Tag Archive: Wretched


I just love 3 Inches Of Blood. I wouldn’t call myself a fan or anything, but I do get stoked when I hear them because they’re just so over the top that it’s just fucking awesome. Every time I hear ‘Deadly Sinner’, I get too into it and sing along in that Halford-esque high falsetto scream. It’s like Manowar without the overt homoeroticism; I’m talking beers, beards, and heavy metal songs ABOUT heavy metal. That’s something I can get behind.

Maybe there’s a chance they’ll make a full-blown fan of me yet with their new album Long Live Heavy Metal, which is due out March 27th on Century Media Records. Here’s what the fittingly named Cam Pipes had to say about the new record:

“When a band is releasing a new record, they often speak about it being their most important work or best album to date.  Regardless of how clichéd either statement may sound, I think we would say both apply to this album. All of us have a special feeling about this one.  We’re more committed than ever to the cause of real, honest, no bullshit heavy metal.  No trends, no fucking around!”

Starting in late March, 3IOB will be embarking on The Metal Alliance Tour alongside Devildriver, The Faceless, Dying Fetus, Job For A Cowboy, Impending Doom, and Wretched. Dates for that can be found after the jump.

- JR

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I realize we’re about a week late on covering this tour announcement, but we’re (or at least I’m) getting a bit lazy this month. With a year’s worth of an average of 26 or so posts a week, cut us some slack!

Next year’s rendition of The Metal Alliance Tour is shaping up to be pretty cool, featuring the likes of DevilDriver, The Faceless, Dying Fetus, Job For A Cowboy, 3 Inches Of Blood, Impending Doom, and Wretched. I’ve seen The Faceless, JFAC, and 3IOB live before, and they all deliver. Can’t speak for the rest of the lineup, but I couldn’t imagine they’d be anything less than decent. The tour kicks off in March and makes a pretty decent run, so hopefully everyone who wants to catch this show has an opportunity.

Here are the dates:

03/15 Austin, TX – SXSW / Scoot Inn
03/16 New Orleans, LA – The Hangar
03/17 St Petersburg, FL – State Theater
03/18 Charlotte, NC – Amos’ Southend
03/20 Baltimore, MD – Sonar
03/21 New York, NY – Gramercy Theater
03/22 Danvers, MA – Palace Ballroom
03/23 Montreal, QC – Club Soda
03/24 Toronto, ON – Opera House
03/25 Columbus, OH – Alrosa Villa
03/26 Joliet, IL – Mojoe’s
03/27 St Paul, MN – Station-4
03/28 Winnipeg, MB – Garrick Centre
03/29 Regina, SK – Riddell Centre
03/30 Edmonton, AB – Edmonton Events Centre
03/31 Vancouver, BC – Rickshaw Theater
04/01 Seattle, WA – Studio Seven
04/03 Portland, OR – Hawthorne Theater
04/05 Oakland, CA – The Pound
04/06 Pomona, CA – Fox Theater
04/07 Tempe, AZ – Marquee Theater
04/09 Denver, CO – The Summit Music Hall
04/10 Omaha, NE – Sokol Auditorium
04/11 Des Moines, IA – 7 Flags Event Center
04/13 Memphis, TN – New Daisy Theater
04/15 Lawrence, KS – Granada Theater
04/16 Tulsa, OK – Cain’s Ballroom
04/19 Dallas, TX – House Of Blues
04/20 Austin, TX – Emo’s East
04/21 Houston, TX – House Of Blues

- JR

If you’re into heavier music and you’ve been, I don’t know, ALIVE the past two days, you’ve no doubt heard the news of Victory Records signing the most abhorrent aural abortion ever heard this side of Brokencyde, Design The Skyline. Just to make sure everyone’s on the same page here, you can give their video a brief gander below.

Terrible, right? Apparently everyone else and their mother thought so too. If you thought the backlash against Attack Attack a year or two back was bad, sweet Jesus. The band’s facebook page is a playground of trolls, and rightfully so; no one with any sort of decent musical taste could find something worthwhile here, and with Victory Records—the same label called home by respectable artists like Wretched, Within The Ruins, and at one time, Between the Buried and Me—claiming to be “proud” to announce their latest signing to be the nadir of terrible MySpace-core that barely hit what someone could call “a peak” in 2008 just shows that the only thing that Victory cares about is exploitation for monetary gain. I mean, they’re a business after all, and it is to be expected, but the fact that Victory signed this band goes to show that they expected people to enjoy this music. That sounds like an insult to me.

But there’s a silver lining to this shitstorm: Victory Records seems to be in a bit of a nervous panic. We received an email last night from an anonymous tipster that seems pretty credible:

[Two days ago], Victory Records e-mail Rob of Precision Studio offering him $8000 to get Design the Skyline in the studio [last night] and get an entire full length album recorded, mixed and mastered by June of this year.  Why?  To “prove the haters wrong”, in a few words.  They wanted to disprove the speculation that DTS is complete and utter crap by releasing a full length album for them ASAP.  Because of this hasty gesture, Rob was forced to push 3-4 bands back an entire month on their guaranteed time slots, but did offer an exchange of discounted recordings, at least to some.  I wouldn’t blame Rob whatsoever, he was put in a bad situation, but money is money and money talks.

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Why, Victory Records, Why?

Apparently Victory Records have signed something… something that’s supposed to be a band(?) called Design The Skyline. Whilst I appreciate Victory for having Within the Ruins and Wretched on their books, as well as Between The Buried and Me back in the day, with their latest abysmal signings I’ve started to lose some faith in them.

Think I’m exaggerating? Check this out:

I rest my caseI’d rather they signed this guy.

- NT

What happened, Victory? What happened to signing bands like Within the Ruins, Wretched, and BTBAM (who have since moved)? No, you get this abomination. Why? WHY?!

Sorry if I have ruined your day.  There are sure to be some positive posts coming up today, so cheer the fuck up.  There you go.

- GR

First Fragment

The Afterthought Ecstasy

01. Ordnance
02. Fake Repentance
03. Obsolete Ascendancy
04. Quintessential Rebirth
05. The Afterthought Ecstasy
06. Paradoxal Subjugation

[11/10]
[Self-Released]

For me, there are two kinds of tech death; The bands that do something extremely technical, and the bands that craft music, and that music ends up being technical. Think Decapitated and Gorguts as opposed to Obscura and Gorod. Both are valid, but the second style strikes closer to my heart. This EP proves that Montreal’s First Fragment are probably one of the best bands of the second category. Trust me when I say your you’re going to be blown away.

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Not only March, but April too! The Exodus Of America Tour 2011 has just been unveiled, featuring the progressive and technical likes of Last Chance To Reason, Son Of Aurelius, and Wretched. All three bands are superb, so I would strongly recommend catching this tour if you get the chance. It’s also quite possible that both Last Chance To Reason and Son Of Aurelius will be playing some new songs, so don’t miss the chance to hear them first!

Tour dates after the jump:
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Wretched – Beyond The Gate

Wretched

Beyond the Gate

01. Birthing Sloth
02. The Deed of Elturiel
03. In the Marrow
04. A Still Mantra
05. Cimmerian Shamballa
06. On the Horizon
07. Part I – Aberration
08. Part II – Beyond The Gate
09. My Carrion
10. The Guardians of Uraitahn
11. The Talisman
12. Eternal Translucence

[Victory | 08/03/10]

Wretched is a tough band to describe. Personally, I consider them to be technical-death metal. Some will read this and immediately think of Beneath the Massacre or Brain Drill, but Wretched sounds nothing like either. They use technical and progressive riffs throughout, but they take a back seat to the blast beats  and shreds that sound most similar to The Black Dahlia Murder. The proggy and techy riffs are deliberately written as part of the song structure, and for this reason never interrupt the listening experience like one might think. This description specifically describes their latest album, Beyond the Gate.

Wretched’s first album, The Exodus of Autonomy, was a little more chuggier and at times sounded like Through The Eyes of The Dead’s Bloodlust. Beyond the Gate trades out much of the chugging (though not all of it) for plenty of screaming guitar solos. The shift in album art between the two albums coincides with this change, displaying an ominous face melting blast furnace.

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