Ritual (The Black Dahlia Murder album)
Ritual is the fifth studio album by American death metal band The Black Dahlia Murder. It was released on June 21 in North America via Metal Blade Records, it is Shannon Lucas on drums. The album sold 12,960 copies in the United States in its first week of release and debuted at No. 31 on the Billboard 200. The album has sold 51,000 copies in the US as of September 2015; the album was once again produced by Mark Lewis, who worked on the band's 2009 album Deflorate. Frontman Trevor Strnad considers Ritual "the most focused Black Dahlia Murder strike of all time.""The whole thread of the songs is more tied together than before," explains Strnad. "Part of it was kind of like,'What can we do that's the most Black Dahlia Murder thing? What's going to be the most quintessential Black Dahlia Murder thing we can do?' That's kind of. And ` Ritual', it just lends itself to that -- all of that. Everyone has an association with some kind of ritual, so we just thought it was the next logical step."Recalling the writing process that led to Ritual's eventual twelve songs, Strnad says that "every song that got brought forth was exciting and more three-dimensional, more twists and turns, more surprises.
There's more ups and downs and taking people on a journey this time."Co-founder Brian Eschbach, credits the presence of fellow guitarist Ryan Knight, who joined the band during Deflorate, with helping to move things forward on this particular venture. "It's been more collaborative than it's been in years," Eschbach notes. "The last two albums I wrote most of the music, this one it's a 50-50 effort between me and. He lifted what we were doing on the last album so much from what we've done before, his different techniques and stylings that he knows how to wield. It's exciting for us to have that be part of the band now." Strnad adds that Knight "is an educated musician, he's brought that kind of aspect into the band, too. We came to him having higher expectations, he's exceeded all of those And I would say this time, with'Ritual', we nailed it harder than we have before."The first lyrics in the first track, "A Shrine to Madness", are a reference to a quote which appeared in the 1997 video game Castlevania: Symphony of the Night.
The song "Moonlight Equilibrium" was made available for streaming on April 29, 2011 at Metal Blade's web site. The song "Conspiring with the Damned" became available for streaming on May 17, 2011 via lambgoat.com. Audio samples of all the tracks that are set to appear on "Ritual" were available for streaming at Amazon.com the 7th May. The entire album was made available for public streaming on June 14, 2011 on MSN; the album was released on June 21 in North America via Metal Blade Records. All lyrics written by Trevor Strnad.
Unhallowed is the debut studio album by American melodic death metal band The Black Dahlia Murder. It was released through Metal Blade Records on June 17, 2003. An enhanced version of the album was released. Metal Blade released a limited edition vinyl version of Unhallowed on August 20, 2013 in honor of the album's tenth anniversary; the band performed the album in its entirety on their spring 2016 tour with Disentomb. The intro and outro to this record come from the guide Butchering the Human Carcass for Human Consumption by The Church of Euthanasia; the intro is a narration of the section "Gutting" and the outro is from the section titled "Beheading". The songs "The Blackest Incarnation" and "Closed Casket Requiem" appeared on the EP A Cold-Blooded Epitaph and were re-recorded for this album. All lyrics written by Trevor Strnad; the Black Dahlia MurderTrevor Strnad – lead vocals Brian Eschbach – rhythm guitar, backing vocals John Kempainen – lead guitar David Lock – bass Cory Grady – drumsAdditionalMike Hasty – production, engineer Ryan "Bart" Williams – engineer Jason Clifton – mastering Brian Ebert – photography Adam Wentworth – artwork Jon Zig – artwork
A music genre is a conventional category that identifies some pieces of music as belonging to a shared tradition or set of conventions. It is to be distinguished from musical form and musical style, although in practice these terms are sometimes used interchangeably. Academics have argued that categorizing music by genre is inaccurate and outdated. Music can be divided into different genres in many different ways; the artistic nature of music means that these classifications are subjective and controversial, some genres may overlap. There are varying academic definitions of the term genre itself. In his book Form in Tonal Music, Douglass M. Green distinguishes between form, he lists madrigal, canzona and dance as examples of genres from the Renaissance period. To further clarify the meaning of genre, Green writes, "Beethoven's Op. 61 and Mendelssohn's Op. 64 are identical in genre – both are violin concertos – but different in form. However, Mozart's Rondo for Piano, K. 511, the Agnus Dei from his Mass, K. 317 are quite different in genre but happen to be similar in form."
Some, like Peter van der Merwe, treat the terms genre and style as the same, saying that genre should be defined as pieces of music that share a certain style or "basic musical language." Others, such as Allan F. Moore, state that genre and style are two separate terms, that secondary characteristics such as subject matter can differentiate between genres. A music genre or subgenre may be defined by the musical techniques, the style, the cultural context, the content and spirit of the themes. Geographical origin is sometimes used to identify a music genre, though a single geographical category will include a wide variety of subgenres. Timothy Laurie argues that since the early 1980s, "genre has graduated from being a subset of popular music studies to being an ubiquitous framework for constituting and evaluating musical research objects". Among the criteria used to classify musical genres are the trichotomy of art and traditional musics. Alternatively, music can be divided on three variables: arousal and depth.
Arousal reflects the energy level of the music. These three variables help explain why many people like similar songs from different traditionally segregated genres. Musicologists have sometimes classified music according to a trichotomic distinction such as Philip Tagg's "axiomatic triangle consisting of'folk','art' and'popular' musics", he explains that each of these three is distinguishable from the others according to certain criteria. The term art music refers to classical traditions, including both contemporary and historical classical music forms. Art music exists in many parts of the world, it emphasizes formal styles that invite technical and detailed deconstruction and criticism, demand focused attention from the listener. In Western practice, art music is considered a written musical tradition, preserved in some form of music notation rather than being transmitted orally, by rote, or in recordings, as popular and traditional music are. Most western art music has been written down using the standard forms of music notation that evolved in Europe, beginning well before the Renaissance and reaching its maturity in the Romantic period.
The identity of a "work" or "piece" of art music is defined by the notated version rather than by a particular performance, is associated with the composer rather than the performer. This is so in the case of western classical music. Art music may include certain forms of jazz, though some feel that jazz is a form of popular music. Sacred Christian music forms an important part of the classical music tradition and repertoire, but can be considered to have an identity of its own; the term popular music refers to any musical style accessible to the general public and disseminated by the mass media. Musicologist and popular music specialist Philip Tagg defined the notion in the light of sociocultural and economical aspects: Popular music, unlike art music, is conceived for mass distribution to large and socioculturally heterogeneous groups of listeners and distributed in non-written form, only possible in an industrial monetary economy where it becomes a commodity and in capitalist societies, subject to the laws of'free' enterprise... it should ideally sell as much as possible.
Popular music is found on most commercial and public service radio stations, in most commercial music retailers and department stores, in movie and television soundtracks. It is noted on the Billboard charts and, in addition to singer-songwriters and composers, it involves music producers more than other genres do; the distinction between classical and popular music has sometimes been blurred in marginal areas such as minimalist music and light classics. Background music for films/movies draws on both traditions. In this respect, music is like fiction, which draws a distinction between literary fiction and popular fiction, not always precise. Country music known as country and western, hillbilly music, is a genre of popular music that originated in the southern United States in the early 1920s; the polka is a Czech dance and genre of dance music familiar throughout Europe and the Americas. Rock music is a broad genre of popular music that originated as "rock and roll" in the United States in the early 1950s, developed into a range of different styles in the 1960s and particular
Miasma is the second album by American death metal band The Black Dahlia Murder. Released through Metal Blade Records on July 12, 2005, Miasma is the only album to feature drummer Zach Gibson, who replaced founding member and drummer, Cory Grady, as well as being the last with bassist David Lock. Gibson left the band the following year after the release of the album and was replaced by Shannon Lucas of All That Remains; the album's title, refers to Miasma theory. The track "Dave Goes to Hollywood" was entitled "Vice Campaign". Music videos were released for the tracks "Statutory Ape", "A Vulgar Picture", "Miasma"; the Black Dahlia MurderTrevor Strnad - vocals Brian Eschbach - guitar John Kempainen - guitar David Lock - bass Zach Gibson - drumsAdditonal personnelGarret Gross, Randy Vanderbilt and The Black Dahlia Murder - backing vocals Amber Blankenship - celloProductionProduced by Andreas Magnuson, Chris Dowhan and Randy Vanderbilt Brian Slagel - executive producer
Deflorate is the fourth album by American death metal band The Black Dahlia Murder. Released through Metal Blade Records on September 15, 2009; the album sold 12,000 copies in the United States in its first week of release and debuted at position #43 on the Billboard 200. Deflorate is the first album to feature new guitarist Ryan Knight. Trevor has stated in an interview that the album has more of a "classic feel" and that the drums have more of a "live sound". Trevor has touched on the lyrical subjects of some songs, such as "I Will Return" being about cryogenic freezing; the third track of the album, "A Selection Unnatural", was made available for streaming on July 7, 2009 through the Revolver website. The cover art was painted by Tony Koehl; the album comes with a bonus DVD titled "We're Going Places" that contains tour footage from around the world as well as in-studio recording footage. A video for "Necropolis" was made available at the Revolver website on September 4, 2009. Necropolis is a free song for the IOS rhythm game Tap Tap Revenge 3 and was a part of the soundtrack for the 2011 video game Saint's Row: The Third.
The album reached to #43 on the Billboard 200 in one week. According to the lyric booklet, the album's outro solo is credited to producer Jason Suecof. All lyrics written by Trevor Strnad; the Black Dahlia MurderBrian Eschbach – guitar Ryan Knight – guitar Shannon Lucas – drums Trevor Strnad – vocals Ryan Williams – bass guitarProductionProduced by Jason Suecof, Mark Lewis and The Black Dahlia MurderAdditional personnelJason Suecof - outro guitar solo on "I Will Return"
Serpentine Dominion is an American death metal supergroup consisting of Killswitch Engage guitarist Adam Dutkiewicz, Cannibal Corpse vocalist George "Corpsegrinder" Fisher and former The Black Dahlia Murder drummer Shannon Lucas. They released their debut album on October 28, 2016; the origins of Serpentine Dominion can be traced back to 2009's Rockstar Energy Drink Mayhem Festival, which Killswitch Engage, Cannibal Corpse and The Black Dahlia Murder were all part of. The project began when Dutkiewicz wrote songs for Fisher and asked him to perform vocals over them, which he agreed to. Dutkiewicz stated that the songs were written for Fisher. Shannon Lucas was tapped to record the drums for the album. On July 22, 2016 the band announced that their name would be "Serpentine Dominion". On August 11, 2016, they revealed the release date and track listing for their self-titled debut, to be released under Metal Blade Records. Serpentine Dominion was released on October 28, 2016, was met with positive reviews from both fans and critics.
Serpentine Dominion's sound has been described as death metal, extreme metal, when asked about the project's musical style, Dutkiewicz said: "It's not straight death metal — there's some melodic elements in there — but it's much faster and more aggressive than Killswitch Engage is. And the drums are blazing, so Shannon is one of the only guys on the face of the earth who could pull this off." The band's lyrics for their debut album were written by Killswitch Engage vocalist Jesse Leach. Fisher stated in "The Jasta Show": "I was going to write stuff, you know what? Writing lyrics has just never been my thing, we were getting down to when I was supposed to go up there and lay down my vocals, and Adam just said'Look, I'll ask Jesse to write some stuff.' So he wrote it, I just said I don't want no pro-religious crap'cause I ain't about all that. Anyway, so it's more just about like getting revenge against corrupt motherfuckers and shit like that." Adam Dutkiewicz - guitar, vocals George Fisher - vocals Shannon Lucas - drums Serpentine Dominion
An extended play record referred to as an EP, is a musical recording that contains more tracks than a single, but is unqualified as an album or LP. Contemporary EPs contain a minimum of three tracks and maximum of six tracks, are considered "less expensive and time-consuming" for an artist to produce than an album. An EP referred to specific types of vinyl records other than 78 rpm standard play and LP, but it is now applied to mid-length CDs and downloads as well. Ricardo Baca of The Denver Post said, "EPs—originally extended-play'single' releases that are shorter than traditional albums—have long been popular with punk and indie bands." In the United Kingdom, the Official Chart Company defines a boundary between EP and album classification at 25 minutes of maximum length and no more than four tracks. EPs were released in various sizes in different eras; the earliest multi-track records, issued around 1919 by Grey Gull Records, were vertically cut 78 rpm discs known as "2-in-1" records. These had finer than usual grooves, like Edison Disc Records.
By 1949, when the 45 rpm single and 331⁄3 rpm LP were competing formats, seven-inch 45 rpm singles had a maximum playing time of only about four minutes per side. As an attempt to compete with the LP introduced in 1948 by rival Columbia, RCA Victor introduced "Extended Play" 45s during 1952, their narrower grooves, achieved by lowering the cutting levels and sound compression optionally, enabled them to hold up to 7.5 minutes per side—but still be played by a standard 45 rpm phonograph. These were 10-inch LPs split onto two seven-inch EPs or 12-inch LPs split onto three seven-inch EPs, either sold separately or together in gatefold covers; this practice became much less common with the advent of triple-speed-available phonographs. Some classical music albums released at the beginning of the LP era were distributed as EP albums—notably, the seven operas that Arturo Toscanini conducted on radio between 1944 and 1954; these opera EPs broadcast on the NBC Radio network and manufactured by RCA, which owned the NBC network were made available both in 45 rpm and 331⁄3 rpm.
In the 1990s, they began appearing on compact discs. RCA had success in the format with their top money earner, Elvis Presley, issuing 28 Elvis EPs between 1956 and 1967, many of which topped the separate Billboard EP chart during its brief existence. During the 1950s, RCA published several EP albums of Walt Disney movies, containing both the story and the songs; these featured the original casts of actors and actresses. Each album contained two seven-inch records, plus a illustrated booklet containing the text of the recording so that children could follow along by reading; some of the titles included Snow White and the Seven Dwarfs and what was a recent release, the movie version of 20,000 Leagues Under the Sea, presented in 1954. The recording and publishing of 20,000 was unusual: it did not employ the movie's cast, years a 12 in 33⅓ rpm album, with a nearly identical script, but another different cast, was sold by Disneyland Records in conjunction with the re-release of the movie in 1963.
Because of the popularity of 7" and other formats, SP records became less popular and the production of SPs in Japan was suspended in 1963. In the 1950s and 1960s, EPs were compilations of singles or album samplers and were played at 45 rpm on seven-inch discs, with two songs on each side. Other than those published by RCA, EPs were uncommon in the United States and Canada, but they were sold in the United Kingdom, in some other European countries, during the 1950s and 1960s. Record Retailer printed the first EP chart in 1960; the New Musical Express, Melody Maker and Music Echo and the Record Mirror continued to list EPs on their respective singles charts. The Beatles' Twist and Shout outsold most singles for some weeks in 1963; when the BBC and Record Retailer commissioned the British Market Research Bureau to compile a chart it was restricted to singles and EPs disappeared from the listings. In the Philippines, seven-inch EPs marketed as "mini-LPs" were introduced in 1970, with tracks selected from an album and packaging resembling the album they were taken from.
This mini-LP format became popular in America in the early 1970s for promotional releases, for use in jukeboxes. Stevie Wonder included a bonus four-song EP with his double LP Songs in the Key of Life in 1976. During the 1970s and 1980s, there was less standardization and EPs were made on seven-inch, 10-inch or 12-inch discs running either 331⁄3 or 45 rpm; some novelty EPs used odd shapes and colors, a few of them were picture discs. Alice in Chains was the first band to have an EP reach number one on the Billboard album chart, its EP, Jar of Flies, was released on January 25, 1994. In 2004, Linkin Park and Jay-Z's collaboration EP, Collision Course, was the next to reach the number one spot after Alice in Chains. In 2010, the cast of the television series Glee became the first artist to have two EPs reach number one, with Glee: The Music, The Power of Madonna on the week of May 8, 2010, Glee: The Music, Journey to Regionals on the week of June 26, 2010. In 2010, Warner Bros. Records revived the format with their "Six-Pak" offering of six songs on a compact disc.
The first EPs were seven-inch vinyl records with more tracks than a normal single. Although they shared size and speed with singles, they were a recognizably different format than the seven-inch single. Alth