After 13 years with Arch Enemy, longtime vocalist Angela Gossow will step down from the band to focus on management while The Agonist‘s Alissa White-Gluz will rise from the icy norths of Canada to replace her on vocals.
Oh what new hell is this? Just a week before a rather large run of North American dates, it seems like Cradle of Filth‘s impending headlining tour has just lost their headliner. The problem seems to be the usual suspect for bands trying to get over to the states, visa issues. I’ve never had to deal with that myself, so while I don’t really know the intricacies involved with receiving a visa, but since Cradle of Filth have been doing this for a few decades now, it seems rather silly that they wouldn’t have planned ahead for this. It happens fairly often in the world of touring musicians, and it just seems like an issue that you would want to plan ahead for.
That aside, Cradle of Filth has issued a statement apologising for the cancellation. I was really hoping to see this tour, because hey, I like Cradle of Filth from time to time, even if their recent output hasn’t been the strongest. Oh well, there’s really not much more to say about this. It sucks for everyone involved, and I hope The Faceless, Decapitated, and The Agonist can pull something together and salvage what they can from this now defunct tour. You can read the band’s statement after the jump. View Full Article »
The humans think that they own me, but I own them. How many hours do they spend in the house? An hour in the morning, and a few hours in the evening. I am here all day long. Yet they deem it appropriate to force their inferior music on me. Fear not, for I have identified which of those musics are worth listening to over the course of the year. I shall now bring you the preferences of a superior feline being. My preferences lie with the composer the humans call Beethoven, but he hasn’t made any new albums the past few years so I will have to deal with albums made by other artists.
I know you don’t really read these openings to lists. You’re probably shifting on to the top of my list, preparing to either praise me or bury me for my list. Either way, hope you enjoy, and feel free to point out any errors I may have made; I’d be more than happy to talk about why it’s not on my list.
(VERY) HONORABLE MENTIONS
The Agonist – Prisoners
Unfortunately, I only had room for fifteen special albums, but this doesn’t mean that you should let this gem of a record pass you by. The Agonist are the perfect blend of metalcore and melodic death metal, and this is spearheaded by Alissa White-Gluz’s brutal harsh vocals and angelic cleans.
The Omega Experiment was undoubtedly one of the best progressive records of the year. Shredding guitars, melodies you’ll want to sing to over and over again, and some of the best clean vocals this year make it a standout.
Everyone loves a tour with perceived strong support and a weak headliner, especially those (like myself) who have to drive hours to get to the nearest show. Most of us at Heavy Blog staff agree: this Cradle of Filth headlining tour is pretty great, save for, you know, Cradle of Filth. Supporting the band on their tour is an array of Heavy Blog favorites, The Faceless, Decapitated, and The Agonist. Maybe I can duck out around 11 and make it back home by 2 AM?
Here are the dates:
2/22 New York, NY @ Irving Plaza
2/23 Worcester, MA @ Palladium
2/24 Philadelphia, PA @ Theater Of Living Arts
2/27 Charlotte, NC @ The Fillmore
2/28 Lake Buena Vista, FL @ House Of Blues
3/1 Atlanta, GA @ The Masquerade
3/3 Houston, TX @ House Of Blues
3/4 Dallas, TX @ House Of Blues
3/6 W. Hollywood, CA @ House Of Blues
3/7 Tempe, AZ @ The Marquee
3/8 Anaheim, CA @ House Of Blues
3/9 San Diego, CA @ House Of Blues
3/10 San Francisco, CA @ The Fillmore
3/12 Seattle, WA @ Studio Seven
3/13 Vancouver, BC @ Commodore Ballroom
3/14 Spokane, WA @ Knitting Factory
3/16 Denver, CO @ Summit Music Hall
3/20 Cincinnati, OH @ Bogart’s
3/21 Chicago, IL @ House Of Blues
3/22 Cleveland, OH @ House Of Blues
3/23 Detroit, MI @ St Andrews Hall
3/25 Toronto, ON @ Phoenix Concert Theatre
3/26 Guelph, ON @ Guelph Concert Theatre
But seriously though, if you can, make it out to the show. It promises to be killer all around.
We have only talked about the new Kamelot album, Silverthorn, briefly here at HBIH, but things are finally gearing up, and when the time comes I will most definitely be giving the album a full review. I’ve had my doubts about the band ever since Roy Khan departed in April of last year, but those were remedied in part with the announcement that Tommy Karevik of progressive metal band Seventh Wonder would be taking the vocal reigns. Even still, I had no idea what the dude would sound like in the context of Kamelot’s music, as they are far more symphonic and power-metal-esque than anything Karevik has worked on in the past.
And just as my fears were rising, the band released the first sample from their upcoming release, a small snippet from the song ‘Sacrimony (Angel of Afterlife)’. The official stream — which you can watch below — only showcases a minute and fifty seconds of this song, but it’s a decent amount, and just enough to get a pretty good impression of the song. I ended up buying the song from iTunes as I wasn’t content to just hear the small amount featured in the YouTube video.
My opinion? It’s quite good. It’s a much heavier sound than Kamelot are used to, but it’s not exactly new territory. It’s still ridiculously cheesy and has that pseudo-operatic atmosphere that comes along with power/prog bands. But hey, cheesy is WHY we listen to this kind of music, right? Tommy Karevik handles his vocal role flawlessly, but the style, intonation, and delivery are pretty damn close to the way Roy Khan handled them. It’s great to listen to, but I was expecting something a bit more different. Oh well. The added vocals of Elize Ryd (Amaranthe) — additional cleans — and Alissa White-Gluz (The Agonist) — harsh vocals — are a great touch, even if I’m not a fan of either of their respective bands.
01. You’re Coming With me
02. The Escape
03. Predator & Prayer
04. Anxious Darwinians
07. Lonely Solipsist
08. Dead Ocean
09. The Mass Of The Earth
10. Everybody Wants You (dead)
11. Revenge Of The Dadaists
You know, The Agonist are a damn solid band. They’re one of the few female fronted bands that are actually carried by the immense skill of the singer instead of her looks (even though Alyssa White-Gluz is very pretty), and even without her, the riffing is good enough to make the band worthwhile. Over the years, they’ve gotten heavier and downright better, and their third album Prisoners sounded like it would be their best to date. Is it so?
01. Vagaries of Perception
02. An Intoxicating Affair
04. The Apex Doctrine
08. Purity in Imperfection
10. The Conscious Sedation
11. Stagnant Progression
[09/14/10 | Metal Blade]
I was skeptical when I first heard of System Divide. The idea of a female and male vocalist always sounded great, but I had yet to hear a band execute it well. Eyes Set To Kill came close, but their work seems to be hit or miss with me for reasons other than the vocals. Doubtful, I played The Apex Doctrine. Three and a half minutes later I thought “Damn, this is what Lacuna Coil would sound like if they were good.” I immediately bought their EP, The Collapse, and I loved it. I’d spend two hours playing Counter-Strike (Source for those who care) with the same 4 songs on repeat the entire time. With much hype, I was eager to compare and contrast System Divide’s newest release The Conscious Sedation.
System Divide evolved from their EP into what I would describe as a melodic metalcore band. I’ve seen other genres thrown around such as extreme metal, modern metal, etc. Personally, I stand by my description and you can “flame on” a la Human Torch style if you disagree. Different from their EP, the song structure of The Conscious Sedation is more chorus-verse oriented with Miri Milman singing clean choruses and Sven De Caluwe growling through verses. Like most metalcore bands, you can expect plenty of shreds and breakdowns on this album. On this point, the breakdowns do not grow old, sound generic, or drag as in some albums (I’m looking at you Suicide Silence’sNo Time To Bleed).