Melodic death metal outfit The Weeping Gate is just one of a few great bands playing the Hasten Revelation Tour on March 7th.
We wanted to give member Rob Halcumb of the Little Rock, Arkansas group some time to talk music, movies, and their upcoming show.
Give us a little introduction to yourself and your band.
I’m Rob Halcumb from The Weeping Gate. I started playing guitar and really getting into heavy music around 14 years old.
I started 'The Gate' as a rock-type outfit back in 2007, but I always knew I wanted to play fast, upbeat heavy melodic music. We started making that transition around the 2012 era and we’ve been constantly growing and evolving as a band ever since.
What sort of movies and television really get you excited?
Oh, let’s see... I love big epic powerful war movies, and action flicks!
Do movies and television affect your songwriting or lyrics?
Absolutely! I draw lots of inspiration through theatrical movies scores. To me, the music can really make or break a film easily.
What actor is your favorite and why?
Eh.. don’t really have one? Haha.
Have you ever been in a movie?
Not that I’m aware of? Haha.
If you shoot videos or have been in them, talk about the process of making it. Are or were you trying to say something visually in the video?
We shot our first music video for a single we released back in 2017. It was all DIY so loads of fun... and work!
Our bassist Jamie acquired some of the sickest locations for the shoot though, so it was an absolute blast working on it.
Tell us a bit about the latest album or project you're promoting?
Well, we‘re continually working behind the scenes on writing a new record.
It’s been a slow go, as we’re still figuring out which path to take as far as the recording and studio route goes. I think we’re going to try for a more DIY approach this time and see if we can get where we want to be. You can find all of our music on all the major streaming sites like Spotify, Pandora, YouTube, etc.
You're embarking on the Hasten Revelation Tour very soon. Tell us a little bit about the tour and what it means to you?
We’re super fortunate enough to be on the Dallas / Fort Worth bill. We can’t wait to share the stage with all the amazing bands on the tour!
We’ve played shows with some of these bands before. It’s always great seeing everyone again! It’s like being a part of a brotherhood where everyone is just super supportive of each other.
Jake and rest of the crew from Taking The Head Of Goliath, and the guys over at Mythic Panda are all such good people. We’re just so stoked to work with them on this venture!
Don't miss The Weeping Gate as they play with the Hasten Revelation Tour on March 7th at the Rail Yard in Fort Worth, TX. Living Sacrifice, Benevolence, and Death Requisite are also appearing at this special show, with touring bands Crimson Thorn, Taking the Head of Goliath, Abated Mass of Flesh, My Place Was Taken, and Cardiac Rupture. You can get tickets to the show right here.
For more info on The Weeping Gate, check out their Facebook page.
The death of Alfred Pennyworth is mourned by the whole Bat-Family in this touching 41-page obituary to Bruce Wayne's faithful butler and confidante.
Of course we all know he'll be back. After all, we are reading a comic book. Everybody dies and comes back sometime. Many times, more than once. If you can just try to get past that, Batman: Pennyworth R.I.P. #1 has some truly emotional moments as each of the individual heroes that Alfred lended a helping hand to and helped raise tell their own personal tale of how he touched their lives. Along the way, we get some great art from a few different folks.
Alfred Pennyworth served the Wayne family for decades-even through the tragic loss of Bruce Wayne’s parents. His death at the hands of Bane is the only event that could possibly compare to that fateful night in Crime Alley, and it leaves Bruce at a similar crossroads. If Alfred was the glue that held the Bat-Family together, how will Batman deal with that all falling apart? And if the Caped Crusader is to be truly alone, he might either hang that cape up once and for all… or double down and carry on with this vengeful quest forever in Batman: Pennyworth R.I.P. #1.
Batman: Pennyworth R.I.P. #1 was written by Peter J. Tomasi and James Tynion IV. Artwork was provided by Diogenes Neves, Chris Burnham, Eddy Barrows, Sumit Kumar, David Lafuente, and Marcio Takara. It's rated T for Teen and contains violence, language, and frightening and intense scenes.
As a big fan of The Addams Family, I was really hoping for more from this new incarnation of the first family in macabre humor.
The voice cast really isn't the problem and neither is the animation. It just isn't as good as it should have been in the story department. There's really nothing new here. Another problem I had with it is that some of the adult humor really is a bit much, even if it goes over the heads of the youngsters. While I welcome a new take on the Addamses, I think I'll stick with the original and the 1990's version of the bunch. That being said, there's enough here to merit seeing it to pass some time.
I do give the film props for trying to teach a lesson to adults and children alike. However, it does recycle a plot we've all seen before to get across the message. Basically, The Addams Family is a lesson in tolerance and accepting those who might be different around you. I think we can all still benefit from that social commentary.
Members of the mysterious and spooky Addams family -- Gomez, Morticia, Pugsley, Wednesday, Uncle Fester and Grandma -- are readily preparing for a visit from their even creepier relatives. But trouble soon arises when shady TV personality Margaux Needler realizes that the Addams' eerie hilltop mansion is standing in the way of her dream to sell all the houses in the neighborhood.
Greg Tiernan and Conrad Vernon directed The Addams Family. The voice cast includes Oscar Isaac, Charlize Theron, Chloe Grace Moretz, Finn Wolfhard, Nick Kroll, and Bette Midler. It's rated PG for macabre and suggestive humor (including a pornographic joke), and some action.
While not as good as the original, the obscene and irreverent Zombieland: Double Tap is quite an entertaining watch.
Of course it doesn't feel quite as fresh as the first movie - it's a sequel and you really can only do so much with the living dead genre. Let's be honest, between George A. Romero, John A. Russo, and Robert Kirkman, there's not much left to say.
What works is a cast that seems to legitimately want to be back in these roles. What doesn't work is the CGI-enhanced blood splatter that makes every headshot and brain-bashing look like a parody of itself. I have to say, I was rather impressed how the zombies are "taken care of" in the end as well. Straight zombie fans will no doubt find something to like here, while gore-hounds might be disappointed in the gimmicky blood splatters.
Zombie slayers Tallahassee, Columbus, Wichita and Little Rock leave the confines of the White House to travel to Graceland in Memphis, Tenn. Along the way, they encounter other post-apocalyptic warriors and a group of survivors who find refuge in a commune. The scrappy fighters must now rely on their wits and weapons more than ever as they soon find themselves in a relentless battle against smarter, faster and seemingly indestructible zombies.
Zombieland: Double Tap is rated R for good reason. It contains bloody violence, language throughout, and some drug and sexual content. The characters do enjoy their pot. Tons of F-bombs are dropped and there are definitely sexual references all over.
Ruben Fleischer directed Zombieland: Double Tap. It stars Woody Harrelson, Emma Stone, Jesse Eisenberg, and Abigail Breslin.
Fans of Extreme Metal are getting a monstrous treat this March as five of the sickest and heaviest bands in the genre hit the road to brutalize some lucky tour stops throughout the U.S. Crimson Thorn, Abated Mass of Flesh, Taking the Head of Goliath, My Place Was Taken, and Cardiac Rupture are taking their metal assault to the masses on The Hasten Revelation Tour from March 7th through March 14th. They'll be joined by special guests Living Sacrifice, Benevolence, Death Requisite, The Weeping Gate, and Crushing the Deceiver on select dates. You do not want to miss this event in your area! Check out info for the tour and links to get tickets after the jump.
THE HASTEN REVELATION TOUR runs March 7th - March 14th, 2020 featuring:
CRIMSON THORN: The world renown Death Metal pioneers from Minnesota reunite after 12 years in the grave!!! Unearthed for ONE WEEK ONLY on THE HASTEN REVELATION TOUR!!!
ABATED MASS OF FLESH: Slamming Brutal Death Metal icons from Tennessee on JUSTIFIED INSANITY RECORDS
TAKING THE HEAD OF GOLIATH: Brutal Death Metal from Minnesota on ROTTWEILER RECORDS.
MY PLACE WAS TAKEN: Hybrid Deathcore from Matamoros, Mexico on ROTTWEILER RECORDS
CARDIAC RUPTURE: Slamming Deathcore from Michigan
If you want to promote shows in your area, just click on the images below and download!
Check out the bands at the official Hasten Revelation Spotify Playlist right here!
TOUR DATES & TICKET LINKS:
3/7 Ft. Worth, TX -MYTHIC METAL FEST- This year’s touring package joined by LIVING SACRIFICE, DEATH REQUISITE, THE WEEPING GATE & BENEVOLENCE for one night only!!! - TICKETS
Fans of Extreme Metal are getting a monstrous treat this March as five of the sickest and heaviest bands in the genre hit the road to brutalize some lucky tour stops throughout the U.S. Crimson Thorn, Abated Mass of Flesh, Taking the Head of Goliath, My Place Was Taken, and Cardiac Rupture are taking their metal assault to the masses on The Hasten Revelation Tour from March 7th through March 14th. They'll be joined by special guests Living Sacrifice, Benevolence, Death Requisite, The Weeping Gate, and Crushing the Deceiver on select dates. You do not want to miss this event in your area! Check out info for the tour and links to get tickets after the jump.
Today is the day the compilation album, "Industrial Evolution," comes out through Retroactive Records. It features music and demos from all the bands I've recorded with - The Bumpus Hounds, Primary Censor, and Coarse. I sang and wrote lyrics for most of them. I actually co-wrote the music for Coarse. Abstain was the solo project of Primary Censor's guitar player, Matt Wright. I'm extremely excited for people to get to hear all of this material, which was recorded between the years 1992 and 1997. Some of it might sound aged, but I think you'll be impressed by how much of it is still comparable to what's put out today - 3Teeth, Rabbit Junk, Code Orange, Celldweller, and the likes. If not sonically, then musically for sure.
Thanks to everyone who has already bought the album and / or a t-shirt. I hope you enjoy it. I know it doesn't mean much in the grand scheme of the universe, but I'm very happy and thankful for this music to finally be properly released by someone who loves the material and had a passion to make it available to everyone - Matthew Hunt and Retroactive Records.
I'd also like to thank Jason McLean for the awesome artwork. Also, props to Rob Colwell did a heck of a job taking 25-year-old cassette tapes and making them sound way better than they ever should have.
If you haven't ordered it yet, you can check out some tracks and purchase it right here.
At Retroactive Records, we are in love with the 90’s industrial-metal of bands like Circle of Dust, Brainchild, Klank, Chatterbox, Ministry, and Nine Inch Nails. When we came across the Bumpus Hounds demo, we could hardly contain ourselves. How had this industrial-metal treasure stayed so obscure that none of us had even heard of it? How could music this good have flown completely under our radars for almost 30 years? And, lastly – how could we correct this grave injustice? We found Eric Shirey on Facebook, and found out that there was more than just the infamous Bumpus Hounds – the band went on to produce Primary Censor, Abstain, and Coarse. We scrubbed planet earth and the next six galaxies to find digital and physical copies of the music that ended up on this 2-CD Set called INDUSTRIAL EVOLUTION. One band evolved into another band, that evolved into another, etc. Read on to learn the complete story.
The Bumpus Hounds was a collaboration between Eric Shirey and Neil "Oatmeal" Thompson from Houston, TX-based death metal band Red Ink. Eric wrote most of the lyrics and provided vocals. Neil wrote and programmed the music and some lyrics. "The Pit Dug for the Wicked" was recorded on a Tascam 4-Track Recorder in the Austin, TX apartment of Noise Priest singer Stephen Wagers (aka Stig Stench) in 1992. Wally Shaw of Deitiphobia and Massivivid produced the EP. He also gave the duo a song he wrote for his side project, Icon Tack, to round out the recording. Shaw did a cameo as his rap persona, MC White E, on the track "Temple." Stephen also did guest vocals on the same song. Eric eeked out his vocals and Neil tracked all the guitars and bass in one weekend. The EP was originally distributed on cassette through mail order and only on blank tapes handmade by Eric or Neil.
"Thrown Away (X-Propagation Mix)" was a reworking of the song off The Bumpus Hounds' EP. Originally put together as a sort of template of where Eric Shirey wanted to go musically with his next project, all the programming and keyboards were arranged by Brent Stackhouse of Deitiphobia and X-Propagation based on the original music Neil wrote. It was recorded and produced by Stackhouse in his home studio. There was interest from Michael Knott for his label Blonde Vinyl, but it went under shortly after this was recorded in 1993. Eric wrote a new verse for the song to give it a more positive conclusion at Brent's suggestion. This CD is the first time the song has ever been released to the public.
Primary Censor was an award-winning Austin, TX industrial metal band formed by Eric Shirey shortly after the project with Brent Stackhouse fell through. It was made up of drummer Stuart Lillard, guitarist Matt Wright, keyboard programmer and bassist Chris Spoonts, keyboardist Brett Landis, and second drummer Jay No. The band was heavily tied into the burdgeoning Texas Industrial music scene in Austin, which was growing at the time because Al Jourgensen and Ministry had just moved into town.
Primary Censor's "Self-Titled" demo is the earliest recordings of the band. It was laid down on a Tascam 4-Track Recorder in one day at Drummer Stuart Lillard's church in Austin, TX.
"Festering Wound" was Primary Censor's first real recordings. They were laid down in the home studio of bassist, keyboard programmer, and engineer Chris Spoonts. He had a Pro Tools set up and soundproofed rooms he named Rotate Sound Productions. The results were four tracks that were definitely more guitar-heavy than the band would end up being. Drum sounds and some different samples were taken from the sound library of Auschwitz 46's keyboardist, Jason Janssen.
The group's next demo, now known as "Orphic," was really never officially titled. It was recorded at Music Lab, where ex-drummer of SKREW Mark Dufour was an engineer. Dufour took the controls and drums and extra programming were provided by Jim Vollentine, who was the keyboardist for SKREW. What was crafted this time around was a much more even and dynamic blend of metal guitars and the pulsing electro sounds of darkwave and cyberpunk outfits of the time.
The last three Primary Censor songs which are presented here for the first time on CD were shopped to R.E.X. Music, who showed interest in the band. Unfortunately, nothing ever transpired. The band broke up shortly after the demos were submitted in 1993.
Fast-forward a few years to about 1996 and Eric Shirey and Matt Wright come out of their self-imposed musical exiles to work on two different solo projects. Flaming Fish Records came knocking looking for some new music for their compilation, Full Frontal Lobotomy. Both Eric Shirey and Matt Wright were asked to contribute songs.
Eric began work on a track entitled, "Quiet," under the moniker Coarse. Musically, it was a bit more pop-structured. However, it still had an edge thanks to heavy chugging guitar riffs. The keyboards were slightly brighter in sound, thanks to the handiwork of Richie Laxton. Laxton created dance pop more at home with the likes of Erasure or A-ha. Although all the basic music was written by Shirey, Matt Wright was called in to lay down guitar for the recording and Laxton provided all the electronics and drums. Lyrics were written by Shirey and concentrated on his cry for help to God. The song was recorded at Richie's studio, Snooty Fox Productions in Austin, TX.
Meanwhile, Matt Wright was working on his own solo project he called Abstain. Abstain was similar in style to Primary Censor and was recorded at his home studio. It's no surprise that the finished songs for Abstain had the same tone as his previous band, since he really provided the trademark "sound" they were known for. Wright began carving out five tracks for an EP and gave one to Flaming Fish for the Full Frontal Lobotomy compilation. Lyrically, his Christian faith was reflected quite heavily. The other demo tracks are being released for the first time to the public on "Industrial Evolution." They're much more experimental and electronic-based, with no lyrics or guitar.
Why is this collection of songs from this certain group of artists entitled "Industrial Evolution?" Well, Eric looks at the project as a journey from an angry youth ranting about social and mental issues to an older and wiser young adult who was not only using music as a way to vent, but hopefully to provide answers to someone's problems. Looking back after 20+ years, the music still stands on its own and will no doubt thrill fans of industrial and metal both old and new. Most of the material is still relevant next to what is being released today by artists like Klank, Circle of Dust, Ministry, and the likes.
All this to say that hopefully Industrial Evolution will finally make it into the hands of those who always wanted copies of The Bumpus Hounds, Primary Censor, Coarse, or Abstain's music. Sonically, it was all taken off of cassettes which, many times, were over 20 years old and found in the collection of friends who had it stashed away somewhere. None of the members (except Neil Thompson and Chris Spoonts) even had copies of the masters. Hopefully, you can hear through all the aging defects and enjoy the experience.
Today is the day the compilation album, "Industrial Evolution," comes out through Retroactive Records. It features music and demos from all the bands I've recorded with - The Bumpus Hounds, Primary Censor, and Coarse. I sang and wrote lyrics for most of them. I actually co-wrote the music for Coarse. Abstain was the solo project of Primary Censor's guitar player, Matt Wright. I'm extremely excited for people to get to hear all of this material, which was recorded between the years 1992 and 1997. Some of it might sound aged, but I think you'll be impressed by how much of it is still comparable to what's put out today - 3Teeth, Rabbit Junk, Code Orange, Celldweller, and the likes. If not sonically, then musically for sure.
Unaware of the terrifying history of Heelshire Mansion, a young family moves into a guest house on the estate where their young son soon makes an unsettling new friend, an eerily life-like doll he calls Brahms. Katie Holmes stars in STXfilms and Lakeshore Entertainment’s, BRAHMS: THE BOY II, alongside Christopher Convery (“Gotham”), Owain Yeoman (The Belko Experience) and Ralph Ineson (The Witch). William Brent Bell returns to direct BRAHMS: THE BOY II. The producers are Lakeshore’s Tom Rosenberg, Eric Reid, Gary Lucchesi, and Richard Wright in addition to Matt Berenson, Jim Wedaa and Roy Lee.
Unaware of the terrifying history of Heelshire Mansion, a young family moves into a guest house on the estate where their young son soon makes an unsettling new friend, an eerily life-like doll he calls Brahms. Katie Holmes stars in STXfilms and Lakeshore Entertainment’s, BRAHMS: THE BOY II, alongside Christopher Convery (“Gotham”), Owain Yeoman (The Belko Experience) and Ralph Ineson (The Witch). William Brent Bell returns to direct BRAHMS: THE BOY II. The producers are Lakeshore’s Tom Rosenberg, Eric Reid, Gary Lucchesi, and Richard Wright in addition to Matt Berenson, Jim Wedaa and Roy Lee.
The return of Linda Hamilton as Sarah Connor was enough to get me excited to see Terminator: Dark Fate. I wasn't disappointed by her or Arnold Schwarzenegger's performances, or any of the other cast who delivered great performances. It does feel like Terminator: Dark Fate is a bit rushed from the get-go, and I still haven't made a decision whether that was a bad or good thing.
The CGI looks great and the action sequences are ridiculously entertaining, and when going into a movie like this that's what counts. My one complaint about Terminator: Dark Fate is that it's villain - the Rev-9 - is a sort of two-trick pony. He can split into two parts and he can make swords protrude from his body. The tricks are both cool, but I expected more.
The music score for Terminator: Dark Fate helped accentuate the action and call back to the first two films in the franchise. However, it didn't quite make an impression on me when it strayed from those classic motifs.
All-in-all, Terminator: Dark Fate is an action-packed thrill ride that definitely does a great job following up both The Terminator and Terminator 2: Judgment Day. I enjoyed where the writers took the story and found it engaging. The message that people decide their own fate and make their own choices is a great one. We also get the message that, no matter what, humanity is destined to destroy itself without a higher power intervening for us and through us.
Terminator: Dark Fate is rated R for good reason. There are a lot of f-bombs dropped throughout the movie. We also get quite a bit of violence and gore, as you would and should expect from this classic action / sci-fi series.
In Mexico City, a newly modified liquid Terminator -- the Rev-9 model -- arrives from the future to kill a young factory worker named Dani Ramos. Also sent back in time is Grace, a hybrid cyborg human who must protect Ramos from the seemingly indestructible robotic assassin. But the two women soon find some much-needed help from a pair of unexpected allies -- seasoned warrior Sarah Connor and the T-800 Terminator.
The return of Linda Hamilton as Sarah Connor was enough to get me excited to see Terminator: Dark Fate. I wasn't disappointed by her or Arnold Schwarzenegger's performances, or any of the other cast who delivered great performances. It does feel like Terminator: Dark Fate is a bit rushed from the get-go, and I still haven't made a decision whether that was a bad or good thing.
I have finally seen Joker for myself and can confirm that it is as good as everyone says. Joaquin Phoenix's portrayal as the future Clown Prince of Crime is a rollercoaster ride of emotions and takes you from as place of empathy to disgust all in the matter of two hours. It definitely serves as a statement on the way people with mental problems are treated and cast aside by the government and the medical world.
Joker looks like it was shot in the 1970s, emulating the two films it most takes cues from - Taxi Driver and The King of Comedy. The musical score of the film didn't quite hit me as being Oscar-worthy on first viewing, but maybe I need to take a listen to it again to fully take it in. My only other real gripe with Joker are the ties to the Wayne family.
Personally, I believe the movie could have stood on its own without any references to Bruce or Thomas Wayne. Having them involved felt like something that DC made the filmmakers do to create an unnecessary safety line to the Batman mythos.
After seeing Joker, I would be fine with Joaquin Phoenix's version of the character popping up in The Batman or maybe a sequel to this film if Todd Phillips and company can come up with a good enough idea for a followup. He brought the character to life in a completely unique manner than we've ever seen him onscreen before.
Forever alone in a crowd, failed comedian Arthur Fleck seeks connection as he walks the streets of Gotham City. Arthur wears two masks -- the one he paints for his day job as a clown, and the guise he projects in a futile attempt to feel like he's part of the world around him. Isolated, bullied and disregarded by society, Fleck begins a slow descent into madness as he transforms into the criminal mastermind known as the Joker.
I have finally seen Joker for myself and can confirm that it is as good as everyone says. Joaquin Phoenix's portrayal as the future Clown Prince of Crime is a rollercoaster ride of emotions and takes you from as place of empathy to disgust all in the matter of two hours. It definitely serves as a statement on the way people with mental problems are treated and cast aside by the government and the medical world.
Birds of Prey (and the Fantabulous Emancipation of One Harley Quinn) is a true and welcome surprise to the superhero genre. Following the commercial success of Suicide Squad, Aquaman, Shazam, and Wonder Woman, Warner Brothers continues to light a fire in the superhero genre with its unique vision and storytelling. While it paves a new path for the DC Movies, it does little to wrap up any loose ends such as, "Where is Batman in Gotham while Harley is blowing buildings up?" or "Where are the other members of the Justice League as Black Mask and his goons are shooting people up?"
It's open season on Harley Quinn when her explosive breakup with the Joker puts a big fat target on her back. Unprotected and on the run, Quinn faces the wrath of narcissistic crime boss Black Mask, his right-hand man, Victor Zsasz, and every other thug in the city. But things soon even out for Harley when she becomes unexpected allies with three deadly women -- Huntress, Black Canary and Renee Montoya in Birds of Prey (and the Fantabulous Emancipation of One Harley Quinn).
Birds of Prey follows Harley Quinn's breakup with Joker and the backlash and target put on her back as she no longer is protected by the Clown Prince. The film follows her attempt at survival and friendship with these new companions.
Huntress, Black Canary, Renee Montoya, and Cassandra Cain are given plenty of screen time but the movie definitely leaves you wanting more from all of them. All the origins are conveniently and smartly wrapped and intertwined with Black Mask and Gotham as a whole.
The cinematography, coloring, soundtrack, and acting are all incredibly well done and this movie has some of the most fun fight scenes I've seen in a long, long time. Cathy Yan did a phenomenal job and I'm excited to see future projects that she does with Warner Brothers and even independently.
Birds of Prey (and the Fantabulous Emancipation of One Harley Quinn) is rated R for strong violence and language throughout, and some sexual and drug material. Cathy Yan directed the movie. It stars Margot Robbie, Rosie Perez, Mary Elizabeth Winstead, Ewan McGregor, Jurnee Smollett-Bell, Ella Jay Basco, and Chris Messina.
Birds of Prey (and the Fantabulous Emancipation of One Harley Quinn) is a true and welcome surprise to the superhero genre. Following the commercial success of Suicide Squad, Aquaman, Shazam, and Wonder Woman, Warner Brothers continues to light a fire in the superhero genre with its unique vision and storytelling. While it paves a new path for the DC Movies, it does little to wrap up any loose ends such as, "Where is Batman in Gotham while Harley is blowing buildings up?" or "Where are the other members of the Justice League as Black Mask and his goons are shooting people up?"
