INKcarceration Festival

Bad Omens

Bad Omens carefully direct each nuance of their music, approaching the process with an auteur mindset. The California quartet—Noah Sebastian [lead vocals], Joakim “Jolly” Karlsson [lead guitar, vocals], Nicholas Ruffilo [bass], and Nick Folio [drums]—explore the enigmatic idiosyncrasies of their signature sound on 2019’s Finding God Before God Finds Me [Sumerian Records], imbuing cinematic electronics and gospel stature into metallic melodies.

Produced by Noah and Jolly, the ten-track trip unfurls like the sonic equivalent of a gripping existential drama.

“What makes us a rock band is the fact we play instruments, but we’ve always been pretty experimental in terms of post-production,” explains Noah. “We dove after a specific sound without boundaries. What separates us is the attention to detail in every song.”

Bad Omens diligently worked to hone this approach since their 2016 self-titled debut. As the entire tracklisting tallied nearly 30 million streams, the breakthrough single “The Worst In Me” leapt past the 8 million mark on Spotify. Meanwhile, “Glass Houses” clocked 4.7 million Spotify streams, “Exit Wounds” racked up 2.6 million Spotify streams, and “Reprise (The Sound of the End),” “The Fountain,” “F E R A L,” and “Enough, Enough Now” each exceeded 1 million-plus on the platform. Along the way, they received looks from Alternative Press, New Noise, and Revolver and toured alongside everyone from Parkway Drive to Bullet For My Valentine and Asking Alexandria. Following Warped Tour 2017, the group commenced writing for what would become Finding God Before God Finds Me.

“The last record was so melancholic, sad, dark, and nihilistic at points,” he admits. “Before we started really writing the new record, I went through some things that opened up my mind and made me realize who I wanted to be as a musician, what message I wanted to send, and the feeling I needed to inspire. This is predominantly hopeful. There’s a sense of underdogs overcoming adversity. We should be a safe place for people. There’s also a musical feeling of uplifting catharsis. It’s not entirely happy or sad, but more so regal.”

This drove 2018 singles “Careful What You Wish For” and “The Hell I Overcame.” Fans immediately responded as the former generated 1.5 million Spotify streams and the latter quickly neared 2 million. With Jolly a world away in Sweden, they finished the record remotely, maximizing the time in between tours to cap off a panoramic vision.

The 2019 single “Burning Out” couples strains of piano and choir with trudging distortion and a sweeping and soaring chant of empowerment, “I was lost, but now I’m found under the lights and in the sound.”

“It’s about the impact music has made on me and how it saved me in a sense,” he continues. “It’s about my relationship with myself and music and how I overcame my emotions and took advantage of this ability to reach a better place. I wanted the lyrics to give you a sense of hope.”

Bad Omens slither through boundaries, only to ultimately choke convention in the process. The quartet—Noah Sebastian [vocals], Joakim “Jolly” Karlsson [guitar], Nick Ruffilo [bass], and Nick Folio [drums]—materialize with ghostly atmospherics, striking hooks, and the tingles of sensual high-register harmonies uplifted by cinematic production. Racking up over 250M worldwide streams to-date and earning acclaim, the band present an uncompromising and undeniable vision on their third full-length album, THE DEATH OF PEACE OF MIND [Sumerian Records].

“Making the record changed us as songwriters and musicians. In many ways I feel like it set me free as an artist because every decision made in the writing process was for myself, with no fear for anyone else’s expectations of what our third album should sound like. Be it our fans or our record label.”

They’ve always wielded this level of magic though…

The group’s 2016 self-titled debut, Bad Omens, yielded fan favorites such as “Glass Houses” and “The Worst In Me,” which eclipsed 20.4 million Spotify streams. On its heels, 2019’s Finding God Before God Finds Me spawned “Dethrone” [9.5 million Spotify streams] and “Careful What You Wish For” [8.8 million Spotify streams]. Along the way, they toured with numerous marquee acts and received tastemaker praise.

After their first headline tour was cancelled mid-way at the top of the Global Pandemic, the band found themselves at home in Los Angeles with plenty of time. Where they absorbed and imparted a different palette of unexpected inspirations. Channeling what the frontman describes at times as a “cursive sound,” they embraced a newfound confidence and boundlessly loose creativity. Anything went in the studio, and all “rules” were broken. Noah and Jolly wrote, produced, and engineered the music themselves while GRAMMY® Award-nominated producer and songwriter Zakk Cervini [Halsey, Grimes, Poppy, blink-182] lent his talents with the mix and master. Challenging himself, Noah decided to “make a track sampling items around the house, none of which were musical instruments.”

This ultimately became the framework for the first single “THE DEATH OF PEACE OF MIND.” Claps puncture the icy soundscape as his voice stretches from a breathy moan into an evocative and entrancing hook, breaking from a whisper into the seductive chant, “It wasn’t hard to realize. Love’s the death of peace of mind.” It culminates on a climactic scream uplifted by a distorted crunch.

“The whole record really details the loss of peace of mind,” he explains. “The lyrics in the title track are a little more specific in terms of the conflict at the heart of something more intimate and personal.”

Then, there’s “TAKE ME FIRST.” The vocals swirl around a syncopated riff before bleeding into a skyscraping refrain.

“It was written in the moment about another personal experience,” he goes on. “As I zoomed out, I actually felt like at times I was talking about the band and not just this one experience. Now in several ways, to me it’s about what we face and go through as a band right now.”

Elsewhere, his feral delivery tears through a guttural groove on “ARTIFICIAL SUICIDE,” while emotionally charged vocals coast above a string-laden hum on “JUST PRETEND” before a rush of distortion on the hook.

“There are a lot of scenes and elements addressed in the lyrics about social media and the disconnect,” he goes on. “Every song traces back to not being able to have peace of mind because of something, whether it’s your guilt, regret, indifference with things you can’t change, or because you’re struggling to pay your bills. There are so many messages represented across the record, but it all falls back to how I wish I could feel at ease.”

By speaking it aloud, Bad Omens offer a level of comfort and empathy, with a sinister shroud. At the same time, they also give rock music a sexy new shape on THE DEATH OF PEACE OF MIND.

“Sonically, we want to do something you can’t arrive late or early too,” he leaves off. “You can’t cheat your way to the final act. You have to get on the ride and process it until the end. The songs are meant to be heard from start to finish. We want you to take the whole trip with us.

Gojira

It has always been hard to put a tag on GOJIRA, one of France’s most extreme bands the country’s musical pallet has ever known. But then again, the band has never really sought out such a tag, instead letting the music do the talking, preferring introspection and intelligence over preconceived notions and preexisting tags. Ever since the 1996 formation in town of Bayonne in the southwest of France, GOJIRA has been an ever-evolving experiment in extreme metal ultimately built upon a worldly, ever-conscious outlook with roots firmly-planted both in the hippie movement and an environmentally-conscious, new age mentality. This time, with The Way of All Flesh, GOJIRA harnesses a spiritual consciousness as well, but still culminates in a sound wholly heavy.

Originally dubbed Godzilla, after the scaly, green film star with an equally huge reputation as the newfound band’s sound, the brothers Duplantier – guitarist/vocalist Joe and drummer Mario – and fellow Frenchmen Jean Michel Labadie on bass and Christian Andreu on guitar, quickly released several demos, ultimately changing the band’s name and independently releasing the first GOJIRA album, Terra Incognita, in 2001, offering up a brief glimpse into the giant GOJIRA would eventually become through persistent hard work and years of toiling in the metal underground.

After the 2003 release of the band’s follow-up, The Link, throughout Europe and the subsequent live DVD release the next year, of the aptly-titled The Link Alive, 2005 brought the release of From Mars To Sirius, the band’s breakthrough release, garnering high praise and a North American release through Prosthetic Records in 2006. Fans of not only heavy, extreme music took notice, but so did the intellectual world, thanks to Sirius’ thoughtful and expansive inner examination of the world at hand and the consequences of humanity’s struggle to coexist without harm. The metal world was amused and amazed: much of it hadn’t yet seen an equally intelligent and pummelingly heavy release that was as expansive and open as it was dense and concise.

Following the immense praise of From Mars To Sirius and recurring trips across the Atlantic for North American touring alongside the likes of Lamb of God, Children of Bodom, and Behemoth among others, GOJIRA established its stranglehold on the extreme metal spectrum with a linguist’s touch, a lyricist’s finesse, and a crushingly heavy live show that left audiences astounded, establishing the band’s live performance as a spot-on recreation of the band’s increasingly adept and intelligent studio output.

While 2007 wrapped with GOJIRA again touring North America on the Radio Rebellion Tour alongside Behemoth to the best reaction yet, the dawn of 2008 saw a nearly 10 month wait for while the band assembled The Way of All Flesh, one of the year’s most anticipated records. This time revolving around the undeniable dilemma of a mortal demise, GOJIRA’s soundtrack to the situation seems fitting. Shifting ever-so-slightly from the eco-friendly orchestra of impending doom on From Mars To Sirius to the band’s new message of the equally uncontrollable inevitability of death, The Way of All Flesh melds the open and airy progressive passages GOJIRA has become famous for with the sonically dense sounds and bludgeoningly heavy rhythms that makes the band an equally intelligent force as it is unmatchably heavy.

Featuring a guest vocal spot on “Adoration For None” from Lamb of God’s Randy Blythe – one of GOJIRA’s most vocal supporters from their first moment making an impression in the Americas – and the now familiar Morbid Angel-isms of The Way Of All Flesh’s title track join the angular riffing more akin to Meshuggah on “Esoteric Surgery” and the epic, artful plodding of the nearly 10-minute “The Art of Dying,” showing that GOJIRA have indeed opened a new bag of tricks for The Way Of All Flesh, while not abandoning the sound that first showed a massive promise of potential on Sirius.

“It’s more inventive than From Mars To Sirius and at the same time more straight to the point,” GOJIRA frontman Joe Duplantier says of The Way of All Flesh. “The whole album is about death, death is like a step on the path of the soul. The mystery surrounding this phenomenon is just so inspiring, and death is the most common thing on earth.”

“This album is also a ‘requiem’ for our planet,” Duplantier continues. “We don't want to be negative or cynical about the fate of humanity, but the situation on Earth is growing critical, and the way humans behave is so catastrophic that we really need to express our exasperation about it. It's not fear, but anger. But we still believe that consciousness can make a difference and that we can change things as human beings.”

The Used

One of the few remaining bands from the ‘Emo scene’, The Used from Orem, Utah formed in 2001 consisting of: Bert McCracken (vocals, keys), Jeph Howard (bass), Quinn Allman (guitar) and Branden Steineckert (drums).

Sleeping With Sirens

The post-hardcore band Sleeping with Sirens formed in Orlando, Florida, US, but would later relocate to Grand Rapids, Michigan, US. The band features members of other post-hardcore bands like Broadway, For All We Know, and Paddock Park, which meant that the members were already experienced musicians before formation.

Poppy

impoppy.com

Machine Head

Undisputed masters of murderous riffs, pugnacious grooves and ferocious hooks since 1991, Machine Head are long established as one of the most influential and incendiary bands in the metal world. Exploding into the world’s consciousness with 1994’s seminal Burn My Eyes album, the now legendary Oakland crew brutishly redefined what it meant to be heavy, incorporating a wild array of influences into some of the sharpest and most brutal metal anthems ever written. Nearly three decades later, the band founded and led by vocalist/guitarist Robb Flynn has amassed an extraordinary catalogue of classic albums, while routinely enhancing an already formidable reputation as one of heavy music’s most powerful and relentless live bands.

From the controversial but hugely successful experiments of 1999’s The Burning Red to the globe-conquering might and bombast of 2006’s The Blackening (which saw them tour the world for four full years, supporting Metallica along the way) Machine Head have never stagnated creatively or taken their foot from the artistic accelerator. Recent years have seen them forge an ever more independent and defiant path, not least through their much celebrated An Evening With... shows, wherein fans are treated to three hours of non-stop Head music with no compromise. With albums like 2014’s Bloodstone & Diamonds and 2018’s diverse, destructive and politically-supercharged Catharsis, Machine Head have continued their exhilarating evolution, while never losing the furious spirit of their old school, underground roots. Impervious to trends and proud to stand alone: Machine Head is still the bulldozer that crushes all!

Hatebreed

New album Weight Of The False Self is out now via Nuclear Blast. Order: https://hatebreed.com/wotfs

Sleep Theory

pain is only temporary

Lacuna Coil

Formed in 1994, Lacuna Coil quickly became one of Century Media’s biggest selling bands. From Comalies (2002) and Karmacode (2004) to Shallow Life (2009) and Broken Crown Halo (2014), the high-flying Italian act demonstrated an uncanny ability to pull in rock, gothic, and metal audiences. The band’s spirited and lauded live performances have also earned them a solid reputation for a band that not only delivers night in/night out, but also a band whose stage performance reverberates long after the show is over. Indeed, Lacuna Coil’s heartfelt, heavy, melodic, and rhythmic metal—a hybrid of gothic, groove, and alternative—has created a rabid worldwide following. Whether it’s “Our Truth” and “Layers of Time” or “Nothing Stands in Our Way” and “Trip the Darkness,” Lacuna Coil’s dual-vocalist assault is immediately identifiable. The band's latest offering, Comalies XX, is a revisitation of their landmark album from 2002. Fan favorites such as Heaven's A Lie and Swamped have been deconstructed and reworked for year 2022. "We wanted to give these songs a new dress, show the world how these old timers could still look f**king slick in twenty years later."

Lacuna Coil are: Vocals- Cristina Scabbia , Vocals - Andrea Ferro, Bass & Keys/Synth -Marco Coti Zelati, Guitar - Diego Cavallotti, Drums - Richard Meiz

Landmvrks

Caskets

Spite

Instagram: @spiteofficial
Twitter: @spiteCA

Sanguisugabogg

CENTURY MEDIA

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Ced Davis

Cody Davidson

Drew Arnold

Devin Swank

Inkcarceration

Inkcarceration

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