According to
the Birmingham Mail, BLACK SABBATH guitarist Tony
Iommi's manager has refused to deny that the band's four original members
are getting back together.
The Birmingham Mail reported on Tuesday (August 16) that the original SABBATH lineup plans to reunite for an album and tour, causing Iommi's web site
to "virtually crash," according to the guitarist's manager, Ralph
Baker.
When asked by Birmingham Mail writer Andy Coleman whether Iommi considered the story in the Birmingham Mail to be untrue, Baker said, "No, he doesn't say that." But Baker added, "We
haven't got anything in place. He's not denying that the guys have been talking
but there's nothing in the way that's been implied in the statements that you
made.
"He made them to you in June and he felt that he made them to you off the
record."
According to Coleman, the story of the reunion of SABBATH's
original lineup first appeared on a specialist music web site and was expanded
by the Birmingham Mail.
Iommi's manager said the guitarist's comments made to the Birmingham
Mail in June during a wide-ranging interview that included the charity
single he had recorded with DEEP PURPLE's Ian Gillan, his
contract to write music for a series of horror films and his contribution to
Birmingham's Home Of Metal exhibition, were taken out of context.
"A very insignificant little web site [apparently referring to MetalTalk.net.
— Ed.] put something out about SABBATH getting back together and being
in the Midlands. End of story," said Baker.
"When you [Birmingham Mail] went online, that's when it went around
the world because it was official.
"Tony's web site virtually crashed and it took off.
"That's why Tony's pissed off — because the story would have died a
death.
"I don't consider some dodgy little web site [presumably referring to MetalTalk.net.
— Ed.] a trigger [to publish]. It was picked up by everybody because a lot of
these kids have nothing better to do than simply pick up a story from one site
and run with it and see what happens."
The original SABBATH lineup has not toured together since summer 2005,
and last convened for their induction into the Rock And Roll Hall Of Fame in early 2006.
SABBATH did try to record a new album 12 years ago, their first since
1978, but abandoned the attempt after just a couple of songs.
Transcend
Music has announced the signing of SIX HOUR SUNDOWN.
Slipping quietly onto this year's Sonisphere lineup, SIX HOUR SUNDOWN managed to stand up against the demanding festival masses, giving a blinding
performance. As well as impressing the crowd, it's no secret that they raised a
few brows of the ever-watchful eyes of the industry.
"They seemed to come out of nowhere: a polished performance, dynamic
material and a likeability that pulled crowds as if from thin air," said Rob
Ferguson, who has just signed SIX HOUR SUNDOWN to Transcend Music for worldwide representation.
SIX HOUR SUNDOWN undoubtedly blur the boundaries of musical genres with
edgy modern rock riffs, driven by a solid rhythm section and topped off by a
contemporary melody lines, delivered by a vocalist who puts her heart on the
line with every performance.
Fronting the band is none other than rock siren Lauren Harris — daughter
of legendary IRON MAIDEN bassist Steve Harris — who appears to
have found her feet with Tom Gentry (guitar), Mitch Witham (bass)
and Olly Smith (drums).
"Having watched Lauren develop as an artist, and front person, it's
great now to take it to the next level with a band. She's laid the foundations
now, so there are certainly exciting times ahead for the band," Rob continued
There is no doubt that Harris has found her feet with this new
"era": born simply from a desire of like-minded friends (and experienced
musicians) to get back to the heart of why they wanted to make music in the
first place.
"Signing to Transcend is really exciting for us and has reaffirmed
all we have worked hard to achieve," said Lauren. "They are
totally on the same wavelength with our vision for the band ...being part of a
band is where I feel totally at home. It's where I've needed to be mentally and
creatively. I think people are going to be surprised at what they hear."
Taking influence from bands such as the FOO FIGHTERS, 30 SECONDS TO
MARS and VELVET REVOLVER, SIX HOUR SUNDOWN is very much a
band that lives for the stage.
U.K.'s Classic
Rock magazine recently conducted an interview with KISS members Paul
Stanley and Gene Simmons. A couple of excerpts from the chat follow
below.
Classic Rock: How far into the [new KISS] album are you?
Paul Stanley: We've recorded eight tracks. Everything's on except the
vocals. There'll be 10 on the album, with a couple of tracks as bonuses for
different projects.
Classic Rock: How does it build on "Sonic Boom"?
Paul Stanley: "Sonic Boom" was a pivotal album in the
sense that we were aware of who we were as a performing band, but we had to
re-establish who we are as a recording band. That being done, this is much
easier and that much more self-assured.
Gene Simmons: This new record feels heavier than "Sonic
Boom". It feels like [it's] a connection between "Destroyer" and "Revenge".
Classic Rock: Care to throw us a few songtitles?
Paul Stanley: I'd be surprised if the album didn't start with "Hell
Or Hallelujah". It's up-tempo, a great riff, definitive KISS.
There's a track called "Born To Be A Sinner", and Tommy [Thayer, guitar] has a song called "Out Of This World",
which is terrific. They're anthemic songs. That's the nature of how we write.
There are no ballads.
Gene Simmons: "Are You Ready?" is a new track that I
worked out, wrote, and brought everyone into the studio and said: "Let's
bang this out." Another of the new songs, tentatively titled "Wall
Of Sound", we just came up with on the spot. The guts of that song
were written in 40 minutes.
The official
web site for METALLICA's collaboration with legendary singer and former VELVET
UNDERGROUND frontman Lou Reed has been launched at www.loureedmetallica.com.
METALLICA and Reed reportedly tapped Dutch photographer, music
video and film director Anton Corbijn to take a picture for the cover of
their upcoming collaborative album. According to the Swedish newspaper Aftonbladet, Corbijn and Reed were seen hanging around with METALLICA inn early July in Gothenburg, Sweden where
the band performed as part of the "Big Four" concert at Ullevi
stadium. METALLICA guitarist Kirk Hammett and bassist Robert
Trujillo were also spotted a couple of days later at Lou Reed's
concert at Grand Rex in Paris, France.
METALLICA's collaboration with Reed was made public in June via
the band's official web site. The group wrote in a statement, "We are more
than proud to announce that we have just completed recording a full-length
album that is a collaboration with none other than the legendary Lou Reed.
Ever since we had the pleasure of performing with Lou at the 25th
anniversary of the Rock And Roll Hall Of Fame at Madison Square Garden in October of
2009, we have been kicking around the idea of making a record together."
The statement added, "We have indeed been working at our home studio at (METALLICA headquarters in San Rafael, California) on and off over the
last few months. In what would be lightning speed for a METALLICA-related
project, we recorded ten songs during this time and while at this moment we're
not exactly sure when you'll hear it, we're beyond excited to share with you
that the recording sessions wrapped up last week."
Rolling Stone spoke with both Reed and members of METALLICA about the surprising announcement. Writer David Fricke described the
disc as "a raging union of [Reed's] 1973 noir classic, 'Berlin', and METALLICA's
'86 crusher, 'Master Of Puppets'." The songs were all written by
Reed with extensive arrangement contributions by METALLICA.
Reed called the collaboration "a marriage made in heaven. I knew it
from the first day we played together: 'Oh, man, this is perfection, right in
front of me.'"
METALLICA drummer Lars Ulrich said, "I don't think we've
ever felt this free. There's nothing that's totally outside of the boundary for
us, nothing that feels like 'Oh, what happens if we go there?'"
Frontman James Hetfield added, "Lars and I listened to [Reed's
demos] and it was like, 'Wow, this is very different.' It was scary at first,
because the music was so open. But then I thought, 'This could go
anywhere.'"
Songtitles on the record include "Pumping Blood" and "Mistress
Dread".
Reed does not have a record deal and METALLICA is no longer
signed to Warner Bros. Music after completing their contract with "Death
Magnetic", so it is not clear how or when they intend to release the
yet-to-be-titled album.
http://www.roadrunnerrecords.com/blabbermouth.net/soulflypremiere/reedtallica.jpg
Musicpix recently conducted an interview with DEF
LEPPARD guitarists Phil Collen and Vivian Campbell. A couple of excerpts from the
chat follow below.
Musicpix: DEF LEPPARD was once a curiosity and 34 years later,
you're globally adored. Can you talk about weathering success?
Phil: We just love doing it. The motivation has always been about the
music instead of presenting the band. It's never been about image or anything
like that… it makes it more real. We've got a lot of ambition to go; that's why
we're still here.
Musicpix: I was fortunate to be a teenager in the '80s… I watch teens
now gravitating to your music decades later and getting acquainted with the
'80s. Can you talk about why you think we crave that '80s sound?
Phil: In general, I don't think there are many new bands coming up that
aren't a real product of the industry. If there are those new bands, they don't
have the amount of hits that we've got. We never spilt up, so our technique
remains very much intact as far as that goes.
Vivian: People have been bashed over the head with these songs for
decades… these songs are branded in their DNA. Back in the '80s, MTV was
the driving force of the culture, so you couldn't escape hearing what was
popular. Today, we live in a very fragmented world where people only tune into
what there're interested in. There's so much media everywhere… the Internet,
cable channels, satellite radio, personal computers, cell phones… everyone is
living in their own world. Back in that day, you couldn't escape music so we
were fortunate that we grew up in an era and we were a part of that, so our
music is a part of that fabric and that's what they want to hear. I think it's
different for musicians growing up these days… it's got nothing to do with
whether or not the music was any better in that era… nowadays it's harder for
stuff to stick. That's fortunate for us. We have something that people want to
hear and we enjoy playing live.
Musicpix: The phrase "you're not getting, older you're getting
better" applies. You guys are now middle-aged and flooded with work. Is
there something you've always wanted to do that you haven't done?
Phil: Yeah, it gets more difficult with DEF LEPPARD, though. We
had an album in 1996 called "Slang" and it was very different
in the way we recorded it. We recorded it live. We didn't spend a lot of time
on the writing. We wrote it and recorded it. It was really cool, but lot of
people didn't like it because it was experimental. We found that you can't
really do that when once you're established. It's a very fine line with what's
acceptable with your fans and what's cool versus selling out to wallpaper
music… you want to make it cool. So it becomes more challenging, but we
actually have become better writers and producers over time.
DEF
LEPPARD members Joe Elliott (vocals) and Rick Savage (bass)
will be on hand at Book Soup in West Hollywood, California,
signing copies of the band's first coffee table book, "Def Leppard -
The Definitive Visual History", on Monday, September 5 from 3 p.m. to
4 p.m.
Monday, September 5 from 3:00 p.m. to 4:00 p.m.
Book Soup
8818 Sunset Blvd.
West Hollywood, CA 90069
For more information, go to this
location.
"Def Leppard - The Definitive Visual History", featuring
exclusive photos by legendary rock photographer Ross Halfin, was
released in June.
DEF LEPPARD's unstoppable, anthemic hard rock has earned it sales of
more than 65 million albums worldwide and a legion of dedicated fans. This
fully authorized visual history of the band follows them from the New Wave Of
British Heavy Metal to their massive "Pyromania" and "Hysteria" albums to the sustained power of their records and tours today.
Halfin has been shooting DEF LEPPARD since 1978, and his candid
and definitive pictures have helped capture and shape the image of the band. "The
Definitive Visual History" includes more than 450 classic and unseen
photographs, along with text from Halfin and stories and commentary by
the bandmembers and others.
Interview
done by Michael Wilkerson
MW:
Tell the readers who Simon Wright is?
SW: I am a
drummer from Manchester, England. I relocated to Los Angeles, Ca some 27
years ago, yes sometimes I do miss England, but LA is where I work. I started
hitting things at around 12 years old and havent looked back since I love
playing drums and I am a huge Manchester United fan. Bands I have worked/played
with include AC/DC, DIO, UFO and Rhino Bucket.
MW:
How did you get the gig with AC/DC?
SW: Well,
I answered an ad in the musicians wanted section of an english music paper
called Sounds. It read "Drummer needed, if you dont hit hard don't apply", I
do, so I applied.
MW:
Give me a story about these recording?
Fly
On The Wall
SW:
First album I recorded for AC/DC. The studio was in Montreax,
Switzerland on the Lake Geneva shoreline. Yes Deep Purple recorded there or tried
too before the casino burned down. We were located in the newly rebuilt one, it
was a huge round building with a fire escape type staircase that went up to the
control room. We weren't in a hurry to stop playin and go and listen back
because by the time you climbed those stairs you were knackered.
Who
Made Who
SW: Who
made Who was a compilation album really with some instrumental tracks added
from the sound track to the movie Maximum Overdrive. It was a really fun album
to make. This time Malcolm and Angus older brother George Young and Harry Vanda
were producing and added for a great working atmosphere.
Blow
Up Your Video
SW:
Recorded in France,
again with George and Harry. I remember the studio was amazing, sounded great,
but the accomodations were a little olde world. In my room there were these
weird weeds on the window seal, so I opened the window and threw them out only
to be told later that day that they kept the scorpions from climbing into your
room if the window was open. Sure enough there were 5 scorpions sittin there
lookin at me.
MW:
Tell me a good AC/DC road story?
SW: Brian
Johnson is one of the funniest people I have ever met. He can tell you 20 jokes
in 5 minutes. Great to be in a band with him, unfortunately he wears a cap or
bonnet as they say in Scotland,
and on one particular long tour he took to not washing it for a while. We all
began to notice this strange smell in the dressing room and narrowed it down to
Brian's cap. It wasnt easy because he wore it always, but we managed to get it
and have it sent out to be cleaned. In the mean time he managed to get hold of
a new one unaware of what we had done. When the clean cap came back it got
stuffed in the dressing room case. A couple of days later he found it and says
"whos cap is this" we all kinda looked away laughing "yours Brian" can't be it
doesn't stink, don't worry I'll soon fix that he says, ha ha.
MW:
Why did you leave AC/DC?
SW: Well I
had been in the band for about 8 years and I began to get complacent about
things. Don't get me wrong they are an incredible band as we know, but I needed
to expand on my drumming more. Branch out a bit, I think they noticed this in
me, I guess it happens, so it was time to move on. I will never have enough
thanks for the amazing journey they took me on. they are great people and a
killer band.
MW:
Tell me how you got the gig in DIO?
SW: A
friend of mine knew Wendy Dio and I had met Ronnie on several occasions. The
first time was in Italy
when Dio was on the same bill as AC/DC in 1984. He struck me right away as
being a really clever, kind, very funny person. It was a big thrill
meeting him. I had admired his singing and songwriting for years. So this
friend of mine got in touch with Wendy and they invited me to rehearsal. We
seemed to click and moved on from there to record the album Lock up the Wolves.
MW:
Give me a story about these recording?
Lock Up
The Wolves
SW: Lock
up the Wolves was recorded in Reno, NV at a studio called Grammys
House. Excellent studio with in house accommodations. It was June 1990, I had a
birthday coming up and the recording was going really well. Getting to know
Ronnie I had mentioned in passing about my fear of snakes, so on the day of my
birthday my wife at the time and Ronnie concocted a big birthday surprise for
me. We took a break from recording and out came the beer and the cake. Happy
Birthday to me, etc, etc. About half an hour in to the proceedings the lights
go out and everyone shouts surprise! Lights come back on and standing in front
of me is a beautiful belly dancer with a 6 foot python wrapped around her neck.
As I bolted for the door, Ronnie mentioned she is a drum tech as well Simon.
Ha,all good fun, I told Ron the album should be called Lock up the Snakes.
Magica
SW: This
album was a joy to record. Ronnie had worked on the songs in his home studio
and got them all more or less complete. He put in so much time on this album.
Worked everyday more or less for about seven months. I would help with rough
drum ideas and patterns and Craig would put down rough guitar tracks and
keyboards. It was long days but hanging out and working with Ron like that was
a great time. The man was a pure genius.
Killing
the Dragon
SW:
Unfortunately Craig had left the band at this point for one reason or another.
The thing about being in Ronnies band was that he always had brilliant
guitarists in his band and Craigs replacement was no exception. Doug Aldrich
brought a more bluesy, rock n roll side to the band which worked great I
thought, also a great guy .
Master of
the Moon
SW:
Fortunately Craig was back in the band for this one. We were both helping
Ronnie demo his ideas and enjoying the process. Ronnie would usually start his
song ideas with what he called scratchings. Just scratching around on the
guitar. I remember one day he and Craig had demoed a song called "The Eyes",
but it needed something else like an end section. I had to leave for a couple
of hours and as I left Ron was scratching at this end riff. I got back and he
said "hey Simon, check this out". I couldn't believe what I was hearing. That
so called scratching around had turned into this epic monster riff. I had this
big smile on my face and they were laughing at my reaction. Good times, that
used to happen a lot.
MW: Tell
me a good DIO road story?
SW: Well
there are so many, I remember a we headlined the Wacken Open Air festival in Germany.
Just before we went on Wendy Dio asked me to stay on stage after we finish I
said "why", she said, "ahh you'll see". So we finish the set, great show,
incredible crowd. Then the promoter presents Ronnie with a life time
acheivement award for his contribution to heavy metal. It was a very proud
moment not just for Ronnie, but for all of us too. He couldnt have been more
deserving, great moment.
MW: Why
did you leave DIO?
SW: Well
actually I never did. After the album Lock up the Wolves Ronnie rejoined Black
Sabbath, and I rejoined in 1998 when Vinny left and have been in Dio ever
since. Even when Ronnie was doing the Heaven and Hell project we were still
there as his band, so yeah i never actually left.
MW: Whats
new with Rhino Bucket.
SW: They
have a new CD called Who's got Mine and are touring in the US right now. I didn't play on the
album and I'm not on the tour they have a new drummer Micheal Licata. There
good friends and we have an understanding that if they get stuck for a drummer
and i Am available I will help out, works for them and me. Great album by the
way and great band.
MW: Whos
in DIO Disciples?
SW: DIO
Disciples is:
Tim Ripper
Owens-Vocals.
Toby
Jepson-Vocals.
Craig
Goldy-Guitar.
Rudy
Sarzo-Bass.
Simon
Wright-Drums.
Scott
Warren-Keyboards.
MW: What
is DIO Disciples?
SW: We
were Ronnie's band, the DIO band, with two singers, we felt we needed two
singers to even get close to Ronnies vocal range. We have Wendy Dio's blessing
to carry on and keep Ronnies songs alive for his fans. It is a celebration and
we honour Ronnies incredible songs and music. Ronnie was my best friend. I am
not trying to one up anyone here. We all felt we had to keep going and like I
said keep his music alive and celebrate him, we were family.
MW: Will
DIO Disciples be touring?
SW: We
toured Europe this past July, Russia,
Finland, England, Germany,
and Spain.
We were a little worried about what kind of reaction we would get from fans,
but it was great. Very emotional sometimes for all of us. I think they
understood that we are doing this from the heart and honouring Ronnie in the
best way we know how with the fans.
MW: DIO
Disciples CD.
SW: We
have no plans at the moment for a CD, but maybe at some point.
MW: What
would you like to say in closing?
SW: I
would like to thank you for reading this and if you get a chance come check out
DIO Disciples.
Thanks,
see ya on the road.
RONNIE
JAMES DIO – R.I.P.
Musician,
songwriter, producer, graphic designer, self-professed gear fanatic and
technology addict — Sixx:A.M. guitarist D.J. Ashba is a tireless workaholic,
which makes him a perfect match for his equally driven bandmates, James Michael
and Nikki Sixx. Ashba began playing guitar as a child, influenced by innovators
like Randy Rhoads and Eddie Van Halen, and threw himself into his craft as a
form of self-expression, therapy and a labor of love. His passion for the
instrument, and most of all for music, led him to start his own bands, try his
hand as a solo artist, and eventually find a musical home in Sixx:A.M., all
while making a name for himself as a multi-faceted artist inside and beyond the
realms of the recording studio.
The trio recently released their second album, This Is Gonna Hurt, the
follow-up to their tremendously successful debut, The Heroin Diaries. In
this interview, Ashba discusses the teamwork behind Sixx:A.M. and the ongoing
projects in Ashbaland.
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You
were raised in a religious household. Does your faith play a great part in your
life?
It
does. I don't go to church every Sunday, just on Christmas, but I still pray
every night and thank God for everything I have, because it could all be gone
tomorrow. I'm fortunate. I work very hard and I'm very lucky to have two arms,
two legs, two hands, and I don't take that for granted. I really could get hit
by a car and it would all be over. I thank God every night and it makes me feel
good. I'm not a Bible thumper, but at the same time, it was instilled in me at
such a young age and it has helped me get through a lot.
Nikki
and James have talked about the "old school" way of making records. They've
both worked in analog and digital, and their recording roots go back further
than yours. Are you the balance of old and new, or are they the influences on
how you track?
I'm
a huge fan of digital. I'm so into technology that it's sick. I'm the computer
nerd of the band. If I don't have to pull an amp out of storage and mic it up,
God bless it! I love technology and I'm never afraid of it. I always want the
latest and greatest gear, phones, TVs, everything. I'm getting heavily into
movie scoring and I'm really into writing 60-piece orchestral arrangements. I
built a scoring studio that's all USB digital, no MIDI,
and I did a lot of the Motley Crue record [Saints of Los Angeles] there.
I did albums on 2-inch tape when I was 17 or 18. I hated it. It was a horrible
experience and I haven't done it since. Now, nine out of ten times, it ends up
being downloaded on iTunes, which is MP3, and I think, If it sounds great, use
it.
What
do you have in your studio?
I'm
using Pro Tools. Everything is in the box, not one amp. I have 30-some guitars
hanging on the wall; it looks like a GC, but no amps or drums. I have the best
orchestra and drums sounds, and everything for what I do is in the box and
perfect. I could program drums forever. If I want to pull up a violin or cello,
I have it at my fingertips and there's no wall of rack gear. I see that in a
studio and think, This place is dinosaur land! Guys who love it, love it, but I
was never a fan of racks and racks of gear, and nine out of ten times, you go
to the other side and half of it isn't plugged in.
I
use a CME MIDI controller. It's amazing. My studio is super-clean, efficient
and real cozy. I have a lot of Line 6. I love it. They modify my stuff. I have
10 terabytes full of packages and so many samples and sound effects. I have a
full studio inside my computer. I use all Macs, two 52-inch monitors, ADAM
speakers, a bunch of guitars, piano and keyboards, and if we do any drums, I'd
rather do live drums. I bring in a MIDI kit to
record and import because you can always change the sound of the drums at the
last minute instead of miking everything down, because you can never re-create
the same sound. That's why I don't use tube amps — because room to room, if the
tubes run hot or not, even though the sound is phenomenal, they're never
consistent. With digital, it doesn't matter where they are — they always sound
the same. And tubes — to keep them up is a headache.
How
does the creative process work between the three of you?
James
and I, our studios run nonstop. We all three get together to write. I go home,
and some songs I start from scratch, or James does, and talk about the digital
world — we upload on the server and our studios are in sync. Let's say he
programs drums. He uploads them to the server, I download, lay on guitars and a
scratch bass track, upload it, and within an hour he has them back with all the
leads. A lot of times we work that way. We did the whole Motley Crue record
like that. I get stems, say a programmed drum part, and since we all write the
songs, I know how they went, but there are markers for the verse and chorus and
I do guitar. Vince [Neil] goes to James' studio and does vocals. I focus on
songwriting, programming the guitars, bass and drums if need be, James comes in
and addresses different sounds and goes to town on the vocal end. We're always
sending files back and forth. We'll go to each other's studios and record
acoustics and mic them down. If we're on a crunch, we're back and forth. I do
all the orchestral stuff and they let me lose my mind and create things. Nikki
is good at painting a picture in my head, and I sit in a room and paint it
musically on a big open canvas with no rules. Doing orchestral stuff is a blast
for me.
How
are your work ethics similar?
We're
all workaholics. I went from writing and producing Sixx:A.M. to Motley Crue to
touring with Sixx:A.M. to writing for Saliva and working on the new Sixx:A.M.
record. I'm working literally around the clock from 10 a.m. until 2 a.m. in the
studio. It's been shocking — we weren't going to be a band, we never realized
how The Heroin Diaries would touch so many people. It was literally a
labor of love. It's an amazing story, so inspiring, and to this day I get biker
dudes hugging me, crying and shaking when they talk about it. It's a powerful
album that has touched so many people. I never thought it would hit radio.
When
did you become interested in graphic design?
I
had a cartoon in the newspaper for four years when I was young. I was always
into painting and drawing, and then I got into Photoshop. Ashbaland is the
world of my music and Ashbaland Studio. Ashba Media is my graphic design agency
for wallpapers and desktops for mobiles. I love scoring movies, and while
we were doing The Heroin Diaries, I knew I could do orchestral music. My
mom is a classical piano teacher and I grew up listening to that music. My
influences are Danny Elfman and John Williams. I was into film music as a kid,
and now I'm getting into making that music. I'm building Ashba Media up with
good clients, and my brand with Ashbaland and Ashba Music.
What
led you to production work?
I
had done some before Sixx:A.M., but not a whole lot. I always did stuff myself.
I think it's super-important to learn the gear you use every day for your
business, so every day since I was little I would record a guitar riff in my
tape deck and then play along and record that in another deck. It was really
crappy, but I was young and learning. Then I got my first 4-track. I always
learned the gear, and when Pro Tools came out, I learned that. I didn't know it
was classified as producing. I had to learn just to produce what I was writing.
Is
your production style similar to James'?
James
and I are very different as producers. He has the patience to sit in a room
with a band for a year and do a whole record. I'd rather sit in a room without
anybody around and just create. I'd rather sit with a film and maybe a
director. I love coming in if a band needs a good song. I listen to so many
styles of music that I have that weird gift that I can listen to any kind of
music and write like that, whether it would be a Garth Brooks record or
whatever it is. Nikki and I wrote 40 or 50 songs at his Funny Farm Studio
before we started The Heroin Diaries and before I had Ashbaland. We did
the Motley Crue record at mine and James' studios, the band loved it, and Nikki
decided to gut his place and turn it into a full-time photography studio.
At
what point did your playing style develop? When did you progress from imitation
to innovation?
Probably
when I did my first instrumental record at 19. Nirvana was hitting really big
and I was young and thinking, What? No guitar solos? This is lame! I didn't get
where they were coming from at the time. I remember a couple of guitar players back
home and the tiny local wars of "Who is better?" I never got into that. I was
in my room practicing. While one guy is saying, "I'm better than the neighbor,"
there's always somebody better, and that competition is so ridiculous. Be the
best you can be. Do your thing. Be an individual and be unique. The
hardest thing we had to figure out on the first Sixx:A.M. record was what we
sounded like. We needed to create a unique sound for The Heroin Diaries.
That was the challenge. The style is there now, so we can take certain elements
of it and push the envelope, dive deeper into certain cool elements, and push
and twist them harder.
Is
there a difference between what you play for the public and play for yourself?
I
think so, absolutely. I like to play around with so many styles. I pick up a
guitar and it depends on the mood I'm in. I think the public looks at me as
this tattooed guy, spitting and jumping off of s--t, but at home it's just me
in bed, watching TV, playing acoustic guitar and writing songs.
What
is the difference between playing guitar and being a guitarist?
Wow!
These are crazy, great questions! I think the difference is being mature in
what you do and in the choices you make. Putting everything into a song and
knowing when to go for it and when to pull back.
I
respect anybody who wants to be any type of musician and I would never
discourage anybody. But there are definitely people out there … it's almost
like they're into it for the wrong reasons, and that's sad. To be a true
guitarist isn't about anything except the art of playing guitar. I didn't get
into this … I didn't know I could make money at this. I spent most of my life
starving and I didn't care because I loved what I did. Making money now is the
icing on the cake.
I
hate bands that literally clone other bands because they're not original enough
to put in the hard work to develop a style. It disgusts me. That's the
difference: they don't want to put in the many years of hard work and
dedication. They'd rather sit back, rip off somebody else's style and claim it
as their own. It makes me cringe. It's embarrassing.
The
answer to that question — the difference between the two is that being a
guitarist means being true to what you do. You can lie to yourself, but others
will see through it. Guitar is an art and it takes a lot of years and
dedication. It's not an overnight thing. It's a super-long road and you're
going to hit the ground, but at the end of the day, what makes you a true
guitarist is honing in on a unique style and never giving up.
Continue reading on Examiner.com Sixx:A.M. Guitarist DJ Ashba on Teamwork, Individuality and
the Art of Guitar - National Music Industry | Examiner.com http://www.examiner.com/music-industry-in-national/sixx-a-m-guitarist-dj-ashba-on-teamwork-individuality-and-the-art-of-guitar#ixzz1VKyca2Mh
2011 Elmer
Valentine Award honoree MÖTLEY CRÜE will return to its roots and
close the fourth annual Sunset Strip Music Festival (SSMF) on
Saturday, August 20. The band will also launch the three-day fest at an August
18 tribute event celebrating its 30-year career.
Part back-patting and part roast, guests and friends such as Dane Cook, Ray
Manzarek, David Johansen of the NEW YORK DOLLS and Neil Strauss (who co-write a book with the band, "The Dirt") will pay
homage to MÖTLEY CRÜE at a VIP event at the House of Blues in Hollywood
on Thursday night. "I have no idea what they will say, but it's bound to
be sometimes serious, sometimes funny and also probably shocking," MÖTLEY
CRÜE drummer Tommy Lee told the Los Angeles Times.
Each year, West Hollywood's world-famous
Sunset Strip celebrates its rich musical history and influence with the Sunset
Strip Music Festival, a three-day event that features a variety of artists
throughout its venues culminating with an open air street festival on its last
day. This year's event takes place Thursday, August 18, Friday, August 19 and
Saturday, August 20.
On Saturday, August 20, Sunset Boulevard will be closed to traffic between Doheny Drive and San Vicente Boulevard
and will be transformed into a premier concert destination with outdoor stages,
beer gardens, a VIP lounge, food trucks, interactive experiences and live
performances within the venues during the day until 1-2 a.m.
Mike Bax of Lithium Magazine recently conducted an interview with SLAYER drummer Dave Lombardo. A couple of excerpts from the chat follow below.
Lithium Magazine: I watched the footage on that "Big Four" DVD
(featuring METALLICA, MEGADETH, SLAYER and ANTHRAX live together at the Sonisphere festival). It's thrilling as a consumer
and a fan, but it's got to be pretty special to you guys back stage as well.
Dave: It is. It's amazing. I mean Lars [Ulrich, METALLICA drummer] and I have always gotten along. I never ever had any problems with Lars,
and no, I'm not just kissing ass. After hanging out backstage, they come and
visit us, we go on stage with him; I visit him behind his drum riser — it's
cool. And also seeing Trujillo [Robert
Trujillo, ex-OZZY OSBOURNE bassist and current bass player for METALLICA],
and having Gary [playing with SLAYER as a fill-in guitarist], Gary Holt from EXODUS,
and the connection between Kirk Hammett [lead guitarist for METALLICA who left EXODUS to join METALLICA in 1983] and Gary. They [Holt and Hammett] had not played together in thirty something years until the
"Big Four".
Lithium Magazine: Having your longevity in this business if you count
back on the album dates, you must have a pretty unique perspective on the music
industry and your place in it. Do you think that if you were starting off as a
band in your genre right now, do you think you'd achieve the level of success
that you have achieved?
Dave: No, because time is the way it is. Life has its own grid. Things
happened at that time like the way they were happening in San Francisco with METALLICA, you
know, with EXODUS, too, and us, too. It had to be something with the
music that influenced us growing up, whether it was late Sixties or Seventies
metal or hard rock. DEEP PURPLE, LED ZEPPELIN, JIMI HENDRIX,
all those bands that were a little heavier than the norm like CROSBY,
STILLS AND NASH, even JANIS JOPLIN was a little heavy at the time.
Lithium Magazine: All blues bands.
Dave: So I think maybe being influenced by that because kids today
aren't getting influenced by music like that. That was our soundtrack so what
is going to influence them to create in the future is going to be totally
different but that's just evolution. But no, I don't think it could've been
done.
Lithium Magazine: Even as early as three years ago, people who have been
following the genre would've been like, "There's no way those four bands would
play together". The fact that it's happening, and I take a look at all the
photographs that were taken backstage with all the players hanging out and
having fun, its looks pretty fucking good.
Dave: It puts away any doubts that these bands can't get along, or any
stories and all that shit, it puts it to rest. That's the thing that gets to
me, if we can't all get on stage… the one time I had to get a tattoo done and
that was the only time I was able to do it. It was a four-and-a-half-hour
session; don't get mad because I'm not up on stage doing the "Big
Four" jam. Or if SLAYER doesn't make it, or Tom [Araya]
doesn't make it. It is what it is.
Crown
Archetype has set a September 6 release date for "Everybody Loves
Our Town: An Oral History Of Grunge" by music writer Mark Yarm.
Described as "the definitive account of the grunge era told straight from
the mouths of the musicians, producers, managers, record executives, video
directors, photographers, reporters, club owners, roadies, scenesters, and
hangers-on who lived and witnessed it firsthand," the book's release will
coincide with the twentieth anniversary of NIRVANA's "Nevermind",
as well as the twentieth anniversary of PEARL JAM's multiplatinum debut "Ten".
"Everybody Loves Our Town" tells the whole story: the founding
and early successes of Seattle's Sub Pop record label, the rise of lesser-known bands as well as the
powerhouses, like NIRVANA and PEARL JAM, the insane media hype
surrounding the grunge explosion, the suicide of Kurt Cobain, and
finally, the genre's mid-to-late '90s decline.
Yarm conducted more than 250 unique interviews, making this the most
comprehensive book on the subject. Interviewees include Courtney Love and other members of HOLE; Chris Cornell and the members of SOUNDGARDEN;
plus members of PEARL JAM, NIRVANA, ALICE IN CHAINS, MELVINS, MUDHONEY, MOTHER LOVE BONE, GREENRIVER, SCREAMING TREES, CAT BUTT, TEMPLE OF THE DOG, TAD, L7, BABES IN TOYLAND, 7 YEAR BITCH, THE GITS, U-MEN,
and CANDLEBOX, to name just a few. The book also includes rare,
never-before-seen photos of PEARL JAM, NIRVANA, ALICE IN
CHAINS, MUDHONEY, and more.
PRIMAL
FEAR entered House Of Music studios in Winterbach, Germany on July
10 to begin recording its new album, "Unbreakable", for a
January 20, 2012 release via Frontiers Records. The CD, which is being
produced by Sinner and engineered by Achim Köhler (EDGUY, MASTERPLAN),
will feature the following songtitles, among others: "Give 'Em
Hell", "And There Was Silence", "Where Angels
Die", "Born Again" and "Strike".
Commented the band: "At the moment we're tracking guitars and bass.
Everything works out great.
"Be prepared for some original PRIMAL FEAR riffs and overall it
sounds very, very promising."
In other news, PRIMAL FEAR has extended its 13-year partnership with Warner/Chappell
Publishing for another three albums. The group states, "[It's] a good
sign in these days that you can work with a company for over 13 years now and
still be creative and friendly!"
PRIMAL FEAR recently asked fans to submit suggestions for the new CD
title and received more than 500 responses.
"In
Waves", the new album from Florida metallers TRIVIUM, sold
21,000 copies in the United States in its first week of release to land at
position No. 15 on The Billboard 200 chart — the highest U.S. chart entry of
the band's career. The group's previous CD, "Shogun", opened
with just under 24,000 units back in October 2008 to debut at No. 23. The
effort followed up "The Crusade", which registered a
first-week tally of 31,000 copies in October 2006 to enter the chart at No. 25.
"In Waves" was recorded primarily at Paint It Black Studios in Orlando, Florida
(with only the drums having been tracked at Audiohammer Studios in Sanford, Florida)
with the production/mixing team of Colin Richardson (MACHINE HEAD, BULLET FOR MY VALENTINE, SLIPKNOT, FEAR FACTORY) and Martin
"Ginge" Ford, along with engineer Carl Bown. A two-disc
special edition is also available. It features five bonus tracks, plus a DVD
with a 40-minute, behind-the-scenes documentary, as well as an exclusive
concert filmed in a warehouse located in Orlando, Florida, which is the band's
stomping grounds. This concert features the first performances of tracks from "In
Waves", along with TRIVIUM classics.
Florida
metallers TRIVIUM have been confirmed for next year's edition of
Australia's Soundwave Festival (not to be confused with the recently
canceled offshoot event, Soundwave Revolution), which will take place in
February/March.
The exact dates are as follows:
Saturday, February 25 - Brisbane
Sunday, February 26 - Sydney
Friday, March 2 - Melbourne
Saturday, March 3 - Adelaide
Monday, March 5 - Perth
Other rumored acts for next year's Soundwave include DEVIN TOWNSEND
PROJECT, SHADOWS FALL, CKY, THE SMOKING HEARTS, FOREVER
THE SICKEST KIDS and MADINA LAKE.
TRIVIUM's new album, "In Waves", sold 22,000 copies in
the United States in its first week of release to land at position No. 13 on
The Billboard 200 chart — the highest U.S. chart entry of the band's career.
(Note: The Billboard chart was re-run earlier today, resulting in "In
Waves" moving two spots higher than its originally announced
position.) The group's previous CD, "Shogun", opened with just
under 24,000 units back in October 2008 to debut at No. 23. The effort followed
up "The Crusade", which registered a first-week tally of
31,000 copies in October 2006 to enter the chart at No. 25.
"In Waves" was recorded primarily at Paint It Black Studios in Orlando, Florida
(with only the drums having been tracked at Audiohammer Studios in Sanford, Florida)
with the production/mixing team of Colin Richardson (MACHINE HEAD, BULLET FOR MY VALENTINE, SLIPKNOT, FEAR FACTORY) and Martin
"Ginge" Ford, along with engineer Carl Bown. A two-disc
special edition is also available. It features five bonus tracks, plus a DVD
with a 40-minute, behind-the-scenes documentary, as well as an exclusive
concert filmed in a warehouse located in Orlando, Florida, which is the band's
stomping grounds. This concert features the first performances of tracks from "In
Waves", along with TRIVIUM classics.
Finnish metallers PROFANE
OMEN have set "Destroy!" as the title of their third album,
due on September 28 via Spinefarm Records. The CD was produced by Ville
Sorvali (MOONSORROW) and Mikko Herranen (RUST) and was
recorded in part at Petrax studios in Hollola, Finland.
The effort was mastered at Chartmakers in Helsinki.
"Destroy!" track listing:
01. A Force To Be Reckoned With
02. Wastehead
03. Predator
04. Feed On The Wasted
05. Escape / Traceless
06. Bad Dreams
07. Acedia
08. Bound To Strive
09. Zombie Riders
The self-titled debut EP from ADRENALINE MOB — the new band
featuring drummer Mike Portnoy (DREAM THEATER, AVENGED
SEVENFOLD), SYMPHONY X frontman Russell Allen, guitar
virtuoso Mike Orlando (SONIC STOMP), bassist Paul DiLeo and STUCK MOJO/FOZZY axeman Rich Ward — sold 1,800 copies
in its first week of release. The CD landed at position No. 13 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.
"Adrenaline Mob" is available via iTunes and is being
sold in physical form at the group's shows and online store. Self-produced by
the band, the effort features four original tracks as well as a blistering
cover of the Ronnie James Dio-era BLACK SABBATH classic "The
Mob Rules". From the opening riff of "Psychosane" through the over-six-minute epic-sounding "Hit The Wall", it
is clear that ADRENALINE MOB are in class all their own as musicians.
"Releasing the EP gives fans around the world a chance to get a taste of
the MOB NOW without having to wait until the full-length album comes out
at the beginning of next year," states Portnoy.
"Adrenaline Mob" track listing:
01. Psychosane
02. Believe Me
03. Hit The Wall
04. Down To The Floor
05. The Mob Rules
The EP is now available for streaming in its entirety using the player below.
ADRENALINE MOB's first-ever headline tour runs through mid-September.
The trek will make stops in various markets, including Chicago,
Denver and San Francisco. ADRENALINE MOB has also been tapped
to open for GODSMACK on select dates of the Massachusetts act's headlining tour.
ADRENALINE MOB formed in early 2011 when Orlando approached Allen with
some material the guitarist had written. Allen and Orlando refined those ideas, at which time Allen reached out to longtime friend Portnoy to see if he had any interest in playing with them. Portnoy jumped on
board and soon thereafter DiLeo and Ward were recruited to join
the family. From the very first note, the chemistry was apparent and the beast
that is known as ADRENALINE MOB was born.
Brazilian
progressive power metal band ALMAH — the side project of ANGRA members Edu Falaschi (vocals) and Felipe Andreoli (bass) — will
release its third album, "Motion", on the following dates:
Europe (via AFM Records): October 14
Brazil (Laser Company): September 16
Rest Of Latin America (Icarus Records): October 14
Japan (Victor JVC): October 19
The CD was recorded in May-June 2011 at Norcal Studios in São Paulo,
Brazil and was mixed and mastered in July at Split Second Sound Studios in Amsterdam, Netherlands by Jochem Jacobs (TEXTURES). A brand
new digital single will be made available online in the beginning of September.
Commented Falaschi: "I'm very excited to present our new work soon.
We are absolutely dedicated. Each bandmember contributed to the basic parts,
arrangements and songwriting. I'm really proud that this album will show the
real language and personality of ALMAH! 'Motion' is heavy, modern
and up-to-date (maybe, the heaviest stuff I've ever recorded in my life). It's
powerful! Full of good energy! The instrumental parts are very solid and heavy.
The vocal lines present my natural range and style, heavy and aggressive. It's
a kind of album to bang your head non-stop! And I have a feeling that in the
end it will be the best CD in my whole discography. At least the one I like the
most…"
ALMAH's sophomore album, "Fragile Equality", was
released in October 2008 via AFM Records.
ALMAH is:
Edu Falaschi - Vocals
Felipe Andreoli - Bass
Marcelo Barbosa - Gutar
Paulo Schroeber - Guitar
Marcelo Moreira – Drums
Cleveland, Ohio
metallers CHIMAIRA will embark on a headlining tour this fall with
support from REVOCATION, RISE TO REMAIN and IMPENDING DOOM.
The dates for the trek, dubbed "The Age Of Hell Tour", are as
follows:
Oct. 12 - Philadelphia, PA - Trocadero
Oct. 14 - Joliet, IL - Mojoe's
Oct. 15 - Minneapolis, MN - First Ave
Oct. 17 - Denver, CO - Summit
Oct. 18 - Salt Lake City, UT - Club Sound
Oct. 20 - Seattle, WA - Studio Seven
Oct. 21 - Portland, OR - Peter's Room
Oct. 24 - Los Angeles, CA - Key Club
Oct. 25 - Tucson, AZ - The Rock
Oct. 27 - San Antonio, TX - White Rabbit
Oct. 28 - Dallas, TX - The Door
Oct. 29 - Houston, TX - Fitzgerald's
Oct. 31 - Orlando, FL - Firestone
Nov. 01 - Atlanta, GA - Masquerade
Nov. 03 - New York, NY - BB King Blues Club & Grill
Nov. 04 - Pittsburgh, PA - Mr. Smalls
Nov. 05 - Columbus, OH - Alrosa Villa
CHIMAIRA's new album, "The Age Of Hell", was released
in the U.S. on August 16 via eOne Music; and will be made available in
Germany on August 26; and in the United Kingdom, Australia and the rest of
Europe on August 29 through Long Branch Records.
CHIMAIRA 2011 is:
Mark Hunter - Vocals
Rob Arnold - Guitar
Matt DeVries - Guitar
Emil Werstler (DAATH) - Bass
Sean Zatorsky (DAATH) - Keyboards/Samples
Austin D'Amond (BLEED THE SKY, THE ELITE) – Drums
Although D'Amond is sitting behind the kit for all of CHIMAIRA's
current shows, the drum tracks on "The Age Of Hell" were laid
down by the CD's producer, Ben Schigel, who has previously worked with DROWNING
POOL and WALLS OF JERICHO, among others. The effort was mixed by Chris
"Zeuss" Harris (HATEBREED, SHADOWS FALL, MURDERDOLLS, 3 INCHES OF BLOOD).
LIZZY
BORDEN's 21-year-old guitarist Dario Lorina, who has previously
played with late WARRANT singer Jani Lane, has released the
following statement:
"I would first like to thank all of you for your kind words and support
with the passing of my friend and confidant, Jani.
"He influenced my life in so many ways. He gave me a chance. He gave me
confidence. He made my dream come true. From my 16th year of life, my high
school graduation, through my 18th birthday, all of which was spent on stage
with him, he was a prominent part of my life and years of growing up. He gave
me memories I will never forget. He gave me guidance and advice.
"Jani, you will be greatly missed and I thank you from the bottom
of my heart.
"As he would sign... 'Tomorrow is a gift.'
"With love, D."
Video footage of Lorina performing with Lane can be seen below.
At age 16, Lorina was recognized for his passion and what some may call
exceptional talent, and began touring with Lane. During that time Dario strongly created a reputation and name for himself as a player and gained the
respect of many, thus giving him the opportunity to play with various notable
artists.
Dario has been touring consistently throughout the USA and Europe
since 2006.
An autopsy performed Friday on Lane proved inconclusive pending the
results of toxicology tests, according to the Los Angeles County
coroner's office.
Assistant Chief Coroner Ed Winter says it may take seven or eight weeks
to finalize the cause of death.
Investigators found a half-empty bottle of vodka and prescription medication in
the hotel room where Lane was discovered dead on Thursday (August 11),
according to TMZ.com.
A public memorial with performances by fellow metal rock bands including GREAT
WHITE and L.A. GUNS will be held in Hollywood on August 24 at a venue to be
announced later, the singer's manager and longtime friend Obi Steinman said.
Atlantic recording group SHINEDOWN has begun work on their hugely anticipated
fourth studio album. The multi-platinum rock band will be joined at Hollywood's
famed Ocean Way Recording by multiple Grammy Award-winning
producer Rob Cavallo (KID ROCK, GREEN DAY), who previously
collaborated with the band on their RIAA-platinum-certified third album, "The Sound Of Madness".
"We are truly honored to be working with the legendary Rob Cavallo again," says SHINEDOWN frontman Brent Smith. "He brings
the absolute best out of us and our songs. To say we are emotionally charged to
start recording the new album would be a huge understatement. Everyone hold on
tight, this is going to be intense!"
"One of the things that sets SHINEDOWN apart from most other rock
bands is their songwriting," says Cavallo. "There's an honesty
and passion in it that's undeniable. After working with them on 'The Sound
Of Madness', I knew that they would deliver, but they've even surpassed my
high expectations with the songs they've brought to the table this time around.
I can't wait to get started."
SHINEDOWN guitarist Zach Myers recently told Gibson.com about the band's songwriting process, "We aren't a band that goes into the
studio and makes a record in six weeks. 'The Sound Of Madness' took 24
months to write. Brent has this weird thing when we're writing, we go
into the studio, and there are no clocks around; there are no calendars on the
wall. He doesn't like to have a time limit on being creative."
SHINEDOWN's live, multi-disc CD/DVD collection, "Somewhere In
The Stratosphere", was released on May 3. The collection — which
received its title from a member of the "Shinedown Nation" fan
community — includes material filmed and recorded on SHINEDOWN's two
epic 2010 headline tours: the inaugural "Carnival Of Madness" tour, in which they topped a stellar lineup of today's biggest rock acts
including CHEVELLE, PUDDLE OF MUDD, SEVENDUST, and 10
YEARS; and the highly praised "Anything & Everything" acoustic tour, which featured stripped-down versions of both chart-topping hits
and fan favorites alongside intimate conversations with the audience about the
stories behind the songs.
Bassist Tomppa Saarenketo left PROFANE OMEN in November due to
his "lack of motivation." A session musician, Antti Seroff,
laid down the bass tracks on the new CD.
PROFANE OMEN's sophomore full-length album, 2009's "Inherit The
Void", entered the national chart in the band's home country at
position No. 9. The CD was recorded with producer Ville Sorvali of MOONSORROW and Aleksanteri Kuosa.
Based in Lahti, Finland, PROFANE OMEN was
formed in 1999 and released its debut album, "Beaten into
Submission", in 2006. An EP, "Disconnected", followed
in 2007.
http://www.roadrunnerrecords.com/blabbermouth.net/soulflypremiere/profanedestroy.jpg
"The Road To OR-Shalem", the new concert
DVD by Israeli progressive folk metal masters ORPHANED LAND, will be
released on October 24 in Europe and November 1 in the U.S. via Century
Media Records.
According to a press release, "The Road To OR-Shalem" "is
the premier Middle Eastern progressive metal crusaders' DVD debut and documents
the band's incredible mission to unite warring factions in their home region
through the power of music. Filmed in Tel Aviv, Israel in December 2010, 'The
Road To OR-Shalem' features nearly two hours of stunning live material, as
well as a second bonus DVD. The bonus DVD material includes additional live
footage, a behind-the-scenes documentary and video clips."
Commented ORPHANED LAND vocalist Kobi Farhi: "It has been
such an amazing experience for us to record our debut DVD.
"Our show proves that music is the strongest weapon in the world.
"Our achievement through songwriting is not something that can be measured
via traditional political or religious means.
"We learned by being in ORPHANED LAND that people might have
different flags, signs and symbols, but when music plays there is only one flag
that captures their hearts. It is the flag of hope, courage, friendship and
brotherhood; the flag of light. We are converting blood enemies to friends
through the healing power of music."
Formed in Israel
in 1991, ORPHANED LAND's unique style of Middle Eastern progressive
metal has amassed a huge fan base worldwide. The band's signature sound
features multilingual vocals (English, Hebrew, Arabic, Yemenite and more) along
with standard instruments, as well as countless Oriental and traditional
instruments such as saz, santur, Arabian flutes, bouzouki and cumbus. The
result is an exotic, heavy and fascinating mix.
ORPHANED LAND's live shows feature flags from both Israel and Lebanon prominently displayed, with
fans from all ethnic and religious backgrounds singing along in both Hebrew and
Arabic. These same fans proudly bear ORPHANED LAND tattoos, although
this potentially puts them at risk in their home countries.
ORPHANED LAND's most recent CD (the band's fourth), "The Neverending Way Of
ORwarriOR", came out in early 2010.
"The Road To OR-Shalem" track listing:
DVD1:
01. Halo Dies
02. Birth Of The Three
03. Olat Hatamid
04. The Kiss Of Babylon
05. A Never Ending Way
06. Disciples Of The Sacred II
07. Bereft In The Abyss
08. The Storm Still Rages Inside
09. Sapari
10. From Broken Vessels
11. OceanLand
12. M I?
13. New Jerusalem
14. Vayehi Or
15. The Warrior
16. Baraka
17. Codeword: uprising
18. El Meod Na'ala
19. In Thy Never Ending Way
20. The Beloveds Cry
21. Norra El Norra
22. Ornaments Of Gold
DVD 2:
01. Bakapaim (with Yehuda Poliker)
02. Halom Layam Hatihon (with Yehuda Poliker)
03. The Path Part 1 – Treading Through Darkness (drums & percussion
solo)
04. Seasons Unite (from the album "Sahara")
05. Thee By The Father I Pray (from the album "El Norra
Alila")
* Documentary - "Vayehi Or"
* Videos - "Sapari", "Norra El Norra", "Ocean Land"
* Slideshow/Band Photos
"Void", the long-awaited new album from the
Swedish black metal horde CRAFT, has entered the official chart in the band's home country at
position No. 7.
Diehards of CRAFT's vicious, orthodox black metal bombardment have been
seething in anticipation of this album for years, their immensely
praised/feared 2005-released "Fuck The Universe" full-length
having infected the metal community on impressive new levels for this
previously cult outfit. But 2011 brought that wait to a crushing end, with the
release of the band's fourth LP, "Void". Delivering a
nine-track convoy of punishing black hymns over forty nine-minutes, "Void" does not just pick up where "Fuck The Universe" left off,
rather it also explores some crushing new angles, as well as revisits some of CRAFT's
earlier, scathing days, and wholly channels the band's obvious, endless hate
unto the human population.
"Void" track listing:
01. Intro (John's Nightmare)
02. Serpent Soul
03. Come Resonance Of Doom
04. The Ground Surrenders
05. Succumb To Sin
06. Leaving The Corporal Shade
07. Want To Commit Murder
08. Bring On The Clouds
09. Void
"Void" is set to pollute the North American masses on
September 27, once again under the reign of Southern Lord Recordings,
the label having also been responsible for the release of "Fuck The
Universe" to the continent.
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