Protest The Hero launch music subscription platform

Protest The Hero

Protest The Hero have launched a subscription platform that will give fans access to new music from the band on a monthly basis.

The progressive metal crew have launched the Pacific Myth project in conjunction with Bandcamp and will be releasing a new song on the 15th of every month for the next six months. New track “Ragged Tooth” is available now.

Protest The Hero say: “For a long time we have been dreaming of a new way to bring you our music. We wanted something more direct than a standard album release and record cycle.

“In our opinion, this is the most direct way we can deliver you new tunes. We have chosen to lead things off this month with Ragged Tooth a cracking little banger of a song which we felt represented where we are headed with all of this.

“It’s important to note that every song release will be accompanied with an instrumental mix of the song as well as hi-res album art, lyrics, and liner notes.”

Access to Pacific Myth costs $12, or $25 for bonus access to Protest The Hero’s documentary series, Of Our Own Volition. The band do say that they haven’t given up on releasing full-length albums, the most recent of which was 2013’s Volition.

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My Ruin re-release ‘Throat Full Of Heart’ LP – for FREE!

Throat Full Of Heart Crop
WARNING: This news story contains graphic images

LA metal band My Ruin have re-released their Throat Full Of Heart album – for free!

The 2008 album was originally released via the band’s own imprint, Rovena Recordings, and distributed in the UK by Cargo.

As frontwoman Tairrie B. Murphy explained:”Although this album was critically acclaimed, unfortunately the distribution we had hoped to achieve through Cargo was disappointing to say the least and it was very difficult for fans to find in stores at the time of its release. When it did finally come out in the US, it was only available as an import and even harder to find. It was also ridiculously expensive and not available worldwide as promised by Cargo.”

“Being that we now own the rights, we want EVERYONE to have a chance to finally hear this album which we remain very proud of and which has gone under the radar to some extent,” she added.

The decision to re-release the album also comes on the 8th anniversary of a fateful event that dramatically altered the course of the recording and the music that would eventually appear on Throat Full Of Heart. The night before recording sessions were due to begin, Tairrie had a night off following pre-production in order to go to dinner with friends:

“After dinner, one of my friends offered to drive me home. I had no idea she was intoxicated because she seemed fine,” said the vocalist via My Ruin’s Facebook page. “Within just minutes of getting into her car and driving down Santa Monica Blvd, we crashed.”

“She swerved and hit a street sweeper which was parked and a huge metal rod ripped through the passenger side open window and came straight for my neck which I somehow managed block with my left forearm… The rod tore open my arm from the elbow to the wrist underneath and punctured a wide deep hole in the top.”

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Following extensive surgery – before which Murphy had been warned she may lose her arm owing to the extent of the injuries she had suffered – Tairrie began the long road to recovery. The band had recorded the music for the new album at their frontwoman’s request, and miraculously only Tairrie’s own vocal sessions were delayed.

“I laid the vocals for this album while still heavily bandaged and full of pain killers before my final skin graft surgery,” says Murphy now. “During this time, I decided to re write the lyrics for one of the last tracks of the album while in the studio. This became “Through the Wound” that also happened to contain the words which inspired the album title and my personal anthem of strength and recovery which still brings back some heavy memories when I listen to it today.”

You can grab your own copy of Throat Full Of Heart via My Ruin’s Bandcamp page, where the band have also made available a very limited set of just 12 physical signed copies of the album that also contains the 2hr behind the scenes bonus DVD.

Watch the official video for Throat Full Of Heart’s lead track, “Ready For Blood”, below:

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De Profundis tour the UK with Demonic Resurrection

De Profundis 2014

Progressive extreme metallers De Profundis are to tour the UK with Indian metal heavyweights Demonic Resurrection.

The tour, which has been scheduled in association with Zero Tolerance magazine, kicks off this Saturday the 5th of July in Wakefield, before taking in destinations across the country.

The band have just unleashed their new EP, Frequencies, which they are promising will be “more intense than anything we have delivered before.”

The EP contains three original compositions, alongside a cover of Death’s 1995 album track “Crystal Mountain” and is available from De Profundis’ bandcamp page.

The band will also be returning to the Bloodstock festival in August, before releasing their fourth full length album later in the year.

De Profundis will play:

Sat 5th of Jul: Snooty Fox, Wakefield
Mon 7th of Jul: Cavern, Exeter (supporting Demonic Resurrection)
Tue 8th of Jul: Tiki Bar, Plymouth (supporting Demonic Resurrection)
Thu 10th of Jul: Marquee, Norwich (supporting Demonic Resurrection)
Fri 11th of Jul: Black Heart, London (supporting Demonic Resurrection)
Sat 12th of Jul: Eradication Festival, Cardiff
Sun 13th of Jul: Green Door, Brighton
Sat 9th of Aug: Bloodstock festival, Catton Park, Derbyshire

You can listen to new track “Illumination” from the Frequencies EP below:

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Album review: Matty Rockville | Chestnut Ave.

Chestnut AvenueOur Verdict: 4/5
Release date: Out now
Find it at: Matty Rockville’s website

“Exquisite. Rockville clearly has a way with words, an ear for a melody, and an ability to arrange his instruments and fellow musicians in just the right way to service each song… do yourself a favour; seek out Rockville’s Chestnut Ave.”


Life’s complicated, isn’t it? And with each generation it just seems to become even more so. But then perhaps it’s always been complicated. Perhaps life just always seems to become more involved and unfathomable to generation after generation, as our modes of living and being evolve.

It’s a delight then, when you discover something simple, honest and true to hang on to; something that restores your faith in the idea that you can cast your feet down in to the earth and know that the ground is solid; that you’re exactly where you need to be.

And so it is with Matty Rockville’s album, Chestnut Ave. Rockville’s sand-blasted croon, acoustic guitar, bass and drums, occasionally augmented by vocal harmonies, mandolin and fiddle – and that’s it.

Which – let’s be clear – isn’t to diminish the quality of the songs collected here. They’re exquisite. Rockville clearly has a way with words, an ear for a melody, and an ability to arrange his instruments and fellow musicians in just the right way to service each song.

The sounds are raw and unadorned, then, but still warm and expansive. The bass and mandolin are reminiscent of Out Of Time or Automatic For The People era R.E.M., and Rockville’s voice wouldn’t sound out of place on a Green Day record had they pursued American roots rather than American idiots.

Witness the affecting harmonies of ‘Changes’, a tale of lovers figuring out who they were, who they’ve become and what the future holds; or the folk-rock stylings of ‘Waldorf Way and Winchester Ln.’, an affectionate and poetic look back to the past that makes full use of that guitar and mandolin combo to evoke a wistful air of drifting thoughts, reflection and the passing of time. These are high quality, folk, rock and punk nuggets, bathed in melancholia one moment, and the warm glow of good friends and a shot of whisky the next.

Chestnut Ave. isn’t without a healthy dose of good humour, too. You need only listen to the uptempo cheer of ‘My Pub’ – which is as hearty a paean to the local ale house as any we’ve heard – to prove it, or the philosophical findings of ‘Cheers To Results’, a debt of thanks to hardships won, problems overcome and character formed by this thing called life.

Matty humbly refers to himself in his publicity as performing ‘primarily in the DC/Baltimore metro area’, not bigging himself up beyond his current sphere of reach. But he’s been on the circuit since 2002, and the sharp songwriting skills he presents on Chestnut Ave. have no doubt been honed by the hundreds of shows he’s racked up over the past 12 years.

If the only thing you know about Baltimore is what you saw on The Wire, do yourself a favour; seek out Rockville’s Chestnut Ave. and then tell the world what you learned.

You can buy Chestnut Ave. and learn more about Matty at his official Bandcamp website



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Album review: Irish Moutarde | Raise ‘Em All

Irish Moutarde Raise Em AllOur verdict: 4/5
Find it at: Bandcamp

Ok, listen up.

There are some genres of music that seem almost ludicrously niche. Pirate Metal for example (Don’t believe me? Just check out Alestorm’s fine albums Captain Morgan’s Revenge, Black Sails at Midnight or Back Through Time.) Nevertheless, despite their supposedly ‘limited appeal’, they have plenty to recommend them and often deserve to be heard by a wider audience.

So what about a Celtic punk rock band from Quebec featuring metal guitar, bagpipes and bawdy folk lyrics that are occasionally written and sung in French? Franco-Irish-Canadian Punk-Folk-Metal? As styles go, you’d think it might be hard to find it’s natural audience.

Nevertheless, Irish Moutarde (translation: Irish Mustard), a seven piece band from Quebec City, are doing just that.

Formed in 2009 with a view to paying tribute to Irish Punk (Dropkick Murphys and Flogging Molly are obvious reference points), Irish Moutarde released their first original single in 2012. Titled ‘The Bear and the Maiden Fair’, it became something of a cult classic via the internet and lead, in time, to debut album, Raise ‘Em All.

Recorded between December 2012 and June 2013, your fondness for the album may well depend upon your threshold for up-tempo Irish jigs, delivered via loud guitar, short but incandescent solos, bagpipes, tin whistle, accordian and banjo. But if you’re in the mood to dance and drink whisky, find yourself looking for some original party music for next year’s St.Patrick’s Day, or simply love the sound of what Irish Moutarde have to offer, then we can think of no finer album to get you on your feet, reclaiming (or simply fabricating) your Irish heritage.

Opening track, ‘The Black Mill’, comes quickly in to view through static crackle, the sound of bagpipes evoking scenes of a village ceili on the Emerald Isle. Actually set to a traditional Scottish tune, exploding out of the blocks seconds later comes a galloping thrash metal guitar riff, redolent of the Big Four thrash pioneers of the 80’s. It might sound like bolting Anthrax on to the Whigmaleerie Ceilidh Band would put you on a hiding to nothing, but against all odds it works beautifully.

Banjo and pipes intertwine like a double-helix, taking the place of a gurning guitar-God completing a complex fret-run. All of this is underpinned by the kind of high-speed drumming that Dave Lombardo would be proud of. In a similar vein, the lyric at first plays out as a nature-based folk tale, “The grouse-hen nests in the Black Mill,” but finishes on the slightly more rock n’ roll advice to “Get over it, get over it. There could be worse than chicken shit!”

‘Farewell To Drunkenness’ occupies slightly more familiar territory, it’s punk-polka blast sound-tracking the tale of a band member finding that “A throb is in my head, my guts are on the floor.” Despite the protestations of a fair woman, the lack of a day job, waking up with a sore head and having to rush to the bathroom, it’s soon time to “…bid you goodnight, good friends that you are. And I’ll see ya’ for sure, tomorrow at the bar!” The melodic lilt of vocalist Andreé-Anne McHalley, and the jovial progression of the music, give the impression that the drunkenness is proving to be too much fun for it to be bid farewell for anything longer than a couple of hours.

Irish Moutarde - Band ShotAlong comes ‘The Cabin’, a short, claustrophobic and yet catchy squall that is done and dusted in a two and a half minute furor. The more dour amongst the audience will then no doubt be offended by ‘I Heard Jesus Was’, a creative re-imagining of Jesus’ life and times that depicts the apostles as “…twelve merry drinking pals…” and the Messiah’s emotional cry at Gethsemane as “My God! Old Man! Why have you forsaken me? We hoped to party until dawn, but we’re out of beer and it’s only three!” It’s often humorous, occasionally hilarious, and a very human way of re-interpreting the Passion for a contemporary rock audience.

The pace slows a degree or two for what Moutarde describe as the “theme song” of the album, ‘Glasses To The Sky.’ It may sound like the most obvious paean to whisky-soaked merry-making this side of Dublin, but this triumphant waltz has greater depth than that. Coming on like the best possible combination of Richard and Linda Thompson, Bruce Springsteen and Green Day, it wouldn’t have sounded out of place on Springsteen’s Wrecking Ball album, had Jake Clemons been a bagpipe virtuoso and Billie Joe Armstrong replaced Nils Lofgren on guitar. “They may take our jobs away, lead us all astray. Doesn’t matter anyway, we’ll get stronger every day.” Indeed. City bankers watch out and be damned.

‘Olaf’ is a French-language ditty that tells the story of how the band came by their mascot (and album cover star) Olaf The Irish Giraffe. You’ll have to translate that one yourself. The LP then continues a-pace through instrumental ‘LLL’, a rock version of Scottish traditional ‘Lord Lovat’s Lament’, followed quickly by ‘D.O.E’, featuring a mind-boggling guitar solo from Anonymus’ Jef Fortin.

‘The Fields of Athenrey’ moves the music back to it’s Irish roots before the aforementioned ‘The Bear and the Maiden Fair’ comes bounding in to view. George R.R. Martin and HBO fans take note, the band’s very first song takes it’s inspiration from lyrics in the Game Of Thrones series of novels. Take your own time spotting the references as the music sets out it’s stall, ably accompanying the story of this “black and brown hairy bear” and “the maiden fair” with “honey in her hair.”

The lively traditional lament, ‘The Wearing Of The Green’, offers a stage upon which the band showcase their nimble way with pipes and banjo, and is followed by the final track, ‘A Lad and A Hag’, an original ode to the dangers of basing your impression of someone upon your own lust and their good looks. The band save the most complex flavour of their particular brand of musical mustard until last, adding tin whistle, piano and Celtic harp to the already heady mix.

All of which may sound in-your-face and overwhelming. But the whole album is done and dusted in 40 minutes flat. Like many of the best records, it’s direct, to the point and, if anything, leaves you hungry for more. As the band themselves are wont to say: this is ‘Celtic rock as it should be! It’s time to rock your Irish ass!’

Find out more about Irish Moutarde and Raise ‘Em All at: Irish Moutarde.com
Watch the official video for new single ‘Farewell To Drunkenness’ at: YouTube

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