BRING ME THE HORIZON News/ Vidéo " Obey " with YUNGBLUD
Le groupe Bring Me The Horizon, deux fois nominé aux Grammy Awards, a fait appel à son collègue britannique YUNGBLUD pour son nouveau single "Obey".
La vidéo officielle est réalisée par Oliver Sykes, le front man de Bring Me The Horizon. Le clip a été tourné à Londres et met en scène Oli et YUNGBLUD qui s'affrontent comme des robots avant qu'une tournure inattendue des événements ne se produise.
"Obey" est une ode à l'oppression qui a été tellement normalisée dans notre ADN que nous ne pouvons même plus la voir.
BRING ME THE HORIZON :
Le quintette Bring Me The Horizon, nominé aux Grammy Awards et ayant vendu plusieurs disques de platine, est l'un des groupes de rock les plus électrisants du Royaume-Uni. Le groupe a sorti son sixième album studio, Amo, en 2019, qui a été classé numéro 1 sur 17 marchés et a été désigné comme "l'un des albums les plus attendus de 2019" par le Billboard, le NME le décrivant comme "audacieux, brillant et repoussant les limites".
Bring Me The Horizon a vendu plus de 4 millions d'albums dans le monde à ce jour, et a joué à guichets fermés dans plus de 40 pays !
Né dans le Yorkshire, en Angleterre, YUNGBLUD (alias Dominic Harrison) est un multi-instrumentiste qui a commencé à prendre une guitare à l'âge de deux ans et à écrire ses propres chansons à l'âge de dix ans. Cet artiste de 23 ans est connu pour exprimer ce qu'il considère comme les principales préoccupations de sa génération, utilisant sa musique pour unir et responsabiliser la jeunesse d'aujourd'hui.
The Sopranos Michael Imperioli and CRO-MAGS Harley Flanagan Discuss Music and Film.
CRO-MAGS ADDRESS PTSD WITH MUSIC VIDEO “BETWEEN WARS”
In The Beginning, New Album Out Now
CRO-MAGS kingpin Harley Flanagan is back with “Between Wars,” the gripping new music video from their latest opus In The Beginning, available everywhere now on Mission Two Entertainment. The track lends its name to Between Wars, the independent film starring Flanagan and The Sopranos star Michael Imperioli, due out later this year.
“This song was a lot of fun to work on as it gave me a chance to do something completely different,” says Flanagan about the instrumental track. “I recorded the song with just bass and drums, followed by all the arpeggiated guitar parts, and eventually I added the cellos and did Hungarian-style throat singing. I was inspired to add the cellos when I first heard Carlos "Lamont" Cooper playing in the NYC subway where he plays to make a living. Turns out he's an ex-gangbanger from NJ who has had a hard life and although we have had very different experiences, we have a lot of things in common; PTSD will do that.”
Imperioli adds, “Harley’s involvement and performance in Between Wars is organic, natural and necessary. He fit into the role like a glove. The life experience he brings to the project is authentic and true and he made us all raise our games.”
Imperioli and Flanagan sat down with the movie’s director Tom Phillips to discuss the music video, the film, and the importance of music scores and soundtracks. Between Wars takes an intimate look at the struggle of re-entering civilian life post-combat. The film follows veteran Marine Franny Malloy (Shaun Paul Costello) as he struggles with integrating himself back home in NYC after returning from the war in Afghanistan. Battling PTSD and self-destructive behaviors, he finds his only hope in fellow Marine turned PTSD psychologist, Sarge, played by Michael Imperioli. Harley Flanagan plays McManus, an old school Bronx Irish gangster and general madman.
It’s been a few productive years for Flanagan lately, who after forming the CRO-MAGS in 1983, legally asserted his original rights to the band name last year in a well-publicized lawsuit. “In many ways, it is a new beginning and also a tribute to where it all began,” reflects the frontman on the band’s first album in 20 years, In The Beginning.
In The Beginning is available now on CD, cassette and limited edition vinyl: link here
ANAAL NATHRAKH News: Lyric vidéo du single " The Age of Starlight Ends "
Nouvel album " Endarkenment, " le 2 octobre prochain
The previous single, "Endarkenment", can be streamed at: https://www.metalblade.com/anaalnathrakh/
where the record can also be pre-ordered in the following formats:
- 180g black vinyl (EU exclusive)
- clear grey / brown marbled vinyl (EU exclusive - limited to 300 copies)
- red / black marbled vinyl (EU exclusive - limited to 200 copies)
- bloody pork pink marbled vinyl (EMP exclusive - limited to 200 copies)
- clear w/ black, red, & white splatter vinyl (Kings Road exclusive - limited to 100 copies)
- oxblood red / brown marbled vinyl (US exclusive)
- clear sperm / white marbled vinyl (US exclusive)
Extremity has been Anaal Nathrakh's stock in trade for more than two decades, and with Endarkenment, they maintain their legacy of aural devastation. However, for all the furor they stir up, the duo have never been a two-dimensional entity, with a great deal of depth involved in everything that they do, and on many levels the new record is distinguished from its predecessors. "I think in terms of feel, it's brighter, more open and direct than maybe we've been in the past," states vocalist Dave Hunt. "Obviously I don't mean it's happy-go-lucky sounding, or suggestive of a sunny disposition. I mean something more like it burns with light rather than glowers with darkness. It's coruscating." The evolution since 2018's towering A New Kind Of Horror has been personal and profound, and is very much in line with that experienced by many of their listeners. "Personally, I feel more cynical, more bitter, with a greater sense that the world is fucked, and is continually re-fucked by people who have no idea what they are doing. Musically, I think we're more mature - not less frenetic, but better able to channel our energies where they'll be most effective. That's an ongoing process, you never finish growing into what you're doing and being better able to push at the edges of what you can do. But we aren't interested in evolving what we do, only how we do it. We remain unlike the vast majority of other bands in our sound, and we're proud of what we do."
With laying out a plan and then executing it not conducive to the kind of energetic, chaotic vigor Hunt and multi-instrumentalist Mick Kenney look for, the band follow ideas where they are taken by them and work spontaneously. Coining the phrase "riding a dragon" when recording - "making music with a sense that all you can do is hang on" - this very much embodies the tumultuous racket thrown up by Endarkenment, with its storms of blastbeat driven violence, frenzied riffing and panoramic choruses that suddenly change the direction of tracks. "We only really know what an album is like after we've finished it. Doing it any other way just wouldn't be right for us." One thing that was very clear to the band was the album's title and how prescient it is in current times, standing as the opposite of the Enlightenment, a movement that went against superstition and ignorance. Writing in the album's liner notes, Hunt says: "There has been, and continues to be, increasingly widespread rejection of Enlightenment-style values such as rationalism, skepticism, the rejection of faith in favour of judgements dependent on empirically verifiable phenomena and so on. There are local versions in many places, but in our native UK, this was summed up by politician/sinister gnome Michael Gove's famous claim that we've 'had enough of experts'. Thus we enter the age of endarkenment." With this as an overarching theme, Hunt, one of the more intellectual lyricists in contemporary metal, penned the lyrics to the record, exploring a diverse range of subject areas and looking in often uncomfortable directions.
The music was tracked entirely in Kenney's studio in southern California while the vocals were laid down in an industrial estate in Birmingham, UK, in a unit just down the corridor from where an S&M porn was being filmed. "It occurred to me not long ago that we haven't recorded together at the same place twice for ten years or more, and I think part of the reason for that is that is that the place itself doesn't really affect us. It changes the experience of actually doing it in terms of being there in person, obviously, but it doesn't really make any difference to the way we work together. Dedicated studios, expensive gear, acoustically isolated live rooms and so on - they're all great, I'm sure, but give us a quiet room with a lightbulb, a laptop and a shitty mic and we'll still do basically the same thing. The music and the atmosphere and the inspiration are in us, not in places or pieces of equipment."
2. Thus, Always, to Tyrants
3. The Age of Starlight Ends
4. Libidinous (A Pig with Cocks in Its Eyes)
5. Beyond Words
6. Feeding the Death Machine
7. Create Art, Though the World May Perish
9. Punish Them