Category Archives: Music

Music

AllOne Releases “Cause & Effect” Video

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While on his tour in May, independent rapper/poet AllOne got together with fellow freestyle lyricist D.o.drent in Lone Island, NY to film several videos for their 2014 collaboration EP “Creative Differences: A Split.”

Slowly, the two released video after video with their latest being for the song “Cause & Effect,” the last song from the EP.

While there is seemingly not much going on in the video (which can be viewed below), that is the point; as AllOne and D.o.drent want you to listen to their lyrics through a fisheye lens in a small room adorned with sideways painting and a headless golden mannequin in a t-shirt and skirt.

The videos were shot by friend and artist Angela Newman whose work can be viewed on her site, anjipan.com.

“Creative Differences: A Split” can be both listened to and purchased for six dollars at this location.

Music, Podcast

Bonesaw Podcast: Episode 15 – Karen Stever

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For the first time we go international with Canadian avant garde metal mistress Karen Stever. Stever and our esteemed host Chris Butera go back and forth about a myriad of topics including the art and music of Stever, growing up in their respective areas, hard times, struggles and triumphs in this lucrative podcast that will amaze you.

Check out Karen Stever at karenstever.com.

Music

The Unravelling talk Struggles, New Sound

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(via Metal Insider)

Canadian Industrial Metal duo The Unravelling have had quite the journey. In 2010, they released their critically acclaimed debut 13 Arcane Hymns. At what seemed like the breakthrough they had so deserved, singer Steve Moore was diagnosed with cancer, putting the band on an indefinite hiatus. During this time, instrumentalist Gustavo de Beauville became heavily involved with soundtrack work and studio production (even more extensively than he already was). Through Moore’s positive mentality, he beat cancer and rejuvenated The Unravelling as quickly as he could. The band has recently released the “Revolt” single and has begun work on their long awaited follow up to 13 Arcane Hymns. Moore and Beauville caught up with Metal Insider to talk about their struggles, salvation and their future.

The overall sound has changed drastically from 13 Arcane Hymns to “Revolt.” Why did you guys decide to take The Unravelling in that direction?

Steve Moore: Well, the sound is always evolving, and the songs themselves will be quite different from each other too. “Revolt” is one piece of the new album’s puzzle. That being said, it has changed a lot since 13 Arcane Hymns. I know that Gustavo has his own reasons for the shift (soundtrack work, more production training, etc.), but I personally think it goes a bit like this. We want to do
something visceral and direct; more moody and atmospheric than overly technically focused. That requires a sense of space in the music where most bands would tend to fill it up. On the last album we were going for a full band sound. This time we’re not. A song can sound as cinematic as we want it to…we don’t really have the trappings of trying to fit into something. The lyrics have changed significantly, and this is partially because of my own ideas and concepts changing, or falling away, over the past 5 years. There’s much less personal struggle elements. The concept of the album is more of a “destroy the self-image” than building it up in any way, and that’s affected all aspects of what I do. We just know the way we like to explore sound and are honoring that – satisfying the inner teen in us who used to wait impatiently for Columbia House to arrive! The test is always if we feel it on a deep level.

Gustavo de Beauville: After trying the traditional metal band approach and realizing how cantankerous and unprofessional the scene was I switched gears. Reality kicked in hard and made me refocus on composing music for film and video games. I started teaching myself how to incorporate orchestral instruments into songs and discovered hybrid orchestral – where composers fused classical with electronic elements. Artists that really stood out for me during this time were Two Steps from Hell (Thomas Bergersen and Nick Phoenix), Troels Folmann, Clint Mansell, Hans Zimmer and John Murphy. These are guys that were actually earning a living with music. Trent Reznor also provided a lot of inspiration. Hence the radical shift away from drums, bass, guitars and vox to “whatever I need to craft the track”. Guitar is the instrument that I grew up playing but now I feel equally as ease using synthesizers, arpeggiators, preprogrammed beats or even a hang drum to make music.

To continue reading on Metal Insider, click here.

Music, Podcast

Bonesaw Podcast: Episode 13 – Sunlord’s Alfonso Ferrazza

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We talk metal with Alfonso Ferrazza from Queens thrashers Sunlord. Ferrazza chats about recording Sunlord’s debut “The First One,” touring with the legendary Anvil, and his passion for music as well as gearing up for Sunlord’s June 28 show at New York’s Santo’s Party House where the band will be opening for The Skull (featuring ex-Trouble frontman Eric Wagner).

Check out Sunlord on Facebook or Reverb Nation.

Music

CalatrilloZ Premiere “Z the Psychopath” Video

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Everyone loves a carnival.

Enter CalatrilloZ, a London Symphonic Metal troupe drawing NWOBHM influences merged with vaudevillian attire and theatrics. The band (active since 2009) are preparing to release their debut album “Psalms of Zahyin.”

The five band members (who create a cocktail that’s one part Kiss and two parts Demons & Wizards) describe themselves as “a troupe of wanderers” and are all fitted with unique personas complete with elaborate backstories, makeup and costumes to complete the aura of CalatrilloZ.

Set to be a concept album based on the bands mysterious origins and their mission statement to scour the earth for five marionettes with powerful demons imprisoned within them, “Psalms of Zahyin” contains six tracks of wailing guitars, entrancing arrangements and operatic vocals by singer Zayhin (who’s persona is the focal point of the album if not the band itself).

“Through Zayhin, though his universe, my compositions are free.” He said in a press release. “The only limitations I have are the ones I impose upon myself: none.”

In anticipation of their release, Calatrilloz has filmed a music video (which can be viewed below) for the final track on the album “Z the Psychopath.” The video revolves around Zayhin shifting in and out of each of his bizarre personalities with the band playing in a desolate room (or realm).

Calatrilloz ominous debut “Psalms of Zayhin” becomes available for your listening pleasure June 22.

Music

Goatsnake: Black Age Blues Review

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For the first time in 15 years, Goatsnake has a new record.

The album, “Black Age Blues” is doomy as ever and it puts the “south” in Goatsnake’s new label and home Southern Lord Recordings (for which this is their first true release with).

Defiantly sludgy riffs merge southern rock and stoner metal; appropriately setting the albums tone from square one with “Another River to Cross.” The opener softly lulls you in with the sounds of rain, church bells and a gospel choir before kicking you in the teeth with heavy growling guitars.

Next up is a hot order of good vibes and southern hospitality with the insanely catchy “Elevated Man” and “Coffee & Whiskey.” The grooves are so tasteful you’ll be banging your head and snapping your fingers in no time. These two will get stuck in your head and cause one to strut down the street like an elevated man with said tasty beverages on the brain.

Before we go any further, it is worth noting that the albums artwork completely defines “Black Age Blues” before hearing anything. A southern church with an ominous storm brewing in the distance. The sheer simplicity alone shows us how clear of a vision the members of Goatsnake had going into this.

The title track, “House of the Moon” and “Jimi’s Gone” take a more serious shape for the second act; cranking the doom with more of the heavy and less pizzazz. The latter leaves sorrow in the air with a tinge of despair looming overhead. “House of the Moon” especially quells much of the upbeat from the first third of the album with roaring dirges and a murky midsection. The drums especially take the pace as they channel the river downstream before the fall of the third act.

“Black Age Blues’s” torrential downpour rages on with “Graves,” “Grandpa Jones” and the closer; “A Killing Blues.”

“Grandpa Jones” is a masterpiece unto itself and one of the best pieces Goatsnake has ever written. The hook of the chorus presents itself as an audible offering to any fan of metal. “A Killing Blues” brings the album full circle with a reprisal of the opener’s use of the gospel choir and the pitter-patter of rain; a calming end to a beautiful and treacherous outing.

Music

The Unravelling “13 Arcane Hymns” Review

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In 2010, Canadian Industrial band “The Unravelling” released an album that shook (and continues to shake) the very core of the metal underground.

That album is “13 Arcane Hymns.”

While drastically different from their newly released single “Revolt,” “Hymns” focuses on Lamb of God/ Tool influenced progressive grooves with locking tribal drumming and a frightful array of haunting, mid-range vocals crossing a link between Fear Factory and Alice In Chains.

The kicker: a mammoth wall of sound created by two Canadians.

Singer Scott Moore and instrumentalist Gustavo de Beauville have unleashed the early stages of a complicated vision with “13 Arcane Hymns” that is currently building into something beautiful.
Standout tracks from “Hymns” include the three openers “Move Forward Until You are Dead,” ”Becoming Chaos” and “Fire Breather.” The chemistry between Moore and Beauville is striking, capturing fear and imagination in the layers of emotions flattened into a myriad of sound.

“Last Rights Protest” is arguably the most gripping song on the album. Moore’s anger is expressed ten-fold with Beauville’s aggressive talents backing him.

“My Resignation” and “Arjuna” help round out the album with soothing intimidation reimagining pain. The progressive tendencies contain a great ebb and flow that build to impressive portraits through an innate wall of sound.

While a difficult struggle with Cancer put a strong hiatus on the band for five years, The Unraveilling have returned with “Revolt,” but their debut album serves as a blueprint for where they can (and will) go. The Unravelling’s initial unraveling still holds a body of water for what the band will eventually become. If you haven’t heard them before, do yourself a favor and give The Unravelling a whirl, starting from square one.

Music

Bonesaw Podcast: Episode 11 – Bruce “AllOne” Pandolfo

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Our guest is independent Hip Hop artist Bruce “AllOne” Pandolfo. Pandolfo is you’re average Long Island Joe with an uncanny mastering of the English language. Channeling different music genres with poetic, freestyle lyrics reflecting life in the vein of Mos Def and Eyedea, AllOne is a force to be reckoned with.

Check out AllOne here.

Music

The Unravelling Reemerge With “Revolt” Single

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After five years of waiting, The Unravelling are preparing to unleash their follow up to their critically acclaimed 2010 album “13 Arcane Hymns” stating with their new single “Revolt.”

Shortly after the release of “13 Arcane Hymns,” vocalist Steve Moore became ill. In 2011, Morse was diagnosed with cancer. The fate of the Alberta, Canada duo would have to wait while Moore coped with his condition, resulting in a five year hiatus.

During Moore’s extensive battle, instrumentalist and band founder Gustavo de Beauville would spend his time working with soundtrack and various forms of production.

Moore’s perseverance would hold true and he eventually beat cancer. With his health restored, The Uravelling would rise from the ashes like a Canadian Phoenix.

While “13 Arcane Hymns” contained a sound that was one part Fear Factory, two parts Lamb of God and a sliver of Devin Townsend; “Revolt” is more Nine Inch Nails merged with early Alice In Chains. Beauville’s moving synths and well placed guitar drones connecting with Moore’s chilling, pained vocals cultivate the appropriately named piece into a deranged masterpiece.

Although the single (which can be heard here) sounds drastically different from their well received debut, The Unravelling have changed just as drastically from their own personal experiences and have found a way to have art imitate life for once.

Music

King Parrot: Dead Set Review

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When one finds a band that sells a t-shirt bearing the words “I’m not here to fuck spiders,” it’s safe to say they have no idea what they’re in for.

That band is King Parrot; a destructive grindcore act from the hardcore pubs of southern Australia who is bestowing their sophomore album entitled “Dead Set” on Pantera and Down’s legendary front man Phil Anselmo’s (who also produced the release) Housecore Records.

The album kicks off with “Anthem of the Advanced Sinner.” If you’re familiar with King Parrot’s music the difference in production is night and day compared to their first album “Bite Your Head Off.” The clarity of each individual member is striking and it goes to show what a difference a larger budget and ample amounts of time can make.

“Dead Set” progresses deeper into darkness with “Need No Saviour,” “Hell Comes Your Way” and “Like a Rat,” boasting speed and relentless grind with true precision and technicality. The plunge then goes further with “Tomorrow Turns to Blood” and “Home is Where the Gutter is” when the grind becomes blackened and sludgy. The songs slowly start to accumulate grooves in all the right places, twisting King Parrot into form.

“Sick in the Head” and “Punisher” shake things up a bit by starting with thrash laden riffs before taking some groove oriented turns at Albuquerque. One of the best things about King Parrot is that their music is all over the place, never sticking to the same formula twice. We could be looking at the first “progressive grindcore” band – if ever there could be such a thing.

Although every musician has bolstered their repertoire on Dead Set, no one has improved more than vocalist Matt “Youngy” Young. Youngy’s voice has gotten significantly higher (which he attributes to quitting cigarettes) and more ferocious at that. Whereas Youngy sonically was a bit more like Steve “Zetro” Souza (Exodus) on “Bite Your Head Off,” he’s much more in the vein of Tomas Lindberg (At the Gates, Lock Up) on “Dead Set.”

The final two songs “Reject” and the title track combine everything that King Parrot have done so far on “Dead Set” and then crank it up a few notches for good measure. The title track not only revolves around a blackened breakdown, but it also clocks in at six minutes and 49 seconds; the longest song King Parrot has ever recorded to date.

King Parrot continues to be unpredictable with “Dead Set” and have clearly gone a long way from playing locally to tens of people. With the added experience from the success of “Bite Your Head Off,” the band has musically matured for the better and it shows on every crevice of “Dead Set”.

After all, they’re not here to fuck spiders.