Pre-Order New Amerakin Overdose LP "Artificial Infection"

Zoee's first release of 2024 is about a ride-or-die best friend that's always there for you, no matter what life throws at you.

"Jackie" is coming to you on April 5th.

" StereoAtypical " by Tokyo Metano x iRoc Omega is a ten song release virtually independent of any superstar features, yet it still fearlessly stands out by daring to be different. With one living in Japan and the other in the US, the unlikely duo met by chance via SoundCloud and one propositioned the other to do a project together.

The end result is a unique interpretation of rap music infused with elements of true hip hop, the sounds of Japan, and a grittiness that only real life experiences in streets on US soil can provide. Atypical mannerisms collide with a presumed stereotype and crushes that theory with " StereoAtypical ." 

Tokyo Metano is a Japan based producer, composer, songwriter, and topliner focusing on Hip Hop, Reggaeton,

ENGLISH VERSION (italian version below)
Italian death metallers ACROSS THE SWARM share a bass video playthrough for the song “Own Life” from the new Projections album released last September 4th via Time To Kill Records.

The playthrough video is now available here !
 
The album was produced by Simone Mularoni and Simone Bertozzi at Domination Studios (Rhapsody, Labyrinth, Gory Blister) and mixed by Steve Wright (Dying Fetus, Misery Index). All songs feature Raphael Saini (Iced Earth, Cripple Bastards) on drums.
 
Formed in 2013, ACROSS THE SWARM‘s exhilarating brand of death metal and charged live shows have quickly earned them a reputation as one of the most exciting acts to emerge from the Italian metal scene.
The group’s complex and dynamic sound along with their resonating live performances helped the band quickly rise to prominence. Following the release of their self-titled EP in December 2013, they took to the road sharing the stage with acts such as Fleshgod Apocalypse, The Modern Age Slavery, Electrocution, Hideous Divinity and Hate.
In 2016 the band released the “Waiting for the Hyenas” single to considerable acclaim. It wasn’t long before they caught the eye of Time To Kill Records who welcomed them to their roster. The band’s new album“Projections” was released on 4th September 2020. Its diverse sound defies categorization while delivering a blend of aggressive attitude, emotive expression and modern flair, garnering a range of stylistic comparisons from classics like Suffocation to modern heavy hitters such as Despised Icon and Decapitated.

Orders:
https://timetokillrecords.bigcartel.com/products
https://acrosstheswarm-ttk.bandcamp.com/album/projections
 
Band:
https://www.facebook.com/acrosstheswarm
https://www.instagram.com/acrosstheswarm/
Time To Kill Records
https://www.facebook.com/timetokillrecords/
https://www.instagram.com/timetokillrecords/
http://www.timetokill-records.com/

VERSIONE ITALIANA
I death metaller italiani ACROSS THE SWARM pubblicano un playthrough video di basso per la canzone “Own Life” contenuta nel loro nuovo album Projections uscito lo scorso 4 settembre su Time To Kill Records.

Il video è visibile qui!

“Projections” è stato prodotto da Simone Mularoni e da Simone Bertozzi presso i Domination Studios (Rhapsody, Labyrinth, Gory Blister), mentre il mixaggio è stato affidato allo statunitense Steve Wright (Dying Fetus, Misery Index). Tutti i brani vedono il contributo di Raphael Saini (Iced Earth, Cripple Bastards) alla batteria.
 
Attivi dal 2013, gli ACROSS THE SWARM si sono fatti largo nel panorama underground italiano con la loro dinamica proposta di matrice death metal e con una lunga serie di concerti.
Un sound compatto e al contempo ricco di influenze, così come delle prove live di alto livello, hanno contraddistinto il gruppo sin dalla pubblicazione dell’omonimo EP del 2013. Da allora la band ha calcato e condiviso il palco con realtà del calibro di Fleshgod Apocalypse, The Modern Age Slavery, Electrocution, Hideous Divinity e Hate.
Nel 2016 gli ACROSS THE SWARM hanno rilasciato il singolo “Waiting for the Hyenas”. L’ottimo responso generato dal brano ha destato l’interesse della Time To Kill Records, la quale ha recentemente accolto il gruppo nella propria scuderia. Il nuovo album “Projections” è uscito il 4 settembre 2020. Il contenuto musicale dell’opera rifugge le facili catalogazioni e si fa notare per la sua natura aggressiva abbinata ad una spiccata emotività e ad atmosfere moderne, per un risultato che può ricordare sia classici come i Suffocation, sia gruppi più recenti come Despised Icon e Decapitated.

Ordina qui:
https://timetokillrecords.bigcartel.com/products
https://acrosstheswarm-ttk.bandcamp.com/album/projections
 
Band:
https://www.facebook.com/acrosstheswarm
https://www.instagram.com/acrosstheswarm/
Time To Kill Records
https://www.facebook.com/timetokillrecords/
https://www.instagram.com/timetokillrecords/
http://www.timetokill-records.com/

“My father … lost his long and arduous battle with cancer this morning,” Wolfgang Van Halen wrote. “My heart is broken and I don’t think I’ll ever fully recover from this loss”

Eddie Van Halen, the legendary guitar innovator and virtuoso who led Van Halen through five decades and three lead singers, establishing himself as one of the all-time great players in rock history, died Tuesday after a long battle with cancer. He was 65.

“I can’t believe I’m having to write this, but my father, Edward Lodewijk Van Halen, lost his long and arduous battle with cancer this morning,” his son Wolfgang Van Halen wrote. “He was the best father I could ever ask for. Every moment I’ve shared with him on and off stage was a gift. My heart is broken and I don’t think I’ll ever fully recover from this loss.”

“40 years ago my life changed forever when I met you,” Van Halen’s ex-wife Valerie Bertinelli wrote. “You gave me the one true light in my life, our son, Wolfgang. Through all your challenging treatments for lung cancer, you kept your gorgeous spirit and that impish grin. I’m so grateful Wolfie and I were able to hold you in your last moments. I will see you in our next life my love.”

Read More: RollingStone

The iconic studios have started welcoming more livestream events, like the one post-punks Idles recently played, and have adopted new measures to adapt to social distancing.

Abbey Road Studios was prepared when they closed their doors for nearly three months in March due to Covid-19 restrictions. Many of the artists and orchestras had already started moving their bookings, and the staff had begun working on an operational strategy. But still, the shuttering gave them pause. “Abbey Road had never closed before,” Mark Robertson, the studios’ Head of Brand & Communications, tells Rolling Stone . “We’re 90 years old next year, and this is the first time that the studios have closed. It was a really significant deal.”

Today, as Robertson and Abbey Road’s manager, Fiona Gillott, walk from the building’s entrance, where a contactless check-in system greets guests, to Studio Three, the halls look unusually empty. The studios reopened on June 4th, but with reduced capacities. There are signs encouraging people to stay two meters apart, and both Gillott and Robertson, who speak with Rolling Stone via Zoom, wear masks until they’re a safe distance from each other in the studio.

Read More: RollingStone

1959 Martin D-18E has a starting estimate of $1 million

The guitar Kurt Cobain played during Nirvana ’s famed MTV Unplugged in New York concert is headed to auction with a starting estimate of $1 million.

The guitar will be part of the “Music Icons” sale at Julien’s Auctions, taking place June 19th and 20th in Beverly Hills and on the Julien’s Auctions website . Prior to the sale, the guitar will be on display at the Hard Rock Cafe in Piccadilly Circus, London, May 15th through 31st, and at Julien’s Auctions in Beverly Hills, June 15th through 19th.

The guitar is a 1959 Martin D-18E, and the auction lot also comes with the original hard-shell case that Cobain had adorned with a flyer for the band Poison Idea’s 1990 album, Feel the Darkness. (The case is also stamped with three baggage-claim ticket stubs and an Alaska Airlines sticker.) Inside the case is a half-used pack of Martin guitar strings, three picks, and a “suede ‘stash’ bag” that’s decorated with a small silver spoon, fork, and knife.

“This important guitar has earned its rightful place in rock & roll history as the instrument played by one of rock’s most influential musicians and icons in one of the greatest and most memorable live performances of all time,” Darren Julien, president and CEO of the auction house, said in a statement.

Along with the Unplugged guitar, the “Music Icons” sale will feature other Nirvana lots, including a smashed Fender Strat Cobain used during the 1994 In Utero tour, the silver lamé shirt he wore in the “Heart-Shaped Box” video, the typed set list from the Unplugged concert, and the lyric sheets he used for “Plateau,” “The Man Who Sold the World,” and “Lake of Fire.” Last October, the cardigan Cobain wore during Unplugged  sold at Julien’s Auctions for a record $334,000 .

Read More

Italian melodic death metallers 5RAND return with their second album "Dark Mother". The effort is set for a release on 6th September 2019 with powerhouse label Time To Kill Records.

"Dark Mother" has been produced by longtime collaborator Marco Mastrobuono (FLESHGOD APOCALYPSE, HOUR OF PENANCE) at Kick Recording Studio and Bloom Recording Studios, while mastering has been handled by famous Swedish producer Jens Bogren (ARCH ENEMY, KATATONIA, AMORPHIS and more) at Fascination Street Studios. The epic album artwork has been designed by the talented Hans Trasid and the graphic layout by Roberto Toderico (SODOM, ASPHYX, PESTILENCE).

Watch a short video trailer with a closer look at the artwork HERE !

"Dark Mother" shows the band staying true to their diverse and catchy style, taking elements from melodic death metal and industrial throughout the album's 11 tracks. The song "Silent Spring" features arrangements by Francesco Ferrini, keyboardist and songwriter of FLESHGOD APOCALYPSE.

"Dark Mother" Tracklist: 01. Collapsing Theory 02. Embrace the Fury 03. Several Injuries 04. The Awakening 05. Black Ocean 06. Cold Deception 07. Feel the End 08. Old Angel Midnight 09. Blind Addiction 10. Before the Flood 11. Silent Spring

Pre-orders available HERE .

Bio:

5RAND is a metal band from Italy: their sound combines Julia Elenoir's clean and growling vocals, melodic, ethereal elements and the aggressive riffing of extreme metal, evoking a dark, disturbing violent, and yet captivating, atmosphere, often conjuring comparisons to acts such as Slipknot, Fear Factory and Dark Tranquillity.

Following on the heels of the widely hailed debut album “Sacred/Scared” (2017), 5RAND toured Italy and Europe supporting Vader and Immolation and openened for bands such as Behemoth and Sepultura in several occasions. In 2018 the band toured Europe supporting Dark Tranquillity and Equilibrium and played many more headlining shows all over Italy.

The second album "Dark Mother" will be released worldwide on 6th September 2019 via Time To Kill Records. The release will be once again followed by an intense live activity.

5RAND line-up:

Julia Elenoir – Vocals Pierluigi Carocci – Guitar Riccardo Zito – Bass Andrea De Carolis– Drums

www.5RAND.net

https://www.facebook.com/5RANDofficial/

https://twitter.com/5rand_official

http://www.instagram.com/5RAND_Official

https://www.youtube.com/channel/UC0NYNP2eGJ9VrDrNYuNvG7w

Time To Kill Records

https://www.facebook.com/timetokillrecords/

http://www.timetokill-records.com/

Source: RollingStone

The members barely knew each other when they began recording their first LP, but all the pieces were in place: blues, power and incredible musicianship.

By Jon Dolan

It only takes the first two seconds of the first song on their first record for Led Zeppelin to make crystal clear exactly what they intend to do — and exactly what they intend to do to you . In the opening to “Good Times Bad Times,” the band drops a two-note attack that falls like a cartoon safe, clearing the air for John Bonham ’s syncopated groove, Jimmy Page ’s swift-sword guitar and Robert Plant ’s high-end howling about sex so loud it gets the neighbors talking. “It really wasn’t a pretty thing,” Plant later said. “It wasn’t supposed to be a pretty thing. It was just an unleashing of energy.”

He could’ve been talking about the entire album. Recorded in 30 hours of studio time stretched over a three-week period (“I know because I paid the bill,” Page said), Zeppelin’s debut was hardly a high-concept affair; its making has been compared to the breakneck daylong session the Beatles pulled to cut Please Please Me in 1963. Yet the essential elements the band would expand on over the next decade are all in place: There’s a miasmic psychedelic blues trip (“Dazed and Confused”), high-def Fifties revisionism (“Communication Breakdown”), shifts from tender ballad to metal body slam (“Babe I’m Gonna Leave You”), and rips-cum-retooling of folk, blues and even classical on John Paul Jones ’ Bach-bitten organ intro to “Your Time Is Gonna Come” — all unified by the band’s undeniable brute force.

Zeppelin had rehearsed the material (all selected by Page) on a brief tour of Scandinavia in the summer of 1968, shortly after Page had left the Yardbirds. In many ways, they were a collection of opposites: Page was the London-scene superstar on par with Jeff Beck and Eric Clapton; Jones was also an established studio pro; folkie Plant and wild-man wild card Bonham were unknown outlanders who’d previously played together in a group called Band of Joy. “I knew exactly what I wanted to do with these fellows,” said Page, who might have had his pick of post-Yardbirds supergroups (one possibility included Keith Moon and Beck) but wanted a band where he could enjoy “artistic control in a vise grip.”

One of the first songs Page suggested to Plant was “Babe I’m Gonna Leave You,” a tumultuous reimagining of an American folk standard Page learned from a Joan Baez live record — a unique choice for four British blues studs. On “Black Mountain Side,” Page turned to English folk for inspiration, modeling the song on guitarist Bert Jansch’s recording of a Gaelic traditional song called “Black Water Side.” Led Zeppelin is rife with these kinds of nicks and allusions, and it’s where the notion of Zeppelin as unapologetic kleptos was born — from the Howlin’ Wolf–inscribed wrecking ball “How Many More Times” to the Eddie Cochran–biting rocker “Communication Breakdown.” (Decades later, Jansch told journalist Mick Wall that Page still couldn’t look him in the eye.)

In this case, though, part of the reason for the grab-and-go aesthetic was the band’s utter newness. Led Zeppelin was recorded with almost no overdubs in London’s Olympic Studios by musicians still looking for a shared language. “Nobody really knew each other,” said Plant, who had never been in a high-caliber studio before. “I’d go back to the playback room and listen. It had so much weight, so much power — it was devastating. I had a long way to go with my voice then, but the enthusiasm and sparking of working with Jimmy’s guitar … it was so raunchy.” That raunch was rendered overwhelming and spectral by Page, who placed mics all over the studio to get a vérité sound that might recall the raw, big-room ambience of old Chess and Sun records. Uncredited engineer Glyn Johns added to the effect by putting Bonham’s drum kit on a riser to enhance his “phenomenal” sound. Much has been made of Bonham’s power (the beat on “Communication Breakdown” is nearly punk-speed), but Jones was just as impressed by his restraint: “John kept a really straight beat on slow numbers like ‘You Shook Me,’” he recalled. “To play slow and groove is one of the hardest things in the world.”

Communication Breakdown

This rarely acknowledged sense of restraint is a big key to the album’s intensity. Zeppelin weren’t the only band to merge heaviness and expansiveness, but where Cream and the Who pushed rock’s boundaries into opera and jazz-touched improv, Zeppelin honed their virtuosity into compositions; even the eight-minute “How Many More Times” was designed for maximum impact. “There was very little free-form anything,” said Johns. “They were very hard-working. The Stones took nine months to make a record; these guys took nine days — including mixing.”

When Led Zeppelin was released in January 1969, it went to the Top 10 in the U.S. and the U.K. charts, despite lukewarm reviews. The enormity of Zeppelin’s innovation wasn’t entirely easy to recognize. In an era of spiritual transcendence and tales of brave Ulysses, they’d flipped teenage rock & roll’s sex-zonked mania into something huge and seething and mythic-bestial. Eastern mysticism and Mordor and prom-ruling radio gold would all come later. This was something purer: Zeppelin as all-id power station. It was heavy metal.