Blind Witness is a Deathcore band from Montreal, Canada most notably known for its signature sound established with the 2010 release of “Nightmare on Providence Street”. Filled with infuriated lyrics, punchy down picked guitar riffs and insanely fast drumming, this sophomore effort pleased both critics and fans of the genre alike and is still creating ripples 10 years after its release.
Since then, they have toured the world, broke up, reformed, put out an EP (I Am Hell) and again been dormant for some time, only getting together once or twice a year to perform at festivals.
Now, the band feels like it is the right moment to contribute to the music scene again. This contribution takes the form of their latest single “Force Fed”. The song is a great mix of what the band introduced to the listeners with “Nightmare on Providence Street”, but with a modern touch. Fast, aggressive and poignant, “Force Fed” unmistakably captures the essence and aesthetic that Blind Witness represents and will hopefully be the first song of many to come for the band.
Two-time GRAMMY® Award-nominated Pennsylvania quintet AUGUST BURNS RED —JB Brubaker [lead guitar], Brent Rambler [rhythm guitar], Matt Greiner [drums], Jake Luhrs [lead vocals], and Dustin Davidson [bass]—have just shared the video for “Bones.”
“The video for ‘Bones’ is possibly the coolest music video we’ve ever done,” says Rambler. “It takes the song title quite literally, and creates an awesome and visually stunning video. It was a weird video for us to shoot, because for the vast majority of it we had to stand perfectly still, so all of the x-ray and other effects could line up properly. That’s definitely a departure from a usual music video where you are supposed to bang your head as hard as possible all day long. We’ve been at this for a while so our old ‘Bones’ (wink) were happy for the change of pace.”
ABR’s eighth full length, Guardians, is out now on Fearless Records. Check out the Apple Music track-by-track rundown here. The album has received acclaim from Forbes, Alternative Press, Loudwire, Billboard, which dubbed Guardians “their heaviest album yet,” and Substream. The band also appeared on the MetalSucks podcast and spoke to Metal Injection about navigating the COVID-19 situation.
On the Australian Front, here’s what people are saying about the record – Wall of Sound said that “August Burns Red seem to deliver outstanding records, one after the other. If you’re not yet a fan, it is never too late to experience what you have been missing out on and join the party.“, killyourstereo.com said that “There is truly something for everyone on their seventh record, pulling influences from every previous era of the metalcore band’s history.” and Hysteria Mag stating that “Right now we need a Defender, and August Burns Red are here to take the mantle.”
Following the seminal Messengers  and Constellations , August Burns Red infiltrated the mainstream via 2015’s Found In Far Away Places. The latter stood out as their second straight #9 bow on the Billboard Top 200, in addition to garnering the group its first GRAMMY® Award nomination in the category of “Best Metal Performance” for “Identity.” The momentum increased with the arrival of Phantom Anthem in 2017. Marking the group’s fourth Top 20 debut on the Billboard Top 200, it paved the way for their second “Best Metal Performance” GRAMMY® nod for “Invisible Enemy.” The record ushered their career streams past the 100 million-mark as it earned four-out-of-five stars from the likes of Alternative Press and Kerrang! Between sold-out shows worldwide, ABR continued a 15-year tradition of holiday shows by launching the Christmas Burns Red Festival. Now, their 2020 eighth full-length, Guardians [Fearless Records], sees them not only preserve but perfect their DNA-distinct and definitive sound.
August Burns Red’s eighth full length, Guardians, is out now through Fearless Records/Caroline Australia. The album is available for purchase/streaming here.
July 20th, 2017 is a day that will go down in musical folklore as the day that the world lost a true music genius. For many of us that day will be remembered as the day that we lost someone whose vocals were a soundtrack to our university days. But to musician Sean Dodwell that day will be remembered as the day he lost his good friend, band mate and business partner Chester Bennington.
Dodwell’s realationship with Bennington started way before Bennington’s time with Linkin Park. Before all of that Dodwell and Bennington had formed Grey Daze in their home town of Phoenix, Arizona, they even had three albums under their belt.
“Grey Daze was the very aggressive, moody, dark band that had the next greatest singer that nobody had heard yet,” says Dodwell when I get the chance to talk to him about the band’s new album, Amends, that will be released in June this year. “That is what Grey Daze were like in the 90s. We had this amazing vocalist who wrote great songs and great melodies and they were fantastic live. We wrote about a lot of great emotional content that bands like Alice In Chains and Pearl Jam were writing about at the time. We were a little bit post-grunge because we were a little after that – that was really our forte though because through Chester’s great vocal performance we were able to deliver a great emotional experience.”
In the months leading up to Bennington’s tragic passing he had been very vocal about re-forming Grey Daze once again. As he announced the band would be doing shows it seemed like he was a great place. It wasn’t just the fan that perceived it that way though – Dodwell also saw it that way and it was for that reason that July 20th came as such a huge shock. “I spoke to him a couple of days before he passed away and honestly he was on top of the world,” he explains when I ask him about how Bennington seemed to him in the days leading up to his death. “He was in a great mood and he was excited about the band getting back together. He was excited that we were doing another Club Tattoo expansion. He and I had a great conversation two days before he passed away so there was no I saw what was going to happen. It was just mind blowing. So when I got the phone call I was like you I thought it was bullshit – I thought it was fake news, a hoax or something.”
The things that Bennington were excited about were no small things. He wanted to get Grey Daze back together – not just to do the much publicised club show but to also work on the songs that the band had left idle for so many years. “We’d probably talked about putting Grey Daze back together about three times,” explains Dodwell when I ask him about whether or not the reunion was something that he and Bennington often spoke about. “It was something that we had talked about a lot but the timing just never lined up right. In 2016 he had just finished up the One More Light album and we were on one of these calls together and we started to talk about doing another of these Club Tattoo parties and then he said “Yeah if we do that I think we should put Grey Daze back together again for it. I think the timing is right, I miss having a band of my own and I miss playing with you… so let’s do it.””
“I said yes to that and then we started planning it all,” says Dodwell continuing. “Then we made the announcement in January 2017. As soon as we did that we started to get offers about playing right around the world, and then we started to have more and more conversations about this and we started to talk about going back in and re-recording these 35 tracks that we have intact and ready to go. We wouldn’t have to spend eight months doing the record we could go in and do everything in a couple of months and we would have a record by the end of the year.”
From there everything just seem to take off. “We started working on three new tracks and at the same time I head back into the studio with the band to work on the other track’s arrangements,” explains Dodwell. “We were re-tracking everything and then I would email them to him or we would FaceTime or just talk on the phone and we would share what we doing and he would be like ‘okay I like that’ or ‘okay change that’. Through that process we kind of came to the idea that these songs in their current format they sounded like they were from the 90s. They weren’t bad but they really sounded like they were from the 90s so we decided to freshen them up and re do the guitar tracks and then re-arrange them. So all the ideas to modernise the tracks came while he was still alive. Then we were going to record his vocal tracks as soon as he got off the road with Linkin Park but unfortunately he passed away on July 20th, 2017, three days before we were to start rehearsals with Grey Daze. So I had to re-visit this and decided how I wanted to approach this now he was gone so that was how we decided to strip everything back to the vocals and start over. That’s how we started… and that is how we got there.”
Hearing that Grey Daze had thirty-five tracks available and that Amends only has eleven tracks I asked Dodwell whether he thought it was possible that we may see more Grey Daze albums in the future. “We certainly have enough tracks for a second and maybe even a third,” he says honestly. “If the first is received the way we think it will be received then yes you will get to hear a second, but if people throw lettuce and tomatoes at us and tell us it sucks then you won’t, but I don’t think that is going to be the case.”
Australian progressive death metal outfit Xenobiotic hit the ground running with their debut album Prometheus. The album was so different to anything that we had heard before that it soon had metal fans right around the world interested. Now comes the band’s difficult second album – Mordrake.
Once again the band have found a way to enhance their sound even more and recently I had the chance to sit down with N to chat about what fans can expect this time around.
“I’m not sure that we had any specific goals in mind other than to create the best record that we possibly could,” says N laughing as we talk about what the band were hoping to achieve with this album. “Outside of that I guess we wanted to make music that was emotional relevant and we wanted to incorporate all of our influences as well.”
“I mean the first record, people can say whatever they like about it but we had a pretty narrow amount of influences that we were drawing from when we wrote that one,” he goes on to say. “I guess then our main aim was to create something that people could resonate with. The album does kind of have this weird emphasis on mental illness and that has kind of come out through the narrative that TJ wrote and the bits and pieces that we all kind of added to that, so the best case scenario is that if it helps people or helps someone then that is great, but at the end of the day I think we were just trying to push ourselves to create the best music that we possibly could.”
The band have also looked up to many of the other bands that have helped mould this new sound in the progressive death metal scene. “We got kind of enamoured with bands like Rivers Of Nihil and Fallujah and how they treated the progressive death metal sound,” he explains. “They started off with a sound that was a vast majority death metal with some other stuff thrown in. But then with Fallujah’s Dreamless and Rivers Of Nihil’s Where Owls Know My Name you kind of see them really branching out and incorporating some really beautiful music. That was quite eye opening and we started to see that there was real potential in this style. We could see that in the progressive death metal style you can do all of these things, so we did what we could. There is also a pretty strong black metal streak as well… we certainly haven’t been trying to hide that.”
Aside from the metal elements the band also looked to classical music, especially from movie soundtracks for inspiration as well. “There is a little bit of an influence from Hans Zimmer on there,” N goes onto to explain. “That shows with the layered approach. And there is also a huge post-metal influence on there as well. We listen to a lot of music between ourselves, we can go from progressive metal right through to death metal. But yeah basically every style of music that has ever inspired us is on there.”
As N had already mentioned there is also a strong focus on mental illness on this album and this took the band into some deep territory. “We didn’t really have much to go on outside of our own experiences,” he says. “We did use the myth of Edward Mordrake as inspiration. That is an urban legend about a man named Edward Mordrake who had a face on the back of his head that would whisper really dark things into the back of his head. We found that even in common mental illnesses, and they shouldn’t be common but they are, things like depression and anxiety, that they kind of work like that – that there is a little voice in the back of your head that influences how you see the world.”
“TJ really wanted to write a story of that,” he explains. “That sort of led the way for us to kind of tackle all of these things and some of us were really struggling with it. It was a topic though that really doesn’t have a lot of light cast onto it, and that is maybe because it is so hard to pin down. Mental illness does have an inter-play with your personality, that’s how I have found it but I know others have had different experiences. But that was the challenge, but we could really only go on what he and we had experienced in that regard.”
Rock Band ONE IN THE CHAMBER has released the official music video for “Blow.” “Blow” sees ONE IN THE CHAMBER return to Toronto’s Phase One Studios (Rush, Alice Cooper, The Tragically Hip) with producer Murray Daigle and engineer Mike Smith at the helm.
“When I see a band live, I want to leave feeling like they have left their heart and soul onstage. I want energy, passion, and raw emotion to flow out of every note they play. I want to connect with this band in a way that leaves me with a high, and lingers long after they walked off stage. This is what One In The Chamber gives you every night. This is what “Blow” gives you every second.” – ONE IN THE CHAMBER
The single is the latest release from ONE IN THE CHAMBER, following their 2019 music video for “Itchin’ Back” and is their first new track since I’ve Got Something To Say…, their award winning, 2018 debut studio EP . Furthermore, the music video sees the band reunite with Director Diego del Río and Video Producer Kathleen Fobert to deliver a modern, neon haze visual that pairs perfectly with the studio recording.
Since the release of their 2018 debut studio EP, ONE IN THE CHAMBER has been compared to the likes of Guns N’ Roses, Led Zeppelin, Velvet Revolver, Soundgarden, Red Hot Chili Peppers, and Mötley Crüe. “Blow” is Toronto’s answer to the new wave of rock & roll driven by the likes of Greta Van Fleet, Blacktop Mojo, Dirty Honey, The Wild, and Them Evils. Entirely independent, dirty rock & roll straight from the heart of Toronto throw “Blow” on rotation and crank up the stereo. ONE IN THE CHAMBER is best enjoyed at 11.
Previously, One In The Chamber has released their award winning and celebrated 2018 debut studio EP, I’ve Got Something To Say….The EP has racked up over 100,000 Spotify streams along with international radio play.
Since Forming in 2015, the band has tirelessly performed throughout Toronto – including performances at The Horseshoe Tavern, Adelaide Hall, and The Opera House – and across Ontario, along with an international performance at The MGM Grand, Las Vegas and their 2019 Summer Tour culminated with their sold-out Indie Week Festival debut opening for The Wild.
One In The Chamber has shared the stage with Scott Weiland, Derek St. Holmes, and Darby Mills, while also appearing on the same festival bill as the likes of The Offspring, Live, Ill Scarlet, and Sumo Cyco. One In The Chamber was also a part of Epidemic Music Group’s Guinness World Record Breaking Concert, which ran for over 16 days.
With the release of “Blow”, One In The Chamber are back having cut their teeth on the live circuit. With a refined and gritty take on the current new wave of classic rock, One In The Chamber are set to make 2020 their biggest year yet.
An emotional yet powerfully strong piece of music with stunning visuals from Director Aislinn Lowe.
Conjuring an original and authentic soundscape, American-Australian singer, guitarist and producer Chino Saturn is debuting to the world with his heart on his sleeve.
The Melbourne-based songwriter blends elements of hip hop, soul and rock, in the song, mixing electronic beats and live instrumentation.
The story behind Bloom “Inspired by the simple realisation that at the end of any dark saga, if you allow it, there will be some form of light. After a rather introverted and distanced period in my life there was a stage where hope wasn’t even an option. I tried filling the void with things that where impermanent just to find that it left me in even more of a hollow state. After some time and with the help of a few special souls, I started to see the beauty in life again. Bloom to me is the realisation that openness, honesty and reality can be the salvation in an otherwise bleak and harmful time”
Chino says of the clip: ‘The video was invented to highlight our undeniable connection to nature and our constant push to kill more and more of it when inevitably it’s part of our being and cannot be deleted. Nature will always find a way to bloom from the darkness as we all have the potential to turn our lives around when we are faced with dark situations or stages.
Aislinn (Lowe, the Director) took this concept and went above and beyond, adding her own concepts to make it visually stunning and captivating! I could not be happier with her work and the way it has all come together. I hope you enjoy bloom and it resonates with you!”
Emerging from the red centre of Australia and relocating to Melbourne (2010) , 2020 marks the unveiling of a project years in the making with ambitions that spiral out of the furthest auditory spectrum.
More from Chino Saturn in the near future.
Australian fans need to get up early or stay up late if they want to watch as local time translates to Saturday, April 11 @ 5.00am AEST
In addition, there will be an option for fans to chat live to each other and the band, with a special event t-shirt available to order plus merch bundles from the 2020 tour which was halted early due to the developing Covid-19 pandemic. There is no restriction on the number of fans that can participate!
The band explain, “KVELERTAK ONE DAY WORLD TOUR! We had over three weeks left of our European tour when everything started closing down and we had to get back home. Like so many of you right now, we don’t know when we can get back to work and out on the road again. But only boring people get bored. So while we’re waiting for the apocalypse to either wipe us all out or just pass us by this time, we are inviting ourselves into your homes on Friday April 10th at 9pm CET (8pm BST) for our Kvelertak One Day World Tour. It’ll be a different type of show (obviously) than you’ve seen us do before and we’ll do some kind of Q&A as well. There will be a special event t-shirt for sale and we’ll put our new tour merch store up online. Hope to see all our fans worldwide for this one. Take care, stay safe, stay home!”
Atmospheric French rockers Klone have premiered their new video for the track “Silver Gate” taken from their 2019 studio album Le Grand Voyage.
Klone’s guitarist Guillaume Bernard explains how the track fits within the album “‘Silver Gate’ is the most atmospheric track on our album ‘Le Grand Voyage’. Lyrically the song takes a look at the cyclical side of things, like death and rebirth, one cycle ends another begins. Each instrument you hear tells part of the story and together forms a whole, in a suspended and dreamlike atmosphere.
It could be seen that ‘‘Silver Gate’ is closely linked to ‘Yonder’; almost like mirror tracks, as ‘Yonder’ opens the album, ‘Silver Gate’ closes it, both these songs have a similar feel and theme. For the video clip we called again on Julien Philips, who directed the clip for ‘Breach’. We work closely with Julien so that the aesthetics and the story fit perfectly with the music.”
Le Grand Voyage, the band’s 2019 release and first for Kscope, is bold in sonic ambition, twisting dark guitars and electronic ambience into a modern masterpiece that feels excitingly new, yet in many ways feels like a contemporary take on Pink Floyd’s Dark Side Of The Moon. Not only has Le Grande Voyage received high praise from the media, just a small selection of reactions can be seen here, but the album’s cover artwork, created by Francesco Dell’Orto, was awarded 1st pace, best design at 2019’s Art Vinyl awards.
For anybody who saw the last tour of Slash, Myles Kennedy & The Conspirators one thing lingered in their mind after the show. Sure we were all thinking about how amazing the main act was but we were all expecting that – the other thing in our mind was just how impressive the opening act were. For many that was the introduction to Devilskin – a four piece hard rock outfit from New Zealand, fuelled by the amazing vocals of one Jennie Skulander who can only be described as one of the best female vocalists in the heavy music scene today.
Now for all of those that fell in love with the music of Devilskin that night the band return with their brand new album, Red, and we recently had the privilege of being able to chat to Skulander while she was caught up in the current Covid-19 lockdown in New Zealand.
“We really just wanted to make a kick-ass album,” says Skulander with a laugh when I ask her whether or not the band had any plans of wanted they wanted to achieve with this album. “We really thought the best way to achieve that was to make sure that every song didn’t sound the same. We’ve got our heavier songs and we have our ballads and then we have our emotional songs and that really is our formula. We like to mix it up a little bit and I think we really achieved that once again with Red.”
As the interview goes on I also learn that there is no set writing process for the band either. “We’ve kind of been working on these tracks since our last album, Be Like The River, so we ended up with quite a lot of songs” she explains. “We also had some older songs that didn’t make Be Like The River that we had kind of forgotten about as well. So we had those that had to be completely re-written. We had done some song-writing weekends though where we had just gone away to the beach and try to come up with some stuff.”
“But a lot of the time it would just start with somebody having a riff,” she says continuing. “Or sometimes Nic (Martin – the band’s drummer) would have a whole song because he can play everything, and he would sometimes present us with a whole song without vocals. But it is always different – I always have lyrics and Paul (Martin – bass guitar) will always have lyrics. But yeah it isn’t always the same – we all have different approaches all the time.”
One of those song-writing weekends also resulted in one of the most heartfelt tracks on the album – but not in the way that anybody would have expected. “We were coming back from one of those weekends and out in the middle of nowhere we came across a car crash,” she says sadly. “It had just happened and there were two kids laying on the road because they had been thrown from the van. We were there before any of the emergency appliances could arrive and yeah that took a toll on everyone. Everybody was affected by that and in the end we ended up writing about it.”
There is no shortage of personal lyrics on Red. On the track “Endo” Skulander talks about suffering from endometriosis and she says it does help to put such emotional lyrics into a song. “Sometimes I will just put lyrics to a song and not tell the rest of the band what it is about,” she says as I ask whether that kind of song-writing leads to it feeling like the band is reading her diary. “But then they will be like – what are you saying there and I will be like ‘oh blah blah.’ Or they will be like ‘what does that mean’ and I’ll tell them and they will be like ‘woah, woah, okay.’ But everybody is really supportive.”
“I mean there is also our song “Sweet Release,”” she says again talking to me about one of the most personal tracks she has written. “I came up with some of the lyrics and that made it really sad song but then Paul came up with the rest of the lyrics which was about this guy here in Hamilton named Matthew Stevens who was under mental health care in a hospital. He was let out for an unsupervised smoke break and he pretty much took off and killed himself. His family have been trying to get an apology for five years because what happened is wrong.”
If you a lover of hard rock then Devilskin is certainly a band that needs to be in your album collection. Start with Red and then work your way back their back catalogue and you certainly won’t be disappointed.