Earthless Sign to Nuclear Blast; October West Coast Tour Announced

Posted in Whathaveyou on August 21st, 2017 by JJ Koczan

This one comes right out of the day’s ‘Holy Shit!’ file. San Diego heavy psych forerunners Earthless have signed to Nuclear Blast for the early-2018 release of their fourth album, recorded by Dave Catching at Rancho de la Luna in Joshua Tree, California. The record doesn’t have a title yet, but it will follow the widely influential instrumentalist trio’s most excellent 2013 outing, From the Ages (review here), which was issued via Tee Pee Records and was their best-received work to-date, as well as their split with Harsh Toke (review here), which came out last year.

Earthless just appeared at Psycho Las Vegas, also returned to Freak Valley earlier this Spring, and made an appearance at Brant Bjork‘s Desert Generator in April, and no doubt that whatever it ends up being called, their next long-player just put itself on the most-anticipated list for many heavy rock heads when it comes to next year’s impending releases. I’m definitely happy to count myself in that number. Can’t wait to hear what kind of immersive sprawl Earthless have in store this time around.

Just off the PR wire:

earthless at rancho de la luna.

EARTHLESS sign to Nuclear Blast Entertainment + October headline dates announced

Nuclear Blast Entertainment is pleased to announce the worldwide signing of seminal psychedelic rock trio, EARTHLESS! The band–Isaiah Mitchell (vocals/guitar), Mike Eginton (bass) and Mario Rubalcaba (drums)–recently finished recording their new album with Dave Catching (EAGLES OF DEATH METAL) at Rancho de la Luna in Joshua Tree, CA, and took a moment to offer a few words about their upcoming album and new partnership.

“EARTHLESS is beyond stoked to join a label that has kept its independence and vision so strong for 30 years,” commented drummer Mario Rubalcaba “It’s crazy to think that I’ve bought Nuclear Blast releases since I was still in my teens. We are psyched to put out yet another extension of ideas, sounds and the long-going chemistry that this band has forged over the years. There are some new inspired paths musically and vocally on this next album and we are very excited to see it released on Nuclear Blast.”

“The vibe out at Rancho is one that gels very naturally for EARTHLESS and lends itself to get creative very comfortably,” continues Rubalcaba. “You have nothing else out there to do except absorb the heat, stare at the stars and get in the zone! Dave and I first started talking about doing this project together a few years ago now and it was great to finally make it happen.”

Adds guitarist Isaiah Mitchell:
“Dave was a great person to be around while making this record. Very cool dude. And the studio itself is like a candy store: you want to try everything because there’s so much great gear.”

EARTHLESS will release their 4th full-length studio album in early 2018. More details to be announced shortly. Until then, don’t miss the band on their upcoming headlining run this fall. Tickets go on sale everywhere this Wednesday, August 23rd, at 10 am local time.

Oct-18 Los Angeles – The Echoplex
Oct-20 Portland – Tonic
Oct-21 Seattle – Sunset
Oct-22 Bellingham – The Shakedown
Oct-24 Boise – Neurolux
Oct-25 Reno, NV – Jub Jub’s
Oct-26 San Francisco, CA – The Chapel
Oct-27 Felton, CA – Don Quixote’s
Oct-28 Sacramento, CA – Holy Diver
Oct-29 Santa Ana, CA – Constellation Room

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Earthless, From the Ages (2013)

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Enslaved Post Video for “Storm Son” from New Album E

Posted in Bootleg Theater on August 14th, 2017 by JJ Koczan

enslaved e storm son

A few crucial learnings from the new Enslaved track, and you know I love crucial learnings. The mainstay Norwegian progressive black metallers announced last week they’ll issue their new album, E, on Oct. 13 via Nuclear Blast, and in a week that was full of good news of releases to come, that might’ve been the most welcome date to mark on the calendar. In accordance with unveiling the cover runic origins, cover art, tracklisting and preorders for E, they said they’d be posting the first single “Storm Son” on Friday, and sure enough, they lived up to their word.

The 10-minute track makes a substantial sampling of what famed producer Jens Bogren is bringing to themix and master E in terms of clarity of vision and precise instrument separation — the track is immediately clean, very much in the style of Bogren‘s work on Enslaved‘s last four albums and countless others — and the video is by Josh Graham. You might recognize his crow-flying-in-profile motif from Neurosis‘ “Stones from the Sky” video, though there’s plenty going on here besides.

Before we get to the clip, let’s run through what we find out in it:

1. New dude can sing.

Granted, we may or may not be getting a guest appearance in the second half of “Storm Son” from Einar Selvik of Wardruna as well, and as the subsequent gallop takes off, bassist Grutle Kjellson‘s rasp is front and center (his own clean vocals are there too, somewhat buried in the layering), but early in the track, we get to hear new keyboardist Håkon Vinje‘s voice for the first time, and yeah, he pretty much nails it. What Vinje would bring to the band in filling the void left by Herbrand Larsen, who stepped away earlier in 2017 after a 13-year tenure, was to my mind the biggest question going into E, and if “Storm Son” is any indicator, things are gonna be alright. Larsen‘s progression as a vocalist over the last decade was a hallmark of Enslaved‘s stylistic progression, and obviously the band didn’t want to take any backward steps in losing him.

2. The style hasn’t changed that much.

A start-stop riff from guitarists Ivar Bjørnson and Arve Isdal carries the spirit of 2015’s In Times (review here) forward, and as one would expect, drummer/famed fisherman Cato Bekkevold is malleable to whatever changes the song might present. Much as it marks a new beginning for Enslaved in terms of their lineup, “Storm Son” doesn’t come across as a radical shift from where they were two years ago in terms of sound so much as the next step in their ongoing evolution. I’m not sure I’d count on one song to speak for E as a whole — yes, that’s me hedging my bets — but even with some notable post-rock flourish, I don’t feel blindsided by what the band is doing here.

3. Metallic patience abounds.

That said, one can hear a certain meditativeness in the repetitions early; Enslaved seeming to take that extra measure or two before switching to the next part of the track. That’s what I mean by “metallic patience.” It’s not like they’re jamming out — one would never really expect them to suddenly go improv — but while Enslaved resolve “Storm Son” with significant rhythmic charge, they also allow the textures of the track to flesh out a bit without growing fed up with waiting, losing their grip, and blasting out before it feels right to do so. There’s still a build in “Storm Son” along a linear course, but pay attention to how Enslaved handle it on their way through and I think you’ll notice as well that they hold their sense of poise even as that fury mounts, and that control is emblematic both of their experience and of the place that has brought them as players and songwriters.

Enjoy the video:

Enslaved, “Storm Son” official video

True avant-garde Norwegians ENSLAVED will release their epic new studio album E on October 13th, 2017 and with this 14th full-length record, the virtuoso herald a new chapter in the band’s history. To provide a first taste of what’s to come, the band now unveils their debut music video for the 10 minute long single “Storm Son” that blends mesmerizing prog with jarring extreme metal and a folky atmosphere. The music video was designed by Josh Graham, who previously worked with SOUNDGARDEN and NEUROSIS among others, and delivered a truly spectacular piece of animated art.

“‘Storm Son’ deals with the duality of man and nature, how important and basic that relationship is,” explains songwriter and guitarist Ivar. “Everything we do and create are imitations of nature; as we evolved from nature, that is how it must be – yet modern man thinks he and she is independent of nature, that we somehow are so superior that we do not have to take nature into consideration other than as a backdrop for shitty movies. Or festivals. Losing touch with nature is basically to lose touch with being human.”

You can now pre-order the physical editions of the album here: nuclearblast.com/enslaved-e

Or get the digital version and stream the new track “Storm Son” via this link: nblast.de/EnslavedDigital

The track list contains these majestic anthems:
01. Storm Son (10:54)
02. The River’s Mouth (5:12)
03. Sacred Horse (8:12)
04. Axis Of The Worlds (7:49)
05. Feathers Of Eolh (8:06)
06. Hiindsiight (9:32)
Bonus tracks available on the digipak:
07. Djupet (7:39)
08. What Else Is There? (Röyksopp cover) (4:44)

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Paradise Lost, Medusa: Deathly Passages

Posted in Reviews on August 10th, 2017 by JJ Koczan

paradise lost medusa

Next year will mark the 30th anniversary of England’s Paradise Lost, who in that time have crafted a storied, varied and massively influential career in doom. Whether as part of the original ‘Peaceville three’ alongside UK countrymen My Dying Bride and Anathema in the ’90s as they helped shape the decade’s course with records like 1991’s Gothic, which followed their 1990 debut, Lost Paradise, or 1992’s Shades of God, 1993’s Icon and 1995’s Draconian Times or the veering away from what had been the innovative downtrodden aggression of death-doom and gothic-doom in their sound — if not the dramatic sensibility — that came later in 1997’s One Second, 1999’s Host, 2001’s Believe in Nothing and 2002’s Symbol of Life, their evolution has divided fans and critics as only a band truly committed to following their own path can. With the release of their self-titled in 2005, Paradise Lost began to reemphasize the lead guitar of Gregor Mackintosh in their sound, and gradually since, the five-piece have pushed back into heavier and darker territory.

It’s been a decade-long process, with 2007’s In Requiem, 2009’s Faith Divides Us – Death Unites Us (review here), 2012’s Tragic Idol and 2015’s The Plague Within (review here), and with 2017’s Medusa — also their first offering through Nuclear Blast after releasing the prior four LPs and other numerous collections through Century Media — that progression toward darkened heft would seem to have hit a new zenith. From the Branca Studio artwork through the ultra-thick chug from Mackintosh and rhythm guitarist Aaron Aedy, the thudding drums of newcomer Waltteri Väyrynen (ex-Moonsorrow, among others), the heft of Stephen Edmonson‘s bass and the shifts between cleaner singing and harsh growls from vocalist Nick HolmesMedusa is Paradise Lost unabashed in their approach to doom — a sound they’ve made their own over time and one that tracks like the deeply metallic “From the Gallows” and the slogging “No Passage for the Dead” show they’re willing to reshape to their purposes on any given track.

Vital in their delivery and given added impact through the biting production of Jaime Gómez Arellano at Orgone Studios in London (see also: CathedralWith the DeadSólstafir and many others), Paradise Lost can come across as absolutely vicious throughout Medusa‘s eight tracks and 42 minutes, so that by the time they get around to the last push and rasps of closer “Until the Grave,” the organ introduction of 8:31 opener and longest inclusion (immediate points) “Fearless Sky” is a distant, mournful memory. Yet their work here is informed by an accessibility of structure as well. “Fearless Sky” is clearly intended to send a message to their audience with its overbearing crash, grueling tempo, drawn-out leads and Holmes‘ initial growls, but it also shifts into a melodic hook in its midsection — the crafters of Gothic playing very much to the gothic metal they helped craft — and once established, that dynamic becomes essential to the atmosphere and, in the end, the success of Medusa.

paradise lost

With Paradise Lost circa 2017, it’s not just about drawing solely on their early albums, or their middle period, or even the last decade’s clear-headed pummel — it’s about taking all of that and creating something with it that continues to move their progression forward. Second track “Gods of Ancient” follows the willful body-drag of “Fearless Sky” with an extremity of darkness worth of the band’s legacy that picks up its pace in the second half around a particularly punishing riff, setting up a thrust further into darkness on the shorter “From the Gallows,” which offsets a chugging verse with transitional lead lines and a more open-feeling chorus. This opening salvo consumes most of side A along with whatever else happens to step in front of it, and as “The Longest Winter” offers a breather in its atmospheric, birdsong-laden introduction, it also marks a turn toward cleaner-singing from Holmes that was foreshadowed in “Fearless Sky” but that, brought more forward and only offset by a couple guttural complementary lines, emphasize just how deeply bleak Paradise Lost get over the first three tracks. I’m not sure I’d call it a moment of hope in terms of ambience — it’s still plenty dark, plenty gray — but it’s nonetheless a departure from the rest of side A before it.

So does that mean the final four cuts on Medusa find Paradise Lost further expanding the context of the album overall? Somewhat, but they also reaffirm the emotional and tonal mire of the first half. The title-track, at 6:20, mirrors “Fearless Sky” in being the longest piece on its side (secondary points), and it begins with a quiet piano line that will reemerge throughout the entirety of the song as a focal point, a theme around which the weighted guitars and bass churn, vocals going from clean to rough in a flipped-script manner that was initiated by “The Longest Winter” before reverting to the deathly on the very-much-guitar-led “No Passage for the Dead” and “Blood and Chaos” — the latter arguably the most metallic of Medusa‘s tracks in quickness of pace and the straightforward swapping of growled verses and a harmonized chorus, Mackintosh‘s leads still a hallmark of Paradise Lost‘s sound as ever in the efficient, tightly-executed 3:51 that seems to answer “From the Gallows” in ferocity of purpose while surpassing it in catchiness level.

One might expect, given the traditional shape of the tracklist and the way Medusa unfolds across its span, that “Until the Grave” would task itself with summarizing the entirety of what comes before it, but it instead draws on the bitter mournfulness of “No Passage for the Dead” and “Blood and Chaos” and pushes them outward with keyboard flourish and steady rhythmic roll. It is a grim and thoroughly doomed finale, but I suppose in that it does actually do a fair bit of summary for what Medusa has on offer — a lack of pretense in its intention and a sharp-edged lucidity underlying the murk created throughout. A mission statement unto itself, “Until the Grave” ends simply, perhaps even in understated fashion, and leaves the listener wanting more, which for a band about to hit their 30th year and releasing their 15th full-length is no minor accomplishment in itself. Nonetheless, that Paradise Lost have never settled in terms of aesthetic, songwriting or performance has become a key facet of their longevity, and monstrous as it is, it’s only right that Medusa should stand as another richly satisfying next-step in their seemingly perpetual growth.

Paradise Lost, “Blood and Chaos” official video

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Enslaved Announce Preorders for New Album E out Oct. 13

Posted in Whathaveyou on August 9th, 2017 by JJ Koczan

enslaved

If you’re like me and you’re wondering exactly what the new Enslaved album, E, is going to sound like, then you’re probably also like me and you know gosh darn well the answer isn’t likely to be provided in its entirety by the unveiling this Friday of the first single “Storm Son.” Nonetheless, when it comes to the long-running Bergen, Norway, progressive black metal innovators, I’ll take what I can get. Nuclear Blast has set an Oct. 13 release date for E and begun taking preorders for physical and digital editions, and that’s nifty, but at this point all we’ve got to go on is the art — looks like Enslaved art; Truls Espedal strikes again — and with the news that Herbrand Larsen has stepped away from the keys/clean vocal role, there’s the potential for a big sonic shift in E‘s tracks. Larsen was not a minor factor in the evolution of their sound.

Friday will begin to tell that tale; Oct. 13 will continue it. More when I hear, but for now, this from the PR wire:

enslaved e

ENSLAVED Announce Album Details And Release Date Of E

Launch Album Pre-Order Here: nuclearblast.com/enslaved-e

True avant-garde Norwegians ENSLAVED have announced the release of their epic new studio album for October 13th, 2017. This 14th full-length masterpiece sets the musical mind-twisters free from genre boundaries and offers a unprecedented mix of prog, extreme metal and shoegaze on 8 tracks with a play time of more than an hour. Elegantly titled E, the album was once again written by the unholy alliance of guitarist Ivar Bjørnson (music, lyrics) and singer/bassist Grutle Kjellson (lyrics) and marks the introduction of their new keyboard master and clean vocalist Håkon Vinje. Mixed and mastered at the Fascination Street Studios by the renowed Jens Bogren, E heralds a new era for ENSLAVED. Its cover artwork was once again hand-painted by the Norwegian artist Truls Espedal. As support for their brave sound journey, the quintet brought several guest musicians on board for the songs “Hiindsiigh”‘ and ‘”Feathers Of Eolh”, including WARDRUNA’s Einar Kvitrafn Selvik, flutist Daniel Mage and jazz saxophonist Kjetil Møster.

Mastermind Ivar explains about the title E:
“The concept of the album lies in both it’s meaning as a letter in the latin alphabet, and it’s runic reference: the rune “Ehwaz”, that is depicted as an “M” when drawn as rune (just to make sure it gets really confusing) – the runes are drawn to look like what they literally mean. Ehwaz (pronounced and used as what’s known as E, but drawn as an “M”) looks like and means ‘horse’. Which is closely linked to its esoteric meaning; which is ‘trust’ and ‘co-operation’. One of mankind’s oldest and deepest pairings/collaborations with any “outside” entities is with the horse. When they were first tamed and utilised there must have arisen the notion of some esoteric link between the two; now we could move swiftly, escape faster and even eat and drink from the animal (both horse milk and horse blood), and of course show off and brag before our enemies and peers with the most spectacular horses.

So, no, it is not about horses! It is about the symbioses that surrounds us; which are vital to our existence, to our development – on all scales: man and vessel (for instance horse, yes), a person and its significant other, child and parent, musician and instrument, chaos and order, subconscious and conscious, Oden and Sleipnir – wisdom and communication. There are many levels and variations of this concept on the album; the duality of man and nature, present and past personalities within one self, the conscious fear and the subconscious drive. And other symbiosis.”

The pre-order starts today and you can now get your hands on the physical editions of the album here: nuclearblast.com/enslaved-e

Or the digital version here: nblast.de/EnslavedDigital

The track list contains these majestic anthems:
01. Storm Son (10:54)
02. The River’s Mouth (5:12)
03. Sacred Horse (8:12)
04. Axis Of The Worlds (7:49)
05. Feathers Of Eolh (8:06)
06. Hiindsiight (9:32)
Bonus tracks available on the digipak:
07. Djupet (7:39)
08. What Else Is There? (Röyksopp cover) (4:44)

Stay tuned for the first single “Storm Son” to be unveiled this Friday!

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Enslaved, “Death in the Eyes of Dawn” official video from Roadburn Live

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Enslaved Complete Work on New Album

Posted in Whathaveyou on July 7th, 2017 by JJ Koczan

Back in April when Norwegian progressive black metal stalwarts Enslaved began recording their 14th full-length, the occasion was marked here, so now that the album is done, it seems only fair to note that as well. Details remain sparse for the new Enslaved offering and apparently will until Aug. 11 — given that, I’m betting on a release circa October, which still puts it well in time to catch print-mag year-end lists — but I’m willing to take Nuclear Blast at their word when they say it’s finished. Already it’s been a busy year for Enslaved, between their Roadburn Live release for Record Store Day and guitarist Ivar Bjørnson‘s debut with his experimentalist BardSpec, Hydrogen, as well as reissue projects, etc.

Enslaved‘s last full-length was 2015’s In Times (review here), which boldly furthered their evolution into a form of prog all their own.

From the PR wire:

enslaved

ENSLAVED Finish Recording And Mastering Of 14th Studio Album!

It is accomplished – the Norwegian Progressive Black avant-gardists ENSLAVED have finished the recording process of their 14th full-length masterpiece and in the renowned Fascination Street Studios, Jens Bogren polished this new raw diamond with his mixing and mastering skills. Just like for their predecessor In Times, which stormed the soundcheck rankings of the biggest European magazines, the metal veterans from Bergen still never look back and keep expanding their horizons. And this spring they created a spectacular sound chimera of experimental prog filled with majestic melodies, epic sound landscapes and harsh black metal moments – all united in a massive storm that will reach the coast this autumn.

“I’m always psyched and proud when we have finished an album recording, and this is no exception!” states singer Grutle Kjellson. “It was a really exciting process this time, with the line-up change and everything, so although it wasn’t a dramatic change, the band dynamics were suddenly different. But, it was like a little re-boot, a fresh start so to speak. The studio sessions were great, and we all feel that we have done something truly amazing. We hope you’ll enjoy it. Ugh!”

More info on ENSLAVED’s devouring maelstrom will be revealed on August 11th.

In the meantime, enjoy ENSLAVED’s latest album In Times that was released in March 2015 via Nuclear Blast, which blew away both fans and journalists. Secure your physical copy here: www.nuclearblast.de/238143

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Kadavar Finish Recording New Album for Sept. Release

Posted in Whathaveyou on May 30th, 2017 by JJ Koczan

German classic heavy rock forerunners Kadavar have finished recording their fourth album and have their eye on a late-Sept. release. Presumably the record will be delivered via Nuclear Blast, which also issued 2015’s Berlin (review here), the trio’s third offering that marked a distinct turn in sound away from the vintage-ism of their earlier two outings, 2012’s self-titled debut (discussed here) and its 2013 follow-up, Abra Kadavar (review here), but that has yet to be confirmed, and four months out from the new long-player’s arrival, there would seem to be plenty of time for details to be unveiled. They likely will, one at a time — artwork, tracks, tour dates, song premieres, etc. — over a stretch of considerable hype leading into the release.

And at this point, that hype is well earned. The three-piece of guitarist/vocalist Lupus Lindemann, drummer Tiger and bassist Simon “Dragon” Bouteloup have been around the world touring and even through the aesthetic shift toward a smoother production style on Berlin, their songwriting remained second to none. It was an album rich enough in its components that the band set out to make a video for each track on it. They didn’t quite get there by my last count — though I could be wrong on that; there were certainly plenty of videos — but the intent says something anyway.

For their latest, Kadavar built their own studio and took on the task of self-recording. It should be interesting to hear where this process takes them as they follow Berlin, whether they stick to the sleekness or opt for something rawer in its overall impression. For a band as keyed into presentation as Kadavar have been for the last half-decade, that’s a huge step to take at a pivotal moment in their tenure, but they’ve never wanted for boldness in either style or substance.

Slots are already booked at SonicBlast Moledo in August and Desertfest Belgium in October, and one assumes there’s more to come. Till then, they announced the album’s completion thusly:

kadavar-photo-Elizaveta-Porodina

As of today, our fourth longplayer is officially done! in january, we started building our own recording studio in an old factory. by the end of march we started writing new material while finishing the control room and within the last two weeks, we recorded and mixed all tracks. it has been a crazy year for us, but we love our new home and the new songs. they will be released in late september, more info soon!!!

Photo by the one and only Elizaveta Porodina Photography & styling by our Judith Suer

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Paradise Lost: New Album Medusa Due this Summer

Posted in Whathaveyou on April 27th, 2017 by JJ Koczan

Those who’ve followed UK death-doom groundbreakers Paradise Lost for the better part of the last decade have been rewarded thoroughly by the band’s return toward darker and more extreme sounds. Their 2015 outing, The Plague Within (review here), was perhaps the bleakest step in this somewhat reformed direction to-date, and it would seem that the forthcoming Medusa — which will be the band’s 15th album and label debut on Nuclear Blast after working with Century Media since 2007 — intends to continue that thread. Nothing to complain about there. When Paradise Lost go dark, they go really, really dark.

Good news that they’re in the studio now — including artsy shots of them at work — follows, courtesy of the PR wire:

PARADISE LOST reveal new album title and details

At this moment, iconic UK metallers, PARADISE LOST, are putting the final touches to their upcoming album, recorded at Orgone Studios in the misty countryside of Woburn, England. Together with producer Jaime Gomez Arellano, they have forged the follow-up to their highly acclaimed release The Plague Within (2015), which brought them a step closer to their death metal roots. This time, PARADISE LOST will haunt their fans with a heavy, doom-ridden monster, as lead guitarist and songwriter Greg Mackintosh reveals:

“The new album will be slower, sludgier and more doom filled than ever before. Eight riff laden monster tracks of sheer Northern misery.”

This 15th studio album will see the light of day at the end of summer via Nuclear Blast and is entitled Medusa. As some might know, Medusa is considered a hideous Gorgon in Greek mythology – a winged female monster with living venomous snakes in place of hair and everyone who dares taking a look at her will immediately turn to stone! So watch out for new details about the album being revealed soon – if you dare.

PARADISE LOST are:
Nick Holmes | vocals
Greg Mackintosh | lead guitars
Aaron Aedy | rhythm guitars
Steve Edmondson | bass
Waltteri Väyrynen | drums

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Paradise Lost, The Plague Within (2015)

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Enslaved Begin Recording New Album

Posted in Whathaveyou on April 25th, 2017 by JJ Koczan

Pretty funny timing on the news coming in that Norwegian blackened progressives Enslaved have begun the recording process for their next album. Or at least the phrasing of the news release made it so: “Enslaved enter the studio again!” Thing was, I got this update from the PR wire over the weekend at Roadburn in the Netherlands about two minutes after I saw Enslaved bassist/vocalist Grutle Kjellson walking around at the fest. Looked at my phone, looked up and there he was. I had a chuckle and said to myself, “Well, I guess not all of Enslaved are in the studio at the moment.”

Anyway, fun coincidence there, but the good news is that hopefully before the end of 2017 we’ll get a follow-up to Enslaved‘s excellent 2015 studio offering, In Times (review here), which will make it a double-release year for the band, who also just put out the Roadburn Live live record. The more the merrier.

Here’s the latest:

enslaved

ENSLAVED Enter The Studio Again!

It’s been over two years since the release of critically acclaimed album In Times, and now Norway’s progressive metal legends ENSLAVED have entered the studio again to record their 14th, yet untitled full-length release. Aiming for both wilder and yet more progressive and melodic horizons, the band who celebrated its 25th anniversary last year, never ceases to surprise and challenge their fans; they will once again step up to the plate. The recordings are taking place at Duper & Solslottet Studios in Bergen throughout April, and will be mixed and mastered by Jens Bogren at Fascination Street Studios. With its epic touch, the album promises to be original and refreshing – and to contain some surprising new elements.

“It is absolutely fantastic to be in the studio with these new songs”, states mastermind Ivar Bjørnson. “So many doors were opened with In Times and the times (sic) that followed; for us as a band, for me as a composer and I guess for us all on a personal level. I have never worked this hard to put together music for an album before, and that intensity continues into the studio where everybody is giving their everything, every hour of every day. We are a tighter unit than ever before, which is obvious sonically. The concept conjured by myself and old war-brother Grutle is the strongest we have worked with. Finally, I am proud that we have taken more risks than ever before, and one in particular – and it is yielding awesome results. What does that mean? Stay tuned to find out!”

The eye-catching cover and artwork is once again being created by renowned designer and painter Truls Espedal. More info will be revealed soon!

In the meantime, enjoy ENSLAVED’s latest album In Times that was released in March 2015 via Nuclear Blast, which blew away both fans and journalists. Secure your physical copy here: www.nuclearblast.de/238143

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Enslaved, “Death in the Eyes of Dawn” official video from Roadburn Live

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