Blackthorn – Codex Archaos

Queens Of Noise

The Queens Of Noise were born in february, 2011. Roxy, being nostalgic of dirty Rock’N'Roll sounds of the ’70s, undertook the venture of creating a band who could pay homage to the first all female american band, which twisted the history of rock: The Runaways.

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Country: Italy
History: 2011 – Present
Status: Active
Style: Tribute to The Runaways

Biography:
The Queens Of Noise were born in february, 2011. Roxy, being nostalgic of dirty Rock’N'Roll sounds of the ’70s, undertook the venture of creating a band who could pay homage to the first all female american band, which twisted the history of rock: The Runaways. Looking for the right members to retrace the deeds of Joan Jett, Lita Ford, Cherie Currie, Sandy West and Jakie Fox, she run into Eve, Taly, Astrid and Kery, all maidens whose veins are filled with the energy of distortions.

And so the Queens Of Noise project got under way, destined to emit long run noise pollution.

Lineup:
Taly (as Cherie Currie) – Vocals
Roxy (as Joan Jett) – Rythm guitar
Eve (as Lita Ford) – Lead Guitar
Kery (as Jakie Fox) – Bass
Astrid (as Sandy West) – Drums

Related links:
Queens Of Noise @ Facebook
Queens Of Noise @ MySpace

Gallery:

Videos:

Mystica Girls new video

The mexican metallers Mystica Girls have unleashed a new clip, from the song “My Dinner” featured in their album “Metal Rose”.

Read more about Mystica Girls here: Mystica Girls at Metaladies.com.

Lilith Astaroth

A Metal Goddess from the cold Northeast USA, Lilith Astaroth has been making ears bleed since ’97. Born and raised in Boston, MA, she began her first band at age 15 as singer and guitarist. Since then, she has released several solo works, and has lent her voice and performed live with many different projects throughout New England including Sorrowseed, Mostri, and Pandora’s Toybox

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Country: United States
History: 1997 – Present
Status: Active
Style: Death Metal, Industrial, Gothic

Biography:
A Metal Goddess from the cold Northeast USA, Lilith Astaroth has been making ears bleed since ’97. Born and raised in Boston, MA, she began her first band at age 15 as singer and guitarist. Since then, she has released several solo works, and has lent her voice and performed live with many different projects throughout New England including Sorrowseed, Mostri, and Pandora’s Toybox. Her primary style of screaming combines low guttural growling and high-pitched shrieking and is often compared to vocalists Dani Filth, and Angela Gossow. Using a combination of inhalation and exhalation screams, she is able to produce a vast array of sounds with her voice. With a love of performing on stage, each live show is a ferocious display of intensity.

In 2010, Lilith began to explore clean singing in the soprano range. In 2011, her first recording with this new addition to her vocal repertoire was a tribute to Peter Steele – a cover of Type O Negative’s “Christian Woman”, which was very widely revered by her audience.

Later in 2011, Lilith announced her involvement as lead singer of Nemesis Engine, a hybrid of ex-Sorrowseed and ex-Theogonia members. She has also announced upcoming involvement with other projects including a groove metal band with former bandmate Chris Adamcek, and an electronic collaboration with digital songstress, Amber Ladd.

With her outspoken love for traveling and being on the road, keep an eye out for possible appearances in a city near you.

Lineup:
Lilith Astartoh – Vocals, all instruments

Discography:
2010, “Demon Goddess” (EP)

Related links:
Lilith Astaroth Official
Lilith Astaroth at Reverbnation
Lilith Astaroth at Facebook
Lilith Astaroth at Twitter
Lilith Astaroth at YouTube

Gallery:

Blair Witch call it a day

Sad news coming from Taiwan. Blair Witch has announced in their facebook page that they have decided to call it a day due to different thoughts of future.

Their history started back in 2006, leading the witches to record the “Imprecation” EP in 2011, just few months before they end.

Reade more about the band here.

Girlschool

Formed in the ’70s, Girlschool was undoubtedly ahead of their time. This all-female band from South London came along a full ten years before the glam metal glory years of the late ’80s. The music of Girlschool was punk tinged heavily with metal (or visa versa), combining unforced aggression with an easy good-natured attitude. Their greatest successes occurred in Europe and their native England in the early ’80s. They never seemed to connect with a mass American audience, although Girlschool has many diehard fans here as well. Anyone who ever saw them in concert walked away impressed – for no matter what else you might say about Girlschool, they could most certainly deliver loud, glorious rock and roll with passion and virtuosity.

Country: United Kingdom
History: 1978 – Present
Status: Active
Style: Heavy Metal

Biography:
Formed in the ’70s, Girlschool was undoubtedly ahead of their time. This all-female band from South London came along a full ten years before the glam metal glory years of the late ’80s. The music of Girlschool was punk tinged heavily with metal (or visa versa), combining unforced aggression with an easy good-natured attitude. Their greatest successes occurred in Europe and their native England in the early ’80s. They never seemed to connect with a mass American audience, although Girlschool has many diehard fans here as well. Anyone who ever saw them in concert walked away impressed – for no matter what else you might say about Girlschool, they could most certainly deliver loud, glorious rock and roll with passion and virtuosity.

Back in 1977, Enid Williams (bass) and Kim McAuliffe (guitar) both lived on the same street in South London. Their friendship went back to their school days together, and 1977 found them board with their day jobs – Enid was still in school, but would later work for a small bakery, and Kim was working in a bank – and looking for something better. They decided upon a career change, and formed an all-girl rock act called Painted Lady, with Kim playing guitar and Enid on bass. Along with Deirdre Cartwright on lead guitar and someone remembered only as Tina on drums, the foursome sporadically played some gigs on the local club scene; however, the band never seemed to gel and soon broke up. Kim and Enid decided to try it again, and somewhere during this period they met up with American Kathy Valentine (guitar). Kathy, who reportedly lacked the requisite UK work visa, had to scamper back to the US to join up with fellow Austin, Texas guitarist Carla Olson and form the Textones, before eventually playing bass with the Go-Go’s.

Kathy’s departure created an opening at lead guitar which in March of 1978 was filled by Kelly Johnson. Denise Dufort joined on as drummer. The women changed their band’s name to Girlschool – and class was officially in session. Girlschool hit the road, touring smaller venues throughout the UK, as well as across the channel. In December of 1978 they released their first single, “Take It All Away,” on the independent City Records label. The record reached the ears of Doug Smith, then the manager of the hard rocking English band Motorhead, who contacted the women of Girlschool and signed on as their manager. Girlschool supported Motorhead on their subsequent tour promoting their “Overkill” album in the spring of 1979. Girlschool toured extensively in the UK and Europe throughout 1979, first with Motorhead, and then with bands such as the Welsh heavy metal troupe Budgie. In December, 1979, Lemmy, the front man of Motorhead and a good friend to Girlschool throughout their career, set up a rehearsal / audition for Girlschool which was attended by Gerry Bron, the president of Bronze Records, the home of Motorhead, Uriah Heep and Juicy Lucy, among others.

In an interview twenty years later with Dave Ling in Classic Rock Magazine (December 18, 1999), Gerry Bron stated, “I went to an early rehearsal and was surprised how well [Girlschool] played their instruments – how terribly chauvinistic of me. None of them were particularly good looking, although from a distance Kelly Johnson looked like that Charlie’s Angels’ actress, Farrah Fawcett, but there was something about them…”

Going into the ’80s armed with a solid UK fan base and a recording contract in their pocket, Girlschool went into the recording studio with producer Vic Maile and recorded their debut album, “Demolition”. Supported by four singles – “Emergency”, “Nothing To Lose”, “Yeah Right,” and particularly, “Race with the Devil” – “Demolition” charted in the top 30 in England. The album was not released in the US. The band’s earliest material might best be described as raw and aggressive. The lyrics most often turn the tables on the male metal bands by objectifying boys; however, there is an underlying theme of fun present – the band plays it serious, yet never takes itself too seriously nor acts too tough.

1981 was a very good year indeed for Girlschool in England. Their follow up album, “Hit And Run”, also produced by Vic Maile, established Girlschool as a top rock act in the UK by hitting number 5 on the album charts. A collaborative EP recorded with Motorhead, “St Valentines Day Massacre,” (released under both the names Motorschool and Head Girl) peaked at number 5 on the singles’ chart. The song “C’mon Let’s Go” entered the top 40 before the end of the year. Girlschool also supported rock giant Rainbow on its European “Difficult To Cure” Tour.

“Hit And Run” was released in America – the following year – on Stiff Records. The US version was actually a compilation of the first two British releases. The album did not chart nationally in the US, where the only female-powered acts seemingly receiving any amount of commercial radio airplay were in the new wave/pop genre, e.g. Blondie and the Go-Go’s. Reviewers in the US, however, generally hailed the effort. Billboard Magazine had this to say (4/3/82):

One has the feeling from this LP that if Girlschool was in a battle of the bands with, say the Scorpions and Krokus, this four-woman group from England … would blow the Europeans right off the stage. This is an all-female band that doesn’t have to play second fiddle to any macho guitar heroes. They’re just as good, if not better. And when you turn down the volume a little, you can hear some really nice pop songs here. Best cuts: “Watch Your Step”, “Not For Sale”, “Yeah, Right” and “The Hunter”.

In early 1982, Enid Williams left the band, the first of several personnel changes which would plague Girlschool. Enid was replaced by Gil Weston-Jones, who had previously played bass for the punk band The Killjoys. Girlschool entered the studio to record their third album, “Screaming Blue Murder”, with a new producer, Nigel Gray, who had produced or engineered the first three albums by the Police. The result was a solid metal effort, but the album failed to chart as successfully in the UK as had their previous effort, “Hit And Run”.

In spring, 1983, Girlschool toured the US supporting the Scorpions. The group was finally making inroads in America. That summer, the band went back into the studio, opting for a more commercial sound for what would be their fourth album, “Play Dirty”. Noddy Holder and Jim Lea of the legendary rock outfit Slade were brought in to produce the effort, which marked a growing desire within Girlschool to gain a commercial foothold in the American market. The album would chart at a relatively disappointing number 66 in the UK, where Girlschool’s move toward a more commercial sound served to alienate their old fans, while ultimately failing to increase their exposure. Worse yet for the band, what was a strained situation already was about to become even more strained. Following the release of “Play Dirty”, lead guitarist and vocalist Kelly Johnson left Girlschool, effectively halting any plans to tour America in support of the new album. A successful US tour at this point for Girlschool might have served to elevate the band to American chart success, but it was not to be.

Adding insult to injury, with Kelly Johnson gone, Bronze Records failed to extend the band’s recording contract to include a follow up album. Similar situations have broken up many bands before and since; however, the remaining Girlschool members, Kim McAuliffe (guitar/vocals), Gil Weston-Jones (bass) and Denise Dufort (drums), carried on and soon replaced Kelly with two new members, both from the band She – Australian born Cris Bonacci (lead guitar) and Jackie (aka Jacqui) Bodimead (vocals & keyboards). As might be expected, the inclusion of a keyboard player was a giant step towards a more mainstream metal sound – this was the ’80s after all. The augmentation of the group with keyboards could easily be understood considering the band’s search for a label with muscle in America, not to mention the immense success being enjoyed by male bands that Girlschool could easily compete with, not to mention pop metal acts such as Heart and Pat Benatar.

Girlschool signed with giant Polygram’s subsidiary Mercury Records, past home of the Runaways. Their next album, 1985′s “Running Wild”, was produced by Nick Taubor, whose credits to that point included Thin Lizzy, Deep Purple, Marillion and UFO. “Running Wild” was meant for the American market, and in fact was released only in America, not in the UK. Girlschool spent the majority of 1985 on the road touring the US with Deep Purple, before embarking on a tour of India and the Pacific Rim. Upon returning home to the UK in the autumn, however, the band decided that what the band had become was not right – it was not what they wanted the band to be. Keyboardist Jackie Bodimead was bounced from Girlschool. The band was down to four members, not to mention a more guitar-based metal band feel, once and forever.

In December ’85 they toured Britain with Blue Oyster Cult. For what seemed to them to be for the first time in ages, the women of Girlschool enjoyed playing live again, and immediately regained a sense of passion and commitment to their craft. Said Kim McAuliffe at the time, “We took a long hard look at what we wanted and decided it was time to put some glam and razzamatazz back into our music, rather like it was the early ’70s. Everyone these days seem so pretentious and boring.”

In February 1986, Girlschool signed to GWR Records and soon after teamed up with the original Brit glam rocker himself, Gary Glitter, to record a new version of his 1973 UK #1 hit, “I’m the Leader of the Gang (I Am).” For their first GWR album, Girlschool reunited with producer Vic Maile, who had been behind the controls for their first two albums. Fans of the group’s older, rawer sound were made ecstatic by 1986′s “Nightmare At Maple Cross”, as the new album contained nine new and powerful Girlschool originals. The album – and American fans – would have to wait almost a year for a US release.

In 1987, bassist Gil Weston called it quits, leaving Girlschool after five years in order to get married. As usual, Girlschool carried on. Her replacement on bass was Tracey Lamb, who had previously played with the bands Rock Goddess and She (with Cris Bonacci and Jackie Bodimead). Girlschool played some US gigs and appeared on television here and in Europe.

In early 1988, Girlschool began working with producer Andre Jacquemin (best known as Monty Python’s record producer) on their next album, which would be called “Take A Bite”. The album was released in Europe in November and early in 1989 in the US. As the band braced for the inevitable promotional tour of North America, commitment dwindled and following a trip to Russia with Ronnie Dio and Black Sabbath, the band broke up.

In ensuing months Kim McAuliffe would work with punk singer Beki Bondage and present the UK cable television show Raw Power. Kim and original Girlschool bassist Enid Williams teamed up with Brit punk rocker Toyah Willcox under the name She Devils for the Women In Music Festival in London in 1990. In the summer of 1991, Kim McAuliffe and Enid Williams, joined by Toyah and Girlschool drummer Denise Dufort, toured the UK billed as the Strangegirls.

In 1992, Girlschool reunited with yet another bass player, Jackie Carrera (ex of the Flatmates). The resulting album, 1992′s self-titled and self-produced “Girlschool”, released on Progressive Records, was more polished than their late ’80s efforts, but definitely still in the metal vein.

The 1990′s would see numerous Girlschool compilation albums – and no less than three live albums – released. The King Biscuit Flower Hour: In Concert, a live recording of a January 12, 1984 Nashville, Tennessee Girlschool show, released in 1997, is highly recommended, as is “The Collection”, a re-mastered 2 CD set featuring some classic Girlschool music.

In 1995, founding member Kelly Johnson returned to Girlschool for some gigs throughout the UK and Europe and recorded the CD “Girlschool: LIVE”, which features the new cuts “Little Green Men” and “Knife”. Kelly departs again, and in 2000 original bassist/vocalist Enid and lead guitarist Jackie Chambers joined and in ´2002 they released the “21st Anniversary – Not that Innocent” album, recorded three years earlier with the previous line-up, now with the addition of two new tracks, “Coming your Way” and “Innocent”. Since releasing their latest album “Believe” Girlschool have been playing headline europian gigs, festivals and with Alice Cooper in Spain, and support to Motorhead on tour in the U.K.

2008 saw the release of their new album “Legacy” featuring some special guests including Lemmy Kilmister (Motorhead), Ronnie James Dio & Tony Iommi amongst others and an around the world DVD in 2009 for the 30th anniversary of the original and longest running all female rock band in the world. The band spent time in studio re-recording their classic 1981 album “Hit and Run”, during 2011. The new version of the LP, titled “Hit and Run Revisited”, was released on 26 September 2011 to celebrate the original album’s 30th anniversary.

Sources: Girschool official, Girschool at the wikipedia

Lineup:
Kim McAuliffe – Guitar, lead and backing vocals
Enid Williams – Bass, lead and backing vocals
Jackie Chambers – Guitar, backing vocals
Denise Dufort – Drums, backing vocals

Former members:
Kelly Johnson – Guitar
Ghislaine ‘Gil’ Weston – Bass, backing vocals
Cris Bonacci – Lead guitar, backing vocals
Jackie Bodimead – Lead vocals, keyboards
Tracey Lamb – Bass, backing vocals
Jackie Carrera – Bass, backing vocals

Discography:
1980, “Demolition” (LP)
1981, “Hit and Run” (LP)
1982, “Screaming Blue Murder” (LP)
1983, “Play Dirty” (LP)
1985, “Running Wild” (LP)
1986, “Nightmare at Maple Cross” (LP)
1988, “Take a Bite” (LP)
1992, “Girlschool” (LP)
2002, “21st Anniversary: Not That Innocent” (LP)
2004, “Believe” (LP)
2008, “Legacy” (LP)
2011, “Hit and Run Revisited” (LP)

Related links:
Girschool Official
Girschool @ MySpace
Girschool Forum
Girschool @ Facebook

Gallery:

Videos:
 
 
 
 
 
 
 

The Runaways

The Runaways were an American all-girl rock band that recorded and performed in the second half of the 1970s. The band released four studio albums and one live set during its run. Among its best known songs: “Cherry Bomb”, “Queens of Noise”, “Neon Angels On the Road to Ruin”, “California Paradise” “Dead End Justice”, and the cover of The Velvet Underground’s “Rock n Roll”. The Runaways, though never a major success in the U.S., became a sensation in 1977 Japan thanks to the hit single “Cherry Bomb.”

Country: United States
History: 1975 – 1979
Status: Inactive
Style: Hard Rock

Biography:
Often dismissed during their existence as a crass marketing gimmick, the Runaways have grown in stature over the years as the first all-female band to make a substantial impression on the public by playing loud, straight-up, guitar-driven rock & roll. Since all of the members were teenagers (some of whom were still learning to play their instruments when they passed their auditions), the band’s music was frequently raw and amateurish, but it neatly combined American heavy metal with the newly emerging sound of punk rock. In the media, the Runaways were victims of their own hype, supplied by maverick promoter/manager Kim Fowley. Fowley’s insistence on a sleazy jailbait image for the group made it easy for the press to dismiss them as nothing but a tasteless adolescent fantasy — an impression bolstered at the time by the admittedly erratic quality of their music. But in the end, the Runaways’ sound and attitude proved crucially important in paving the way for female artists to crank up the volume on their guitars and rock as hard as the boys; plus, they produced one undeniably classic single in the rebel-girl manifesto “Cherry Bomb.”

The genesis of the Runaways can be traced to a 1975 Alice Cooper party, where Fowley met teenage lyricist Kari Krome. Fowley was impressed with Krome’s streetwise perspective and set about putting together a female band. Krome’s friend, guitarist Joan Jett (born Joan Larkin), had been forming a band of her own with drummer Sandy West (born Sandy Pesavento), and Fowley quickly had a trio on his hands. However, it soon became apparent that Krome was not much of a singer, and she was replaced by vocalist Michael “Micki” Steele (born Sue Thomas), who also began learning the bass. As a trio, this lineup recorded a demo titled Born to Be Bad in late 1975; shortly thereafter, guitarist Lita Ford successfully auditioned through a trade-paper ad, and Steele left the group (she would later join the Bangles). Cherie Currie became the new lead vocalist, and after an extremely brief stint with a bass player known only as Peggy (which lasted just a few weeks), the band settled on Jackie Fox (born Jacqueline Fuchs), who switched to bass from guitar in order to join the band.

Thus constituted as an entirely teenaged quintet, it didn’t take long for the Runaways to score a record deal; Currie’s stage wardrobe (lingerie) and Fowley’s well-established contacts made sure of that. After signing with Mercury in February 1976, the band began recording their self-titled debut album, which was released just a few months later. However, it was not greeted well. Fowley was preceded by his reputation for overhyping gimmicky acts, and the sheer number of roles he played in guiding the Runaways’ career made him appear a manipulative, Svengali-like figure. Moreover, regardless of whether or not the Runaways were simply a cheap exploitation act (an endlessly debatable question), the entire concept of the band — teenage girls playing their own instruments and singing frankly and enthusiastically about sex, booze, and life on the streets — was simply too discomforting for much of America. Fowley’s extensive involvement (some called it near-total control) made it easy for journalists and radio programmers to dismiss the group out of hand as a male-concocted sham; it was also a convenient way to ignore the myriad cultural buttons the Runaways were pushing.

Despite a wave of publicity on Fowley’s part, The Runaways just barely scraped the bottom of the charts in the early fall of 1976, around the same time the band played their first gig at the legendary New York punk club CBGB’s. The second Runaways album, Queens of Noise, was released in early 1977 and fared little better on the charts than its predecessor, thanks to radio’s continued reluctance to program the group’s music. However, when the Runaways mounted a tour of Japan in June of that year, they were greeted with sold-out arena gigs and rabidly enthusiastic audiences who didn’t consider them a joke (“Cherry Bomb” had, in fact, topped the Japanese charts). A concert record, Live in Japan, was culled from the tour, but wasn’t released in the U.S.

Despite this taste of success, relationships between some of the group members had begun to fray, thanks partly to substance abuse problems and partly to unconcerned negligence on the management’s part. Upon their return to Los Angeles in July 1977, Jackie Fox departed the group; a story circulated that she had attempted suicide on the Japanese tour, though it was later discredited. Before the year was out, Currie too had left, spurred in part by consistent disagreements with Fowley. Jett took over as lead vocalist, and new bassist Vicki Blue was hired for the group’s third album. Waiting for the Night was released at the end of the year, and failed to even hit the U.S. charts. By this point, Fowley had lost interest in the band, and quit as manager early the next year. Jett’s unofficial leadership role within the group became more serious, but unfortunately, musical differences were beginning to arise (Jett’s punk and glam rock influences clashed with West and Ford’s love of straight-up hard rock and heavy metal). One more album, And Now…The Runaways, appeared toward the end of 1978, but it was released only in the group’s core markets of Europe and Japan (it later appeared in America with a different running order under the title Little Lost Girls). Blue quit the band after their New Year’s gig and was replaced by Laurie McAllister, but to no avail; Jett left the group in April 1979, and the Runaways officially disbanded not long after.

Currie released a solo album in 1978 titled Beauty’s Only Skin Deep, and then teamed up with her twin sister Marie for 1980′s Messin’ With the Boys. Jackie Fox went to law school and became an attorney. Meanwhile, West and Ford formed a short-lived outfit of their own, after which Ford went solo and scored several hits as a pop-metal artist during the ’80s. An even better indicator that there was more to the Runaways’ music than met the eye was the success of Joan Jett’s solo career. Jett formed her own band and record label, landed an enormous number one smash with 1982′s “I Love Rock n’ Roll,” and continued to produce albums of tough hard rock into the 21st century. The heavily feminist riot grrrl punk movement claimed Jett as a major inspiration, prompting a re-examination of the Runaways’ output divorced from Kim Fowley’s marketing tactics. Rumors of a full-band reunion surfaced periodically but never resulted in an actual gig, although the release of a summertime biopic in 2010 — one that starred Kristen Stewart as Jett and Dakota Fanning as Currie — helped rejuvenate interest in the band.

Sources: Steve Huey at allmusic.com, The Runaways at the wikipedia

Lineup:
Joan Jett – Vocals, guitar
Laurie McAllister – bass
Sandy West – Drums, back vocals
Lita Ford – Guitar, Back Vocals

Former members:
Cherrie Currie – Vocals, piano
Jackie Fox – Bass, back vocals
Peggy Foster – Bass
Michael “Micki” Steele – Bass, back vocals
Vickie Blue – bass, back vocals

Discography:
1976, “The Runaways” (LP)
1977, “Live in Japan” (Live LP)
1977, “Queens of Noise” (LP)
1977, “Waitin’ for the Night” (LP)
1978, “And Now … The Runaways” (LP)
1980, “Flaming Schoolgirls” (1980, outtakes compilation)
1981, “Little Lost Girls” (LP, re-sequenced U.S. version of And Now… The Runaways)
1982, “I Love Playin’ With Fire” (LP, compilation)
1982, “The Best Of The Runaways” (LP, compilation)
1991, “Born to be Bad” (LP, compilation of early demos)
1992, “Neon Angels” (LP, compilation)
1997, “The Runaways featuring Joan Jett and Lita Ford” (LP, compilation)
2005, “20th Century Masters-The Millennium Collection: The Best Of The Runaways” (LP, compilation)
2010, “Mercury Albums Anthology” (LP, collection of first four albums)

Related links:
The Runaways Official
The Runaways @ Facebook

Gallery:

Videos:
 
 
 
 
 
 
 
 
 
 

Blackthorn new album

Blackthorn have announced that their second album entitled “CODEX ARCHAOS” is ready. Mixing and mastering for the album were done again by Igor Korolyov at KIV Records. Bloody conceptual artwork by W.Smerdulak.

Tracklisting for Codex Archaos is as follows: ‘Divination In Blood’, ‘Vehemence Came As Anodyne’, ‘Nemesis Incarnation’, ‘Gorgon The Ascendant’, ‘Emptysis Kiss’, ‘Arria Marcella’, ‘Posthumous Passion Ephemera’, ‘Dismalediction and the Remedy’, ‘?????????? ????’, ‘Hexshadow Turned To Flesh’, ‘Bestial Satan Of Grotesque Beauty’, ‘The Fading Ceremony’

‘Vehemence Came As Anodyne’ can be heard here: http://www.facebook.com/pages/Blackthorn/123251601079800?ref=ts&sk=app_2405167945

The album will be released in Russia this winter via MSR Productions. The band is looking for a new label in Europe/USA.

Read more about Blackthorn here: http://www.metaladies.com/2011/07/04/blackthorn/

Kirmizi new video

Kirmizi has published their new official video, featuring the song Geri (Kaypak). Enjoy!

Read more about Kirmizi: http://www.metaladies.com/2011/07/12/kirmizi/

Back N Black contest

Win one of the two Back:N:Black “Fried Alive” CD/DVD packs we’ve got to deliver, and enjoy this all-female AC/DC tribute band amazing show.

Enter the band’s facebook page, like it, and end this sentence in their wall: “For Those About To Rock …”.

Do it your own way, think of something funny, curious, original, interesting and write it. The band will choose the two most creative answers.

You can watch a DVD sample below, and read more about Back:N:Black here. For Those About To Rock … Good Luck!

End Date: 14th November

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