Category: Metal

 

Very few heavy Australian bands have reached the heights that Parkway Drive have. It is hard to believe that this all started when a young band from Byron Bay decided to release a split album (with another up and coming band called I Killed The Prom Queen) way back in 2003.

Since then Parkway Drive have really reached a pinnacle. Their last four albums have all reached the Top Ten on the Australian music charts while they also regularly make the main stage of major overseas festivals and can boast touring alongside bands such as Killswitch Engage, Bad Religion, The Dillinger Escape Plan and Bring Me The Horizon. Despite all those achievements it becomes very obvious when HEAVY Mag sits down to chat to Parkway Drive frontman Winston McCall that one of their proudest moments came just recently when they were announced as the headliner at the Good Things Festival.

“We are pumped because Parkway appearances at Australian festivals are as rare as blue moons,” says McCall with the excitement plain to hear in his voice. “I was stoked to see how well it (Good Things) went last year because I was stoked to see heavy music festivals back like that because there was a bit of a void there after Soundwave I think. There is such a huge community there so it is good to see a festival coming back around because it is such an integral part of the music platform. For for us to be able to play it is awesome but for them to give us the headline slot is fucking great because I don’t know if anyone else has worked out yet but this is a first for an Australian band to get that slot.”

As a discussion goes on McCall shares his feelings on something that has been occurring in the Australian music scene for a long time now. “In the past there always seemed to be the theme of Australian bands are awesome but no matter what an American band will take preference over an Australian band,” he says. “It seemed no matter how well an Australian band was doing they would never play over the top of an American band, which is really shitty. It was literally a reason that we didn’t play festivals in the past because we were not going to condone this behaviour – this mistreatment of Australian bands who were crushing it so hard. So for Good Things to give us that slot is a massive fucking deal…. we want to do it right.”

It draws comparison to what happens in the cinema world when an American blockbuster will always get precedence over a local film and I ask McCall why he thinks this practice seems so rife in both the cinema and music industries. “You’ve got the way the industry works in the first place,” he explains. “When you are booking a band at a festival in Australia you needs bands to play, the way booking works is you book a band and someone will be like ‘I will give you this band but I want you to book these as well’… that is just the way the industry works. On a deeper level though Australia loves American culture and I understand that people want to go and see an American band because they comes from overseas and they don’t get to see them all that often, but also Australia has a slightly skewed perspective on how popular bands are overseas. We tend to see everybody as huge it’s like ‘they are from overseas they must be fucking massive.’ and it was a big shock to us to go overseas and see bands that we thought were absolutely enormous playing for two hundred people. Then you see them playing an Australian festival and they are co-headlining and you like ‘how the hell are you in that spot? Why we were told we had to play three bands under you if we wanted to be on the bill… it is bonkers.’”

Now that Parkway Drive finally do have that headline spot at a festival on their home soil you could forgive them for feeling a little bit of pressure and McCall admits that it certainly is there. “We feel stoked but we have always felt pressure,” he says with slight laughter. “You see us get announced as the headliner and you hear people say ‘Parkway isn’t a headliner’ and we are like ‘yeah well we just headlined for 80,000 people a couple of months ago so I think we can do this.’ It seems no matter what there has always been people who have wanted to see us however they wanted to see us as which I guess is…let’s just say it Australia has Tall Poppy Syndrome… which is fine, no actually it’s not fine, but Australia also has fucking awesome people who have grown this band into what we have and we have a hell of a lot of fans who have been amazing and have pushed this band and got us to the point where we are now and I have a feeling that we wouldn’t be here if we were doing something that people didn’t like. So the idea of pressure for me doesn’t come from ‘can we do this?’ he pressure is more about that I want to bring what is above expectation and I one hundred per cent know that will happen.”

That answer makes me wonder though how does McCall feel when he is about to step out onto the stage at a large festival – does he feel nervous or does he feel exicted? “A little bit of both,” he says laughing after I pose the question to him. “It is a weird one because I find it hard to tell the difference between nerves and excitement to be honest. But when you start both of those things just disappear and it becomes a shared moment of enjoyment. Whatever that feeling is you have on stage you become focussed. But leading up to it it is weird, you find yourself getting that elevated heart rate, that butterflies feelings and all of those things… I don’t know how to describe it.”

“I definitely do remember that a couple of times during this last European festival season though I found myself having to tell myself ‘now just calm the fuck down, slow your breathing down, it is not the end of the world’,” he continues. “But I can’t remember how I got myself into that state. It is exciting though, it is an exciting thing. The mass of humans that you get to play to is something that only a handful of bands on this planet get to play to. A festival is always going to be the biggest crowd you get to play to, no matter what. The energy that comes back at you and gets harnessed is pretty intoxicating.”

We all know that he is right, getting to experience a band live at a festival is something that you only get to experience a handful of times in your life, so seeing Parkway Drive play at Good Things is a must see for all music fans this summer.

Lagerstein have sailed their ship back from European shores, hung over and weary, but eager to please Australian audiences! Today, they have taken some Berocca and pulled themselves together enough to announce the local supports for their upcoming Australian Leg of their Endless Rum Tour. OH – and announce LAGERSTEIN VS TRIPLE KILL – over the next 3 weeks Lagerstein and tour supports Triple Kill are pitting themselves and their fans against each other in a band face off like no other. 3 competitions and 3 live show changing punishments that will shape the performances you see on the 25/7 Endless rum tour.

Tune into each band’s Facebook pages – facebook.com/lagerstein and facebook.com/TripleKillBand respectively – from Thursday each week to find out how you can help your favourite win, forcing the other band to do some really dumb (but ultimately, hilarious) stuff.

The supports for the Endless Rum Australian tour are – Friday 15th November in Canberra at The Basement with Clarity of Chaos, Sunday 17th November in Sydney at Frankies Pizza with As I Destruct and ZCluster, Wednesday 20th November in Adelaide at Lion Arts Factory with Keggin, Thursday 23rd November in Melbourne at Max Watts with The Backyarders and Thursday 30th November in Brisbane at The Triffid with Pavilion. Tickets for Lagerstein’s ‘Endless Rum’ Australian tour dates can be purchased directly from the band’s website.


Boasting traditionally seaworthy instrumentation scored with modern, distorted guitar work and coarse vocal outbursts, ‘25/7’ promises a glittering treasure trove of jaunty, colourful and undeniably boozy sea shanties. Recorded in Sweden with world renowned producer Fredrik Nordström (Bring Me The Horizon, Arch Enemy, In Flames, Soilwork), Lagerstein’s album 25/7 is out now via Kegstand Records.


Captain Gregarggh, The Majestic Beast, Neil Rummy Rackers, Mother Junkst, Jacob, The Fiercest Pirate in all the Caribbean, Lucky The Great and Rusty Timbers make up Lagerstein, and they have just returned from playing to the crowds of Europe’s renowned Sabaton Open Air and Wacken Open Air festivals. The band have been a favourite opener for some of the genre’s greatest, including Korpiklaani, Alestorm, Finntroll, Gloryhammer, and Ensiferum, Lagerstein are scarcely off the road, and across 22 countries, have brought their remarkable live show to tens of thousands of fans.

 

Lagerstein’s album ’25/7′ is available now at www.lagerstein.com/lagershop as well as tickets for the Endless Rum Tour Australian Dates.

One of the most devastating, blistering and sonically brutal tours of 2020 will hit Australia in February, when death/grind masters CATTLE DECAPITATION return to pulverise audiences.

Along for the ride will be Metal Blade labelmates REVOCATION for what is set to be the most decimating tours.

Fiercely uncompromising, confronting and utterly annihilating, CATTLE DECAPITATION are one of the most significant forces in extreme metal’s broad spectrum. Consistently delivering genre bending releases since 1996, this band are emissaries of inconvenient truths, a constant reminder of the awfulness wrought upon the natural world by the human race.

Touring in support of their forthcoming slab of brutality Death Atlas, their bleakest release to date. The cover art says it all, a stooped, skeletal Grim Reaper carrying the burnt-out husk of our planet on his back. “The core concept of this record is humanity‘s insignificance despite what we’ve convinced ourselves,” explains vocalist Travis Ryan.

Live, CATTLE DECAPITATION are an unrelenting cacophony of savagery, a frenzied maelstrom of pure deathgrind carnage, suffocating all in their wake. Expect nothing less than the absolute pinnacle of extremity.

Since their 2006 inception, REVOCATION have firmly established themselves as one of the most vibrant forces in progressive death/thrash metal. Consistently innovative in a technically demanding and boundary-pushing genre, REVOCATION’s latest release THE OUTER ONES sees the band pursuing Lovecraftian sci-fi/horror themes to deliver their boldest, most aggressive and most complex album so far.

Prepare for the most crushing onslaught of technical death/grind/thrash you will experience, as CATTLE DECAPITATION and REVOCATION tour Australia for shows all throughout February.

Cattle Decapitations ‘Death Atlas’ due out Friday 29th November via Metal Blade Records

LIFE OF AGONY emerged from the New York music scene in the early ’90s with one of the most distinctive sounds in its genre. Now the band with a new album in toe ‘The Sound Of Scars’ head to Australia for a string of shows in January 2020 thanks to Silverback Touring.

Best known for its 1993 metal/crossover debut “River Runs Red” named by Rolling Stone as being one of the 100 Greatest Metal Albums of All Time the band instantly built a die-hard, cult following attracting a wide fan base across the Metal & Hardcore Genres. For over two decades, the group toured relentlessly all over the world, sharing stages with the biggest names in rock, including Metallica, Black Sabbath, Ozzy Osbourne, Foo Fighters, and The Red Hot Chili PeppersLOA went onto release two more studio albums ‘Ugly’ (’95) and ‘Soul Searching Sun’ (’97), before signing to major label Sony/Epic Records in 2005 to record ’Broken Valley’. In 2017, the group released the highly acclaimed ‘A Place Where There’s No More Pain’. LIFE OF AGONY has sold over one million albums to date.

LIFE OF AGONY’s hard-hitting, emotional concept album ‘The Sound of Scars’, was released October 11th, 2019. ‘The Sound of Scars’ continues the haunting narrative from the band’s groundbreaking 1993 debut ‘River Runs Red’.

Check out their new track / video ‘’Black Heart’’: HERE

“By far, this is the best Life of Agony record you’ve heard in years,” explains guitarist Joey Z. “We really went back to our roots on this one and tapped into the mindset we had when we first started the band.”

Get ready for a firebrand show that drips energy and one that will bring with it all the classic tracks that put LIFE OF AGONY on the world stage and a spattering of their latest material.

The Ukrainian Progressive Groove Metal wrecking machine known as JINJER caused a huge stir with the announcement of their Australian tour that due to popular demand 2 new shows have been added to the run! Adelaide at the Lion Arts Factory (Licensed AA) on Tuesday 3rd March and Canberra on Wednesday 4th March at The BasementAdelaide and Canberra join the already announced Melbourne, Sydney and Brisbane. Their new album Macro drops this Friday, 25th October.

In less than 10 years, JINJER have carved their very own place in the Heavy Metal landscape and are poised to go even further in 2019 and beyond.

Hailing from Donetsk, this Ukrainian musical phenomenon formed in 2009 but consider the official start of the band with the addition of the incredible vocalist and femme fatale Tatiana Shmailyuk in 2010. The band laboured intensively and honed their sound in practice rooms and local stages relentlessly, culminating in their now cult, first album release Inhale, Don’t Breathe in 2012. The following year JINJER were nominated and won Best Ukrainian Metal Band. They would be awarded this prize again a few years later.

While most bands from a country not exactly known for its Heavy Metal exports would be content to enjoy the little recognition received in those first few years, it was clear that JINJER craved more and were willing to go the extra mile to make this happen. It was this attitude and clear vision that pushed the band to quickly write and release their second album Cloud Factory (2014), and venture into the international touring market for the first time, booking their own shows and building their reputation face to face, fan to fan and more importantly under their own terms.

It was this intensity that caught the attention of Napalm Records, who quickly signed JINJER leading to the release of their critically acclaimed third album King Of Everything (2016). As well as the release of their game-changing single and video for “Pisces”, which gained the band new fans, over 20 million of views/streams and countless reaction videos on YouTube. King Of Everything showcased the musical prowess and growth of the entire band while opening the floodgates to a bigger international touring circuit, which JINJER gladly took advantage of. By the end of nearly two years of non-stop touring in Europe, JINJER added new territories such as Israel, Philippines, United Arab Emirates, United Kingdom, America, Canada and most of Latin America, while sharing the festival stages and touring with the likes of Arch Enemy, Cradle of Filth and DevilDriver, to mention a few.

Somewhere between touring vans, roadside pit stops, backstage rooms, soundchecks, hotel rooms, visa applications and flights to tour destinations, JINJER buried themselves in the rehearsal room once again to compose 5 brand new tracks for what would become the Micro EP – written not only for the fans but for themselves, as they needed something new to keep their sanity on the road.

Released on the 11th of January 2019 and coinciding with the start of their European Tour together with Soilwork and Amorphis, the Micro EP was received with open arms from fans and critics alike. Songs “Ape” and “Perennial” became instant favourites, climbing to the top of many industry charts and radio station lists worldwide. And once again showcased the musical depth and phenomenal songwriting talent of the band, as well as Tatiana’s amazing vocal range.

 Get ready for March 2020… with their new album Macro on the airwaves, Australia is set to be blown away by JINJER – face-meltingly impressive live… Don’t miss your chance to see some of Metal’s absolute finest.

Following on from the sell-out success of previous events, Heavy Metal Trivia returns to The B-East in Melbourne’s north to celebrate its 5th anniversary on Saturday 16 November 2019.
Hosted by the hilarious and lovable duo of Doug Steele (Alarum) and Yeti (Vicious Circle), the night will feature three rounds of brutal metal questions, bonus rounds that will get those creative juices flowing, the best of the best metal tunes playing all night and the top three teams will take home not only the glory, but also a slew of prizes including a double pass to Wolves in the Throne Room’s Melbourne show, CDs, vinyl, t-shirts, merch and hot sauce courtesy of sponsors Soundworks Direct Presents, Nerve Gas and Melbourne Hot Sauce.
Even if you don’t know your Death from your Megadeth, with bonus prizes, delicious food (mmm those juicy B-East burgers), flowing beverages and a killer soundtrack, there’s something for all metal enthusiasts, from the the casual to the kvlt.
As the event is free and has a history of booking out well in advance, call The B-East to reserve a table for your Heavy Metal Trivia team on (03) 9036 1456 and head on over to Heavy Metal Trivia’s Facebook page for all of the details https://www.facebook.om/HeavyMetalTriviaNight/.
When: 7pm, Saturday, 16 November 2019
Where: The B-East, 80 Lygon Street, Brunswick East, Victoria
Cost: Free
Bookings: (03) 9036 1456

 

Miami, FL hard rock band GEARS has joined forces with legendary LIVING COLOUR vocalist and front-man COREY GLOVER for a modern update to the 1988 hit single, “Cult of Personality.”

“Cult of Personality” was recorded in Recorded at Wombat Studios in New Jersey and Jettlane Studios in Kentucky, Mixed by Corey Lowery and Mastered by Paul Logus, with the video being filmed and directed by Estil Robinson.

“‘Cult of Personality’ is a song that we always wanted to cover. That groove, that riff, the vocals, lyrical content … Everything about it has always stuck out to us and been a personal favorite. To have the opportunity to not only record a song that is important to us, but to have Corey Glover himself come in and perform on that track, it was truly a special moment. He was so easy and fun to work with and the final product is really something that we are extremely proud of” – JIMMY WOOTEN

Miami based hard/heavy rock act GEARS isn’t your average start-up garage band. Despite being confronted with a near disastrous setback at the cusp of their debut, headlining tour, jarring line-up changes, and financial challenges, the band has persevered and rebuilt.

Founded in February 2014, Trip 6 (Urban Rebel), Eli Parker (Endo), Tommy Herres (SCARLET CARSON) and Jimmy Wooten (SKINMASK) were all looking for new projects as their old ones had run their course.

We all wanted to do something more modern, but still rang true to our influences. Something that we could aggressively market and tour on. So, we all met up in Miami after months of talking about doing something together and what came out was the first EP, “Set in Motion.”

They released Set in Motion in May 2014, immediately launching into their first headline run with support from I-Exist. Just three days into the tour, their equipment trailer disconnected, resulting in a massive, horrific accident; not only did they lose their gear, but the tour van was totaled and the band members sustained serious injury. In spite of this tremendous blow, the group endured and continued the tour without missing a beat.

Later it developed that two of the founding members were unable to continue, leaving the band reeling and having to replace them with skilled, compatible substitutes:

“I was talking with a mutual friend, Joe Taback (12 Gauge Embrace) about needing a guitar player for GEARS because we let go of Eli and he suggested Bobby Thomas. I called him and showed him the songs and he was ready to go. As far as bass, I knew Chris from when Needlemouth was a thing out in Cali and I always liked his playing and he was super laid back & cool. I knew both of these dudes were definite upgrades at their instruments and were a better fit personality wise than what we had to deal with previously.”

In June 2015, Wooten and Six teamed with Corey Lowery (Saint AsoniaStuck MojoStereomudDark New Day) and Troy Mclawhorn (EvanescenceSeetherDark New Day) on their new EP Pride Comes Before the Fall, and announced the addition of new members Bobby Thomas and Chris Dorame. They hit the road for their Riser Tour, once again with I-Exist, in July, wrapping up the run in September, but kept the momentum going with the digital release and lyric video for their debut single off of Pride Comes Before the Fall, “Face Down”. The band rounded out the year with the release of their much anticipated sophomore EP on November 10th, with both headlining tours and a support slot with Trapt slated for 2017.

After a very successful tour in 2017 with Seasons After and Bridge to Grace, GEARS has released a new single and video for “KING.” Once again, joined by Corey Lowery in the studio, GEARS continues to evolve. Boasting an even heavier sound with groove and aggression, they set out for Headlining Dates as well as Support Slots with NonpointUpon a Burning Body and will round out their 2018 Summer/Fall Tour Dates with the last of 3 legs with All That Remains concluding at the end of September.

After touring much of 2018 with All That Remains, GEARS has shifted focus to releasing more music. Their first 2019 offering will be “TANGO YANKEE’ which features LAJON WITHERSPOON of SEVENDUST.

GEARS is currently in the studio with Corey Lowery working on some more new music and will have upcoming tour dates to announce for 2020 soon.

We’re still moving forward and, despite everything that has been an obstacle in the short time we’ve been a band, everything still keeps growing and getting better.