Australia’s leading female fronted prog/power metal band DIVINE ASCENSION have today announced that their long awaited second full length release, entitled ”Liberator”, will be out worldwide on November 21 through Vicisolum Productions. The band have been hard at work, carving out their latest offering during most of 2013 and can now share the fruits of their labor when the Swedish label brings the album to the masses later this year.
Divine Ascension enlisted the mixing and mastering expertise of Jens Bogren (James LaBrie, Soilwork, Symphony X, Devin Townsend, Opeth) to piece together the many progressive layers and elements that lie in wait for those who get their hands on a copy.
Comment from the band:
“We are extremely excited about working with Vicisolum to bring you our new release, Liberator, in November. We know it has been a long wait for some of you who have been eager for something new since our debut release, As The Truth Appears, in 2011, and can only say that it will be worth the wait.”
TRACK LIST – ”Liberator”
01. Dawn Brings No Mercy
02. Stronger
03. Liberator
04. My Contender Lies
05. Sorrow’s Sacrifice
06. Crystal Tears
07. Machine
08. Red Sky
09. The Final Stand
10. Hideaway
11. Memoria’s Longing
The inaugural Progressive Nation At Sea cruise hit the high seas from February 18th – 22nd on the luxurious Norwegian Pearl and travelled from Miami to Great Stirrup Cay and Freeport, Bahamas. Fan-filmed video from the cruise of DEVIN TOWNSEND performing a cover of DREAM THEATER‘s ‘Burning My Soul’ (as only he can) with supergroup PORTNOY SHEEHAN MACALPINE SHERINIAN – featuring former Dream Theater members Mike Portnoy and Derek Sherinian – is available below:
Twenty-three bands and artists were on board including TRANSATLANTIC, PORTNOY SHEEHAN MACALPINE SHERINIAN, JON ANDERSON, ADRIAN BELEW’S POWER TRIO, DEVIN TOWNSEND PROJECT, KING’S X, SPOCK’S BEARD, THE FLOWER KINGS, PAIN OF SALVATION, ANATHEMA, RIVERSIDE, PERIPHERY, ANIMALS AS LEADERS, THE SAFETY FIRE, TONY HARNELL & BUMBLEFOOT, BIGELF, BEARDFISH, THE DEAR HUNTER, HAKEN, JOLLY, ANNEKE VAN GIERSBERGEN, MARK MIKEL and NEXT TO NONE.
As previously posted, Portnoy, the man behind the cruise, has posted the following recap:
“To all of you that were at Progressive Nation At Sea 2014, what can I say? It was a truly magical experience that I know none of us will EVER forget.
I must once again thank Sixthman for being so unbelievably incredible to work with – an absolutely top notch staff – the Norwegian Pearl for such beautiful accommodations, all of the incredibly talented artists and bands that came on board to share this amazing experience, Thomas Waber and Edgel Groves at InsideOut Music for their great support, my Del Fuvio brother Derek Sherinian for all of his behind the scenes involvement, and of course finally, EACH and EVERY one of YOU! If you didn’t reserve your cabin and join us for this maiden voyage, ultimately the ship would’ve never sailed.
If this was the only time we ever did this, it was enough memories to last a lifetime for all of us.
But I’m hopeful we can pull it off and do this again (and again and again)…time will tell! Believe me, my wheels are already spinning with a million ideas… : )
Thank you all for one of the greatest experiences of my career.”
Watch for fan-filmed video from the cruise to be uploaded in the coming days.
David E. Gehlke of DeadRhetoric.com recently conducted an interview with Canadian multi-instrumentalist/producer Devin Townsend. A few excerpts from the chat follow below.
DeadRhetoric.com: I saw a quote from you in regard to “The Retinal Circus”: “It’s a clusterfuck on stage.” Can you elaborate?
Townsend: I probably just like swearing — it makes me feel good. [laughs] In my head, everything I do that has a concept, which is 80%, appears a lot more streamlined in my mind’s eye than when we try to articulate it on stage when we have no money and no time. So, “The Retinal Circus” is yet another example of me being overambitious and underfunded, as someone close to me commented on the state of my career. Once you’ve spent some time with the show — if you choose to do so, or you turn it off, it makes a great deal of sense. Ultimately, by the end of the end of the show, it has a point that it makes, that the clusterfuck nature is essential. It has to be there. But really at first look, I had a bunch of friends – I spent a lot of time on the video and the audio — I brought the DVD on the tour bus I was on at the time and I played for a band we were out with at the time and a bunch of guys that were involved with it, I put it on and cranked it up, and looked around the front lounge and everybody’s face was like, “What the fuck is this?” I remember thinking at that point, “If you’re not deeply invested in the creative elements of it and why it is the way it is, I can totally see why people would view it as chaos.” When I had described it as being a clusterfuck on stage, it was more of me buffering people that until you do choose get that deep into it, it’s pretty over the top.
DeadRhetoric.com: Jed [Simon] joined you for “Love” and “Detox”. As you said, there’s always the cloud of STRAPPING YOUNG LAD hanging over you, but you confronted it by having Jed onstage with you. How cool was that?
Townsend: First off, thank you for recognizing that, because that’s exactly what it is. Ultimately, I’m going to do what I want to do, and that’s the bottom line. The more that people demand I do something, the less I want to do what they demand me to do. When I was a kid or first in a relationship with my wife, she would comment, “Whatever it is I want you to do, I make sure I don’t tell you to do it.” I’m aware of it, which is a good first step. It’s the truth — I hate being told what to do and I won’t be told what to do. So the more people go on with these self-serving demands about STRAPPING YOUNG LAD, I’m like, “Look, NO!” Not now, more than ever before, because I keep being bugged about it. For me, having Jed there and playing STRAPPING was important because I didn’t have the opportunity to really — other than being “Fuck you, quit talking to me about STRAPPING” — I’ve not had the ability as a musician or as a person to reflect on, “How do you feel about STRAPPING?” Regardless of what anybody feels or their misinterpretation of it, how do you feel about it? And how do I feel about it? I’m totally proud of it; it’s a huge part of my life. It’s something I have an immense emotional connection to, and respect for, but in the same way that what I’m doing right now, which is “Ziltoid” or “Casualties”, STRAPPING is what I was doing then. I find that I can totally sympathize why people would want it back, but my frustrations lay with any band, GUNS N’ ROSES, GODFLESH with “Streetcleaner”, anything, I don’t understand the process people go through in terms of assuming that if the band was still active right now, they’d be like the period that was of emotional significance to them. I don’t understand and I’ll say that straight-up. But the more I look into it, I realize that it’s everywhere. I read something about Ihsahn and about EMPEROR getting back together, and in the interview, he gave a very explicit and perfectly logical explanation as to why EMPEROR wouldn’t be the same now as it was then. I thought, “Okay, that makes perfect sense.” But the comments are unequivocally, “No, I don’t agree — you’re wrong. EMPEROR would be perfect if they came out again.” My reaction is just confusion. That being said, because it’s a reality and you can’t escape it, I have no problem explaining myself.
DeadRhetoric.com: To back that up, you played a STRAPPING song in Chile and posted a message on Twitter after the show essentially apologizing for it. What happened there?
Townsend: The crowd loved it, but for me, I don’t know how I feel about it. And STRAPPING YOUNG LAD, as much as I wrote 80% of the music, it wasn’t just me. It was Gene [Hoglan], Jed, and Byron [Stroud]. For example, I bought the new BLACK SABBATH record and I can’t listen to it because the drums are distracting.
DeadRhetoric.com: Because it’s not Bill Ward playing.
Townsend: It’s not Bill Ward. It has nothing to do with the drums being not-BLACK SABBATH or poor performance or poorly recorded, or anything — it’s just that I can’t shake it’s not Bill Ward, so it’s not BLACK SABBATH to me. I know that it’s a naïve way of looking at it, but I feel the same way about anything I do. Unless it’s completely me, I don’t want to be that guy, I don’t want to be that guy that goes up and plays STRAPPING YOUNG LAD songs. I wrote most of the stuff, but I didn’t feel comfortable. In fact, I felt that until I worked on my relationship with those guys — and not that my relationship is bad, it’s healthy — but until I come to terms with it and until people stop bugging me, I’m not going to have any perspective on the band other than frustration, other than odd memories. I just felt that it’s not what I wanted to be doing right now.
‘We Are,’ the All-Star charity single from REVOLUTION HARMONY featuring Serj Tankian, Ihsahn and Devin Townsend is now available as a digital download. To commemorate the release of the song, the proceeds of which go to Buskaid, Metal Hammer UK has posted the world exclusive premier of the music video for ‘We Are.’ Check it out at this location.
All money made from the sale of ‘We Are’ will go directly to Buskaid, a charity that provides free music lessons and instruments to children in the townships of South Africa.
Composed, arranged, programmed and produced by British music lecturer/journalist Ray Holroyd in Vancouver, the complex international studio project was recorded in North America, England, Norway and New Zealand, then mixed by Rohan Onraet (Slipknot, Machine Head) in London, and mastered by Ted Jensen (Green Day, Muse) in New York. The song features vocals from Serj Tankian (System Of A Down) and Ihsahn (Emperor), as well as guitar solos by Devin Townsend, along with Stefan Loh (We Claimed Sentience Once) on guitars, and additional vocals from the young up-and-coming UK singer Abbie Johnson.
The lyrical theme in ‘We Are’ is based on the concept behind Revolution Harmony, which is essentially the belief that musical harmony has the power to inspire a revolution towards societal harmony. The single is dedicated to Nelson Mandela and the memory of Lucky Dube, regarded as South Africa’s Bob Marley, and will be released worldwide on Mandela Day (18 July), with all proceeds donated to Buskaid, a charity that provides free music lessons and instruments to children in the townships of South Africa.
Serj Tankian speaks about his involvement with REVOLUTION HARMONY: “It has been an absolute honor being involved with the Revolution Harmony project to bring much needed financial aid to Buskaid in South Africa. Music has saved my life and has the potential to create positive change in all those young kids struggling to make themselves heard and to survive.” He continues on the single itself: “The song is a musical collage of complex yet moving colors intertwining genres and vibes.”
Ray Holroyd comments: “Revolution Harmony is a dream come true, it’s the perfect harmonious marriage of my two callings: making music and making a positive change in the world! ‘We Are’ is the first milestone for Revolution Harmony, and to share it with three of my musical heroes, Serj, Ihsahn and Devin, who all believe in my vision, is deeply heartwarming and humbling. These musicians are overflowing with talent and compassion, and I am eternally grateful and monumentally honoured to have had them contribute to my cause by singing and playing on a piece of my music. The goal for these All-Star charity singles is to raise significant funds for various smaller charities, by making/selling creative and meaningful music that features rare collaborations by inspirational artists.”
On August 24, Sam Hatch of WWUH Radio‘s metal show “The House Of Zazz” spoke with Devin Townsend, Canadian multi-instrumentalist and ex-STRAPPING YOUNG LAD mastermind, about his upcoming DEVIN TOWNSEND PROJECT release “Epicloud”. Devin explains the concept (or anti-concept) behind the new disc, and how it is both a response to the four-album suite that preceded it and an exploration of the desire to maintain a positive outlook in the shadow of an increasingly negative world. He promises that the album will be a conscious attempt at sidestepping overlong, self-indulgent songs in favor of slabs of straight up, pretense-free rock numbers.
“My love for AC/DC or DEF LEPPARD is definitely going to win out at this point in life versus ‘Well, this is a fifteen-part saga about a lonely gnome,'” Devin said.
The boys also delve into the foibles of turning 40 and how that affects performing, the near-failure of the four-concert series seen on the “By A Thread: Live In London” 2011 DVD, how concert audiences are rewarded while the music industry withers, attitudes on album production, the art of balancing multiple guitar endorsement deals, a flashback to the days of being a hired gun for FRONT LINE ASSEMBLY, the temptation to ditch popular music for scoring movies, and the relative merits of Lucky Charms and Cap’n Crunch.
You can listen to “The House Of Zazz” Tuesday nights/Wednesday mornings from midnight until 3:00 a.m. Eastern Time on 91.3 FM WWUH (in Connecticut) and streaming live via the Internet at www.wwuh.org.
In an exclusive interview with BW&BK scribe Carl Begai, vocalist ANNEKE VAN GIERSBERGEN discussed her work with DEVIN TOWNSEND on his new Epicloud album, due to release later this year. An excerpt is available below:
“I love Devin Townsend like my brother.” Anneke say without missing a beat. “He means so much to me musically and as a person. In his music he has the perfect symbiotic relationship between heavy and melody and true emotions and feelings. It’s just so pure and so heavy. When I was singing for the Epicloud album I told him I could hear West Side Story in the music. It’s so fairytale-like but so damn heavy. I love it.”
“I almost cried when I sang in his studio,” she says of Epicloud. which is due for release later this year. “There was one song that I did and he listened back to it quickly, and I was really quiet while he did that. It almost made me angry because it was so good but he didn’t say anything (laughs). He realized that and said ‘Oh, um, you know how I am with compliments…’ and I was like, ‘Devin, this has nothing to do with compliments. This song is out of this world!’ It’s just… fucking hell, Epicloud a classic and it’s not even out yet. It made me angry because godammit it was good, and Devin was just ‘Oh, well, um, cool…’ (laughs). I know Devin’s music but I haven’t heard anything like Epicloud in my life. I’m so proud to be involved.”
This isn’t just heat of the moment lip service. During the Epicloud recording sessions back in April, Anneke took time out and posted a brief update on the proceedings via Facebook saying Devin “made me do 20 hours of the loudest and most gorgeous vocals I’ve ever done.” Not a statement to be taken lightly from a critically acclaimed singer.
“Yeah, because I never say that,” she laughs. “I’ve never said that in my life. It’s funny you noticed that because I thought about it when I was writing that post, and it’s Devin making me sing the stuff. I’m doing what he wants me to do, so if he says ‘Stand on your head naked in a corner and sing’ I’ll do it because that’s what he means to me.”
Go to this location for the complete interview, which includes more on Epicloud, discussion on Anneke’s latest solo album Everything Is Changing, and dropping the AGUA DE ANNIQUE moniker.
Anneke recently announced another series of live dates in the Netherlands for this November. The tour kicks off in Deventer at Burgerweeshuis and ends two weeks later in Groningen at Vera:
“We’ve been lucky enough to have played a lot of killer shows in the Netherlands recently and we look forward to returning to the Dutch clubs a lot! An opening act will be announced later. And… more international dates to be added soon as well!”
Confirmed shows for the Netherlands are as follows:
November
16 – Deventer – Burgerweeshuis
17 – Amersfoort – De Kelder
22 – Den Haag – Paard van Troje
23 – ‘S Hertogenbosch – W2
24 – Roermond – ECI Cultuurfabriek
30 – Groningen – Vera
Anneke signed a deal with Holland’s PIAS Records last year and released her new album, Everything Is Changing, on January 20th. The tracklist for Everything Is Changing is as follows:
‘Feel Alive’
‘You Want To Be Free’
‘Everything Is Changing’
‘Take Me Home’
‘I Wake Up’
‘Circles’
‘My Boy’
‘Stay’
‘Hope, Pray, Dance, Play’
‘Slow Me Down ‘
‘Too Late’
The official video for the song ‘Take Me Home’ is available below.
Source: Bravewords.com
THE ROCK ALCHEMIST – Italian Rock Band from Turin with a strong sonic identity that blends modern rock with progressive, hard, alternative, and pop elements!
Kimmo Kuusniemi’s SARCOFAGUS return with a Historic 2010 Concert Video Premiere on YouTube! Click image to watch the video
Metal Shock Finland (World Assault ) 