Cormorant Debuts”The Devourer”, Diaspora Release Day Looms

As Diaspora, the imminent new full-length from progressive blackened death collective Cormorant, draws closer to release, today the band offers up “The Devourer” for mass consumption courtesy of a dual premiere between BrooklynMegan and Invisible Uranges.

Issues the band of the latest single, “‘The Devourer’ is the shortest song on the record, but it probably has the highest concentration of riffs and musical expressions, with lots of twists and turns that are reflected in the narrative. Tying into the overarching themes of migration and human arrogance, this song tells a story about defying the passage of the soul. [Bassist/vocalist] Marcus [Luscombe] wrote the lyrics based on the Egyptian mythology of Ammit, a funerary deity who consumes the impure in the afterlife. In an attempt to outsmart his doomed fate, the protagonist endeavors to flee Ammit in the underworld in an act of defiance.”
Adds the esteemed blog, “‘The Devourer’ features Cormorant at their darkest, even considering the weightiest moments of their well-received preceding album Earth Diver (2014). Hammering on a comfortably familiar riff to start, the track patiently evolves across an unpredictable structure rife with moody vocals (both screams and clean), sudden shifts, and technical asides. As with each track, the beginning sounds nothing like the conclusion, but they’re ultimately connected. Midpointing ‘The Devourer’ are thrashy passages and clean-sung melodies, plus a surreal guitar solo as a bonus. The song feels trackable and linear, but non-repetitive and spontaneous, multifaceted and densely packaged.”

Oakland Metro Opera House Seeks Help From The Community

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After much struggling the new Operahouse, at 522 2nd Street, is open. To remain so, they must raise funds to complete sound containment required by their operating license.

Do you sometimes feel powerless to stem the tide of artists and cultural venues being destroyed or driven out of San Francisco and Oakland by the huge influx of ultra-wealthy businesses and individuals into the region?  Are you going to stand by while yet another art and cultural space, which on a weekly basis hosts a wide range of cross-pollinating diverse communities, makes way for yet another culturally homogenized development?
For the past 15 glorious years the Oakland Opera Theater, and our venue the Oakland Metro Operahouse, have been presenting live performance of every ilk: opera, circus, spoken word, performance art, vaudeville, dance, theater, music  .  .  .  .  .
We’ve been pushed around from space to space, but we’ve always managed to stay open and stay within a few blocks of  Oakland’s Jack London Square.

About 18 months ago our landlords at 630 3rd Street asked us to leave in order to make way for a tech company able to pay 3 times as much rent. Fortunately, (and with their help) we were able to find a new spot (522 2nd Street) about 2 blocks away that’s actually really nice inside.  There was a bunch of work to do on the building to pass fire and health inspections etc., as there has been every time we’ve moved, but we’ve already taken care of all that, and we are open and holding performances at 522 2nd.  We have a 10 years lease on the building.  Unfortunately once we’d put 6 months work and a huge amount of money into our new venue we discovered that we have a neighbor.

If you walk around the garbage and graffiti covered block that surrounds the new theater you will find trucking companies, vacant buildings and empty lots,, you wouldn’t think there could be anyone there who might object to others exercising freedom of expression, but there is.  Our neighbor is neither resident, nor does he run a business in Oakland.  He’s the privileged absentee landlord of a derelict building who doesn’t want us to operate, just in case he’s able to put a tech company in someday.  So he contacted every conceivable regulatory agency and convinced one of them to put a zero tolerance noise restriction on the theater. So now we must do sound proofing in order to comply with the conditions of our operating license.

We are seeking $20,000 to build 3 “soundproofing”interior separation walls within the venue.  This should help substantially in keeping the performance volumes from being heard much on the street.  If you are able to help, even a small amount will make a large difference. It is our hope that through 1000’s of small donates we can meet our goal and stay open for the next many years.

This fundraising campaign began on March 10th and runs until March 25th, 2016

There are two ways to donate to our fundraising campaign, through Paypal or through the ticketing site, holdmyticket.com.

1) If you choice paypal, just follow the DONATE link above, enter the amount you wish to donate.  There is a list of rewards for various donation levels HERE  If you use paypal WE will be charged a percentage by paypal for the transaction.

2) If you choice  holdmyticket event, hit the BUY TICKET link above.   Buy the ‘TICKET” of the value you desire to donate  There is no physical “event” to go to. March 10th marks the begining and March 25rd marks the end of our fundraising campaign.  It’s just a way to except online donations.  If you use holdmyticket YOU will be charged a percentage by holdmyticket for the transaction. Via Oakland Metro

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New HD Video Of Exhumed Live In Oakland

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2 camera video of Exhumed  performing their chart topping smash hit “Slaughtercult” 02/20/15 @ Oakland Metro Operahouse – Oakland, California

Exhumed is an American death metal band from San Jose, California that is currently signed to Relapse Records. The band plays an old school style of death metal influenced by early Carcass and Entombed and is known for its gore-themed lyrics. The band, which has endured a highly unstable line-up since inception, formed in 1990, went on hiatus in 2005, and reformed in 2010, with guitarist/vocalist Matt Harvey being the band’s only consistent member.

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New Video Interview With Voivod Drummer Away And Oakland, California Performance Footage

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Voivod drummer Michel Langevin (Away) born May 30, 1963 talks current tour, upcoming releases, writing process, memories of Denis “Piggy” D’Amour and much more with Todd Owens of Capital Chaos TV 02/20/15 @ Oakland Metro Operahouse – Oakland, California

2 camera video of Voivod performing their chart topping smash hit “Tribal Conviction” 02/20/15 @ Oakland Metro Operahouse – Oakland, California

Voivod was formed in 1982 in Jonquière, Quebec, Canada. Influenced equally by the New Wave of British Heavy Metal, the burgeoning hardcore punk scene and 70’s progressive rock, Voivod forged a distinctive brand of heavy music that often relied on lyrical themes such as Reagan-era Cold War politics, post-apocalyptic literature and science fiction. Killing Technology (1987) began the band’s evolution in earnest, with the character from Voivod’s album covers (drawn by drummer Away and named as “Korgull” on 1986’s Rrröööaaarrr) significantly being depicted in a spaceship. Drawing more heavily on hardcore punk than metal influences by this point, Voivod began evolving without the aid of increasing speed and storytelling on the following Dimension Hatross. Voivod was one of the first thrash bands from Canada to gain popularity outside of their country’s borders, reaching the peak of their global popularity with the 1989 release Nothingface which featured a cover version of Pink Floyd’s “Astronomy Domine”. Other progressive rock covers include Pink Floyd’s “The Nile Song” on their 1993 release The Outer Limits and “21st Century Schizoid Man” by King Crimson on Phobos. Much of the band’s sound comes from guitarist Piggy’s usage of dissonant chords, usually played in the high register of the guitar, used extensively on Nothingface. Albums like Dimension Hatröss are dominated by dissonant chords, unexpected time signatures and guitarist Piggy’s liberal use of unconventional minor chords.