Last week I talked about how LA rockers, Silver Snakes, sound like a blend of NIN and Stabbing Westward, and now they are streaming their new album, Sabateur, in full over at AltPress.com. Head on over, check it out, and let us know what you think.
Saboteur is the the band’s third full-length record and it’s due out on Friday, February 5th, via Evil Ink Records and can be pre-ordered here.
Singer Alex Estrada stated:
Saboteur is an exciting release for us. Not only with the new labels and touring opportunities, but stylistically it’s a record that we had to push ourselves to write. The ideas were there but the execution was very different for us. We’ve introduced new elements while maintaining our identity. This band started out much different from what it is today and we can only hope that Saboteur showcases that growth and our constant desire to forge our own path.
Silver Snakes will kick off their tour with Coheed and Cambria, glassjaw, and I The Mighty in the coming weeks. Tickets are on sale here.
Silver Snakes Tour Dates:
Feb 14 – Flagstaff, AZ – The Hive (w/I The Mighty)
Feb 15 – Albuquerque, NM – Launchpad (w/I The Mighty)
Feb 18 – St. Louis, MO – Firebird (w/I The Mighty)
Feb 19 – Indianapolis, IN – Emerson Theatre (w/I The Mighty)
Feb 20 – Rochester, NY – The Club @ Water Street (w/I The Mighty)
Feb 22 – Boston, MA – House of Blues (w/Coheed and Cambria, glassjaw, I The Mighty)
Feb 23 – Boston, MA – House of Blues (w/Coheed and Cambria, glassjaw, I The Mighty)
Feb 24 – Toronto, ON – Opera House (w/glassjaw)
Feb 25 – Royal Oak, MI – Royal Oak Music Theater (w/Coheed and Cambria, glassjaw, I The Mighty)
Feb 26 – Chicago, IL – Aragon Ballroom (w/Coheed and Cambria, glassjaw, I The Mighty)
Feb 27 – St. Paul, MN – Myth Live Event Center (w/Coheed and Cambria, glassjaw, I The Mighty)
Feb 28 – Milwaukee, WI – The Rave (w/glassjaw)
Feb 29 – Columbus, OH – The LC Indoor Pavilion (w/Coheed and Cambria, glassjaw, I The Mighty)
Mar 1 – Pittsburgh, PA – Stage AE (w/Coheed and Cambria, glassjaw, I The Mighty)
Mar 2 – Washington, DC – Echostage (w/Coheed and Cambria, glassjaw, I The Mighty)
Mar 4 – New York, NY – Theater at Madison Square Garden (w/Coheed and Cambria, glassjaw, I The Mighty)
Mar 5 – Philadelphia, PA – The Fillmore (w/Coheed and Cambria, glassjaw, I The Mighty)
Mar 6 – Virginia Beach, VA – Shaka’s (w/glassjaw)
Mar 7 – Raleigh, NC – The Ritz (w/Coheed and Cambria, glassjaw, I The Mighty)
Mar 8 – Charlotte, NC – The Fillmore (w/Coheed and Cambria, glassjaw, I The Mighty)
Mar 10 – Miami, FL – The Fillmore (w/Coheed and Cambria, glassjaw, I The Mighty)
Mar 11 – Orlando, FL – Hard Rock Live (w/Coheed and Cambria, glassjaw, I The Mighty)
Mar 12 – St. Petersburg, FL – Jannus Live (w/Coheed and Cambria, glassjaw, I The Mighty)
Mar 13 – Jacksonville, FL – Jack Rabbits (w/glassjaw)
Mar 14 – Atlanta, GA – Tabernacle (w/Coheed and Cambria, glassjaw, I The Mighty)
Mar 15 – Nashville, TN – Marathon Music Works (w/Coheed and Cambria, glassjaw, I The Mighty)
Mar 16 – Baton Rouge, LA – Varsity Theatre (w/glassjaw)
Mar 17 – Houston, TX – Revention Music Center (w/Coheed and Cambria, glassjaw, I The Mighty)
Mar 18 – San Antonio, TX – Alamo City Music Hall (w/glassjaw)
Mar 19 – Dallas, TX – South Side Ballroom (w/Coheed and Cambria, glassjaw, I The Mighty)
Mar 21 – Tempe, AZ – The Marquee (w/Coheed and Cambria, glassjaw, I The Mighty)
Mar 22 – Los Angeles, CA – Hollywood Palladium (w/Coheed and Cambria, glassjaw, I The Mighty)
Mar 23 – San Francisco, CA – The Masonic (w/Coheed and Cambria, glassjaw, I The Mighty)
Mar 24 – San Diego, CA – The Observatory (w/glassjaw)
Mar 25 – Las Vegas, NV – Brooklyn Bowl Las Vegas (w/Coheed and Cambria, glassjaw, I The Mighty)
Mar 26 – Salt Lake City, UT – The Complex (w/Coheed and Cambria, glassjaw, I The Mighty)
Mar 27 – Denver, CO – Fillmore Auditorium (w/Coheed and Cambria, glassjaw, I The Mighty)
Rock Hard \m/
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If you ever wondered what fresh mid-to-late ‘90s-era music was like, Silver Snakes delivers your chance to hear it the first time around.The band’s latest single, “Glass,” opens up with some techno (that’s what I call it) synthy-sounding stuff that’s awfully reminiscent of NIN, and when the vocals start in, then it sounds like Stabbing Westward, which was obviously influenced by NIN and others of its ilk at the time.
Check out the track at Revolvermag.com and tell us what you think in our comments section down below.
The song is found on Silver Snakes’ upcoming record,Saboteur, which will be released via Evil Ink Records (U.S.) and Pelagic Records (Europe) on February 5th. Album pre-orders are available now from Evil Ink Records (U.S.) and Pelagic Records(Europe).
Silver Snakes Tour Dates:
Jan 25 – Los Angeles, CA – Silverlake Lounge
Feb 1 – Los Angeles, CA – Silverlake Lounge
Feb 14 – Flagstaff, AZ – The Hive (w/I The Mighty)
Feb 15 – Albuquerque, NM – Launchpad (w/I The Mighty)
Feb 18 – St. Louis, MO – Firebird (w/I The Mighty)
Feb 19 – Indianapolis, IN – Emerson Theatre (w/I The Mighty)
Feb 20 – Rochester, NY – The Club @ Water Street (w/I The Mighty)
Feb 22 – Boston, MA – House of Blues (w/Coheed and Cambria, glassjaw, I The Mighty)
Feb 23 – Boston, MA – House of Blues (w/Coheed and Cambria, glassjaw, I The Mighty)
Feb 24 – Toronto, ON – Opera House (w/glassjaw)
Feb 25 – Royal Oak, MI – Royal Oak Music Theater (w/Coheed and Cambria, glassjaw, I The Mighty)
Feb 26 – Chicago, IL – Aragon Ballroom (w/Coheed and Cambria, glassjaw, I The Mighty)
Feb 27 – St. Paul, MN – Myth Live Event Center (w/Coheed and Cambria, glassjaw, I The Mighty)
Feb 28 – Milwaukee, WI – The Rave (w/glassjaw)
Feb 29 – Columbus, OH – The LC Indoor Pavilion (w/Coheed and Cambria, glassjaw, I The Mighty)
Mar 1 – Pittsburgh, PA – Stage AE (w/Coheed and Cambria, glassjaw, I The Mighty)
Mar 2 – Washington, DC – Echostage (w/Coheed and Cambria, glassjaw, I The Mighty)
Mar 4 – New York, NY – Theater at Madison Square Garden (w/Coheed and Cambria, glassjaw, I The Mighty)
Mar 5 – Philadelphia, PA – The Fillmore (w/Coheed and Cambria, glassjaw, I The Mighty)
Mar 6 – Virginia Beach, VA – Shaka’s (w/glassjaw)
Mar 7 – Raleigh, NC – The Ritz (w/Coheed and Cambria, glassjaw, I The Mighty)
Mar 8 – Charlotte, NC – The Fillmore (w/Coheed and Cambria, glassjaw, I The Mighty)
Mar 10 – Miami, FL – The Fillmore (w/Coheed and Cambria, glassjaw, I The Mighty)
Mar 11 – Orlando, FL – Hard Rock Live (w/Coheed and Cambria, glassjaw, I The Mighty)
Mar 12 – St. Petersburg, FL – Jannus Live (w/Coheed and Cambria, glassjaw, I The Mighty)
Mar 13 – Jacksonville, FL – Jack Rabbits (w/glassjaw)
Mar 14 – Atlanta, GA – Tabernacle (w/Coheed and Cambria, glassjaw, I The Mighty)
Mar 15 – Nashville, TN – Marathon Music Works (w/Coheed and Cambria, glassjaw, I The Mighty)
Mar 16 – Baton Rouge, LA – Varsity Theatre (w/glassjaw)
Mar 17 – Houston, TX – Revention Music Center (w/Coheed and Cambria, glassjaw, I The Mighty)
Mar 18 – San Antonio, TX – Alamo City Music Hall (w/glassjaw)
Mar 19 – Dallas, TX – South Side Ballroom (w/Coheed and Cambria, glassjaw, I The Mighty)
Mar 21 – Tempe, AZ – The Marquee (w/Coheed and Cambria, glassjaw, I The Mighty)
Mar 22 – Los Angeles, CA – Hollywood Palladium (w/Coheed and Cambria, glassjaw, I The Mighty)
Mar 23 – San Francisco, CA – The Masonic (w/Coheed and Cambria, glassjaw, I The Mighty)
Mar 24 – San Diego, CA – The Observatory (w/glassjaw)
Mar 25 – Las Vegas, NV – Brooklyn Bowl Las Vegas (w/Coheed and Cambria, glassjaw, I The Mighty)
Mar 26 – Salt Lake City, UT – The Complex (w/Coheed and Cambria, glassjaw, I The Mighty)
Mar 27 – Denver, CO – Fillmore Auditorium (w/Coheed and Cambria, glassjaw, I The Mighty)
Rock Hard \m/
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Celldweller’s self-titled debut LP came out nearly 10 years ago – it was stunning. Every track stood out. If you were into early NIN, Ministry’s Psalm 69, or Pitchshifter, this was for you. Like a lot of its contemporaries it had all the essential elements, techno sound, atmospheric drum’n’bass beats and nice heavy thrash guitars. What set it apart from the rest was excellent vocals and really good song writing; it even had two versions of the same song that complemented each other really well.
This second (third overall) Celldweller (Wish Upon A Blackstar) LP has been long awaited by legions of fans. Straight out of the gate it stumbles, falls, and has to be shot by a pirate out of kindness (and because the ships larders are pretty empty).
Celldweller Wish Upon A Blackstar has great production and it’s put together well, but all the excellent, catchy hooks from the first time around seem to have been replaced with generic late-‘90s dance tracks – not even good ones. I feel that to fully appreciate this CD the way it was intended I’d need to be in a nightclub, about four beers and three pills worse off. Wish Upon A Blackstar came with a free sticker, but there were no free drugs included so I’m stuck sober, listening to dodgy dance tracks with a bit of occasional metal.
Disclaimer: Pirates don’t do drugs. Say no to drugs. Drugs are bad. If you need drugs to enjoy music, its being done wrong.
“Eon” starts off with some promise, but quickly disappoints. There’s a great riff it doesn’t do anything with. “I Can’t Wait” is a reasonable track, but feels forced. At over five minutes, it’s got a long intro, you can feel a good song in there trying to get out, it just keeps meandering off on weird overlong techno segues between sections that feels like far too much self indulgence born of nearly a decade of people telling Klayton his first LP was awesome.
“Gift for You” is just under six minutes of dragging ambient something, that’s the best word for it, “something.” It’s like an intro, you’re waiting for something to happen, a song to start and suddenly you realize its six minutes later and the next song’s up. “The Lucky One” again feels like it started as a good idea, but is twice the length it oughta be and just drags on and on… and on.
“Birthright” starts with a really cool bass riff, and then again falls to pieces with an intro that goes on four times longer than it should, then a second intro that leads to what sounds like, yup, a third intro. Once you’re past the foreplay (the actual track doesn’t start until about 1:20) it’s passable, there’s some violins and orchestration in there that must’ve cost a lot to put together, but 11 tracks in it’s too little too late.
“It Makes No Difference Who We Are” feels like two half decent ideas looped a few times and called a song. “The Best It’s Gonna Get,” yeah, this starts off OK but feels like song writing by numbers: decent riff intro, weird ambient bit, bass driven verse, overlong segue’s between sections with unnecessary bleeps and noises to fill in gaps, which just serves to annoy.
“Tainted” sounds like the same four bars looped, a few extra guitars provide some weight to the sound, but there’s no structure to it as a song and the last two minutes drag like nails down a blackboard.
The Verdict: [rating:1.5]
The first Celldweller LP was actually quite good. If this was just more of the same with different tracks I’d have given it a minor thumb’s up. As it is I feel he’s become a victim of his own ambition; trying to create something that may have sounded like a good idea that on record sounds pretty terrible. If Klayton ever shows up on my boat I’ll be keelhauling him for this.
It’s a shame after such a promising first album that the 2nd one is decidedly uninspiring, drab and generally dull. I was really hoping to like Wish Upon a Blackstar, and could not be more disappointed by the lame horse that Celldweller’s allowed to trot out of the gate.
Similar Artists:
NIN, Ministry, Pitchshifter, Skrillex
- Yell! Rating (x/5 Skulls):
- [rating:1.5]
- Artist
- Celldweller
- Album:
- Wish Upon a Blackstar
- Year Released:
- 12 June 2012
- Label:
- FiXT Music
- Genre
- Electronica, Industrial, Drum and Bass, Dubstep
- Official URL:
- Celldweller
“We have settled more into our own sound and the themes of the album are easy to relate to, the energy is up, the drumming is more intense, the guitars are louder, soft parts are softer and the electronics are much more noticeable.”
SAYS VOCALIST / GUITARIST ANDREAS WEISS of what listeners should expect to hear on both Refuge and during the band’s live shows.
The Rabid Whole Show Dates:
– April 27, 2012 – Bovine Sex Club [15] – Toronto, ON (CD RELEASE SHOW) w/ Raised Emotionally Dead + Ogenix
– May 25, 2012 – Cafe Chaos, Montreal, QC w/Ogenix
– May 26, 2012 – Le Magog, Sherbrooke, QC w/Ogenix
Track Listing for Refuge:
1. Future
2. Metro
3. Corporate
4. New System
5. Serenity Falls
6. Solution
7. Rhythmic Reflection
8. Stargazer
9. Delusion
10. Refuge
“My predecessors went indie first and it felt like it’s right thing to do. Sometimes, the hardest thing to do is to find the team that believes in what you do” said lead singer, Davey. “It spoke volumes to me when Standby and my management said, ‘fuck yeah, lets make Generation Fuck Star the first track.’ In my life, I’ve had many instances where the industry has told me, ‘no.’ This instance was the first of many that confirmed, to me, that this team shared my vision.”
Said Neil Sheehan, owner of Standby Records, of the collaboration:
“What made the first incarnation of Rock N’ Roll tick was how it connected with the youth while
rebelling against the older generation’s antiquated perceptions of how things should be. As we further the progress of Rock N’ Roll 2.0, we couldn’t do it better than working with a visionary of youthful rebellion like Davey Suicide. Some will call him a shock rocker…those that ignore the problems of today’s generation and think that old fashion ideals and visions are the only way the world works. Davey Suicide is the embodiment of something new. He’s not shocking. He’s right. We couldn’t be happier to work with an artist with this sense of vision.”
This partnership has given Davey the freedom to realize his creative vision without limitations. On their music and motivation, Davey said, “What makes art and music special is that we don’t have to have boundaries. They’re only there because we put them there. My music is the epitome of what happens when you throw your scripts out the window and anything goes.”
‘Generation Fuck Star’ will be released on iTunes on May 1st, with the video premiere airing on Blank TV the same day. You can catch an exclusive first look at the visual & audio chaos via Bloody Disgusting on Tuesday, April 24th at noon EST. When describing the single, Davey stated,
“Generation Fuck Star is about breaking the mold, doing what you want, how you want, and not because you are told to be a certain way. The consumer can see through the cookie cutter bands and that’s why their love for those bands is fleeting. Give them music that means something and they’ll stand by your side, forever. Another label wanted to sign me but they were too scared to release Generation Fuck Star as my first single. That proved to me, they weren’t avant garde enough.”
Directed by renown photographer and filmmaker Chad Michael Ward, it promises to be ”the breath of fresh air that music fans need”, as stated on Davey Suidice’s Facebook page. Chad Michael Ward is best known for his work with such artists as Marilyn Manson, Fear Factory, and Black Veil Brides as well as his stunning fashion and portrait portfolio.
Davey Suicide is:
Davey Suicide – Vocals
Frankie Sil – Bass, Back-up Vox
Ben Graves – Drums
Needlz – Keyboard, Programming, Back-Up Vox
Eric Griffin – Guitar
Source: Standby Records
Davey Suicide
Chapter 04 of Wish Upon A Blackstar is the last digital chapter to be put out before the release of the full album. No prior tracks express Klayton’s knack for hybridizing genres as well as these two songs. “I Can’t Wait” melds stuttering dubstep basslines, dynamic percussion, precision glitch edits, and the signature Celldweller guitar attacks and infectious vocal deliveries. “Gift For You”, on the other hand, is a departure in its simplicity. Downtempo bass carries the tune, with flourishes of dubstep wobble, while sparse and airy guitar notes add accent in between Klayton’s subdued verses.
In conjunction with the new music release, Celldweller has launched a remix contest for “I Can’t Wait” on FiXT Remix (www.fixtremix.com). The public contest is free to enter and promises a $500 cash prize to 1st Place, $250 cash prize to 2nd Place & $100 cash prize to 3rd Place – all personally chosen by Klayton himself, from all entries submitted by the September 30th, 2011 deadline. Selected mixes will also appear on a FiXT Remix CD & Digital compilation.
BONUS: Celldweller Live Show 2011 – Featurette Interview with Klayton
About Celldweller:
Celldweller is the hybrid fusion of aggressive electronic music combined with orchestral and rock influences. Klayton, the multi-instrumentalist artist, producer, songwriter, performer, programmer, and re-mixer, is the mastermind behind it all.
Known worldwide for pioneering new sounds and methods for creating his tracks, Klayton continues to generate music that resonates to both fans and the entertainment industry worldwide.
Klayton recently released Cellout EP 01, featuring studio versions of 3 songs from the Celldweller Live Show, hitting the #1 iTunes Electronic Album in 5 Countries, as well as going top #10 in 12 Countries. Cellout EP 01 also broke into the top #80
Albums in the US iTunes Store across all genres.
Klayton owns and operates FiXT, which includes an indie record label, a Film/TV licensing arm, an online remix community (www.fixtremix.com) and an online retail store (www.fixtstore.com). The FiXT Store features over 1,000 artists from 200+ labels, and specializes in aggressive electronic music culture, including over 20,000 Digital Tracks, 500 CD Titles and hundreds of Apparel items from artists like Deadmau5, Asking Alexandria, Enter Shikari, Swedish House Mafia, Tiesto and clothing companies such as Bleeding Star Clothing, Malus Clothing and more.
Celldweller, Klayton
This album is a concept album of sorts that Reznor decided to create buzz for by using his concerts and different websites in a guerrilla marketing campaign worthy of the best in the business. But if you ignore all that, what you are left with is a stellar release that gives you reason to listen to him again. The subject is the year 2022, after the U.S. has become a totalitarian state not so different from Orwell’s 1984 and Huxley’s Brave New World. A war between government and religion ensues and Reznor is there to bring us through the fight with all the venom he can muster.
Not as good as Pretty Hate Machine, Year Zero is still worthy of the Nine Inch Nail moniker and when was the last time you could say that?
Similar Artists:
Marilyn Manson, Depeche Mode, The Cure, Massive Attack, Muse, Kmfdm, Mindless Self Indulgence, Aphex Twin