Swedish classic/progressive rock super group The Night Flight Orchestra have released a rehearsal room video for “Race Towards Bremen On A Floridian Highway.”
German neofolk outfit, Hekate is set to release their seventh album, Totentanz, via Prophecy Productions and today we’re premiering the ominous title track, “Totentanz,” meaning “Dance of Death.”
One of the most exciting releases of the year belongs to Toronto’s very own Denim Kings, Sam Coffey And The Iron Lungs, who have released the feel good album of the summer, and possibly the year. Not bad for a bunch of Toronto punks.
Swedish classic/progressive rock supergroup The Night Flight Orchestra have released a new track called “Sad State of Affairs,” from the new album Amber Galactic.
By Natalie Paterson Photos by Andrew Hartl http://bryanadams.com/tour The Molson Canadian Amphitheatre was unsurprisingly packed for an iconic…
Photography by Andrew Hartl On August 28th, American rock band Chicago performed at Toronto’s Molson Amphitheatre with R&B legends, Earth,…
Italy’s symphonic death metal horde, Fleshgod Apocalypse, have made the brand new track “Elegy” available for streaming online – listen below. The song comes from their upcoming new epic masterpiece entitled Labyrinth. The album was produced, mixed and mastered by Stefano Morabito at 16th Cellar Studio and hones in on the band’s unique traits, giving fans everything they could hope for and more. Colin Marks (Origin, Kataklysm) also created the cover artwork, as well as several pieces of art for a massive inlay. Labyrinth will be released August 16, 2013 in Europe and August 20, 2013 in North America via Nuclear Blast.
The new single from Windsor, Ontario’s heavy/power metal group Final Stage, “Demons Will Fly,” is now available for online streaming and digital download. “Demons Will Fly” was recorded at Metal Works Studios in Mississauga, Ontario (Rush, Triumph, Fates Warning, Kim Mitchell, Katy Perry, Black Eyed Peas), and Spectre Sound in Windsor, ON (Betrayer, Woods of Ypres, Randy Blythe of Lamb of God). The song was mixed and mastered by Glenn Fricker. This is the first song to feature new member Chris Wilbur on bass and backing vocals. Listen now!
Venomous Maximus are a bunch of doomers from Texas. Now, lately I’ve been listening to so much doom, I wouldn’t have been surprised to have hated this album. Not so though. The band is probably most comparable to Sabbath, but with a little more rock than the average doom band. This is a good thing too, as sometimes bands can go all slow just for the sake of slowness, rather than for making a good song.
Pasadena, CA’s Gypsyhawk have finally released the details for their forthcoming sophomore album, and Metal Blade Records debut, Revelry & Resilience. The band’s distinct personality is splashed all over Revelry & Resilience. Whether it’s the edgy and upbeat barroom swagger of “The Fields”, the balls out stomp wielded by the serpentine grooves and blistering leads of “Hedgeking” (inspired by George R.R. Martin’s “A Song of Fire and Ice series”), the head-bobbing bounce and triumphant air of “Frostwyrm” or their crunchy yet soulful take on Johnny Winter’s “Rock And Roll, Hoochie Koo” the record crackles with energy while being wholly devoid of pretension, and on every level it is leagues ahead of its predecessor.
Does the world need another Iron Maiden live video or album? Hell yes!!! Especially if it possesses the lavish visual quality of their latest offering En Vivo!. Filmed at the Estadio Nacional in Santiago de Chile during their 2011 world tour in support of the The Final Frontier album, this concert offers everything Maiden fans would die for. The well-balanced set list mixes classics like “The Trooper”, “Hollowed be Thy Name” and “The Wicker Man” with some the band’s recent material, including “The Talisman”, “When The Wild Wind Blows” and “El Dorado”.
The debut, self-titled album from Zenith Myth is a journey through a progressive rock landscape. The mostly instrumental disc has a highly experimental, prog rock feel to it, but never seems to get convoluted or over indulgent as do many discs of this nature. Quite the opposite can be said; I think this is because some of the songs like “Surgical Gain” are spatial and ethereal. The other potential pitfall with many experimental/progressive bands is the ability to sustain the listener’s attention for the commonly found longer-than-average song lengths. I think Zenith Myth does a good job here as well because even the discs’ opener “Zenith Myth”, which tops out at over 9 minutes, doesn’t become boring in the least. This disc is a bit outside of the box, but I feel there are enough bright spots and surprises to make it well worth a listen.