Suche nach Mid90s: 11 Ergebnisse

THE COUNTRY SIDE OF HARMONICA SAM

The Country Side Of Harmonica Sam The Country Side of Harmonica Sam represents a rare and unique branch of contemporary country music. This is country music like it sounded in the late 50s and early 60s; more modern sounding than the 40s Hillbilly style sometimes seen on the rockabilly scene around Europe. At the same time, it's far from the contemporary Nashville sound of country music. With steady 4/4 shuffles, steel guitar, and tictac bass, the band performs their own original songs right alongside classics from Faron Young, Skeets McDonald, Bill Phillips, Billy Walker, and Ray Price-to name a few. The band consists of Peter Andersson (pedal steel), Ulrik Jansson (upright bass), Patrik Malmros (drums - August 2023), Robert Skoglund (drums August 2023 -), Johan Bandling Melin (lead guitar/harmony vocals) and Harmonica Sam (lead vocals/ rhythm guitar). With origins in the blues scene in the mid-90s, Harmonica Sam soon took an interest in 50s rock and country music. His debut album under his own name, »Rocker #1,« released on Enviken Records in 2008, featured piano rocker Boppin' Steve and The Domestic Bumblebees. In 2009, during a show, Sam crossed paths with pedal steel player Peter Andersson, who had a longstanding history of playing western swing and country music with Ulrik Jansson and Patrik Malmros. Johan Bandling Melin, a talented songwriter from the bluegrass scene, also joined, and they all teamed up to form The Country Side of Harmonica Sam. In 2013 the band released a 7» single, «Changing Her Thinking,» which created a buzz among country music and rockabilly fans. In 2015 the band went to Berlin and Lightning Recorders to record their debut album «Open Letter to the Blues.» For their second album, «A Drink After Midnight,» they chose to record at the local Gula Studion in Malmö, Sweden. The release of the first single from «A Drink After Midnight» in 2016, became a major dance floor hit on the retro scene across Europe with the B-side «Lookout Heart.» Their third album «Broken Bottle, Broken Heart» debuted in 2019, featuring the single «My First Broken Heart (Since My Last Broken Heart)/If That's the Way It's Gotta Be.» The single «Tell Her/This Train» was released on September 1, 2023, and the full album «Back to the Blue Side» on September 29, 2023. The Country Side of Harmonica Sam achieved notable recognition by winning the «Honky Tonk Group» category at the Ameripolitan Music Awards 2020 in Memphis, Tennessee.

Hamburg | Nochtspeicher

RAIN PARADE - „Last Rays Of A Dying Sun Tour 2024“

Rain Parade Rain Parade are set to return with their first UK and European dates since disbanding in 1986 hitting nine countries with a final date at the Azkena Festival in Spain for their first ever Spanish show. Founders Matt Piucci and Steven Roback have been writing songs together since 1981, along with co-founder David Roback, of Rain Parade. The Rain Parade debut album, Emergency Third Rail Power Trip (Enigma Records- US, Demon Records - UK) came out in 1983 and was internationally recognized as a masterpiece. Seven of the ten songs on that debut were sung by Matt and Steven, The bands second record, Explosions In The Glass Palace, recorded after David Roback left; garnered the same high praise as the debut with their reputation increasing ever since. Sid Griffin, leader of The Long Ryders has said: »We were in the Paisley Underground with Rain Parade back in the 1980s... Explosions In The Glass Palace is and will forever be the BEST recording from a Paisley Underground band, be it us, The Dream Syndicate, The Bangles, The Three O'Clock or whomever.« Both records directly influenced My Bloody Valentine, Ride, The Stone Roses, Teenage Fanclub, Charlatans and naturally Creation boss Alan McGee. The songs were covered by The Bluetones, Buffalo Tom, Bangles and a host of others. During the mid 80s the band toured the UK and Europe a few times recording a couple of BBC Whistle Test TV shows. »Rain Parade was the one that changed me.like an explosion in my mind, I saw them perform 'No Easy Way Down' on TV, and it was like, 'Here is something I can fully get behind.' It's just incredible, and I have to say would have been pretty influential on the early Ride sound for sure« Andy Bell of Ride John Thoman (guitar) joined Piucci and Roback in 1984 and went on to record their third and fourth LPs with them, Crashing Dream (Island 1985) and then Beyond The Sunset (Island) in 1986 before the band finally broke up later that year. Since then their legend has only grown which lead Piucci, Roback and Thoman to reunite in the US for some one-off California shows and eventually recording some songs for the 3x4 album (Yep Roc 2018) with their friends The Bangles, The Dream Syndicate and The Three O'Clock. And most recently this year's new album, Last Rays Of A Dying Sun which manages to sound both like a lost classic and the groundbreaking work of unknown new artist, emerging from their secret lair with a record ready to change the world. As MOJO puts it, »there's little rain on their new parade.« Wrapping sweet nuggets of pop confection in swirling clouds of interstellar psychedelia, Last Rays Of A Dying Sun is a record at once eminently engaging and delightfully ornate. Everything old is new again, and it's very easy to see the line that runs from the Summer of Love and the chiming tones of Jangle Pop to mid-eighties SoCal Paisley Underground of which Rain Parade was a pivotal component, through to the late-90's Elephant 6 Collective, straight to neo-psych indie rock of today. Last Rays Of A Dying Sun features the original 80s members Piucci, Roback and Thoman alongside guitarist Derek See (the Gentle Cycle / Chocolate Watch Band / Dean & Britta), drummer Stephan Junca (The Hellenes, Billy Talbot, boatclub), and vocalists Debbi and Vicki Peterson (The Bangles). Last Rays Of A Dying Sun is out on Flatiron Recordings, on their imprint Label 51. Flatiron Recordings. 2024 will also see Flatiron Records kick off the Rain Parade back catalogue reissues with more info to follow.

Hamburg | Nochtspeicher

Gatecreeper

GATECREEPER The new wave of American death metal needs a breakout album, and Dark Superstition is it. Gatecreeper's third full-length sees the Arizona death metal specialists--vocalist Chase H. Mason, guitarists Eric Wagner and Israel Garza, drummer Metal Matt Arrebollo and bassist Alex Brown--carving out their own path. The band's first album for Nuclear Blast is more concise, melodic, and memorable than anything they've done in the past. «We refined the song structures,» Mason says. «We're getting better at what we do.» Formed in 2013, Gatecreeper have spent the last decade steadily climbing the death metal ladder. Their self-titled 2014 EP established instant credibility as purveyors of the old-school form. The band signed with Relapse, releasing their full-length debut Sonoran Depravation in 2016. At once an homage to their desert origins and a statement of death metal intent, the record landed them a 2017 tour with Cannibal Corpse and Power Trip. In 2019, Gatecreeper unveiled Deserted, their ripping foray into self-described «stadium death metal.» It landed at number three on Decibel magazine's revered year-end top 40 list. When the pandemic subsided, Gatecreeper snagged a slot on the 2022 Decibel magazine tour alongside Obituary and Municipal Waste. These days, Gatecreeper are headliners in their own right, touring globally under their own banner. Think of Dark Superstition as Gatecreeper's answer to Entombed's Wolverine Blues or Dismember's Massive Killing Capacity, pivotal albums on which the songs got tighter and more rock influenced. Or even Paradise Lost, who went even further in a rock direction with albums like Icon and Draconian Times. «In the mid-90s, all those bands were evolving into doing their own thing,» Mason says. «I feel like we've incorporated that timeline into Gatecreeper.» Dismember played a particularly prominent role in Dark Superstition. The band's drummer and main songwriter Fred Estby flew to Arizona to work with Gatecreeper in pre-production, helping them put the finishing touches on their songs. You can hear that classic Swedish influence on «Masterpiece of Chaos,» which evokes the tried-and-true Gatecreeper of Sonoran Depravation. Mason describes the track as «A nightmarish vision of a broken mirror with an ominous creature that lives within the fragmented web of glass.» Thematically speaking, Dark Superstition deals with the supernatural, divination, fear of the unknown, and trust in magic or chance. «Many of the songs incorporate supernatural ideas with my own experiences,» Mason says. «But the title itself is a reference to the Superstition Mountains in our home state of Arizona. It's a beautiful mountain range surrounded by tragedy and legends of hidden fortune.» Gatecreeper widen their sonic palette on «Flesh Habit» and lead single «The Black Curtain,» which bear the mark of UK goth magnates Sisters of Mercy and Fields of the Nephilim. It's still Gatecreeper in all their HM-2 glory, but with a sharper edge. «The Black Curtain» embodies the album's theme with a tale of divination. «It's about being trapped between living and dying,» Mason says. «A soul trapped in purgatory begging to be brought back by a supernatural force.» Meanwhile, advance single «Caught in the Treads» deals in the kind of high-powered melodic death metal that will surely beef up Gatecreeper's festival game. Along with leadoff track «Dead Star,» the song represents an elevated version of the band, primed for the bigger stages that the new album will inevitably take them to. Dark Superstition was recorded at God City Studios in Salem, Massachusetts, with Converge guitarist Kurt Ballou, who also mixed the album. The record is a direct result of Gatecreeper's experience, musical refinement, and commitment to death metal. «There's a lot of bands in our lane,» Mason says. «But we're trying to create our own.»

Wiesbaden | Schlachthof Wiesbaden

Gatecreeper + 200 Stab Wounds + Enforced - Dark Superstition European Tour 2024

GATECREEPER The new wave of American death metal needs a breakout album, and Dark Superstition is it. Gatecreeper's third full-length sees the Arizona death metal specialists--vocalist Chase H. Mason, guitarists Eric Wagner and Israel Garza, drummer Metal Matt Arrebollo and bassist Alex Brown--carving out their own path. The band's first album for Nuclear Blast is more concise, melodic, and memorable than anything they've done in the past. «We refined the song structures,» Mason says. «We're getting better at what we do.» Formed in 2013, Gatecreeper have spent the last decade steadily climbing the death metal ladder. Their self-titled 2014 EP established instant credibility as purveyors of the old-school form. The band signed with Relapse, releasing their full-length debut Sonoran Depravation in 2016. At once an homage to their desert origins and a statement of death metal intent, the record landed them a 2017 tour with Cannibal Corpse and Power Trip. In 2019, Gatecreeper unveiled Deserted, their ripping foray into self-described «stadium death metal.» It landed at number three on Decibel magazine's revered year-end top 40 list. When the pandemic subsided, Gatecreeper snagged a slot on the 2022 Decibel magazine tour alongside Obituary and Municipal Waste. These days, Gatecreeper are headliners in their own right, touring globally under their own banner. Think of Dark Superstition as Gatecreeper's answer to Entombed's Wolverine Blues or Dismember's Massive Killing Capacity, pivotal albums on which the songs got tighter and more rock influenced. Or even Paradise Lost, who went even further in a rock direction with albums like Icon and Draconian Times. «In the mid-90s, all those bands were evolving into doing their own thing,» Mason says. «I feel like we've incorporated that timeline into Gatecreeper.» Dismember played a particularly prominent role in Dark Superstition. The band's drummer and main songwriter Fred Estby flew to Arizona to work with Gatecreeper in pre-production, helping them put the finishing touches on their songs. You can hear that classic Swedish influence on «Masterpiece of Chaos,» which evokes the tried-and-true Gatecreeper of Sonoran Depravation. Mason describes the track as «A nightmarish vision of a broken mirror with an ominous creature that lives within the fragmented web of glass.» Thematically speaking, Dark Superstition deals with the supernatural, divination, fear of the unknown, and trust in magic or chance. «Many of the songs incorporate supernatural ideas with my own experiences,» Mason says. «But the title itself is a reference to the Superstition Mountains in our home state of Arizona. It's a beautiful mountain range surrounded by tragedy and legends of hidden fortune.» Gatecreeper widen their sonic palette on «Flesh Habit» and lead single «The Black Curtain,» which bear the mark of UK goth magnates Sisters of Mercy and Fields of the Nephilim. It's still Gatecreeper in all their HM-2 glory, but with a sharper edge. «The Black Curtain» embodies the album's theme with a tale of divination. «It's about being trapped between living and dying,» Mason says. «A soul trapped in purgatory begging to be brought back by a supernatural force.» Meanwhile, advance single «Caught in the Treads» deals in the kind of high-powered melodic death metal that will surely beef up Gatecreeper's festival game. Along with leadoff track «Dead Star,» the song represents an elevated version of the band, primed for the bigger stages that the new album will inevitably take them to. Dark Superstition was recorded at God City Studios in Salem, Massachusetts, with Converge guitarist Kurt Ballou, who also mixed the album. The record is a direct result of Gatecreeper's experience, musical refinement, and commitment to death metal. «There's a lot of bands in our lane,» Mason says. «But we're trying to create our own.»

WIEN - Österreich | Arena Wien

Gatecreeper + 200 Stab Wounds + Enforced - Dark Superstition European Tour 2024

GATECREEPER The new wave of American death metal needs a breakout album, and Dark Superstition is it. Gatecreeper's third full-length sees the Arizona death metal specialists--vocalist Chase H. Mason, guitarists Eric Wagner and Israel Garza, drummer Metal Matt Arrebollo and bassist Alex Brown--carving out their own path. The band's first album for Nuclear Blast is more concise, melodic, and memorable than anything they've done in the past. «We refined the song structures,» Mason says. «We're getting better at what we do.» Formed in 2013, Gatecreeper have spent the last decade steadily climbing the death metal ladder. Their self-titled 2014 EP established instant credibility as purveyors of the old-school form. The band signed with Relapse, releasing their full-length debut Sonoran Depravation in 2016. At once an homage to their desert origins and a statement of death metal intent, the record landed them a 2017 tour with Cannibal Corpse and Power Trip. In 2019, Gatecreeper unveiled Deserted, their ripping foray into self-described «stadium death metal.» It landed at number three on Decibel magazine's revered year-end top 40 list. When the pandemic subsided, Gatecreeper snagged a slot on the 2022 Decibel magazine tour alongside Obituary and Municipal Waste. These days, Gatecreeper are headliners in their own right, touring globally under their own banner. Think of Dark Superstition as Gatecreeper's answer to Entombed's Wolverine Blues or Dismember's Massive Killing Capacity, pivotal albums on which the songs got tighter and more rock influenced. Or even Paradise Lost, who went even further in a rock direction with albums like Icon and Draconian Times. «In the mid-90s, all those bands were evolving into doing their own thing,» Mason says. «I feel like we've incorporated that timeline into Gatecreeper.» Dismember played a particularly prominent role in Dark Superstition. The band's drummer and main songwriter Fred Estby flew to Arizona to work with Gatecreeper in pre-production, helping them put the finishing touches on their songs. You can hear that classic Swedish influence on «Masterpiece of Chaos,» which evokes the tried-and-true Gatecreeper of Sonoran Depravation. Mason describes the track as «A nightmarish vision of a broken mirror with an ominous creature that lives within the fragmented web of glass.» Thematically speaking, Dark Superstition deals with the supernatural, divination, fear of the unknown, and trust in magic or chance. «Many of the songs incorporate supernatural ideas with my own experiences,» Mason says. «But the title itself is a reference to the Superstition Mountains in our home state of Arizona. It's a beautiful mountain range surrounded by tragedy and legends of hidden fortune.» Gatecreeper widen their sonic palette on «Flesh Habit» and lead single «The Black Curtain,» which bear the mark of UK goth magnates Sisters of Mercy and Fields of the Nephilim. It's still Gatecreeper in all their HM-2 glory, but with a sharper edge. «The Black Curtain» embodies the album's theme with a tale of divination. «It's about being trapped between living and dying,» Mason says. «A soul trapped in purgatory begging to be brought back by a supernatural force.» Meanwhile, advance single «Caught in the Treads» deals in the kind of high-powered melodic death metal that will surely beef up Gatecreeper's festival game. Along with leadoff track «Dead Star,» the song represents an elevated version of the band, primed for the bigger stages that the new album will inevitably take them to. Dark Superstition was recorded at God City Studios in Salem, Massachusetts, with Converge guitarist Kurt Ballou, who also mixed the album. The record is a direct result of Gatecreeper's experience, musical refinement, and commitment to death metal. «There's a lot of bands in our lane,» Mason says. «But we're trying to create our own.»

MÜNCHEN | Backstage Halle

Gatecreeper - Dark Superstition European Tour 2024

GATECREEPER The new wave of American death metal needs a breakout album, and Dark Superstition is it. Gatecreeper's third full-length sees the Arizona death metal specialists--vocalist Chase H. Mason, guitarists Eric Wagner and Israel Garza, drummer Metal Matt Arrebollo and bassist Alex Brown--carving out their own path. The band's first album for Nuclear Blast is more concise, melodic, and memorable than anything they've done in the past. «We refined the song structures,» Mason says. «We're getting better at what we do.» Formed in 2013, Gatecreeper have spent the last decade steadily climbing the death metal ladder. Their self-titled 2014 EP established instant credibility as purveyors of the old-school form. The band signed with Relapse, releasing their full-length debut Sonoran Depravation in 2016. At once an homage to their desert origins and a statement of death metal intent, the record landed them a 2017 tour with Cannibal Corpse and Power Trip. In 2019, Gatecreeper unveiled Deserted, their ripping foray into self-described «stadium death metal.» It landed at number three on Decibel magazine's revered year-end top 40 list. When the pandemic subsided, Gatecreeper snagged a slot on the 2022 Decibel magazine tour alongside Obituary and Municipal Waste. These days, Gatecreeper are headliners in their own right, touring globally under their own banner. Think of Dark Superstition as Gatecreeper's answer to Entombed's Wolverine Blues or Dismember's Massive Killing Capacity, pivotal albums on which the songs got tighter and more rock influenced. Or even Paradise Lost, who went even further in a rock direction with albums like Icon and Draconian Times. «In the mid-90s, all those bands were evolving into doing their own thing,» Mason says. «I feel like we've incorporated that timeline into Gatecreeper.» Dismember played a particularly prominent role in Dark Superstition. The band's drummer and main songwriter Fred Estby flew to Arizona to work with Gatecreeper in pre-production, helping them put the finishing touches on their songs. You can hear that classic Swedish influence on «Masterpiece of Chaos,» which evokes the tried-and-true Gatecreeper of Sonoran Depravation. Mason describes the track as «A nightmarish vision of a broken mirror with an ominous creature that lives within the fragmented web of glass.» Thematically speaking, Dark Superstition deals with the supernatural, divination, fear of the unknown, and trust in magic or chance. «Many of the songs incorporate supernatural ideas with my own experiences,» Mason says. «But the title itself is a reference to the Superstition Mountains in our home state of Arizona. It's a beautiful mountain range surrounded by tragedy and legends of hidden fortune.» Gatecreeper widen their sonic palette on «Flesh Habit» and lead single «The Black Curtain,» which bear the mark of UK goth magnates Sisters of Mercy and Fields of the Nephilim. It's still Gatecreeper in all their HM-2 glory, but with a sharper edge. «The Black Curtain» embodies the album's theme with a tale of divination. «It's about being trapped between living and dying,» Mason says. «A soul trapped in purgatory begging to be brought back by a supernatural force.» Meanwhile, advance single «Caught in the Treads» deals in the kind of high-powered melodic death metal that will surely beef up Gatecreeper's festival game. Along with leadoff track «Dead Star,» the song represents an elevated version of the band, primed for the bigger stages that the new album will inevitably take them to. Dark Superstition was recorded at God City Studios in Salem, Massachusetts, with Converge guitarist Kurt Ballou, who also mixed the album. The record is a direct result of Gatecreeper's experience, musical refinement, and commitment to death metal. «There's a lot of bands in our lane,» Mason says. «But we're trying to create our own.»

Essen | Turock

Gatecreeper - Dark Superstition European Tour 2024

GATECREEPER The new wave of American death metal needs a breakout album, and Dark Superstition is it. Gatecreeper's third full-length sees the Arizona death metal specialists--vocalist Chase H. Mason, guitarists Eric Wagner and Israel Garza, drummer Metal Matt Arrebollo and bassist Alex Brown--carving out their own path. The band's first album for Nuclear Blast is more concise, melodic, and memorable than anything they've done in the past. «We refined the song structures,» Mason says. «We're getting better at what we do.» Formed in 2013, Gatecreeper have spent the last decade steadily climbing the death metal ladder. Their self-titled 2014 EP established instant credibility as purveyors of the old-school form. The band signed with Relapse, releasing their full-length debut Sonoran Depravation in 2016. At once an homage to their desert origins and a statement of death metal intent, the record landed them a 2017 tour with Cannibal Corpse and Power Trip. In 2019, Gatecreeper unveiled Deserted, their ripping foray into self-described «stadium death metal.» It landed at number three on Decibel magazine's revered year-end top 40 list. When the pandemic subsided, Gatecreeper snagged a slot on the 2022 Decibel magazine tour alongside Obituary and Municipal Waste. These days, Gatecreeper are headliners in their own right, touring globally under their own banner. Think of Dark Superstition as Gatecreeper's answer to Entombed's Wolverine Blues or Dismember's Massive Killing Capacity, pivotal albums on which the songs got tighter and more rock influenced. Or even Paradise Lost, who went even further in a rock direction with albums like Icon and Draconian Times. «In the mid-90s, all those bands were evolving into doing their own thing,» Mason says. «I feel like we've incorporated that timeline into Gatecreeper.» Dismember played a particularly prominent role in Dark Superstition. The band's drummer and main songwriter Fred Estby flew to Arizona to work with Gatecreeper in pre-production, helping them put the finishing touches on their songs. You can hear that classic Swedish influence on «Masterpiece of Chaos,» which evokes the tried-and-true Gatecreeper of Sonoran Depravation. Mason describes the track as «A nightmarish vision of a broken mirror with an ominous creature that lives within the fragmented web of glass.» Thematically speaking, Dark Superstition deals with the supernatural, divination, fear of the unknown, and trust in magic or chance. «Many of the songs incorporate supernatural ideas with my own experiences,» Mason says. «But the title itself is a reference to the Superstition Mountains in our home state of Arizona. It's a beautiful mountain range surrounded by tragedy and legends of hidden fortune.» Gatecreeper widen their sonic palette on «Flesh Habit» and lead single «The Black Curtain,» which bear the mark of UK goth magnates Sisters of Mercy and Fields of the Nephilim. It's still Gatecreeper in all their HM-2 glory, but with a sharper edge. «The Black Curtain» embodies the album's theme with a tale of divination. «It's about being trapped between living and dying,» Mason says. «A soul trapped in purgatory begging to be brought back by a supernatural force.» Meanwhile, advance single «Caught in the Treads» deals in the kind of high-powered melodic death metal that will surely beef up Gatecreeper's festival game. Along with leadoff track «Dead Star,» the song represents an elevated version of the band, primed for the bigger stages that the new album will inevitably take them to. Dark Superstition was recorded at God City Studios in Salem, Massachusetts, with Converge guitarist Kurt Ballou, who also mixed the album. The record is a direct result of Gatecreeper's experience, musical refinement, and commitment to death metal. «There's a lot of bands in our lane,» Mason says. «But we're trying to create our own.»

HANNOVER | Musikzentrum Hannover

Gatecreeper - Special Guests: 200 Stab Wounds & Enforced

GATECREEPER The new wave of American death metal needs a breakout album, and Dark Superstition is it. Gatecreeper's third full-length sees the Arizona death metal specialists--vocalist Chase H. Mason, guitarists Eric Wagner and Israel Garza, drummer Metal Matt Arrebollo and bassist Alex Brown--carving out their own path. The band's first album for Nuclear Blast is more concise, melodic, and memorable than anything they've done in the past. «We refined the song structures,» Mason says. «We're getting better at what we do.» Formed in 2013, Gatecreeper have spent the last decade steadily climbing the death metal ladder. Their self-titled 2014 EP established instant credibility as purveyors of the old-school form. The band signed with Relapse, releasing their full-length debut Sonoran Depravation in 2016. At once an homage to their desert origins and a statement of death metal intent, the record landed them a 2017 tour with Cannibal Corpse and Power Trip. In 2019, Gatecreeper unveiled Deserted, their ripping foray into self-described «stadium death metal.» It landed at number three on Decibel magazine's revered year-end top 40 list. When the pandemic subsided, Gatecreeper snagged a slot on the 2022 Decibel magazine tour alongside Obituary and Municipal Waste. These days, Gatecreeper are headliners in their own right, touring globally under their own banner. Think of Dark Superstition as Gatecreeper's answer to Entombed's Wolverine Blues or Dismember's Massive Killing Capacity, pivotal albums on which the songs got tighter and more rock influenced. Or even Paradise Lost, who went even further in a rock direction with albums like Icon and Draconian Times. «In the mid-90s, all those bands were evolving into doing their own thing,» Mason says. «I feel like we've incorporated that timeline into Gatecreeper.» Dismember played a particularly prominent role in Dark Superstition. The band's drummer and main songwriter Fred Estby flew to Arizona to work with Gatecreeper in pre-production, helping them put the finishing touches on their songs. You can hear that classic Swedish influence on «Masterpiece of Chaos,» which evokes the tried-and-true Gatecreeper of Sonoran Depravation. Mason describes the track as «A nightmarish vision of a broken mirror with an ominous creature that lives within the fragmented web of glass.» Thematically speaking, Dark Superstition deals with the supernatural, divination, fear of the unknown, and trust in magic or chance. «Many of the songs incorporate supernatural ideas with my own experiences,» Mason says. «But the title itself is a reference to the Superstition Mountains in our home state of Arizona. It's a beautiful mountain range surrounded by tragedy and legends of hidden fortune.» Gatecreeper widen their sonic palette on «Flesh Habit» and lead single «The Black Curtain,» which bear the mark of UK goth magnates Sisters of Mercy and Fields of the Nephilim. It's still Gatecreeper in all their HM-2 glory, but with a sharper edge. «The Black Curtain» embodies the album's theme with a tale of divination. «It's about being trapped between living and dying,» Mason says. «A soul trapped in purgatory begging to be brought back by a supernatural force.» Meanwhile, advance single «Caught in the Treads» deals in the kind of high-powered melodic death metal that will surely beef up Gatecreeper's festival game. Along with leadoff track «Dead Star,» the song represents an elevated version of the band, primed for the bigger stages that the new album will inevitably take them to. Dark Superstition was recorded at God City Studios in Salem, Massachusetts, with Converge guitarist Kurt Ballou, who also mixed the album. The record is a direct result of Gatecreeper's experience, musical refinement, and commitment to death metal. «There's a lot of bands in our lane,» Mason says. «But we're trying to create our own.»

Hamburg | Knust Hamburg

Gatecreeper - Dark Superstition European Tour 2024 + 200 Stab Wounds & Enforced

GATECREEPER The new wave of American death metal needs a breakout album, and Dark Superstition is it. Gatecreeper's third full-length sees the Arizona death metal specialists--vocalist Chase H. Mason, guitarists Eric Wagner and Israel Garza, drummer Metal Matt Arrebollo and bassist Alex Brown--carving out their own path. The band's first album for Nuclear Blast is more concise, melodic, and memorable than anything they've done in the past. «We refined the song structures,» Mason says. «We're getting better at what we do.» Formed in 2013, Gatecreeper have spent the last decade steadily climbing the death metal ladder. Their self-titled 2014 EP established instant credibility as purveyors of the old-school form. The band signed with Relapse, releasing their full-length debut Sonoran Depravation in 2016. At once an homage to their desert origins and a statement of death metal intent, the record landed them a 2017 tour with Cannibal Corpse and Power Trip. In 2019, Gatecreeper unveiled Deserted, their ripping foray into self-described «stadium death metal.» It landed at number three on Decibel magazine's revered year-end top 40 list. When the pandemic subsided, Gatecreeper snagged a slot on the 2022 Decibel magazine tour alongside Obituary and Municipal Waste. These days, Gatecreeper are headliners in their own right, touring globally under their own banner. Think of Dark Superstition as Gatecreeper's answer to Entombed's Wolverine Blues or Dismember's Massive Killing Capacity, pivotal albums on which the songs got tighter and more rock influenced. Or even Paradise Lost, who went even further in a rock direction with albums like Icon and Draconian Times. «In the mid-90s, all those bands were evolving into doing their own thing,» Mason says. «I feel like we've incorporated that timeline into Gatecreeper.» Dismember played a particularly prominent role in Dark Superstition. The band's drummer and main songwriter Fred Estby flew to Arizona to work with Gatecreeper in pre-production, helping them put the finishing touches on their songs. You can hear that classic Swedish influence on «Masterpiece of Chaos,» which evokes the tried-and-true Gatecreeper of Sonoran Depravation. Mason describes the track as «A nightmarish vision of a broken mirror with an ominous creature that lives within the fragmented web of glass.» Thematically speaking, Dark Superstition deals with the supernatural, divination, fear of the unknown, and trust in magic or chance. «Many of the songs incorporate supernatural ideas with my own experiences,» Mason says. «But the title itself is a reference to the Superstition Mountains in our home state of Arizona. It's a beautiful mountain range surrounded by tragedy and legends of hidden fortune.» Gatecreeper widen their sonic palette on «Flesh Habit» and lead single «The Black Curtain,» which bear the mark of UK goth magnates Sisters of Mercy and Fields of the Nephilim. It's still Gatecreeper in all their HM-2 glory, but with a sharper edge. «The Black Curtain» embodies the album's theme with a tale of divination. «It's about being trapped between living and dying,» Mason says. «A soul trapped in purgatory begging to be brought back by a supernatural force.» Meanwhile, advance single «Caught in the Treads» deals in the kind of high-powered melodic death metal that will surely beef up Gatecreeper's festival game. Along with leadoff track «Dead Star,» the song represents an elevated version of the band, primed for the bigger stages that the new album will inevitably take them to. Dark Superstition was recorded at God City Studios in Salem, Massachusetts, with Converge guitarist Kurt Ballou, who also mixed the album. The record is a direct result of Gatecreeper's experience, musical refinement, and commitment to death metal. «There's a lot of bands in our lane,» Mason says. «But we're trying to create our own.»

Berlin | SO 36

Gatecreeper - Dark Superstition European Tour 2024

GATECREEPER The new wave of American death metal needs a breakout album, and Dark Superstition is it. Gatecreeper's third full-length sees the Arizona death metal specialists--vocalist Chase H. Mason, guitarists Eric Wagner and Israel Garza, drummer Metal Matt Arrebollo and bassist Alex Brown--carving out their own path. The band's first album for Nuclear Blast is more concise, melodic, and memorable than anything they've done in the past. «We refined the song structures,» Mason says. «We're getting better at what we do.» Formed in 2013, Gatecreeper have spent the last decade steadily climbing the death metal ladder. Their self-titled 2014 EP established instant credibility as purveyors of the old-school form. The band signed with Relapse, releasing their full-length debut Sonoran Depravation in 2016. At once an homage to their desert origins and a statement of death metal intent, the record landed them a 2017 tour with Cannibal Corpse and Power Trip. In 2019, Gatecreeper unveiled Deserted, their ripping foray into self-described «stadium death metal.» It landed at number three on Decibel magazine's revered year-end top 40 list. When the pandemic subsided, Gatecreeper snagged a slot on the 2022 Decibel magazine tour alongside Obituary and Municipal Waste. These days, Gatecreeper are headliners in their own right, touring globally under their own banner. Think of Dark Superstition as Gatecreeper's answer to Entombed's Wolverine Blues or Dismember's Massive Killing Capacity, pivotal albums on which the songs got tighter and more rock influenced. Or even Paradise Lost, who went even further in a rock direction with albums like Icon and Draconian Times. «In the mid-90s, all those bands were evolving into doing their own thing,» Mason says. «I feel like we've incorporated that timeline into Gatecreeper.» Dismember played a particularly prominent role in Dark Superstition. The band's drummer and main songwriter Fred Estby flew to Arizona to work with Gatecreeper in pre-production, helping them put the finishing touches on their songs. You can hear that classic Swedish influence on «Masterpiece of Chaos,» which evokes the tried-and-true Gatecreeper of Sonoran Depravation. Mason describes the track as «A nightmarish vision of a broken mirror with an ominous creature that lives within the fragmented web of glass.» Thematically speaking, Dark Superstition deals with the supernatural, divination, fear of the unknown, and trust in magic or chance. «Many of the songs incorporate supernatural ideas with my own experiences,» Mason says. «But the title itself is a reference to the Superstition Mountains in our home state of Arizona. It's a beautiful mountain range surrounded by tragedy and legends of hidden fortune.» Gatecreeper widen their sonic palette on «Flesh Habit» and lead single «The Black Curtain,» which bear the mark of UK goth magnates Sisters of Mercy and Fields of the Nephilim. It's still Gatecreeper in all their HM-2 glory, but with a sharper edge. «The Black Curtain» embodies the album's theme with a tale of divination. «It's about being trapped between living and dying,» Mason says. «A soul trapped in purgatory begging to be brought back by a supernatural force.» Meanwhile, advance single «Caught in the Treads» deals in the kind of high-powered melodic death metal that will surely beef up Gatecreeper's festival game. Along with leadoff track «Dead Star,» the song represents an elevated version of the band, primed for the bigger stages that the new album will inevitably take them to. Dark Superstition was recorded at God City Studios in Salem, Massachusetts, with Converge guitarist Kurt Ballou, who also mixed the album. The record is a direct result of Gatecreeper's experience, musical refinement, and commitment to death metal. «There's a lot of bands in our lane,» Mason says. «But we're trying to create our own.»

LEIPZIG | UTConnewitz e. V.

Gatecreeper - Dark Superstition European Tour 2024

GATECREEPER The new wave of American death metal needs a breakout album, and Dark Superstition is it. Gatecreeper's third full-length sees the Arizona death metal specialists--vocalist Chase H. Mason, guitarists Eric Wagner and Israel Garza, drummer Metal Matt Arrebollo and bassist Alex Brown--carving out their own path. The band's first album for Nuclear Blast is more concise, melodic, and memorable than anything they've done in the past. «We refined the song structures,» Mason says. «We're getting better at what we do.» Formed in 2013, Gatecreeper have spent the last decade steadily climbing the death metal ladder. Their self-titled 2014 EP established instant credibility as purveyors of the old-school form. The band signed with Relapse, releasing their full-length debut Sonoran Depravation in 2016. At once an homage to their desert origins and a statement of death metal intent, the record landed them a 2017 tour with Cannibal Corpse and Power Trip. In 2019, Gatecreeper unveiled Deserted, their ripping foray into self-described «stadium death metal.» It landed at number three on Decibel magazine's revered year-end top 40 list. When the pandemic subsided, Gatecreeper snagged a slot on the 2022 Decibel magazine tour alongside Obituary and Municipal Waste. These days, Gatecreeper are headliners in their own right, touring globally under their own banner. Think of Dark Superstition as Gatecreeper's answer to Entombed's Wolverine Blues or Dismember's Massive Killing Capacity, pivotal albums on which the songs got tighter and more rock influenced. Or even Paradise Lost, who went even further in a rock direction with albums like Icon and Draconian Times. «In the mid-90s, all those bands were evolving into doing their own thing,» Mason says. «I feel like we've incorporated that timeline into Gatecreeper.» Dismember played a particularly prominent role in Dark Superstition. The band's drummer and main songwriter Fred Estby flew to Arizona to work with Gatecreeper in pre-production, helping them put the finishing touches on their songs. You can hear that classic Swedish influence on «Masterpiece of Chaos,» which evokes the tried-and-true Gatecreeper of Sonoran Depravation. Mason describes the track as «A nightmarish vision of a broken mirror with an ominous creature that lives within the fragmented web of glass.» Thematically speaking, Dark Superstition deals with the supernatural, divination, fear of the unknown, and trust in magic or chance. «Many of the songs incorporate supernatural ideas with my own experiences,» Mason says. «But the title itself is a reference to the Superstition Mountains in our home state of Arizona. It's a beautiful mountain range surrounded by tragedy and legends of hidden fortune.» Gatecreeper widen their sonic palette on «Flesh Habit» and lead single «The Black Curtain,» which bear the mark of UK goth magnates Sisters of Mercy and Fields of the Nephilim. It's still Gatecreeper in all their HM-2 glory, but with a sharper edge. «The Black Curtain» embodies the album's theme with a tale of divination. «It's about being trapped between living and dying,» Mason says. «A soul trapped in purgatory begging to be brought back by a supernatural force.» Meanwhile, advance single «Caught in the Treads» deals in the kind of high-powered melodic death metal that will surely beef up Gatecreeper's festival game. Along with leadoff track «Dead Star,» the song represents an elevated version of the band, primed for the bigger stages that the new album will inevitably take them to. Dark Superstition was recorded at God City Studios in Salem, Massachusetts, with Converge guitarist Kurt Ballou, who also mixed the album. The record is a direct result of Gatecreeper's experience, musical refinement, and commitment to death metal. «There's a lot of bands in our lane,» Mason says. «But we're trying to create our own.»

Stuttgart | Im Wizemann