Dead Earth Politics

Dead Earth Politics set out to answer the age old question: What happens when a gaggle of highly influential genre defining bands walk into an alleyway and have a punch up after taking a ton of mescaline?

Whether you’re into heavy rock, power metal, groove, grunge (or just metal metal!), there’s a dish for everybody on The Queen Of Steel – so whatever your taste, you’re bound to find something nourishing.

Dead Earth Politics The Queen Of Steel DEAD EARTH POLITICS The Queen Of Steel photo

However, does so much choice have its down sides? Dead Earth Politics are not a workshy bunch, having shared the stage with some of the titans of modern metal. They have worked hard to put themselves on the map and have created a sound which can be many things to many people. The risk there, of course, is becoming a Jack-of-all-trades and a master of none. The musicality on display here is astonishing, the guitars expertly weaving in and out of solid rhythms supplied by tight, expressive percussion and aggressive, driven bass.

There’s lead work that leaps from the speakers and dances over fantastic grooves before plunging back into the depths. Soaring above all of this are vocals that traverse the realms of excellence. Vocalist ‘Ven’ has a range that defies that of most singers in the metal genre, and most in any genre to be honest. Piercing high end falsettos and powerfully orchestrated clean melodies give way to jaw dropping guttural roars that would make any death metal fan sit up and pay attention. It is here that Dead Earth Politics really demonstrate their multi-genre abilities.

All three tracks available here are fantastically structured and revel in an orgy of genres. It is the work of experienced artisans who, while still honing their craft, have produced something remarkable. The overall production is clear and competent, doing a great job of displaying the individual talents of the group while only occasionally capturing it as a whole on the enormous and epic choruses. Its very clear what era Dead Earth Politics are coming from with hints of Iron Maiden, Alice In Chains, early Pantera and Metallica in their glory days influencing the overall sound while allowing modern aggression from the likes of Lamb Of God, Chimaira and God Forbid to permeate and up the stakes.


All of this ultimately refines down to a release that has a timeless quality, sitting alongside established legends comfortably and still managing to find its own identity.

Confident song writing, inspired song structures, remarkable musical ability across the board and a final product that manages to capture all of these elements functionally rather then exceptionally. - MetalMouth

Dead Earth Politics are from the US and play modern Thrash/Groove Metal.

This is southern-tinged Modern Metal in the style of Lamb of God, et al, only with a slightly more Metal twist and some nice melodic choruses. Look at the album cover. Look at the song titles. There is no weak pseudo-Metal here.

Said melodic choruses are not of the sickly, saccharine variety; instead they’re all about the Metal and owe more to Pantera than the more modern Metalcore clones.

The riffs are good and the songs have plenty of energy. The band also don’t shy away from solos, which is always a welcome thing to hear.

The vocals are modern Metal shouting, combined with the aforementioned cleans with some even verging on Power Metal territory. Almost.

I’ve seen this band described as a cross between classic Metal and New American Metal and I think this description fits. Either way this short 3 track EP has the songs to play in the big leagues and is clearly the result of talented minds.

An enjoyable EP, and if they can harness this energy and songwriting finesse then whatever upcoming album they may be working on should be well worth a listen. Based on this release I’m looking forward to what they do next.

A modern take on fantasy Metal? Works for me. - Wonderbox Metal

“Redneck Dragonslayer.” In essence, that’s all you need to know about Dead Earth Politics. Were I limited to a two-word “Shark Sandwich” review, those two would be sufficient. They signify the jarring collision of two very different aesthetic worlds in metal, a collision on which this Austin, Texas band capitalizes by playing it tongue-in-cheek while reveling in ridiculousness.

I’ve kept an eye on this underground outfit since 2010’s full-length debut “The Weight Of Poseidon,” which tossed traditional influences together with modern, progressive, and Southern sounds in ways quirkier than I’d imagined. But the raw, low-budget production hampered the band’s expansive sound, and now I understand why it’s taken nearly four years to hear the pure gold that is “The Queen Of Steel:” when money and resources are limited, getting things right behind the boards means virtually everything.

That and honing one’s songwriting, of course. “Poseidon” seemed to try a little too hard and, while deserving an A for effort, didn’t quite have what it took to carve an identity for a larger audience’s consumption. “Queen,” on the other hand, is the result of four years of cardio and, er… weights. The fat is trimmed off, leaving a toned, muscular product focusing on the band’s greatest strength: sounding like classic Iron Maiden trading blows with “Sacrament” era Lamb Of God. It’s that simple, and that awesome.

The swirling combination inevitably produces some residual echoes of other acts; for example, the chorus section on aforementioned “Redneck Dragonslayer” could’ve slipped neatly onto the last Soilwork album with nobody the wiser. But regardless, the dual “Lamb Of Maiden” function is the standard. You’ll be surprised just how powerfully frontman Devon "Ven" Brown’s throaty Blythian bark accents the “Powerslave” style gallop of the title track, or how naturally the precise neoclassical shred melds with a “jump-jump” Ozzfest riff on what has to be a live killer, “Madness Of The Wanderer.”

By no means am I suggesting that Dead Earth Politics is an unoriginal ripoff. As with most art appreciation, we often mistakenly use “originality” – which, literally, nothing or nobody can claim – at the expense of a better word: “inspiration.” This band has a ton of it, more than enough to fill another full-length, which now is desperately needed. That’s the downside to “The Queen Of Steel.” It finishes so quickly, leaves, and doesn’t call back for two weeks. So, to metal fans that crave their Southern and their Euro in equal doses: let’s stalk Dead Earth Politics until they give us more.

Highs: Crisp and razorlike production, focused and effective songwriting, and playful flouting of metal's cultural conventions.

Lows: Have you ever been upset with your bartender for underpouring your glass of exquisitely aged single malt?

Bottom line: Austin, Texas' eclectic and popular local metallers finally hit upon what hopes to be their true sound. - Metal Underground

Fucking Epic. Those two words will be used throughout my review. This is not because I lack the needed vocabulary to convey how great this album is, Fuck no! It’s because no other words can better describe what this album is… Absolutely Fucking Epic!

*I’m doing things a bit different this time. My typical review format is not going to work for neither this review nor this band. Too epic… lol

Track-by-Track

1. Artistic License: Ven Scott, lead vocalist, tells you from the first second, “I’ll pepper you with a barrage of word fire!” and you better heed his fucking warning! The song starts off with a badass thrash metal riff, heavy hitting drums and fantastic guttural vocals; till you get to the chorus… then they get epic on your ass! I didn’t expect them to open with such a brutal song, but it really sets the tone for the rest of the album. Great solo as well from Ernie Clark, guitarist and vocals (mandolin aficionado?). The track sets the tone for the rest of the album, with a vibe that veers between fury and despair.



2. Dos Cuerpos: Screeching tires of the El Camino lead you right into a fantastic groovy metal riff. This song is FANTASTIC live! It’s so groovy you can almost dance to it… but that’s not fucking metal… so don’t! The vocals are death metal-ish, which makes this song about a double murder/suicide just that much more…brutal.



3. Burial Ground: After DJ Chuck of Austin’s 101x gives you the news and then tells you to go die, DEP gives you fast, groove infused thrash. At 1:50 Will Little, bassist, begins to finger those strings and you know something brutally fantastic is about to happen! If you don’t love this song at this point… well then you don’t like metal and should consider burying yourself alive. I absolutely love the way this song is written. It shows off their talented song writing skills without being pretentious.



4. Once Was Glass: OMFG… the beginning riffs and growls to this song are going to make your nipples hard! Mason Evans, drummer, vocals (sleigh bells?) beats the shit out of his kit. (Also let me point out that the cymbal action in the body of this song… it makes me giddy with how tremendous it sounds!) This song truly shows you what makes this band epic. Ernie impresses once again with some flashy lead work that isn’t self-indulgent, it just fits perfectly. This song is a HEAD BANGER. You WILL have whiplash when it’s completed… and you will rejoice in the pain! At 3:20 DEP is going to smash your face in with their epic virtuosity! Turn it up… loud!!



5. Hooked: This song’s haunting, gentle opening soon gives way to an overwhelming barrage of riffs, tempo changes and mood swings, each calibrated for maximum heaviness and impact. And while it does begin to sound like DEP is channeling the spirit of Dream Theater… they again confirm that they write brutal metal music! At 3:08 the band does this little breakdown that makes me want some falafel and possibly a hookah hit?



6. The Weight of Poseidon: This is the Epic title track to the album. It’s the reason for the beautiful artwork on the album as well. It’s not only a skillfully written song, jam packed with quality songwriting, performance, and vocals, the lyrics draw an allusion to the burden that a knowledgeable man would carry with knowing a truth that either can’t be expressed or will only bring about great sorrow if one tried to make this truth known. This song is just so classic sounding and unique at the same time.



7. Traitor is a Name: This IS the metal song Rage against the Machine was trying to write before they took the more hip hop route in their revolutionary activism. It’s right at 3:28 into the song that these guys decide to give us the most incredible break down EVER! Fucking bad ass jazz riff right in the middle of your fucking METAL! How’s that for EPIC? Then it’s RIGHT back into the heavy ass metal… God Damn it, Ernie and Will and your solos! BRUTAL!!



8. 10/13: This is MY FAVO - "Brutal" Brandy Jarrett

Fucking Epic. Those two words will be used throughout my review. This is not because I lack the needed vocabulary to convey how great this album is, Fuck no! It’s because no other words can better describe what this album is… Absolutely Fucking Epic!

*I’m doing things a bit different this time. My typical review format is not going to work for neither this review nor this band. Too epic… lol

Track-by-Track

1. Artistic License: Ven Scott, lead vocalist, tells you from the first second, “I’ll pepper you with a barrage of word fire!” and you better heed his fucking warning! The song starts off with a badass thrash metal riff, heavy hitting drums and fantastic guttural vocals; till you get to the chorus… then they get epic on your ass! I didn’t expect them to open with such a brutal song, but it really sets the tone for the rest of the album. Great solo as well from Ernie Clark, guitarist and vocals (mandolin aficionado?). The track sets the tone for the rest of the album, with a vibe that veers between fury and despair.



2. Dos Cuerpos: Screeching tires of the El Camino lead you right into a fantastic groovy metal riff. This song is FANTASTIC live! It’s so groovy you can almost dance to it… but that’s not fucking metal… so don’t! The vocals are death metal-ish, which makes this song about a double murder/suicide just that much more…brutal.



3. Burial Ground: After DJ Chuck of Austin’s 101x gives you the news and then tells you to go die, DEP gives you fast, groove infused thrash. At 1:50 Will Little, bassist, begins to finger those strings and you know something brutally fantastic is about to happen! If you don’t love this song at this point… well then you don’t like metal and should consider burying yourself alive. I absolutely love the way this song is written. It shows off their talented song writing skills without being pretentious.



4. Once Was Glass: OMFG… the beginning riffs and growls to this song are going to make your nipples hard! Mason Evans, drummer, vocals (sleigh bells?) beats the shit out of his kit. (Also let me point out that the cymbal action in the body of this song… it makes me giddy with how tremendous it sounds!) This song truly shows you what makes this band epic. Ernie impresses once again with some flashy lead work that isn’t self-indulgent, it just fits perfectly. This song is a HEAD BANGER. You WILL have whiplash when it’s completed… and you will rejoice in the pain! At 3:20 DEP is going to smash your face in with their epic virtuosity! Turn it up… loud!!



5. Hooked: This song’s haunting, gentle opening soon gives way to an overwhelming barrage of riffs, tempo changes and mood swings, each calibrated for maximum heaviness and impact. And while it does begin to sound like DEP is channeling the spirit of Dream Theater… they again confirm that they write brutal metal music! At 3:08 the band does this little breakdown that makes me want some falafel and possibly a hookah hit?



6. The Weight of Poseidon: This is the Epic title track to the album. It’s the reason for the beautiful artwork on the album as well. It’s not only a skillfully written song, jam packed with quality songwriting, performance, and vocals, the lyrics draw an allusion to the burden that a knowledgeable man would carry with knowing a truth that either can’t be expressed or will only bring about great sorrow if one tried to make this truth known. This song is just so classic sounding and unique at the same time.



7. Traitor is a Name: This IS the metal song Rage against the Machine was trying to write before they took the more hip hop route in their revolutionary activism. It’s right at 3:28 into the song that these guys decide to give us the most incredible break down EVER! Fucking bad ass jazz riff right in the middle of your fucking METAL! How’s that for EPIC? Then it’s RIGHT back into the heavy ass metal… God Damn it, Ernie and Will and your solos! BRUTAL!!



8. 10/13: This is MY FAVO - "Brutal" Brandy Jarrett

Dead Earth Politics are a four-piece metal band based out of Austin, Texas formed in 2005 who have previously released the five song "Mark The Resistance" EP. The band's latest effort THE WEIGHT OF POSEIDON features eight tracks and some visually stunning cover art.



THE WEIGHT OF POSEIDON opens with the statement "I'll pepper you with a barrage of wordfire" before delving into a thrashy assault on album opener "Artistic License". Dead Earth Politics play heavily on dynamics on this number, effortlessly shifting between tempos and various vocal approaches...and it works. "Dos Cuerpos" hits like a ten-ton bag of hammers, sludging forth from the depths with some heavy riffing and a vocalist that at times seems violently drunk on equal parts Jack Daniels and battery acid. Describing the sound of Dead Earth Politics can be a little difficult and that is also what makes them a bit unique. In my opinion, although they play up some ultra beefy riffs, at other times the riffwork is far too intelligent and at times progressive to land them a spot in any genre that ends with "core". The vocal delivery ranges from a guttural grind approach, to screechy blackness to more of a melodic death influence as found on the atmospheric "Hooked". The album comes to a close with the epic "10/13" a track that clocks in at just under nine minutes, again working well with dynamics by incorporating a nylon string intro passage with atmospheric Native American wailing, before slowly building, building and then delivering the heavy.



I would expect bigger and better things to await Dead Earth Politics following the release of THE WEIGHT OF POSEIDON. This is pretty much the total package today's up-and-comers aspire to, good packaging, good production, good performance and bonus points for an original sound. - Robert Williams

Dead Earth Politics are a four-piece metal band based out of Austin, Texas formed in 2005 who have previously released the five song "Mark The Resistance" EP. The band's latest effort THE WEIGHT OF POSEIDON features eight tracks and some visually stunning cover art.



THE WEIGHT OF POSEIDON opens with the statement "I'll pepper you with a barrage of wordfire" before delving into a thrashy assault on album opener "Artistic License". Dead Earth Politics play heavily on dynamics on this number, effortlessly shifting between tempos and various vocal approaches...and it works. "Dos Cuerpos" hits like a ten-ton bag of hammers, sludging forth from the depths with some heavy riffing and a vocalist that at times seems violently drunk on equal parts Jack Daniels and battery acid. Describing the sound of Dead Earth Politics can be a little difficult and that is also what makes them a bit unique. In my opinion, although they play up some ultra beefy riffs, at other times the riffwork is far too intelligent and at times progressive to land them a spot in any genre that ends with "core". The vocal delivery ranges from a guttural grind approach, to screechy blackness to more of a melodic death influence as found on the atmospheric "Hooked". The album comes to a close with the epic "10/13" a track that clocks in at just under nine minutes, again working well with dynamics by incorporating a nylon string intro passage with atmospheric Native American wailing, before slowly building, building and then delivering the heavy.



I would expect bigger and better things to await Dead Earth Politics following the release of THE WEIGHT OF POSEIDON. This is pretty much the total package today's up-and-comers aspire to, good packaging, good production, good performance and bonus points for an original sound. - Robert Williams

Hailing from Austin, Texas and playing a form of grumpy Thrash Metal, Dead Earth Politics are hard to pigeonhole. They avoid any Metalcore-comparisons by being too out-there and off-kilter, riffs twisting and turning intelligently as songs make you work to understand them. Vocalist Ven Scott has the sort of throaty grunting bellow which would normally put traditional thrashers off were it not for the guitar heroics of the likes of Once Was Glass, as melodic as it is groovy. It feels wrong to give them a ‘progressive’ tag however, since the music never seems to do as much as is promised, as much noise as it makes – the most experimental elements on show for much of the album are mock tv-news announcements.

However, what the band do, they do well, and later moments such as the dip into Jazz on Traitor Is A Name and the Arabic chanting and acoustic opening to nine-minute finale 10.13 are welcome proof of the band’s further talents. The twisty riffing and melodic meanderings of the latter track especially are a great showcase for the band, and cast a shadow on the rest of the album for not being as good. Still, once you’re used to the Dead Earth Politics style, it’s hard not to enjoy the likes of Artistic Licence – opening with the words ‘I’ll pepper you with a barrage of wordfire!’ and coming on like Iron Maiden crossed with Entombed – or Dos Cuerpos, making even better usage of that clearly audible bass and crashing around like recent Exodus at their angriest.

It’s not hard to enjoy The Weight Of Poseidon once you get into it, the intense rip-roaring of the likes of Hooked providing a better listen than you’d expect. Given lighter vocals, the traditional Heavy Metal influences would come through clearer and Dead Earth Politics would broaden their appeal, but I sense that they enjoy the gnarliness which Ven’s harsh vocals provide – really, the only improvements to be made will probably occur naturally, especially considering that this is the band’s debut full-length. Dead Earth Politics is a name to remember. - Metal Reviews

Hailing from Austin, Texas and playing a form of grumpy Thrash Metal, Dead Earth Politics are hard to pigeonhole. They avoid any Metalcore-comparisons by being too out-there and off-kilter, riffs twisting and turning intelligently as songs make you work to understand them. Vocalist Ven Scott has the sort of throaty grunting bellow which would normally put traditional thrashers off were it not for the guitar heroics of the likes of Once Was Glass, as melodic as it is groovy. It feels wrong to give them a ‘progressive’ tag however, since the music never seems to do as much as is promised, as much noise as it makes – the most experimental elements on show for much of the album are mock tv-news announcements.

However, what the band do, they do well, and later moments such as the dip into Jazz on Traitor Is A Name and the Arabic chanting and acoustic opening to nine-minute finale 10.13 are welcome proof of the band’s further talents. The twisty riffing and melodic meanderings of the latter track especially are a great showcase for the band, and cast a shadow on the rest of the album for not being as good. Still, once you’re used to the Dead Earth Politics style, it’s hard not to enjoy the likes of Artistic Licence – opening with the words ‘I’ll pepper you with a barrage of wordfire!’ and coming on like Iron Maiden crossed with Entombed – or Dos Cuerpos, making even better usage of that clearly audible bass and crashing around like recent Exodus at their angriest.

It’s not hard to enjoy The Weight Of Poseidon once you get into it, the intense rip-roaring of the likes of Hooked providing a better listen than you’d expect. Given lighter vocals, the traditional Heavy Metal influences would come through clearer and Dead Earth Politics would broaden their appeal, but I sense that they enjoy the gnarliness which Ven’s harsh vocals provide – really, the only improvements to be made will probably occur naturally, especially considering that this is the band’s debut full-length. Dead Earth Politics is a name to remember. - Metal Reviews

If you're looking for that rare album that offers the comfort of familiarity yet carries a unique sound all its own, "The Weight Of Poseidon" would make a worthy purchase. The sophomore (and first full-length) release from DEAD EARTH POLITICS, a homicidal bunch out of Austin, TX, brims with a plethora of notable influences and intertwines them in a manner that seems to all but defy explanation.

Over eight tracks, the band toss several different styles into a giant melting pot of Metal: Thrash, Groove, Progressive, Doom, Metalcore, and NWOBHM. Topped off with a raw PANTERA-esque Southern Metal aesthetic and a generous helping of black humor, "The Weight Of Poseidon" contains a little something for everyone. "Artistic License" opens the album with a roller coaster ride of a Thrash attack, while "Dos Cuerpos" boasts a riff refrain that you won't be able to stop humming for days afterward. Much of the album's pacing is anchored at mid-tempo, a consistency factor that is much welcome, considering the sheer schizophrenia of musical influences on display. For instance, "Hooked" breaks into an unexpected Salsa-inspired acoustic passage, the title track resembles the gritty, long-lost American cousin of OPETH, and "Traitor Is A Name" veers into loungy Jazz before roaring back for the big finish. These various curveballs are cunningly juxtaposed with some respectful nods to tradition, including several IRON MAIDEN-style gallops. All of these elements are cobbled together quite skillfully in a package that can be compared to a bastard son of LAMB OF GOD and CLUTCH on its veneer.

Dizzy yet? If this all sounds like too much to fit into one album without running it off the rails, you'll be surprised at how natural it all feels as "The Weight Of Poseidon" unfolds. The numerous influences meld and swirl together as smoothly as cream and coffee, while never quite forming a noticeable pattern. Thus, DEAD EARTH POLITICS always stay one nimble step ahead of the listener, with the next trick waiting right up their sleeve. One can think of few other bands, if any, that could so ably represent the eclectic music scene of Austin, a city known for its bustling diversity and cultural eccentricities. If DEAD EARTH POLITICS stick to their game plan, the best may still be yet to come. Indeed, as interesting and rewarding as "The Weight Of Poseidon" is, between the notes seems to reside an even better band straining to break free. But when that day comes, won't you want to be able to tell your friends that you were there at the beginning? Recommended. - Mike Smith

If you're looking for that rare album that offers the comfort of familiarity yet carries a unique sound all its own, "The Weight Of Poseidon" would make a worthy purchase. The sophomore (and first full-length) release from DEAD EARTH POLITICS, a homicidal bunch out of Austin, TX, brims with a plethora of notable influences and intertwines them in a manner that seems to all but defy explanation.

Over eight tracks, the band toss several different styles into a giant melting pot of Metal: Thrash, Groove, Progressive, Doom, Metalcore, and NWOBHM. Topped off with a raw PANTERA-esque Southern Metal aesthetic and a generous helping of black humor, "The Weight Of Poseidon" contains a little something for everyone. "Artistic License" opens the album with a roller coaster ride of a Thrash attack, while "Dos Cuerpos" boasts a riff refrain that you won't be able to stop humming for days afterward. Much of the album's pacing is anchored at mid-tempo, a consistency factor that is much welcome, considering the sheer schizophrenia of musical influences on display. For instance, "Hooked" breaks into an unexpected Salsa-inspired acoustic passage, the title track resembles the gritty, long-lost American cousin of OPETH, and "Traitor Is A Name" veers into loungy Jazz before roaring back for the big finish. These various curveballs are cunningly juxtaposed with some respectful nods to tradition, including several IRON MAIDEN-style gallops. All of these elements are cobbled together quite skillfully in a package that can be compared to a bastard son of LAMB OF GOD and CLUTCH on its veneer.

Dizzy yet? If this all sounds like too much to fit into one album without running it off the rails, you'll be surprised at how natural it all feels as "The Weight Of Poseidon" unfolds. The numerous influences meld and swirl together as smoothly as cream and coffee, while never quite forming a noticeable pattern. Thus, DEAD EARTH POLITICS always stay one nimble step ahead of the listener, with the next trick waiting right up their sleeve. One can think of few other bands, if any, that could so ably represent the eclectic music scene of Austin, a city known for its bustling diversity and cultural eccentricities. If DEAD EARTH POLITICS stick to their game plan, the best may still be yet to come. Indeed, as interesting and rewarding as "The Weight Of Poseidon" is, between the notes seems to reside an even better band straining to break free. But when that day comes, won't you want to be able to tell your friends that you were there at the beginning? Recommended. - Mike Smith

I've said it before and I'll say it again. Austin's local metal scene is under appreciated. However, bands like Dead Earth Politics are keeping it alive. Their debut EP, Mark The Resistance has built Dead Earth Politics' buzz around town and is raising the bar for local metal bands across the board.

Mark The Resistance is a brief five song EP, but in those five songs they display a metal repertoire that ranges from hardcore to melodic. Two tracks in particular stand out on the melodic end of the spectrum, Whisper Diseases and A Thousand More. Well crafted, hard hitting songs, it is lead singer Ven Scott's harmonies that distinguish these two songs from the rest of the EP. Another notable track, By Design features a groove heavy bassline that just won't quit. Overall, Mark The Resistance is a promising EP, giving just a taste of the potential that lies in Dead Earth Politics.

With wide-ranging influences such as Megadeth, Slayer, Clutch and Black Sabbath, I can't help but be intrigued by Dead Earth Politics and what their forthcoming full length debut might hold. Dead Earth Politics is set to begin recording in August at Stinson Studios (Candiria, Endochine, Ill Camino). Your can to see them live on Saturday, August 16th at Emo's with Azoth and Deadpool.


http://www.austinsoundcheck.com/album-review-dead-earth-politics-mark-the-resistance-ep/ - AustinSoundCheck.com

This post was meant to be a preview for Core Disorder III: Metal Fest but we just learned via performing artist Course of Ruin that the celebration of heaviness has been postponed. But fear not, for the band, along with four other no-nonsense metal purveyors, will still be bringing the noise to Emo’s this Friday. We caught up with Dead Earth Politics (also a part of the evening’s line-up), and quizzed singer Ven Scott on the current state of metal music in Austin, among other things.

What can you tell us about the band’s history and discography?

The band in its current lineup has been around since October 2005, roughly. We released our demo/EP Mark the Resistance a year later and are now finishing up our first full-length called Target Rich.

Metal music has had a long and storied history; what are some bands that have influenced Dead Earth Politics?

Our metal spectrum is grand and wide ranging amongst all of us! Actually the musical spectrum in general is wide ranging. For myself, my love affair with metal began with Queensrÿche, straight onto Metallica and Slayer. Here are a few of our biggest influences: Iron Maiden, Slayer, Megadeth, Athiest, Morbid Angel, Cynic, Rush (If you wanna call 'em metal), and probably many more that I am not remembering on behalf of the other guys.

We saw Iron Maiden for the first time last year, at the Verizon Wireless Amphitheater in Selma, near San Antonio.

We were at the same Maiden show then. That San Antonio show was the first for me as well.

Do you have any favorite local metal bands?

I think any metal band in Austin deserves props. Not only are we in a line of entertainment that is generally difficult to work, but in Austin, it is worse. You have Metal Freaktress and Chuck from 101X throwing their weight around the best they can for us. Beyond that, the local support has grown weaker. Interest waning? Maybe. Egos getting in the way. Definitely. Whatever the reason for the poor turnouts at local shows, metal bands are in it for the love of the genre. If you are doing that in Austin, horns to you!

Death Magnetic or Chinese Democracy?

Death Magnetic? Chinese Democracy? I thought we were talking about metal (laughs).

Fair enough! Thank you for speaking with us.

Don't thank me! If you are getting press out about a metal show, you are helping us! Thank YOU! - Austinist.com

Thursday, August 14, 2008

Metal hacks itself into subgenres with a verve and enthusiasm little seen in other musics. There's thrash metal, black metal, death metal, grind, metalcore, groove metal, blackened thrash, death/black and, yes, Viking folk metal (wouldn't that be "volk" met ... look, never mind). Sometimes there's crossover, sometimes there isn't.

But Austin's Dead Earth Politics is one of those rare contemporary metal bands that sound as if they could fit on any metal bill quite smoothly. The Black Sabbath-y mumble of stoner metal? Sign them up. That dream gig with Iron Maiden? No problem. The hideously precision-tooled runs of death metal? Singer Ven Scott can go "Cookie Monster" just fine. But Will Little's bass lines betray interests outside of headbanging, and Scott's singing veers more toward the melodic (there is Meat Loaf in this man's past, I just know it). Dead Earth Politics is good for all seasons. Their EP "Mark the Resistance" embodies all of this nicely, by which I mean concisely; no meandering here.

And as frosting on the cake, drummer Mason Evans has the single greatest MySpace handle of all time: Hold My Beer and Watch This. Genius.

Dead Earth Politics play with Azoth, Angerkill and Dead Pool at 9 p.m. Saturday at Emo's, 603 Red River St. 477-3667.


http://www.austin360.com/arts/content/music/stories/xl/2008/08/0814xlintheclubs.html - Austin American Statesman

Thursday, August 14, 2008

Metal hacks itself into subgenres with a verve and enthusiasm little seen in other musics. There's thrash metal, black metal, death metal, grind, metalcore, groove metal, blackened thrash, death/black and, yes, Viking folk metal (wouldn't that be "volk" met ... look, never mind). Sometimes there's crossover, sometimes there isn't.

But Austin's Dead Earth Politics is one of those rare contemporary metal bands that sound as if they could fit on any metal bill quite smoothly. The Black Sabbath-y mumble of stoner metal? Sign them up. That dream gig with Iron Maiden? No problem. The hideously precision-tooled runs of death metal? Singer Ven Scott can go "Cookie Monster" just fine. But Will Little's bass lines betray interests outside of headbanging, and Scott's singing veers more toward the melodic (there is Meat Loaf in this man's past, I just know it). Dead Earth Politics is good for all seasons. Their EP "Mark the Resistance" embodies all of this nicely, by which I mean concisely; no meandering here.

And as frosting on the cake, drummer Mason Evans has the single greatest MySpace handle of all time: Hold My Beer and Watch This. Genius.

Dead Earth Politics play with Azoth, Angerkill and Dead Pool at 9 p.m. Saturday at Emo's, 603 Red River St. 477-3667.


http://www.austin360.com/arts/content/music/stories/xl/2008/08/0814xlintheclubs.html - Austin American Statesman

Dead Earth Politics was the most familiar band to the locals that frequent the Dirty Dog. The band won The Austin Chronicle metal band of the year and they put on a hell of a show. Devon Brown aptly handled the mic, switching between harsh vocals and clean screams. The band played material from “The Queen of Steel” EP and their newest release “Men Become Gods.” The title track off the new record saw Brown sign King Diamond type highs done to a riff that summons Mercyful Fate. The band’s groovy thrash style produced a ton of great riffs. Normally a five-piece band, this was all done as a four piece. Guitarist Aaron Canady was stuck at work. About three quarters of the way through the show, Canady showed up, strapped a guitar to his shoulder and started rocking out like the group never missed a beat. - metalunderground.com

Texas power-thrashers Dead Earth Politics are back with another EP and it’s a little bit different than their last effort, The Queen Of Steel. The Iced Earth elements are still there, as well as the multitudinous amounts of prog, but the whole experience is a whole lot heavier and feels stronger than ever before. This might sound crazy, but the only reason I’m giving this a four instead of a perfect five is because at this point, it seems like these guys are ready to make a real full-fledged full-length album. The Queen Of Steel already cemented their potential and Men Become Gods only continues to push that potential further. To be brutally honest, Dead Earth Politics could be one of the biggest power thrash acts in the planet in the next few years, and with a performance like this, it’s insane to think that not one major label has experienced interest in them yet. So all label representatives and agents reading this review should really take notice of the amount of skill, talent and marketability here. It feels like I’m only hearing a quarter of a great album, one that I would spin for days on end, just like I did with Iced Earth’s Something Wicked and Horror Show. These guys really are that good and they have the potential to cement themselves as this generation’s power thrash gods if they keep putting out such memorable material like this. In all of the structure, melody and ass-kickery unleashed inside of this beast, the saddest part is when highlight “Ice & Fire” rolls into the closer “Crimson Dichotomy” and the album ends abruptly. There are very few words that I can use to describe the performance here, which is going to bust your head open like an oncoming fist of herculean might. As you keep listening, it’ll just keep getting better as you start salivating and yearning for more. I’ve never been more satisfied with an EP release in this genre than I have here, even Iced Earth’s EP’s have paled in comparison to the progression meets high energy intensity that is Dead Earth Politics. That being said, I feel as though I’m only hearing a mere sliver of something that’s going to blow my mind into oblivion and I can’t wait to hear more from them in the future. It’s time to make that full-length, gentlemen, and to finally show the entire world how five extremely talented men have truly become gods. - New Noise Magazine

Austin, Texas-based indie metal machine Dead Earth Politics have announced a string of tour dates leading up to the band's August 15 performance at the 6th annual GWAR B-Q, where they will join the likes of Down, Goatwhore and co-headliners Clutch as the Richmond festival erupts into a rowdy and raucous weekend celebrating 30 Years of GWAR!

Adding to the mania, three time winners of the Austin Chronicle's "Austin Music Awards' Best Performing Metal Band" award, Dead Earth Politics have been hand-picked by Grammy nominated metal icons, GWAR, as Ambassadors of Mayhem. As the band tours hard towards the fest, they'll be turning their concerts into nightly parties resulting in a week-long celebration of the presence and impact of the intergalactic Scumdogs' 30 years on Planet Earth! These special events include everything from masquerade balls to good old fashioned Cold Cock whiskey fueled birthday bashes. Shenanigans from Texas to Virginia will be chronicled by the accompanying film crew and fans can follow the fun as highlights are showcased daily on Metal Injection, GWAR social media outlets, and Dead Earth Politics' own Youtube channel.

The band has shared stages with some of metal's biggest names, including Down, Corrosion Of Conformity, and Danzing, and are thrilled to be chosen to participate in GWAR's historic event in such a unique way.

"To suggest that we are stoked to carry the Gwar-Banner for such a killer event and such an epic year would be an understatement. Being an independent band and having been offered this opportunity is something we don't take lightly and I, personally, plan on focusing on every moment for my future rock star spank bank! Hail Scumdogs!" says Dead Earth Politics front man Ven Scott.

Tour dates are as follows:
Wednesday August 5 - Acadia Bar & Gril in Houston, TX
Friday August 7 - Bonds 007 in San Antonio, TX
Saturday August 8 - Dirty Dog Bar in Austin, TX
Sunday August 9 - The Wild Salmon in Lafayette, LA
Wednesday August 12 - Head on the Door in Montgomery, AL
Thursday August 13 - The Oglethorpe Lounge in Albany, GA
Saturday August 15 - GWAR BQ in Richmond, VA
A promo video for The Road to GWAR-BQ has been posted below.

For more on GWAR B-Q, visit www.gwarbq.com.

The March 14 release of the band's newest EP, "Men Become Gods", has seen Dead Earth Politics' star rise amongst metal journalists and critics from around the world. WeLoveMetal.com listed "Men Become Gods" as one of their Top Ten albums of March 2015, while SeaOfTranquility.org likened the EP to a "midnight jam session between Iron Maiden, Megadeth and Lamb of God".

The second in a series of three EPs that began with last year's acclaimed The Queen of Steel, Men Become Gods is available on CD and digital formats. The EP is available at the following locations: Itunes, Bandcamp & CDBaby.

Weblinks:
www.deadearthpolitics.com
www.facebook.com/deadearthpolitics - Grande Rock