Tool Guitarist Adam Jones Reveals More Details On Upcoming Album

Recently, Tool guitarist Adam Jones spoke out about the delay regarding Tool’s fifth studio album. Jones revealed that the group has been involved in a lawsuit over several years which has provided more difficulties toward the writing and recording process. In a recent interview with Metal Hammer, the guitarist went in more depth about the lawsuit and album.

Regarding the lawsuit:
“Basically a long time ago, the band paid my best friend to do some artwork for shirts, albums and advertising — we’ve hired many, many artists over the years. And then he decided to sue us for one fifth of the money we’ve ever made. It was just ridiculous! This lawsuit has really gotten in the way. All we want to do is get it behind us so we can focus on what we do best. I don’t want to just get it out and worry about the next record and then look back and go, ‘Why did I do that? It’s a piece of crap.’ I want to sleep well at night. It’s my legacy, you know? Some day I’m gonna croak and I wanna look back on what I did and go, ‘I worked really hard, took the time and had integrity.’”

About the new music:
“We’re always on an experimental path. We never think about what worked on the last record or what’s good on the radio right now. It’s a selfish process, we just go in there with some riffs. We experiment and the riffs start to take a different path and over time, this riff from last week might go really well with this riff from two years ago. We piece stuff together, almost like a film soundtrack, you know? But I’ll tell you this – there’s a lot of stuff in 7/4. Breaking up 7 can sound like an even number to the listener even though it’s an odd number, that’s really exciting. Rosetta Stoned had some elements of that where we had a middle break and the end rhythm of 7 against 5. It kinda opens up a whole can of worms! There’s some really light stuff going on but there’s also a lot of heavy stuff in there too.”

Review: Travis Meeks Unleashes His Inner Maestro In Poughkeepsie, New York

“Not now. Right now’s my only time of the night to be ‘normal’. If I get out of that frame of mind I won’t be able to perform!” That’s what Travis Meeks told me after I ran into him outside of The Chance Theater in Poughkeepsie, New York prior to his band Days of the New’s performance, and asked for an interview.

For the unfamiliar, Days of the New had several radio hits in the 90’s and early 2000’s before a crystal meth addiction, crossed with Meeks’ infamous obsessive behavior led to collapse of multiple lineups. As of recent, the original lineup present on the band’s self-titled album is once again backing Meeks.

The other (not normal) personality, Travis “Maestro” Meeks, spent a good part of the decade secluded by the rest of the world while obsessively expanding upon and fine tuning his guitar skills, and the results are incredible. After being introduced on stage by Simon of the local radio station WRRV, Meeks demonstrated his new found mastery of the instrument during the band’s hour and a half set at The Chance Theater, ripping through material pulled from the band’s three studio albums and playing in the vein of an electric guitar god, only with his various acoustic guitars lined up against the back of the stage.

Though the setlist only contained 11 songs, much of the night consisted of extended guitar solos from Meeks, with the rest of the band often leaving the stage to let him do his own thing. That’s not to say the rest of the band wasn’t in top form; Jesse Vest’s tight bass work provided the meat of the night’s sound, mingling perfectly with Meeks and Todd Whitener’s guitar playing, while Matt Taul absolutely killed it behind the drum kit.

“This is a time of healing for us, as you can imagine,” said Meeks. “We’ll do our best to be big boys and get along.” At only 35 years old and having just shown us the true extent of his guitar playing abilities, perhaps a second chance is at hand for the band. Go check out this new (old) incarnation of the band if you get the chance.

Setlist

Flight Response

Shelf in the Room

The Character/The Threat

Enemy

Running Knees

Dancing with the Wind

Touch, Peel, & Stand

What’s Left For Me

Magic Man

Face of the Earth

I Think

The Downtown

photo 1

 

Watch Weezer Perform “Back To The Shack” On The Tonight Show

Weezer’s ninth studio album, “Everything Will Be Alright in the End,” is scheduled to be released on September 30th via Republic Records. The LP is produced by The Cars’ vocalist and guitarist, Ric Ocasek. Weezer released the album’s first single, “Back to the Shack,” earlier this week. You can watch the band perform the song live on The Tonight Show below:

marco minnemann

AlternativeNation.net’s Review Of Marco Minnemann’s Solo Album “EEPS”

Of all musicians who’s unique talent are critically overlooked, Marco Minnemann undoubtedly hits high on the list. Minnemann’s drumming skills have been showcased in a variety of artists and groups’ live performances including Joe Satriani, Steven Wilson, Kreator, Necrophagist, and many more. He also has recorded with legends including Jordan Rudess of Dream Theater and Tony Levin of King Crimson. “EEPS,” Minnemann’s most recent solo album was released on July 9th via Lazy Bones Recordings. You can view AlternativeNation.net’s interview with Minnemann by clicking here and our review below.

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Right off the bat, “EEPS” proves itself to be a hard pill to swallow due to the exotic and unconventional style and structures of the first few songs. The opener, “Cheap as F**k and Awesome as Hell,” showcases Minnemann’s unique experimentation and multi-instrumental virtuosity. “OC DC,” the LP’s first single, lyrically portrays an individual with obsessive-compulsive disorder and is accompanied by a schizophrenic, avant-garde rhythm section. The bass and percussion-driven title track bridges the gap between the absurdity of the intro songs and the more serious compositions, which include “Live Ghost,” “Soul Dance,” and “Obvious.”

On the track, “Live Ghost,” Minnemann’s funky mixture of bass, synth, and strings beautifully evolves into a hard-hitting progressive rock ballad. With the aptly titled “Soul Dance,” an optimistic and groovy soundscape is created through the complexities of each instrument. “Obvious” is a more song-oriented and emotional track with jazz undertones that boasts Minnemann’s gentle, melodic vocals.

“Right on Time and Out of Tune,” similar to the album’s first tracks, is bizarre in nature, yet provides the perfect amount of dynamics to the album as a whole. Racking in at over 11 minutes long, “Sushi Cat Doll,” can be simply labeled as ‘epic.’ The song begins with a catchy whistled melody and transitions from a Pink Floyd-esque guitar interlude to a distorted rock jam with piano riffs delicately laced through out. On the more romantic tune, “Sunshine,” Minnemann treats the listener with a delightful arrangement of orchestral strings, acoustic guitars, and clean vocals.

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While constantly holding his own unique style, the signature sounds of many prog-rock groups including the synth riffing of Dream Theater or the psychedelia of Porcupine Tree seep through on tracks like “The Split” or “Painter.” With “Dead Ghost,” the sporatic drumming patterns are backed up by bells or horns, similar to the solo work of Steven Wilson. But of course, Minnemann remains true to his eccentrically humorous roots in “Douche,” a heavily-layered and looped rock-out ditty. In “Synthetic Swans,” an instrumental overload of bass, percussion, synths, and guitar battle off the minimalistic piano treatments. The album closes with one of the most memorable and catchy tracks off the entire release. “When I Was Gone” is filled to the rim with hooks, tension, and musical prowess.

Certainly, there was no previous doubt that Marco Minnemann’s drumming chops are no less than impeccable, but with “EEPS,” each song displays the percussionist’s expertise in many other instruments as well as other musical aspects including arrangement, mood, and overall dynamic tenacity. While many may overlook the tongue-in-cheek creative characteristics and finite details of the album, it is clear throughout the release that Minneman has developed a unique style consisting of prog-rock proficiency and whimsical experimentation.

Overall score: 8 out of 10

Interview: Melvins’ King Buzzo Rips Rock Stars Who Make Political Statements, Talks Nirvana & Solo Tour

Over the last tumultuous thirty years we’ve seen the rise and fall of (insert everything you’ve ever once held dear to you here), proving that nothing is too sacred, nothing is so pure, and that nothing is resistant to change. In fact, the only thing constant in life is change (well that, and this clichéd-ass saying). And while no other industry has changed more quickly and dramatically than that of the music industry in that time, no one is more ready to meet it head on than Melvins frontman, Buzz Osbourne, whose music career has spanned each one of those 3 decades.

I had the chance to meet with Buzz before he took the stage in Philadelphia last week while promoting his all acoustic, solo album, This Machine Kills Artists, and the conversation went something like this:

You’ve been on tour all summer promoting the new album this This Machine Kills Artists, how has the crowd response been?

The response has been good. I really didn’t know what to expect so– I’m happy anybody’s here at all (chuckling)

The name of the album is This Machine Kills Artists. Would you care to explain the meaning behind the title?

It’s a take on the Woody Guthrie thing, but I don’t know if anybody knows what he meant by it so we can just leave it at that. It’s one big mystery.

So how did Woody Guthrie ever impact you or inspire you– or did he at all?

Him? Probably through Bob Dylan, who I think was a lot better. Dylan was inspired by him and a number of other people, but what I liked about Dylan is that he was mean spirited, much more so than [Woody Guthrie], which was more attractive to me.

So Woody had somewhat of an outspoken message in terms of his lyrics..

I don’t know what that would be. I have no idea

Well he seemed to be taking a stand against fascism in his lyrics.

What is fascism– what is a fascist??

You tell me.

No you tell me! That’s the thing. Before I can understand what he’s taking a stand against– I mean fascism as I know it, is somebody telling someone else what to do. Seems like he’s not adverse to that himself, so I don’t know what he means by fascists. I have no idea. If he was pro-labor, they’re telling people what to do too. What’s the difference? (Laughs) So I have no idea what he means? No clue. I doubt anyone’d ever ask him.

Then I’ll ask you– what’s your message?

Ummm… I don’t have any all encompassing message. I’m a huge Captain Beefheart fan and I didn’t have to know what he meant. It still works though. I think it’s pretty clear if you listen to it. I don’t know– I don’t have a plan along those lines. At least in my art I don’t mix social commentary. I think it’s a mistake, personally. I would like to think that people in their personal lives would look higher than entertainers for their political or their social beliefs… (stops to laugh) …though rarely do. I’ve steered clear of that.

Going back to April of this year, your old buddies from Aberdeen took the stage at the Rock and Roll Hall of Fame when Nirvana was inducted.

Was that in April? I’ll be damned. Good for them.

They kind of owe you and the Melvins quite a bit it from when they were first starting out. The introduction to punk rock, introducing Dave Grohl to the band…

Well I don’t know what they think, but maybe. (Pauses) It was very nice of them to acknowledge us.

I did hear Krist thank you in his induction speech for introducing he and Kurt to Punk rock way back when. Can you remember any of the bands you turned them on to?

Yes he did. That was very cool. I can’t really remember what bands, but they weren’t into much beyond your normal Led Zeppelin type of music. You know– weirder stuff, but I really don’t know exactly.. it was in the early 80’s, basically anything I was listening to which was a wide variety of things. He hadn’t heard any of it.

Last summer I went to see Mudhoney in New York when they were promoting their latest record, Vanishing Point. The Melvins and Mudhoney are 2 of those bands that came out of Seattle, and are still putting out great albums 30 years into their career, still plenty of energy on stage, but I was thinking of the album title, Vanishing Point. Do you think the title was maybe alluding to something more? Could that be their last record?

Yeah, that’s nice. I like those guys a great deal. They’re one of the only bands from that era that has anything to do with us. But no, I don’t know why they would. They don’t work that much. They don’t have too much going on. I think it’s more like a hobby for them now. Why quit?

Speaking of exit strategies, the Melvins have over 30 years playing together and more records than any band I can think of without Googling. Has there ever been a conversation about it?

(Hesitates)..N-No, not really. I mean, I might as well do it until I can’t.

Throughout your career the music industry has seen quite a bit of change– from cassette tapes, to CD’s, to digital. How do you feel about the present state of the industry and what would you change if you could?

Well, you know, not everybody wants to hear a shitty digital download. I’m still a big fan of CD’s, personally. That’s the best. But yeah the industry is definitely making it harder for musicians to make money off of their art. They’re really making it difficult for a lot of the artists who exist, so…. oh well. That’s the way it goes. The genie’s out of the bottle and there’s no way of putting it back. Might as well just accept it. At least that’s the way I see it– there’s nothing I can do.

What would you do if you could change it?

Nothing. Why would I? I’m not afraid of change. I’m up for the challenge, that’s why I’m out here with an acoustic guitar. Up to the challenge– do it, make it work. No, I wouldn’t change anything I think it’s a bad idea. I’m far too classic liberal. The basic nature of conservatism is things staying the same. Classical liberalism is people who aren’t afraid of change, whatever it may be. (Pauses) But not liberalism as we know it now. No, it’s a lot different. It’s closer to fascism. I have no interest in telling people what to do. Not at all. Not in any fashion. I believe as long as we’re not hurting anybody else I don’t see any reason why I should tell you what to do. And that’s called freedom. (Laughs) And that’s as close to a social commentary as I’ll make.

I’ll strike that from the record..

No you can’t. It’s out there now. That’s fine. I mean I don’t make, you know, comments about the president, or anybody.. wars– none of that. I have my own private ideas about all of it, but publicly I’m not going to get involved with that. It’s a bad idea, I think it’s stupid.

People should make up their own minds about that kind of stuff. Present company excluded, most rock people are whore-mongering drug addicts, who can’t even make good music. Why would we listen to them about a political issue? Or actors. Most of them wouldn’t work 2 months for two million dollars. There’s nothing you can learn from them — nothing. So why should we listen to them about any issue.

Because they’ve got the loudest voices?

Because they just want to make themselves look like they’re good people and they’re not at all. So I look to higher sources. I don’t care about what any of those people think.

If you haven’t gotten a chance to see his acoustic show, which features songs from the new record, stripped down versions of Melvins songs, Alice Cooper covers, and some hilarious stories– and you happen to live in–Houston, Austin, or San Antonio, Texas; Tuscon, Arizona; or Pioneerto, California– go check him out! Tickets are still available here.

Eddie Vedder Reveals Why He Thinks Michelle Obama Was Attracted To President Obama

Eddie Vedder discussed President Obama and Michelle Obama while sitting in with the announce team at last night’s Chicago Cubs game. Vedder talked about former Cub José Cardenal and his connection to the Obamas, “[José Cardenal is] my hero, still. You know, that’s Michelle Obama’s favorite player. Now think about this, look at pictures of Barack Obama, when she met Barack, he was early on at Harvard. [He had] similar hair, a similar smile. So imagine that, so Michelle Obama decides that’s her type, and ends up marrying the first African American President.”

He then revealed he introduced José Cardenal to the Obamas at a 2012 campaign fundraiser.

VIDEO: Eddie Vedder tells @LenKasper an amazing story about @... on Twitpic

Shooting Star, The Elliott Smith Story Part 1: The Heatmiser Years

above: Photo by JJ Gonson.

Shooting Star, The Elliott Smith Story Part 1: Bottle Rocket [The Heatmiser Years]

This article is the first part of a retrospective series on the life of singer-songwriter Elliott Smith. Read “Part 2: Rise To Fame” here and “Part 3: Final Years & Legacy” here.

The alternative rock band Heatmiser, formed by close friends Elliott Smith and Neil Gust during their time at Hampshire College in Massachusetts, emerged from the Portland, Oregon indie rock scene in the early 1990s. Heatmiser would go on to release three studio albums and spawn the successful solo career of talented, albeit troubled, singer-songwriter Elliott Smith.

At Amherst, Massachusetts’ Hampshire College, political science and philosophy student Elliott Smith met Neil Gust and the two became close friends. The friends bonded over shared musical interests and formed a band, playing mostly cover songs of Ringo Starr and Elvis Costello at local New England clubs in the late 1980s. After his graduation from Hampshire in 1991, Smith moved back to his hometown of Portland, Oregon with Gust and they officially formed their band, adding Smith’s high school friend Tony Lash on drums and Brandt Peterson on bass and calling it Heatmiser.

After performing local shows in Portland, Heatmiser released its first record, Dead Air, in 1993. The album showcased the band’s hard alternative rock sound, seemingly influenced by the popular Seattle grunge bands of the era. In fact, Dead Air was released one week before Nirvana’s In Utero. The band’s early songs were short: averaging about two to three minutes per song and employing a simple pop song structure: verse, chorus, verse, bridge, chorus. Despite Elliott later dismissing the band’s early work as “”loud rock songs with no dynamic,” Dead Air showed a glimpse of the genius of Smith’s lyrics and availability of his pop songwriting. Meanwhile, Gust’s lyrical content discussed themes relating to his sexuality and feelings as an outsider. The album failed to garner much attention.

It wasn’t until the 1994 releases of Heatmiser’s second album Cop and Speeder as well as their EP Yellow No. 5 that the band began to gather any attention from critics and media. One critic has called the EP the band’s “most accessibly poppy release.” Cop and Speeder featured a more evolved sound for the band, including more melodic songs as well as a more varied approach to songwriting. Though the band’s sound hadn’t yet reached complete maturity in 1994, their musical evolution was apparent and the band’s dynamics reached a greater variety than the mostly repetitive Dead Air.

Meanwhile, Smith was recording his first solo album, Roman Candle. The album was not originally intended for release and its acoustic lo-fi sound reflects this. As stated in Benjamin Nugent’s biography Elliott Smith and the Big Nothing, Smith played each instrument and recorded the album on a four-track recorder. The album was meant to serve as more of a demo tape for the record label, but the label liked the album enough that they released it. A photograph of Neil Gust served as the album’s front cover. Roman Candle’s title track alludes to his rocky relationship with his stepfather, while “Condor Ave” and “Last Call,” written nearly ten years earlier while Smith was in high school, were also featured on the album. However, the quick success of the solo album created a rising tension between Smith and Heatmiser, specifically his friend Gust.

In 1995, with the help of friend Mary Lou Lord, Smith landed a deal with Portland record label Kill Rock Stars for his second LP. The album, self-titled Elliott Smith, featured Smith’s typical acoustic sound, but also included dark, metaphorical lyrical content relating to depression and drug use. Elliott would later recall the album: “I personally can’t get more dark than that.” He would say that “Needle in the Hay’ is, for me, the darkest [song] and it’s a big ‘fuck you’ song to anybody and everybody.” The album’s only single, “Needle in the Hay” would later be featured in Wes Anderson’s 2001 film The Royal Tenenbaums as well as on the film’s soundtrack. Smith would later reflect on the album’s release: “The self-titled one was a turning point. At the time I felt it was fully what I was and I had no concern about what people would think of it.” In the meantime, Smith began doing interviews by himself and without his friends in Heatmiser. During these interviews, Smith would either not acknowledge Heatmiser or criticize the band’s songs. These actions put an even greater strain on the friendship between Smith and Gust.

Heatmiser bassist Brandt Peterson left the band in August of 1994, and was replaced by Sam Coomes, Elliott’s friend and member of Portland indie band Quasi. Heatmiser recorded what would be its final album, Mic City Sons, in early 1996. During this period, relationships between band members reached an all-time low. Despite the fighting between Gust and Smith, the album showcased the band at the peak of its songwriting ability, artistic maturity, and creative output. The album is usually considered the band’s best work, highlighted by the band shedding its loud and often repetitive rock dynamic and instead favoring a variety of musical styles including quieter, acoustic tunes which were primarily written by Smith. Among Mic City Sons’ highlights were Gust’s “Rest My Head Against the Wall,” which reflected Gust’s reflections on his sexuality, and Smith’s “Half Right.” Prior to release of the album, however, the band officially broke up, which caused their new record label Virgin Records to release the album on their smaller label Caroline Records. Neil Gust went on to form the band No. 2, and would release two albums with the band, but would later start a career in media arts. Sam Coomes would continue his musical career with then-wife, Sleater-Kinney drummer Janet Weiss, in the band Quasi, which would later serve as Elliott’s backup band on future tours.

Setlists From Soundgarden & Nine Inch Nails’ Show In Tinley Park, IL

Soundgarden Setlist:
Searching With My Good Eye Closed
Spoonman
Rowing
Outshined
Black Hole Sun
Jesus Christ Pose
The Day I Tried to Live
My Wave
Superunknown
Fell on Black Days
A Thousand Days Before
Burden in My Hand
Rusty Cage
Beyond the Wheel

Nine Inch Nails Setlist:
Copy of A
Sanctified
Came Back Haunted
1,000,000
March of the Pigs
Piggy
Terrible Lie
Closer
Gave Up
Me, I’m Not
Find My Way
The Great Destroyer
Eraser
Wish
Only
The Hand That Feeds
Head Like a Hole

Encore:
Hurt

AlternativeNation.net Interview With Rx Bandits’ Steve Choi

It’s a very tricky proposition trying to accurately describe the style of rock n’ roll that Rx Bandits specialize in. In fact, even the group’s guitarist/keyboardist, Steve Choi, has difficulty describing his band’s music (as you’ll read by his response to the third question below).

Either way, the band (which also includes singer/guitarist Matt Embree, bassist Joseph Troy, and drummer Christopher Tsagakis) has been steadily issuing albums since 1996, and has built a worldwide fanbase. In July 2014, Rx Bandits issued a brand new full-length, Gemini, Her Majesty, and Mr. Choi was up for answering a few questions for Alternative Nation.

How does Gemini, Her Majestry compare to earlier Rx Bandits albums?

That’s a tough question, as I would base that partially on the reaction and feedback from listeners. Usually, by the time we are finished making a record, I’m so deep in the details that I can’t have any perspective on the music as a whole.

Aside from the natural musical growth that happens to us as a unit, we were certainly more creatively free on this record. That’s not to say we limited ourselves creatively before. What I mean is that when someone is hitting their true artistic core, they are drawing from things that they experience or feel inside of them rather than being inspired by other works of the same medium.

So being older and more mature and having the best inter-band dynamic that we have ever had allowed us to trust each other and encourage each other enough to just do whatever we felt we could individually contribute. I really, really liked that.

Which are your favorite tracks off the album, and why?

Currently I would have to say that “Will You Be Tomorrow” and “Future, Buddy” are my favorites. “Will You Be Tomorrow” simply because it’s the most different and simple arrangement we’ve ever used for a song and I love the way it turned out.

“Future, Buddy” because I feel like the arrangement is representative of everything we ever were, but musically and sonically it is the dawning of a new age for us as a band. This song closes the album and I would say it’s the most hopeful we have ever sounded.

I’ve heard the band be described as everything from prog rock to emo. Which musical description do you prefer?

Every single name for any genre or sub-genre makes me cringe a little…that said, I have no clue what would want people to describe us as. I think I’d be happy with “A band that makes original modern music.”

Who are your top musical influences?

Everything has been. Since our youth, we’ve gone out of our way to listen to the largest array of different music as possible because loving music so much meant also wanting to ingest as much of it as possible. And because liking a lot of good music from different places and cultures is cool.

What can fans expect from the upcoming tour?

A good mix of songs from albums older and newer. We are also trying to constantly improve our live show so our lighting design on this tour is very, very cool and I’m excited for everyone to see it.

What was your most bewildering on-stage experience?

We were playing in Melbourne, Australia with Jimmy Eat World, Glassjaw and Sunny Day Real Estate, and during our set the actual house P.A. went out mid-song. We just kept playing since our monitors were still on and the thousands of people stood there puzzled. That is merely one small story among the many, many, many that any musician accrues over years on the road.

St. Vincent Says Nirvana Reunion Honored ‘The Queer, Feminist Scene’

St. Vincent, one of the women who fronted Nirvana in April during the band’s reunion performances, discussed the band’s reunion in a new interview with NME. She described her manager calling her about fronting the band, and her experience performing with the band:

“[My manager] told me the situation, that the Nirvana guys were getting inducted into the Rock & Roll Hall of Fame, and that they wanted a few [women] to fill in I guess. I thought it was a really cool way to honor the Olympia, [Washington] punk, freak, queer, feminist scene that the Nirvana guys came up in and were so very engrossed in that they asked women to fill in. I thought it was a nice way to honor that part of their history, which sort of gets whitewashed in all the retrospective. They’re so nice. Obviously I wish it was a situation where no one but Kurt Cobain was ever playing Nirvana songs, but that unfortunately is not the case.

She added that, “It seemed like the wound was still quite raw” when it came to Cobain’s Nirvana bandmates and his family.


AlternativeNation.net’s Modern Artists Showcase: July 2014 (#2)

Welcome to the seventeenth installment of AlternativeNation’s newest feature, the Modern Artists Showcase. Last time, we posted the bands: Dolomite Minor, Cosmic Shakedown, Hello Penelope, and Monochrome Cherubs. Click here to check out the previous feature. If you are interested in being in future installments of the feature, please email altnationbands@gmail.com to be considered, or just have a kick ass song or two out there that we’ll notice. For now, here’s some songs that peaked our interest. Let us know in the comments section what you think!

Nape
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Official Facebook, Official Website

Hailing all the way from Germany, Nape is spreading the infectious grooves of grunge and the hard-hitting hooks of alternative rock from Western Europe to Brazil. The group has just their released album, “Read My Mind,” and are currently touring and hitting European festivals to promote the release. Watch the video for “Pure Water” below:

Tidalwave
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Official Facebook, Official Bandcamp

Consisting of frontman Dean and drummer Matt, Tidalwave is an edgy, yet melodic musical monster. Their large array of influences include grunge (Pearl Jam, Smashing Pumpkins, Nirvana), alternative rock (Deftones, Disturbed, Shinedown) , and metal (Sepultura, Gojira, Mastodon) artists. The duo has released their debut EP earlier this year with renowned producer Jamie King (Between the Buried and Me, For Today). Check out songs “Find Myself” and “Rx” below:


A Victim of Society
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Official Facebook, Official Soundcloud

A Victim of Society is a lo-fi experimental duo based in Athens, Greece. The group released their heavily layered blues/garage rock debut EP in 2011. They have also released their first full-length album earlier this year via Inner Ear Records, which is a continuation of the group’s exploration of raw, rocking soundscapes. Check out the video for “Enough Said” below:

Hidden Amongst Us
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Official Facebook, Official Bandcamp

Alternative rock quartet, Hidden Amongst Us, is a riff-driven storm of aggression whose sound could fill an entire arena of headbangers. The band has worked with Matt Hyde (Monster Magnet, Deftones, Slayer) on their EP, “Echo.” Check out tracks “Dissapear” and “No Escape” below: