Robert Plant expects his new Band of Joy to be a going concern and says that taking pen to paper -- rather than continuing to cover other songs as he does on the "Band of Joy" album, which is out Tuesday (Sept. 14) -- is the likely next step."We're talking. We have to write songs now," Plant tells Billboard.com. "It's all very well celebrating other people's songwriting, and I know there are artists who actually have an entire career doing that, whether it be Elvis or Sinatra or...a lot of country artists who never write. But we're gonna be heading that way soon." But with "a lot of gigs lined up" to support "Band of Joy" -- including a showcase last night at New York's Bowery Ballroom, European dates in October and November and a North American tour starting in mid-January -- Plant isn't yet ready to say how soon that will be. "Well, who knows? I haven't got a great deal of self-esteem when it comes to writing. I have no idea how it will work out, and
also it will be the first time I've ever written a song...with the Americana psyche in full flight, so we'll see. I'd like to think we can keep this going and just make Joy where it's appropriate." Plant recorded the 12-track "Band of Joy" -- which takes its name from a group he and the late drummer John Bonham had in England prior to forming Led Zeppelin -- in Nashville. Buddy Miller, who was part of the band that toured to support "Raising Sand," Plant's Grammy Award-winning collaboration with Alison Krauss, produced the album and assembled an all-star troupe that includes singer/songwriter Patty Griffin. The set's first single is a version of Los Lobos' "Angel Dance" from its 1990 album "The Neighborhood" (writers David Hidalgo and Louie Perez appear in the video), and "Band of Joy" also includes songs by Townes Van Zant, Barbara Lynn, the Kelly Brothers and Low, as well as some traditional pieces. Plant says a total of "22 or so" pieces were
recorded, but no plans have yet been made for the remaining tracks. Plant acknowledges that "Band of Joy" came about after he started work with Krauss on a follow-up to "Raising Sand." "We got to talking about it and sharing a bunch of ideas, and we got to go into the studio and try some of them out," he says. "It was particularly challenging to try and follow 'Raising Sand,' probably, so soon after we finished working on the project. Perhaps we didn't give it enough space. We reached a point where we knew we'd have to hook up later on."Commencing with Miller and company was hardly plan B, however. "I felt I could do more or less anything," Plant says. "There was no big partnership. I didn't have to ask anybody anything. It was a different yet very vaguely familiar feeling within me that I could now just do anything at all and go and enjoy my dalliances with all kinds of music. It just felt like, I hate to say it, but it felt young. It felt like I
didn't know what was going to happen next, and it didn't really matter. That was the great thing."
According to Kerrang! magazine, LED ZEPPELIN frontman Robert Plant will headline London, England's Roundhouse on October 29 as part of BBC Radio 2's Electric Proms festival.
Plant, who will be performing with His new band BAND OF JOY — an updated version of his pre-LED ZEPPELIN group which also featured the late John Bonham — will be joined by The London Oriana Choir.
The show will be broadcast live on BBC Radio 2.
Tim Taylor of JAM Magazine Online recently conducted an interview with AEROSMITH drummer Joey Kramer. A couple of excerpts from the chat follow below.
JAM Magazine Online: It seems as though a great deal of the rock memoirs released today, from Nikki Sixx to Ozzy Osbourne, use the central of theme drug abuse and sex to tell their stories. What makes Joey Kramer's tales of drugs, sex and rock and roll any different from all the other sordid tales by rock stars?
Kramer: My story is different from the others you mentioned because it's not just a rock n' roll memoir. It's more about my life story, and the trials and tribulations of all the wonderful things that life has to offer. Alcoholism, anxiety and depression affect people in all walks of life. Surviving it is the key, and my book tells how I got through those very traumatic periods when I truly was living on the edge. Honestly, how I beat these addictions are the parts of the book that really seem to be helping folks the most. My story lets people know you don't have to be a rock star to crash and burn. People in recovery all have their own unique story's dealing with the dark side of life. The one thing we all have in common is the pain we share. My goal with the book is to show people that no situation is hopeless as opposed to your typical rock memoir that glamorizes the good and bad times of addiction.
JAM Magazine Online: One of the most intriguing aspects of your book is your relationship with Steven Tyler. You, Tom and Steven have been through hell and back the entire history of this band. You refer to your friendship with the band's only singer as one of a loving, brother type of situation that has its share of demons.
Kramer: Steven and I have a very "earthy" connection between us. Whatever it is he's become to me — it's because I allow it. I own up to that fact in the book. Has he taken advantage of friendship over the years? Yes. Has he abused our friendship? Yes. But bear this in mind. Whatever Steven and I have been through, I take the responsibility for allowing the bad, and the good, to have transpired between us. The only way to change that situation was to draw certain boundaries, and keep them up, when it comes to dealing with Steven — or anyone else in this band for that matter.
JAM Magazine Online: You seem a different person just making the statement you just did.
Kramer: If you let somebody take advantage of you — or if you let somebody make you a doormat — that's your own fault. Nobody else can fix that problem except you. I'm responsible for my own actions. Steven knew how to manipulate me, and he did it for years. It's those instances when he became my own personal demon. On the flip side, I have been very blessed to have Steven Tyler in my life. He taught me more about music, and myself, than you'll ever know. I can't begin to tell you how much I've learned about life itself from him. Pretty much from the beginning, Steven has been a very dynamic force in AEROSMITH. I just sort of sat back behind the drums and kept the music on track while he did his thing. Over the years, I finally came into my own, and I'm very grateful for Steven easing me into the role I've taken. I love him dearly, don't get me wrong. We are brothers to the end and get along famously despite the politics that's always going on in
AEROSMITH. We love each other; we get mad each other. There are days we get along great, and times we need space from one another. The two of us have been through the ringer more times than I care to count the past 40 years. At this point in our lives, it has become almost comical to witness the ridiculous things that transpire in this band. But hey, it wouldn't be AEROSMITH if there wasn't some sort of drama swirling around us.
JAM Magazine Online: How difficult was it for you to watch your friend and colleague go through his recent troubles, to the point where you had to call him out in the press?
Kramer: Those problems Steven was having was the reason I called him out. Watching him trying to cope with his personal demons was a very difficult thing to do. However, I want to go on the record saying I'm really proud of him for doing what he did. Not a lot of people have the courage and strength to confront the problems he had. A lot of people would have just thrown up their hands, given way to temptation, and whatever happens, happens. Again, I'm extremely proud of Steven for tackling his problems head on, and for the band for standing behind him. At this point in time, I'm convinced the only thing that could get in the way of AEROSMITH continuing on is if somebody dies.
METALLICA has posted a message on its web site reassuring fans that the band's two sold-out shows this month in Christchurch, New Zealand will proceed as scheduled despite the earthquakes which hit the city on September 4. The group said, "We're still traveling to Christchurch . . . hope to see YOU there!
"We're in route to Melbourne and we're psyched about getting out there and getting amongst it again.
"We kinda make it a policy here to not respond to rumors and speculation. However, the recent magnitude 7.2 earthquake in Christchurch, New Zealand is certainly a unique situation and we are aware that there have been various reports that we would not make it there.
"Well, we're coming. Full bore.
"Between working through European volcanic ash clouds last April (and not missing any shows...) and living in California most of our lives, we are no strangers to the effects of natural disasters and our hearts go out to those of you affected by this major tremor. What we can and will do is what we always do — come and play, give 110%, and 'rock the house' (!!) in our own unique way for the two nights we're in Christchurch.
"We're looking forward to our fall in Australia and New Zealand... it's just beginning!!"
METALLICA is slated to play the 9,000-capacity CBS Canterbury Arena (formerly known as Westpac Arena) in Christchurch on September 21 and September 22 with support from FEAR FACTORY and THE SWORD.
According to Billboard.com, Bryan Pearson, CEO of locally-based management company Vbase, said in a memo to clients that it does not appear that either its 50,000-capacity AMI Stadium or CBS Canterbury Arena have sustained structural damage.
Legendary guitarist Slash (VELVET REVOLVER, ex-GUNS N' ROSES) tells BostonHerald.com that his current working relationship with the frontman of his solo project, Myles Kennedy, has "reconstituted [his] faith in lead singers." He adds, "Making my solo album, I worked with 18 singers who were all fantastic, so I'm not as bitter about the concept of lead singers as I once was."
According to Slash, drummer Matt Sorum originally wanted Kennedy to be VELVET REVOLVER's frontman before Scott Weiland came into the picture.
"After Scott got, um, after we parted ways with Scott, we gave Myles a call, but he turned down the offer to be in VELVET REVOLVER because of ALTER BRIDGE, which is very commendable all things considered," Slash says. "Then, when I was finishing my solo record and had just two songs left that I needed a lead singer for, his name just popped into my head. We'd still never met, but I knew he was approached by LED ZEPPELIN to fill in for Robert Plant, which is pretty prestigious."
Regarding how Kennedy is doing as the the singer for Slash's touring band, the guitarist says, "Myles is (expletive) amazing. It's very surreal how he handles the stuff he sings. I'm doing GN'R songs I've never done solo before, and Myles manages to own them without changing the style or trajectory of the song. Which is a fantastic (expletive) ability."
WOLF HOFFMANN INTERVIEW:
September 13, 2010
Websites: www.acceptworldwide.com - www.wolfhoffmann.com - www.myspace.com/accepttheband
Interviewer: Ruben Mosqueda
I first got the opportunity to chat with Accept guitarist Wolf Hoffmann a few years ago and he was very cordial, accommodating and a great interview subject. At that time Accept was in the past, and Wolf had started a career in photography. Since then Accept reunited with Udo Dirkschneider (again) for a successful run in 2004, but it was not meant to last. In 2009 Accept reconvened after a chance meeting with former T.T. Quick singer Mark Tornillo at an impromptu jam session between Wolf, bassist Peter Baltes and a session drummer. Tornillo's name came up and he was called in to sing some of the classic material and things moved quickly from there. The end result is the classic sounding Blood Of The Nations, produced by Andy Sneap, on Nuclear Blast Records. I had an absolute blast talking to Wolf again and hope that shows in this interview before you.
Sleaze Roxx: First of all I love the new album Blood Of The Nations. We have a review of it up on Sleaze Roxx.
Wolf Hoffmann: Well thank you very much. It's been overwhelming at the response to Blood Of The Nations.
Sleaze Roxx: The reviews have been very consistent, at least as far as I can tell. All that I have read have been favorable.
Wolf Hoffmann: No kidding, I haven't read anything bad about the album. How often does that happen though?
Sleaze Roxx: Not often at all. You guys reunited with Udo Dirkschneider from 2004 to 2005 and had a string of successful appearances at various European festivals. What's the story behind Udo not being involved with the band now? Was he not up to doing new music with Accept?
Wolf Hoffmann: No he wasn't, that's really what it came down to. He wasn't into it. He basically gave a little bit of time to do the shows you mentioned and after that he wanted to go back and do his own thing again. In the end we have to live with that because he has been a solo artists for twenty some years. We always felt that Accept was a stronger act, so we assumed that he'd want to continue to do stuff with us. We thought that by having all the original players in the band it would have been enough of an incentive for him to work with us. He just didn't want to do it. All the reviews for the festival appearances were favorable. If you get the critics and the fans agreeing you've got something there, it is just strange that he wouldn't want to be a part of it. We couldn't force him to do it.
Sleaze Roxx: I thought it was nice, back when Udo went solo, that you and the rest of the band in essence launched his solo career by helping him with the Animal House album. You didn't see Van Halen help David Lee Roth with his first solo album, or Iron Maiden help Paul Di'Anno or Bruce Dickinson with their solo records.
Wolf Hoffmann: Exactly, but you know that wouldn't happen now. Our relationship is much different at this point.
Sleaze Roxx: Did you or anyone in Accept play on the Animal House album, because there has been some speculation that some of the Accept band members were featured but not credited.
Wolf Hoffmann: To the best of my knowledge neither I nor anyone from Accept was ever featured on the Animal House record.
Sleaze Roxx: Call me crazy, but there were some good songs on the 1989 album Eat The Heat. I liked David Reece's voice on that CD, but obviously the consensus from most of the fans was very critical of the music and choice in vocalist. Thinking back now, would you say that you were invested with David for the long haul as the permanent singer in the band?
Wolf Hoffmann: Well, the plan was to take things as far as we could. To be honest, the thing was just doomed from the beginning. It was just something that we were so committed to that once we got going it spiraled and we couldn't pull the plug on it... it was just too late. We were so far into it that there was no turning back. We realized in the process that our personalities and David's personality just didn't mesh, yet we moved forward. I was hoping that the songs would be strong enough to make it work, but they simply weren't there. It was a different time -- that was over twenty years ago and things were just so different then.
Sleaze Roxx: Right. One more question about the David Reece era if I could and then I'll let it go. As a fan, I have to ask... would Eat The Heat fared better if you had not placed the Accept name on it?
Wolf Hoffmann: (long pause) I would say probably not because we were Accept then. The way I see it is that we were still the same guys in the band who wrote all the previous material, we just had a different singer. I think it just wasn't meant to be and there is no other way to put it. That leads into the present with the way things have gone with how Peter Baltes and I met Mark Tornillo, how Andy Sneap got involved, or how the crew that shot our music video for "Teutonic Terror" got involved, makes me think that this is meant to be. Everyone just crossed our path and it worked out, like it was meant to be. This was the complete opposite of working with David Reece... we tried and tried and nothing happened.
Sleaze Roxx: At what point after Udo decided he didn't want to come back did you begin to work on new music, and was it going to be Accept from the start
Wolf Hoffmann: I'll tell you, there's a neat little story behind how this whole thing began. I was visiting Peter Baltes in Philadelphia where he lives. We just wanted to blow off a little steam so we went into a studio with a local drummer and played some old Accept tunes. It was at that time that someone mentioned that there was a singer nearby that would probably be happy to join us for the day if we were interested. The guys said his name was Mark Tornillo and that he was very familiar with the classic stuff and that he was an incredible singer. Peter and I looked at each other and said, "hey, why not?" Mark arrived and when he started to sing we knew we had something there. To be honest, before we heard Mark we had no intentions to ever, ever get Accept back together again. We didn't know a guy like Mark existed, we weren't looking for a guy to replace Udo but when we heard Mark he was just so perfect for the job.
Sleaze Roxx: So Wolf, you mean to tell me that there was no formal audition? You just happen to be jamming with Peter and Mark was mentioned as a guy that knew the back catalog?
Wolf Hoffmann: Yeah! Can you believe it? We simply wanted to spend a few hours together jamming. Within minutes of hearing Mark singing Peter and I looked at one another and said, "are you thinking what I'm thinking?" And it was right there, and then after that we decided to ask him to join the band. Then we contacted the rest of the band, then management, and then shortly after that we announced it to the world. Then a few weeks later we started writing the songs. At the time of the jam we had nothing.
Sleaze Roxx: Has the fellow that pointed you in Mark's direction been asking for a finder's fee at this point?
Wolf Hoffmann: No, but he could though (laughs).
Sleaze Roxx: Blood Of The Nations has kept true to the classic Accept sound.
Wolf Hoffmann: I totally agree with you, it's what felt right to us. Now it might seem simple, but I can tell you it was not. Just look at Eat The Heat, that didn't turn out so well. Obviously having a guy like Mark, that can write and the fact that he has a voice that suits Accept well, helps tremendously.
Sleaze Roxx: Blood Of The Nations was slated for release in the spring of 2010 but was instead pushed back to the fall. In that time you released a pair of killer cuts from the album, "The Abyss" and "Teutonic Terror." What was the delay in getting the album released?
Wolf Hoffmann: We finished the album in February, early March, of this year, so we had the album recorded then we shopped for a label. Negotiations took a few more weeks and by then it was May. Our label Nuclear Blast encouraged us to wait until the fall, they didn't feel there was a need to rush things. We agreed and here we are. I'll tell you, I was very concerned that the album was going to leak as many things do these days with the internet.
Sleaze Roxx: Did you guys do anything special to keep Blood Of The Nations under wraps?
Wolf Hoffmann: Yeah. We didn't send it to anyone (laughs)!
Sleaze Roxx: I was just wondering. It would have been an easy call to get your friend Michael Wagener on board for this album. He lives in Nashville too, so why is he not involved?
Wolf Hoffmann: Michael and I have a long history together. In fact, he had been renting space from me on my farm for about ten years or so. I helped him build the studio there on the farm. And you're right, Michael would have been an obvious choice, but he didn't believe in it. But when we met Andy Sneap there was no other consideration. Andy was just what we were looking for and that is the God's honest truth. We weren't even thinking about a producer because we were deep in the songwriting process. Andy got involved when he got word that we were regrouping and he contacted us. We met and we hit it off... and here we are.
Sleaze Roxx: And he's a guitarist too, so I imagine you and him really hit it off.
Wolf Hoffmann: That's right. He's a guitarist, a producer, and an Accept fan. He was the guy destined to produce this album. What more do you want, right? He's perfect. I've got to tell you, things have gone so amazingly well that everything was just meant to be this time.
Sleaze Roxx: It sounds like you're blessed. Did you ever pinch yourself and think you were dreaming?
Wolf Hoffmann: No, but I light a candle at the church of heavy metal as a thank you (laughs).
Sleaze Roxx: Accept will kick off their North American leg of the tour at this year's Progpower USA Festival and then you'll be heading out with King's X in support.
Wolf Hoffmann: That's right.
Sleaze Roxx: How did you get a band like King's X on this tour? I ask because they are so different from you guys.
Wolf Hoffmann: We like really like those guys. I think their management contacted our management and they worked out the details. Their name came up as a band of interest and we liked them.
Sleaze Roxx: After you guys wind down this leg of the North American tour do you hope to come back to the U.S. for some more dates in 2011?
Wolf Hoffmann: I would hope so, we'd really like to tour as much as possible behind Blood Of The Nations. We're looking at this initial tour as a meet and greet. We want to get out there -- playing in intimate venues, meeting the fans, meeting the journalists, signing autographs, shaking their hands and reintroducing ourselves to them. We did something like this this past spring in Europe and it went over very, very well. It opened the doors for other stuff in Europe, we got a chance to open two shows for AC/DC in front of 80,000 people there and we were asked to play Sonisphere in Istanbul, Turkey and Romania.
Sleaze Roxx: I'm curious, did you guys have anything left over from the Blood Of The Nations sessions? And if so, what will you be doing with those songs?
Wolf Hoffmann: Yeah we wrote about 30 to 40 songs for the album, but we didn't record them properly. We throw down some ideas, and the ones that sound like we can work into a complete song get the full treatment and get recorded. The ones that don't get recorded will lay dormant. Though I have to tell you a lot of those songs or ideas will get revisited again I think, because there was so much potential there.
Sleaze Roxx: I interviewed you years ago. It seems like it was in 2005, but after thinking about it for a bit I think it was probably around 2000. At that time Accept was on hiatus, or disbanded, and you were concentrating on photography. How did you do in that career and is it something that you'll continue to do after Accept?
Wolf Hoffmann: It must have been around 1999 or 2000 I think. I am quite successful as a photographer. I don't do any of the landscape photography, because frankly, it's not very lucrative. I got into the corporate end of things and would shot things for corporations, whatever they needed. I'd shoot people in the board rooms and stuff like that. You'd be surprised how many of these guys in the board rooms are, or were, metal heads in the day. They were surprised when they found out who I was before I became a photographer. I never set out to tell them, if it came up it came up you know. One of the questions that always comes up is if I shoot music. I don't, I haven't been interested in it. I wanted to shoot things that were far removed from metal or music. It just never appealed to me at all. I'll definitely continue with photography in the future.
Sleaze Roxx: Lastly, you did something very cool in the liner notes to Blood Of The Nations. You said a few things about your wife Gaby Hoffman -- would you like to take some time to explain to the readers what I'm talking about?
Wolf Hoffmann: Sure, my wife has been with Peter and I since the beginning. She has managed us, helped us with wardrobe and stage moves, helped us as a lyricist -- she has been the sixth member of the band. Peter and I felt that it was time that we showed her our gratitude for all the years she has invested in us and it was time to put it in words -- and that is what you'll read in the liners of the album. I can't thank Gaby enough for all of her support throughout the years.
Sleaze Roxx: Thanks so much Wolf I hope to see you guys when you play the Northwest next year.
Wolf Hoffmann: Thank you Ruben I hope to see you then.
Thanks once again to Wolf Hoffmann for a great interview and thanks to Loana at Nuclear Blast for coordinating this. We greatly appreciate it.
This past Saturday (September 11) in Atlanta at the Cobb Energy Performing Arts Centre, THE BLACK CROWES were honored by their home state when they were inducted into the Georgia Music Hall Of Fame at the 32nd annual Georgia Music Hall Of Fame awards show.
"This is the first time in 20 years that we've all washed our hair on the same day," noted singer Chris Robinson, who formed the band in Atlanta with brother/guitarist Rich Robinson and drummer Steve Gorman.
The band — which also includes guitarist Luther Dickinson, bassist Sven Pipien and keyboardist Adam Mcdougall — was inducted by legendary keyboardist Chuck Leavell (THE ROLLING STONES, ALLMAN BROTHERS) and performed a 15-minute set. The group played "Remedy" (a #1 rock track from their second album "The Southern Harmony And Musical Companion"), and Leavell sat in with the group on "She Talks To Angels" (a #1 hit from "Shake Your Money Maker") and their first-ever performance of "Georgia On My Mind" (the state's official song, made famous by Ray Charles and Willie Nelson).
THE BLACK CROWES is commemorating the 20th anniversary of its landmark multi-platinum debut, 1990's "Shake Your Moneymaker", with "Croweology" (Silver Arrow/Megaforce Records), their acclaimed first-ever double album of all-acoustic material with new arrangements of their best-loved songs and deep cuts.
The band will take an extended hiatus after its current four-month North American tour ends in December with an epic six-night stand in San Francisco at The Fillmore December 12-19
"Croweology", the first-ever double album of all acoustic material from THE BLACK CROWES, sold around 21,000 copies in the United States in its first week of release to debut at position No. 13 on The Billboard 200 chart.
In order to thank fans for 20 years of support, "Croweology" is priced at the cost of a single album. In addition, it is available on vinyl and as an iTunes LP.
Pantera found its growl and groove on Cowboys From Hell, a landmark album whose bone-powdering intensity, razor-sharp riffing and pummeling rhythmic assault represented a turning point in modern metal when it was released in 1990. More than just Pantera's major label debut, many consider this album to be the official debut of the Pantera lineup with singer Philip Anselmo, guitarist "Dimebag" Darrell Abbott, his brother, drummer Vinnie Paul and bassist Rex Brown.
To celebrate the 20-year anniversary of Cowboys From Hell, Pantera rounds up a three-disc Ultimate Edition, a three-disc Deluxe Edition, and a two-disc Expanded Edition. All three editions include a newly remastered version of the original album along with unreleased and rare live performances from the Cowboys From Hell Tour.
The Ultimate and Deluxe Editions will also feature a disc of unreleased demos for nearly every album track, plus, "The Will To Survive," a previously unreleased song recorded during the album's sessions.
After being turned down "twenty-eight times by every major label on the face of the earth," ATCO Records A&R rep Mark Ross saw the band when Hurricane Hugo stranded him in Texas. The rest, as they say, is history, including another seven years and over a million miles of touring for Cowboys… to be certified Platinum (one million album sales) by the RIAA.
The album's liner notes include essays by each of the band's surviving members, producer Terry Date, and the aforementioned Ross. Recalling the first time he saw Pantera, Ross writes, "By the end of the first song, my jaw was on the floor. The sonic power of it all—the attitude and the musicianship—blew me away. Basically, you had to be an idiot to not think they're amazing. I mean, how could you see these guys and not think, Holy shit!?"
We recently sat down with Philip Anselmo to reflect back on the early developmental stages for Pantera and discuss how much effort was put into creating that signature sound that became so important to the band and it's legions of metal faithfuls.
Phil it's great to talk to you about such a classic heavy metal record. Cowboys From Hell really introduced Pantera to the world. It kicked in everybody's teeth and also introduced fans to a new style of raw, heavy metal. Your vocals and Dime's guitar tone is what created this huge sound. How much time did you guys spend working on your vocals and Dime's tone?
It's kinda funny. I can't answer this without pre-dating what went on. I joined this band in late '87. Things got rollin' in '88. Out of nowhere it seemed like I was in the studio recording Power Metal. We agreed the first time we ever talked that we wanted to move into a more aggressive direction. We were growing. I was turning them on to all kinds of heavy shit. We wrote the stuff for Cowboys From Hell in '88 and '89. We'd been gigging around playing a lot of those songs live. Mentally and musically we were heading in this more extreme direction. Dimebag always had this ripping, roaring guitar sound. Back in the late eighties, production on metal records was changing drastically. There was no ProTools or fucking computers to mess around with. It was all real. When Terry Date came on board as a producer, he made it a lot easier for us to basically take that amp sound and move it from one room and put it on tape in another room. It was
always Dimebag's guitar sound and we spent a lot of time tweaking it to make it rippin'. He always had this monstrous tone but capturing it back then was really tough. We came damn close on Cowboys… Eventually our sound took it's most pure form on Vulgar Display Of Power and Far Beyond Driven later on. It was a signature sound but still a developmental record.
As far as my vocals are concerned, I was always capable … I grew up a metal kid who loved hardcore. I was always the youngest guy in my band. All these guys were playing in clubs where A) you had to dress up kinda glammy to get the gig and B) you wanted to play the bigger shows with the more professional guys, so Judas Priest and Dio was pretty much demanded. I took that on, man. I was very young when I got hold of that type of singing. I'd come home from high school – before I quit – and I'd sing fuckin' Unleashed In The East, man. Front to back, every fucking day. Before I'd even go to practice! To have that kind of range was always a plus. If I could still sing like that it would be great. I can still sing but I don't know about all that high, higher range shit. I never used falsetto. I was always singing full-out.
I see what you mean when you say we had that rawness, like a classic metal band. The vocals had that rough edge but could also tastefully touch on metal greats from the past. Those were very transitional years. I do see what you mean about capturing that dual magic, though.
I hope that wasn't too fucking confusing. God damn! (laughs)
You mentioned recording Cowboys… before ProTools came along. I think the extra grunt work you guys put in to create the guitar tone and capture those sounds is what makes that record so defining for Pantera and for metal. Bands don't understand what it's like to do work like that in the studio these days.
I agree, man. To get organic fuckin' sounds, even drum sounds – Vinnie Paul's drum sound. You gotta look at that. He triggered the livin' fuck out of everything. People may say that's cheatin'. Fact is, he was playing every fuckin' bit of it. He made a generation thereafter want to trigger the livin' fuck out of their drum sets! (laughs) I can't leave Vince out of this equation at all. He's great in the studio, too.
As far as coming up with those sounds, like you said – it was grunt work. We did a lot of ground-laying from the fucking dirt to the middle of your chest. I remember us beating our heads against the wall. Especially Dime and Terry Date. Everybody was just trying to make this guitar sound roar. It wasn't perfect on Cowboys From Hell but it was prevalent enough.
What do you remember about writing the material that ended up on Cowboys From Hell?
I knew I was with a group of guys that were slightly apprehensive. I think they thought your average thrash metal band kinda did things the easy way out, like with the out of key leads that everybody was doing – trying to sound like Slayer. What they weren't doing was the riff work that Slayer was doing. I loved it. I bought every motherfucking thrash record possible back then. I lost a lot of it during hurricane Katrina but I still have a bunch of it. I could understand where the other guys were coming from. They still wanted things to be tasteful – in a classic metal sense. There was a lot of "bend, don't break" between all of us. All of that creative headbutting always turned out for the best, especially in the early days.
How did you guys write songs? Would you write around a riff or did the lyrics come first?
I'm always writing something. Not lyrics or poems. I won't call 'em anything like that. I'm always writing paragraphs of just bullshit. I would say 90% of the time I would have to hear what they were doing. I'd like to hear where the riff was going. If I came up with a riff, Dime would get a hold of it and it would sound completely … better. (laughs) He could take one of my little ideas and fuckin' take off with it. I would wait for music 90% of the time. Sometimes there would be a key line here or there. I'd be like, "Hey Dimebag – check this out." It might influence him to write a creepy riff, or something really dark.
When Mark Ross saw you guys live, what material were you playing? Was it all stuff that ended up on Cowboys…?
It was all stuff from Cowboys… By that point, "Heresy," "Psycho Holiday," and "Cowboys From Hell" were staples of our set. We weren't even doing covers anymore, unless we wanted to. That's what the crowd came to see. They didn't want to hear Pantera do anything else unless we made it our own. When Mark Ross stumbled in to this weird birthday party that came outta fuckin' nowhere on a Wednesday… I got a call the day of. Dimebag called and said this little chick who always came to see us was having a birthday party. They had rented this whole place out – like a Mexican restaurant, man. (laughs) I didn't know what the fuck it was, but this chick wanted us to play. I had no idea Mark Ross was even in the fucking audience until after the show. Next thing you know, things were different! He surprised us.
What do you think about the demos that are included in the special edition of Cowboys…?
I don't think the guitar has the edge. I have different feelings about the demos. A lot of bands that demo first, nine times out of 10 you're gonna have guys in the band that fall in love with the demo. That can be counter-productive, especially when you have to re-cut the whole fucking thing. The best thing about it was working with Terry Date and doing that grunt work to get that guitar sound and that drum sound.
The fact that "Primal Concrete Sledge" came out of nowhere … it was the last day of drum tracks. Vinne Paul just started messing around with that drum pattern. I looked at Dime and said, "That's pretty fuckin' badass, man!" I'm lookin' at him and lookin' at his guitar and lookin' at him and said, "Fuckin' play something!" (laughs) He just started chuggin' and next thing you know it fell into place. That shows where we were at mentally as musicians, heading out of the recording process for Cowboys From Hell and moving into what would become Vulgar Display Of Power. "Primal Concrete Sledge" was definitely the road map to where we were headed – Vulgar Display Of Power.
Let's pretend it's 20 years ago and I'm talking to you about Cowboys From Hell, doing this exact same interview.
Oh boy.
How would you have been different and how do you think your answers would have been different?
I would have definitely been a little more cocky. I had a chip on my shoulder. Interviews were probably the last thing coming towards me back then. Fuck, man! Really? An interview? I'd do it. When you first start a band you get the same standard interview a lot of the time. What do you play in the band? When did the band start? Shit like that. Eventually I'd get a little antsy. You could probably visualize that chip on my shoulder. Fuck! (laughs)
Is there still a lot of bad blood between the Pantera guys? You're all contributing to this anniversary release of Cowboys… How are things right now?
Me and Rex have always been cool. We fought through a lot of the hard times together. I think about Vinnie Paul every day. I think about Dimebag every day, at least 25 times if not more. I wish things were cool between me and Vince, but I know him. If he's got his mind made up that I'm the bad guy, then that's just how it rolls. Anyone that knows me and knows us that was there will let you know that if we were all thrown into the same room together that my biggest hopes would be to come out with a mutual understanding and as friends, without the hatred. I sympathize with Vince constantly. What he went though I wish on no man. There is no room in this world for anyone – including me – to judge what he is going through. We all take our own path in life. Life is extremely short. All those old adages and analogies are all fuckin' true or we wouldn't have heard them time and time again from all the old timers. Now here I sit at
forty-fuckin'-two, and although that's not old by a 50-year-old's standards – I'm not 22 anymore. Before I die – and we'll never know when that will be – I would love to make peace with Vince. I would love for that to happen. But, as we sit here today, there really hasn't been any contact. As far as working together on this fuckin' awesome 20th anniversary release of Cowboys From Hell, we all mediate through this lovely young lady named Kim who has worked for the band for many years. That's how we're working. There's no hostility or anything. It's all smooth sailing. Maybe one day…it's a shame.
Philip Anselmo as a songwriter, musician, frontman – even the Phil Anselmo character – can be larger than life. Philip Anselmo as a real person may be one of the most misunderstood people on the planet. What do you think?
If I am then I guess it's my fault. I put myself in that position. I probably said the wrong things at the wrong time. I probably punched the wrong dude in the face a long time ago. Once again, I'm 42. We all make mistakes growing up through life. If people were to sit down and talk to me – especially the people who fuckin' have this opinion, like I'm their next door neighbor – I know for a fact that they would definitely change their tune. Fuck, man. I'll give you the shirt off my back. I'm easy. I listen to Black Sabbath and I puff a little weed. I'm cool and laid back, man. (laughs)
Will you be touching on all that personal and more emotional stuff in your book?
Absolutely. I'm nowhere near finished, but I'm proofreading constantly. I'm pretty sure it comes across the way I want it to. I'm truthful as a motherfucker. Loyal as a dog. I can't help it. I'm not gonna live my life in the dark, man. Take a look at humanity. There's a lot of people out there that have done a lot of fuckin' crazy things. The human is a strange, complex fuckin' being. Not a damn one of us is perfect in every sing way, every day. We're still learning and relearning lessons and all kinds of shit. We're gonna make mistakes 'til we fuckin' hit the dirt. (laughs) Nobody's got it all figured out. That's where you gotta let some things bounce off of you.
People have been waiting for you to do a solo record…
I'm doin' it!
Is it gonna be a band project, will you have a few special guests play on it – what are the plans so far?
Man, it would be really easy for me to say "I want the drummer from so-and-so. I want the guitar player from so-and-so." It's real easy to do that. I want each project I work on to sound different. Why recreate the same thing in a whole different band? Right now I'm writing some vicious shit. I can't really have any outside influence right now. I just can't, man. I'm using this local drummer who can learn my shit, pick up quick and do exactly what the fuck I say. I'm playing bass and guitar. I'm basically doing everything but the fucking drums. That's fine be me. If I go out and play live, which I'm sure people will want to hear, there's no telling who I might bring on the road. I'm not looking for an all-star lineup. I'm just looking for solid musicians. I've got about 14 pieces of music, some complete and some not. None have vocals yet. I have some lyrics written. I'm still in the process. It is happening and that's
the best fuckin' part. I'm trying to bring something fresh to extreme music. There is a little bit of a rut going on. I think there's a different point of attack within the music. You've heard blast beats before. You've heard thrash beats. You've heard double-kick. I'm not writing anything that's fast just for the sake of being fast. I'm not writing anything traditional for the sake of double-kick. It's all been done. I'm grabbing this heavy metal thing like it's a piece of clay and I'm remolding the motherfucker. That's what I'm out to do. I've got a fantastic start.
Well you've got me curious as hell to hear what you're doing.
Good. Good. That's gonna make me work even hard to make sure I'm fuckin' dead on. That's my prediction and my forecast. I mean every word.
Phil, thanks for taking time out or this, man. What would you like to say to the readers and your fans?
The fans are the best. Without you motherfuckin' people I would be nobody. Bless all you fuckers. I love 'em. I will never let 'em down when it comes to music. Thank you so much. I can not thank you enough. Look for more big things out of the Anselmo camp.
AVANTASIA, the project led by EDGUY frontman Tobias Sammet, has added dates in Japan and Brazil to its upcoming tour.
The group's schedule is now shaping up as follows:
Nov. 30 - Switzerland - Pratteln, Z7
Dec. 01 - Switzerland - Pratteln, Z7
Dec. 03 - Germany - Lichtenfels, Stadthalle *
Dec. 04 - Germany - Kaufbeuren, All Karthalle *
Dec. 05 - Sweden - Stockholm, Arenan
Dec. 08 - Japan - Tokyo, Shinagawa Stella Ball
Dec. 10 - Mexico - Mexico City, Circo Volador
Dec. 13 - Brazil - Sao Paulo, CTN
Dec. 15 - Argentina - Buenos Aires, [venue to be announced]
Dec. 18 - Germany - Fulda, Esperantohalle *
Dec. 19 - Germany - Essen, Grugahalle *
* Due to the fact that this is not a regular or annual tour but an extensive AVANTASIA event and experience, these shows will begin promptly at 8:00 p.m.
Tickets for the German dates are available at www.metaltix.com.
Joining Tobias Sammet in AVANTASIA's touring lineup will be a number of special guests, including GAMMA RAY/ex-HELLOWEEN guitarist/vocalist Kai Hansen, Bob Catley (MAGNUM), Jorn Lande (MASTERPLAN), Amanda Somerville, Olli Hartmann and Michael Kiske (HELLOWEEN).
"It's gonna be a once-in-a-lifetime affair!" said Sammet when the all-star project first set off on a world tour a few years ago. And although it seemed impossible to bring the project onto the stage after an extensive preparatory time, AVANTASIA headlined some of the biggest summer festivals in 2008. To this day, many fans recall the AVANTASIA live shows as magical, once-in-a-lifetime concert experiences.
Added Sammet: "There has always been the desire to do it again, but, of course, there is always a risk. It requires a huge amount of time and energy; there are no figures based on experience, because I don't know anybody who has taken an all-star metal opera on the road to play indoor venues. The stage production is abnormally expensive and you must not forget the many people who are involved and who come from different parts of the world. It requires a good timing.
"At some point we sat together and checked if and how we could possibly do it once again and we soon found out that December 2010 would be the right period to do a real tour.
"I admit that four weeks [is] not really a long time frame, but it's better to do a short tour than no tour at all. And if we hadn't taken that chance, it would have never happened because we will come with a lot of musicians and vocalists and it's a nightmare to mind all our individual schedules with our main bands."
Unlike AVANTASIA's festival tour of 2008, the band's upcoming dates will be full-fledged headlining performances, with the group performing longer sets than has been the case in the past.
"It was great to play Wacken and Sweden Rock Festival, but playing a festival you only have so much time," explained Sammet. "You play ten songs and people have a party and everybody's got fun. But doing our own tour, we can really create an atmosphere, we can play a lot longer and take people on a journey through the history of AVANTASIA. We can actually take people to the world of AVANTASIA itself.
"Fans can expect a bombastic concert experience.
"Many so-called 'metal operas' have been released on albums recently, but AVANTASIA will bring it on stage and take fans around the globe with them.
"You can't compare a normal band to what we are going to do. If all your favourite singers appear on one stage at the same night to take you on a musical journey, then this isn't just great, it's über-great!"
AVANTASIA released its new epic masterpiece on April 3 as regular CDs ("The Wicked Symphony" and "Angel Of Babylon"), two separate double picture vinyls, and as a beautiful collector's edition with an AVANTASIA picture book.
Mark Kadzielawa of 69 Faces Of Rock recently conducted an interview with guitarist Ted Aguilar of San Francisco Bay Area metallers DEATH ANGEL. A couple of excerpts from the chat follow below.
69 Faces Of Rock: Ted, you've been with the band for three records now. How would you say your role had changed from being only the guitar player?
Ted Aguilar: I think it's still kind of the same. At the end of the day it's still the same. Rob [Cavestany, guitar] is still the chief songwriter, and Mark [Osegueda] is still the chief lyricist. I do help out in the way of little arrangements here and there. Also, I help out a little on the business level. Other than that my role in the band is still the same.
69 Faces Of Rock: What was it like to write a new album with two new members in the band?
Ted Aguilar: It was refreshing, actually. I mean, I was there for the "The Art Of Dying" and "Killing Season", and usually Rob and Andy [Galeon, ex-drummer] would write the music, and had their say in. I was just there checking it out, and getting the vibe off it. In this sense it was kind of good. The last two records were written by Rob and Andy along with Mark and Dennis [Pepa, ex-bassist], so there was some collaboration on there, and you can hear it. Which was great. On this record, it was more focused in a sense that Rob wrote everything. Rob was just on a roll on writing these intense and killer thrash riffs, and we just went along with it. Writing of this album flowed a lot better because every time Rob brought a song in, we just jammed it. We were able to go in a more thrashier direction. We've enjoyed Rob's writing, and everyone was excited about it.
69 Faces Of Rock: I know I ask this question to everyone, but how do you go about getting your new music heard?
Ted Aguilar: Oh man...we're hoping for (pauses..) I mean there are good tools like MySpace, and Facebook, Internet in general, and you got to take advantage of it. Back in the day you had to read about new music, or hear about it from somebody, or just go into the record store and taking your chances of picking it up. Now, you could just reach to millions of people quickly, so we're taking advantage of it, and try to spread the word across. The diehard fans will buy the record quickly, and the others will download or copy it, but either way your music will be heard.
69 Faces Of Rock: DEATH ANGEL did three studio record prior to disbanding, and since reforming (and releasing "Relentless Retribution") you are now at the same point. It's like the band is approaching the crossroads of it existence once again. What are your thoughts?
Ted Aguilar: I can't speak for back then, but you're right. We are at the crossroads of our existence with this album. I mean, DEATH ANGEL established itself as a band that can do anything. They are very influential, and were able to throw all styles of music, as you can hear on "Act III". I think "Relentless Retribution" will have that type of diversion in today's terms. When you hear it, you'll notice how well rounded it is. You'll hear the initial riffs that make the band, but you'll hear plenty of other things thrown in. The album takes you on a musical journey, but still keeps it in the DEATH ANGEL fashion.
69 Faces Of Rock: We've mentioned early that two original members left the band because of life's demands. Is DEATH ANGEL a band that can make ends meet financially? Are you able to devote your lives into this art without worrying about where the next paycheck is going to come from?
Ted Aguilar: We do OK. There are sacrifices we have to make. Some of us are married, and we have to leave our families behind when we tour, and that's never easy. What makes it easier is the five of us. We really want to do this, and we want this band to happen. The support of our families and friends at home is great, and it helps us to make it happen. We do OK, but we have to keep going and going in order for us to keep going up. We have to build the band back up again. It's a different time and different era, so we need to focus on that. And with downloading the music, it's a completely different business.
69 Faces Of Rock: The downloading must be hard on every band.
Ted Aguilar: Yes, it is. People are downloading the music, and bands are selling less records. There is nothing you can do about it. You just have to learn how to embrace it, and try to work with it. And the only way to do it is to go out there and play shows. You can download music, but you can't download merchandise. I mean you can watch the performances on YouTube, but it's a totally different experience than going to a show. So we just have to go out there and keep touring. I mean you can download the music, but the MP3 form is just not as good as putting a CD into your player, and looking at the artwork, or reading the lyrics. So we hope to make an impact on the Internet, so the buy people will go out and buy the actual record, and get that feeling back again.
German power metallers PRIMAL FEAR have commented on the departure of the band's guitarist, Henny Wolter (as first reported by BLABBERMOUTH.NET earlier today). The band states, "Online mags reporting the 'news' after a blog posting from Henny today that he's not a member of PRIMAL FEAR anymore. All we have to add — yes, it's true, and the split happened seven weeks ago.
"There was no reason for us to make a sensational headline or badmouth eachother. We feel sorry about this, but we have no more comments on the situation.
"At the moment we're rehearsing for the forthcoming European tour that kicks off on Saturday in Warsaw, Poland and takes us through nine European countries. Be sure, we are well prepared and definitely ready to hit the road with five very common faces on stage. . . The band is thrilled to play a different new setlist, including some nice surprises and we will start working on a new studio album right after the tour ..... and as a friend on Facebook commented - yes it is the two headed guitar monster :-)
"We wish Henny, his wife and kids all the best for the future and good luck on his forthcoming musical projects."
Wolter stated that he quit PRIMAL FEAR because — in his words — "it just didn't feel like a band anymore." Henny, who is also no longer a member of SINNER (led by PRIMAL FEAR bassist Mat Sinner), is focusing on his new band NITROGODS, also featuring ex-PRIMAL FEAR drummer Klaus Sperling and vocalist Oimel Larcher. The group's self-titled debut album is expected in early 2011.
PRIMAL FEAR recently released a new live DVD, "16.6 - All Over The World" (recorded in various locations between September and November 2009), and a live CD, aptly titled "Live In The USA". Frontiers Records issued the two products separately and as a limited-edition combo on June 22 in the USA. The DVD is filled with an abundance of extra materials, such as an entire bootleg section with funny moments on the road, bootleg footage from various festival appearances and other concerts, all of PRIMAL FEAR's most recent promotional videos, plus the making-of footage for "16.6" and a brand new interview section about the past, present and future of PRIMAL FEAR.
Long-running D.C. doom legends PENTAGRAM, with riff-meister Victor Griffin back in the fold, will celebrate their 40th anniversary at next year's edition of the Inferno festival, set to take place April 20-23, 2011 at the Rockefeller and John Dee venues in Oslo, Norway. Also scheduled to appear are SOILENT GREEN, IMMORTAL and AURA NOIR.
The Inferno metal festival has become a true black Easter tradition for metal fans, bands and music industry from all over the world, with nearly 50 concerts every year since the start back in 2001. The festival offers exclusive concerts in unique surroundings with some of the best extreme metal bands and experimental artists in the world, from the new and underground to the legendary giants. At Inferno you meet up with fellow metalheads for four days of headbanging, party, black-metal sightseeing and expos, horror films, art exhibitions and all the unholy treats your dark heart desires.
For more information, visit www.infernofestival.net.
Mike Portnoy's sister Samantha has posted a message on the drummer's web site offering her perspective on her brother's decision to leave DREAM THEATER, the band he formed and led for 25 years. Her message follows below in its entirety.
"Before I write this, understand that this is MY statement. Mike might kill me for speaking up, but I just can't sit by quietly. I guess I'm like Mike in that way.
"PLEASE stop reading between the lines with this whole situation. There is no hidden meaning in all of this (is there ever with Mike? The guy is an open book with his fans!!).
"Everything Mike said in his interview with Eddie Trunk, in his press release or otherwise is everything he has been saying to me for the past year, at least. He LOVES the other (DREAM THEATER) guys and their families. They have grown up together, married women that were (and are) best friends, have raised their kids as best friends. They are family.
"This was not an easy decision for him as a drummer, founding band member (and band leader) or person.
"Let's put 25 years into perspective. I am 40. I met John [Petrucci, DREAM THEATER guitarist] and John [Myung, DREAM THEATER bassist] when I was 15. How many friends do I still have that I have had to live AND work with for the past 25 years? Not a single one. I can't imagine looking at the same group of people for that many years and being able to come up with new, fun ideas (that will then be judged the world over). My friends and I get stuck on doing the same things on random weekend gatherings!
"Remember, this is strictly my perspective here...
"You'd think that being a rock star would be 100% fun 100% of the time. But I know that Mike works extremely hard and takes every bit of this experience to heart.
"You might think you know, but you have no idea (to borrow a line from 'Behind the Music'). It is a part of who he is as a person, it is definitely not just a job. He's been running at a pace (with DREAM THEATER) most people couldn't keep up for a few months, much less 25 years. He just wants a break. He wants to have the chance to play with other musicians and be reminded of how special this all is. He wants to have fun and not be in charge of every detail for a bit. (And for those of you thinking he should just let others take the reins in DREAM THEATER, all I'll say is that you have no idea what you are talking about.)
"The way I see it, it's not a matter of Mike not wanting to be in DREAM THEATER (Remember, he DOES want to be in DREAM THEATER... he NEVER wanted or planned to leave the band). Giving up DREAM THEATER must be like giving up a child for him. I know it's been horribly painful. But I am extremely proud of him for recognizing that he needs to be reinvigorated and for doing what he needs to do to make that happen.
"You know Mike. He does not do anything half-assed. He wants every drop of music that DREAM THEATER releases to be perfect and fulfilling for everyone. Right now, he is guaranteeing that he can't do that. Maybe (apparently) the other guys don't feel the same about this situation, I can't speak to that, but he knows that he needs a break to be able to bring the best of himself to the table. There is no ulterior motive. He genuinely just needs a break. He needs a break that allows him to find new inspiration and have some down time. When he has done his other side projects, if you think he was not also working on DREAM THEATER stuff, you'd be incredibly mistaken.
"I guess I got a bit long-winded there... sorry, but it's torture to sit back and watch my brother getting ripped apart or criticized for making this incredibly, INCREDIBLY hard choice. And for those of you who are supporting/understanding of his decision, I want you to know HOW MUCH it is appreciated."
Portnoy, who is currently out with AVENGED SEVENFOLD as their touring drummer, said of his decision to quit DREAM THEATER, "Please believe me that it is not a hasty decision . . . it is something I have struggled with for the last year or so . . . After having had such amazing experiences playing with HAIL!, TRANSATLANTIC and AVENGED SEVENFOLD this past year, I have sadly come to the conclusion that I have recently had more fun and better personal relations with these other projects than I have for a while now in DREAM THEATER."
Portnoy added, "I love the DREAM THEATER guys dearly and have a long history, friendship and bond that runs incredibly deep with them — it's just that I think we are in serious need of a little break."
The drummer said that DREAM THEATER's "endless write/record/tour cycle for almost 20 years" was the main factor in his decision. He said he wanted a "break," not a "split," but that the band decided to move forward without him.
Portnoy added in a separate post on Facebook that his current gig with AVENGED SEVENFOLD had nothing to do with his departure from DREAM THEATER, writing, "They are just as shocked as you guys."
AVENGED recruited Portnoy to play on its new album, "Nightmare", following the death last December of the band's drummer, James "The Rev" Sullivan. Portnoy was Sullivan's favorite drummer.
DREAM THEATER said in its own statement, "All of us in DREAM THEATER wholeheartedly wish Mike the best on his musical journey. We have had a long and meaningful career together. It is our true hope that he finds all he is looking for, and that he achieves the happiness he deserves. He will be missed."
Finnish melodic metallers SONATA ARCTICA have announced the following European tour dates:
Feb. 25 - Petöfi Csarnok - Budapest, Hungary
Feb. 26 - Cvetlicarna - Ljubljana, Slovenia
Feb. 27 - Alcatraz - Milan, Italy
Mar. 01 - Masters of Rock Café - Zlín, Czech Republic
Mar. 02 - Szene - Vienna, Austria
Mar. 04 - Kaminwerk - Memmingen, Germany
Mar. 05 - HsD - Erfurt, Germany
Mar. 06 - Hof ter Lo - Antwerp, Belgium
Mar. 07 - Garage - Saarbrücken, Germany
Mar. 08 - Z7 - Pratteln, Switzerland
Mar. 10 - Theatre Barbey - Bordeaux, France
Mar. 11 - Apolo - Barcelona, Spain
Mar. 12 - La Riviera - Madrid, Spain
Mar. 13 - Rock Star Live - Bilbao, Spain
Mar. 15 - Transbordeur - Lyon, France
Mar. 16 - Élysée Montmartre - Paris, France
Mar. 18 - Wulfrun Hall - Wolverhampton, UK
Mar. 19 - Corporation - Sheffield, UK
Mar. 20 - Garage - Glasgow, UK
Mar. 22 - Academy 2 - Manchester, UK
Mar. 23 - Milennium Music Hall - Cardiff, UK
Mar. 24 - Sub 89 - Reading, UK
Mar. 25 - Koko - London, UK
Mar. 26 - Essigfabrik - Cologne, Germany
Mar. 27 - Effenaar - Eindhoven, Holland
Mar. 29 - Patronaat - Haarlem, Holland
Mar. 30 - Halle Gartlage - Osnabrück, Germany
Mar. 31 - Substage - Karlsruhe, Germany
SONATA ARCTICA was forced to postpone its concert at the Alcatraz in Milan, Italy to Sunday, February 27, 2011 from the previously announced September 30, 2010. According to the band, the reason for the date change is the fact that SONATA ARCTICA guitarist Elias Viljanen broke his right hand "while doing his daily exercise routine." As a result, he will be unable to play guitar for the next five or six weeks.
All tickets for the September 30 show will remain valid for the new date.
Commented SONATA ARCTICA: "It was pretty shocking to hear from Elias about his accident.
"We are really sorry we need to postpone the show to a later date and want to excuse for any inconveniences this might cause to our fans in Italy and to all fans who had made travel plans from around the world. We really hope to see you all again in February at the Alcatraz".
SONATA ARCTICA's February 27, 2011 concert in Milan will be filmed for the band's second live DVD, to be released in late 2011. The group states, "[SONATA ARCTICA] will perform a pretty unique show of at least 120 minutes. Next to songs of their latest albums, 'The Days Of Grays' and 'Unia', they also will perform some of the older songs from previous albums plus some very rare songs they didn't play live during the last years. For sure this will be an unforgettable event and a journey from the beginning of their career as one of the most popular Finnish metal bands until now — you definitely shouldn't miss it.
"The DVD will be released through Nuclear Blast Records and Marquee Inc. in Japan and will, next to the show in Milan, contain another show, recorded 2009 during the SONATA ARCTICA Open Air Festival in their hometown Kemi, Finland. And of course there will be massive bonus material such as the 'making-of,' interviews, and plenty of video footage the band recorded the last few years during their career on tour."
"The Days Of Grays", the latest album from SONATA ARCTICA, sold around 2,000 copies in the United States in its first week of release, according to Nielsen SoundScan. The CD landed at position No. 19 on the Top New Artist Albums (Heatseekers) chart, which lists the best-selling albums by new and developing artists, defined as those who have never appeared in the Top 100 of The Billboard 200.
"The Days Of Grays" was released on September 22, 2009 in North America through Nuclear Blast Records.
Mary Ouellette of They Will Rock You recently conducted an interview with GODSMACK frontman Sully Erna. A couple of excerpts from the chat follow below.
They Will Rock You: Your solo album has been many years in the making. How did you decide that now was the time? You embarked on a solo tour a few summers ago and I think that's the time that a lot of us started getting our hopes up about a possible solo album. Did that ignite the fire or were you planning on doing a solo album before that?
Erna: That's a good question because it was a little bit of both. Throughout the years I had already written some songs while out on tour, hanging around in the dressing room and noodling around on guitar or just sitting at home on my piano. Sometimes when you're messing around like that you end up with some cool songs and music you want to keep but not songs that would necessarily be good for GODSMACK. I would just tuck them away and over the last six or seven years I've collected a handful of songs like that that I knew I would one day record but probably not with the band. And then we took that break and I went out and did that solo tour. It really did inspire me to think that I had this spare time on my hands and songs I had been wanting to record. The more I thought about it, the more I considered what I wanted the sound to be like and the direction I wanted it to go. At that point it was very vague but I knew I wanted to do something that was
tribal, with all hand drumming, acoustic with exotic instruments.
They Will Rock You: You brought together a really amazingly talented group of musicians to work with you on this. How did the players sort of fall into place for this project?
Erna: One day it just dawned on me that I knew this great girl back in New Hampshire named Lisa Guyer who's a really phenomenal singer. I called her up and said, "Hey let's get together. I have an idea I'd like to talk to you about." So she was aboard and I had taken her to see the band DEAD CAN DANCE at the Boston Orpheum and it turned out that one of the lead percussion players, Niall Gregory, was a fan of GODSMACK so we went backstage and said hi. We hit it off and he said that if we were ever looking for a percussionist to get in touch and that's where it all started snowballing. Lisa introduced me to a few more people and I brought Niall in and we found a really great cello player from Bulgaria, and the whole thing just fell into place. We got together and that's really when we started nailing down the different sounds and the different influences that they all brought in and creating this record. It was really great because I have a rock
background, others had a blues background, Niall is from Ireland and he brings a lot of different drumming influences from Brazilian to African. It's kind of like the universe dropped all these special people in my lap to complete this and now we look at it and I'm just so proud of it. It's been the best thing I've ever done so far and I really mean that. I absolutely love the record and I'm so excited to play the songs live.
They Will Rock You: You've put yourself in a really vulnerable position with these songs. Are you worried that the GODSMACK fans won't accept it?
Erna: I didn't fear it as much as I wondered if they would embrace it but I can tell you that so far the reviews have been phenomenal and I'm really excited about it. They're using the exact words that I was hoping they would — that I was hoping the music would translate to — like epic and exotic and eclectic and intellectual. I really appreciate that because that's what this album is to me. It's very hypnotic and mystical , I want people to enjoy this experience because really it's a musical journey. It's unlike the tough and raw powerful in your face sound of GODSMACK. This is powerful in a different way and it takes you on a ride and is very pictorial. When you listen to the record you can paint the pictures in your mind. I think if it does well it could turn into something theatrical like "Tommy" or "The Wall" was. Not that I'm comparing myself to PINK FLOYD but just the experience side of it.
They Will Rock You: So for music fans who might hear that you're doing a solo album and expect it to be GODSMACK part two, what would you want to say to them?
Erna: It's real simple, I've told people not to expect this to be a rock record. It's not Sully trying to do a solo record as a rock band. This is a very distinct departure from GODSMACK and it has nothing to do with that. It's the other side of me and a whole different style of music that I really enjoy playing and writing that is completely separate from GODSMACK. It's one of those things that I want people to open their minds up and give it a chance and just experience it for what it is but don't expect it to be this big loud rock record because it's definitely not that. It's a record built of really beautiful melodies and great compositions with piano work and cellos and flutes, it's a whole different animal. It's something you want to put on when you're chilling out at home — light some incense, put it on, and enjoy it.
They Will Rock You: Have your band mates in GODSMACK heard the album? I'm wondering what their thoughts are on it?
Erna: They've heard some of it, not the whole thing. They're totally supportive. I think they're a little nervous and hoping that it doesn't get too big but they have nothing to worry about. I love my band and some of the best memories of my life are with them and its two totally different things that don't compete with each other. It's not like I'm out there releasing a rock record with Dave Navarro that would compete with what I do with GODSMACK, this is completely different. It has a modern edge to it and I think most GODSMACK fans will embrace it and help spread the word, and of course there will be some haters too. I just hope people get it, that's what I'm concerned about. This album is so important to me and I'm so vulnerable on this record and I really dumped it out. It's taken me a very long time to complete it — years of writing and a year of recording. It's my masterpiece. It might not be a masterpiece to the rest of the world but it's mine
and I just want people to enjoy it.
Former MEGADETH guitarist Marty Friedman has scheduled the following dates:
Oct. 20 - Osaka , Japan - Shinsaibashi Quattro
Oct. 26 - Tokyo, Japan - Shibuya Quattro
Friedman's backing band at the shows will consist of the following musicians:
Takayoshi Ohmura - Guitar
Ryota Yoshinari - Bass
Mitsuru Fujisawa - Drums
In other news, Friedman will take part in a talk event/autograph session in Yokohama, Japan at the Landmark Plaza. He filmed a special message to promote the event which is currently airing hourly on the Jumbotron facing the Sakuragicho station. It will run until the event on October 1.
Friedman's tenth solo album, "Bad D.N.A.", was released in Japan via Avex. The CD was produced by Marty and engineered by Steve Hardy and Shinnosuke Miyazawa (LADY GAGA, GUNS N' ROSES) this April/May at The Village in Los Angeles, California.
According to a posting on Friedman's web site, "Bad D.N.A." is "a natural progression, picking up where 'Loudspeaker' and 'Tokyo Jukebox' left off and adding its own twists and turns."
"Bad D.N.A." track listing:
01. Specimen
02. Bad D.N.A.
03. Weapons Of Ecstacy
04. Hatejoke
05. Glorious Accident
06. Random Star
07. Picture
08. Battle Scars
09. School Spirit Delinquent
10. Exorcism Parade
11. Time To Say Goodbye (bonus track)
Friedman's new video, "Bad D.N.A.", can be viewed below. The clip was directed by Visual Trap, which has helmed all of the videos for DIR EN GREY.
Friedman's ninth solo album, "Tokyo Jukebox", was released in Europe on February 22, 2010 via Mascot Records. The CD features extensive liner notes (written by Friedman in the "story behind the song" format) which are exclusive to the European release.
On Wednesday, September 8, singer Anette Olzon of Finnish/Swedish symphonic metallers NIGHTWISH began laying down vocal tracks on a demo recording of the songs that will appear on the group's next studio album. The pre-production sessions for the new CD are taking place in "the deepest countryside of Finland," where most of the band spent several weeks finalizing the song arrangements and recording their instrumental parts. The actual recording process for NIGHTWISH's follow-up to 2007's "Dark Passion Play" is slated to begin on October 15 for a late 2011 release.
Commented Olzon: "Wednesday morning we started my recordings and we recorded three songs per day and two the last day. All in all, four days to record all the songs.
"Ever since I got the very first instrumental demo [NIGHTWISH keyboardist/mainman] Tuomas [Holopainen] made, I have felt that this album will be something very special. The songs and themes Tuomas has put together are really varied, interesting and there are elements that haven't been used before. Still it's NIGHTWISH and also going back to some roots from earlier albums. Vocally, for me, it's much more varied since I use my voice in more different aspects than in [2007's] 'Dark Passion Play'. Tuomas for sure knows my voice and range now.
"Now I really long to hear how the album will come together with the orchestra, choirs, etc., and already now I feel I long to do my actual vocal recordings which will be done in March next year."
On July 30 at 4:28 p.m. Swedish time, Olzon gave birth to her second child (and first with her current boyfriend, bassist Johan Husgafvel of the Swedish metal band PAIN). He was 52 centimeters tall and he weighed in at 3930 grams. Olzon, 39, also has a nine-year-old son, Seth, with her now-ex-husband.
NIGHTWISH played a special homecoming show in September 2009 at the sold-out, 11,000-capacity Hartwall Arena in Helsinki to mark the end of the band's colossal "Dark Passion Play" two-year world tour.
NIGHTWISH is not expected to play any more concerts until the release of the band's next studio album.
German thrashers DEW-SCENTED have scheduled the following dates:
Oct. 22 - La Chaux-de-Fonds (Switzerland) - Bikini Test
Oct. 23 - Lu Monferrato / Alessandria (Italy) - Mephisto Rock Cafè
Oct. 24 - Legnano / Milano (Italy) - Land Of Live
Oct. 25 - Vicenza (Italy) - Jack Hole Club
Oct. 26 - Genzano / Roma (Italy) - Palarockness
Oct. 27 - Lucera / Foggia (Italy) - Masseria Sant'Agapito
Oct. 28 - Sondrio (Italy) - Auditorium Policampus
Oct. 29 - Wien (Austria) - Escape Metalcorner
Oct. 30 - Deutschlandsberg (Austria) - Laßnitzhaus / Revelation Feast
Oct. 31 - Hückelhoven-Hilfarth / Aachen (Germany) - Halloween Smash Fest
"Invocation", the latest album from DEW-SCENTED, will be released in Japan on September 15 via Spiritual Beast. The Japanese edition of the CD will come with an alternate coloring of the cover artwork (sort of the "post-apocalypse version") and include four bonus tracks. The bonus tracks are two original songs, "Recall The Pain" (instrumental) and "The Death Of Common Sense", as well as two cover versions that the band recorded during the album session, 'Slaughterhouse' by U.S. power-thrashers POWERMAD and the track "Superstar Destroyer" by GENOCIDE SUPERSTARS from Sweden.
"Invocation" was released on May 24 in Europe via Metal Blade Records and May 25 in North America through Prosthetic Records.
The album artwork was created by Björn Goosses of Killustrations.
"Invocation" was recorded and mixed at Soundlodge Studio in Northern Germany with producer Jörg Uken (GOD DETHRONED, SINISTER).
DEW-SCENTED is:
Leif Jensen - Vocals
Michael Borchers - Lead Guitars
Alexander Pahl - Bass
Martin Walczak - Rhythm Guitars
Marc-Andree Dieken – Drums
For a list of upcoming DEW-SCENTED shows, visit www.dew-scented.net.
Experimental doom titans ESOTERIC and globe-trotting metal veterans PANIC CELL will help fly the U.K. flag at this year's Damnation Festival. They'll be joined by Scottish old-school death metallers BONESAW, Brighton's progressive rockers THE MIRE and the recent winners of the Rock Sound and Terrorizer stage competitions; THE CONSTRUCT, COLONEL BLAST and DIASCORIUM.
The new additions join an eclectic three-stage bill in Leeds University Union, on Saturday, November 6, which includes THE DILLINGER ESCAPE PLAN, PARADISE LOST, ANAAL NATHRAKH, ALCEST, LAWNMOWER DETH and ROLO TOMASSI.
Festival Director Gavin McInally said: "The booking of ESOTERIC has been a long time coming and it's a pleasure to finally have the highly respected doom outfit at Damnation while a Jägerm-drenched evening with PANIC CELL is a highlight of any festival. It's great to have those boys back in the U.K. after playing with the likes of METALLICA, ALICE COOPER and SLAYER earlier this year.
"Despite hailing from the dizzy heights of Aberdeen, BONESAW have been sending shock waves through the U.K.'s extreme metal scene so it's only right they bring their old-school death metal noise to our Terrorizer Stage while THE MIRE are expected to set the progressive metal bar high with their Rock Sound Stage outing."
Meanwhile, the submissions for the final opening slot competition on the Jägermeister Stage are now open. Fans can make suggestions via the official forums, MySpace, Facebook or Twitter and a shortlist will be announced on Monday, September 20, before a seven day voting frenzy takes place to decide a winner.
Damnation Festival billing is shaping up as follows:
THE DILLINGER ESCAPE PLAN
PARADISE LOST
EARTHTONE9
ANAAL NATHRAKH
LAWNMOWER DETH
ROLO TOMASSI
PANIC CELL
ALCEST
THE OCEAN
ESOTERIC
SSS
HECATE ENTHRONED
FEN
MAYBESHEWILL
OCTOBER FILE
BONESAW
FUKPIG
THE MIRE
COLONEL BLAST
THE CONSTRUCT
DIASCORIUM
For more information, visit www.damnationfestival.co.uk.
Danish thrash metal veterans ARTILLERY have set "6" as the working title of their forthcoming album, due on March 21, 2011 via Metal Mind Productions. The CD will be recorded at Medley Studios in Copenhagen starting on November 29 with producer Søren Andersen (guitar player in Oliver Weers' solo band). 11 songs will be laid down for the effort, including "Ain't Giving In", "Concealed In The Dark", "If Only Death Was An Illusion", "Monster" and "Warrior Blood". The album will be available in at least three different formats featuring no less than four bonus tracks: "The Eternal War", "Show Your Hate", "The Almighty" (all re-recorded versions of tracks from the band's first album, "Fear Of Tomorrow") and "Computer God" (a cover version of the song by BLACK SABBATH).
ARTILLERY's fifth album, "When Death Comes", was released in Europe on June 15, 2009 (via Metal Mind Productions) and in Japan on July 23, 2009 (King Records). The CD, which was issued in North America on August 11, 2009 (through MVD), was recorded at Medley with producer Søren Andersen.
Metal Mind Productions released ARTILLERY's "One Foot in the Grave, The Other One in the Trash" DVD on June 16, 2008 in Europe and August 5, 2008 in the USA (via MVD). According to a press release, the DVD features "a fantastic gig the thrash veterans gave at Metalmania Festival 2008. The outstanding guitar play of brothers Stützer, charismatic Carsten Nielsen's powerful drums and the uncompromising thrash energy of Søren Adamsen's voice ruthlessly hammered their way into the hearts of the headbangers assambled on that occasion.
NECRONOMICON, one of Germany's longest-running thrash metal bands, is currently in the Arsen Music Studios in Breisach am Rhein, working on what will be the band's seventh release. The new album, to be titled "Invictus", will be NECRONOMICON's most ambitious work to date, and aside from nine new songs and a new version of "Possessed by Evil", the double CD is set to include seven live tracks and four or five acoustic songs. Artwork for "Invictus" will be by the Brazilian artist Jobert Mello, who has worked with bands such as SABATON, PRIMAL FEAR and BENEDICTUM.
NECRONOMICON is currently seeking a suitable record label to release "Invictus".
Formed in Southern Germany in 1983 by Freddy, Axel and Lala, all of whom were musicians active in the punk scene, the band fell under the spell of artists like MOTÖRHEAD and METALLICA. Leaving behind its punk roots and aided by Freddy's distinctive vocals, NECRONOMICON developed a sound all of its own, quickly becoming popular in the underground thrash metal scene both not only at home in Germany, but also worldwide.
NECRONOMICON's current lineup comprises Freddy on guitar and vocals, Andi Gern on guitars and backing vocals, Klaus Enderlin on drums and Andi Nial on bass and backing vocals.
Commenting on the new album, Freddy said, "NECRONOMICON has been playing for well over 25 years now, and during all those years we faced some setbacks that would have floored many bands, including our rehearsal rooms burning down with all our equipment inside and the inevitable hassles with unscrupulous labels.
"We decided to call the new album 'Invictus', because to us that little word means 'never give up and don't let anyone beat you down,' and this has been NECRONOMICON's philosophy from day one. We kept going and we're still here, stronger than ever, and 'Invictus' represents both a look back and a thank you to the fans who have been with us all this time, and a move forward to bigger and better things for NECRONOMICON."
For more information, visit www.myspace.com/possessedbythrash.
BIOHAZARD and MUNICIPAL WASTE are among the confirmed bands for next year's edition of Hammerfest, set to take place March 17-19, 2011 in Prestatyn, North Wales.
The festival billing is shaping up as follows:
BIOHAZARD
MUNICIPAL WASTE
MUTANT
REVOKER
ATTICA RAGE
Over 50 more bands will be announced during the coming months.
For more information, visit www.hammerfest.co.uk.
FREEDOM CALL and NOCTURNAL RITES have been confirmed for the Sabatonkryssen cruise on the Baltic sea on December 2, 2010. Headliners SABATON state, "For 23 hours the Silja Galaxy belongs to us and we will fill it with hard rocking people, great bands and tons of great food and drinks."
Sabatonkryssen billing so far:
SABATON
FREEDOM CALL
NOCTURNAL RITES
RAUBTIER
STEELWING
PREY
MARY FAY
More bands will be announced later.
"Talking Ain't Enough - Fair Warning Live In Tokyo", the new live CD/DVD from German rockers FAIR WARNING, will be released via Steamhammer/SPV on the following dates:
Germany: November 19
Rest Of Europe: November 22
USA/Canada: November 23
It was only four years ago that FAIR WARNING — led by charismatic frontman Tommy Heart — re-entered the stage after a break of nearly five years to introduce the reunion album "Brother's Keeper". A sold-out tour through Japan as well as various festival appearances throughout Europe followed.
In summer 2009 they released the much-acclaimed studio album "Aura".
After a great concert at Tokyo, Japan's Loud Park festivals in 2009 and a sold-out tour of Japan in 2010, the band decided to release a live CD and a live DVD to document what they do best... play intense live shows and put on some of the best rock performances in the world.
FAIR WARNING is:
Tommy Heart - vocals
Helge Engelke - guitars
Ule W. Ritgen - bass
C.C. Behrens - drums
3CD digipak track listing:
CD1: Tokyo January 2010
* Intro
* Out On The Run
* Here Comes The Heartache
* Save Me
* Angels Of Heaven
* Don't Give Up
* Sakura/Kashmir
* Generation Jedi
* Dont Keep Me Waiting
* The Last Goodbye (Keyboard Feature)
* Falling Reprise
* Long Gone
* Hey Girl
CD2: Tokyo January 2010
* Walking On Smiles
* I'll Be There
* Longing For Love
* I Fight
* Still I Believe
* Burning Heart
* Get A Little Closer
* When Love Fails
* Fighting For Your Love
CD 3: Loud Park 2009
* Intro
* Angels Of Heaven
* Save Me
* Generation Jedi
* Out On The Run
* Here Comes The Heartache
* Long Gone
* Longing For Love
* I Fight
* Don't Give Up
* Burning Heart
* Get A Little Closer
* When Love Fails
2DVD digipak track listing:
DVD1: Tokyo January 2010 (same as see CD1 and CD2)
Approx. 120 min
DVD 2: Loud Park 2009 (same as see CD3)
+ private footage Approx. 135 min
German metallers METALIUM have announced plans to disband in 2011. According to a posting on the group's MySpace page, "All [members of METALIUM] are involved in many other activities (private as well as music-wise) and after nearly 13 years with 9 CDs and 2 DVDs, the chapters will come to an end in 2011. The bandmembers share a deep friendship underneath and want to say thanks to our longtime label Massacre Records and all fans and supporters around the world who kept the flame burning since the band's beginning in 1998."
METALIUM will play several farewell shows which will be profesionally recorded for a final live CD. The set, which will feature four or five new songs that the band will record at the of end of 2010, will also include rare photos and other bonus footage and will be released via Massacre in 2011.
The first part of METALIUM's farewell tour will include four dates in Spain at the end of October:
Oct. 21 - (ES) St. Maria, Mallorca - Factoria
Oct. 22 - (ES) Murcia - Sala Gamma
Oct. 23 - (ES) Burgos - Miranda, Burgos - La Fabrica
Oct. 24 - (ES) Donosti - Studio 21
METALIUM's latest album, "Grounded - Chapter VIII", was released in Germany in September 2009 via Massacre Records.
The band's previous CD, "Incubus - Chapter Seven", came out in February 2008.
Commented the band: "After three amazing years together, the THREAT SIGNAL camp has decided to part ways with drummer Norm Killeen. This was a mutual decision and there are no hard feelings towards each other. We will still continue to work with Norm's graphic design company, NME Studios.
"We wish you all the best with your future endeavors Norm; much love and respect.
"So now the drummer search begins!
"We're looking for someone preferably with touring experience, but if not, that's fine.
"We have quite a bit of dates coming up in October and November through out North America and Europe, so we're looking for someone that can really nail these songs quick and hit the road.
"To audition, we're going to need a video of you playing the songs 'As I Destruct', 'To Remember', and 'Beyond Recognition'. Post these songs on YouTube or wherever you'd like and send them to drummeraudition@hotmail.ca. Any further questions please feel free to contact us."
THREAT SIGNAL (Canada), RAUNCHY (Denmark), SYBREED (Switzerland), M.A.N (Sweden) and ILLIDIANCE (Russia) will team up for the "Threat Over Europe 2010" tour in November/December.
THREAT SIGNAL's sophomore album, "Vigilance", sold around 1,100 copies in the United States in its first week of release. The CD landed at position No. 32 on the Top New Artist Albums (Heatseekers) chart, which lists the best-selling albums by new and developing artists, defined as those who have never appeared in the Top 100 of The Billboard 200. Released in September 2009 via Nuclear Blast Records, the CD was produced by vocalist Jon Howard and mixed by Greg Reely (FEAR FACTORY, FRONT LINE ASSEMBLY).
THREAT SIGNAL members Jon Howard and Pat Kavanagh are also involved with ARKAEA, the band featuring FEAR FACTORY members Raymond Herrera (drums) and Christian Olde Wolbers (guitar).
Nera, the singer of the Polish metal band DARZAMAT, is working on her debut solo album, "Foresting Wounds", which will be released under the name NERANATURE.
Audio samples of four tracks ("Shattered", "Precious Now", "Oblivion" and "Disappointed") that will appear on the CD can be streamed on Nera's MySpace page.
Formed in 2009, NERANATURE "appeared as a space where the air is filled with matters lingering in [Nera's] head, a bit more intimate, private and sometimes bizarre and freakish," according to a press release.
"I've been waiting for a long time for the right place and time to find an outlet for my personal thoughts and beliefs," explains Nera. "This is the time and place." The idea appealed to Chris, the guitarist of DARZAMAT, who created the base for the melodies and completed the project with his music.
The name of the band is a combination of two words: Nera, which is the nickname of the vocalist, and Nature, which represents a reflection of a deep connection with the environment. It can also be interpreted as the nature of Nera — a diversity of views reflected in the songs. The feminine character of lyrics imbued with the feminist outlook on life constitutes one the most significant elements of the projects, touching upon such issues as man's detachment from nature and running away from himself/herself. The approach presented in the album is not only the singer's artistic pose, as Nera has been an engaged animal-rights activist and a vegetarian for the last 15 years.
The music of NERANATURE can be categorized as a mixture of atmospheric rock/metal, ambient and trip rock.
"Foresting Wounds" contains ten compositions — ranging from sensuous ballads to more energetic songs — which were produced by Jaroslaw Toifl.
The track listing for the CD is as follows:
01. Disappointed
02. The Precious Now
03. Shattered
04. Oblivion
06. Dormant
06. Defective
07. Before
08. Some Air
09. Woman's Soul
10. Scar
NERANATURE lineup:
Nera – Vocals
Chris – Guitars
Markus - Bass
Darkside - Drums
Relapse Records has announced the signing of Portland, Oregon's RABBITS.
RABBITS' music meets somewhere in the crossroads of punk, sludge, and metal, using unwavering volume and intensity as their guides. The three-piece, which features ex-members of ANGEL HAIR, THE VSS, PLEASURE FOREVER, and LION FEVER, previously released three vinyl-only records, including a 12-inch split with UNDER MOUNTAINS.
RABBITS recently finished recording its Relapse debut album. Release date and additional album details will be announced shortly.
Commented RABBITS: "We are putting the final grimy touches on our new record, ten unhinged punk-sludge-thrash nature-crushes-man anthems.
"We are thrilled that our first long-player will be unleashed by the mighty Relapse — our new, seemingly fearless label — so that we may forever damage the ears and psyches of people all over the world, just as we have done for the last six years to basement dwellers and bar flies all over Portland. We will not stop until we reach the very bottom."
RABBITS has a handful of local shows lined up for the fall including a performance as part of Fall Into Darkness Festival as well as a show with DANAVA.
RABBITS tour dates:
Sep. 17 - Portland, OR - Someday Lounge
Oct. 08 - Portland, OR - Berbati's Pan (Fall Into Darkness Festival)
Oct. 31 - Portland, OR - East End (performing as SAMZIG – RABBITS w/ Sam Ott on vocals)
THREAT SIGNAL (Canada), RAUNCHY (Denmark), SYBREED (Switzerland), M.A.N (Sweden) and ILLIDIANCE (Russia) will team up for the "Threat Over Europe 2010" tour in November/December.
The dates are as follows:
Nov. 14 - Bournemouth (UK) "Champions" *
Nov. 15 - Southampton (UK) "Joiners" *
Nov. 16 - Nottingham (UK) "The Bodega Social Club" *
Nov. 17 - High Wycombe (UK) "Wycombe Academy" *
Nov. 18 - London (UK) "Barfly" *
Nov. 19 - [to be announced] - Holland
Nov. 20 - Copenhagen (Denmark) "The Rock" *
Nov. 21 - [to be announced] - Belgium
Nov. 23 - Darmstadt (Germany) "Steibruch Theatre"
Nov. 24 - [to be announced] - France
Nov. 25 - Barcelona (Spain) "Mephisto"
Nov. 26 - Madrid (Spain) "Live!"
Nov. 27 - Lisboa (Portugal) "TBA"
Nov. 28 - Porto (Portugal) "Porto Rio"
Nov. 29 - Bilbao (Spain) "RockStar Live"
Nov. 30 - [to be announced] - France
Dec. 01 - Turin (Italy) "Lapsus"
Dec. 02 - Bologna (Italy) "Blogos"
Dec. 03 - [to be announced] - Italy
Dec. 04 - [to be announced] - Switzerland/Slovenia
Dec. 05 - Vienna (Austria) "Viper Club"
Dec. 06 - Stuttgart (Germany) "Universum" *
Dec. 07 - Cologne (Germany) "Undergound" *
* without ILLIDIANCE
THREAT SIGNAL's sophomore album, "Vigilance", sold around 1,100 copies in the United States in its first week of release. The CD landed at position No. 32 on the Top New Artist Albums (Heatseekers) chart, which lists the best-selling albums by new and developing artists, defined as those who have never appeared in the Top 100 of The Billboard 200. Released in September 2009 via Nuclear Blast Records, the CD was produced by vocalist Jon Howard and mixed by Greg Reely (FEAR FACTORY, FRONT LINE ASSEMBLY).
THREAT SIGNAL members Jon Howard and Pat Kavanagh are also involved with ARKAEA, the band featuring FEAR FACTORY members Raymond Herrera (drums) and Christian Olde Wolbers (guitar).
"A Discord Electric", the new album from the RAUNCHY, will be released through Lifeforce Records on September 20 in Denmark; October 8 in Germany, Austria, and Switzerland; October 11 in the rest of Europe; and on October 12 in the U.S. Produced once again by longtime friend Jacob Hansen, the CD delivers 12 songs of pure ecstasy and genre-defining heavy metal music.
After five demos and six years of anticipation, Bay Area black metal tyrants NECRITE will finally unleash their debut full-length, "Sic Transit Gloria Mundi", on November 2 via Flenser Recordings.
Seamlessly fusing elements of droning doom, funeral ambience, and thrashing black metal, "Sic Transit Gloria Mundi" is a monument in the legacy of West Coast black metal along with the likes of WEAKLING's "Dead As Dreams" and LEVIATHAN's "Tenth Sublevel of Suicide". NECRITE has created something very special and very creepy on "Sic Transit Gloria Mundi", brandishing over 66 minutes of horrifying, ambient black metal of the most oppressive and bleak type.
"Sic Transit Gloria Mundi" track listing:
01. A Mass for the Harvest of Death (16:04)
02. Bereft of Hope (11:33)
03. Bathing Open Wounds with Shards of Glass (7:55)
04. Sic Transit Gloria Mundi (27:07)
05. Worship the Sunn((O)) (7:33)
NECRITE is a three-piece: Thrull (vocals, guitars, studio bass), Tenspyr (guitar, live bass), and Malick (drums, vocals). Thrull himself recorded "Sic Transit Gloria Mundi" in a basement hole over the course of two and a half years; Thrull, along with Eric Medina, mixed and mastered the album.
Since its debut, NECRITE has shared the stage with acts such as WATAIN, DESTROYER 666, ENTHRONED and more, and has become a well-kept secret in the San Francisco black metal community.
NECRITE has managed to craft some of the most visceral and demonic audio terror around, forgoing traditional song structure and predictability in lieu of a pure unflinching devotion to creating the aural essence of death bathed in a drone of tingly creepiness.
For more information, visit www.myspace.com/necrite.
Tarot Productions, the label run by Proscriptor McGovern (a.k.a. Russ R. Givens), leader of the Texas-based mythological occult metal outfit ABSU, has just announced the signing of Dutch black thrashers TYRANTZ EMPIRE. The band recently completed work on its debut album, "Merauderz of the Monolith - The Omega Chapter", for an October 26 release. The CD was mixed and mastered at KING DIAMOND guitarist Andy La Rocque's Sonic Train studio in Varberg, Sweden.
Songtitles set to appear on the album include:
* Under The Chaos Banner
* M.O.B.K
* Merauderz Of The Monolith
* Black Thrash And Beyond
* Derelict Tyrant Metal
* Battlesphere Monolith
* Ancient Tyrantz
* Galactic Fear Rising
* Fatal Cosmia Insomnia
* Starblazed Dagger
* Rock & Roll Satan
* Black Bootz Anal Screamer
Commented TYRANTZ EMPIRE: "Our objective is to combine the classic warrior–like sound of black metal (era 1992) riffing with merciless thrash assaults based around 21st century technology. Our lyrics and themes are bound by our surrender to dark energies of anti-cosmic, LSD-driven rituals combined with patterns of chaos. This black/thrash conjuration will burn your skin, rape your soul and should take you deep into the sinister evolved regions of the human psyche."
For more information, visit www.myspace.com/tyrantzempire.
Swedish melodic death metallers LOCH VOSTOK have issued the following update:
"Unfortunately [bassist] Tomas 'Tym' Jonsson has to sit out [our European] tour [with Swedish progressive/experimental metallers THERION and Norway's LEPROUS]. His herniated spinal disc is causing him excruciating pain and doctors strongly advised him not to go on tour.
"Life's a bitch, and Tym is really pissed off. We all wish him a speedy recovery and our thoughts are with him all the time.
"Luckily for LOCH VOSTOK, bass virtuoso Jimmy Mattsson from PLANET RAIN will help us out."
LOCH VOSTOK recently entered the studio to begin recording its fourth album, "Dystopium", for a late 2010 release.
LOCH VOSTOK's third full-length album, "Reveal No Secrets", was released in 2009 via Nightmare and Silverwolf Records. The CD was produced, recorded, mixed and edited by the bandmembers themselves and was mastered by Lawrence Mackrory at Great Scot! Audio. The album featured guest appearances by Per Nilsson (SCAR SYMMETRY), Erik EZ Blomkvist (PLATITUDE) and Tina Gunnarsson (ex-MELLOW POETRY).
LOCH VOSTOK is:
Teddy Möller - Vocals, Guitars
Mano Lewys - Guitars
Tomas "Tym" Jonsson - Bass
Fredrik Klingwall - Keyboards
Lawrence Dinamarca – Drums
Ventura, California death metallers FATALIST have been rejoined by drummer Tyler Castro. The band states, "Tyler played on our album, 'The Depths Of Inhumanity', and demo 'Loss' in the past. Thanks to Sean [MENTACIDE] for recording the drums on our cover of 'Beyond The Unholy Grave' [DEATH] and playing some shows with us over 2010."
FATALIST recently recruited Matt Drexler on lead guitar and Mike Deity (CARNAL DEITY) on main vocals.
The group's cover version of DEATH's "Beyond The Unholy Grave" was recorded for the soundtrack to "After Party Massacre".
FATALIST's full-length debut, "The Depths of Inhumanity", was released in the U.S. on November 23, 2009 via Ibex Moon Records.
For more information, visit www.myspace.com/fatalist666.
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