambient slide guitar and viscous drones set the tone for a smoky and sultry number with a masterful arrangement that goes down smooth. Throbbing with rhythmic bass and percussion, “Body And Soul” traps The Commoners in a tangle of temptation. See You Again A true roots-rocker, “See You Again” is an ode to love and loss, good times and memories made, featuring a chorus fit for kicking up dust on the backroads with the windows down. Full-bodied acoustic guitar guides this track through contemplation to celebration. Too Soon To Know You Lively organ and crisp guitar support a soaring top line in this reflective track that wonders what might have been. Stirred by nostalgia, singer Chris Medhurst reminisces about a bond broken by time, offering a listen that will surely inspire a trip down memory lane.
All That We Have Resonant acoustic guitar pairs with an honest vocal performance by Chris Medhurst for a reflective, poignant track. Lyrically centered around acceptance and finding peace through life’s troubles and existential anxieties, “All That We Have” is a tender affirmation of support.
ALBUM PRODUCTION CREDITS The Band
Chris Medhurst – Lead Vocals, Rhythm Guitar Ross Hayes Citrullo – Lead Guitar Ben Spiller – Bass, Vocals, Piano (Who Are You, Gone Without Warning) Adam Cannon – Drums, Percussion, Vocals Miles Evans-Branagh – Organ, Rhodes, Piano (See You Again, Restless, Too Soon To Know You) Chantal Williams, Nicki Lawrence, Sandra Bouza – Backing Vocals
The Team
All songs written by The Commoners except where noted. Tracks 1, 4, 8 and 9 co-written by The Commoners and Renan Yildizdogan Tracks 2 and 3 co-written by The Commoners, Jeff Desilets, and Renan Yildizdogan Produced and mixed by Ross Hayes Citrullo and Renan Yildizdogan Recorded at RHC Music, Toronto, Ontario
Engineers – Ross Hayes Citrullo, Ben Spiller, Adam Cannon, Renan Yildizdogan
Assistant Engineers – Adil Batty, Ben Byck, Jon Savard, Dylan Davis, Emily Goguen Mastered by Pete Lyman at Infrasonic Mastering, Nashville, Tennessee
Album Photography by Lindsay White Album Design by Emily Goguen
THE COMMONERS UK SUMMER TOUR 2024 TICKETS AVAILABLE FROM WWW.THECOMMONERS.CA, ALTTICKETS.COM, GIGANTIC.COM
London, The Grace Friday 19 July 2024
Maid Of Stone Festival Saturday 20 July 2024
Milton Keynes, Crauford Arms Sunday 21 July 2024
Wolverhampton, KK’s Steel Mill Tuesday 23 July 2024
Newbury, Arlington Arts Centre Wednesday 24 July 2024
Manchester, Night & Day Cafe Thursday 25 July 2024
Finnish classic rock band THE GRAMMERS traveled to Rockfield Studios in Wales to record their eighth album in the footsteps of mammoths. Now the album, named after the studio made famous by Queen, Rush and Black Sabbath to name a few, gets more previews in the form of the second single ‘Devil in the Eyes of Men’. The song was recorded live in the studio, including the vocals.
The entire upcoming album was mainly recorded live and on analog in Monmouth, Wales and eventually involved numerous top international mixers and professionals. ‘Devil in the Eyes of Men’ is the second single from the album called ‘Rockfield’, which will be released later in 2024. As a fast rocker it represents the heavier side of the album. The song was mixed in Sweden at Fascination Street by Jens Bogren and Ricardo Borges (Amorphis, Kreator, Dimmu Borgir, Sepultura) and mastered by Justin Shturtz at Sterling Sound.
The Grammers – Devil in the Eyes of Men Music & lyrics by Hannu Vainionpää, Ville Vesalainen, Hannu Huitu, Saku Kujala, Jussi Vuola, Tuomo Pfaler, Timo Toikka Recorded by Joe Jones, Rockfield Studios, The Quadrangle Mixed by Ricardo Borges & Jens Bogren, Fascination Street Mastered by Justin Shturtz, Sterling Sound Cover art by Rami Mursula Disrtibuted by Playground Music Scandinavia.
Released in March, the first single produced by Tim Palmer, Live It Up has received good airplay on radios and playlists.
The Grammers, founded in Säkylä, Finland in 1999, are the northern torchbearers of classic rock. The band is known as an extremely strict and uncompromising live act. The band’s strengths are based on the interpretation of Hannu Vainionpää – one of the most talented heavy rock vocalists in Finland, the highly refined and catchy composition work, and the virtuoso mastery of vintage instruments by its members.
Hannu commented on the recording process of the album as follows: “Rockfield had a pretty magical atmosphere (even if it sounds cliché); a quiet enclosed yard, nice local people, the right kind of atmosphere that helped to focus on what was essential, i.e. making the record. It was nice to stay and watch the horses and cows in the pasture and play a little bit of billiards and table tennis on session breaks. All in all, the atmosphere was very homely. When I found out that I was going to sing to the same microphone that Ronnie James Dio sang – of course, it sent chills down my spine for a moment. That we are now part of a certain kind of great continuum. And I think you can hear it both on this first single and also on the whole album. It was a great time, a great session, good memories. And it really couldn’t have gone any better!”
Also participating in the sessions was cinematographer-director Petri Vilén, who is responsible for the videos and photos. A documentary about the band’s journey is also being prepared.
Following in the body-strewn footsteps of last year’s Bazookiller EP, Spain’s HOLYCIDE are back with their third full length album – Towards Idiocracy! While Bazookiller was undoubtedly a hard hitting release in its own right, Towards Idiocracy sees Holycide reaching new war torn peaks of intensity with this full force thrash metal nuclear attack. If you thought you knew what Holycide were capable of then think again – the bar has just been raised to unprecedented heights. It’s time to march on Towards Idiocracy…
Since their blistering Toxic Mutation EP back in 2015, Holycide have held the banner high for uncompromising, undiluted thrash metal – in the words of the mighty Exodus, “100% all out nothing less, aggressive relentless and mean”. Like no other band in the modern age, Holycide’s dedication to thrash is absolute and with their third full length album, Towards Idiocracy, they have created a genuine thrash masterpiece. From the opening attack of “A.I. Supremacy” to the last defiant chord of final track “Flamethrower ‘Em All“, via a flawless cover of the Atrophy classic “Chemical Dependency“, Towards Idiocracy is a nirvana of monstrous riffs, relentless drums and a snarling vocal presence that will have the unbelievers running for the hills. A caustic attack on humanity’s pathetic addiction to a shallow, selfish existence, Towards Idiocracy is every bit as vehement in its unforgiving lyrical exhortations as in its rapid fire, twin guitar assault. Holycide are setting the standards for thrash in 2024!
Still bonded by blood with Xtreem Music, Holycide will unleash the fistful of metal that is Towards Idiocracy (CD/LP/MC) on June 6th, 2024 – the international day of Slayer. What more fitting release date could there be for an album which is Holycide’s very own Reign In Blood? Their most intense, unyielding, inexorable album to date!
Music for new album was recorded:
guitars, bass & drums at Black Night Studios (Palma de Mallorca),
vocals at Sanctuary Studios (Madrid).
Produced and arranged by Vicente J. Payá at Black Night Studios. All was mixed by Javier Fernández Milla at Montseny Studios (Angelus Apatrida, Avulsed) and mastered by Davide Billia at MK2 Recording Studio (Antropofagus, Beheaded). Vividly violent artwork was done by Daemorph Art (The Black Dahlia Murder, Vulvodynia, Bodyfarm). Band photo by Lucretia Morti.
Prepare for detonation!
Band comments new single: “While our previous first single was talking about the threat from AI technology, this one talks about the most poweful weapon that politicians have: “ideologies”. With this they secure the segregation of population to have a better “remote control”. Thanks to this, people don’t need to think, just obey to their tweets, manipulated news and hoax. It’s a very reflexive thing, cos we’re all victims of this control…“.
01. A.I. Supremacy 02. Towards Idiocracy 03. Remote Control 04. Lie is the New Truth 05. Power Corrupts 06. Technophobia 07. Angry For Nothing 08. Chemical Dependency (Atrophy cover) 09. Pleased to Be Deceived 10. Flamethrower ’em All
Line-up:
Dave Rotten – vocals (Avulsed, Christ Denied, Putrevore) Salva Esteban – lead guitar (Charontid) Ankor Ramírez – lead guitar Vicenta J. Payá – bass (Unbounded Terror, Golgotha) Santi Arroyo “GoG” – drums (Avulsed, Buriality)
WHITE STONES, the band led by OPETH bassist Martín Mendéz, will release their third studio album entitled “Memoria Viva” through Reigning Phoenix Music (RPM) by the end of next month. To shorten the waiting time until June 28 a bit more, the progressive masters have now launched a second appetizer of the Spanish dominated offering: ‘D-Generación’ starts with high string tones transforming into a rhythmically complex but irresistibly groovy track to only culminate in a charmingly lively chorus. With Mendéz‘ prominent bass playing building a strong foundation throughout the eclectic song, the intersection highlights WHITE STONES‘ undeniable death metal influences before returning into musically more confident fields and reducing to the initial string sound.
Pre-order the album in the physical format of your choice [CD-digipak; marbled vinyl LP], pre-save it on your favourite DSP or pre-order it digitally to receive ‘D-Generación’ and ‘La Ira’ instantly now, here: https://whitestones.rpm.link/memoriavivaPR
Much like its predecessors, “Memoria Viva” melts together disparate genres into a unique sonic experience. The instrumental frenzy migrates with delicate intricacies creating a mesmerizing atmosphere captivating the musical connoisseur. To up the antics, the energetic Spanish language was chosen to round up this multi-faceted endeavor. A treat for anyone who enjoys devouring multi-experimental musicianship!
Elements of aggression, that can be seen rearing their head in instrumental frenzies, manage to co-exist along softer vibes, generating a distinct dynamic among the songs, with interludes allowing listeners to take a breath and appreciate what they’re hearing.
WHITE STONES‘ “Memoria Viva” was recorded at Farm Of Sounds Studios (Barcelona, Spain), and mixed & mastered by Gerard Porqueres at Heartwork Recording Studios.
Martín adds, “Making an album in Spanish is something that I wanted to do for a long time. We tried it out with our second record “Dancing Into Oblivion,” but at the time we couldn’t convince ourselves that it worked on that album. This time we did and I feel very proud of the result.”
“One of the most notable aspects of this new album, apart from not setting any creative limits musically, has been the challenge of having proposed to sing in the Spanish language. It has been a very exciting experience and we believe we have found a new way to continue giving something new to the WHITE STONES sound, and make this musical proposal something more unique!” comments vocalist Eloi Boucherie.
The line-up has been enhanced with the participation of the multi-faceted Joan Carles Marí Tur on drums. The guitar solos were the job of João Sassetti. Additional guests José Ignacio Lagos (flute) and Joakim Svalberg (keyboards) accentuated the album further with their sound facets.
WHITE STONES live: 27./28.09.2024 ES Barcelona – Be Prog! My Friend
Don’t forget to subscribe to Reigning Phoenix Music on YouTube to stay updated & to listen to ‘D-Generación’ as well as other new tracks in the “RPM New Releases” playlist on Spotify: https://rpm.link/spotifynewreleasesPR
Putting your creative process into words is difficult, especially if you’re as forward-thinking as CYNIC. But after 30+ years, weathering hurricanes, teenage angst, homophobia and the tragic loss of their legendary rhythm section has given Paul Masvidal sage-like insight into the band’s celestial voyage.
Paul recently touched down at Audiotree Studiosto talk about his journey. He and his interstellar bandmates also performed songs from Cynic’s groundbreaking discography, including “Adam’s Murmur” off the newly re-issued Traced in Air.
Audiotree is a Chicago-based music discovery platform producing high quality studio sessions and live performance recordings from artists all around the world. Discover your next favorite band at audiotree.tv.
Traced in Air changed the game for Cynic, much like their landmark album Focus did years before. The band’s precedent-setting fusion of progressive music and mind-bending spiritual lyrics took the listener on an entirely new journey, solidifying their place as boundary-pushing pioneers.
Traced in Air is now being reissued on vinyl by Season of Mist.
Praise for Traced in Air
“On the basis of Traced in Air, more so than its 1993 predecessor Focus, Cynic should be understood not so much alongside any metal bands but along with the radical harmonic progressives in the last 45 years of pop and jazz: composers like Milton Nascimento, the Beach Boys or Pat Metheny.” – The New York Times
“Where would we be without Cynic? Where would Cynic be without Traced In Air? I don’t want to imagine that world. 2008’s LP by the crown princes of progressive metal set the high watermark for progressive metal in the new millennium, one that has arguably still not been surpassed.” – Everything is Noise
“The album is sonicaly heavier than Focus, but no less overt in its prominent jazz influence, with tracks like “Evolutionary Sleeper” showing they could defy time and be the band from the past and a band from the future at the same time.” – Treble Zine, who listed Traced in Air among the 10 Essential Sci-Fi Metal Albums.
“As liberally and recklessly as the term “progressive” is regularly applied to any sort of rock music that breaks with conventional genre templates, there are certain bands and albums for which it still feels not only necessary, for lack of better definitions, but actually appropriate. Cynic and their 1993 watershed, Focus, are a perfect case in point. … In short, those expecting a mere sequel to Focus will be mildly disappointed (but should have known better), and those worried about Traced in Air’s altogether brief, 35-minute length should rest assured that it is easily offset by the sheer density of strange and beautiful musical nuances layered within, and the time required to absorb them all. And ultimately, the album does Cynic’s legacy justice precisely because it challenges the listener to comprehend, by opening more doors than it closes and posing more questions than obvious answers — and what could be more “progressive” than that?” – All Music
Get excited for Traced in Air all over again with this teaser video that the band filmed back in 2008, plus a live video from the 2010 Traced in Air tour.
Cynic’s continual state of development has met its share of challenges over the years, hurdles that threatened to dismantle the entity’s forward surge. Yet through hurricanes, breakups, and assorted acrimony both personal and existential, it remains inspired to create.
Their name is synonymous with what it means to be truly progressive in music. Cynic’s top-tier performance acumen and cerebral/spiritual/yogic themes finds them inhabiting a corner of the musical spectrum all their own. Their Venn diagram shows intersections with death metal, prog rock, thrash metal, experimental, new age, jazz fusion, and a myriad of other sonic expressions.
Debut album, Focus (1993), is a certified classic. Although that era ended with transformation into the short-lived Portal, and then a further splinter toward Aeon Spoke, Cynic’s reunion-era has found them embraced in a way that proves how ahead of the times they were in the ‘90s. Through monuments such as the Traced in Air (2008) and Kindly Bent to Free Us (2014) albums, the Carbon-Based Anatomy and Re-Traced EPs, and a surprising rebirth with the “Humanoid” single of 2018, the Cynic legacy remains untarnished. Yet early in the creation cycle for their fourth full-length album, they experienced horrible events that tested the entity’s resolve.
The year 2020 will go down in history as a tremendously difficult time for the global human population. For the Cynic family, the struggle was not restricted to a pandemic. It was two utterly senseless losses that threw the band’s immediate concerns into the background: the premature deaths of drummer Sean Reinert in January, at age 48, and bassist Sean Malone in December, at age 50, were shocking and unthinkable.
Reinert and Malone heard elements of what ended up on Cynic’s fourth and latest album. Slowly, methodically, and with much careful deliberation, Masvidal completed an album titled Ascension Codes, to honor the memory of his fallen band mates. And while the album honors the lives and contributions of Reinert and Malone, it also pushes Cynic forward for its own sake and through its own will to live. The album, paradoxically, acts as both swan song and rebirth. It is, throughout its 49 minutes, a vivid and highly cosmic journey into the very core of every impulse this band has ever explored.
Audiotree Lineup: Paul Masvidal – Vocals and Guitars Max Phelps (Exist, Death to All) – Guitars and Vocals Brandon Giffin (The Faceless, The Zenith Passage) – Bass Matt Lynch (Nova Collective, Intronaut) – Drums & Percussion
Kimmo Kuusniemi’s ASA unveil the long-overdue release of "Collective Failure" + first music video for title-track! Check it out and stay tuned for more news! Click image to watch the video
Kimmo Kuusniemi’s SARCOFAGUS return with a Historic 2010 Concert Video Premiere on YouTube! Click image to watch the video
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Visionary artist KIMMO KUUSNIEMI's ANCIENT STREAMING ASSEMBLY (ASA) have released “Aurora Nuclearis”, a powerful 12-minute audiovisual experience, dedicated to the Late Keyboardist Esa Kotilainen. - Click image to watch the video
Click image to watch the video
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