What a year for the genre. With the likes of Tomb Mold and Of Feather & Bone keeping the traditional style alive, you’ve got the more polished and technical side flourishing in a creative boom. The Artisan Era is doing a stellar job of unifying a plethora of skilled and insightful tech death acts that do more than just showcase musicianship, and with 2018 going into its second half, we’re seeing the label continue to drop heavy-hitting albums one after another. Aethereus’ debut album Absentia is just an extra layer in the cake at this point. With the obvious musicianship and slick production, Aethereus manage to keep their work interesting and exciting, rather than let it fall into a cesspool of technical...
Steve Vai has announced he will host and serve as the musical director for “The Big Mama Jama Jam-a-thon” — an open, improvisational music/art event where the music doesn’t stop for 52 hours — to be held Sept. 28-30, 2018 at Musicians Institute’s brand new venue, LiveHouse, in Los Angeles, California.
This November/December, The Black Dahlia Murder will continue its support of their internationally acclaimed Nightbringers album with a new round of tour dates. The run will include a stop at the inaugural Los Angeles version of Decibel Magazine’s Metal and Beer fest. Support along the way comes from friends in Power Trip, Pig Destroyer, Ghoul, Midnight, Khemmis, Gost, Skeletal Remains, Devourment, and Havok.
Redemption released their seventh full-length, Long Night’s Journey into Day – the first to be produced with Jacob Hansen (Volbeat, Primal Fear, Amaranthe, Doro, etc.). Today, the band has released a new track from the album: “New Year’s Day”, a cover version of U2‘s classic song – which can be heard at:
HAKEN, one of progressive music’s most exciting bands, have announced details of their much-anticipated fifth studio album titled ‘Vector’, due for release on the October 26th, 2018. The album was produced by the band themselves, and recorded & mixed by Adam ‘Nolly’ Getgood (Periphery, Devin Townsend Project), with the artwork once again being handled by Blacklake.

