By localbandz, 2019-06-29
Italian melodic death metallers 5RAND return with their second album "Dark Mother". The effort is set for a release on 6th September 2019 with powerhouse label Time To Kill Records.
"Dark Mother" has been produced by longtime collaborator Marco Mastrobuono (FLESHGOD APOCALYPSE, HOUR OF PENANCE) at Kick Recording Studio and Bloom Recording Studios, while mastering has been handled by famous Swedish producer Jens Bogren (ARCH ENEMY, KATATONIA, AMORPHIS and more) at Fascination Street Studios. The epic album artwork has been designed by the talented Hans Trasid and the graphic layout by Roberto Toderico (SODOM, ASPHYX, PESTILENCE).
Watch a short video trailer with a closer look at the artwork HERE !
"Dark Mother" shows the band staying true to their diverse and catchy style, taking elements from melodic death metal and industrial throughout the album's 11 tracks. The song "Silent Spring" features arrangements by Francesco Ferrini, keyboardist and songwriter of FLESHGOD APOCALYPSE.
"Dark Mother" Tracklist:
01. Collapsing Theory
02. Embrace the Fury
03. Several Injuries
04. The Awakening
05. Black Ocean
06. Cold Deception
07. Feel the End
08. Old Angel Midnight
09. Blind Addiction
10. Before the Flood
11. Silent Spring
Pre-orders available HERE .
5RAND is a metal band from Italy: their sound combines Julia Elenoir's clean and growling vocals, melodic, ethereal elements and the aggressive riffing of extreme metal, evoking a dark, disturbing violent, and yet captivating, atmosphere, often conjuring comparisons to acts such as Slipknot, Fear Factory and Dark Tranquillity.
Following on the heels of the widely hailed debut album “Sacred/Scared” (2017), 5RAND toured Italy and Europe supporting Vader and Immolation and openened for bands such as Behemoth and Sepultura in several occasions. In 2018 the band toured Europe supporting Dark Tranquillity and Equilibrium and played many more headlining shows all over Italy.
The second album "Dark Mother" will be released worldwide on 6th September 2019 via Time To Kill Records. The release will be once again followed by an intense live activity.
Julia Elenoir – Vocals Pierluigi Carocci – Guitar Riccardo Zito – Bass Andrea De Carolis– Drums
Time To Kill Records
By localbandz, 2019-06-22
Guitars from the Pink Floyd frontman's collection fetched millions.
Yesterday, June 20, Pink Floyd guitarist David Gilmour auctioned off over 120 guitars from his personal collection in New York City through Christie's. Highly anticipated throughout the guitar community, the auction shattered numerous records.
Gilmour's legendary 1969 Black Strat took in $3,975,000 , establishing a new world auction record for any guitar sold at auction — ever. Of course, this was the axe heard on “Comfortably Numb,” “Shine on You Crazy Diamond,” “Money” and many other Pink Floyd classics.
The 1969 Martin D-35 Gilmour used on "Wish You Were Here" was up first, and—after selling for $1,095,000 —immediately became the most valuable acoustic guitar ever sold, according to Christie's. The pre-auction estimate for the guitar? $10,000-$20,000.
Gilmour's Olympic White "#0001" Fender Stratocaster —which he used on “Another Brick in the Wall (Part 2)”—was sold for $1,815,000 , making it, a ccording to Christie's, the most valuable Strat ever sold at auction.
Speaking of Strats, Gilmour's Candy Apple Red 1984 Fender Strat —which he used throughout the A Momentary Lapse of Reason and The Division Bell era—brought in $615,000 .
Not content with merely setting records for Strats and acoustics, Gilmour also set an auction record for a Les Paul, after his 1955 Gibson Les Paul Goldtop fetched $447,000 .
This page will be updated as the auction continues.
"These guitars have been very good to me and many of them have given me pieces of music over the years," Gilmour said in a statement announcing the auction. "They have paid for themselves many times over, but it’s now time that they moved on. Guitars were made to be played and it is my wish that wherever they end up, they continue to give their owners the gift of music. By auctioning these guitars I hope that I can give some help where it is really needed and through my charitable foundation do some good in this world. It will be a wrench to see them go and perhaps one day I’ll have to track one or two of them down and buy them back!”
By localbandz, 2019-01-30
Source: Guitar Player
By: Jackson Maxwell
David Gilmour is downsizing his personal collection for a good cause.
David Gilmour has announced that he will auction off more than 120 guitars from his personal collection through Christie's.
The auction, which will take place in New York City on June 20, 2019, will feature some of Gilmour's most prized and iconic guitars, some of which are valued at as much as $150,000. All sales proceeds will benefit charitable causes.
“These guitars have been very good to me and many of them have gifted me pieces of music over the years," Gilmour said in a statement. "They have paid for themselves many times over, but it’s now time that they moved on. Guitars were made to be played and it is my wish that wherever they end up, they continue to give their owners the gift of music. By auctioning these guitars I hope that I can give some help where it is really needed and through my charitable foundation do some good in this world. It will be a wrench to see them go and perhaps one day I’ll have to track one or two of them down and buy them back!”
Some highlights from the collection can be seen here .
By localbandz, 2019-01-13
The members barely knew each other when they began recording their first LP, but all the pieces were in place: blues, power and incredible musicianship.
By Jon Dolan
It only takes the first two seconds of the first song on their first record for Led Zeppelin to make crystal clear exactly what they intend to do — and exactly what they intend to do to you . In the opening to “Good Times Bad Times,” the band drops a two-note attack that falls like a cartoon safe, clearing the air for John Bonham ’s syncopated groove, Jimmy Page ’s swift-sword guitar and Robert Plant ’s high-end howling about sex so loud it gets the neighbors talking. “It really wasn’t a pretty thing,” Plant later said. “It wasn’t supposed to be a pretty thing. It was just an unleashing of energy.”
He could’ve been talking about the entire album. Recorded in 30 hours of studio time stretched over a three-week period (“I know because I paid the bill,” Page said), Zeppelin’s debut was hardly a high-concept affair; its making has been compared to the breakneck daylong session the Beatles pulled to cut Please Please Me in 1963. Yet the essential elements the band would expand on over the next decade are all in place: There’s a miasmic psychedelic blues trip (“Dazed and Confused”), high-def Fifties revisionism (“Communication Breakdown”), shifts from tender ballad to metal body slam (“Babe I’m Gonna Leave You”), and rips-cum-retooling of folk, blues and even classical on John Paul Jones ’ Bach-bitten organ intro to “Your Time Is Gonna Come” — all unified by the band’s undeniable brute force.
Zeppelin had rehearsed the material (all selected by Page) on a brief tour of Scandinavia in the summer of 1968, shortly after Page had left the Yardbirds. In many ways, they were a collection of opposites: Page was the London-scene superstar on par with Jeff Beck and Eric Clapton; Jones was also an established studio pro; folkie Plant and wild-man wild card Bonham were unknown outlanders who’d previously played together in a group called Band of Joy. “I knew exactly what I wanted to do with these fellows,” said Page, who might have had his pick of post-Yardbirds supergroups (one possibility included Keith Moon and Beck) but wanted a band where he could enjoy “artistic control in a vise grip.”
One of the first songs Page suggested to Plant was “Babe I’m Gonna Leave You,” a tumultuous reimagining of an American folk standard Page learned from a Joan Baez live record — a unique choice for four British blues studs. On “Black Mountain Side,” Page turned to English folk for inspiration, modeling the song on guitarist Bert Jansch’s recording of a Gaelic traditional song called “Black Water Side.” Led Zeppelin is rife with these kinds of nicks and allusions, and it’s where the notion of Zeppelin as unapologetic kleptos was born — from the Howlin’ Wolf–inscribed wrecking ball “How Many More Times” to the Eddie Cochran–biting rocker “Communication Breakdown.” (Decades later, Jansch told journalist Mick Wall that Page still couldn’t look him in the eye.)
In this case, though, part of the reason for the grab-and-go aesthetic was the band’s utter newness. Led Zeppelin was recorded with almost no overdubs in London’s Olympic Studios by musicians still looking for a shared language. “Nobody really knew each other,” said Plant, who had never been in a high-caliber studio before. “I’d go back to the playback room and listen. It had so much weight, so much power — it was devastating. I had a long way to go with my voice then, but the enthusiasm and sparking of working with Jimmy’s guitar … it was so raunchy.” That raunch was rendered overwhelming and spectral by Page, who placed mics all over the studio to get a vérité sound that might recall the raw, big-room ambience of old Chess and Sun records. Uncredited engineer Glyn Johns added to the effect by putting Bonham’s drum kit on a riser to enhance his “phenomenal” sound. Much has been made of Bonham’s power (the beat on “Communication Breakdown” is nearly punk-speed), but Jones was just as impressed by his restraint: “John kept a really straight beat on slow numbers like ‘You Shook Me,’” he recalled. “To play slow and groove is one of the hardest things in the world.”
This rarely acknowledged sense of restraint is a big key to the album’s intensity. Zeppelin weren’t the only band to merge heaviness and expansiveness, but where Cream and the Who pushed rock’s boundaries into opera and jazz-touched improv, Zeppelin honed their virtuosity into compositions; even the eight-minute “How Many More Times” was designed for maximum impact. “There was very little free-form anything,” said Johns. “They were very hard-working. The Stones took nine months to make a record; these guys took nine days — including mixing.”
When Led Zeppelin was released in January 1969, it went to the Top 10 in the U.S. and the U.K. charts, despite lukewarm reviews. The enormity of Zeppelin’s innovation wasn’t entirely easy to recognize. In an era of spiritual transcendence and tales of brave Ulysses, they’d flipped teenage rock & roll’s sex-zonked mania into something huge and seething and mythic-bestial. Eastern mysticism and Mordor and prom-ruling radio gold would all come later. This was something purer: Zeppelin as all-id power station. It was heavy metal.
By localbandz, 2018-12-24
By Andy Greene
Listen to lesser-known gems from the band’s catalog
Most everyone knows Pearl Jam’s early hits like “Jeremy” and “Better Man,” and their first few albums sold in the millions. But starting in the mid-1990s, they did everything possible to back away from the spotlight. Albums like Binaural and Riot Act came and went without much notice, even as their massive cult fanbase grew to insane proportions. They recorded a ton of amazing songs after No Code , and here’s a guide to 15 songs that only the hardcore fans love. (A special shout-out to Pearl Jam super fans Hillary and Kate for helping with the song selection.)
1. ‘Long Road’
Eddie Vedder's contributions to the 1995 Pearl Jam/ Neil Young collaborative album Mirror Ball were pretty minimal, but he did write the haunting ballad "Long Road" during the sessions and it was later released on the EP Merkin Ball . Vedder wrote the song as a tribute to his high school drama teacher Clayton Liggett, but it works as an all-purpose tribute to lost loved ones. It took on a new meaning days after 9/11 when Vedder sang the song with Young at the Tribute to Heroes telethon.
By localbandz, 2018-12-23
From Bing Crosby to Bob Dylan, Motown to Death Row, we rank the best Yuletide listens ever
By Jon Dolan
It’s no surprise that a Christmas song – Bing Crosby’s “White Christmas”– is in the Guinness Book of World Records as the best-selling single ever. There’s a universality to Christmas music that even transcends religion. Just ask Bob Dylan, who was raised Jewish but loved Yuletide tunes enough to record an album of them in 2009. From gangsta rap to jazz to reggae to indie-pop, from crooners to rockers, the impulse to knock out a “Blue Christmas” or a “Santa Claus Is Coming to Town” knows no boundaries. Read on for our list of the 25 greatest Christmas albums of all time.
If there's one thing the centuries-old tradition of holiday music has always lacked, it's irony. Weezer bring it by the sleigh-load on this six-song EP. Hilariously, they choose only the most Jesus-y tunes to bash out in their vaunted flat-lined power-pop style. When Rivers Cuomo sings "Oh, come let us adore him" on "O Come All Ye Faithful," his creepily deadpan vocals sound like he's stalking the Baby Jesus, not celebrating him, and on the pooch-metal rendition of "We Wish You a Merry Christmas," he's like a Dickensian droogy ready to burn his crummy Victorian orphanage if he doesn't get some figgy pudding, stat!
By localbandz, 2018-12-14
Def Leppard, the Cure, Roxy Music and the Zombies also set to enter the Cleveland institution
The Rock and Roll Hall of Fame has officially announced next year’s inductees: Radiohead , Janet Jackson , Stevie Nicks , Def Leppard , The Cure , Roxy Music and the Zombies will all join the class of 2019.
The induction ceremony will be held at Brooklyn’s Barclays Center on March 29th. An edited version of the event will air later on HBO alongside a SiriusXM radio broadcast. Ticket details will be announced in January.
Artists are eligible for the Rock and Roll Hall of Fame 25 years after the release of their first album or single. Kraftwerk, Todd Rundgren, Rage Against the Machine, Rufus & Chaka Khan, MC5, LL Cool J, John Prine and Devo were all nominated, but failed to make the cut. No newly-eligible acts made it in this year, but this was the first time that Def Leppard and Nicks appeared on the ballot (though Nicks was inducted as a member of Fleetwood Mac in 1998). She will become the only woman to enter the Hall of Fame on two occasions.
“I have a lot to say about this,” Nicks says in a statement, “but I will save those words for later. For now I will just say, I have been in a band since 1968. To be recognized for my solo work makes me take a deep breath and smile. It’s a glorious feeling.”
Jackson also released a statement reacting to the honor. “Thank you Rock and Roll Hall of Fame,” she says. “I am truly honored and I am happy to be in there with my brothers.”
Joe Elliott of Def Leppard is equally thrilled by the news. “Now we can stop holding our breath,” he tells Rolling Stone . “How wonderful to be in the same club as the Rolling Stones and the Beatles and the Who and Queen … It’s a nice badge of honor.”
For Colin Blunstone of the Zombies – who have been eligible since 1989 and have appeared on three previous ballots – this was the result of incredible patience and persistence. “You do start to doubt that it could happen,” he tells Rolling Stone. “I’ve tried to be fairly philosophical about it and tell myself that if we don’t get inducted, it’s just a bit of fun. Don’t take it too seriously. But of course when you’re actually inducted, everything changes. You think, ‘This is a career-defining [and] life-defining moment.'”
His longtime bandmate Rod Argent echoed Blunstone’s sentiment. “I know it’s fashionable in some circles to say, ‘I don’t mind whether I get into the Rock and Roll Hall of Fame or not,'” he tells Rolling Stone. “But that is not how I’ve ever felt. When we were first nominated, that felt like a huge honor in its own right. And this time to turn the corner and get inducted, feels fantastic … I’m just so delighted.”
In a statement, a cordial Radiohead said that “the band thanks the Hall of Fame voting body and extends congratulations to this year’s fellow inductees.” But when we spoke to them in 2017, they were a little skeptical about the institution. “I don’t want to be rude about the Rock and Roll Hall of Fame because for a lot of people it means something, but culturally I don’t understand it,” said guitarist Ed O’Brien . “I think it might be a quintessential American thing. Brits are not very good at slapping ourselves on the back. It seems very show-biz and I’m not very show-biz.”
Roxy Music frontman Bryan Ferry had a different take. “We are delighted to accept this prestigious award on behalf of everyone who has been involved in the world of Roxy Music,” he wrote in a Tweet , “musicians, engineers, producers, designers and numerous people behind the scenes… and of course our loyal fans.”
Many Hall of Fame inductions have wrapped up with an all-star jam where each inductee lets loose on a single song, but finding one that works for all seven inductees might be a challenge. “That’s a bit of a tricky one, isn’t it?” asks Blunstone. “If you were to ask me off the top of my head, I’d go with ‘I Saw Her Standing There’ by the Beatles. Everyone knows that.”
Elliott has a different take. “I suppose older folk would be thinking [Chuck Berry’s] ‘Johnny B. Goode’ and younger folk would be thinking [David Bowie’s] ‘Heroes,'” he says. “It might one of those awkward moments where I’m saying, ‘I’m uncomfortable. I’m not doing it. Do they really want to play with us? Do we want to play with them?’ I don’t know. It depends on the Kumbaya-ness of the evening.”
By localbandz, 2018-12-04
Band’s 44-city Group Therapy Tour coincides with plans to release a new album in 2019
Multi-platinum band Hootie & the Blowfish will return from a lengthy hiatus in 2019, embarking on their first full-scale tour in more than a decade and releasing a studio album for the first time in nearly 15 years.
Dubbed the Group Therapy Tour, the trek will visit 44 North American cities with fellow Nineties stars Barenaked Ladies as special guests, kicking off May 30th in Virginia Beach, Virginia, and wrapping up September 13th with a homecoming concert in Columbia, South Carolina. Along the way the band will also perform at Los Angeles’ Hollywood Bowl, New York City’s Madison Square Garden and a number of state fairs. Tickets go on sale to the general public Friday, December 7th, with pre-sales beginning today. In addition, the Grammy-winning group also plans to release an album through a new record label deal with Universal Music Group Nashville, the same label group where singer Darius Rucker is currently signed as a solo performer.
Mixing elements of rock, soul, folk and pop, Hootie & the Blowfish were founded in the late Eighties by Rucker, guitarist Mark Bryan, bassist Dean Felber and drummer Jim “Soni” Sonefeld while the four were students at the University of South Carolina. Their 1994 album debut, Cracked Rear View , struck a chord with a wide array of music fans, eventually selling more than 21 million copies on the strength of hit singles like “Hold My Hand,” “Let Her Cry” and “Only Wanna Be With You.”
In 2008 the band took a break from regular touring so Rucker could pursue a solo career in country music, a venture which has so far resulted in five albums, eight Number One singles and a Grammy for Best Country Solo Performance for “Wagon Wheel” in 2013. Earlier in 2018, they returned to the stage to play a supporting role at Jason Aldean’s High Noon Neon Tour stop July 21st at SunTrust Park in Atlanta.
Here’s a complete list of dates on Hootie & the Blowfish’s 2019 Group Therapy Tour:
May 30 – Virginia Beach, VA @ Veterans United Home Loans Amphitheater
May 31 – Raleigh, NC @ Coastal Credit Union Music Park at Walnut Creek
June 1 – Atlanta, GA @ Cellairis Amphitheatre at Lakewood
June 6 – Orange Beach, AL @ The Wharf
June 7 – Tampa, FL @ Midflorida Credit Union Amphitheatre
June 8 – West Palm Beach, FL @ Coral Sky Amphitheatre
June 13 – Austin, TX @ Austin360 Amphitheater
June 14 – Houston, TX @ The Cynthia Woods Mitchell Pavilion presented by Huntsman
June 15 – Dallas, TX @ Dos Equis Pavilion
June 19 – Phoenix, AZ @ Ak-Chin Pavilion
June 21 – Chula Vista, CA @ North Island Credit Union Amphitheatre
June 22 – Las Vegas, NV @ T-Mobile Arena
June 23 – Irvine, CA @ FivePoint Amphitheatre presented by Mercury Insurance
June 25 – Los Angeles, CA @ Hollywood Bowl
June 28 – Wheatland, CA @ Toyota Amphitheatre
June 29 – Mountain View, CA @ Shoreline Amphitheatre
July 11 – Englewood, CO @ Fiddler’s Green Amphitheatre
July 13 – Maryland Heights, MO @ Hollywood Casino Amphitheatre
July 14 – Rogers, AR @ Walmart AMP
July 19 – Monticello, IA @ Great Jones County Fair
July 20 – Cincinnati, OH @ Riverbend Music Center
July 21 – Burgettstown, PA @ KeyBank Pavilion
July 26 – Cleveland, OH Blossom Music Center
July 27 – Bristow, VA @ Jiffy Lube Live
July 28 – Camden, NJ @ BB&T Pavilion
August 2 – Guilford, NH @ Bank of New Hampshire Pavilion
August 3 – Mansfield, MA @ Xfinity Center
August 4 – Saratoga Springs, NY @ Saratoga Performing Arts Center
August 8 – Columbia, MD @ Merriweather Post Pavilion
August 9 – Canandaigua, NY @ Constellation Brands-Marvin Sands Performing Arts Center: CMAC
August 10 – New York, NY @ Madison Square Garden
August 16 – Detroit, MI @ DTE Energy Music Theatre
August 17 – Noblesville, IN @ Ruoff Home Mortgage Music Center
August 18 – Des Moines, IA @ Iowa State Fair
August 22 – St. Paul, MN @ Minnesota State Fair
August 23 – East Troy, WI @ Alpine Valley Music Theatre
August 24 – Tinley Park, IL @ Hollywood Casino Amphitheatre
August 29 – Toronto, ON, Canada @ Budweiser Stage
August 30 – Hershey, PA @ Hersheypark Stadium
August 31 – Hartford, CT @ Xfinity Theatre
September 5 – Charlotte, NC @ PNC Music Pavilion
September 6 – Birmingham, AL @ Oak Mountain Amphitheatre
September 7 – Nashville, TN @ Bridgestone Arena
September 13 – Columbia, SC @ Colonial Life Arena
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