Slaughter The Martyr/
Chøke øn The Ashes øf Yøur Hate/
Becøme The Firestørm
My Hands Are Empty/
Fear Factory headline major festivals; earned several awards from the international sales charts; toured with Black Sabbath, Slayer, Iron Maiden, and Metallica; and influenced generations of bands. But it’s the group’s commitment to unrelenting extremity and creative authenticity which ensured its place in heavy metal history, from the highly-revered Demanufacture to the similarly dominating Genexus. Songs like “Zero Signal,” “Shock,” and “Fear Campaign” are instantly recognizable anthems, as much a part of the musical DNA of modern metal subculture as the riffs and scream/sing style within them.
Fear Factory records are cinematic in scope; sonic landscapes, echoing the dystopian post-apocalyptic futures found in classic sci-fi literature and films, from Ray Bradbury to Blade Runner. Recoded provides reimagined versions of songs from their tenth studio offering, Aggression Continuum. Much like their previously successful crossover release Remanufacture, Recoded takes a moment to focus on the band’s industrial and dark wave side, along with their metal roots. Whatever may come, Fear Factory will be there, a soundtrack to humankind’s uncertain times ahead.
1. Adapt Or Die – Intro Narrative By Jake Stern, Sound FX By Zardonic
2. Hatred Will Prevail – ‘Monolith’ Remix By Rhys Fulber
3. Disobey – ‘Disruptor’ Remix By Zardonic
4. I Am The Nightrider – ‘Fuel Injected Suicide Machine’ Remix By Dualized/Zardonic
5. Path To Salvation – ‘Purity’ Remix By Rhys Fulber
6. Worthless – ‘End Of Line’ Remix By Zardonic
7. Empires Fall – ‘Collapse’ Remix By Tyrants Of Death
8. System Assassin – ‘Aggression Continuum’ Remix By Rhys Fulber
9. Hypocrisy Of Faith – ‘Manufactured Hope’ Remix By Rob Gee
10. This Is My Life – ‘Cognitive Dissonance’ Remix By Zardonic
11. Recoded – ‘Recode’ Remix By Blush Response
1.Adapt Or Die – Intro Narrative By Jake Stern, Sound FX By Zardonic
2.Hatred Will Prevail – ‘Monolith’ Remix By Rhys Fulber
3.Disobey – ‘Disruptor’ Remix By Zardonic
4.I Am The Nightrider – ‘Fuel Injected Suicide Machine’ Remix By Dualized/Zardonic
1.Path To Salvation – ‘Purity’ Remix By Rhys Fulber
2.Worthless – ‘End Of Line’ Remix By Zardonic
3.Empires Fall – ‘Collapse’ Remix By Tyrants Of Death/
1.System Assassin – ‘Aggression Continuum’ Remix By Rhys Fulber
2.Hypocrisy Of Faith – ‘Manufactured Hope’ Remix By Rob Gee
3.This Is My Life – ‘Cognitive Dissonance’ Remix By Zardonic
1.Recoded – ‘Recode’ Remix By Blush Response
2.Turbo Factory – ‘End Of Line’ Remix By Turboslash
3.Break Off – ‘Disruptor’ Remix By Rhys Fulber.
Now, the Grammy-nominated goliath follows 2020's self-titled slab with a vicious new testament. Riding high on an insatiable drive, a focused collective camaraderie, and a creative renaissance saluted by the likes of Rolling Stone and NME, Lamb Of God returned to longtime producer Josh Wilbur (Megadeth, Korn, Avenged Sevenfold) and carved the gloriously unhinged Omens into sonic stone.
Even as D. Randall Blythe (vocals), Mark Morton (lead guitar), Willie Adler (guitar), John Campbell (bass), and Art Cruz (drums) enjoy one another's company and chemistry like never before, Omens is possibly the angriest Lamb Of God album yet. Densely muscular, soaked in unnerving spite, with a pessimistic eye toward inner struggles and global affairs alike, Omens is a furious entry in the catalog.
Most of the album was recorded live in the studio, including Blythe's vibrantly unhinged vocal attack. Morton and Adler's riffs threaten, challenge, and devastate. Cruz and Campbell's unstoppable rhythms lurch and beckon. Having shined on 2020’s Lamb Of God, Cruz injects even more nuance and personality into his playing across Omens’ songs.
It's a potent, palpable energy Lamb Of God first tapped when they shoved heavy metal into the new millennium with New American Gospel (2000). As the Palaces Burn (2003) joined Rolling Stone's Top 100 Greatest Metal Albums of All Time. Ashes of the Wake (2004) was the first Lamb Of Gold album certified gold by the RIAA, a feat once all but impossible for a contemporary extreme metal band.
Sacrament (2006), Revolver's Album of the Year, went gold as well. The raw and organic malice of Wrath (2009) began the band's enduring relationship with Wilbur. Both the diverse Resolution (2012) and the explosive VII: Sturm und Drang (2015) debuted in the Top 5 of the Billboard 200.
The 2020 self-titled set, their first new material in five years, added instant classics "Memento Mori" and "Resurrection Man" to the repertoire, alongside eight more monster tracks. Revolver, Metal Hammer, Loudwire, and Consequence included Lamb Of God on their year-end Best Albums lists. The momentum continues with Omens, arguably the band's most aggressive and ambitious yet.
The hardcore fire at the heart of Lamb Of God still burns as hot as the 12-foot flames blazing the stages on their co-headlining trek with Megadeth, appropriately called "The Metal Tour of the Year." Even as the state of the world descends, the state of the union for Lamb Of God remains strong.
You got it right: over the last twelve adrenaline-filled years, braindead™ Finnish cannonball squad LOST SOCIETY has been fearlessly exploring the lights and shadows of the world of heavy metal. Still, despite the dirty deeds of the past years and the praise of legendary colleagues such as Kreator's Mille Petrozza and Sepultura's Andreas Kisser, it now feels like the band's rocket is just about to take off.
Enter 2022. The epochs of darkness have just been left behind...
LOST SOCIETY – featuring guitarist Arttu Lesonen, bassist Mirko Lehtinen and drummer Taz Fagerström as well – is about to unleash the most ambitious, versatile and innovative record of their career. Well, so far.
If The Sky Came Down is a bona fide example of what may happen when utterly talented musicians recognize the magnificent feeling: we are capable of reaching the heavy metal skies.
The definitive nail in the coffin is the record's spectacular closer Suffocating. There are cold shivers down the listener's spine as Samy Elbanna spits fragile but powerful lines such as "only death can heal me" and "the air is pure but I'm suffocating".
The lyrics may sometimes be secondary in the mystical realms of rock 'n' roll, but If The Sky Came Down heads out to another highway – and certainly not just within the unique serenity of aforementioned Suffocating.
And now the rockets are about to be launched again... What does the future look like?
Such is the inspiration for the latest album from EARTHLESS. “My son is really into mythical creatures and old folk stories about monsters and ghosts,” bassist Mike Eginton explains. “We came across the ‘Night Parade of One Hundred Demons’ in a book of traditional Japanese ghost stories. I like the idea of people hiding and being able to hear the madness but not see it. It’s the fear of the unknown.”
Whereas 2018’s Black Heaven featured shorter songs and vocals from guitarist Isaiah Mitchell on much of the album—an unprecedented move for the San Diego power trio—their latest is a return to the epic instrumentals EARTHLESS made their unmistakable name on. Night Parade Of One Hundred Demons is comprised of two monster songs—the 41-minute, two-part title track and the 20-minute “Death To The Red Sun.”
The scenario that allowed for this kind of exploration was a stark contrast to that of Black Heaven. At that point, Mitchell was living in the Bay Area, which made it difficult for the band to get together and work on the type of long instrumental pieces they’re known for. But in March 2020, the guitarist moved back to San Diego. More specifically, he moved back the night the pandemic lockdown kicked in. Bad timing, perhaps—or maybe perfect timing.
Plus, they were all on the same page about not wanting to do another record with vocals. “In a way, I think this album was a reaction to our last record,” Eginton says. “Black Heaven was outside our comfort zone. I think it was a good record, but it was challenging to write songs in a more traditional verse-chorus-verse format. This one was more enjoyable. I’m sure we’ll do more vocal tracks in the future, but for the time being I see that album as a one-off.”
Given the record’s inspiration, it should come as no surprise that Night Parade of One Hundred Demons strikes a more sinister tone than the rest of the band’s catalogue. “It definitely has a darker, almost evil kind of vibe compared to stuff we’ve done in the past,” Rubalcaba says. “There’s more paranoia and noise, and some of Isaiah’s whammy-bar stuff kind of reminds me of these Jeff Hanneman moments in Reign In Blood, where it just seems like everything is going to hell. It’s pretty fun.”
Night Parade of One Hundred Demons was recorded in San Diego with Rubalcaba’s childhood friend Ben Moore, who’s worked with everyone from DIAMANDA GALAS and BURT BACHARACH to CEREMONY and HOT SNAKES. When Eginton wasn’t tracking his bass parts, he worked on the album’s incredible sleeve art. “He really dedicated himself to the project,” Rubalcaba says. “He’d be drawing in the studio with, like, a coal-miner’s lamp on his head while we were doing overdubs. He really knocked it out of the park.”
All told, Night Parade of One Hundred Demons isn’t just a return to the band’s traditional format—it’s a return to their very beginnings. “This album actually has the very first Earthless riff in it,” Eginton reveals. “We just recorded it 20 years after we wrote it. But we’re really happy with how this record came out. We feel it might be our finest to date.”
As Jourgensen watched the chaos that befell the world during the height of a global pandemic and the tensions rising from one of the most important elections in American history, he seized on the opportunity to write, spending quarantine holed up in his self-built home studio—Scheisse Dog Studio— along with engineer Michael Rozon and girlfriend Liz Walton to create Ministry’s latest masterpiece, Moral Hygiene (out October 1 on Nuclear Blast Records). Anchored by last year’s leadoff track “Alert Level”—which asks listeners to internalize the question “How concerned are you?”—the 10 songs on this upcoming 15th studio album cover the breadth of the current dilemmas facing humanity, while ruminating on the sizable impact of COVID-19, the inevitable effects of climate change, consequences of misinformed conspiracies and the stakes in the fight for racial equality. And most importantly doing so with the lens of what we as a society are going to do about it all.
Moral Hygiene comes on the heels of Ministry’s acclaimed 2018 album AmeriKKKant (hailed by Loudwire as Jourgensen’s own “state of the union” address) that was written as a reaction to Donald J. Trump being elected president—though Jourgensen says this new album is more informational and reflective in tone. “With AmeriKKKant I was in shock that Trump won. I didn’t know what to do, but I knew I had to do something. Because I believe if you are a musician or an artist you should be expressing what’s going on around you through your art. It’s going to happen whether you do it consciously or unconsciously. Moral Hygiene however has progressed even further into a cautionary tale of what will happen if we don’t act. There’s less rage, but there’s more reflection and I bring in some guests to help cement that narrative.”
In addition to recruiting long-time cohort Jello Biafra (Jourgensen’s partner in the side project Lard) for the quirky earworm “Sabotage Is Sex,” other guest appearances include guitarist Billy Morrison (Billy Idol/Royal Machines) on a rendition of The Stooges hit “Search & Destroy.”
Another standout track is “Believe Me,” featuring a throwback vocal style from Jourgensen that harkens back to his singing on Twitch and cult classic “(Every Day Is) Halloween.” The song came out of a jam session with Morrison, Cesar Soto and sampling from Liz Walton, and reminded Jourgensen of his formative days at Chicago Trax Studios where communal ideas were constantly informing early Ministry records. “’Believe Me’ had such an old school vibe I wanted to bring back old school vocals. …It’s funny how things come back to you,” says Jourgensen, also reflecting on Ministry turning 40 in 2021.
With the release of Moral Hygiene, Jourgensen is more positive than before. “This may sound crazy but I’m more hopeful about 2021 than I have been in two decades at least,” he says. “Because I do see things changing; people are starting to see through all the bullshit and want to get back to actual decorum in society. We could just treat each other nicely and be treated nicely in return. I never thought Ministry would be in the position of preaching traditional values, but this is the rebellion now.”
STAFF COMMENTSBarry says: I remember hearing the first few bars of N.W.O from the stunning '????????' all those years ago, and being genuinely gobsmacked that a band could be that heavy. Fast forward some 20 years or so, and they continue their electronic / industrial metal tirade with their FIFTEENTH studio album, encompassing all of the elements that made their sound so unique, but with a whole new subject matter.
CD Track Listing:
3.Sabotage Is Sex
5.Search And Destroy
8.We Shall Resist
10.TV Song No 6 (Right Around The Corner)
LP Track Listing:
3.Sabotage Is Sex
1.Search And Destroy
4.We Shall Resist
Blues Pills Live
Driving basslines, grooving drums and guitar solos from another planet by 17 year old Dorian Sorriaux, harmonized and tied together with such easiness and delight by Elin Larsson‘s incredible voice.
With the idea to combine soul music with blues and rock ‘n’ roll and turn it into a new force of unimaginable energy, intensity and freshness, blonde archangel and soulsaviour Elin Larsson will guide you gently into a new world; the band´s empire of soulful rock. Elin’s powerful lyrics are full of emotion, her jazzy-soulful voice unfolding in outstanding beauty with a refreshing new take on the timeless and unquestionably noble art of rock ‘n’ roll.
The band‘s stunning 10-track debut, produced by Don Alsterberg (Graveyard), was dubbed “one of the most exciting releases of the year” by Classic Rock Magazine, while Mojo predicted that “good times lie ahead for Blues Pills.” The album was rapidly backed by serious bout of roadwork. A sold-out November club run was followed a month later with a full UK tour as special guests to Rival Sons. Such is the demand for the band that another April headline run was announced immediately after.
It couldn’t be more fitting that the band’s first live album was recorded at the renowned German Freak Valley Festival. Festival founder Jens Heide has not only been supporting the young musicians from “day one, before we even played a single show, before ‘Devil Man’ even was written and before the band was fully formed,” as vocalist Elin Larsson points out. In fact, he even gave the band their name.
This concert was also their first ever headline festival appearance. “We took a walk around the festival and I remember getting a really good vibe from the place,” recalls guitarist Dorian Sorriaux. “It felt like all the puzzle pieces came together up at that moment,” adds Larsson.
It’s in the live arena where Blues Pills really come into their own, as this 10-track release, recorded in front of a rabid German crowd, surely testifies. Improvising, stretching and twisting arrangements with Sorriaux and Larsson swapping the spotlight, Blues Pills remain anchored by their rock-solid rhythm section. ‘Blues Pills Live’ is the sound of a young band at the top of their game.
High Class Woman
Ain’t No Change
Time Is Now
No Hope Left For Me
86 NEW ITEMS