Decibel announce 2019 tour lineup & dates

Damn, this is amazing. Not a whiff of metalcore or djent this time around and Trey’s even promising to play some Vincent-era tunes. Note that it’s CANNIBAL CORPSE and MORBID ANGEL coheadlining until the last week when Cannibal drops off and IMMOLATION comes on board as direct support. NECROT and BLOOD INCANTATION are on board for the endurance.

Press Release

The lineup for the 2019 Decibel Magazine Tour once again breaks new ground, as legendary death metallers Cannibal Corpse and Morbid Angel join forces for the first time ever in America to co-headline the winter tour. Rising Bay Area brutalizers Necrot and space-obsessed Denver death dealers Blood Incantation round out this once-in-a-lifetime bill. New York death metal icons Immolation will join the final week of the tour as main support to Morbid Angel, as Cannibal Corpse exit the tour after the New York City date.

“We’re really looking forward to our second appearance on the Decibel Tour; they always put together a killer line up and this time is no exception,” says Cannibal Corpse bassist Alex Webster. “We’re particularly excited to be hitting the road with our friends Morbid Angel. In fact, this will be the first time we’ve toured together in the USA.”

“Everyone here in the Morbid Angel camp are stoked to do this tour with Cannibal Corpse,” says Morbid Angel’s bassist/vocalist Steve Tucker. “To celebrate, Morbid Angel will be performing a mean-ass set of songs that will cover the entirety of our years of kicking ass.”

“We will be adding some of the older songs back to our set,” assures Morbid Angel founder Trey Azagthoth. “See you all there.”

Presented by Metal Blade Records, and sponsored by Silver Lining Music, Tankcrimes, Dark Descent Records and Nuclear Blast America, the eighth annual Decibel Magazine Tour is once again poised to be the heavy metal tour of the winter.

Tickets for the 2019 Decibel Magazine Tour go on sale Friday, November 16 at 10 AM local time and can be found at www.decibelmagazine.com/tour. All dates and venues are below.

Get Tickets

Sun, Feb 17 – San Antonio, TX – Alamo Music Hall
Tue, Feb 19 – Tucson, AZ – Club Xs
Wed, Feb 20 – San Diego, CA – The Observatory
Thu, Feb 21 – Los Angeles, CA – The Fonda Theater
Fri, Feb 22 – Santa Ana, CA – The Observatory
Sat, Feb 23 – San Francisco, CA – The Regency Ballroom
Mon, Feb 25 – Portland, OR – Roseland Ballroom
Tue, Feb 26 – Seattle, WA – Showbox Market

Fri, Mar 1 – Denver, CO – The Oriental Theater
Sat, Mar 2 – Kansas City, MO – The Truman *NO CANNIBAL CORPSE
Sun, Mar 3 – Minneapolis, MN – Skyway Theater
Mon, Mar 4 – Chicago, IL – The Concord
Thu, Mar 7 – New York, NY – Playstation Theater
Fri, Mar 8 – Philadelphia, PA – TLA
Sat, Mar 9 – Worcester, MA – Palladium
Sun, Mar 10 – Baltimore, MD – Baltimore Soundstage
Mon, Mar 11 – Raleigh, NC – Lincoln Theater
Wed, Mar 13 – Atlanta, GA – The Masquerade
Thu, Mar 14 – Tampa, FL – Orpheum

Playlist Notes, Friday Nov 21, 2018

The Playlists

Pick your poison and don’t forget to add it to your library. We update the playlist as new stuff comes out.

[otw_shortcode_button href=”https://apple.co/2PiEx3e” size=”medium” icon_position=”left” shape=”square” color_class=”otw-red”]Apple Music[/otw_shortcode_button]   [otw_shortcode_button href=”https://spoti.fi/2C1ixZ0″ size=”medium” icon_position=”left” shape=”square” color_class=”otw-green”]Spotify[/otw_shortcode_button]

What’s New

This week we’ve got tracks from the five big albums that came out since last time, a couple noteworthy pre-releases and a few oddball inclusions to keep it spicy.

  1. VENOM, “Bring Out Your Dead” (Pre-Release) — Cronos and crew return fire at VENOM, INC. with a chunky little number from their upcoming Storm the Gates LP. Available December 14th on Spinefarm Records.
  2. CANCER, “Thou Shalt Kill” — Shadow Gripped made my summer. Not only are Cancer back, but they brought a slew of good tunes with them and Simon Effemy’s pitch-perfect production takes you right back to 1993. Dig that huge 3/4 riff about 2 minutes in. Out now on Peaceville Records..
  3. HATE ETERNAL, “Portal of Myriad” — This is proving to be my favorite Hate Eternal album. A tad slower, a lot more musical, still brutal as fuck. Rutan hit it out of the park on the production as well. Excellent stuff. Out now on Season of Mist.
  4. OBSCENITY, “Infernal Warfare” (Pre-Release) — Germany’s Obscenity welcome a new vocalist and bassist to the fold and release their 10th full-length album just in time to mark their 30th year in business. Available December 7th on Apostasy Records. Pre-order on Bandcamp
  5. UNLEASHED, “They Rape the Land” — This White Christ quadrilogy has been iffy for me but they wrapped it up well with Hunt for White Christ. They’ve still got the modern Unleashed stuff going on (skittery riffs, killer solos, a slight black metal char), but they reined it in a bit and brought back some of the old chunk. Aside from a few moments of storytelling exposition, it just rips. Out now on Napalm Records.
  6. CRYPTOPSY, “Fear His Displeasure” — Grinding headfuckery from their second EP in this series. Not sure if there’s a 3rd coming or this is it. Fun fact: You can get a cassette compilation of both EPs. Out now on Hammerheart Records.
  7. AMON AMARTH, “With Oden on Our Side (Live at Summer Breeze: T-Stage)” — Amon Amarth lost me on the last album but there’s still a time and place for these guys and a documentary covering their 25-year existence accompanied by a massive live album that sounds as good as any studio album is well worth your time. Out now on Metal Blade.
  8. EVOKEN, “Ceremony of Bleeding” — New Jersey’s funeral masters are back and it feels right. If you know Evoken, you know what to expect. If not, buckle up, Buttercup. Out now of Profound Lore Records.
  9. BLOODBATH, “March of the Crucifiers” — It’s out, it’s massive, Nick Holmes is killing it. This one feels more in line with Bloodbath of old than Grand Morbid Funeral did, which is a bit less exciting for me but probably good for more dedicated fans. Out now on Peaceville Records.
  10. PSYCROPTIC, “We Were the Keepers” — Psycroptic barely meet the criteria for inclusion here at SV (their first album came out in 2000 but they formed in 1999, so they get in) and they’re not exactly death metal the last 10 years or so, but this new LP is kind of interesting. They dialed back the ‘core elements and threw in some ideas (like the female vocals you hear on this track) that really work for them. The drum/guitar interplay is as insane as ever, so listen for that if nothing else. Out now on Prosthetic Records.
  11. TERRORIZER, “Failed Assassin” — Terrorizer aren’t death metal and it’s tough to support them continuing to use the name without Jesse Pintado, but damn if this isn’t one of my favorite albums of the summer. Pete Sandoval is tearing it up and the riffs are on point. Works for me. Out now on The End Records

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Playlist Notes, Friday August 31, 2018

The Playlists

Pick your poison and don’t forget to add it to your library. I’ll keep updating the same playlist as new stuff comes out.

[otw_shortcode_button href=”https://apple.co/2PiEx3e” size=”medium” icon_position=”left” shape=”square” color_class=”otw-red”]Apple Music[/otw_shortcode_button]   [otw_shortcode_button href=”https://spoti.fi/2C1ixZ0″ size=”medium” icon_position=”left” shape=”square” color_class=”otw-green”]Spotify[/otw_shortcode_button]

What’s New

I didn’t make any updates to the playlist the last couple weeks because nothing new was out. Today is quite a different story:

  1. UNLEASHED, “Lead Us Into War” — Holy smokes. I was a bit iffy on the last album (the music was great but the concept lyrics just didn’t sit well for me), but this first track from The Hunt for White Christ is a ripper. Game on, Unleashed…game on. More on the release here.
  2. ENTOMBED A.D., “Fit for a King” — LG & co. have a new single out. Not sure if this is attached to a new album, but it’s been two years since they released Dead Dawn so they’re about due for one.
  3. ABORTED, “Vespertine Decay” — Third pre-release track from their upcoming splatter (ha! wordplay), TerrorVision, due out September 21st on Century Media.
  4. OPPROBRIUM, “The Battle of Armageddon” — This is taken from their Supernatural Death compilation that came out in 2012 but has been remastered and released in digipack format. Out today!
  5. DEICIDE, “Defying the Sacred” — Third pre-release track from their upcoming Overtures of Blasphemy album, due out September 14th on Century Media and all signs still point toward this being one of their best. Also noticed today that it’s 12 songs in 38 minutes, so they are keeping it tight.
  6. KRISIUN, “A Thousand Graves” — Third pre-release track from their upcoming Scourge of the Enthroned album, due out September 7th on Century Media. Dizzying and brutal.
  7. MONSTROSITY, “Radiated” — Third pre-release track from their upcoming The Passage of Eternity album, due out September 7th on Metal Blade. I don’t think of Monstrosity as a “technical” band but this has some intricate stuff going on.
  8. SIEGE OF POWER, “Violence in the Air” — Bagchus, Riefert and co. release another track from their upcoming Warning Blast, due out September 7th on Metal Blade.
  9. VOIVOD, “Always Moving” — Second pre-release track from The Wake, due out September 21 on Century Media. This is really trippy. They just keep getting weirder.

Everything else was on there last time. Cheers!

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Cannibal Corpse, “Butchered at Birth” (1991)

cannibal corpse butchered

Imagine for a minute that you grew up in the musical suburbs, in an unpretentious little subdivision called Death Metal; you know, right down the road from Thrash Town but a long way away from Rock City and on the other side of the freaking country from Country Burg and the glittering excess of Discolopolis.

Just a few houses down from where you live are the guys who like to play a lot of fantasy-based role playing games, who read lots of H. P. Lovecraft and swear the paperback copy of the Necronomicon they bought at the B. Dalton Booksellers (in the same strip mall with the Baskin-Robbins where everyone got a free cone after Little League games) is totally the REAL THING and spend a lot of time attempting to dial up Pazuzu only they always seem to get it’s answering machine.

One street over are the foreign exchange students who all sport Mjölnir tattoos and always have plenty of beers and bottles of some vile liquor from “the homeland” which you could swear is fruit juice they fermented in the unused bathtub upstairs. These guys are like, educated: they’ve actually read Nietzsche and Kierkegaard and don’t mind discussing it with you, at least until the booze kicks in and they get real quiet and start glaring at you through forests of dirty blond hair, which is your cue to get the fuck out of there.

Mother always said not to trust boys who had more hair than she did.
Mother always said not to trust boys who had more hair than she did.

Then there is that house your mom doesn’t want you to visit. “I don’t trust those boys,” she says as she whips up another one of the Devil’s Own Rejected Fruitcakes from Hell. “Where are their parents? I never see them come to Desolation High School Parent Night.” That’s the house you like, though. Those dudes are intense. You’ve smoked meth with them sitting around the living room while some obscure Fulci flick is on the TV, or maybe a documentary about Albert Fish. They’ve got porn mags all over the place that would make a street magazine vendor from New York blanch interspersed with old copies of Fangoria, Gore Magazine, Playgore, and Horror Classics. They’re nice enough but you make it a point not to fall asleep around them. Where are their parents, anyway? And there’s that one room you are strictly forbidden to enter for any reason… and that smell…

“Sure Mom, whatever,” you say, “I’ll stay away from the Cannibal Corpse house.”

This is how I feel when I listen to old Cannibal Corpse; like I’m violating some rule that says I shouldn’t like this and yet I totally do. Butchered at Birth was the second release from the boys from New York and of course this was essential listening during those heady days of the early 1990’s. Even though I was in Florida at the time (a breeding ground for the new deathly sounds), I knew almost no one who was into death metal, so when someone got into my car I would naturally say something like, “Hey have you ever heard Cannibal Corpse?” and hit play on “Meat Hook Sodomy”. Reactions were mixed at best, as I recall. The girls didn’t get it (well one young lady did but that’s another story) and the guys couldn’t understand why I didn’t like Pearl Jam.

The personnel on the second album is the same as the first, and the cover art is another fantastic job by the inimitable Vince Locke. As usual, this was banned and banished in countries severely lacking in a sense of ironic detachment (Germany… really, Germany?) and freaked out a bunch of others who just don’t see the humor in two half-undead vivisectionists extracting a baby from the mostly skeletal remains of a woman.

"Somebody set this thing to evil!"
“Somebody set this thing to evil!”

It’s another Scott Burns production job, recorded at Morrisound Studios (for better or worse… I’ll get to that) and this time the thrash elements that informed Eaten Back to Life have been pushed a bit into the background. Much of this has to do with Chris Barnes’ vocal delivery: someone flipped Chris’s switch to “EVIL” and he hits those fantastic, incomprehensible low end grunts which push the songs into new territory. Once again Alec Webster and Paul Mazurkiewicz (bass and drums) deliver impressive and solid performances. I tend to prefer the songs that don’t over stay their welcome, like “Gutted”, “Covered with Sores” and the title track. That’s just how I like my death metal: hit it hard, hit it fast, and get the hell out of there.

Now the guitar tone… damn, people are picky as shit. It isn’t as weak as some of the trolls under the internet bridge claim, but it’s ridiculously thin, especially if (like I am now for the old school feel) you listen to the tape on a world-weary jam box. I’m sure Jack Owen and what’s his name, Rusay, didn’t intend for it to come out like that. The riffs, the rhythm parts, the solos, there is nothing wrong with any of it. Listen to “Covered with Sores” or the staggering ferocity of “Vomit the Soul” and try to imagine those guitars thick and meaty instead of sounding like they need a fucking sammich. I mean, in comparison, give a quick listen to the Eric Rutan produced Evisceration Plague; now that’s how Cannibal Corpse guitars should sound. Look, for what it was at the time, I had zero complaints; who cares if the guitars sound a tad bit weak when you’re listening to a song called “Rancid Amputation”?

An all around solid release and certainly a harbinger of things to come for the Cannibal Corpse guys. It was hard to imagine they’d get heavier than this but they totally did and would eventually, almost, kinda-sorta, flirt with something other than underground notoriety. But that, like my death metal lovin’ gal, is a story for another time.