Event Metal : REVIVAL FEST Summer Of Noise - Metal Head Zine

Youth Project 

Present :

Revival FEST - Summer Of Noise
Minggu 24 April 2016
Live at Gor Dharma Ayu, Sport Center - Indramayu

Guest Star :

- Down For Life (Metalcore - Solo)
- Romy & The Jahats (Punk Rock - Jakarta)
- Saffar (Death Metal - Bandung)
Semesta (Gothic - Tangerang)
- The Sabotage (Street Pogo Punx - Jakarta)
- Knockdown (HC - Yogyakarta)
- Astana (Ghotic Deathcore - Majalengka)
- Over Fuck (Trash punk - Indramayu)
- Errol (Hardcore - Indramayu)

Supported By :

- Z.U.C
- Fedder 45273
- Jingga Savana
- Hijau Manufaktur
- Global
- Demonic Art
- Urbandit Distro
- Midori Store

Media Partner :

- Indramayu post
- Indometalzine (Indonesia Metal Magazine)
- Radio K2 FM

For info :
Cp / 088802205098
Invite / 5B8DC80A

Overfuck Band Trash Punk Indramayu, Mempersiapkan EP Album di Tahun 2016 Metal Head Zine

“Overfuck” adalah salah satu band indie dari kota Indramayu dengan genre Thrashpunk yang dibentuk pada tanggal 1 Maret 2000. Band yang beranggotakan Triee (vocalis), Donny (guitaris), Rengga (bassis), dan Fian (drummer) ini sering mengisi acara-acara pensi sekolah dan masih eksis hingga sekarang.

Overfuck terbentuk ketika para personil masih duduk ditingkat SMP, mereka sering kumpul bareng, mempunyai visi dan misi yang sama sehingga terbentuklah sebuah band yang dinamakan “Overfuck”. Kata Overfuck sendiri mengandung arti kebencian, seperti yang diungkapkan oleh Donny (guitaris), “Dulu semasa kami SMP, lagu-lagu yang kita bawakan banyak sekali mengandung unsur-unsur kebencian terhadap pemerintah, terhadap aparat-aparat penegak hukum yang memang masa itu kebanyakan band underground dan khususnya PUNK memang sangat membenci sistem di pemerintahan. Sebenarnya dulu maksud dinamakan OVERFUCK ini mengandung arti kebencian. Yaaa.. intinya biar bisa diingat aja!”

Overfuck terinfluence band-band dari dalam dan luar negeri seperti Turtles Jr, Tcukimay, dan Keparat untuk band dalam negeri, dan The Exploid, The Casualties, Sepultura, Anthrax dan Slayer untuk band luar negeri.

Overfuck sendiri tahun ini dijadwalkan akan rilis EP Album, dan beberapa lagu Overfuck yang sudah dishare di Reverbnation diantaranya: Pahlawan Devisa, Bobrok, Penguasa Tahta, Ambisi Tanpa Kendali dan Angeline serta 3 lagu baru masih tahap rekaman. Khusus lagu Angeline terdapat di Albun kompilasi HELLPRINT WEST JAVA INVASION. Lagu Angeline ini didedikasikan untuk seorang anak kecil di Bali yang menjadi korban kekerasan orang tuanya.

How Cacophonous Records changed extreme music

Having brought the likes of Cradle and Dimmu to an unsuspecting world, Cacophonous Records’ history is entwined with the birth of black metal. Can their resurrection herald a new, dark dawn?

In an era when there are almost as many record labels as there are bands making records, it’s easy to forget that there was a time when labels were fewer and further between, not least in the world of extreme metal. Back in the 80s and 90s, being signed became a genuine status symbol not least because, pre-internet, having a label behind you was often the only way to get your releases into the hands of fans and your music into the ears of potential listeners. No Bandcamp, YouTube, Spotify or Facebook back then – hell, we didn’t even have MySpace.

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It was against such a background that the explosion of second wave black metal took place and almost all the key releases of the 90s were scattered over just a handful of labels: Osmose, Candlelight, Deathlike Silence, Fullmoon, Misanthropy, Merciless, No Fashion and, of course, Cacophonous Records, who helped launch the likes of Cradle Of Filth, Dimmu Borgir, Bal-Sagoth, Gehenna, Primordial and Sigh.

Cacophonous released Gehenna’s Seen Through The Veils Of Darkness (The Second Spell) in 1995

Now, after more than a decade’s silence, Cacophonous is returning from the abyss, with its shadowy founder Frater Nihil once more at the helm. This year is set to see a slew of new releases, not only archive material but fresh recordings by completely new signings including The King Is Blind and The Infernal Sea. But before we look to the future we must venture into the dark past, to understand just why the label was so important...

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The roots of Cacophonous are actually embedded in another iconic UK label, Vinyl Solution. Growing from the Portobello Road record store of the same name, it offered a diverse roster from the worlds of techno, hip hop and hardcore punk, alongside significant thrash and death metal bands such as Cancer, Macabre, Cerebral Fix and Bolt Thrower.
Initially folding lyric sheets in exchange for a few records, before eventually taking over the mail order, Frater Nihil – then known simply as Neil Harding – was pretty well-versed in the business by the time he was offered a position overseeing the label. Almost immediately he set about to separate its metal component and turn it into a new self-contained label; Cacophonous was born.
The plan at first was to just release seven-inch records and this is what he did, showcasing underground acts such as Sigh, Kawir, Psychic Pawn, Megiddo and Monolith. The latter was a homegrown thrash/death metal band perhaps most notable for featuring drummer Nick Barker, a soon-to-be member of Cradle Of Filth – as it turned out, it was a crossing of paths with Cradle in 1993, and their induction of Barker, that would set the course for both parties.

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How Enslaved have stood the test of time

Over 25 fascinating years, Enslaved have shrugged off their underground roots to become one of the most enduring and fearless bands in metal. And they’ve done it all their way

In a world where we’re constantly fretting about the ability of younger bands to remain enduringly creative, the likes of Norway’s Enslaved, with 25 years of history and 13 albums to their name, could teach us all a thing or two. For their towering frontman, bassist/vocalist Grutle Kjellson, the secret is simple. “Make music for yourself,” he shrugs. “If it sounds good, then keep it. And don’t be a dick! Ha ha ha!”

Enslaved have carved a fascinating path, starting from primal black metal roots in the subgenre’s classic early-90s period, and reaching, by way of a spiritual embrace of ancient Norse culture, progressive compositions of cosmic profundity that with each release continue to redefine what extreme music is capable of. This March, they celebrate their 25th anniversary with three commemorative shows in London, each covering a period of the band’s history. This is no dewy-eyed nostalgia from a band past their prime, but a waypoint. Their creativity only continues to increase, along with the size of their fanbase.
Upon sitting down with Grutle and fellow founding member/guitarist Ivar Bjørnson, friends who formed Enslaved in their teens, and who remain the band’s core creative duo, Hammer’s first question has to be: how the hell do you do it?
Grutle, stoic but wry, takes the lead. “Maybe it’s because we change, at least in some way, from album to album. It’s really down to a simple philosophy, I think; we’ve always tried to evolve.”

Enslaved around the release of their debut, Vikingligr Veldi, in 1994

Ivar, softly spoken and earnest, concurs. “Having something as simple as that makes it easier. There’s never a question of why we’re doing it.”
“We like to check out different genres and be inspired,” adds Grutle. “If something we make sounds like something we’ve done before, we throw it away. Creating music is about making something interesting for yourself. If you’re trying to construct something to suit others, it’s not music – it becomes some sort of industry. It’s a cliché, but it’s supposed to be heartfelt.”
They lament how some young bands treat music as a business, and in doing so, lose something of the naivety that can lead to creative magic. Ivar reminisces of days gone by; when the band were reckless, full of self-belief. “The studio we recorded [1994 sophomore album] Frost in still has the record’s production sheet on the wall, because it shows that as long as you believe in your visions, you can take it quite far,” he states, proudly. “As we’ve progressed, the band’s popularity has grown immensely. The only thing that has gone downwards is the monetary income, and that’s the same for everyone. I’m not saying it’s ideal, but we feel more motivated, because I think we’re in it for the right reasons: for the love of doing it.”

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Lzzy Hale: living the rock’n’roll dream The Gospel according to Lzzy Hale

Halestorm’s leader might be a role model, but she’s still got time for the wild life.

From tour bus pranks to drunken antics, it’s all here. Horns up!

I DIDN'T NAME MYSELF LZZY

"It came from a superfan of ours when I was about 17 years old. I used to go by Liz, and this superfan was obsessed with me and Ozzy Osbourne. There was this thing on the internet called 'shipping' [fans imagining celebrities in relationships]. She did that with me and Ozzy and started calling me Lzzy. She was leaving messages on our first webpage, and then all these girls who came to the site thought that's how I spelled my name, so they started dropping the vowels from their own names! I thought it was kinda cool and I didn't correct them. I don't think that superfan even realises; it's been, like, 15 years since I've seen her. Wherever you are, thank you."

WORKING WITH DAVID DRAIMAN WAS AWESOME

“He was super-involved. He really wanted to showcase who I was as equally as he was. We spent a lot of time on the song [Device’s cover of Ozzy Osbourne and Lita Ford’s Close My Eyes Forever], and he showed me this trick in the studio, where if you’re struggling to hit a high note, you put your arms over your head so your lungs can expand and they’re not put under any strain. He’s very committed to every project he does, which I thought was super- inspiring. He doesn’t half-ass anything.”

I NEVER THOUGHT MY BROTHER AREJAY WOULD OPEN UP TO ME

“But we’ve come to this really interesting place in the past couple of years where we’re really close. We’re able to talk about things and be really open with each other – not just about our relationship but talking about girls. It’s been really nice having those heart-to-hearts.”

Why nobody can stop Babymetal

Beyond novelty. More than a phenomenon. We hit Japan and find Babymetal's world takeover gathering pace

The framed tour posters lining the backstage corridors of the Yokohama Arena testify to its storied past. The 17,000-capacity concert hall may not have the same cultural cachet as Tokyo’s illustrious Budokan, but it has acquired its own place in the national consciousness: The Rolling Stones, The Who, AC/DC, Queen and Kiss have graced its stage, trailblazing Japanese metal icons X Japan have headlined the venue – modelled on New York’s legendary Madison Square Garden – on no fewer than nine occasions, and it was here, on August 26, 2001, that Pantera played their final show, co-headlining (alongside Slayer) Beast Feast, Japan’s inaugural all-day metal festival.

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Sometime in 2013, Suzuka Nakamoto, Yui Mizuno and Moa Kikuchi, now better known to the world at large as Babymetal members Su-metal, Yuimetal and Moametal, were taken to the arena by their mentor Key ‘Kobametal’ Kobayashi for a J-Pop concert. One day, he promised the girls, their group would stand upon this stage, would see and hear thousands of dedicated fans singing their songs back to them. The three teenagers listened attentively to their producer as he outlined his vision for the future, each secretly wondering how such a seemingly impossible dream might come to pass.
Two years on, that prophecy has become a reality. On the penultimate weekend before Xmas, the trio are back at the Yokohama Arena, not as wide-eyed music fans, but as the headline attraction on two consecutive evenings. By mid-afternoon on December 12, there are thousands of fans patiently queuing in the light afternoon rain and ‘Sold Out’ stickers are plastered all over the numerous merchandise boards that surround the venue. Hours before showtime, there’s already a party atmosphere in place. Men in Lycra skeleton bodysuits pose for photos alongside tiny Babymetal doppelgangers, while teenage girls gleefully apply black and white face paint to their friends and strangers alike. More than just a regular gig, this feels like An Event.

John McMurtrie

The brace of shows in Yokohama are billed as ‘The Final Chapter Of Trilogy’ for Babymetal, closing out a hugely important year for the band domestically, which saw the girls play statement headline shows at the Saitama Super Arena (capacity: 30,000) and Makuhari Messe in Chiba (capacity: 25,000). In their native land, according to figures collated by the statistics-tracking company Oricon, the trio sold 47,241 copies of their self-titled album in 2015, plus an impressive 26,667 DVDs and 52,240 Blu-Ray copies of their Live At Budokan, Red Night & Black Night Apocalypse and World Tour 2014, Live In London collections. In the UK, Babymetal’s biggest market outside Japan, the band’s next headline gig, on April 2, will take place at the 12,500-capacity SSE Arena, Wembley. Such statistics have made ripples beyond the music industry: influential Japanese magazine Nikkei Business recently featured the group in their ‘100 People To Make The Next Generation’ power list, noting, “They are not Idols: they are first level artists.”

The most intriguing aspect of the trio’s weekend in Yokohama, then, is the notion that the shows are not merely a celebration, well-merited victory laps on a two-year campaign which has made the Japanese trio the most talked about new band on the planet, but that they will offer tantalising glimpses into Babymetal’s future.

The 10 best songs about drugs

In the second of a three-part series, these are the ten best songs about getting fucked up

In part two of our three part feature on sex, drugs, and rock 'n' roll we delve into the murky world of all things drug-related. It goes without saying that this a contentious subject and that we are in no way advocating the use of any of these substances. Drugs are bad, m'kay. That said, it is also the easiest of the three subjects to find songs about, and, like it or not, some of the greatest music ever made was written by who may have indulged in something rather stronger than Earl Grey.

Queens Of The Stone Age – Feel Good Hit Of The Summer

While many artists allude to drug use in some roundabout fashion, often denying all knowledge after the fact, there is no disguising the intent of the opening track from Queens Of The Stone Age's classic album, Rated R. Upon seeing the lyrics – “Nicotine, Valium, Vicodin, marijuana, ecstasy and alcohol” with a chorus of “cocaine” – Judas Priest frontman Rob Halford (who provided backing vocals) was noted to have said, “Ah, a rock 'n' roll cocktail. I know that one!”

Black Sabbath – Snowblind

If not for the whispered “cocaine” at the end of the first verse then it might appear to the casual listener that Snowblind, from Sabbath's Vol 4 album, paints a picturesque tale of winter at it's most beautiful. In fact, it was nothing of the sort: the band were completely obliterated on drugs, spending half the budget for the record on coke, which, according to guitarist Tony Iommi, they'd have delivered to the studio in speaker boxes. Pure as the driven snow, indeed.

Hawkwind – Motorhead

Come on, you didn't seriously think we'd do a feature on drug induced rock 'n' roll without including some Hawkwind, did you? Ironically, however, this classic – written by Lemmy at four o'clock in the morning, on the balcony of LA's Hyatt hotel – is all about speed, and when Lemmy got busted for possession of the substance by Canadian customs, he was promptly kicked out of the band for “doing the wrong drugs”. “Being fired from Hawkwind for drugs,” he said later, “is a bit like being thrown off the Empire State Building for liking heights!”

The Dwarves – Free Cocaine

Never backwards in coming forwards, punk rock mentalists The Dwarves make it known in no uncertain terms that they would quite like to partake in some Colombian marching power, and they'd be a lot happier if you paid for it. “The best things in life are free/And if they're free why don't you give them to me?” insists frontman Blag Dahlia. Whatever happened to “please” and “thank you”?

Zeke – Let's Get Drugs

“Hey, he's acting weird, it must be drugs,” begins this blisteringly fast ode to amphetamines from Seattle lunatics Zeke. Or at least that's what we're guessing the song's about, but most of the lyrics are completely indecipherable with the exception of the title and the words “let's get high”. Given that it clocks in at just 52 seconds long there was obviously some urgency in the matter. A more fitting title might be Let's Get More Drugs.

King Prawn – Smoke Some Shit

London punk/ska 'bois' King Prawn big up the biftah and sing salutations to skunk in this 420 friendly anthem from their massively underrated 2003 album Got The Thirst. Of course, there remains some considerable debate about whether marijuana use should be a criminal offence, to which the Prawn quite rightly respond: “Realise, illegal or legit/The whole world's still gonna take a hit.” Puff, puff, pass, bois.

Clutch – Spacegrass

Speaking of wacky tobaccy, it would be an act of almost criminal negligence not to include a little stoner rock in our countdown, and while Clutch have long surpassed the 'stoner' tag there can be no question that Spacegrass is the king of them all. Black Sabbath's leaf may be sweet, but it doesn't come any better than watching the universe expand in a Galaxy 500 with Jesus on the dashboard. Perfect.

Ramones – Now I Wanna Sniff Some Glue

The much missed 'brudders' Ramone may not want to walk around with you or go down to the basement, but they do seem rather keen on solvent abuse, glue being the drug of choice for penniless punk rockers back in the day. With Evo-Stik being considerably cheaper than cocaine or even speed, it was a no-brainer, which, incidentally, is what you'd have if you tried it. “I hope no one really thinks we sniff glue,” remarked bassist Dee Dee Ramone. “I stopped when I was eight.”

Alice In Chains – Sickman

In case it were ever needed, this is stark reminder of the damage done when drug use spirals out of control. We may have made light of the subject, but Godsmack (and several other songs from the Dirt album from whence it came) shows the grim reality of drug addiction, particularly heroin. “What's the difference, I'll die/In the sick world of mine,” sings vocalist Layne Staley, his lyrics proving horrible prophetic. At the time of his death, in 2002, he was reported to have weighed just 86 pounds.

The Wildhearts – Sick Of Drugs

This seems like a fitting end to our brief foray into all things illicit. While there have been many great songs written on or about drugs, the fact is that they often come at a heavy price (and not just financially), the Wildhearts being a prime example – former bassist Danny McCormack in particular struggling with heroin addiction. If memory serves, he also spent a month in a psychiatric hospital after an acid trip went badly wrong. Be careful out there, kids.

Why Scott Ian wants to turn off the internet

The Anthrax shredder on why his fans still by physical products

Following the release of Anthrax's new album For All Kings, mainman Scott Ian discusses what's now known as the 'Adele phenomenon'.

Scott knows full well that despite today's streaming culture, there are people out there who are willing to spend money on a physical product. He says that Anthrax are in a unique bracket of metal bands like Iron Maiden and Slayer and other “bands that have been doing it so long... have built and maintained an audience.”
“Our fans our very loyal and very strong and want that physical product,” he continues.
But obviously the internet and streaming services like Spotify and YouTube allow everyone on the planet to consume almost every song ever written at their leisure. Which Scott isn't all that happy about.
"If there was that option to have the internet to go away, I think the experience for everybody when it comes to music would be that much better," he argues.
Do you think shutting down the internet would be better for the music business?