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RIK EMMETT's RESOLUTION9: Audio Samples Of Entire 'Res 9' Album

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TRIUMPH legend Rik Emmett and his new band, RESOLUTION9, will release their electrifying new album, “Res 9”, worldwide on November 11 via Mascot Label Group. “Res 9” features contributions from RUSH guitarist Alex Lifeson, DREAM THEATER vocalist James LaBrie, and Rik Emmett‘s onetime TRIUMPH bandmates, bassist Mike Levine and drummer Gil Moore.

Audio samples of all the tracks that are set to appear on “Res 9” can be streamed below.

“This album represents a journey through my life,” Emmett observes, “and the idea behind a lot of these songs is me trying to figure out who I am, and why I’m doing what I’m doing. There’s a common thread of positivity here that ties into the records I was making 30 years ago. What did I learn from making them? You’ll hear all of that echoed in the grooves of this album.”

Indeed, the scope of the eleven deeply heartfelt songs on “Res 9” covers a lot of exciting aural ground, from the out-of-the-gate gallop of “Human Race” (which also features a driving 12-string contribution from Lifeson) to the testifying tones of “My Cathedral” to the whispering blues of “The Ghost of Shadow Town”, not to mention the cutting-heads guitar duels on “End Of The Line” and the touching album-closing bonus track “Grand Parade”. which reunites Emmett with Levine and Moore. The RESOLUTION9 band itself is comprised of Rik‘s touring quartet, with Dave Dunlop on guitar, Steve Skingley on bass and keyboards, and Paul DeLong on drums. Dunlop and Skingley also co-produced “Res 9” with Emmett.

Emmett is a strong believer in teamwork, and to him, the overall vibe of “Res 9” is clearly reflected in the brotherhood and camaraderie shared amongst all the artists who made this special music together. “You can’t accomplish this kind of project 100 percent by yourself,” Emmett believes. “It takes a lot of things working together to make something like this happen. I come back to the old saying that goes, ‘Success has many fathers, and failure is an orphan.’ I knew that I had to spread it all around. It’s important I keep the guys in my band pretty happy.”

Lead track “Human Race” masterfully sets the positivity table for what’s to come. “I’ve been around the block a few times, and one of the things I like about the lyrics in ‘Human Race’ is when we get to the last verse where it says, ‘I am still this guy. I still live this.’ That’s very true,” Emmett acknowledges. “There’s also a line in there about raising a joyful noise — and I still want to do that too.”

Lifeson added some period-perfect 12-string guitar alongside Emmett and Dunlop to buttress the impact of “Human Race”, and he says he found it quite an honor to play with and for his lifelong friend. “When Rik asked me to play on his new album, I didn’t hesitate for a second,” Lifeson reports. “He’s the consummate musician, a wonderful guitarist, and a terrific person, and it’s always my pleasure to work with him any chance I can get. There is a rock purity in his songwriting and performance, and it’s just so much fun to get together and throw ideas around. He’s always so up and open for anything — even a notoriously uncooperative Rickenbacker 12-string!” Dunlop points out the way RESOLUTION9 meshed with Lifeson “stands as a great example of the collective efforts of the brotherhood.”

Another one of “Res 9”‘s honored guests, LaBrie, lent his own considerable talents to a pair of tracks, “I Sing” and “End Of The Line” (the latter of which also features Lifeson taking the third guitar solo), and he jumped at the chance to record with his fellow Canadian.

“I’ve been extremely blessed and fortunate to meet so many great musicians and beautiful people throughout my career, and to have the opportunity to collaborate and record with some of them is really icing on the cake,” LaBrie notes. “What a thrill it was to record with Rik, who is such an incredible musician and overall down-to-earth cool guy.” About the slow-build manifesto of “I Sing”, Skingley enthuses, “James sang his ass off on that song!” Adds Dunlop, “I enjoyed tracking the guitars on ‘I Sing’ the most because I got to go crazy with several layers of guitars — and I also got to channel [PINK FLOYD‘s] David Gilmour on the outro.”

A fair amount of the album was recorded and mixed at Mississauga, Ontario’s MetalWorks Studios, a location where Emmett, Levine and Moore (who owns the studio) recorded many of TRIUMPH‘s greatest works — and it’s also where the trio convened to tackle “Grand Parade”. Clarifies Emmett, “The TRIUMPH song is a bonus track. That’s the best way to position it. It’s like ‘Suitcase Blues’ [the last track on TRIUMPH‘s 1979 million-seller, ‘Just A Game’] — or ‘Her Majesty’ at the end of Abbey Road!”

Having TRIUMPH involved on “Res 9” to some degree was always on the table. “I play ‘Suitcase Blues’ as the last song of the night in the encore for my acoustic shows. I dedicate it to Mike and Gil and the fact that they gave me the latitude to do the crazy things that I do,” Emmett laughs. “As I was developing the lyrics for ‘Grand Parade’, I started thinking, ‘Wouldn’t it be great if I could get Mike and Gil to play on it? Wouldn’t that just bring everything full circle?’ One thing led to another, and there we were, recording in MetalWorks. Things just lined up perfectly.”

Levine had a great time in the studio with his former bandmates. “We rocked it up a bit, and Gil made the drums heavier than they were on the demo,” the bassist notes. “Once I paid deeper attention to the lyrics, I really got into the ‘let’s wrap up this late night’ kind of feel to it. I think it turned out really fantastic. I told Rik I felt it was a really cool tune, one that was very personal for all of us. I’m really, really proud of it, and it was great to work with both Rik and Gil on it. It was really neat.”

Moore wholly enjoyed the “Grand Parade” experience. “It was really a pleasure to have Rik and his band at MetalWorks, and getting to see him there every day was just like the old days,” the drummer recounts. “I always liked how Rik was able to bring another dimension and another color palette to what we were doing, and I like the spacious bass and drum tracks we did together. That’s what’s always been in my wheelhouse, as far as my playing is concerned. I’m really happy with how this song turned out. I hope we get to do it again.”

Emmett‘s ultimate goal for “Res 9” is to connect with as many people as possible. “The context of this entire album for me was, ‘Wow, somebody tossed me a lifeline,'” he concludes. “I still want to make positive music and offer people something that’s motivating and inspiring — and I want to do it for myself too. I need music, and music can provide that lifeline for me.” Mission accomplished: “I’ve got a thirst for life,” as Emmett sings on “Human Race”. And you’ll find that thirst being quenched quite handily in the very heartbeats that percolate within all eleven tracks of “Res 9”. Drink up.

“Res 9” track listing:

01. Stand Still
02. Human Race (feat. Alex Lifeson)
03. I Sing (feat. James LaBrie)
04. My Cathedral
05. The Ghost Of Shadow Town
06. When You Were My Baby
07. Sweet Tooth
08. Heads Up
09. Rest Of My Life
10. End Of The Line (feat. Alex Lifeson & James LaBrie)
11. Grand Parade (feat. Gil Moore & Mike Levine) (bonus track)

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Source: Blabbermouth NEW
RIK EMMETT’s RESOLUTION9: Audio Samples Of Entire ‘Res 9’ Album
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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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