Perth, Australia’s newest export, The Faim who signed to BMG worldwide, have premiered the official video to their debut single ‘Saints of the Sinners’
“Saints of the Sinners is about making your mark in the world, and not letting anyone stand in the way of where you want to be. It brings out the youth-fuelled rebellion of the voice in all of us that wants to be heard.” says Stephen from the band.
The song originally premiered as the Radio 1 Rock shows ‘Rockest record’ & received plays from Daytime radio, Kerrang radio and more.
The track was produced by John Feldmann who says “working with untapped talent like The Faim doesn’t happen every day. I see something in them that I don’t see in a lot of bands… Amazing songwriters, incredible performers, great front man. I am so pumped for the world to hear what we have created. It is truly a piece of art and I am so grateful I followed through with having these guys out to my house after they sent me their demo!”.
New single ‘Saints Of The Sinners’ – add it to your collection here:
CLASSICAL INSPIRED METAL-FUSION HEAVATAR TO RELEASE
NEW ALBUM “OPUS II – THE ANNIHILATION”
RELEASED TODAY ON earMUSIC
Heavatar, the classical inspired metal band revolving around VAN CANTO mastermind Stefan Schmidt (vocals, guitar), drummer Jörg Michael (former Stratovarius), Sebastian Scharf (lead guitars), Daniel Wicke (bass)… and some of the greatest classical composers of all time are releasing their sophomore album “Opus II – The Annihilation” is released today via earMUSIC.
Unlike other classic-meets-metal projects, the purpose of Heavatar is not in just adapting classical compositions to new instrumentations. It is not writing a metal song and having some orchestra playing along. Heavatar’s music is an answer to the question “What would it sound like, if Beethoven, Mozart, Chopin and friends joined a metal band?”. The classical composer’s impact ranges from a single melody to a riff, a song structure, a harmony or even a lyrical inspiration – always picked up and thrown back by the band members, creating a unique, riff-oriented sound with some classical feel underneath. Puccini is spending some chords on the thrashy opener “None Shall Sleep”, Chopin adds some piano-based shuffle feel on “Hijacked By Unicorns” and Beethoven, Mendelssohn, Boellmann and Vivaldi are adding their style and ideas to other songs on “The Annihilation”.
Standing out as a true gem of the genre and beyond, the new album displays exciting guitar riffs, a great sense for storytelling, diversified yet catchy melodies and high velocity.
If “Opus I – All My Kingdoms” was a stepping stone into the unexpected waters of classic inspired power metal, “Opus II – The Annihilation” is a cliff-dive into the same water that bravely challenges the very barriers and possibilities of it.
2018 marks the beginning of yet another era in Angra’s history.
At age 26, the band shows motivation and strength like never before. Not even the sometimes uncertain trajectory was able to take away the focus, determination and inspiration of the quintet led – and founded – by Rafael Bittencourt, and formed by Felipe Andreoli (bass), Fabio Lione (vocals), Marcelo Barbosa (guitar) and Bruno Valverde (drums).
“ØMNI” is Angra’s 9th studio album, the result of months of intense dedication, blood and sweat. It will be released on February 16th, 2018 on earMUSIC.
Once again, the album has been recorded in Sweden with Jens Bogren, who also produced the previous album “Secret Garden”, and manages to capture the same excellent chemistry.
The sound, while fully contemporary, has an organic character and respects the different nuances and dynamics of each instrument. Among the various guest musicians Arch Enemy’s vocalist Alissa White-Gluz and Brazilian singer Sandy stand out. The two singers both lend their characteristically very different voices to the track “Black Widow’s Web”. Many musicians were involved in creating the album, ranging from the percussion sound of Bahia to European orchestral arrangement – all of which give the album its outstanding variety.
“ØMNI” is a concept album, a set of science fiction short stories that take place at various places in time, simultaneously. The backbone of the plot is based on the idea that in 2046 an artificial intelligence system will change human perception and cognition. It is a system which will allow conscious communication between present and future human beings. Characters such as time travellers, cavemen, warriors, among others, help tell this story.
The album connects the concepts of previous albums (“Holy Land”, “Rebirth”, “Temple of Shadows”) to one main system, “ØMNI”, which in Latin means “everything.” “ØMNI” fabricates an interconnectivity that shines light towards a universal truth: everything that has happened, led to what the band is today. “ØMNI” celebrates and unites the whole history of Angra to this exact, current moment.
Angra’s trademark formula, a Brazilian style mixed with classical music and heavy metal, is enhanced by different influences such as progressive rock, thrash metal, Latin music, djent, etc., which transforms the albums into a swirl of modern and familiar. The conjoined moods and dynamics put a special spin on the lyrics and therefore increase deep sense of immersion in the story.
The cover artwork was hand-drawn by Daniel Martin Diaz, a unique American artist who dedicates his life to mixing scientific and philosophical concepts such as Anatomy, Computer Science, Mathematics, Cosmology, Sacred Geometry, Symbolism and Esotericism. The designer Gustavo Sazes was responsible for integrating such an organic art piece to the visual concept of the album as a whole.
Even in a cultural environment increasingly sterile and unfavourable for music with soul and identity, the band gathers eleven tracks that completely differ from each other, but at the same time tell a cohesive story, and wander through all styles and nuances that have made Angra a worldwide reference. A very well bonded line-up, both personally and musically, overflowing with creativity, was the necessary fuel to bring these songs to life, songs which are undoubtedly among the best in the band’s discography.
“ØMNI” certainly is a milestone, not only in the history of the band, but also for Brazilian metal and its recognition worldwide.
The moment is now. There is no time to dilly dally around the periphery’. So, while I’m thus philosophically engaged, and because there’s a song called Eternal Love on there, I’m releasing this 4 song EP, called PERPETUA, on Ash Wednesday (or if you like) St. Valentine’s Day, February 14 2018. There’s a song written with Sarah Blasko, and another with some Nashville cats.
During recuperation after the amazing Midnight Oil world tour of 2017 and a nasty fall onstage in November the tour’s last couple of weeks, I was mostly horizontal. Or in a wheelchair. A time to think, learn, meditate while contemplating the ceiling. So I thought it would be good rehabilitation to put together an EP of songs I recorded a couple of years ago, along the lines of last year’s ‘Under The Motherland’s lag’ EP. If only because I was unable to do much else.
In 2016 I had just turned a significant age, so barricaded myself into my studio with engineer El Ninety and banged out lots of ideas during the winter months without much revision, judgment or overthinking, playing most of the instruments myself with mostly my son Sam on drums, it was great to make music with him, plus some backing vocals from Lozz Benson and Evelyn Finnerty.
Perpetua. The title fits: it’s in honour of the glorious dead: ancestors, parents, relatives, friends, childhood heroes. The Christabel Blackman picture of me on the cover was taken in Fluntern Cemetery in Switzerland, where James Joyce is buried. We came there to honour the great man and his wife Nora.
I think the picture says ‘we are but passing through’. Existence is relentlessly perpetual. OK. That’s a mawkish idea to some. And I say ‘You’re on earth, there’s no cure for that.’ ‘No, I regret nothing, all I regret is having been born, dying is such a long tiresome business I always found.’ Actually that was Beckett.