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OTHERWISE Releases Video For 'Angry Heart'

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“Angry Heart”, the new video from Las Vegas rockers OTHERWISE, can be seen below. The song is taken from the band’s third full-length album, “Sleeping Lions”, which is being released today (Friday, September 22) via Century Media.

The conceptual clip is a dynamic, new look visually for the band, as they all acted in this full, intriguing storyline scenario.

OTHERWISE vocalist Adrian Patrick states: “The concept for the video of ‘Angry Heart’ is specifically constructed around the lyric line: ‘So who is all bite and who is all bark? The Wolf of Light or the Wolf of Dark?’

“I gave our director, Mike Watts, some insight into my own struggles with anger and alcohol, and trying to find a balance between my new life as a family man and my lifelong musical mission. He devised this brilliant, provocative storyline that serves as an analogy for my inner battles… Do I follow the overwhelming love for my family and give up on the fire of my passion, or vice versa? Having the entire band act in the video itself helped to capture the authenticity of our plight. The video is a powerfully honest piece and it feels good to be so proud of it.”

Adrian adds: “The initial spark for ‘Angry Heart’ took place on a cross-country flight from New York to L.A. I was watching UFC on the in-flight entertainment and the fighter, Cyborg, was giving an interview in which she basically said, ‘I am a pretty nice person outside of the ring. I don’t know why I fight with such an angry heart.’ Upon landing on the West Coast, I told my brother about what she said and the lyrics just flowed out of me, like a molten poem of rage. For whatever reason, be it how our father raised us to fight for what we believe in, we completely related to Cyborg‘s statement.

“Personally, I’ve always felt like I was waging some kind of spiritual war, but I didn’t know why, until my sons were born. Those two beautiful boys have utterly redefined the ‘good fight’ for me. Anger is a gift, if utilized properly, and we plan to somehow make the world a slightly better place by using that righteous fire for positive goals.”

You’d be hard pressed to find a more fitting album title than “Sleeping Lions” for latest studio release from OTHERWISE. The album hits like a revelation, jolting the listener upright and transporting them from a dreamy landscape to a wide-eyed state of consciousness textured by humility and sandblasted by the winds that weather life.

“We named the album ‘Sleeping Lions’ because that’s what we feel like – we’ve been hibernating in our neon desert cave, licking our wounds and regaining our strength for the hunt,” says Adrian, who along with guitarist Ryan Patrick, form one of the most incendiary sibling duos in modern music. “Now we’re back on the prowl again, and our eyes are wide open. The album title absolutely references a bigger awareness of who we are and what we’re capable of. The last thing you ever want to do is wake sleeping lions.”

The twelve-track epiphany runs an emotional gamut that juxtaposes the very nature of the recordings, “Angry Heart” flowing with the frontman’s blistering vocal cadences as he “fills with hate” and “embraces the monster I’m becoming.” As quickly as it boils over, the rage subsides on “Blame”, one of the most sensitive statements of the band’s career. “If it makes it better for you, just blame it all on me,” the frontman pines, bleeding into the emotional effervescence of “Bloodline Lullaby”, a heart-wrenching ballad of epic proportions.

OTHERWISE is a band built on emotion and fueled by the feelings that drive our lives. Anger. Regret. Love. This isn’t packaged rebellion, it’s the real world. And it’s what makes the band — and album — connect at such a visceral level. “Emotion is the most important element of our writing process,” Adrian says. “We try to capture every aspect of the human condition so the subject matter of our songs runs the gauntlet of what it means to be alive. Every lyric comes from a very genuine and heartfelt place. There are no fictional storylines or tough-guy rhetoric in any of our tunes.”

One of the album’s more mature musical excursions, “Monster” takes flight in a flurry of programmed embellishments and supple guitar play, an unbridled reminder of the relationship that destroys us all but we just can’t bring ourselves to leave. The risks continue on “Nothing To Me”, where the symphonic grandeur boils over amidst emotional disrepair, and “Suffer”, where the guitars jangle more than mangle, conveying a melodic appreciation that far outweighs a more pedestrian quest for being heavy.

“As artists, evolution is the lifeblood of creativity,” continues the singer. “We spread our musical wings a bit more on this album in a concerted effort to remain true to ourselves and not conform to what others expect of us. Rock and roll is all about taking risks, and that’s what we do best. If we were forced to stagnate or remain trapped in the same stylistic box, the fire inside us would burn itself out.”

One can confidently call “Sleeping Lions” the most mature chapter of OTHERWISE‘s impressive volume of work, but don’t mistake mature for soft in the middle. Quite the contrary, the band’s evolution is poignant both musically and lyrically, and they steer clear of the awkward growing pains that so many other bands endure.

That’s a bold statement when talking about a band whose had four singles crack the Top 20 at Active Rock radio — “Soldiers”, “I Don’t Apologize (1000 Pictures)”, “Darker Side Of The Moon” and “Coming For The Throne” — seen “Soldiers” alone surpass eight million streams on Spotify, toured alongside such heavy hitters as STONE SOUR and PAPA ROACH, and shared festival stages on land and sea, appearing anywhere from Rock On The Range to Shiprocked, and everywhere in between.

“Both ‘Weapons’ and ‘Sleeping Lions’ are special to us on several levels,” the singer continues, pointing out a few of his favorite tracks. “Not only were they co-written with two of our idols, but ‘Weapons’ can absolutely be considered social commentary and ‘Sleeping Lions’ is basically our protest song. Album closer ‘Bloodline Lullaby’ serves as a tribute and legacy for our family, while the bonus track ‘Won’t Stop’ is an anthem for our better angels… We try to infuse a sense of hope into all of our songs, regardless of how angry or sad or introspective they may seem. It’s always an intentional goal of ours, to leave everyone, including ourselves, with a feeling of empowerment. We are eternally seeking the light through the darkness.”


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Source: Blabbermouth NEW
OTHERWISE Releases Video For ‘Angry Heart’
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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

JJ Ulizio

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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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