Artistes
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https://www.instagram.com/grayscalepa/ -
Founded on the ashes from different projects, BLACK STRIKE reunites 5 musicians with common influences. After multiple experiences on stage together or apart, these 5 buddies found their style and are now playing a powerful and tough ALTERNATIVE METAL ! In early 2015, Black Strike started a crowdfunding project via Kiss Kiss Bank Bank. Less than 45 days later, and thanks to its fans, the band managed to get the necessary amount of money to the recording of its first EP. This one, recorded and mixed at Studio Hautregard (Mass Hysteria, Channel Zero, ...) was released in late 2015. In early 2016, the band got the opportunity to get a partnership with the Cultural Center of Verviers (BE) . This collaboration will lead it to the production of its first professional music video.
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Captain Kaiser is a Punk Rock band from Belgium.
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https://www.facebook.com/Entrails666
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MAUT is a heavy rock from jakarta city, Indonesia.
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come from Jakarta,indonesia Noda Hitam bringing a new style of hardcore style in indonesia since 2008. Martin as singger,said we play hardocore with our own style till the end.
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Line-up
Jeff Blanchard ~ Vocals & Bass
Miguel De Jesus Jr. ~ Guitar
Chris O'Neil ~ DrumsEyes Of The Sun was conceived in early 2007 by bassist/vocalist Jeff Blanchard, the former frontman for the late project Redshift Desert. Long time friends Miguel De Jesus Jr. (guitarist and founding member of Ashes Within) joined the ranks with Jeff a few months later. Chris O'Neil (formerly of Demilitia) was recruited as the new drummer in 2011. Chris was the first and only potential drummer we thought of. The music of Eyes Of The Sun itself is intended to create a range of emotions for the listener that we ourselves experience and extract from. To draw from the memories of one's life.
“It is known throughout the laws of science and nature that the sun creates and sustains life…now it bears witness to the atrocities, depletion and vile consumption manifested by mankind which it originally gave life to. Hence, we portray what is seen through the Eyes Of The Sun.”
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Line-up
Snake - Vocals
Chewy - Guitar
Away - Drums
Rocky - BassAnomaly. Seminal. Iconoclasts. A “band’s band”. These are the nebulous words that sum up a group of artists now in their third decade of collaboration and creation. These terms are yokes that Voivod must bear. Yet there is a purity in this fate that will live forever.
What were the odds in the first place? Four young men in Quebec, addled by art, high on hash, fueled by Venom and Motorhead. Post-heavy metal, pre-MTV. The 80s were upon them and the threat of nuclear war seemed almost inevitable. Why not live out the endtimes sipping absinthe, writing music, and donning leather and spikes?
Michel Langevin conceived a universe, a character, an anti-hero; The Voivod. Dressed in fanciful garb woven by Bram Stoker and Stanley Kubrick, the Voivod was a vampire lord in a post-nuclear age. Immortal and unstoppable. The ultimate goal of any artist. Michel chose to take on the powers of his creation by breathing life into the Voivod’s universe. By creating a musical vehicle for the Voivod’s saga. By starting a garage band.
Denis D’amour provided the music. The young man nicknamed “Piggy” composed a debut album of brutal power, metallic ferocity, mad jazz-shifts, and brash noise. He also began to develop an almost lunatic style with his chords, solos, and tones that combined the technicality of Robert Fripp with the lumbering heaviness of Tony Iommi.
Piggy worked hard to develop “Away”, “Blacky”, and “Snake” into a formidable unit. And he succeeded. Local shows and early tape trading led to interest from labels as far away as Los Angeles. Brian Slagel used his independent label Metal Blade to discover and develop important underground artists like Metallica, Slayer, Celtic Frost, …and Voivod. Compilation tracks led to contracts and a modest budget allowing for time in a Montreal 8-track studio. The first Voivod album War and Pain was recorded and released unto the world in the prophetic year of 1984.
More albums followed and tours too. Voivod began to find a worldwide fanbase of rabid metalheads who couldn’t get enough of the violent sound on War and Pain and it’s follow-up Roooaaarrr. Away painted graphic images of future warriors and weaponry to adorn the covers of these records that matched his lyrical concepts. Snake hideously sputtered these words, shrieking over the “blower bass” foundation laid by Blacky.
A successful U.S. tour in 1986 with Celtic Frost led to greater interest, and greater vistas. Combat/Noise records signed Voivod and sent them to Berlin to record with Kreator producer Harris Johns. As the band aged and grew, so did its abilities and ideas continue to develop exponentially. The third outing Killing Technology was a paradigm shift beyond its predecessors that nearly no one expected. Now the Voivod character was a cyborg in outer space that had survived multiple nuclear wars and was prepared to take on the tyrrany of a totalitarian world. More sophisticated lyrics demanded more intricate music, which the band was now competent to provide thanks to their many travels. But listeners were not spared an ounce of brutality. Sharper focus. More deadly riffs. An evil sound commenced that to this day is as alien and effective as it was in 1987.
MTV and the music industry at large could not ignore the thrash metal demographic any longer. Too many records were being sold and too much money was going directly into the underground scene that could be turned into larger corporate dollars. Even independent, progressive bands were encouraged to streamline their look and sound. Whether you want to call it “selling out” or just refer to it as “general improvements”, it was a fact of life for any band on the cusp of quitting their day jobs to make music for a living.
Album four – Dimension Hatross arrived with the best sound production of any ‘Vod album to date, and a surprisingly tuneful performance by Snake. This album marks the debut of Piggy’s infatuation with King Crimson’s dissonant guitar chordal work as heard extensively in songs such as Experiment and Chaosmongers, adding to the barrage of vintage guitar sounds, unrelenting double-kick drum, and a concept that took the Voivod to a microgalaxy of his own creation, and you find yourself listening to a masterpiece. Over and over again.
Even with the anti-entropic rising popularity of each release, Voivod still were far from a household name. The macro-solution to this mega-problem? Sign with MCA for three records and a commercial apex that may never come again. Nothingface became the bands best and best-selling album, featuring flawless digital production, a newfound restraint in tempos and arrangements, and a more thoughtful, poetic lyrical approach. If you have not heard Voivod, this is the place to start.
The tours that followed became the stuff of legend. A support slot for Canadian metal arena heroes Rush. A stateside club tour with newcomers Faith No More and Soundgarden. A constant rotation of the album’s first single “Astronomy Domine” (a tour de force reworking of the Syd Barrett/Pink Floyd classic) on MTV’s Headbanger’s Ball didn’t hurt either.
But after such dizzy heights are so nearly reached, a fall becomes inevitable. By 1991, there was pressure for Voivod to be better yet. MCA’s definition of better was to cut out the most demanding elements, tone down the metal, and work with a name producer. During the Angel Rat sessions, tensions flared. The opportunity existed for Voivod to create a masterwork which might move their music into a new field entirely. From progressive metal to progressive rock. The Voivod character had been abandoned, and so had many of the most recognizable elements from previous albums. With the right combination of events and people, this might have been an album to rival Nothingface which was so unique and perfect and uncompromising. But, not unlike Brian Wilson’s failed attempt to create a masterpiece of Smile, that combination of events did not transpire.
Blacky quit the group, ending a stunningly artistic first period in the group’s history. The following album “The Outer Limits” and its tours would require session bass players to fill the gap he left.
The Outer Limits succeeds in all of the areas in which Angel Rat failed, except for one: nothing ever broke the band to a mainstream audience. Chalk it up to internal and external pressures, the dual ghettos of the prog-rock and metal crossroads where the Voivod dwelt, and the untimely explosion of Grunge and Alternative. It was all these elements and more that created a band more resigned to its fate. That realization, along with a healthy severance budget from MCA, made it possible for the band to create a lasting work of art, possibly its last for a corporate sponsor. From the jagged crush of “Lost Machine” to the 17-minute opus “Jack Luminous”, The Outer Limits is a rich jazz/metal journey into psychedelic spatial realms, that manages to retain melody and pop sensibilities without compromise.
Silence yawned over the Voivod camp for some time. Their “Iron Gang” fan club had long since disbanded. Founding member and vocalist Snake had departed after the TOL tours, despite evidence of a growing audience of Angel Rat fans who were beginning to discover the rest of the band’s catalog. Away and Piggy were left holding the reins of their creation. But truly, Away was responsible for the concept, the artwork, the drive. And Piggy wrote much of the music. By the mid-90s, an underground metal scene was brewing once more. A scene for which Voivod was as influential and responsible as their metal heroes had been to them.
Enter Eric Forrest and Slipdisc records. The best solution for filling two vacancies? Hire one man. Forrest’s abilities on the 4-string as well as the strength of his voice provided the perfect match for a leaner, hungrier Voivod. With digital recording costs dropping throughout the industry, independent money for a record became a viable solution, particularly for a trio with more direct ambitions. Negatron was not an album so much as an experiment. Michel “Away” Langevin, Dennis “Piggy” Damour, and Eric Forrest went in the studio without a concept, and jammed. The results were cruder and more aggressive than any previous recording, yet retained a sonic excellence and truly modern sensibility that placed them less in the prog-metal camp, aligning the group closer to groups like Neurosis and Brutal Truth.
Extensive Negatron tours followed, and the world began to realize that the Voivod still lived. Forrest was capturing the nuances of Snake’s vocal style, while alternatingly flooring or alienating fans with his own death metal approach. What subtlety from the MCA era had been lost was more than balanced by the returned aggression from the Noise years. Now it was time for the Voivod to return.
Phobos woke the creature from its nothing-faced slumber; pitting him in a global war. Even heavier than Negatron, this record blankets the listener in a cloud of analog sound, thick and almost stifling. More psychedelic than Angel Rat, heavier than Killing Technology, Phobos was a Dimension Hatross for the 90s and the most vital work the band had produced since Nothingface.
Fate struck one more blow when a tire blow-out turned the tour van over on the German slopes of the Phobos tour. Eric Forrest was nearly killed, surviving to endure multiple major surgeries, and permanent injury to his legs and back. Amazingly, Eric weathered rigorous rehabilitation and physical therapy, and recommenced Voivod tour with co-headliners Neurosis and support compliments of Today is the Day. Eric sang, played bass, and walked with a cane to be in the band he loved.
But to the dismay of some (and the relief of others), Eric eventually was asked to stepped down.
A new light and life entered the Voivod camp. Snake returned to sing after a seven year hiatus and the aborted Union Made project. Longtime friend and fan Jason Newsted (ex-Metallica) did bass & production duties on the Voivod’s next three studio albums.
Due to his visibility with Metallica (and temporary membership on Ozzy Osbourne’s band), Jason Newsted helped Voivod achieve new found visibility and helped the band secure a slot in 2003’s Ozzfest where the band probably played for the largest crowds ever.
As the band worked on their 14th album, disaster struck VOIVOD again. In the summer of 2005, guitarist Denis “Piggy” D’Amour was diagnosed with colon cancer, and as he entered the hospital for a routine operation, several complications led his doctors to find out that his cancer was inoperable, as it was too advanced and had already spread to his liver. Denis slipped into a coma on Thursday August 25th and died less than 24 hours later in the palliative care unit of a Montreal hospital, surrounded by family and friends. He was 45 years old.
The band chose to use the guitar demos Piggy had recorded for the new album, and finished and released the recordings as an album titled Katorz, as a tribute to the guitar genius.
On 2009, the band used other unreleased guitar demos Piggy had recorded and built a new album around them, with the help of Nothingface’s producer Glen Robinson. The album was titled Infini.
After Piggy’s passing, and despite the almost certainty that Voivod’s story as a band had come to an end, some reunion jams in 2008 with original bassist Jean-Ives Theriault and Martyr guitarist Dan Mongrain, led to the band to start touring again as Voivod. As some touring opportunities were offered to the band, they did some major touring in 2008, 2009 and 2010, playing in the USA, Europe and Japan, and releasing the Live DVD Voivod Tatsumaki Voivod Japan 2008.
With Blacky and Dan “Chewy” Mongrain on board, the band continued to tour around the world in 2011 and 2012, and in 2013, the band finally released the long-awaited new album, Target Earth, the first Voivod album without its guitarist and founder Piggy. Target Earth surpassed all expectations, and drew positive reviews all around the world, and was included in some Best-of-2013 Metal lists.
Due to some problems’s with Snake’s health, the band was not able to tour extensively in 2013-2014, but they still managed to play some metal festivals and shows all around the world, including Japan, Chile, and Brasil.On July 11th 2013, Voivod announced the departure of bassist and founding member, Jean Ives “Blacky” Theriault for “personal reasons”. The band recruited Dominique “Rocky” Laroche as their new bass player and he made his debut with Voivod on 2014.06.12 at the Jonquiere en Musique Festival, in their hometown Jonquiere QC, Canada
Following 2014, where the band played only 11 live shows, Voivod has been increasing their touring frequency with 74 live dates in 2015 and whooping 101 live concerts in 2016.
In 2015 Voivod released split 7-inch with Napalm Death, followed by the sucessful “Post Society – EP” Mini-CD released on February 26th, 2016 via Century Media Records.
The band then released another split 7-inch with Entombed A.D. followed by a European tour with the same band at the end of 2016. -
Line-up
Joseph McKee - Vocals
Kyle Hunter - Guitar
Dylan Parker - Guitar/ Backing Vox
Jacob Teeple - Bass
Logan Vars - DrumsEdmonton’s own Protosequence offer a rush of groovy guitar parts met with story-filled lyrics and serene, landscape-sized instrumentals that roll like hills into a valley.
Protosequence is a reference to the original genome where all life began - much like the band, which existed in principle before they even had a presence. Each of the members were lying in wait to be activated and become the strain that is now Protosequence. Kyle Hunter (guitar) was constantly crafting near-complete songs that were ready to be realized. It seemed as though there were two projects destined to combine into a singular effort to form the final line-up for the band: Logan (drums), Kyle (guitar), Parker (guitar), Joseph (vocals), and Ryan (ex-bassist). Members have a long history in the Edmonton music scene, playing in bands like Anubian and In The Midst Of A Murder since the early 2000s.
The band draws influence from acts like All Shall Perish, Early-Fallujah, The Faceless and Abiotic. With a foothold on their influences, they root their music in technicality while layering emotional, yet gruff vocals into every track. The band transitions seamlessly through djent riffs, grinding drums, and groove elements, making their sound versatile and ever-changing. Each live performance is crafted like an album played from front to back, with each song bearing a story and painting the room like a canvas - leaving the colours and experiences on each audience member.
The band has just released their second EP titled, 'Biophagous' which is available at Itunes, Spotify, Bandcamp, etc.
Edmonton’s Protosequence perform an agile balancing act on the new song “Shepherd” we’re bringing you from their forthcoming EP, Biophagus, a high-wire performance that deftly straddles a stylistic divide without ever losing their path forward.” - No Clean Singing
“In the vein of bands like All Shall Perish & Born of Osiris, Protosequence kick proceedings off with the furiously tech riffing of Parasitic, a wild & untamed slab of death metal. That is until a surprising tempo change that brings in some keyboards & more classic metal sounding guitar solo. It’s a damn strong start, one that leaves you wondering just what more Biophagous has to offer.” – Games, Braaaiiins And A Headbanging Life
“Protosequence is an act of quality over quantity. I get seriously lost in their music, be it through a spine-damaging headbanging session (“DFL”) or stretch of melodic introspection (“Shepherd”). Biophagous offers up another nice showcase of the band’s skill across a variety of substyles and paces.” – Metal Trenches
“Protosequence takes the insane melodic riffage of metalcore bands like August Burns Red or Novelists, and mixes them with tech death elements of bands like The Black Dahlia Murder which makes for what I think could be a band that has the potential to break through and make it huge…Biophagus is of another caliber, every aspect of it is flawless, and will not only be in my playlist but should be in everyone else’s as well. Whatever you do, do not sleep on this band. Make sure you pick up Biophagus when it releases August 18th! ” – Blood Rock Media
“Incorporating elements from deathcore, technical death metal, and, yes, even djent, Protosequence manages to maintain the listener’s interest while developing an identity that is not only unique to Canada, but to the world. ” – It Djents
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I have always had a passion for writing, recording, and performing music. It doesn't matter whether it is playing in a band, recording other bands, or just doing things on my own. Over the past few years I have had the pleasure of playing alongside some talented individuals in a few bands (atm I play bass and perform backing vox in Nuclear Oath). I also have spent time writing songs and releasing the occasional cover on youtube. After a few years of working on songs on the side I decided to finally work on putting it all together into one album. Then finally after a few years of recording and re-recording songs it is finally ready for release. So keep an eye out For 'Therapeutic Destruction' in January 2018 This album is centered around the concept that music is therapy. We all go through times in our lives where nothing seems to make sense, everything is on the edge, and you dont know what will happen next. We have all loved, laughed, lost , and experienced tremendous grief and joy in our time alive. With that this album is'nt centered around a certain sound, but rather centered around that concept. This is therapy, and if one song reaches you and connects with you, then it has done its job
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Line-up
J.D. Kaye (vocals),
Merel Bechtold (guitar)
Michael van Eck (guitar)
Frank van Leeuwen (bass)
Joey de Boer (drums)Groove, ambience, tone and melody: leave that up to the Dutch melodic metal band Purest Of Pain (est. 2008)! Their debut album ‘Solipsis’ is a force to be reckoned with. Guitarist and main songwriter Merel Bechtold, who’s already toured the world with the much respected bands Delain, MaYaN and The Gentle Storm/Anneke van Giersbergen, is leading this energetic quintet from Holland. On the 1st of March in 2018 ‘Solipsis’ will see the light of day: it’s a must for fans of Scandinavian sounding metal!
Purest Of Pain has been a relentless live act for a few years now. After having released the EP ‘Revelations In Obscurity’ (2011) and the single ‘Momentum’ (2013), now it’s time for their debut full length album ‘Solipsis’. The band didn’t hold back one bit. It took them seven years to create it from the writing process up to the final mastering.
Because Purest Of Pain is an unsigned, independent act, they assembled the budget for the recording process by playing as many live shows as possible over a period of six years.Successful crowdfunding campaign
‘Solipsis’ was self-produced by Merel, but she couldn’t have done it without the help of Mantis Audio studio (Delain). Finally the album was mastered in October 2017 by the proclaimed sound wizard Jens Bogren, known for his work with Opeth, Arch Enemy, Soilwork and others.
With everything falling into place, Purest Of Pain started an online crowdfunding campaign on Indiegogo. A fruitful effort, as the target amount of 9500 euros was met within six days, realized by almost 300 backers who pre-ordered the album.“Really digging the album, honestly! You guys have managed to blend brutality with groove and emotion in a great way!” - Jens Bogren
Organic guitar record
‘Solipsis’ is a guitar oriented record, which has been recorded as organic as possible: partly at home, partly at Mantis Audio. The song ‘E.M.D.R.’ is written by fellow guitarist Michael van Eck. All the other songs were summoned by Merel. The lyrics are written by J.D. Kaye. And even though the music is at times technical and challenging, ‘Solipsis’ is mainly driven by groove, ambience, tone and melody.
‘Solipsis’ is available on cd, vinyl and as a digital release. The cd and vinyl version have slightly altered artwork. Merel was responsible for its concept and bass player Frank van Leeuwen designed and finalized the covers.Band facts
- winner Dutch local band competition Gooise Goden (2010)
- runner-up Dutch band competition Clash Of The Titans (2011)
- nominated for ‘Best Live Act’ by local music site 3voor12/Utrecht (2012)
- already played support slots for Opeth, Suicide Silence, Unearth, Textures and Attack Attack! (without any record available!)
- representatives for Holland at Wacken Open Air 2014
- the successful Indiegogo-campaign: https://www.indiegogo.com/projects/purest-of-pain-solipsis- metal#/
- the first single, Terra Nil, is available online
- only one plug-in, and not a single digital effect or synth was used for the recording of ‘Solipsis’ -
Myles Kennedy had finished his first solo album. Then he threw it away.
“I had been working on a record for about seven years,” says the singer/songwriter known worldwide as the voice of Alter Bridge and of Slash’s band, Myles Kennedy and the Conspirators. “It was actually finished two years ago, but when I listened to it with a fresh perspective, when all was said and done, I thought it wasn’t the right first step to take in this journey—its shelf life had expired.”
So he started over, and found himself “writing like a madman.” More than twenty songs spilled out in a short period of time, and as Kennedy listened to his work, he began to comprehend the direction in which the music was pulling him. “It became incredibly obvious what the source of inspiration needed to be lyrically,” he says. “I realized it was time to jump head-first into something I’ve been putting off for my whole life as a writer.”
What eventually emerged was Year of the Tiger, an album almost entirely focused on the loss of Kennedy’s father when the singer was just four years old. “My family was very involved in the Christian Science church,” he says. “So when he became ill, he chose not to seek medical attention, and passed away a few months later. By all accounts, my father was a good, honest man, but I still struggle with the choices he made which ultimately led to his death.
“This was something I had wanted to dive into throughout my career,” Kennedy continues. “It just took decades to muster up the courage. Beneath the surface, the wounds were pretty raw, but it just had to be done.”
Delving into this emotional territory required a musical approach far different from the hard rock that has defined Kennedy’s arena-filling career. The majority of the record was written on acoustic or resonator guitar and recorded directly to tape using a limited number of tracks. Kennedy himself plays banjo, lap steel, bass, and mandolin in addition to guitar on Year of the Tiger, joined by drummer Zia Uddin and Tim Tournier on bass, along with longtime Alter Bridge producer Michael “Elvis” Baskette.
“I’ve always wanted to make a record where I could have the opportunity to explore and document a different element of my musical DNA,” he says, citing his love for the blues, R&B, and acoustic based music and listing such influences as Mississippi John Hurt, Chris Whitley, K.D Lang, Nick Drake and the acoustic songs on Led Zeppelin 3 and 4. “I was trying to tap into something a little more subtle, as opposed to a big, bombastic, high gain sonic attack.”
With the production and arrangements, too, Kennedy began with what he didn’t want, which was anything that felt too processed and slick. “I wanted this recording to be about the vocal, so we kept the instruments arranged in a way so that my voice would be dominant in the mix,” he says. “The recordings I love aren’t perfect. Going straight to tape, going for the song and the performance, making sure that the lyric is honest and resonates with you—the way to capture that is not to suck the life out of it. They call it wabi-sabi in Japanese culture, the idea of embracing beauty in imperfection.”
Even as a singer, Kennedy—three-time winner of Loudwire’s Vocalist of the Year award—was determined to explore a new range and approach. “I was trying to keep things in a lower register,” he says, “not relying on the vocal histrionics that I fall back on in a rock context. On this sonic canvas, I didn’t want to distract the listener from the depth of the song, what was paramount was how the lyric was conveyed emotionally.”
The album found its initial direction from the title track, which was an idea from Kennedy’s first pass writing a solo album. “I remember stumbling onto the melody and title of the song years ago. It stuck with me but I couldn’t seem to complete the concept until it dawned on me that 1974 was the Year Of The Tiger according to the Chinese Zodiac.” he says. “Once I realized that was the same year we lost my father, I knew where I needed to take the record lyrically. The song is really the preface for the entire story from my mother’s perspective. It’s a battle cry of resolution, to persevere under the circumstances we were enduring after dad passed away.”
Kennedy pays tribute to his mother throughout the album. The song “Mother” tries to imagine her experience of the tragedy, fighting to keep things together for Kennedy and his brother. “Turning Stones” represents the singer “trying to get in my mom’s head throughout the difficult journey” while “Ghost of Shangri-La” opens with an image taken directly from his family’s lives in the aftermath of his father’s death.
“The song starts with the line ‘There are thieves outside of our window,’ which was inspired by something that happened to us,” Kennedy explains. “A few weeks after dad passed away, our house was broken into. Ultimately, it served as the catalyst for my mom to uproot us from Boston and move out west and start over again.”
“The Great Beyond” is perhaps the most ambitious song, the grandest in scope, on the album. “That one is probably the least congruent sonically, but it’s so epic in nature that it felt appropriate because of it’s subject matter,” he says. “It describes my father’s passing with surreal imagery from a lyrical standpoint. It was perhaps the most challenging lyric to write, and perform, but it is a very necessary part of the story.”
With Year of the Tiger, Myles Kennedy opens himself up in ways that would be painfully, shockingly personal and intimate for anyone, much less for a revered rock and roll frontman. “Songs like ‘Blind Faith’ or ‘Nothing But a Name’ are almost like open letters to my father, expressing an ache that’s never subsided,” he says. “This record is my attempt to convey things that I’ve needed to express for a long time. What I found hiding in the deep, dark corners of my psyche was difficult to face, but in the end, what came out of the creative process was very cathartic.”
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BRAIN DISTILLERS CORPORATION was founded in 2013 and born from the idea of the two guitarists, Matteo Bidoglia and Francesco Altare to create a band capable to mix different influences and passions, starting from the grunge music of Alice in Chains and Soundgarden, to the rock/metal music of Black Label Society and Black Stone Cherry, without forgetting the taste of the blues music.
The band was created very soon thanks to the presence of Luca Frangione (bass), Fabrizio Ravasi (drums) and Marco Pasquariello (lead singer), who immediately approved the project and join the two founders.
In June 2014 the band releases the first song 'The Biggest Crime', with the independent label Brainstorm and, at the same time, starts playing in different clubs of Northern Italy with the booking agency named Jack Rock Agency.
From September to December BDC releases a couple of new songs: 'I Can Breathe Again' and 'Marvin'.
The live showcases go on and in February 2015 BDC open Mellowtoy’s concert and in April the Rebeldevil.The last effort in studio is“Where is God?”, a song released in April 2015 with the participation of Tommy Massara (Extrema), who signs the song with his special guitar’s solo.
In September the band plays with the Dutch booking agency “Monument Music”.
In October and November BDC opens the concerts of two important Italian rock/metal bands: Extrema and Linea77.In March 2016 the band launches their first full-length album 'Ugly Farm', where the famous guitarists Stef Burns plays as special guest in the song ‘Lost Friend’.
Stef Burns had previously played with Alice Cooper, Vasco Rossi, Huey Lewis and the News.
With the album release, BDC also comes out with their first video called 'Southern MILF'.The album release coincides also with a promoting tour in Holland and Germany where they have their first European front-line experience by heading up the 'Evil Metal Horde Festival'.
In the meantime new fresh ideas come out and the process of writing for the second album starts very soon.In 2017 the band focuses on refining the production of the new song in studio and starts the recording by the end of April.
The second album is produced by BDC themselves and recorded and mixed by one of the two founders, Francesco Altare in “33Hz Studio” - Trezzo sull'Adda (Milan), while the mastering is done by Riccardo Parenti at “Elephant Mastering Studio” in Rome. In 2017 the live activity becomes a bit less frequent since most of the concentration and forces are put on the new album release. Anyhow the band appears in different clubs in the Northern Italy and plays in Holland.
In February 2018 the band plays a warm up show with the Italian act “Cream Pie”.
BDC are now preparing the release party of the second album 'Medicine Show', out on March 30th for Jack Music Records. -
« Counterparts are a Canadian hardcore punk band formed in 2007 in Hamilton, Ontario which currently consists of vocalist Brendan Murphy, guitarists Alex Re and Blake Hardman, bassist Tyler Williams and drummer Kyle Brownlee. Their two most recent albums, released through Victory Records and Pure Noise Records, have received critical acclaim from Rock Sound and Exclaim! magazines. They are among the most visible bands within contemporary melodic hardcore,[4] while they are also considered one of the major powers of the metalcore revival wave. » – Wikipedia
Counterparts
Background information
Also known as: Brigade (2007–2008), Sharia (2008).
Origin: Hamilton, Ontario, Canada.
Genres: Metalcore, Melodic Hardcore, Hardcore Punk.
Years active: 2007–present.
Labels: Victory, Verona, New Damage, Pure Noise.
Associated acts: Carrion, Snakecharmer, END, On Point.
Website: notyou.caMembers:
– Brendan Murphy (Vocals)
– Alex Re (Rhythm guitar/Backing vocals)
– Blake Hardman (Lead guitar/Backing vocals)
– Kyle Brownlee (Drums)
– Tyler Williams (Bass)Past Members:
– Curtis Washik
– Chris Needham
– Ryan Juntilla
– Adrian Lee
– Eric Bazinet
– Kelly Bilan
– Jesse Doreen
– Brian Kaczmarczyk« Counterparts are a Canadian hardcore punk band formed in 2007 in Hamilton, Ontario which currently consists of vocalist Brendan Murphy, guitarists Alex Re and Blake Hardman, bassist Tyler Williams and drummer Kyle Brownlee. Their two most recent albums, released through Victory Records and Pure Noise Records, have received critical acclaim from Rock Sound and Exclaim! magazines. They are among the most visible bands within contemporary melodic hardcore,[4] while they are also considered one of the major powers of the metalcore revival wave. » – Wikipedia
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