Safe Gigs For Women Partners with HMAs for Second Year

Safe Gigs For Women has partnered with the Heavy Music Awards for a second year.

The campaign group – started in 2015 – is led entirely by volunteers to make gigs and festivals a safer environment for women by stamping out the risk of sexual harassment.

Sam Carter, lead singer of Architects, hit the headlines last year after calling out a male fan for allegedly committing such an offence at Lowlands Festival in The Netherlands.

Architects have since began working with Safe Gigs for Women after first meeting at House of Vans London during Heavy Music Awards 2017.

In 2018, Safe Gigs for Women has taken the position of “Official Supporter” at the HMAs.

The initiative has three key aims:

To work with gig goers in spreading the word that it is not okay to grope, threaten or harass others and to encourage victims to speak out and supporters to advocate that this behaviour will not be tolerated.

To team up with venues to ensure they take reports of sexual harassment and other threats to women seriously and create a “safe venue” standard.

To connect with bands and artists to promote the recognition of standards, talk about SGfW work and to share with their audiences the importance of recognising and sharing acceptable behaviour codes.

Mel Kelly, a member of the leadership team of SGFW, spoke about why a change in attitude is necessary to make gigs and festivals safer for women.

“Safe Gigs for Women was founded after our founder was sexually assaulted, and not for the first time, at a live event in 2015.

“Live music is so important to me and to so many women I know. Gigs and festivals are a huge part of my life.

“We are thrilled that the HMAs have chosen to support us so visibly again this year. We remain excited about working with them, with venues, musicians and the gig-going public to make sexual safety a priority in live music.

“Thank you so much to the management of the Heavy Music Awards for helping us spread the word.”

Iain Johnson, from the Heavy Music Awards, described the initiative as “important for the future of live music”.

He added: “The Heavy Music Awards is very proud to support Safe Gigs for Women once again.

“It is vital that we all work together to stamp out the risks of sexual assault at gigs and festivals and Safe Gigs for Women offer a very effective spearhead for that.

“Such behaviour should never be tolerated, we must stand together and stamp it out.”

For more information about Safe Gigs for Women click visit the official website, or find them on Twitter or Facebook.

Exclusive Interview with Zbigniew M. Bielak: The Artist Behind Ghost’s ‘Popestar’

The inaugural Heavy Music Awards saw Ghost’s ‘Popestar’ voted as the Best Album Artwork of the year, presented by The Pit. We’ve spent some time with the creator of this winning design, Zbigniew M. Bielak, to find out more about him, his work, and what this win means.

You have designed album covers for bands such as Paradise Lost, Mayhem and Ghost, when did you find your love for album design? 

By the time I fell for metal music in the early nineties, the aesthetics of the genre had already emancipated, and long grown out of the nude biker-warrior cliche. In my opinion, heavy metal – just as it stems from the youthful rebellion – also draws its quintessential charm from pop culture’s escapism. And that’s exactly why I find it so entertaining – I’d risk saying it is indeed a very cinematic art form.

Much like horrors and science fiction movies, metal indulgently dwells on formal hedonism, drawing it’s almost unrestrained freedom of expression from its own limitations. Being devoid of punk’s or reggae’s ambition of saving the world, it greedily embraces the comfort of being just pure form. And thus, paradoxically, it is closer to classical music and jazz. Alas the metal fans – myself included –  like to think of themselves more as insightful music connoisseurs, rather than rampant ideologists.

Having long left Birmingham’s industrial suburbs on its evolutionary path to become music of the young and the sumptuous, today’s metal is more confident than ever in expanding its aesthetic horizons. It aspires to be perceived almost as an intellectual exercise. That, obviously calls for a lot of narrative consistency – be it lyrical or visual. The latter of which became my field of interest, when the role of freehand illustration in the architectural practice slowly deteriorated into an obsolete craft, giving way to the CAD tools around the turn of the millennia.

Although I wouldn’t use it anymore in the architect’s work – at least past concept design stages – I still enjoyed drawing enough to seek any possible pretexts to cultivate it as an artistic outlet, parallel to my main profession. Around that time, I got a job of an encyclopaedic illustrator for a multi-volume history series. Another ‘formative’ experience was the job of documenting artifacts from archaeological excavations – a merciless exercise in dot-work.

Both of these endeavours required precision and constant improvement in the time-coherent, meticulous imagining. All that, let alone the technical drawing, and the love of Dore’s engravings, has left me hopelessly eclectic in my stylistic leanings, when – much in Wikipedia’s wake – the publishing market eventually came tumbling down. I took my toys and went back home.

All my metal vinyl was there – waiting for me in its terrifying, badly photoshopped glory – ripe for taking to another level using whatever techniques I learnt over those years. It’s proven to be a lot of fun, and still is.

 

Your background in architecture clearly has a significant influence on your artistic style. What are the differences in your approach to technical drawing and creative illustration? 

To me, there isn’t really much distinction. In the end, all of my approaches boil down to the complexity of an architect’s labour, which naturally defines many if not most of my cultural interests.

More than any other, this particular profession requires constant tapping for expertise into various, intertwined fields of knowledge, which co-exist in the so-called history of art. It’s a vast universe strewn across few thousand years’ span of flourishing and vanishing technologies, philosophies, architectural styles or decorative fashions, all of which render architecture as far from independent. Therefore, being granted freedom to draw stylistic inspiration from such variety of aesthetic stimuli– unrestrainedly and oblivious to professional liability – is already immensely satisfying.

On the other hand, all of the many technological disciplines, which stand responsible for the physical form and durability of buildings, are – artistically speaking – held together by the elegant precision of technical drawing. Plans and sections – from the poetic grandeur of a concert hall, to the prose of the juice extractor’s motor – when taken out of their immediate technological context, offer a multitude of almost perfectly standalone forms.

These forms, at least in my case, may be seen as a bridge to the world of synthetic graphic abstraction – something otherwise not really present in my work, yet translating to an indulgent use of the precise line work. It also lends me the much welcome comfort in irresponsibly portraying the seemingly logical forms and objects, with a relative ease.

Had I not tamed the technical drawing in the first place, I doubt I would have ever dared taking chances with anything past the simplest of forms, because as an artist, I am pretty much devoid of expressionist, let alone abstract sensitivities.

 

Your illustrations have amazing detail. In the case of ‘Popestar’, how long did it take from initial concept to final design? 

I guess I am lucky to have the tools of my trade on my side. Obviously, even a slight ability in technical drawing, helps make all the intricate elements seem way more challenging, than they actually are. Moreover, I take advantage of working on larger canvasses, so the final shrinkage to the applied twelve inch format does enhance the density of line work.

When all elements of composition fall into place, the inking itself is not a very long process. Being an architect I am very familiar with working on densely detailed blueprints, so, even though the final effect may suggest a painstaking, benedictine labor, the actual execution of the line work is never much of an ordeal to me, rather a pleasure. Generally speaking, it is the sketching and arriving at a satisfactory composition, that are a really time-consuming process.

Fortunately enough, the ‘Popestar’ concept was well outlined from the get go, so it was rather a smooth job, which  – if  I recall correctly – didn’t take longer than few weeks of work, all phases included.

I first did a bunch of synthetic 8x8cm sketches to grasp the composition – five or six I believe – most of which can be seen below. Then when all the elements were pretty much defined, I rescaled it to 12x12cm, and then again to 20x20cm, to work in all the architectural details over a few versions.

 

 

Ultimately, the final ink piece was drawn on 50x50cm format, part painted in watercolour and finally scanned and edited into its end result seen on the album. Due to immense amount of detail that was lost in translation to CD and LP formats, it was also made available as a museum quality art print, to preserve all information and nuance in its original extent.

 

How much involvement did Ghost have in the creation of the ‘Popestar’ artwork? 

Original Sketch by Papa Emeritus

The first draft of the ‘Popestar’ cover – which opens the sequence of sketches presented here – came from Papa Emeritus himself. It communicated his ‘Square Hammer’-lyric derived idea of a game of chess between good and evil precisely enough to enable a smooth start, with all elements pretty much already in place.

The Papa character would appear in his casual attire, known from the live situations. He was to be elevated on a postument, over the chessboard-floored piazza –  a star in his hand – and surrounded by the romanticised interwar architecture, with figures of the devil and the thinker, embedded into the buildings on the side.

As usual with Ghost’s artwork, the concept was about certain duality. The chessboard was meant as an arena of the apocalyptic battle for souls, yet at the same time, it symbolised a dance floor to underline the entertaining, pop nature of the songs appearing on the record.

 

The Heavy Music Awards’ finalists were nominated by the music industry, and the winners were decided by public voting. What does it mean to you that both the industry and the public voted for ‘Popestar’ to win?

It seems to mean, that both the music fans and the music industry have found my artistic output relevant enough to their respective criteria, to vote for ‘Popestar’. And that is a great deal to me, because first and foremost, I consider myself as an avid music fan.

For years I’ve been supporting the music scene – and that means both the artists and music industry – collecting music and going to the shows. And all that long before the idea of designing album covers even dawned on me. So, the trust I am now granted to illustrate some of my favourite music, is in itself a great reward, but it’s the feedback like the HMA nomination – let alone winning the award – that makes it worth going the extra mile.

 

Can you tell us something about the ‘Popestar’ artwork that would surprise Ghost fans? 

I think it’s a tall order to surprise Ghost fans with anything. They for sure are among the most inquisitive and well informed out there. Well, where it came from, aesthetically, ‘Popestar’ still belonged to the ‘Meliora’ universe of Fritz Lang’s Metropolis.

This time however, the energetic feel of the EP – soaked in shiny monumentalism and vivid contrasting colours – made me want to try dabbling into slightly vintage soviet-era stylistics, rather than further explore oppressiveness of it’s predecessor’s industrial palette.

The postument on which Papa is standing bears a lot of semblance to the never built 1937 Palace of the Soviets, which could be seen as CCCP’s equivalent of Albert Speer’s Germania – admittedly, I do have a soft spot for megalomaniac architecture.

 

 

What projects are you currently working on?

At the moment I am keeping busy with artwork for Ghost’s future offerings. It is always an exciting challenge to illustrate the ever-shifting, historic costume of the band. It has always demanded scrupulous, time consuming research, so currently I am nose deep in the books about medieval life as well as on art and architecture of the period. It’s scary and fascinating to say the least, and I can’t wait to bring it all into art on the next album.

I am also working on the next record from Absu, which will be a whole different thing, with their trademark Mesopotamian symbolism and occult extravaganza. You should also keep your ears and eyes peeled for the upcoming release of a brand new –  and Im sure musically groundbreaking – album from Australia’s purveyors of aural horror – Portal. I am very lucky to be able to work with so many bands, that are so pivotal to my taste in music.

Last but not least, its the end of the year, so the fourth instalment of the annual ZMB art calendar is in the making and ready for preordering via my online store. No rest for the wicked!

 


Find out more about Zbigniew at: Big Cartel | Behance | Facebook

Exclusive HMA17 Show to be Aired on Sky This Weekend

Highlights of the Heavy Music Awards 2017 are to premiere on Scuzz TV (Sky 367) on Saturday (September 16) at 9pm.

It will be repeated on Sunday, September 17, at 10pm.

The show will feature performances from headline act Creeper, Venom Prison, Vukovi and Dead! as well as appearances from the likes of BBC Radio 1’s Daniel P Carter and HMA winners Architects, Enter Shikari and Download Festival’s Andy Copping.

One of the on-stage features of HMA17 – which was sponsored by EMP – was the voiceover work of former BBC radio presenter Clare Reeves.

Clare’s dulcet tones announced each of the finalists at House of Vans London on August 24.

As a professional UK voiceover artist, Clare records a wide range of projects including TV and radio commercials, documentary narration, corporate videos, e-learning, museum soundscapes, audio guides, interactive voice response IVR and much more.

These top quality projects have been sent around the world to clients including Trivago, BMW, Deloitte, BBC, National Geographic, Hilary’s Blinds, Abu Dhabi Government and Unilever.

Clare is a BBC-trained radio presenter/audio engineer and an actor, passionate communicator and beachcomber.

The HMA team caught up with Clare to talk more about her fascinating work and mission to “bring your words to life”.

Q. Tell us about Clare Reeves and the work you do as a voice over artist (VOA)?

I’m Clare and I’m a Voiceover Artist. The wonderful thing about my work is the wide variety of projects and clients. My work includes voicing TV and Radio Commercials, TV documentary narration, Corporate productions of all kinds – from promotional videos, explainer videos for websites, phone answering systems, event announcements, exhibition stands to elearning! Then some days I work on museum soundscapes and audio guides and jingles for DJs / Podcasters.. I’ve even leant my voice to a dance music track and I’ve got an Art Installation coming up soon!

Q. What type of businesses do you work for?

All sorts, from global brands such as Unilever, BMW, Deloitte and Fox International Channels to UK based businesses, the NHS, charities and startups. I believe every business has a story to tell and a brand they treasure – using a professional voice is the best way to sound as good as you look.. businesses pay so much attention to their logo without sometimes thinking about what voice is on their answering system.. I think that is beginning to change and people are more aware of the power of a pro voice in an increasingly competitive world.

Q. You are one of the region’s leading VOA. How did you get into that industry?

I worked in the BBC for many years both sides of the microphone, as a radio presenter and also as a sound engineer at the BBC World Service. I used to direct the BBC’s TV Channels live on air and I’m a confirmed broadcast technology geek! I’m a total telly addict. I also have a background in acting with some theatre training. All of these things really came together for me after I had my son.. I wanted to build my own career, do something I loved that I could grow over the years. Voiceover isn’t just talking, it’s a hugely complex set of skills that all have to come together at a given moment to create the right thing. Some clients like to direct – others like me to direct myself. It’s about bringing words to life and giving them meaning as you lift them off the page. I train hard with a coach in LA and one in the UK as well. It’s vital to push yourself, to keep on top of current Voiceover trends (yes, there are trends) as it’s a very competitive business.

Q. How has being a VOA changed over the years, in terms of producing recordings and using technology?

Technology is ESSENTIAL for Voiceover Actors. I record most of my work from my own studio, at home, into Adobe Audition on my Mac – I edit and mix in the digital world and send finished files digitally as well. Clients also like to direct me live sometimes over Skype.. it’s all very current. It’s changed hugely since the days of having to go into a studio to be recorded on tape. Also in terms of how I find work and how work finds me.

Q. Tell us how, as a VOA, you use the Internet to connect with the public?

Most of my work finds me via the internet as well, and I use online marketing and social media a great deal too. I’m a little obsessed with Twitter.. it’s great for collecting contacts as well as keeping a profile amongst the public and clients. I endeavour to keep my website up to date with showreels and videos and news of what I’m up to. One aspect of the technology that can be overlooked is how wonderful it is to keep connected. As I say, I work largely on my own – it could be very isolating – but thankfully I have a fantastic network of friends in the business and we chat daily online, share stories and wisdom etc. It’s a bit like being in an office – well, the good bits!

Q. How can using a VOA enhance an event?

Events are exciting, they are an occasion. I think that participants and guests want to feel special at an event. By using a pro Voiceover to make announcements (we call it being “Voice of God” in the VO biz!) I think you are saying “we are serious, we are professional, we respect you and want you to feel special, this matters”. It also means that the brand holding the event looks good.. you don’t notice a great voice necessarily – you notice a great event and how you felt.

Q. If a business wants to use your services, what is the best way of connecting with you?

Pop over to my website clarereevesvoiceovers.com and send me a note via my contact form – I’m always happy to chat through what you think you need, provide a free sample and quote for you. Even if you have never worked with a voiceover before, I make things easy and help you out every step of the way.

Photo: James North Photography

Heavy Music Awards 2017 – Winners Announced

Architects, Black Sabbath and Enter Shikari were among the winners at the inaugural, public voted, Heavy Music Awards tonight (August 24).

Brighton five-piece Architects scooped Best Album for All Our Gods Have Abandoned Us, while legendary metal band Black Sabbath landed Best UK band in the year they wrapped up their farewell tour.

Reacting to their victory Black Sabbath guitarist Tony Iommi told the HMAs: “On behalf of the guys, many thanks for voting us Best UK Band.

“I’m sorry we can’t be there but no one is better qualified to accept the award than our old mate and long time supporter Andy Copping. All the best.”

Following that, the packed venue witnessed a powerful acceptance speech as Architects frontman Sam Carter dedicated the victory for ‘All Our Gods…’ to their much-missed guitarist Tom Searle.

Heavy Music Awards 2017 – with headline sponsor EMP – was presented by Kerrang Radio’s Alex Baker and Sophie K at House of Vans London.

Around the Awards horror-punk favourites Creeper headlined the live performances, supported by Venom Prison, Vukovi and Dead!

Fans of rock and metal chose Gojira to win Best International Band and Download Festival’s Andy Copping presented Best Live Band to Enter Shikari at the star-studded invitation-only event.

Best Breakthrough Band was won by US metalcore act I Prevail.

Live Nation’s Andy Copping had hit the stage earlier after it was revealed that the fan’s favourite in the Best Festival category was Download, while O2 Academy Brixton walked away with the 4.3kg metallic statue for Best Venue.

On an emotional night which celebrated the best talent on and off the stage across Heavy Music, respected photographer Ashley Maile was posthumously presented The H – a special recognition award presented for outstanding positive contribution to the heavy music scene.

Mr Maile – who photographed major rock stars including Slash, Ozzy Osbourne and James Hetfield – passed away in 2013 following a battle with cancer, aged 36.

Flying in from Sweden Henrik Udd collected Best Producer for his collaborations with Fredrick Nordstrom and Olympus presented the Best Photographer award to Ben Gibson.

The cover of the Ghost album Popestar – by Zbigniew M Bielak – won the public vote in the Best Album Artwork category.


Heavy Music Awards 2017 – The Winners

BEST ALBUM presented by EMP
Architects – All Our Gods Have Abandoned Us (Epitaph / Producers: Fredrik Nordström + Henrik Udd)

THE H
Ashley Maile

BEST UK BAND presented by UPRAWR
Black Sabbath

BEST INTERNATIONAL BAND presented by PPL
Gojira

BEST LIVE BAND presented by Eagle Rock Entertainment
Enter Shikari

BEST BREAKTHROUGH BAND presented by House of Vans London
I Prevail

BEST ALBUM ARTWORK presented by The Pit
Ghost – Popestar (Zbigniew M Bielak)

BEST PRODUCER presented by Believe
Fredrik Nordström & Henrik Udd

BEST PHOTOGRAPHER presented by Olympus
Ben Gibson

BEST FESTIVAL presented by Jackson Guitars
Download Festival

BEST VENUE presented by Scuzz
O2 Academy, Brixton


The Heavy Music Awards 2017 was sponsored by EMP, House of Vans London, Scuzz, UPRAWR, PPL, Eagle Rock Entertainment, The Pit, Believe, Olympus, Jackson Guitars, BIMM, Cloven Hoof Rum and Rocksteady Music School.

Thank you to everyone who judged, voted or otherwise supported the HMAs in any way.

Slipknot and Black Sabbath Scenes To Premiere At HMA17

Special live recordings of Black Sabbath and Slipknot which have never been seen before in public are to be screened at the Heavy Music Awards 2017.

A total of six songs taken from Black Sabbath’s The End tour and Slipknot’s Knotfest Mexico will be shown at the House of Vans cinema at HMA17 on August 24.

Slipknot’s clips are part of a new 90 minute documentary about the band entitled Day Of The Gusano which is to be premiered in more than a thousand screens across the world as a ‘one night only’ cinematic spectacle on September 6, 2017.

Talking about the film, Slipknot’s M.Shawn Crahan, aka ‘Clown’, said: “Slipknot still has dreams for itself. Finally playing Mexico was one of them. It’s been a surreal life of rock and roll for Slipknot and the fact that the dreams still go on for us is simply incredible. Thank you.”

Black Sabbath’s End Of The End – from which the excerpts are to be shown at the HMAs – brings fans up close and personal with the story of the final, emotionally-charged concert, in which the band perform hits including Iron Man, Paranoid, War Pigs and many more. The film also joins Sabbath in the studio as they deliver unique and exclusive performances of some of their favourite songs not played on the tour, and catch an intimate glimpse into the band’s world; the music, relationships and banter, alongside personal anecdotes.

Speaking about the film Ozzy Osborne said: “What a journey we’ve all had. It’s fucking amazing”. This is the final word from the greatest heavy metal band of all time.”

End Of The End is to be shown for one night only in mrs than 1,500 cinemas worldwide on September 28, 2017.

Both films will be released in other formats at a later date and are distributed by Eagle Rock Entertainment.

HMA17 Best Breakthrough Band Longlist Part 3: O-Z

With the public voting now closed for the Heavy Music Awards 2017, and in the run up to the event on August 24 at House of Vans London, we are revealing the longlists of our categories, as nominated by our judging panel of over 300 industry experts.

For the Best Breakthrough Band category – presented by House of Vans London – we received almost 200 nominations – with the criteria stating that an artist must have released their first official single, EP or album in 2016.

With so many nominations, we have decided to break down the list into three segments. Below you’ll find the final part of the list, covering O through Z.

The finalists, as announced in May, are:

Black Peaks (Easy Life)
Black Foxxes (Universal)
Casey (Hassle)
Dead! (Infectious)
I Prevail (Fearless)
Venom Prison (Prosthetic)
Zeal & Ardor (Radicalis / MVKA)

You can listen to tracks from each artist – and discover some new artists while you’re at it – via the embedded playlist at the bottom of this post.

 


HMA17 Best Breakthrough Band – The Longlist

Obsidian Kingdom
Onirism
Petrol Girls
Plini
Power Trip
Prophets Of Rage
Pup
Puppy
Raveneye
Roam
Shadow Of Intent
Shvpes
Sinistro
Stone Broken
Strange Bones
Suicide By Tigers
SUMAC
Sumerlands
Swedish Death Candy
Sylar
Tax The Heat
Tempt
The Bad Flowers
The Black Queen
The Danger Of Falling
The Dirty Nil
The Gospel Youth
The King Is Blind
The Lowest Form
This Be The Verse
Tigress
Toseland
Toska
Trash Boat
Trecelence
Twin Wild
Venom Prison
Veridian
Violent Soho
Vodun
Vola
Vukovi
Waco
Wallflower
Watchcries
Waterparks
When Our Time Comes
With Confidence
Wretch
WSTR
Zeal & Ardor
Zoax

 


Win A Copy of ‘Release The Crowd’ by Nic Bezzina

Following the incredible reaction to the HMA17 Young Photographer Competition and our Best Photographer category, we are excited to extend our coverage of photographic projects by displaying prints from Nic Bezzina’s groundbreaking book ‘Release The Crowd’ at House of Vans London during HMA17.

The book, by Australian Photographer Nic Bezzina, examines the intriguing make-up of music festival crowds, spanning five countries, and nine unique festivals.

This project turns the camera away from the bands and captures the emotion of the crowd, that amorphous, vibrating creature with a thousand faces. Revealing both the intensity that comes with letting go, as well as the close communities inside which fans can truly be themselves.

The festivals captured include: Wacken (Germany) Download (UK) Sonisphere (UK) Bloodstock (UK) Hellfest (France) Primavera Music (Spain) Big Day Out (AU) Soundwave (AU).

You can preview and buy the book now at releasethecrowd.com.

We caught up with Nic to discuss the project.

 


 

How did the idea for Release The Crowd come about?
As a music photographer with over 10 years behind me, I had shot countless concerts before turning my lens to what was behind me the whole time. Through trial and error I discovered that the best shots were the ones that were uncompromised and really fly-on-the-wall. Those really captured a piece of life.

What interests you about festival crowds?
With all of my projects, I like to consider them from the future. How will people respond to them 30 years from now, or even longer? It becomes an anthropological study on a scene, on a culture, on humanity.

Did anything surprise you as you travelled the world to shoot for this project?
The book focuses on the heavier music festivals because that’s the kind of music I like listening to. I feel more connected to the people. There is a kinship and an utmost respect that I have for them, and I think it shows in a lot of these images. Also, heavy music allows people to be a bit crazier. It’s more active. You don’t really find some punk guy in a wheelchair crowd surfing at many other shows.

What is your favourite shot in the book?

 

Release The Crowd by Nic Bezzina

 

Soundwave Festival. There can be so much power in a single glance. Here is a man, surrounded by his thrashing surging peers, dosed in fake blood during GWAR’s set at the Melbourne Soundwave Festival. He almost seems to be having an outer-body experience. A picture sometimes translates what words fail to describe.

 

Release The Crowd by Nic Bezzina

 

Wacken Open Air. What is it about mud and festivals? They’re such an iconic mix. In the middle of the day a massive downpour drenched Wacken and while most photographers took shelter in the media tent, I saw it as an opportunity to photograph something different. I remember walking back to the tent absolutely covered in mud but very excited of what I had captured.

What’s the next project on your radar?
I’m currently working on a number of projects all in different stages of their life. From Cam Girls to Punks in Asia. Sneak peak at my Punks in Asia series here.

 


Win one of five copies of Release The Crowd

If you’d like to get your hands on a copy of the book, simply click here to join the HMA mailing list. We’ve got five to give away. Entry closes 5pm on 8 September 2017.

Venom Prison To Play Heavy Music Awards 2017

Venom Prison have joined the line-up to play the Heavy Music Awards 2017.

The death metal band – who are finalists in Best Breakthrough Band at HMA17 – will join headline act Creeper, Vukovi and Dead! at House of Vans London on August 24.

Speaking about the HMAs, a representative for the Welsh five-piece said: “Venom Prison look forward to representing the more extreme side of heavy music at the Heavy Music Awards on August 24.

“See you there.”

Access to the Heavy Music Awards is by invitation only, but there are a handful of tickets left to win – keep an eye out for a special competition very soon.

Photo: Carly Tyrell

Creeper to Headline Heavy Music Awards 2017

Creeper will headline the Heavy Music Awards 2017 at House of Vans London.

Fresh from playing the Vans Warped Tour in the United States, the horror-punk six-piece – who’s debut album ‘Eternity, In Your Arms’ hit the UK’s top 20 earlier this year – will lead the line-up on August 24 at the inaugural HMAs.

In addition to performing, Creeper are finalists in the Best UK Band category – presented by Uprawr – and the result of the public vote will be announced on the night.

Speaking on playing the HMAs, the south coast sextet said in a statement: “We are excited to perform at the Heavy Music Awards.

“We believe that the initiative to create an impartial awards celebration – which truly sees peers and contemporaries from the alternative world nominating and voting for the best heavy music out there today – is very important.

“It’s an honour to be nominated for an HMA, and to play at the ceremony.”

 

Vukovi

Vukovi

 

Opening the main stage will be fast-rising Scottish rockers Vukovi, who head to Reading and Leeds Festival the following day.

Vocalist Janine Shilstone told the HMAs, “[It’s the] first ever awards show the band have been invited to – and to top to it off the HMA gods wants us to perform. Double whammy.”

 

Dead!

Dead!

 

Special guests Dead! – nominees in the Best Breakthrough Band category, presented by House of Vans London – will get the HMAs warmed up with a performance on the venue’s second stage.

A very special guest will be announced shortly as main support on the main stage.

Access to the event is by invitation only, but there are a handful of tickets left to win – keep an eye out for a special competition very shortly.

HMA17 Best Breakthrough Band Longlist Part 2: E-N

With the public voting now closed for the Heavy Music Awards 2017, and in the run up to the event on August 24 at House of Vans London, we are revealing the longlists of our categories, as nominated by our judging panel of over 300 industry experts.

For the Best Breakthrough Band category – presented by House of Vans London – we received almost 200 nominations – with the criteria stating that an artist must have released their first official single, EP or album in 2016.

With so many nominations, we have decided to break down the list into three segments. Below you’ll find the second part of the list, covering E through N.

The finalists, as announced in May, are:

Black Peaks (Easy Life)
Black Foxxes (Universal)
Casey (Hassle)
Dead! (Infectious)
I Prevail (Fearless)
Venom Prison (Prosthetic)
Zeal & Ardor (Radicalis / MVKA)

You can listen to tracks from each artist – and discover some new artists while you’re at it – via the embedded playlist at the bottom of this post.

 


HMA17 Best Breakthrough Band – The Longlist

Eat Fast
Eldamar
Elephant Tree
Estrons
Falls
Fallujah
Fangclub
Fire From The Gods
Fizzy Blood
FOES
Freak
Frontierer
G.L.O.S.S.
Giraffe Tongue Orchestra
Glam Skanks
God Damn
Gone Is Gone
Good Tiger
Grayscale
Grumble Bee
Halfpace
Harbinger
Heck
Highly Suspect
HMLTD
Homebound
I Prevail
I, The Mapmaker
Idles
Immolated Moth
Inglorious
Jonestown
Kamikaze Girls
Kenneths
King Nun
Knocked Loose
Kylver
Last In Line
Loathe
Lody Kong
Making Monsters
Måntra
Memoreve
Movements
Napoleon
Nervus
Normandie
Nova Twins

 


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