Frontman Óskar Logi Ágústsson comments:
“Ah The United Kingdom, we love you, we have a good thing going on, we hope you feel the same way. You are the Barry to our White, the Pink to our Floyd and the Bootsy to our Collins. We hope you remember our midnight moonlight walks and the good times we had, let’s make some more sweet memories.”
Rabia Sorda have released new single ‘The King of the Wasteland’ via Out of Line Music.
The Mexican-German inferno-mob Rabia Sorda unleashes the primal force of wrath in an anthemic Electro-Punk-attack.
A storm is coming. A new beginning needs the complete and utter annihilation of the old. Anger is an energy… and each generation needs its own kind of rebellion. Like a force of nature, Rabia-Sorda- and Hocico-front-berzerker Erk Aicrag unleashes a cleansing tornado of hatred. “King Of The Wasteland” combines hard Electro with raw Punk and Industrial to a modern anthem of insurgence. Bundled with b-side “Monster”, which effectively bonds retro-electronica with a punky attitude, plus three adequately infernal remixes, Rabia Sorda crown themselves kings of the wasteland and let expectations rise for the upcoming new album.
Rabia Sorda play Newcastle Riverside on June 29th with Combichrist and Filter – 50% of tickets gone – get yours from www.seetickets.com here
The new long player “This Is Where Death Begins“ is an apocalyptic behemoth of guitars, electronica, infernal drums and dark elemental force.
Thudding tribal drums, guitars slammed in your face like a 20-ton-weight, chopped up synth-attacks and in the midst of it Andy LaPlegua rampaging like an unrestrained demon of wrath: on their new album, “This Is Where Death Begins”, Combichrist are conjuring up a proverbial hellfire. A black monolith of unbridled aggression. Produced by Oumi Kapila (Filter) and Andy LaPlegua, with guest vocals from Chris Motionless (Motionless In White) and Ariel Levitan (MXMS) and mastered by the legendary Vlado Meller (Red Hot Chili Peppers, Slipknot, to name just a few), Combichrist have created a milestone of their career.
We are thrilled to welcome Four Colour Ghosts back to support Dorje at Sunderland Independent on May 27th.
They really woo’d us at The Cluny last year, a show they joined at almost the last minute, so we’re interested to see what they can do with more time.
Four Colour Ghosts are a selection of highly skilled, dedicated, and passionate musicians from the heart of Teesside who are determined to bring the power back to original rock music.
They are equipped with deliciously catchy guitar riffs and anthemic lyrics that pack a punch as well as tug on your heart strings.
TGAON describe themselves as “Gothic psychedelia from Stockton on Tees. Drum machine, distortion pedals, viola gone mad and throbbing bass churning out songs of dead Russian spacemen, the end of the world and polar expeditions gone wrong, all sung with an echo of the blackest humour.”
You can check out their video for ‘Black Wings’ below
We’ve now completed the heat stages of the Bloodstock M2TM Competition. 25 bands took to the stage in Trillians and there’s been some amazing performances. And some Donk. But mostly, amazing performances.
As well as being the first time for the Bloodstock M2TM Competition is Newcastle, it’s also my first time at running a Battle of the Bands style competition. 10 years of this and it’s the first time I’ve really done it – and fuck – there’s been so many so so good bands who didn’t get through, it was heartbreaking.
But, that in itself, is a big testamanet to the quality of some of the Underground bands in Newcastle and the the Region and I recommend every one of them. (Even the Donk).
I certainly look forward to working with some of the bands in other capacities in the future.
So. 10 bands got through to the Semi Finals in May.
The running orders for these are to be confirmed, as we need to shuffle and randomise, so the order here is the order they appeared in the heats.
Guilt City, The Distorted, Dirty King, Souls of Jack Ketch, I’ll Play the Villain
Progression to the final changes slightly from the Heats. With a stronger focus on judge votes, although fan votes (cheers) do still contribute – we are considering other models also to register fan votes.
Fans have played a major part in the heat stages – we have had a number of very, very close rounds where the ultimate decision on which band went through and which didn’t had rested on crowd cheers.
A total of 5 bands will go through the final – this will be the two winners of each heat and the judges decision on strongest 3rd place band.
These bands were all quality in the heats and it’ll be good to see them battle out in the semis but will be, undoubtedly, ridiculously close.
MORTIIS’ ‘THE GREAT DECEIVER’ ALBUM AND ‘DEMONS ARE BACK’ VIDEO OUT NOW
The Great Deceiver, the long-awaited ninth album from Norway’s Mortiis will officially was released on March 4 via Omnipresence, and a video for the album’s “Demons are Back” has been revealed in conjunction.
The Great Deceiver‘s long and tortured state of evolution took its toll equally on the band and its namesake, leading Mortiis to so much as state that the record killed the band. “As important as is it to myself and who I have become, I haven’t been able to think about it in any way other than ‘I need to just get this thing out of my life and behind me before I lose my mind,’” he said.
Saturated with themes of anger, greed, confusion, self-doubt and re-discovery, The Great Deceiver is undoubtedly Mortiis’ most mature album to date. But that maturity came at a great cost mentally. “When we started talking about it and writing the record, we were a band, we had two managements, merch deals and tours were happening,” Mortiis said. “During the course of the writing, recording, re-writing, and re-recording, we lost the connection with almost everyone. There were fallings out with band members to the point where we had to let them go. It was usually about delusion and defeat, the realization of being f**ked with and not getting the recognition deserved. It was never pretty, but in hindsight always understandable.
“I have been accused of being a lot of things: self-centered, manipulative, unstable, hot- headed, paranoid, the list goes on. Most everyone I have spent some time with have had beefs with me. They´re all right, too…it’s the price of being driven and passionate – or just narrow minded and obsessive – about something is often the loss of friends and colleagues.”
The Great Deceiver builds on Mortiis’ past dabbling in metal and industrial, with aggressive guitar-driven crossover metal meeting industrial-type electronics. Although genre-defying, The Great Deceiver is Mortiis’ most accessible release to date.
With its hauntingly memorable chorus, “Demons are Back” is a perfect example of this accessibility, while also providing an overall narrative for the album.
“Anger, resentment…I hate everyone,” the band’s namesake said. “These feelings are like waves. During the ‘good times’ they are far away in the distance, and occasionally they come washing ashore in huge waves of ‘I hate everyone.’ It’s a thin line between being in sync with the world and wanting to annihilate everyone you see. ‘Demons are Back’ is a conflicted song, in the sense that I let both sides in, or out, and both voices are heard. It’s therapeutic in a sense, and in another sense it is chaotic and confusing. But, again, I try to create some sort of positivity in the harangue of spitefulness. It’s really down to the logical, sensible me, telling the disturbed, pessimistic me to chill out.”
The video shows a grotesquely-masked voyeur watching dystopian scenes of utter despair, sadism and eventually, suicide through an array of TV screens, as his own life ends violently. “The mask was inspired partly by a very violent dream I once had,” said Mortiis. “The violence was absolutely relentless.”
The clip uses scenes from writer/director Charlie Deaux’s Zoetrope, a film based upon Franz Kafka’s In the Penal Colony. At the suggestion of Deaux, whom Mortiis previously work with on “The Grudge” video, the band spent a day in Oslo filming additional footage to splice in with images from the original film. With a minimal set and crew – guitarist Levi Gawron acting as directing and Mortiis himself handling special effects – the band captured original scenes that seamlessly compliment those from Zoetrope in frantic stop-motion created by Deaux himself.