Archive | June, 2013

Kataklysm Announce Australian Tour!

28 Jun

Attacking like a furious blizzard from the great white north, Canada’s powerhouse purveyors of extreme death metal KATAKLYSM have laid waste to all in their path for 22 years and are still hammering ahead with a violent intensity that is unmatched by many of their contemporaries and they are making their long awaited return to Australia in December!

Boasting trademark elements in their sound such as brutal blastbeats, earth shaking grooves, ballsy riffage and a venomous vocal attack, KATAKLYSM give every ounce of their

sweat, blood and tears in their live performances that leave all who attend their shows in pure disbelief at what they have just witnessed. With a back catalogue spanning 10 studio albums – the most recent being 2010’s Heaven’s Venom (Nuclear Blast / Riot) with a new album forthcoming in late 2013 / early 2014, they will have no shortage of material on display with live staples such as Shadows And Dust, As I Slither, Taking The World By Storm and Push The Venom fully featured in their blistering and bulldozing set.

So, prepare to be crippled and broken on the road to devastation as the masters of the Northern Hyperblast take Australia by storm in December!


TICKETS ON SALE TUESDAY 2 JULY, 9AM Wednesday 4th December – Brisbane – Crowbar

Thursday 5th December – Adelaide – Fowlers Live Friday 6th December – Melbourne – Corner Hotel Saturday 7th December – Sydney – Manning Bar Sunday 8th December – Perth – Rosemount Hotel

Tickets only $59 + bf available from

Strictly Limited VIP Meet and Greet Packages available for each show!


Bridging the gap between Death Metal and Black Metal – An Interview with Brian Eschbach of The Black Dahlia Murder

26 Jun

The Black Dahlia Murder have been around for well over a decade now, and have recently released their sixth full length release; Everblack. Guitarist Brian Eschbach was kind enough to give us a few minutes of his time allowing us insight into what it’s like to be in a band like The Black Dahlia Murder .

Brian Eschbach: G’daaaay mate! So how are you?

Monolith-Sound: I’m good, thanks. How are you?

BE: I’m good. You wanna talk about some metal or what?

MS: Awesome! Yeah, I have a bunch of questions for you if you’d like to start.

BE: I got some answers, I probably will fumble with a couple though so bare with me.

MS: Alrighty! First off, at what age did you pick up the guitar and what drove you to play music?

BE: Well let’s see, I picked up the guitar when I was 12 and I wanted to be Billy-Joe Armstrong. This is pretty factual. Uh, I since then have lost my aspiration to be Billy-Joe Armstrong and no longer play a Fender Stratocaster, but that was pretty much the beginning of the whole thing.

MS: So what made you change from listening to Green Day to heavier music?

BE: Uh, maturity? I don’t know. When you’re a young kid you know, you end up liking a good handful of stuff and a lot of times it’s just what you have access to and they were all over the fucking radio back then.

MS: Yeah, for sure.

BE: It was a couple of years after that when I found out there was a lot of other cool shit out there and you’ve gotta do a little digging to get to it. And then I just ended up with a bunch of other smelly men playing metal.

MS: Black Dahlia’s most recent release, Everblack, begins with a song that is reminiscent of something I would expect to be from your first album, “Unhallowed”; It has an older, thrashier feel to it. Did you write that intentionally or is that just how it came out?

BE: With the first couple of riffs I put together I knew I wanted to go with just straight up, kind of sweetish, stripped down, high energy, high octane, full speed fucking ripper for that one.

MS: The new album is darker and heavier, and has a number of sections with a strong black metal influence. What were you listening to at the time of writing Everblack, that influenced the music you wrote and how do you feel about the band’s progression, musically speaking, since your last album.

BE: Dude, I’ll tell you what; for the last year I’ve been listening to a whole bunch of Neko Case. Fuckin’ American folk shit. So I don’t know how much that has to do with how Everblack came out. For Trevor and I, Black Dahlia Murder has always been about trying to get all the stuff we love about all the different kinds of metal together in one cohesive thing. You know, bridge the gap between death and black if you will. That’s kind of always been a mission statement if you will.

MS: The song “Control” is about serial killer Jeffery Dahmer and how he tortured his victims. Do you think that this genre of music is confined to lyrics and themes that depict graphic violence and death? Do you think death metal could work if it were about, for example, kittens and bunnies or something less extreme?

BE: We’ve done songs about the gruelling nature of being trashed on the road and you know, just being a hobo. Not too much of it, but we have stepped out of the box. You know, I find myself to be a pretty violent person, at least in my mind. I want to hurt people all the time. So music is a great outlet for you know, getting those feelings out without actually going to jail.

MS: A form of expression.

BE: Exactly.

MS: You guys recently put out a music video for one of your songs from Everblack; Goat Departure. Can you describe what the song and video are about?

BE: I think we’ve only had maybe one or two music videos that have really dealt with uh, you know… You had imagery that was dealing with the subject matter of the song – that is totally not the case with Goat of Departure. Uh, making a music video and trying to have a big story and stuff, it just costs more fucking money than is actually available in this death metal world. So when we get a video budget we usually are like “What’s the most ridiculous thing we can show people?”. So yeah, even though the song is about how the goat is a symbol of anti-Christian power, the video’s just about farting around with someone else’s money

MS: Playing for a band like The Black Dahlia Murder, you’ve been able to tour across the world, performing in many different locations. How do you stop from getting on each other’s nerves after being cooped up for hours in a tour van or on an airplane or something?

BE: Uh, honesty. We’re just like “Dude you need to chill out.”

MS: Have you had any massive disagreements or do you all get along fairly well?

BE: Everyone’s pretty much all in the same mindset. There’s no inconsiderate souls here so it’s pretty easy.

MS: What has been your most memorable show with The Black Dahlia Murder so far?

BE: I.. I don’t even think I could name one, man, haha. What I want to say is that getting close to maybe a thousand shows played. Uh, there’s so many that are just amazing and you know, even though we’re playing the same stuff, they’re completely different experiences. Sometimes you have an awesome day because you got to meet an icon of yours just from, you know, playing in your band and a lot of times that’s the coolest shit, man. When we were on Soundwave two years ago,  I got to meet a bunch of dudes that I had loved for so long and I loved their music. An amazing show where the crowd’s great and you didn’t fuck up at all, like, that’s always great, but it seems to be the stuff around that, uh, that forms the day in your memory.

MS: The band has had a few lineup changes since its inception; was it difficult finding a new drummer? How did you go about ensuring Alan was the right guy for the job?

BE: Yeah you’re absolutely correct. We’ve had uh, a good amount of member changes since we started twelve years ago and uh, I mean finding guys now at this point, you know, when that happens is  a lot easier than in the beginning because we’ve toured with so many different bands and we’ve gotten to see so many different players and you know, meet them and get to know them. So a year before Shannon left,  when Bart left and didn’t want to tour anymore, It didn’t take us very long to, you know, that we wanted to hit up Max from Despised Icon. You know, we’d toured with them a bunch and knew him fairly well and thought he was going to be a pretty damn good fit. That was really easy. And then Alan, a year later when Shannon quit, we started talking to some dudes that we knew would be viable for the gig. Uh, I think we ended up jamming with maybe five or six dudes and then uh, Alan just uh, he wasn’t really on the radar; we hadn’t met him before. Ryan, our other guitar player just happened to see Alan playing with Abigail Williams in Chicago, right around the time that Shannon quit and was just blown away by the dude’s performance. So we hit him up to try out and he had the deal, he knew how to do the Black Dahlia songs. So, he was definitely the guy.

MS: How do you go about writing material and working that around the ideas that the other members have. Do you all come together and share your ideas?

BE: There’s a bit of sharing, I mean for the most part me and Ryan will write songs by ourselves and just kind of show it to the other guys and we’ll talk about stuff like “Oh we could do this. We could work on this transition here or something”. But for the most part, me and Ryan just kind of belt that kind of shit out on our own. Then Trevor comes back with his lyrical gold.

MS: So you guys will typically jam new material and experiment with different things?

BE: Well the experimenting usually happens at home by myself. You know, I’ll start my day in my underwear with a bowl of cereal, and I’ll trade my bowl of cereal in for a guitar and then I just pace around until I’m happy with the riff and then belt out that riff and try to tag something else along with it. Once you have a couple of riffs, uh, it’s really easy. You start popping out more that fit with the context of the song, with the other stuff that’s already there. So I mean, all the innovation happens for me when I’m pacing.

MS:  How long did it take to write Everblack? From the first initial ideas to the day of release.  

BE: Uh I first started riffin’ out for Everblack around September 2012 and that’s really when Ryan started working on his stuff too. It was basically last fall, yeah. We started working with stuff in September and shooting it back and forth. Then in November we went on tour with Dethklok for a month, we came back from that and just finished up basically. Between September, October December, that album pretty much came together.

MS: One of my most favourite Black Dahlia releases was actually the DVD that came with your album “Deflorate”. Does the band have any plans to release another DVD?

BE: We’re shooting another DVD right now.

MS: The Black Dahlia Murder has been around for over a decade now, how has the music industry changed since the band first came about?

BE: Oh uh, I guess the problem started before we got into it. People are buying less and less albums and doing more downloading of torrents. That’s had its effect, you know. Record labels just can’t step up to support as much as they could in the past, I’m sure. But that being said, Metal Blade has always taken wonderful care of us and have done everything they possibly could to you know, lift The Black Dahlia Murder up.

MS: Some people have said that music piracy has in a way, helped spread awareness about their music. How do you feel about piracy and the illegal downloading of music?

BE: I think it’s just made it harder, you know? Going back to talk about label stuff, I mean, they’ve had their fucking legs chopped off as far as the finances and everyone is just trying to make do. It’s constantly evolving, people have had had to figure out new ways. With how the music world is changing, you see all these bands now going out and asking their fans to fork out money before they do anything, which is kind of really weird to me because they kind of do it under the guise of “Do-It-Yourself” but it’s warped because you’re putting the responsibility on the fans to you know, create your music.

MS: So you can’t see The Black Dahlia Murder doing something similar to Protest The Hero with Kickstarter fundraising campaigns?

BE: You will NEVER see The Black Dahlia Murder doing a Kickstarter, haha. We will find our own way.

MS: You’re currently playing Warped Tour in the US. Which bands were you excited to play with?

BE: We’re about uh, I want to say a week and a half into dates. I’ve seen, this will probably be surprising, I’ve seen Goldfinger and that was awesome. I saw Reel Big Fish; I was pretty into the pop-punk when I was like twelve or thirteen so it’s kind of neat to see bands like that. The surprising thing is, when Warped Tour started it was all pop punk kind of bands and a lot of skateboarding. They’d have professional skateboarders out on the ramps going all day, you know? And now it seems the majority of the bands are kind of like, metalcore’ish? Or screamo even. I dunno.

MS: Metalcore seems to have been really popular lately though.

BE: There’s an element of heaviness going on around here, but uh, you know we’re still sticking out like a sore thumb so that’s great.

MS: Do you often discover local bands when you’re on tour, or find smaller bands that you really like that you didn’t know about?

BE: Oh definitely, man. Most of the time when you go out there’s a local act, for the most part they’re doing something you’ve heard before,  and uh, sometimes not well. But then there’s fuckin’ times that there’s a local band opening up a show and they just blow your mind. You had no idea what was about to happen, that they were gonna kick your ass. So that’s always fun. When we played in Grand Rapids the last time, it’s our home state, a couple of hours away, and uh, this band called “Dwarf Corpse” opened up the show and they were awesome. They were like a European costume band but like they were just a bunch of young dudes pretending to be trolls or dwarfs of whatever but they had an awwwesome fuckin’… they were slammin’ that Maiden vibe. That was fucking sweet.

MS: Oh awesome! Unfortunately we’re running out of time, I have one last question here. What advice would you give to music industry or tour full time with a band?

BE: Don’t act like a penis and you’ll be alright.

MS: Haha, It’s been a pleasure talking to you, thank you very much for your time.

BE: Thank you for your time, man.

David Plaehn – ‘Amos Got Soul’

21 Jun

David Plaehn is an American Blues artist who has been strutting his stuff in the industry for quite some time now. His sound takes pieces from a somewhat large musical palette including Soft Rock, Pop and Blues. He now has a new album out entitled, ‘Amos Got Soul’ and it’s a record that will satisfy older fans as well as draw in more new fans.

Initial listens will have you eased back into a couch, reaching for a wine and a smokey dinner. This is definitely music for the older generation but nonetheless, can be appreciated by open-minded young listeners. David Plaehn seems to just float effortlessly over   silky smooth  and perfectly mixed poppy Blues tunes. Although the music is very well controlled and laid back, Plaehn is the true star of this album and shines through with complete ease.

As far as Blues music is concerned, this is definitely one for the modern era. Non-existent are the inaudible slide guitars and mumbled lines of loss. This is a record that is clear, crisp and calm. Although if this record did have one draw back, it would be that at times it can get quite a bit sappy or cheesy. It’s not a raw, raspy blues album of the 50’s (Don’t think that was the goal though) so if you’re expecting some traditional Blues, this isn’t the record for you. This is a record for someone after a well produced, laid back album.

The standout tracks to me were  ‘I Want To’ and ‘Stranger Blues’. ‘I Want To’ is a great ballad with some very powerful sections. Keep an eye out for that guitar solo around the end as well! ‘Stranger Blues’ is a track for the purists. Nothin’ but harmonica baby. Some great playing on this song and it’s great to see  David Plaehn paying tribute to traditional Blues music.

If you’re into the sounds of Kenny Rogers, B.B King, Eric Clapton or even Joe Bonamassa, I’d recommend the latest David Plaehn record to you. It’s definitely one for the older generation but if you appreciate a relaxed, well produced and well mixed Blues record, then check out ‘Amos Got Soul’.


Frankenbok to release live DVD

21 Jun

Since 1997 the natural environment for Melbourne Australia’s hirsute warriors Frankenbok has been pubs, clubs and the men’s room, so the time was right and probably long overdue to document their crazy, bearded business in the flesh.

Home is Where the Stage Is – Is a live DVD of Frankenbok plugging in, cranking it (not quite like that 😉 and getting down to business…

The resulting performance caught perfectly on film is a whole lotta Cheers, Beers & Beards, The End Of All You Know & Last Ditch Redemption, with a little extra pizzazz on the side. Home… features 15 tracks that introduce the viewer to the intimate and hairy world of Frankenbok and give them a front row seat minus the sweat.

Also, making its DVD debut is the world first appearance of Yeti’s beard-cam! See what it’s like looking at the crowd and your band mates from a beards perspective.

Lovingly captured in living colour and head caving audio by Reggie Bowman, this live concert is

proof that the Australian heavy scene is alive & kicking and in excellent health…despite what the radio or TV don’t want your kids to hear.

Special Features: All seven Frankenbok video clips from 2001 to present.

Filmed live @ The Prague Bar, Thornbury, on a sweaty night, May 21, 2011 Released 17/08/2013 via Fair Dinkum Records/Rocket Distribution A Special DVD Launch will be held at The Espy in Melbourne on August 17 File under: Anthropological/ Beard-Core.

Directed by Reggie Bowman



Intro Dine In Hell

God Complex Last Ditch Redemption

Dig Dig

Bring The Temple Down What Is Real

The End Of All You Know Gone Evil X 21

Flyblown Victims

Pycost Jam Don’t Call Me Baby

Last Ditch Redemption

Dine In Hell

Never Say Die Triumph

Shorelines – ‘The Solstice’

14 Jun


Brisbane Post-Hardcore band, Shorelines are set to drop their debut album, The Solstice this month. This will be a follow up to the bands debut EP, ‘Rebirth’ which was released back in 2012. Since then the band have gone on to support some huge bands including Northlane, House vs Hurricane, In Hearts Wake and Boris The Blade. Recently, fans were treated to a preview of the new album with the release of the single, ‘DGCWC’ which was met with positive reactions. We had the chance to take a listen to The Solstice and gather our thoughts on a debut album from a rising Brisbane band.

Initial listens of the album suggest a band that has massively improved in terms of sound, structure and dynamics. Although the music is consistent and repetitive, Shorelines differs each section with different rhythms or by thickening/thinning textures within the section. It’s a great song writing technique employed by the band and by utilising it, have managed to keep it heavy without interupting your headbanging sesh.

Another awesome feature to this bands sound is how delicate they can be. Although the majority of their sound is heavy and ballsy, at times the band can break into sections of beautiful cleans and silky chord progressions (which really emphasizes their Post-Hardcore sound). These sections give the listener a break and really gives him/her a chance to appreciate the heavy guitar riffery and the intense drum work but at the same time, appreciate the skill and open mindedness it takes to produce beautiful cleans in a predominantly brutal album.

If you’re into the Hardcore sounds of bands like Parkway Drive, The Amity Affliction, Northlane or Buried in Verona, then you’ll definitely dig this album. However, I also think that these guys can appeal to a wider audience given their sound is quite diverse. I’d definitely suggest this album for fans who like the heavier side of all things Post and to fans of the Djent Genre. Check this album out and check this band out. Shorelines just might be a game changer in Brisbanes Hardcore scene.

Bardo Pond Announce Australian Tour!

13 Jun

For over 20 years Philadelphian space rock ensemble Bardo Pond have been creating mind expanding acid glazed psychedelic rock, without a hint of irony or an ounce of compromise.

It’s commonly known that Bardo Pond are the real deal and their 20 + year legacy and recorded output are proof of that.

Since their inception in 1991, Bardo Pond have recorded 8 full length studio albums, and countless EP’s, for the likes of Matador, All Tomorrows Parties, Drunken Fish, and Fire Records.

They’re inspired a whole generation of avant-rock and psych out noise bands, they’ve played every note worthy Festival you can think of, they’ve played along side all your favourite bands, and through all this, they’ve remained completely faithful to their original vision as an outer limits independent band, never navigating away from where the started.

With their sound likened to that of Pink Floyd, The Velvet Underground, Sonic Youth, Spacemen 3, and My Bloody Valentine, Bardo Pond following in a similar tradition and create an all-encompassing wall of textured noise and lush soundscapes.

With their ONLY Australian performances being in 2010 as part of the Lou Reed & Laurie Anderson curated Vivid Festival in Sydney, Bardo Pond will finally follow up these Sydney shows with a national headline National tour this August.

Tour Dates:

Thursday, August 1 The Annandale – Sydney (with A Dead Forest Index) 

Friday.August 2 The Zoo – Brisbane (with Dreamtime & special guests) 

Saturday, August 3 Corner Hotel – Melbourne (w/ Pearls & Ride Into The Sun)

Sunday, August 4 The Rosemount – Perth (with special guests) 

Check the official tour Facebook Event Page HERE: