12th - Mexico - Monterey 14th - Mexico - Guadalajara 15th - Mexico - Mexico City 18th - Mexico - Queretaro 20th - Costa Rica - San José 22nd- Venezuela - Maracay 24th - Chile - Santiago 25th - Argentina - Buenos Aires 27th - Brasil - Curitiba 28th - Brasil - Rio de Janeiro 29th - Brasil - Sao Paulo
I’d like to personally thank Rolling Stone for the inclusion of “Davidian,“ from Machine Head’s 1994 debut album ‘Burn My Eyes’ in their Top 100 Greatest Heavy-Metal Songs of All Time. It was a rare and delightful compliment from a magazine that has largely paid us no mind for the last 29 years.
Once the surprise of being mentioned subsided, I decided to go through all “100 Songs.” Sure, there are many, many questionable choices on the list, but there are two glaring omissions I HAVE to mention.
No Exodus? No Testament?
Bay Area Thrash Metal is still an extremely vital and powerful force in music, and it wasn’t just Metallica that brought it to the World. Upon formation, Exodus were literally the most exciting band around. Crafting timeless songs like “Bonded By Blood,” “A Lesson In Violence,” or their own 'pit anthem' - “The Toxic Waltz”, all deserve similar honors on such a list. When I was a teenager growing up in the Bay Area, I cannot express how important and influential Exodus and guitarist Gary Holt were and remain. Without Gary, there is no Robb Flynn. Without Exodus, there is no Machine Head.
And when it comes to Testament? The word that continues to flash before my eyes is ‘impact.’ I can assure you that every single Rock/Metal guitar player on the face of the planet’s collective jaws hit the floor when they heard Alex Skolnick play. His adding of classical arpeggio sweeps into songs like “Over The Wall,” and “Disciples Of The Watch,” was game changing. Soon everybody from Kirk Hammett of Metallica to Glenn Tipton of Judas Priest was doing it. The commanding bellow of singer Chuck Billy was an absolute precursor to the Death and Black Metal vocal that would soon follow and continue until this day. That's undeniable impact.
Again, we are humbled, honored, and grateful for our welcome into your ‘Top 100 Greatest Heavy Metal Songs of All Time'. Lastly, on behalf of the Heavy Metal community, thank you for representing our genre in your publication.
Following our wildly successful string of Electric Happy Hour (Live) dates in Scotland, we are bringing the beer-drenched, head-banging, free-wheelin', no-set-list, anything-goes-energy of our weekly online show, but this time to America and now it's LIVE!
Just Machine Head, Evening With-style, but more free-form, you might get 5 songs off of The Blackening, you might get 5 songs off of Burn My Eyes, you might get 5 cover songs, the setlist changes daily, and the beer always flows!!
So come down a rage with us for Electric Happy Hour (Live)
NOVEMBER
8th SPOKANE, WA - Knitting Factory 9th MISSOULA, MT - Top Hat 10th BOISE, ID - Revolution 12th CASPER, WY - The Gaslight Social 13th COLORADO SPRINGS, CO - Black Sheep 15th MINOT, ND - The Original 16th FARGO, ND - The Hall at Fargo Brewing 18th SIOUX FALLS, SD - Bigs Bar 19th LINCOLN, NE - The Royal Grove 20th SPRINGFIELD, MO - Outland Ballroom 21st ST. LOUIS, MO - Red Flag 22nd MADISON, WI - High Noon Saloon *SOLD-OUT* 23rd INDIANAPOLIS, IN - Deluxe at Old National Center 25th JOLIET, IL - The Forge 26th FLINT, MI - Machine Shop *SOLD-OUT* 27th COLUMBUS, OH - A&R Music Bar 28th CINCINNATI, OH - Legends 29th BROOKLYN, NY - St. Vitus *JUST ADDED*
DECEMBER
1st PORTLAND, ME - Portland House of Music 2nd ASBURY PARK, NJ - Stone Pony 3rd READING, PA - Reverb 4th BALTIMORE, MD - Soundstage 6th VIRGINIA BEACH, VA - Elevation 27 7th HUNTINGTON, WV - The Loud 8th CHARLOTTE, NC - Underground 9th NASHVILLE, TN - Eastside Bowl 10th CHARLESTON, SC - Music Farm 12th FT. LAUDERDALE, FL - Culture Room 13th TAMPA, FL - Orpheum 15th LITTLE ROCK, AR - The Hall 16th OKLAHOMA CITY, OK - Diamond Ballroom 17th WICHITA, KS - Wave 18th DALLAS, TX - Granada Theater 20th ALBUQUERQUE, NM - Sunshine Theater 21st TUCSON, AZ - The Rock 22nd SAN DIEGO, CA - House Of Blues 23rd SACRAMENTO, CA - Ace of Spades
Ladies and gents, friends, fans, and foes, Robb here... our 10th album 'ØF KINGDØM AND CRØWN' is finally out!
But that being said, nothing happens in a bubble. We stand on the shoulders ofgiants, and are remarkably fortunate to have an incredible team of peoplearound us. I’d like to take a moment to elaborate about the unsung heroes ofthis album. People that played roles behind the scenes that made this allhappen. In turn, it has allowed us to create what I consider to be quite possiblythe best album we have ever made.
First and foremost, I’d like to thank Zack Ohren. My longtime Engineer andProducer who was absolutely essential in nearly every aspect of production,writing, arranging, processing. The dude is tireless, and his naturally even-keelreally produced some magical moments in the studio. These moments are allover the album, I'm lucky to have Zack in the family.
I’d like to thank long time producer Colin Richardson. Colin has been thereseemingly since day one going back to our 1994 debut 'Burn My Eyes’. He isresponsible for handling the magnificently savage production you hear on‘ØKAC'. He, alongside his engineer and all-around awesome dude ChrisClancy (the Christafarian), have crafted what may be sonically the heaviestsounding Machine Head record of all time! While you're punishing yourneighbors with volume, thank these guys!
I’d like to thank Joel Wanasek, his assistant Josh Napert, and Rhys Fulber forthe incredible soundscapes that they added to this album, including the story-arching interludes as well as the incredible layers they added to the songs.
I've got to give a shout out to Will Putney for his help with the overall concept.His input helped me tie it together lyrically and no question his contributionsabsolutely made this a better album.
I’d like to thank Monte Conner my A&R man of nearly 30 years! Monte Conneralso possessor of relentless dedication, brutal honesty, and his never endingbelief in both myself and Machine Head for close to three decades.
I’d like to thank Gerardo Martinez for his Herculean efforts and support in ourvision at Nuclear Blast. Also for partnering with us and our label, ImperiumRecordings in a way that few labels would.
I’d like to thank Seth Siro Anton, Geert Kroes and Rob Kimura for helping tocreate what I consider to be an absolute masterpiece of artwork. This albumcover and the entire package is simply stunning and could live in a museum.Thank you for your artistic talents.
I’d like to thank Tommy Jones, the indefatigable Mike Ruiz, Markus Jacob, MarkPalmer, Lisa Cope, Emma Chadwick, Danne, Yorck, Jaap, and the whole teamat Nuclear Blast Worldwide. Each of these individuals have totally gone theextra mile by working harder than any label we’ve ever worked with to get thisalbum the attention it deserves. With Tommy Jones in particular getting theMVP award for outworking one and all.
Jerome and Tiffany at NB‘s parent company Believe, they have been absolutelycritical in the digital set up of this record, and deserve massive kudos for theirbelief in Machine Head.
I’d like to thank Mike Sloat (a.k.a. "Mikael Sloatnikof”) and Jason ("horn-dog")Pedri as well as Rafal and Grupa 13 in Poland for crafting some of the most in-depth, visceral and exciting videos that we’ve ever produced. Special shout toArt Quest director Katherine Loomis at Santa Rosa high school for allowing touse the video production facilities so many times, and Jason's studentsAlexander Corl, Emily Aja, Jackson Richie, John Hey and Dylan Mooney forassisting on the ”CHØKE” video
I’d like to thank Ted Jensen at Sterling Sound for the unequivocally stunningmastering he did, not to mention his protege Justin Shturtz for the numerousrevisions that were done to make this album flow the way it does.
The inimitable Travis Shinn and Paul Harries for the exquisitely grim bandphotos. Considering they were taken over 2 different continents they blendseamlessly together adding to the cohesiveness of the presentation.
I’d like to thank my band! Jared, Vogg, and Matt for everything that theycontributed to this beast! With Vogg contributing some mind-bending riffs to"Unhallowed," and "Bloodshot," and Jared sweeping the MVP award forstepping up and delivering some absolute gold… from fantastic riffs, astoundingvocal melodies, awe-inspiring harmonies, superb lyrics. What more can I say?Thank you, brothers!
I’d like to thank Navene Koperweis for the undeniably jaw-dropping drums thathe laid down on this album.
I’d also like to thank Matt Alston for his patience and fortitude andunderstanding the difficult position we were in over the pandemic. It was roughnot being able to play on the album, and I know it was personally challengingfor him. However he was a part of the record in so many ways including thedemos as well as his suggestions which were essential to what you hear allover this album. Everybody give it up for Matt!
My wife Genevra for inspiring me and pushing me to make a concept record inthe first place. I am tremendously lucky for her eternal love, support, andsacrifice, (not to mention devastating wit) for this crazy dream of mine.
Much love to my two Kings Zander and Wyatt currently holding down the fort fortheir never ending ability to make me want to be a better man, and sharing withme the anime series that would eventually inspire so much of the concept ofthis album.
Our press Goddess Michelle Kerr, Kirstin, Charley and all at the incomparableCosa Nostra Public Relations (UK/US)
The Communications Dept. at Imperium Recordings
Ryan at Sharkbite Studios, Oakland for allowing us to craft this masterpieceover the course of the last year plus.
Olav and Ozan for all the help with the Electric Happy Hours, which in thestrangest way helped make this record what it is today. Think about it, theability to stay productive the way we did was the biggest hidden "treasure" wecould've ever stumbled upon.
The man behind the 'Machine' for 30 years, Mr. Joseph Huston. His focusedenergy and unflinching determination to always look out for what’s best for thisband is 100% essential to why we started, why we continue, and why we're stillhere today!
Benny and Jeff Pinn for always making our instruments and amps run perfectly.
Last but not least... I want to thank ALL of the Head Cases around the World!All that have stood by this band, fought for this band, believed in this band,YOU motherfuckers are the soldiers in our ARMY! Thank you for the honor ofallowing us to call YOU our friends, fans, and freaks!
Bay Area metal icons MACHINE HEAD unleash their incendiary 10th studio album, 'ØF KINGDØM AND CRØWN’ today, with the collection landing at DSPs and in stores via Nuclear Blast X Imperium Recordings. Stream the new album HEREand pick up your physical copy HERE or via your nearest local record store HERE.
Read Blabbermouth's stunning 10/10 review of ØKACHERE
To commemorate release day, the band have revealed a brand new video for the album track, 'NØ GØDS, NØ MASTERS',which you can watch below.
Speaking about the new track, MACHINE HEAD founder and visionary, Robb Flynn shares;
"We're really proud of the video for 'NØ GØDS, NØ MASTERS'. It was an incredible collaboration between three different creative teams working across two different continents. Our director/editor Mike Sloat (Machine Head, Testament) teamed up with the amazing Grupa 13 (Behemoth, Amon Amarth) and then the stunning 3-D CGI came from Phil Radford AKA MayaGuy of Strangebox. The track was masterfully mixed by long-time Machine Head collaborator Colin Richardson and his engineer Chris Clancy. This is a really special song from the album."
MACHINE HEAD’s new album, 'ØF KINGDØM AND CRØWN' is a 13-track concept album set in a decimated futuristic wasteland where the sky is stained crimson red. The crux of the story is based on two main characters:
Character #1 Ares: (pronounced Aries), our main, who loses the love of his life (Amethyst) and goes on a murderous rampage against the vile sect responsible for her murder.
Character #2 Eros: (pronounced Arrows) the perpetrator, who loses his mother to a drug overdose and becomes radicalized in the aftermath. Eros goes off the deep end manifesting his own killing spree.
The album's lyrics detail how their lives intertwine.
The colossal concept album comes with a list of equally colossal packaging for various physical formats, including 16 different vinyl editions worldwide, a deluxe vinyl box set (with bonus tracks), CDs (both old-school longbox and jewel box options), multi-color cassettes, and a limited-edition Digipak with bonus tracks.
POUND FOR POUND THE GREATEST RECORD MACHINE HEAD HAVE EVER MADE.
Every album in the MACHINE HEAD catalogue has its merits and charms, but there is a fairly broad consensus that two albums stand out as particularly significant. Released in 1994, "Burn My Eyes" was an epoch-wrecking debut that noisily established Robb Flynn's band as standard bearers for a new breed of heaviness. Released in 2007, "The Blackening" was another serendipitous moment in time, wherein a surge of creativity pushed MACHINE HEAD to new heights, a new level of popularity and the most exhaustive world tour(s) of their career.
Both are certified classics, with the obvious drawback that everything released subsequently has been unfavorably compared to one or both of them. In particular, MACHINE HEAD's last album was a straightforwardly divisive affair, but the persistent narrative that it was some woeful, career-threatening folly doesn't withstand a great deal of scrutiny. Released in 2018, "Catharsis" was a deliberately diverse and unwieldy concoction.
Like its title suggested, it offered a sustained splurge of ideas and a clearing of the emotional decks. Yes, a few tracks incurred the wrath of the overly sensitive by daring to stray a bit too far off the beaten track, but judging by those same tracks' streaming figures — not to mention the almost entirely sold out tour(s) that followed its release, during which those songs were performed to a positive reception — "Catharsis" was perfectly popular enough, at least with MACHINE HEAD's distinctly diehard fan base.
Nonetheless, the perception that Flynn's crew are in desperate need of a comeback persists, and so "Of Kingdom And Crown" arrives under the weight of great expectations. The first MACHINE HEAD album to feature DECAPITATED founder Vogg on guitar, this hour-long tour de force could hardly be a more robust and inarguable response to that external pressure. If people whine about this one, they are going to look extremely fucking silly.
Ferociously focused, bursting at the seams with brilliant songs and ruthlessly contemporary on a sonic level, "Of Kingdom And Crown" showcases the upgrade MACHINE HEAD have undergone over the last few years. Those who saw the band on the ill-fated "Burn My Eyes" reunion tour witnessed both the partial reconvening of the original MH lineup, but also the birth of a newer incarnation, featuring Vogg and drummer Matt Alston, alongside Flynn and bassist Jared McEachern. Those shows demonstrated what fresh blood and a sharper perspective can do, even for a veteran band.
Thrillingly, MACHINE HEAD sounded more precise and destructive than they ever had, and it's that crushing, pointedly hyper-modern approach that defines "Of Kingdom And Crown" too. Here, the drums are performed by noted badass Navene Koperweis (ex-ANIMALS AS LEADERS), but the principle and performance remain the same — tight, brutal, precise — throughout what is easily this band's most vicious and punishing album yet.
The backdrop to all of this is that "Of Kingdom And Crown" is MACHINE HEAD's first concept record. A dystopian tale of existential torment and horrifying violence, it tells the tumultuous tale of two troubled protagonists whose lives entwine, with (as one might hope) deeply unpleasant consequences. For the first time ever, Robb Flynn has written songs from someone's perspective other than his own, and his delight in that freedom is writ large through what is arguably his strongest and most vividly poetic collection of lyrics to date. Manifestly open to endless interpretation, the story has a beginning, middle and somewhat nebulous end, and gives "Of Kingdom And Crown" a level of pre-release intrigue that it might not have otherwise had. Thankfully, what the conceptual conceit doesn't do is distract from the real story here: that is that MACHINE HEAD have crafted a stone-cold masterpiece, and an album that at least deserves to be held in the same high esteem as those two earlier benchmarks.
Frankly, this is an audacious piece of work. "Of Kingdom And Crown" begins with "Slaughter The Martyr", a ten-minute epic with multiple movements, it begins as an elegiac, acoustic hymn that ebbs and flows in an ambient haze for a full three minutes before any drum is struck in anger. MACHINE HEAD have written ten-minute songs before, and some really fucking good ones, but "Slaughter…" is on another level. With numerous exhilarating twists and turns and a final crescendo that ties the melodic threads together in a perfect, bloody bow, it contains every definitive element of the band's sound, but used in a much more imaginative way. In its overpowering entirety, "Slaughter The Martyr" feels momentous: an important line drawn in the creative sand.
Remarkably, everything that follows hits the same heights. Thanks to the drip-drip way that MACHINE HEAD have shared this album with the world, most of these songs will be familiar to dedicated fans, but it is worth repeating how fucking good they are. From the skull-shattering Bay Area snot of "Choke On The Ashes Of Your Hate" and the blastbeat-fuelled euphoria of "Become The Firestorm", to the immersive, prog-tinged pummeling of "Unhallowed" and the crestfallen crunch of "My Hands Are Empty", these were, and are, instantly identifiable as MACHINE HEAD classics. For those craving a dose of old-school Oakland ignorance, "Rotten" has a good dose of "Burn My Eyes" in its veins, but with the heaviness notched up even further. For those that regard "The Blackening" as MACHINE HEAD's undisputed peak, "Arrows In Words From The Sky" is this album's "Halo": a truly beautiful and poignant song, but one that still crushes skulls with a shit-eating grin on its face. To those we can add "Kill Thy Enemies" — a monstrously heavy and belligerent Bay Area throwdown with absurd amounts of singalong potential — and "Bloodshot", an all-out, thuggish riff-riot with zero clean vocals and a bad attitude. Both are likely to cause traffic accidents.
Perhaps even more significant than the self-evident quality of these songs is the fact that every one of them is composed of exquisitely satisfying individual moments. Songwriting is an inexact art, but everything here feels refined to the point of perfection, with each change of tempo or tricky transition making perfect sense, and every moving part humming in perfect synchronicity with those around it. The bug-eyed juggernaut breakdown midway through "Become The Firestorm"; "Unhallowed"'s joyously old-school, fists-in-the-air middle-eight-cum-second-chorus; Flynn and McEachern's clean vocal harmonies, which often border on magical; countless glorious drum fills that will have MACHINE HEAD acolytes frantically battering the air with flailing limbs in sweaty solidarity; the sheer filthiness of the main riff in "Kill Thy Enemies"; the choking enormity of "No Gods, No Masters"' arena-size chorus; the obvious, fizzing, lead guitar chemistry between Flynn and Vogg: on and on it goes, a gluttonous feast of dynamic and timeless metal detonations, built upon the most impressive armory of riffs that Robb Flynn has assembled since any album you care to mention. As an added bonus, "Of Kingdom And Crown" boasts several fiendishly inventive new uses for MACHINE HEAD's trademark harmonic squeals (just in case anyone was thinking of moaning about that).
Listening to this extraordinary hour of music, it's hard to believe that anyone ever doubted that MACHINE HEAD would live to fight another day. A murderous musical rampage that brings passion, technicality and a million great ideas together in a cyclone of massive riffs and even bigger hooks, "Of Kingdom And Crown" is a flawless show of strength: the kind of life-affirming metal album that bands rarely seem to make these days. Pound for pound, it's the greatest record MACHINE HEAD have ever made.
MACHINE HEAD Release New Track and Music Video “UNHALLØWED” Watch HERE | Stream HERE
Taken From Colossal 10th Album 'ØF KINGDØM AND CRØWN' Out Friday, August 26, 2022 via Nuclear Blast x Imperium Recordings Pre-Orders Available HERE
Tuesday, June 21st, 2022 - Bay Area metal titans, MACHINE HEAD, have dropped mammoth new track, “UNHALLØWED”, today along with an accompanying music video. Stream the new track HERE and watch the official music video “UNHALLØWED” - Live from Electric Happy Hour" HERE. The new track is lifted from the band’s tenth studio album, 'ØF KINGDØM AND CRØWN’ which will be released via Nuclear Blast x Imperium Recordings on August 26th, 2022. Pre-orders available now HERE.
Speaking on the latest track to be released from the upcoming album,MACHINE HEADfounder,Robb Flynnshares; “UNHALLØWED”: Chapter Six – ‘ØF KINGDØM AND CRØWN’ "Drowning in the deepest depression of his life, Eros is at a breaking point. Collecting heartaches, loss, and near psychotic isolation, “Unhallowed” is the beginning of a powerful shift of ourstory. An introspective narrative starts the song lyrically, which is a collaborative effort written by myself, Guitarist Wacław "Vogg" Kiełtyka, and Bassist/Backing Vocalist Jared MacEachernand encapsulates the collective strength of this writing team. "Anchored by an absolutely monstrous groove, the vocals melodically mirror the state of mind of Eros as he reels from the loss of his mother to a drug overdose and begins a slow downwardspiral into madness. However, the culmination of the track infuses some much-needed light, but will it be enough?”
MACHINE HEAD’s upcoming album, 'ØF KINGDØM AND CRØWN' is a 13 track concept album set in a decimated futuristic wasteland where the sky is stained crimson red. The crux of thestory is based on two main characters: Character #1 Ares:(pronounced Aries), our main, who loses the love of his life (Amethyst) and goes on a murderous rampage against the vile sect responsible for her murder. Character #2 Eros:(pronounced Arrows) the perpetrator, who loses his mother to a drug overdose and becomes radicalized in the aftermath. Eros goes off the deep end manifesting his ownkilling spree. The lyrics detail how their lives intertwine.
The colossal concept comes with a list of equally colossal packaging for various physical formats including 16 different worldwide vinyl formats, deluxe vinyl box set (with bonus tracks), CDs(both old-school longbox and jewel box options), multi-color cassettes, and a limited-edition Digipak with bonus tracks.
CDs, Digipak, cassettes, and all digital formats will be available on Aug 26th, with all vinyl formats arriving on Nov 25th. Pre-order the new albumHERE.
Catch MACHINE HEAD on the road across Europe, starting in August. For ticket information, click here.
Electric Happy Hour (Live): August 31 - Glasgow @ Garage (SOLD OUT) September 4 - Iverness @Ironworks (SOLD OUT) September 4 - Aberdeen @ Lemontree (SOLD OUT) September 5 - Dundee @ Fat Sams September 6 - Edinburgh @ Liquid Room (SOLD OUT)
Machine Head & Amon Amarth "Vikings & Lionhearts" Tour Dates:
SEPTEMBER 08th NOTTINGHAM, Arena 09th CARDIFF, Arena 10th LONDON, Wembley Arena 12th MANCHESTER, Arena 13th DUBLIN, 3 Arena 16th ZURICH, Hallenstadion 17th VIENNA, Stadthalle 18th KRAKOW, Tauron Arena 20th TALLINN, Saku Arena 21st HELSINKI, Ice Hall 23rd OSLO, Spektrum 24th STOCKHOLM, Hovet 26th COPENHAGEN, Forum Black Box 27th HAMBURG, Barclays Arena 28th FRANKFURT, Festhalle 30th OBERHAUSEN, König Pilsener Arena
OCTOBER 01st BERLIN, Velodrom 02nd AMSTERDAM, Afas Live 04th MILANO, Lorenzini District 06th BARCELONA, Sant Jordi 07th MADRID, Vistalegre 08th LA CORUNA, Coliseum 09th LISBON, Campo Pequeno 12th PARIS, Zenith 14th MUNICH, Olympiahalle 15th LEIPZIG, Arena 16th PRAGUE, Tipsport Arena 18th BUDAPEST, Barba Negra 20th ESCH SUR ALZETTE, Rockhal 21st BRUSSELS, Forest National 22nd STUTTGART, Schleyerhalle
Vogg states following on the release of the collaboration: As you probably know, we have an exceptional guest, the metal legend and friend of ours, one and only Robb Flynn. His part of the track became one of my favorite parts of this album. It's a huge honor to have Robb in this project, and I hope you will dig a song. It's a different song, not blasting madness as most of the songs on this record but still powerful, fast, and crushing.
Flynn comments on the collaboration as follows:"When Vogg asked me to sing on this Decapitated track, I was honored to jam with pioneers and such insane musicians. When he sent the track I was blown away at this incredible melodic section in the middle. When he told me the song was called Iconoclast, I knew exactly what needed to be said. An Iconoclast is "a destroyer of images used in religious worship". This song had to address the hateful, growing fascist Evangelical movement growing around the world. The cruel men who wish to hide their cruelty under a cloak of faith and zealotry."
More from Decapitated:
DECAPITATED
- "Cancer Culture" out today!
- video for single "Iconclast" feat. Robb Flynn revealed
Today, the band is proud to release their 8th studio album "Cancer Culture". Its the most versatile album the band has released so far, surprising fans with elements they have never used before, such as guest appearances on vocals.
Vogg states following on the release of the album: "Cancer Culture is out today!!! We've been waiting for this special moment for a very long time. It seems like ages, five years since our latest release "Anticult", sixteen months of working on the "Cancer Culture" album and waiting almost a year to be able to share it with you finally.
You can expect to hear various tracks, outstanding production, fantastic artwork, and of course, as always, something you have not likely to hear on the Decapitated album before. To celebrate this day, we decided to release a video for "Iconoclast". For this occasion, we returned to the studio where all had started, where we recorded drums for the album, to feel an incredible energy and cool vibes again, while making the video.
Again, Jarek Szubrycht (Carnival is Forever) has written amazing lyrics about the disproportion between the dreams, ambitions, and aspirations of humanity.
The leading engineer of the album was Tomasz Zed Zalewski (Anticult), David Castillo was responsible for mixing the album, and Ted Jensen for the final touch for mastering.
The amazing cover artwork comes from Fabio Timpanaro, an Italian artist whose art perfectly describes what the band wanted to tell through visual art.
We are giving you today the "Cancer Culture". Decapitated is back, strong and alive! From pain to strength!
