Supreme death/black metal commando, Belphegor, has uploaded video footage from the band’s last rehearsal in June, offering a first impression of the sickness yet to be unleashed. Check it out here:

The video was filmed a few days before the band entered the Mana Studios in Florida with producer, Erik Rutan.

All announced titles are working titles. The new, yet-to-be-titled album is slated for release in March 2013 via Nuclear Blast Records worldwide.

Belphegor plans to continue to keep fans updated on the progress being made and provide insight into the recording process. Reports will be posted on a regular basis.

Stay tuned for more information.



Belphegor online…



Smallspace – No Matter (CD)


Dreamy indie-pop comes through on Smallspace’s disc, in the vein of The Flaming Lips, Grandaddy, and most of all “Kid A”-era Radiohead. However, it is during “Right Here” that Smallspace really begins to distance themselves from such an obvious tag; this is due to the electronic sound that burrows its way through the track. This version of electronic is not that type which is present in a number of the indie-dance acts that are such a glut in the market, but rather the style of electronic that one does not see much in the current; it draws from Plastikman a lot more than it does The Postal Service. This dead-pan sort of delivery (at least in terms of their electronic side) makes for a normalization of this decidedly-different sound, and on tracks like “For Days”, a sedate sort of vocal delivery struggles with a much more up-tempo arrangement.

This sedate sound is the one thing that links the entirety of “No Matter”, and while the disc will excite more those individuals into atmospheric composition, there are a few bones thrown the way of traditional (popular) music fans. Even as the instrumentation on “No Matter” tries to swallow up Jon’s vocals, a truce is made for one time only that allows the balance of electronic and organic to stay at a level amenable to casual fans. “Come Down Wake Up” is an interesting creature; the presence of guitar and bass on this track makes it bizarrely poppy, as a stark contrast to the rest of the disc. The guitar lines weave a sort of enchanting harmony that the much less specific electronic lines fail to do during the entirety of “No Matter”.

The disc’s sound is so coherent that “No Matter’s” run time, breaching the forty-minute mark honestly feels longer. There is no lack of differing sounds, but the disc in its entirety has the two-sided boon/bane of flowing together perfectly. While one track might feature a horn and another might come forth as more sedate than previous ones, the fact simply is that Smallspace does not really traverse the ends of their comfort zone nearly as much as they should. Without a complete divorce from their general sound at least once on “No Matter”, there is simply a most difficult time trying to go and keep the listener’s interest from flagging during this disc. This album knows what it is, but does not go as far as it can in terms of fleshing itself out.

Top Tracks: So We Say…, Right Here

Rating: 5.8/10

Smallspace – No Matter / 2005 Speedywagon / 11 Tracks / / / Reviewed 28 June 2005

Strut Digs Deeper Into Factory Records’ Dance Output

On September 17th, Strut release the second album in the FAC. DANCE series, bringing together sought after 12″ versions and rarities from Manchester’s revered Factory Records imprint. Despite a reputation for austere post-punk, the label’s first decade produced a slew of landmark dance records, primarily brought to the label by Rob Gretton, who valued tunes and beats over Situationist theory and laboratory experiments in popular art. Conversely, founder Tony Wilson disparaged pure dance music as lacking intellectual rigour. As a result, this second collection of early Factory dance sides occupies a compelling middle ground.

Revisiting the peerless studio work of Martin Hannett, Be Music (the collective pseudonym of New Order members Bernard Sumner, Stephen Morris and Peter Hook) and ACR drummer Donald Johnson, among others, FAC. DANCE 02 fleshes out Factory’s varied early forays into dance territory, widening the spectrum yet further from Volume One. The early version of A Certain Ratio’s angular funk classic “The Fox” from the band’s debut album To Each… rubs shoulders with Cheba Fadela’s Algerian rai blast, “N’Sel Fik”; Kalima’s uplifting dancefloor jazz also features, along with a sprawling electro dub of 52nd Street’s UK boogie classic “Can’t Afford”; we spotlight Dutch electronic band Minny Pops with the motorik “Blue Roses” alongside the heavy dub and reggae stylings of The Wake, X-O-Dus and ACR alter ego Sir Horatio; the Manchester / New York axis is also revisited once again with two potent post-punk funk blasts from E.S.G., the first US band to appear on Factory.

FAC. DANCE 02 is released in conjunction with Factory Records Ltd. The CD and LP packages feature detailed track notes by Factory biographer James Nice, together with rare photos. The digital version of the album features five tracks not featured on the physical formats.

CD 1

2. ESG – MOODY 2.46
7. X-O-DUS – SOCIETY 4.20
11. FADELA – N’SEL FIK 7.06

CD 2

1. 52nd STREET – CAN’T AFFORD (Unorganised mix) 10.02
2. NYAM NYAM – FATE 8.06
4. ESG – YOU’RE NO GOOD 3.09
6. QUANDO QUANGO – GO EXCITING (12″ mix) 5.57
9. THE WAKE – HOST 7.57
11. SECTION 25 – SAKURA 3.58


For More Information, Check Out:


Josh Small – Self/Titled (CD)


Using a banjo to peddle eir wares, Josh Small makes for a very American and alternative look on what is traditionally folk music. Not subscribing to the elitist feel of a number of Devendra Banhart-related CDs, Josh Small has the feeling on eir first track “Pushing Boulders” of one of the dime-a-dozen acoustic guitarists. What is different for me is eir heavy use of profanity in eir tracks; instead of being squeaky clean like Matthew West, Josh is much more similar to Rich Hardesty. In the second track, “Fall Motherfuckers Fall”, a catchy rhythm is built upon the shoulders of the banjo and a second set of vocals (Sumitra). The recording is nowhere near the best, but this gives this entire disc a homemade charm that will win over legion of fans. The use of banjo instead of acoustic guitar is a nice derivation from the typical acoustic-douchebag, and the wry humor present on this disc sets its apart from the insincerity of acts like John Maher, Jack Johnson and Dave Matthews. “Setting Up” uses a different arrangement from the traditional opening tracks of this disc – the staggered nature of the track offer a vision of Josh just idly strumming away at eir banjo, without caring who exactly is listening to eir.

Some of the tracks dwell in a repetition that Josh finds hard to break; such is the key problem with “Crying of Bunker 49”, which has little to do with the ultimately confusing Pynchon book that Small has modified the title. The deliberate and plodding tracks found on this disc (such as “2×2”) present another considerable roadblock for Josh; there is just not enough instrumentally or vocally to ensure that a listener’s attention through the 4-minute average runtime of these tracks.

Throwing in some of Dave Matthews’ shrill endings to “Look At Me”, Josh has probably eir strongest outing in the rough drumming found on this track. Simply put, more instrumentation is the panacea for all of Josh’s woes. The empty spots that plagued eir disappear when the crashing glass and deep drum-beats fill the track in a succinct and deliberative manner. Josh Small has created a disc that is well above the average for the genre, infusing a sense of sincerity and soul to a genre that is rife with panderers to a drunken frat-boy constituency. While there are some visible issues with the disc, Josh puts eir heart out on the line and it is this desire to just bare all that will win more people than a kid and eir banjo should.

Top Tracks: Not Cross, Look at Me

Rating: 6.3/10

Josh Small – Self/Titled / 2004 Pop Faction / 11 Tracks / / / Reviewed 15 February 2005

Bullhead (DVD)


Bullhead is a film that possesses an utterly untouchable plot, one in which cattle owner Jacky (Mattias Schoenaerts) ties eirself into the mafia through down and dirty dealings. There is substantial plot progression to be had during Bullhead, as viewers will learn about Jacky’s past and present, while the ramifications for eir future rapidly turn into a noose.

Each of the characters that are present in Bullhead have their own foibles, and I believe that this is the reason that the film is able to shine. Viewers will be able to identify with the motivations and desires of each character but can easily understand that they possess certain dark sides. The varied approach to providing Jacky’s backstory is done in a very natural and organic way. In much the same way as actually meeting a person and becoming their friend, Bullhead feeds its viewers bits and pieces of information and allows them to fill in the pieces.

Image Entertainment has added a number of features to the Bullhead DVD. We were particularly fond of the “Making of” feature, which got into the nitty gritty about the nuances that set Bullhead off from other titles. The commentary that was laid down by director Michael R. Roskam provides viewers with an additional context in which to enjoy the film, while the interview conducted with Roskam allows for a more in-depth discussion of the trends and themes that are presented here. Give yourself a few minutes to watch The One Thing to Do, a 2005 short film that represented an earlier Schoenaerts and Roskam effort. Roskam’s ability as a director has increased substantially from this title, which is no slouch.

Rating: 8.3/10


Bullhead (DVD) / 2012 Image Entertainment / 124 Minutes /

Metal Blade Records releases classic albums from rock musician Freddy Moore

Fans of Freddy Moore’s rock bands The Kats, Nu Kats, and BOY can finally purchases releases from these bands on iTunes. Re-mastered and being released for the first time ever digitally are The Kats Get Modern (1979), The Nu Kats Plastic Facts EP (1980), The Nu Kats Live @ Davlen (1981), BOY Westlake – Single (1983), and BOY Live on Hollywood Blvd (1984). If you are a fan of bands like Oingo Boingo, The Cars, and Talking Heads you definitely need to check out these releases. You can check out previews of every track from these releases on iTunes.

In honor of the release of these amazing rock albums/EP/and single, founding members of The Kats, Nu Kats, Boy, Skogie & the Flaming Pachucos, Freddy Moore (Acoustic Guitar, Vocals), Dennis Peters (Guitar, Vocals), and Mr. Ed Warnecke (Drums) will be performing a showcase at Genghis Cohen in Los Angeles, CA this Saturday (6/30). The band re-learned several songs from The Kats/Nu Kats/Boy era just for this show and will perform from 1030-1130pm, but will be arriving earlier in the evening to sound check, hangout, and chat with fans.

I Lost My TV Guide (Kats/Nu Kats/Boy), I Can’t Have You (Kats/Nu Kats/Boy)
Heart of Steel (Kats/Nu Kats), California Here I Come (Kats/Nu Kats)
King of the Wild Frontier (Kats/Nu Kats)
It’s Not A Rumor (Nu Kats/Boy), Busy Body (Nu Kats/Boy), World All Alone (Nu Kats)
I’m a Nu Kat (Nu Kats), Too Good To Be True (Boy), & more.

(all ages welcome)
740 N. Fairfax Ave, LA 90046
*Please tell the doorman you’re there for Freddy, Dennis & Ed

Links to the re-mastered albums below:
The Kats Get Modern

The Nu Kats Plastic Facts EP

The Nu Kats Live @ Davlen

BOY Westlake – Single

BOY Live on Hollywood Blvd

A Small Victory – The Pieces We Keep (CD)


Starting out “The Pieces We Keep” with some of the most tight playing I’ve heard on a disc recently, we are assaulted by sizzling guitar licks. Covering the same type of topics that numerous bands have covered for years, A Small Victory still yet tears down the paradigm of the post-punk or “emo” band to resurrect it on their own terms. Mark’s vocals roll out on the disc like the sweetest poetry, “If I had it all / Every breath of your whispers good night / I would trade it all for the wind to sting our bloodshot eyes [Hammer Strong],” while Luke, Danny, and John come it at the key points when one voice just wont do. Recalling the most solid moments of the All-American Rejects, Taking Back Sunday, Rufio, and fellow labelmates Park, A Small Victory creates little nuggets of post-punk perfection, perfect for dissection on Mtv or radio. “Their Lovers Fall” is another piece of the puzzle for A Small Victory, using some interesting time signatures, tempo changes, and what even sounds to be an uncredited synthesizer.

Starting out “My Sweet Explosion” with the utmost fuck-off line, “Last night with you was like waking with my wrists open”, A Small Victory still uses the Helloween-lite style of lead guitar with the bass, being ever-emotive, acting as another facet of Mark’s voice. While “Taste the Mercury” teeters on the line of innovation and mediocrity, furthering the rest of the disc, but not bringing much new into the mix, A Small Victory regroups for the final track, perennial emo top track “When Hearts Were Gold”. “When Hearts Were Gold” uses a fast, punchy type of rhythm guitar with the same type of start-stop tempo change and multipart harmony that A Small Victory has just got down.

This Georgia band had a lot to prove on their first EP, and I believe that they have stepped up to the plate and batted a home run with “The Pieces We Keep”. The high-water mark of the CD is the ending chorus, for “The Pieces We Keep”, “I’ve been doing some thinking. I’m sick of hearing my favorite songs play on your stereo.” To give the final finger to the off-stage significant other, A Small Victory has the disc end thematically the only way it could – with a tape slow-down and burn away to nothing. While these 6 songs still play as fresh from beginning to end as possible, I really want to know if A Small Victory has what it takes to keep their sound fresh over 45, instead of 20 minutes.

Rating : 7.5/10

Top Track : The Pieces We Keep

A Small Victory – The Pieces We Keep / 2003 Lobster Records / 6 Tracks / / / Released 04 November 2003 / Reviewed 03 December 2003

Lightning Bolt announces Fall tour

Providence, RI duo Lightning Bolt has announced a full North American Fall tour, including their second appearance at LA’s FYF Festival in September.  The band will also be issuing an archival EP of “lost” material from 2008 as a 12″ and digital release on Load Records, titled Oblivion Hunter to coincide with the tour.


08/21 Washington DC Rock ‘n Roll Hotel

08/22 Richmond, VA Gallery 5
08/23 Raleigh, NC Kings Barcade
08/24 Atlanta, GA The Goat Farm
08/25 Birmingham, AL Bottletree
08/26 New Orleans, LA Big Top Three Ring Circus
08/27 Houston, TX Fitzgerald’s
08/28 Dallas, TX Sons of Hermann Hall
08/29 Austin, TX Emo’s East
08/30 Santa Fe, NM Sol Santa Fe *
08/31 Phoenix, AZ Trunk Space
09/01 Los Angeles, CA FYF Fest
09/03 Oakland, CA The New Parish
09/04 San Francisco, CA Rickshaw Stop
09/06 Portland, OR Hawthorne Theater / MFNW #
09/07 Vancouver, BC Fortune Sound Club
09/08 Seattle, WA Showbox at the Market %
09/10 Salt Lake City, UT Kilby Court
09/12 Denver, CO Rhinoceropolis
09/13 Omaha, NE Waiting Room
09/14 Grinnell, IA Grinnell College
09/15 Chicago, IL Empty Bottle
09/16 Detroit, MI Magic Stick
09/17 Pittsburgh, PA Lawrenceville Moose
09/18 Philadelphia, PA Union Transfer
09/19 Baltimore, MD Floristree
09/20 Brooklyn, NY 285 Kent
09/23 Boston, MA Paradise Rock Club

* = w/ Purity Ring
# = w/ Quasi, White Fang
% = w/ Fucked Up, Ceremony



Facebook –


Label Page –


Today Capcom announced the talent which has created the music for DmC Devil May Cry in close collaboration with Capcom and Ninja Theory. Combichrist composed music that will be heard during cinematics and gameplay, including combat, while Combichrist catalogue tracks were also licensed to add to the game’s already adrenaline-pumping soundtrack.


“As an avid gamer myself I was honored to be asked to work on this project. I had a lot of fun digging myself into Dante’s psyche in order to create music to match the battle scenes and am equally as excited to license existing Combichrist music. I’m looking forward playing the finished game when it comes out.” – Andy LaPlegua, Lead Singer Combichrist, June 2012


Set in a contemporary world setting, DmC Devil May Cry reimagines the origin story of Dante, the brash protagonist of the Devil May Cry Series. DmC Devil May Cry is developed by the award-winning studio Ninja Theory in collaboration with Capcom, overseen by senior team members from previous Devil May Cry titles.


For more information and exclusive content, follow DmC on Facebook:



About the artists:


Combichrist is an industrial rock band formed in 2003 by Norwegian Andy LaPlegua, now based in Atlanta, Georgia. The band consists of only Andy in the studio and features Joe Letz, Z. Marr, Trevor Friedrich, Abbey Nex and others for live performances. The band tours constantly and has played in front of hundreds of thousands of fans, including a year’s worth of performances at the world’s biggest arenas as support for Rammstein. They have released 5 albums to date and are busy recording their sixth album, tentatively set for release in early 2013. For more information on Combichrist please visit or


Columbia, SC hard-rockers Crossfade have exclusively premiered their fan-driven music video for “Dear Cocaine” today on Following a personal video message from frontman Ed Sloan, Crossfade kicked off a social campaign allowing fans to submit their “Dear Cocaine” stories, revealing demons they are trying to overcome. The result is a heartfelt compilation of stories ranging from drug addiction and anorexia to bullying and social anxiety along with live footage of the band from Rock on the Range. The video can be viewed at


Bassist Mitch James says, “We hope you enjoy our newest single ‘Dear Cocaine,’ along with this very cool music video. It was shot with the help of our fans who submitted great pics/videos of themselves holding up signs with their ‘vices’ for all the world to see. We cannot thank them enough for taking the time to be a part of this. Even though the video is done, we still welcome more pics to add to our ultimate collection. Send them via Twitter @crossfademusic or Facebook @crossfadeband with the hashtag #dearcocaine. Again, thanks to everyone for the support and being a part of this awesome idea!”


“Dear Cocaine” is the 3rd single from Crossfade’s We All Bleed and is a tell-all track that delves deep into a personal and emotional story of battling addiction. The song follows “Prove You Wrong” and “Killing Me Inside,” which reached 16 on the active rock chart.


Crossfade released their third studio album We All Bleed on June 21st, 2011. After three years in the making, the new album explores lyrical themes of betrayal and isolation-a Crossfade trademark-but there’s also more than a hint of renewal and resolution.


The band is currently wrapping up a headlining tour with support from Weaving the Fate and Candlelight Red. Please see below for a list of remaining tour dates.


Tour dates are as follows:

6/29 – Asheville, NC – The Orange Peel

6/30 – Charleston, SC – Music Farm

7/1 – Charlotte, NC – Amos’ Southend


Crossfade’s debut self-titled, self-produced album was released on Columbia Records in 2004, which spawned top 10 Mainstream Rock hits “Cold,” “So Far Away” and “Colors,” propelling it to platinum status