(DGR compiled this round-up of news items and music, the theme of which you will figure out… because you’re a geek.)
Ovid’s Withering are releasing a chiptune interpretation of their album Scryers Of The Ibis at the end of the month and calling it Scryers Of The Ibits. It’s being done by a guy named Josh Foreman. Right now the only available pre-order is 50 bucks because you get a poster, the original Scryers, the 8-bit version, A Shirt, and a 7″ sculpture. All physical goods on top of the downloads.
Right now, they’re streaming “Murder To Dissect”, which we named as one of last year’s Most Infectious — so thats a good start — and “Acheron”, another really good track. I’m curious as to how “Panikon Deima” is going to handle the “PANIKON DEEEEIMA….TERMINUS!” yelling section. Also, it has a new intro.
Here are a couple of North American tours announced this morning that I thought were worth spreading around. The music in the two tours lies on divergent ends of the metal spectrum, but both shows should be excellent.
CARNIVAL OF DEATH 2014
This death metal blockbuster is co-headlined by Suffocation and Kataklysm, with Suffocation closing the shows on the US dates and Kataklysm playing the final sets in the Canadian shows. Accompanying those two heavyweight acts on this tour will be Jungle Rot, Pyrexia, and Internal Bleeding.
As the poster up there indicates, the tour schedule hasn’t been announced yet.
Now, changing gears…
(NCS writer TheMadIsraeli would like your assistance in helping him decide what to write about.)
So I’ve been thinking about who to do for the next Higher Criticism series and it’s been rather difficult. I’ve decided to poll all of you for your opinions, based on the bands I’m considering, since the series seems to be rather well-liked and I’m curious to see what results I get.
The bands in the running for consideration are…
Old Man’s Child
Pain of Salvation
Of course, I also want other suggestions if you can think of any. If you’re interested in doing that, there are specific criteria I have in mind to make this legitimately interesting. The requirements for a Higher Criticism series are as follows…
I’ve returned from my vacation, which was better than I deserved, and I will soon be doing my part to contribute to the site on a more regular basis again. Given the quality and diversity of the guest posts while I was gone, this will undoubtedly come as a let-down to many readers. And that brings me to the first subject of this post…
A WORD OF THANKS
That’s a figure of speech, because I have more than one word: I want to send out a huge thank-you to all of the people who sent in guest posts in response to my request for help before leaving on vacation. I have posted every single one that I received — 25 in all, so far – with the final one coming later today. I thoroughly enjoyed reading all of them, and based on the traffic stats for the site, it’s apparent that our readers did, too.
Honestly, I could get used to having other people do my work for me. If any of you guest writers who submitted posts feel like doing more, don’t wait for another invitation. You know how to reach me. And for those of you who may have mused about doing it, but didn’t — muse harder. And then start writing. Check the “Contact” page if you’ve lost my e-mail address.
Now you can hear the title track, because it’s just been released for streaming. Go past the jump, and there it will be, waiting for you, with teeth bared and claws open.
Sometimes I overthink things. I just watched Revocation’s brand new official video for “Invidious” (from their new self-titled album). I had fun watching it, not only because the song is excellent but also because it captures the energy of the band performing live in front of an enthusiastic stage-diving Boston crowd. I hope we get half as good a crowd during Revocation’s set at the SUMMER SLAUGHTER tour stop in Seattle this afternoon (and tonight), because that’s where I’ll be.
But while I watched the video I was also thinking about how much work it took to make this thing. Like, how did they get all these camera shots with the crowd going nuts everywhere? And how did they edit them together so effectively? And how did they sync the hundreds of video segments so well with the album track?
Somebody did some fuckin’ A-grade work on the video. When I find out who, I’ll stick their names in here. For now, watch this:
What you’re looking at is a candid photo of your humble editor taken as the sun rose this morning over my current location. I fell in with a bad crowd last night. They made me stay up really late and forced all manner of intoxicants into me. I told them nothing.
Rather than seek hospital care after I escaped my captors, I had to be at a secret location early this morning where I was expected to engage in the work for which I’m paid. I am now doing things that resemble work, but actually consist of me writing this brief note to you.
The one thing I’ve been unable to do, either last night or this morning, is write a post for NCS. Later in the day, I plan to do that. For now, I must return to the task of appearing to work and moaning softly. Adios.
Well, I guess it had to happen someday. Since we put up our first post at NO CLEAN SINGING in November 2009, we’ve had an unbroken record of posting something on the site every day, weekends and holidays included . . . until yesterday.
Yesterday was just a clusterfuck. The long work project I’ve been whining about prevented me from doing anything NCS-related from the time I woke up until late last night. My NCS comrades Andy Synn and DGR made a valiant effort to bail me out by sending in pieces, but unfortunately I couldn’t even check my e-mail until late afternoon, and even then didn’t have time to get them up on the site. You’ll see what they wrote later today.
I suppose I could have quickly put up some pics of monkeys having sex, just to keep the record going, but that seemed like a pretty lame idea. I mean, I’ve posted some pretty stupid shit here in the past, but I’ve always actually put some effort into being stupid.
(all photos by Janica Lönn / STORM Photography 2012)
As bombshell news goes, this is a pretty big detonation: Tuomas Saukkonen announced yesterday that he is shutting down all of his current musical projects — Before The Dawn, Black Sun Aeon, Routasielu, Dawn Of Solace, and Final Harvest — and starting a completely new one under the name Wolfheart. At the same time, he released a teaser of new Wolfheart music.
Saukkonen disclosed his decision and his future plans in an extensive interview published late yesterday by the Finnish Kaaoszine site. Fortunately for non-Finnish speakers, the article includes an English translation. In a nutshell, Saukkonen explained that he had been growing disenchanted with his most popular vehicle, Before the Dawn, for several years, and that even after the release of BTD’s well-received 2012 album Rise of the Phoenix, BTD no longer gave him the artistic freedom to make the kind of music he wanted to make.
Perhaps ironically, the success of Rise of the Phoenix gave him the freedom to finally leave it behind without regrets. Once that decision was made, he explained, “it was logical for me to clean the table at once and start building something from scratch again.” And that led to the demise of his other bands and the birth of Wolfheart.
Saukkonen says that he began writing new music for Wolfheart in the fall of 2012 and at this point he has already finished recording and mixing half of the songs for the band’s as-yet untitled debut album, with plans to complete it in March and then explore label opportunities. His goal is to release the album before the winter of 2013.
It’s so rare that anything connected with heavy metal breaks into the mainstream consciousness that I can’t help but pay attention when it happens. Today it was kind of unavoidable. I was in my car with the radio tuned to a local talk channel just about the time that the CBS national radio news came on, and sure enough, right there at the end, after stories about things like wildfires and drought in the Midwest and Mitt Romney’s latest insistence that, yes, he pays his taxes, was Dave Mustaine’s latest and perhaps most outrageous pronouncement yet. CBS even aired a clip from Mustaine’s August 7 commentary in Singapore. You know, the one where he said this:
“Back in my country, my president … he’s trying to pass a gun ban, so he’s staging all of these murders, like the ‘Fast And Furious’ thing down at the border … Aurora, Colorado, all the people that were killed there … and now the beautiful people at the Sikh temple.”
Later, Mustaine went on to suggest that he may move to Singapore — a state not exactly known for its libertarian values — to escape the terror of “Nazi America.”
Dave, please move. Please, please, please, please, please!! If you move to Singapore, there’s less chance that the people at CBS will hear the next piece of ignorant garbage that spews from your pampered mouth.
It’s true that Dave Mustaine is not the only member of the community of metal with paranoid goofball ideas who insists on sharing them with the world. Unfortunately, the patronage of generations of metalheads have given him a platform from which his blathering gets noticed a lot more than the blathering of other lunatics who play in metal bands. It’s way past time that fans took the platform away from him.