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CYHRA Feat. Former IN FLAMES, AMARANTHE Members: 'Letters To Myself' Album Details Revealed

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CYHRA, the new band featuring former IN FLAMES members Peter Iwers (bass) and Jesper Strömblad (guitar) alongside ex-AMARANTHE singer Joacim “Jake E” Lundberg and LUCA TURILLI’S RHAPSODY drummer Alex Landenburg, will release its debut album, “Letters To Myself”, on October 20 via Spinefarm Records. The disc was recorded at Top Floor Studios in Gothenburg, Sweden.

The first single from the effort, “Karma”, can be streamed on Spotify. A video for the track will follow on September 8.

From the blissfully melodic thrust of Strömblad‘s riffs and hooks, and the soaring, soulful splendor of Jake E‘s unmistakable voice, to the pummeling, groove-driven precision of Iwers and Landenburg‘s rhythmic bedrock, every last moment crackles with the excitement of fresh territory, new challenges, and a brand-new identity for all involved to embrace.

Formed in 2016 by longtime friends Jake E and Strömblad, CYHRA is about to light a fire under the contemporary metal scene that promises to blaze for decades to come.

The buzz around CYHRA has been growing at a rapid rate since the band unveiled its plans earlier this year.

“The excitement that I feel about CYHRA is over the top,” Jake E exclaims. “I have to pinch myself every day to make sure it’s not just another dream. I am so proud of the music we have created and I can’t wait to show it to the world!”

“For the first time for as long as I can remember, I feel I am a part of something special,” adds Strömblad. “This band has helped me regain my true passion for music. I can’t wait to share this.”

“Letters To Myself” track listing:

01. Karma
02. Heartrage
03. Here To Save You
04. Muted Life
05. Closure
06. Letter To Myself
07. Dark Clarity
08. Holding Your Breath
09. Rescue Ride
10. Black Wings
11. Inside A Lullaby
12. Dead To Me
13. Letters To Myself

Speaking to AntiHero Magazine, Jake stated about CYHRA‘s formation: “I have been friends with Jesper for a long time, probably ten years. We met for the first time when I was working for IN FLAMES as a pyro technician back in the day. That was also when I got to know Peter. We had been friends since then. I was considering to make a solo album, and I would say that I have no idea what I’m going to do, but I’m probably going to write some songs as well. And he asked me, ‘Would you do the vocals on my solo album?’ And I said, ‘Of course. Would you be interested in playing guitar on whatever I’m doing?’ And he said yes. And then we started to talk about what our solo albums, projects, whatever it was meant to be would sound like and when we were discussing that we just realized that okay, we want the same. We want to make the same album. So that’s where it all came to be and then we decided to start writing songs together. So, we were actually talking over a cup of coffee on a Friday and then on Monday we actually sat down in the studio and we started working on the first song. So that was really, really good. And then when we were doing the same thing there, we didn’t know what to do. But after a couple of songs, everything started to come together. Then Jesper said, ‘Okay what are we going to do?’ And I said that I had the perfect drummer for this band, and that’s Alex Landenburg. I said that you are going to love this guy. And a couple of months later we all met, and Jesper and Alex became best friends instantly. And then Jesper said that it would be cool if Peter would like to join. And so we asked him and he was still the bassist for IN FLAMES, and he said, ‘Yeah, absolutely, I will gladly jump on board of this ship. But just to let you know, I am going to still be a member of IN FLAMES as well.’ We were cool with that and then things happened like they did. Peter eventually decided to part ways with IN FLAMES.”

Regarding the CYHRA sound, Jake said: “It is hard to describe what we sound like because we’ve been writing for almost a year. We’ve been influenced by so many different bands. We are, of course, influenced by ourselves. Because like, as the main songwriter in all our different projects before, you know, like, Jesper has his touch of things, I have the touch on my side, and also the other guys. Of course, you will find similarities in our former bands. But I won’t say that we have reinvented the wheel in any way, but it’s still something that sounds really, really fresh and new, even though music is music. You could always probably find similarities. But I would not say that it sounds like old AMARANTHE, or that it sounds like IN FLAMES. But you could completely, you know, recognize yourself within these boundaries.”

Jake E announced his departure from AMARANTHE in February, explaining at the time that he began to feel that “my place both on the albums and live was reduced; I felt like I was superfluous… I started to feel more like a backing singer.”

Iwers issued a statement in November saying that he was leaving IN FLAMES “to pursue other endeavors.” He has since been replaced on the road by Bryce Paul, a member of the Southern California pop-rock outfit IVES.

Strömblad quit IN FLAMES in February 2010 in order to continue receiving treatment for his alcohol addiction. He later formed THE RESISTANCE with Marco Aro (vocals, THE HAUNTED) and Glenn Ljungström (guitar, ex-IN FLAMES), only to exit that band in March 2016. THE RESISTANCE bassist Rob Hakemo later slammed Jesper in an interview, calling the guitarist “an alcoholic” and “drug addict” who “doesn’t want to [get] sober.”

CYHRA will make its live debut on October 27 at Nosturi in Helsinki, Finland.


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Source: Blabbermouth NEW
CYHRA Feat. Former IN FLAMES, AMARANTHE Members: ‘Letters To Myself’ Album Details Revealed
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CD Reviews

Ministry – HOPIUMFORTHEMASSES

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As we near the collapse of mankind and the imminent doom of our political system, a perfect stage has been set for the outspoken rebels to flood the airwaves with dissident upheaval bathed in musical bliss. With the end looming, no greater landscape could welcome the reemergence of the enigmatic Al Jourgensen and company with their latest release, HOPIUMFORTHEMASSES, via Nuclear Blast Records. Scheduled for a March 1st 2024 release, Uncle Al, along with guitarist Cesar Soto, Paul D’Amour, formerly of TOOL, on bass, John Bechdel on keys, Roy Mayorga (ex-STONE SOUR) on drums, and newly added guitarist Monte Pittman, form the current incarnation of the long-lived Ministry.

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This album is an open-book commentary on our American society at large, bathed in slow-burn angst and distortion injected with punk rock/thrash riffs and samples galore.

Within the opening seconds of track one, a female voice proclaims, “What was once forbidden becomes fringe, and what was once fringe becomes mainstream.” Soon Al’s vocals take over with a distorted and effect heavy declaration of “horny little boys filled with hormones and hate, waging war on women ‘’cause they can’t get a date,” thus laying the groundwork for the entire album. As “B.D.E.” (Big Dick Energy) continues, a heavy yet simplistic guitar riff drives the song forward while increasing the energy level and tempo. Al’s vocals continue with his immediate, recognizable attitude and tone, stating, “No one can justify the toxic behavior.”

“Goddamn White Trash” is perhaps the most accessible and rythematic song on the release. It has hints of the Psalm 69 days of the band. Chants of “USA, USA” ring out along side screeching guitar noise reminiscent of Mike Scaccia’s playing style.

Track three is titled “Just Stop Oil,” and it dives into yet another realm of political advocacy. Jourgensen delivers, “Dehumanization at a cellular level. Policy set by the corporate devils, There must be resistance, we cannot be silenced, There is the existence of possible violence” in a growled whisper.

On the track “Aryan Embarrassment,”  we are treated to a none-more-fitting guest appearance from what I believe is activist and Dead Kennedys front man Jello Biafra, who delivers a rap-style series of vocal lines backed by a driving rhythm. Jello wails, “How on Earth did all this happen? Plagues of militantly stupid” Followed by “Scamming on the punk scene.  Oi, oi, oi. Ain’t proud of you boys at all.”

Another standout track is “New Religion” which starts with a classic industrial riff and buries itself in the repetitive, slow-burn heaviness that has become the Ministry standard as of late. Followed by “It’s Not Pretty,” which opens as a haunting acoustic piece that I imagine being set in a post apocalyptic landscape with the reverberating lyrics “It’s not pretty. This is the end of the world to me. This is the end of society.”

“Cult of Suffering” strays from the format of the balance of the album and could be firmly placed on an Alabama 3 album, and it may feel at home on a Surgical Meth Machine release.

Rounding out the album is a little ditty called “Ricky’s Hand.” This is a synth pop throwback to the early days of Ministry and leaves us longtime fans eager to hear the longtime teased rerecording of some of the very early Ministry material. This track has a Devo, Information Society, and even Depeche Mode feel to it and is a perfect bookend to a solid release from an iconic band.

Ministry will be on tour throughout the summer with Rob Zombie, Alice Cooper and Helmet.

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Concert Reviews

Bloodywood: Concert Review Pittsburgh, PA

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In a realm of modern music overflowing with musical genres, there are few bands that possess a unique sonic force that defies categorization while leaving listeners spellbound and yearning for more. One such band is Bloodywood. They are a musical force that blends cultural heritage with a relentless fusion of metal, hip-hop, and traditional Indian rhythms.

As a band, they are carving a distinctive path and leaving an indelible mark on the modern musical landscape. Their raw energy, cultural fusion, and a fearless spirit of rebellion is a testament to the transformative power of music, transcending boundaries and uniting people from all corners of the globe. With their infectious energy and thought-provoking lyrics, the band has built an ardent following, igniting a revolution that stretches far beyond the realm of music or the shores of any country.

Born in the vibrant streets of New Delhi, India, in 2016, Bloodywood showcases their unwavering commitment to pushing boundaries, both musically and socially, as they fearlessly tackle pressing issues and ignite conversations.

The sonic odyssey of Bloodywood graced the stage of the Roxian Theater in McKees Rocks, Pennsylvania, which is nestled in the shadow of Pittsburgh only a short distance down the Ohio River from the infamous Steel City.

The show opened with a blast of energy from the British duo WARGASM, whose stage presence was undeniable. Sam Matlock, Milkie Way, and company tore through an unadulterated set of nu-metal tracks tinged with punk and electronica that included “Super Fiend”, “D.R.I.L.D.O”, and “Rage All Over”. They followed up with the video sensation “Fukstar” and wound down the set with some crowd surfing and a cover of N*E*R*D’s “Lapdance” and closed out the set with the track “Spit”.

After a brief break in the mayhem, Vended made the stage rumble to life. Their agro-metal induced a great deal of similarity to early Slipknot, and that is not surprising given that frontman Griffen Taylor is the son of Slipknot’s Corey Taylor and Simon Crahan is the son of percussionist Shawn ‘Clown’ Crahan. The band sounded tight and featured competent song composition; however, the vocalist needed to learn how to work the stage. It was as if his shoes were nailed to the floor at center stage.

As stage lighting flickered to life, the crowd prepared to be immersed in a symphony of cultural fusion, electrifying riffs, and unapologetic lyrics. We all knew that we were about to experience something quite special. As the sonic saga began, drummer Vishesh Singh sat behind his kit, awash in blue and purple lights, as the anticipation grew more intense. The intro track for “Gaddaar” echoed throughout the theater before the bombastic bass, gnarly guitar riffs, and the thump of the drums shook the walls as the entire band burst onto the stage to metaphorically say, “Ladies and gentlemen, welcome to an electrifying evening filled with raw energy enshrined in a mesmerizing tapestry of sound that defies conventions.”

The crowd began losing themselves in the pounding intensity, their bodies moving in sync with each thunderous beat as Sarthak Pahwa wailed away on his dhol. The band seamlessly migrates from the thunderous “”Gaddaar” to “BSDK.exe” from their most recent release Rakshak that couples a more hip-hop vibe on the verses with a crushing guitar rhythm from Karan Katiyar throughout the rest of the track.

Adorned in their fusion of metal attire and traditional Indian clothing, twin vocalists Jayant Bhadula (vocals and growls) and Raoul Kerr (rap vocals) commanded a powerful presence as they ran through “Aaj” with its hypnotic flute licks and downright brutal lead vocals. The five minute long song pushed the audience into heightened frenzy before slapping them across the chin with “Dana Dan”. Which had Raoul Kerr rapping/screaming “I put a fist through the face of a rapist and yeah, I taped this. For the viewing pleasure of the nameless faces he disgraces.”

Up next was the more mellow and chill track “Jee Veerey” that featured more of Karan Katiyar’s enigmatic flute playing along with a more melodic yet still intense vocal delivery from Jayant Bhadula as he sang in his native tongue.

The track “Zanjeero Se” was followed by “Machi Bhasad (Expect a Riot)” which truly showcased the rhythmic prowess of drummer Vishesh Singh and dhol master Sarthak Pahwa. It was so enthralling to watch Sarthak perform on such a simplistic instrument and to make it so vibrant and energetic. His playing transports Bloodywood’s music to a completely different level.

As the set reached its crescendo, it was obvious that the sweat-drenched band had poured their hearts and souls into every note. Wrapping up their set was the sing-along inducing “Ari Ari” that left the crowd breathless and drenched in the passion that radiated from the stage.

But… There is more. As an encore, the band jumps back in to the opening track “Gaddaar” thus cranking up the mosh-pit’s intensity to eleven, causing every person down front to expel every ounce of remaining energy from their bodies.

It was incredibly refreshing to see a band that, in some magical way is able to unite people regardless of age, background, or nationality. To see people connected by their love of the music and a band. The shared experience created an atmosphere of camaraderie and acceptance, where strangers become friends, and barriers dissolve in the face of the music.

Unfortunately, this was the last stop on Bloodywood’s North American tour, save some festival dates. Hopefully, they will be returning to the states soon. If you have the opportunity to see them live, do not sleep on it. I promise you will not be disappointed.

In the meantime you can get more info at: www.bloodywood.net/

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CD Reviews

Cattle Decapitation Terrasite Album Review

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Terrasite by Cattle Decapitation

Today, 05/12/2023, saw the release of the 8th studio album from San Diego’s own Cattle Decapitation. The follow up to 2019s Death Atlas, Terrasite shows how a band can grow and evolve while staying true to their roots. Starting as a grind band in the late 90s and with relentless touring and continual releases this album shows them further building upon elements of their previous albums.

The album has great production. The copy I used primarily for my review is the vinyl version which is 45 RPM and it sounds great. In particular, I think the drum production is particularly well executed. A lot of times with death metal the kick drum is either too “bassy” so it’s difficult to hear or it’s the other way and you can hear all the hits without the bass tone. This album is a great balance of the two. You can hear clearly how fast drummer, Dave McGraw, is going without losing the “thump”. The blast beats alone will rattle the brain. The guitars are grimy and dirty with some blistering leads. The bass rattles while still having a solid low end. You can really hear it in songs like “Solastalgia” which has a small bass lead in it which I didn’t see coming and was pulled off great.

The vocals, I feel compelled to say that Travis Ryan has to be one of the most underrated and versatile vocalists in metal. Highs that make the ears bleed, lows that are gurgling, wet and gross sounding. Harsh singing reminiscent of 80s thrash bands, and clean singing that are almost, but not quite, reminiscent of the late Peter Steele from Type O Negative.

Lyrically they stay on brand ranging from the end of humanity, apocalyptic themes, and mistreating humans the same way humans mistreat animals. Very dark and grotesque subject matter. When asked about the lyrics to this album Ryan states “I wanted to do the 180° opposite of Death Atlas – I wanted this to take place in the daylight. I’ve always found daytime horror to be really unsettling so I wanted to make sure what was going on on the cover took place in the light of day, which also finds its place within the lyrics.”

Tracks like “A Photic Doom” showcase traditional style death metal guitar riffing, with elements of tech death and slam. “Dead End Residents” leans into some of the darker ends of thrash metal and is reminiscent of bands like Slayer. “Scourge of the Offspring” shows an impressive command of melody without sacrificing the grime that covers the album while almost coming off as anthemic.

The album closes with the ten minute epic “Just Another Body” which begins with a piano melody that would be at home in a late 70s era horror movie while building into something that’s not quite death, not quite thrash, and not quite grind. Ryan uses the full range of his voice while there are symphonics layered in the background to keep the melody from being lost while still playing with grind based riffs and blast beats.

Overall if you’re looking for a strong contender for death metal album of the year I will highly recommend this. As of this writing I haven’t been able to stop listening to it for three days now. The album currently available on all the usual streaming platforms and physical copies can be purchased here. (www.indiemerch.com/cattledecap)

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