Posts Tagged ‘Lyric Video’

The latest release from the darkly delicious mind of Raymond Watts aka PIG is ‘Baptise Bless & Bleed’, a brand new EP awash with religious lyrical fervour and riffs that could effortlessly crush a tank. The title track is a relentless juggernaut before ‘Speak Of Sin’ takes to the dancefloor. It sounds like an instant PIG masterpiece.

Things take a turn for the sublime as ‘Tarantula’ sinks its pernicious fangs deep into the psyche, clasping the listener tight in its electronic web, while closing out the release is the slower but no less ecclesiastic ‘Shooting Up Mercy’, an epic paean to the cosmic joke that is human existence.
Accompanying these four new slices of PIGgish playfulness on its 12” vinyl format are three bonus extended versions added to the digital release to fully sate your fix.

The beginning of the end or the end of the beginning? ‘Baptise Bless & Bleed’ completes PIG’s tarot quadrilogy, a tragedy in four parts that also includes the earlier volumes ‘Sex & Death’, ‘Pain is God’ and ‘Drugged Dangerous & Damned’.

Providing blessings, but hopefully not the bleeding, on this particular release are regular PIG collaborators Steve White, En Esch and Michelle Martinez.

As with the other releases in the set, Watts has determined that presentation is paramount, and the spellbinding physical edition of ‘Baptise Bless & Bleed’ comes on opulent 12" white vinyl in a die cut custom sleeve that houses a printed inner sleeve and three brand new tarot cards.

Watch the lyric video for ‘Baptise Bless & Bleed’ here:

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‘The Boogeyman’ is the latest single from NYC Horrorpunks, Cut Like This. A deliciously evil lullaby, the song delves into the tortured musings of an insomniac facing their desire for sleep while battling their lack of control in obtaining it.

The single art portrays the horrific personification of insomnia, the titular Boogeyman,  with impressive practical SFX makeup by singer Rose Blood. Blacklight uv colors glow in stark contrast to the pitch-black darkness, echoing how the sing-song vocals intertwine with the harsh screams in the outro insisting “You’ll NEVER get to sleep!”

Watch the video here:

CUT LIKE THIS is a Horror Rock trio with a metal edge and a flair for theatrical live performances!  Based out of NYC, the band was founded by 2 acrobats of color Rose Blood and Thorn Black, who ran away from the Circus and back onto the grimy, underground rock stages they came from! You might recognize them from their acrobatic performances at Electric Zoo with Excision or onstage with Steve Aoki or Diplo.

Fiery haired singer Rose Blood entrances with bad girl flair, equally comfortable with seductive melodies and menacing screams.  Thorn Black’s thunderous guitar riffs are as heavy as they are catchy, supplying enough hooks to make any cenobyte happy!  Rounding off the live trio is the Neotribal, androgynous Corey Carver, a bassist with a deep love for Japanese Visual Rock. Behind the scenes, sequencing drums, is Evyl Jon of the groundbreaking, Progressive Death Metal band Evil.

With songs featuring tributes to horror movies and beckoning to the monsters within us all, this 3 piece of horror is ready to take you on a ride on an undead carousel from which you’ll never escape! Fans of bands like In This Moment, Raven Black and Wednesday 13 will dig them like a grave.

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Crocodile Records

Christopher Nosnibor

I thought the title rang a bell when I clocked it in my inbox, and despite kicking out more or less a review a day for the last decade, and despite knocking back at least a couple of units of alcohol for each one, my memory’s not bad, and lo, Amy’s 2019 comeback single was the B-side to her 2015 comeback single ‘Different Coloured Pills’, which I reviewed for Whisperin’ and Hollerin’ at the time. I was quite moved at the time, and I’m equally moved now.

In context, her halting progress is understandable: after immense major-label success aged just 16, before being subsequently being dropped before her 18th birthday, a protracted period of wilderness years plagued by mental health issues are likely attributable to the pressures of fame at a young age, but equally, can be seen as symptomatic of contemporary culture more broadly. Admittedly, it may be a shade contentious to suggest that mental health issues have become a badge of honour or a get-out clause for some, and I need to be clear that I say this as someone who is a strong advocate for bringing mental health issues into the forum of discussion – even though I’m not always the best at opening up myself. We do need to talk about mental health issues – and constructively. And via artistic media is one very positive starting point.

Amy’s slow-phased comeback is an appraisal of her experiences channelled creatively, and this time around, she’s on a different label and the release is part of a bigger project, as outlined in the press release: ‘I Was Jesus in Your Veins’ is the first track and chapter in a series of songs that will be released every six weeks and will ultimately make up the overall story / track listing on Amy’s eagerly awaited new album. A narrative diary of depression, hope and redemption, the new long player is a bold and intimate set of heartfelt songs and is set to arrive later this year.’

It’s telling that the video visuals, and the artwork accompanying the single are blurred, grainy, unflattering, indicating that what we’re getting here isn’t attention-seeking woe-is-me trauma porn, but the work of an artist genuinely using their chosen medium to explore and make sense of their life experience. There’s certainly nothing glamorising suffering here.

It’s an intimate, melodic slice of quintessential indie-pop delivered with an accessible, melodic and easy-going breeziness, but there’s a dark and deeply personal undercurrent that ripples through the fractured lyrical dialogue that also conjures the constant back and forth of the internal monologue of self-doubt and questioning. And in the personal lies the universal, which makes this such a powerful and moving work.

‘I have no expectations as to how it will be received but this album is so deeply personal I feel like I achieved what I was striving for just by creating it,’ she posted n her Facebook page just ahead of release. And that’s the mark of a true artist: this is about the creation rather than the reception. And while deserving of success, it’s also worthy of immense respect. And that’s actually worth more.

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Amy Studt

Swiss progressive sludge outfit Herod who released new album Sombre Dessein last week through Pelagic Records have shared a new video for the crushing track ‘Silent Truth’. 

Herod have arisen from the ever- prosperous Swiss music scene. Throughout their young 4 years of presence, they have already shared the stage with such acts as Gojira, Crowbar, The Ocean, Carcass, Obituary, Napalm Death and Voivod – Attesting their repute as the bus boy’s of King Herod, serving up whole sides of rare riffs, disposition, beauty and authority.

The band comment,

“’Silent Truth’ is the last video clip from Sombre Dessein to be released and it is the first “lyric video” for the band. We decided to make a lyric video for ‘Silent Truth’ because it summarizes the concept of Sombre Dessein. Our Judaeo-Christian and thermo-industrial civilisation will eventually come to end and be replaced by another civilisation – It has always been on the cards. 
Our civilization has values no more.

Civilisations have always been founded/established by the power and assistance of war. We live in a critical moment in history where only a few humans ready to die for their beliefs can put a powerful nation on their knees. Who would die today for a smartphone or a couch?! We are exhausted and immersed in our own inertia; we have nihilism but no fervour anymore.”

Watch it here:

Herod will also be touring Europe in March + April with The Ocean:

13/03 – DE, Stuttgart – Im Wizemann

14/03 – CH, Geneva – PTR/ L’Usine

15/03 – FR, Lyon – CCO

16/03 – FR, Toulouse – Rex

17/03 – FR, Marseilles – Les Pennes Mirabeau

18/03 – FR, Colmar – Le Grillen

19/03 – FR, Bethune – Le Poche

20/03 – UK, Birmingham – Mama Roux

21/03 – IR, Limerick – Dolan’s Warehouse

22/03 – IR, Dublin – Voodoo Lounge

23/03 – UK, Glasgow – Audio

24/03 – UK, Leeds – Brudenell Social Club

25/03 – BE, Antwerp – Trix

26/03 – NL, Den Haag – Paard

27/03 – DE, Cologne – Club Volta

28/03 – DE, Leipzig – Werk 2

29/03 – PL, Poznan – U Bazyla

30/03 – DE, Bremen – Tower

31/03 – DE, Hamburg – Logo

02/04 – SE, Stockholm – Fryhuset, Klubben

03/04 – SE, Gothenburg – Tradgarn

06/04 – NO, Stavangar – Folken

07/04 – NO, Hamar – Gregers

08/04 – DK, Copenhagen – Vega

…and we’ll be down the front in Leeds!

Nottingham metallers Deathflux recently released the new video for their latest single ‘Consume’, whipped up by Very Metal Art’s Andy Pilkington. You can check it here:

Formed in early 2016, Deathflux is the brain child of Nottingham guitarist Tom Clarke. Having spent several years playing up and down the UK and abroad in previous outfits, Clarke formed Deathflux in an attempt to expand his sonic palette. Recruiting members of his earlier outfit, death metal mob Cacodaemonic and progressive metallers Akarusa Yami, Clarke got to work laying the ground work for the band’s debut album, Execrated.

A bold departure for all involved, Deathflux shows off a visceral double vocal approach, with vocalists Adam Jones and Patrick MacDonald violently barking over chunky riffs, intricate drum work and elastic solos. Tracks like ‘Transcend’ see the two engaging in a brutal sparring contest. Meanwhile, Clarke and second guitarist Tom Else play off each other effortlessly, with fluid trade offs between high speed guitar histrionics, creating a flattening wall of aural violence.

With a number of dates already under their belts, including a blistering debut show at Nottingham’s Rock City, and more on the boil, the band are keen take their blistering assault to crowds around the world. With a belting debut and the live skills to back it up, Deathflux are a band to get invested in.

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One Man Death Metal Operation Unveil Video For Suffer In Peace

One-man extreme metal outfit Immolate Moth have release a new video for the song ‘Suffer In Peace’ from new album Pain, which was released independently in August.

You can watch the video here:

“Carefully constructed brutal fucking chaos” is an accurate description of the sound of Immolated moth. The work of Thom Bleasdale, who had his career as an audio engineer cut short by serious illness, misdiagnosis and mistreatment that should have killed him, Immolated moth is hybrid death metal with an old school feel that is a real expression of true anger, pain, fear and trauma. It does not get any more real than this.

Following on from the well-received EP, “This Broken Mind”, Thom has been working on “Pain” for just over two years. And in response to the criticisms received, Thom re-recorded the full album several times until it was as good as he could make it with his available resources and limited physical capabilities. And although his health is now deteriorating rapidly, he does hope to get one more album recorded before he is too ill to play metal any more. He is working on it now.

Thom has been in various bands since the age of fourteen, ranging from synth-based rock to hardcore, blues, and even hip-hop. While training to be an audio engineer at Abbey Road studios, Thom became ill and was misdiagnosed and mistreated for nearly 3 years, during which time he technically should have died several times. Having miraculously survived, Thom has been left with the crippling illness, fibromyalgia (and various other conditions that come with it), which now keeps him almost entirely shut in.

Due to the illness he can’t play live or play with other musicians as he does not know from one day to the next how well he will be able to function. Many days he is unable to even play his guitar, so to have recorded this project is a huge achievement. All the instruments are real, and nothing was programmed.

Many death metal musicians write about pain, anger, fear, isolation and anxiety, but having nearly died 9 times, having been bed-ridden for 6 years, and now living in constant pain and almost total isolation, Thom is actually living what he writes, every single day.

It is a constant battle which he knows one day he will lose, but he keeps fighting anyway.

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