Did you learn anything about yourself from writing the book?
I shocked myself with the amount of things I've done and the things I forgot about doing. I look back and it all seems a bit confusing.
Are you more proud than confused?
It's been a long battle but it's been great. I've had great times with different line-ups of the band. That's as far as the music's concerned. The marriages have been a different story – the current one's great but there have been some ups and downs with the others.
What are you proudest of achieving in your career?
I've got hundreds of gold and platinum discs, so I can't complain. We'd heard: 'You'll never make anything of this, get a proper job,' from our families. So when the first album got in the charts that was a proud moment, and our families were proud too.
Do you see your influence on new rock bands?
Yes, and it's not me saying that, they tell me themselves. Metallica, Soundgarden, Nirvana – they all said Sabbath influenced them. And there's people who I'd never have thought of such as Ice T and Lil Wayne, he does a bit of Iron Man on one of his tracks. Sometimes they say: 'You've influenced my music.' I can't see how but it's a nice compliment.
Does touring get harder as you get older?
The travelling is the hard part – we travel in the best way but it still tires you out. It's worth it for the hour and a half I play on stage.
How has the music industry changed since you started?
When we started you had people who followed you for a long time, we still do, but it turns over fast now. In the old days you'd get a five-album record deal, now it's one album and if it doesn't sell a million, you're gone. Its sad record stores have gone. It was great to go into them and look at album covers and have a look around. It's all online now, which is more convenient I suppose.
What lessons has the music industry taught you?
I'm still learning. For years, when we were meeting producers and executives, we were told: 'You should be doing this and that.' But I just got on with it and did what I believed in. That's pushed us through.
What's the worst advice you've been given in your career?
'Sign this.' In the early days we signed so many deals with management, not thinking, just wanting to go out there and play. You learn the hard way.
What's your relationship with Ozzy Osbourne like now?
It's good. We've had our ups and downs in the past but it's been blown out of proportion to the point where, from the outside it looks really bitter, but we've never really fallen out.
He sued you over who owns the name of the band though.
Yes, but we've sorted that out now. These things crop up. You sort them out and then they go away.
Will you record with him again?
Who knows? It's like when we had Ronnie James Dio with us, we broke up, got back together, did another album and tour. You can never tell. We got back together with Ozzy in 1997 and toured so you never know what's around the corner.
You live in the Midlands – why don't you have a big LA mansion?
I lived there for five years but I missed sarcasm. My solid friends are here. You're on your own a lot of the time on tour so it's great to come home and see friends and be yourself without having to meet people and sign things all the time.
What have you got left to achieve in your career?
I'm doing the soundtrack to three horror films, which I'm looking forward to. I've got a lot of ideas but won't know where to start until I see the films.
Iron Man is out now published by Simon and Schuster.
Since initiating its investigation into the October 17, 2009, disappearance of 20-year-old Virginia Tech student Morgan Harrington, Virginia State Police have pursued hundreds of tips and leads as investigators continue to aggressively pursue the ongoing case. State police are also still encouraging the public to come forward with information. Harrington's skeletal remains were later discovered January 26, 2010, in a remote field on an Albemarle County farm along Route 29.
"We are especially interested in hearing from those individuals familiar with the Anchorage Farm property, and observations of unusual behavior in that area between Oct. 17, 2009, and Jan. 26, 2010," said Lt. Joe Rader, Virginia State Police Bureau of Criminal Investigation's Appomattox Field Office. "A detail that may seem insignificant to one person may well be of critical importance to investigators and the information needed to advance this investigation even further."
On the evening of October 17, 2009, Harrington was attending a METALLICA concert at John Paul Jones Arena on the University of Virginia (UVA) campus in Charlottesville. At approximately 8:30 p.m. she left the arena and was unable to re-enter the facility. After talking to her friends on her cell phone, she then walked through the University Hall parking lot and was seen in a parking lot next to Lannigan Field. At around 9:30 p.m., she was seen walking on the Copeley Road Bridge and then hitchhiking for a ride from passing traffic.
Harrington was dressed that night in a black T-shirt with the word "Pantera" spelled out in tan letters, black mini-skirt, black tights, and knee-high black boots. She was wearing a distinctive Swarovski Crystal necklace made up of large crystal chain links, which investigators have yet to recover. Harrington's PANTERA T-shirt was found November 11, 2009, in front of a row of apartments along 15th Street NW near Grady Avenue in Charlottesville.
DNA evidence was recovered during the course of the Harrington investigation that forensically links it to a 2005 City of Fairfax sexual assault of a young Northern Virginia woman. Fairfax City Police were able to develop a composite sketch of the assailant. State and Fairfax City police are still working to identify the suspect.
Virginia State Police continue to work with the University of Virginia Police, Charlottesville Police, Albemarle County Police, City of Fairfax Police and the FBI on this investigation.
Morgan's father Dan told local TV station CBS 6, "This may sound strange, but we have found some peace in [the discovery of Morgan's body]. It wasn't the outcome that we wanted but we know now where our daughter is and there is peace in that."
Her disappearance led to national attention and an extensive search. METALLICA offered $50,000 for information about her whereabouts, in addition to the $100,000 reward that had been offered by her parents.
In a statement posted at their official web site, called "The Loss Of A Fan," the band wrote in part, "We are profoundly saddened by the news of the discovery of Morgan Dana Harrington's body . . . Mere words cannot express the anguish and grief that we know her parents Dan and Gil are feeling, and our thoughts are with them."
Anyone with information is encouraged to call the Jefferson Area Crime Stoppers at 434-977-4000; or the Virginia State Police at 434-352-3467 or by email at bci-appomattox@vsp.virginia.gov.
"We are especially interested in hearing from those individuals familiar with the Anchorage Farm property, and observations of unusual behavior in that area between Oct. 17, 2009, and Jan. 26, 2010," said Lt. Joe Rader, Virginia State Police Bureau of Criminal Investigation's Appomattox Field Office. "A detail that may seem insignificant to one person may well be of critical importance to investigators and the information needed to advance this investigation even further."
On the evening of October 17, 2009, Harrington was attending a METALLICA concert at John Paul Jones Arena on the University of Virginia (UVA) campus in Charlottesville. At approximately 8:30 p.m. she left the arena and was unable to re-enter the facility. After talking to her friends on her cell phone, she then walked through the University Hall parking lot and was seen in a parking lot next to Lannigan Field. At around 9:30 p.m., she was seen walking on the Copeley Road Bridge and then hitchhiking for a ride from passing traffic.
Harrington was dressed that night in a black T-shirt with the word "Pantera" spelled out in tan letters, black mini-skirt, black tights, and knee-high black boots. She was wearing a distinctive Swarovski Crystal necklace made up of large crystal chain links, which investigators have yet to recover. Harrington's PANTERA T-shirt was found November 11, 2009, in front of a row of apartments along 15th Street NW near Grady Avenue in Charlottesville.
DNA evidence was recovered during the course of the Harrington investigation that forensically links it to a 2005 City of Fairfax sexual assault of a young Northern Virginia woman. Fairfax City Police were able to develop a composite sketch of the assailant. State and Fairfax City police are still working to identify the suspect.
Virginia State Police continue to work with the University of Virginia Police, Charlottesville Police, Albemarle County Police, City of Fairfax Police and the FBI on this investigation.
Morgan's father Dan told local TV station CBS 6, "This may sound strange, but we have found some peace in [the discovery of Morgan's body]. It wasn't the outcome that we wanted but we know now where our daughter is and there is peace in that."
Her disappearance led to national attention and an extensive search. METALLICA offered $50,000 for information about her whereabouts, in addition to the $100,000 reward that had been offered by her parents.
In a statement posted at their official web site, called "The Loss Of A Fan," the band wrote in part, "We are profoundly saddened by the news of the discovery of Morgan Dana Harrington's body . . . Mere words cannot express the anguish and grief that we know her parents Dan and Gil are feeling, and our thoughts are with them."
Anyone with information is encouraged to call the Jefferson Area Crime Stoppers at 434-977-4000; or the Virginia State Police at 434-352-3467 or by email at bci-appomattox@vsp.virginia.gov.
According to WDBJ7.com, the mother of Morgan Harrington — the slain Virginia Tech student who was last seen while attending METALLICA's October 17, 2009 concert in Charlottesville, Virginia — has filed a multimillion dollar lawsuit against the company that provided security at John Paul Jones Arena.
The $3.5 million dollar lawsuit is filed against Regional Marketing Concepts, Inc. which operates as RMC events.
The lawsuit was filed just a few days shy of the two year anniversary of Harrington's disappearance and just before the two year statute of limitations would have run out. "This gives us the option of moving forward to find some answers," Gil Harrington said. "We filed a lawsuit to preserve our options."
Harrington's skeletal remains were discovered January 26, 2010, in a remote field on an Albemarle County farm along Route 29.
On the evening of October 17, 2009, Harrington was attending a METALLICA concert at John Paul Jones Arena on the University of Virginia (UVA) campus in Charlottesville. At approximately 8:30 p.m. she left the arena and was unable to re-enter the facility. After talking to her friends on her cell phone, she then walked through the University Hall parking lot and was seen in a parking lot next to Lannigan Field. At around 9:30 p.m., she was seen walking on the Copeley Road Bridge and then hitchhiking for a ride from passing traffic.
Harrington was dressed that night in a black T-shirt with the word "Pantera" spelled out in tan letters, black mini-skirt, black tights, and knee-high black boots. She was wearing a distinctive Swarovski Crystal necklace made up of large crystal chain links, which investigators have yet to recover. Harrington's PANTERA T-shirt was found November 11, 2009, in front of a row of apartments along 15th Street NW near Grady Avenue in Charlottesville.
DNA evidence was recovered during the course of the Harrington investigation that forensically links it to a 2005 City of Fairfax sexual assault of a young Northern Virginia woman. Fairfax City Police were able to develop a composite sketch of the assailant. State and Fairfax City police are still working to identify the suspect.
Virginia State Police continue to work with the University of Virginia Police, Charlottesville Police, Albemarle County Police, City of Fairfax Police and the FBI on this investigation.
Morgan's father Dan told local TV station CBS 6, "This may sound strange, but we have found some peace in [the discovery of Morgan's body]. It wasn't the outcome that we wanted but we know now where our daughter is and there is peace in that."
Her disappearance led to national attention and an extensive search. METALLICA offered $50,000 for information about her whereabouts, in addition to the $100,000 reward that had been offered by her parents.
In a statement posted at their official web site, called "The Loss Of A Fan," the band wrote in part, "We are profoundly saddened by the news of the discovery of Morgan Dana Harrington's body . . . Mere words cannot express the anguish and grief that we know her parents Dan and Gil are feeling, and our thoughts are with them."
Anyone with information is encouraged to call the Jefferson Area Crime Stoppers at 434-977-4000; or the Virginia State Police at 434-352-3467 or by email at bci-appomattox@vsp.virginia.gov.
The $3.5 million dollar lawsuit is filed against Regional Marketing Concepts, Inc. which operates as RMC events.
The lawsuit was filed just a few days shy of the two year anniversary of Harrington's disappearance and just before the two year statute of limitations would have run out. "This gives us the option of moving forward to find some answers," Gil Harrington said. "We filed a lawsuit to preserve our options."
Harrington's skeletal remains were discovered January 26, 2010, in a remote field on an Albemarle County farm along Route 29.
On the evening of October 17, 2009, Harrington was attending a METALLICA concert at John Paul Jones Arena on the University of Virginia (UVA) campus in Charlottesville. At approximately 8:30 p.m. she left the arena and was unable to re-enter the facility. After talking to her friends on her cell phone, she then walked through the University Hall parking lot and was seen in a parking lot next to Lannigan Field. At around 9:30 p.m., she was seen walking on the Copeley Road Bridge and then hitchhiking for a ride from passing traffic.
Harrington was dressed that night in a black T-shirt with the word "Pantera" spelled out in tan letters, black mini-skirt, black tights, and knee-high black boots. She was wearing a distinctive Swarovski Crystal necklace made up of large crystal chain links, which investigators have yet to recover. Harrington's PANTERA T-shirt was found November 11, 2009, in front of a row of apartments along 15th Street NW near Grady Avenue in Charlottesville.
DNA evidence was recovered during the course of the Harrington investigation that forensically links it to a 2005 City of Fairfax sexual assault of a young Northern Virginia woman. Fairfax City Police were able to develop a composite sketch of the assailant. State and Fairfax City police are still working to identify the suspect.
Virginia State Police continue to work with the University of Virginia Police, Charlottesville Police, Albemarle County Police, City of Fairfax Police and the FBI on this investigation.
Morgan's father Dan told local TV station CBS 6, "This may sound strange, but we have found some peace in [the discovery of Morgan's body]. It wasn't the outcome that we wanted but we know now where our daughter is and there is peace in that."
Her disappearance led to national attention and an extensive search. METALLICA offered $50,000 for information about her whereabouts, in addition to the $100,000 reward that had been offered by her parents.
In a statement posted at their official web site, called "The Loss Of A Fan," the band wrote in part, "We are profoundly saddened by the news of the discovery of Morgan Dana Harrington's body . . . Mere words cannot express the anguish and grief that we know her parents Dan and Gil are feeling, and our thoughts are with them."
Anyone with information is encouraged to call the Jefferson Area Crime Stoppers at 434-977-4000; or the Virginia State Police at 434-352-3467 or by email at bci-appomattox@vsp.virginia.gov.
The musical collaboration between Lou Reed and METALLICA, "Lulu", will be released on November 1 in North America via Warner Bros. Records and one day earlier (October 31) in the rest of the world through Universal Music. The CD was co-produced by Reed, METALLICA, Hal Willner — who has produced albums for Reed, Marianne Faithfull, and Laurie Anderson, among others — and Greg Fidelman. Fidelman also mixed the record.
The idea for these two giants of modern music to work together was born after the 25th anniversary Rock And Roll Hall Of Fame concerts in New York City in October 2009. METALLICA — singer/guitarist James Hetfield, drummer Lars Ulrich, guitarist Kirk Hammett and bassist Robert Trujillo — played with Reed on VELVET UNDERGROUND classics "Sweet Jane" and "White Light/White Heat".
"[Lou] has a reputation for being a grouchy kind of guy," Hammett tells Revolver magazine. "Once we started rehearsing [for the Rock And Roll Hall Of Fame concerts], though, Lou was just like, 'Oh my God. This is great! This is what I've wanted to hear all my life.' And that's what led to, 'Oh, we should make an album.' And we all kind of unanimously agreed."
After that triumphant performance, Reed suggested they all make a record together. At first they planned to record an album of Reedfraven's older material, what Ulrich describes as "some of Lou's lost jewels — songs that he felt he'd like to give a second spin, and we could do whatever it is we do to some of those songs." That idea "hung in the air for a couple of months." Then, a week or two before that session was to begin, "Lou called up and said, 'Listen, I have this other idea.'"
That idea was to record a series of songs Reed had written for American avant-garde theater director Robert Wilson and German theater group the Berliner Ensemble's production of the "Lulu Plays", which premiered in April at the Theatre am Schiffbauerdamm in Berlin, founded by Bertolt Brecht. The songs are inspired by German expressionist Frank Wedekind's early 20th century plays "Earth Spirit" and "Pandora's Box", and were a rewrite of Edgar Allan Poe's "The Raven", which emerged as a graphic novel on Fantagraphics Press.
"I think it's one of the best things we've ever done," Hammett tells Revolver. "It showed me that we could still be truly spontaneous and in the moment. We haven't been spontaneous like that for years and years and years, probably since the '80s."
He adds, "We were all out of our comfort zone, and because of that, we came up with stuff we wouldn't normally come up with. It's largely an artistic endeavor for ourselves. And we're just inviting everyone else along for the party. This is something that most people won't be expecting from us. All I have to say is don't judge it by heavy-metal standards and maybe you'll understand it better."
The idea for these two giants of modern music to work together was born after the 25th anniversary Rock And Roll Hall Of Fame concerts in New York City in October 2009. METALLICA — singer/guitarist James Hetfield, drummer Lars Ulrich, guitarist Kirk Hammett and bassist Robert Trujillo — played with Reed on VELVET UNDERGROUND classics "Sweet Jane" and "White Light/White Heat".
"[Lou] has a reputation for being a grouchy kind of guy," Hammett tells Revolver magazine. "Once we started rehearsing [for the Rock And Roll Hall Of Fame concerts], though, Lou was just like, 'Oh my God. This is great! This is what I've wanted to hear all my life.' And that's what led to, 'Oh, we should make an album.' And we all kind of unanimously agreed."
After that triumphant performance, Reed suggested they all make a record together. At first they planned to record an album of Reedfraven's older material, what Ulrich describes as "some of Lou's lost jewels — songs that he felt he'd like to give a second spin, and we could do whatever it is we do to some of those songs." That idea "hung in the air for a couple of months." Then, a week or two before that session was to begin, "Lou called up and said, 'Listen, I have this other idea.'"
That idea was to record a series of songs Reed had written for American avant-garde theater director Robert Wilson and German theater group the Berliner Ensemble's production of the "Lulu Plays", which premiered in April at the Theatre am Schiffbauerdamm in Berlin, founded by Bertolt Brecht. The songs are inspired by German expressionist Frank Wedekind's early 20th century plays "Earth Spirit" and "Pandora's Box", and were a rewrite of Edgar Allan Poe's "The Raven", which emerged as a graphic novel on Fantagraphics Press.
"I think it's one of the best things we've ever done," Hammett tells Revolver. "It showed me that we could still be truly spontaneous and in the moment. We haven't been spontaneous like that for years and years and years, probably since the '80s."
He adds, "We were all out of our comfort zone, and because of that, we came up with stuff we wouldn't normally come up with. It's largely an artistic endeavor for ourselves. And we're just inviting everyone else along for the party. This is something that most people won't be expecting from us. All I have to say is don't judge it by heavy-metal standards and maybe you'll understand it better."
Quentin Tarantino wants to have dinner. OK, we can facilitate that ... A week later, we're hanging out in a restaurant in San Francisco, swapping stories about the most turbulent flights we've ever been on, triggered by a particularly nasty flight he'd just taken from China. In between the mischief and half-truths, we get to the point of the visit, which concerns his next cinematic endeavor, titled Kill Bill.
One of the most surreal 30 minutes of my life was having Q.T. six inches from my face, eyes dancing, intensely animated, explaining in intricate detail how he had written and choreographed the two main fight scenes in the film to the Metallica songs "Enter Sandman" and "Sad but True." Fists would impact faces on accents. Kicks would land on cymbal hits. Bodies would twirl along with the rhythm of the music. Tarantino's next-level movie magic married to Metallica music, all turned up to 11.
I was already fast-forwarding 18 months, sitting in an Enormodome, watching this spectacle unfold before my eyes with the biggest smile on my face. True cinematic poetry in motion. The greatest marriage between music and film the world had ever seen.
We were high on this idea for the rest of the evening, and the elation continued for days. Finally, ta-da!! The Script. All 180 pages. Man, was it thick and dense. I threw myself headfirst into the shenanigans. Then something slowly started happening. Story, language, twists, turns, kung fu banter, and jargon—as I got further and further into it, I became more and more puzzled.
Page by page, I realized that most of this was written in a language that was outside of my realm of understanding. I had never encountered a narrative like this, set in, to me, a very foreign culture of martial arts and Asian myths. I just couldn't wrap my thick Danish head around it. I championed his movies, loved him as a person, but at the end of the 180 pages, I sat there somewhat bewildered and felt very uncool for not getting it. I wasn't capable of appreciating its brilliance. Then I started overthinking it. "Do it, do it," my gut screamed, but my head was confused. Cautious. I experienced a rare inability to pull the trigger.
Over the next few weeks the whole thing fizzled out as I continued not trusting my instincts. In the end, I never got back to him. Probably the single biggest mistake I've made in the creative department. Of course Kill Bill turned out to be above and beyond brilliant, as have his subsequent movies, which have all been a significant part of my life in the 2000s.
To this day I still worship the ground Q.T. walks on.
If only ...
Eliana Aponte / Reuters-Landov
1981: Drummer Lars Ulrich meets singer James Hetfield in Los Angeles. They form the band Metallica.
1991: Metallica releases its fifth album, named after the band. The record goes on to sell 15million copies.
2001: Music-swapping website Napster settles landmark lawsuit filed by Metallica.
2001: Film director Quentin Tarantino asks Ulrich to provide a soundtrack for Kill Bill: Vol. 1.
2011: Metallica and Lou Reed to release new album, Lulu, on Oct. 31.
The musical collaboration between Lou Reed and METALLICA, "Lulu", will be released on November 1 in North America via Warner Bros. Records and one day earlier (October 31) in the rest of the world through Universal Music. The CD was co-produced by Reed, METALLICA, Hal Willner — who has produced albums for Reed, Marianne Faithfull, and Laurie Anderson, among others — and Greg Fidelman. Fidelman also mixed the record.
"Lulu" final track listing:
01. Brandenburg Gate (4:19)
02. The View (5:17)
03. Pumping Blood (7:24)
04. Mistress Dread (6:52)
05. Iced Honey (4:36)
06. Cheat On Me (11:26)
07. Frustration (8:33)
08. Little Dog (8:01)
09. Dragon (11:08)
10. Junior Dad (19:28)
"Mistress Dread" lyrics:
I'm built like you are
I have a dress and a train
Your snake cold lips
Make a harsh straight line
That echoes through my brain
You're perfect
Let me lift a glass high
Let me follow in your footsteps
Let me follow in your sigh
Let me follow in your sigh
I'm a woman who likes men
But this is something else
I've never felt such stirrings
I feel like I
Was someone else
I wish you'd tie me up and beat me
Crush me like a kick
A bleeding strap across my back
Some blood that you could kiss
Oh kiss away, oh kiss away
I wish there was a strap of blood
That you could kiss away
I wish there was a strap of blood
That you could kiss away
Tie me with a scarf and jewels
Put a bloody gag to my teeth
I beg you to degrade me
Is there waste that I could eat
I am a secret lover
I am your little girl
Please spit into my mouth
I'm forever in your swirl
You're heartless and I love that
You have no use of me
But I open the sticks, sticky legs I bear
And then insert a fist, an arm
Some lost appendage
Please open me I beg
You are my goliath
You are my goliath
And I am mistress dread
Oh I am mistress dread
Oh I am mistress dread
Open and release me
I love you in my head
Oh kiss away kiss away
Kiss away kiss away
All I ask my baby
Kiss away
All I ask my baby
Kiss away [End of lyrics]
The idea for these two giants of modern music to work together was born after the 25th anniversary Rock And Roll Hall Of Fame concerts in New York City in October 2009. METALLICA — singer/guitarist James Hetfield, drummer Lars Ulrich, guitarist Kirk Hammett and bassist Robert Trujillo — played with Reed on VELVET UNDERGROUND classics "Sweet Jane" and "White Light/White Heat". "We knew from then that we were made for each other," Reed says.
After that triumphant performance, Reed suggested they all make a record together. At first they planned to record an album of Reedfraven's older material, what Ulrich describes as "some of Lou's lost jewels — songs that he felt he'd like to give a second spin, and we could do whatever it is we do to some of those songs." That idea "hung in the air for a couple of months." Then, a week or two before that session was to begin, "Lou called up and said, 'Listen, I have this other idea.'"
That idea was to record a series of songs Reed had written for American avant-garde theater director Robert Wilson and German theater group the Berliner Ensemble's production of the "Lulu Plays", which premiered in April at the Theatre am Schiffbauerdamm in Berlin, founded by Bertolt Brecht. The songs are inspired by German expressionist Frank Wedekind's early 20th century plays "Earth Spirit" and "Pandora's Box", and were a rewrite of Edgar Allan Poe's "The Raven", which emerged as a graphic novel on Fantagraphics Press.
"We were very interested in working with Lou," says Hetfield. "I had these giant question marks: What's it going to be like? What's going to happen? So it was great when he sent us the lyrics for the 'Lulu' body of work. It was something we could sink our teeth into. I could take off my singer and lyricist hat and concentrate on the music part. These were very potent lyrics, with a soundscape behind them for atmosphere. Lars and I sat there with an acoustic and let this blank canvas take us where it needed to go. It was a great gift, to be asked to stamp 'TALLICA on it. And that's what we did."
"We had to bring 'Lulu' to life in a sophisticated way, using rock," Reed says. "And the hardest power rock you could come up with would have to be METALLICA. They live on that planet. We played together, and I knew it: dream come true. This is the best thing I ever did. And I did it with the best group I could possibly find. By definition, everybody involved was honest. This has come into the world pure. We pushed as far as we possibly could within the realms of reality."
"It's definitely not a METALLICA album, or a Lou Reed album," adds Hammett. "It's something else. It's a new animal, a hybrid."
A variety of physical "Lulu" releases are available for pre-order at LouReedMetallica.com:
** 2CD Package - $19.99
Contents: Double CD with 24-page booklet including all lyrics.
** Deluxe 2CD Poster Set - $119.99
Contents: Limited-run tube including a poster of the "Lulu" mannequin and song lyrics, three high-quality prints of Anton Corbijn photos of Lou Reed and METALLICA, and the double CD of "Lulu" in a unique folding slipcase. Each tube is numbered. Dimensions of the tube are approximately 5.5 inches in diameter by 49 inches long.
** Deluxe Book 2CD - $109.99
Contents: Limited-run two-book set, each book 12" x 12" square bound with a hard cover. The Anton Corbijn book is 20 pages of photos taken of Lou Reed and METALLICA in Gothenburg, Sweden in the summer of 2011. The lyric book is 28 pages with lyrics from each song along with imagery from the objects collection of WerkbundarchiV Museum Der Dinge, Berlin, Germany. The two "Lulu" CDs are also included in the lyric book. All housed in a clear plastic slipcase.
** Vinyl 2LP Set
2CD Package
"Lulu" final track listing:
01. Brandenburg Gate (4:19)
02. The View (5:17)
03. Pumping Blood (7:24)
04. Mistress Dread (6:52)
05. Iced Honey (4:36)
06. Cheat On Me (11:26)
07. Frustration (8:33)
08. Little Dog (8:01)
09. Dragon (11:08)
10. Junior Dad (19:28)
"Mistress Dread" lyrics:
I'm built like you are
I have a dress and a train
Your snake cold lips
Make a harsh straight line
That echoes through my brain
You're perfect
Let me lift a glass high
Let me follow in your footsteps
Let me follow in your sigh
Let me follow in your sigh
I'm a woman who likes men
But this is something else
I've never felt such stirrings
I feel like I
Was someone else
I wish you'd tie me up and beat me
Crush me like a kick
A bleeding strap across my back
Some blood that you could kiss
Oh kiss away, oh kiss away
I wish there was a strap of blood
That you could kiss away
I wish there was a strap of blood
That you could kiss away
Tie me with a scarf and jewels
Put a bloody gag to my teeth
I beg you to degrade me
Is there waste that I could eat
I am a secret lover
I am your little girl
Please spit into my mouth
I'm forever in your swirl
You're heartless and I love that
You have no use of me
But I open the sticks, sticky legs I bear
And then insert a fist, an arm
Some lost appendage
Please open me I beg
You are my goliath
You are my goliath
And I am mistress dread
Oh I am mistress dread
Oh I am mistress dread
Open and release me
I love you in my head
Oh kiss away kiss away
Kiss away kiss away
All I ask my baby
Kiss away
All I ask my baby
Kiss away [End of lyrics]
The idea for these two giants of modern music to work together was born after the 25th anniversary Rock And Roll Hall Of Fame concerts in New York City in October 2009. METALLICA — singer/guitarist James Hetfield, drummer Lars Ulrich, guitarist Kirk Hammett and bassist Robert Trujillo — played with Reed on VELVET UNDERGROUND classics "Sweet Jane" and "White Light/White Heat". "We knew from then that we were made for each other," Reed says.
After that triumphant performance, Reed suggested they all make a record together. At first they planned to record an album of Reedfraven's older material, what Ulrich describes as "some of Lou's lost jewels — songs that he felt he'd like to give a second spin, and we could do whatever it is we do to some of those songs." That idea "hung in the air for a couple of months." Then, a week or two before that session was to begin, "Lou called up and said, 'Listen, I have this other idea.'"
That idea was to record a series of songs Reed had written for American avant-garde theater director Robert Wilson and German theater group the Berliner Ensemble's production of the "Lulu Plays", which premiered in April at the Theatre am Schiffbauerdamm in Berlin, founded by Bertolt Brecht. The songs are inspired by German expressionist Frank Wedekind's early 20th century plays "Earth Spirit" and "Pandora's Box", and were a rewrite of Edgar Allan Poe's "The Raven", which emerged as a graphic novel on Fantagraphics Press.
"We were very interested in working with Lou," says Hetfield. "I had these giant question marks: What's it going to be like? What's going to happen? So it was great when he sent us the lyrics for the 'Lulu' body of work. It was something we could sink our teeth into. I could take off my singer and lyricist hat and concentrate on the music part. These were very potent lyrics, with a soundscape behind them for atmosphere. Lars and I sat there with an acoustic and let this blank canvas take us where it needed to go. It was a great gift, to be asked to stamp 'TALLICA on it. And that's what we did."
"We had to bring 'Lulu' to life in a sophisticated way, using rock," Reed says. "And the hardest power rock you could come up with would have to be METALLICA. They live on that planet. We played together, and I knew it: dream come true. This is the best thing I ever did. And I did it with the best group I could possibly find. By definition, everybody involved was honest. This has come into the world pure. We pushed as far as we possibly could within the realms of reality."
"It's definitely not a METALLICA album, or a Lou Reed album," adds Hammett. "It's something else. It's a new animal, a hybrid."
A variety of physical "Lulu" releases are available for pre-order at LouReedMetallica.com:
** 2CD Package - $19.99
Contents: Double CD with 24-page booklet including all lyrics.
** Deluxe 2CD Poster Set - $119.99
Contents: Limited-run tube including a poster of the "Lulu" mannequin and song lyrics, three high-quality prints of Anton Corbijn photos of Lou Reed and METALLICA, and the double CD of "Lulu" in a unique folding slipcase. Each tube is numbered. Dimensions of the tube are approximately 5.5 inches in diameter by 49 inches long.
** Deluxe Book 2CD - $109.99
Contents: Limited-run two-book set, each book 12" x 12" square bound with a hard cover. The Anton Corbijn book is 20 pages of photos taken of Lou Reed and METALLICA in Gothenburg, Sweden in the summer of 2011. The lyric book is 28 pages with lyrics from each song along with imagery from the objects collection of WerkbundarchiV Museum Der Dinge, Berlin, Germany. The two "Lulu" CDs are also included in the lyric book. All housed in a clear plastic slipcase.
** Vinyl 2LP Set
2CD Package
The latest episode of the "Focus In The Mix With Denise Ames" TV show includes part one of an interview with vocalist Geoff Tate of Seattle progressive rockers QUEENSRŸCHE. You can now watch it below.
"Focus In The Mix With Denise Ames" airs the first and third Friday of each month on Time Warner's channel 165 at 7:30 p.m. throughout North L.A. County and streaming at this location.
QUEENSRŸCHE will play its classic 1988 album "Operation: Mindcrime" in its entirety on ShipRocked 2011, the music and lifestyle cruise which will set sail from Fort Lauderdale, Florida on November 14 to the tip of Mexico and its popular stretch of gorgeous Caribbean water known for scuba diving, shopping and bars aplenty, and return five days later. Performing Pamela Moore's parts in her seminal role as Sister Mary will be Maria Brinks of IN THIS MOMENT.
Tate told Billboard.com that QUEENSRŸCHE is already starting work on its next album despite having released its 12th LP, "Dedicated To Chaos", in late June.
"We kind of have that practice, to jump from one to the next," he explained. "It's what drives us to get up in the morning, the new music, writing the music. If we don't do that, we're just resting on our laurels and playing songs we've played a million times before, and none of us want to do that."
Tate said QUEENSRŸCHE is currently "putting some sketches together and discussing direction and that kind of thing," and he expects some songs will start to surface while the group is on the road. "We have studios with us at all times," he noted. "If you come backstage at any given show, we have a room set up, everybody here and there, working away. It looks like a laboratory. That really keeps the music flowing, too."
"Focus In The Mix With Denise Ames" airs the first and third Friday of each month on Time Warner's channel 165 at 7:30 p.m. throughout North L.A. County and streaming at this location.
QUEENSRŸCHE will play its classic 1988 album "Operation: Mindcrime" in its entirety on ShipRocked 2011, the music and lifestyle cruise which will set sail from Fort Lauderdale, Florida on November 14 to the tip of Mexico and its popular stretch of gorgeous Caribbean water known for scuba diving, shopping and bars aplenty, and return five days later. Performing Pamela Moore's parts in her seminal role as Sister Mary will be Maria Brinks of IN THIS MOMENT.
Tate told Billboard.com that QUEENSRŸCHE is already starting work on its next album despite having released its 12th LP, "Dedicated To Chaos", in late June.
"We kind of have that practice, to jump from one to the next," he explained. "It's what drives us to get up in the morning, the new music, writing the music. If we don't do that, we're just resting on our laurels and playing songs we've played a million times before, and none of us want to do that."
Tate said QUEENSRŸCHE is currently "putting some sketches together and discussing direction and that kind of thing," and he expects some songs will start to surface while the group is on the road. "We have studios with us at all times," he noted. "If you come backstage at any given show, we have a room set up, everybody here and there, working away. It looks like a laboratory. That really keeps the music flowing, too."
After Hanoi Rocks disbanded for the second and final time in 2009, Michael Monroe wasted no time in getting his solo career back on track. He put together a great new band that includes guitarist Dregen (formerly of The Backyard Babies and The Hellacopters) who recently replaced Ginger, guitarist Steve Conte, former Hanoi Rocks bandmate bassist Sami Yaffa, and drummer Karl Rosqvist. The band went into the studio and recorded a fantastic new album, Sensory Overdrive, issued abroad several months ago and released in North America on August 23rd.
Monroe is gearing up for a North American trek that kicks off on September 30th in Philadelphia and ends in Hollywood on October 20th. The band rolls into Portland on October 16th and play at Dante's. Oregon Music News caught up with the almighty youthful one for a no holds barred interview.
Michael Monroe (center) and the current line-up.
Your new album, Sensory Overdrive, was just released in North America. It's been available as an import for several months. What took so long for the album's release in North America?
We wanted to set up a tour to help support the album first. That was the main reason. The album was originally slated for a May release but we pushed it back because we didn't have a tour in place. Since we have a tour of the states lined up we released it now.
There are so many great songs on the album; you co-wrote a song with Lemmy Kilmister, "Debauchery As A Fine Art," which he performed for, and you brought in Lucinda Williams for "Gone Baby Gone." How did you get them to guest on the album?
Lucinda Williams is an old friend of Steve Conte's. He had her contact information because he had done some sessions with her. Steve and Sami [Yaffa] had met her before when they were in The New York Dolls. She came down last March to our show in Hollywood and she was raving about our show afterward. She came backstage after the show and she told us how brilliantly she thought the band sounded. We were in the studio recording "Gone Baby Gone." We thought it would be a good idea to have her sing on it since it does have the Stonesy vibe to it. Steve sent her an email and she was very into the idea. She came to the studio it was brilliant. We gave her free reign to do her thing on that harmony chorus. Her voice gives me chills I think it turned out amazing.
Lemmy I've known since the early '80s. I wrote a song called "Motorheaded For A Fall," which we had been doing live. When it came time to do the album I asked Lemmy if he wanted to sing on it. When Lemmy came in to do the song I let him know he could rework the lyrics if he wanted. I liked the original but I thought the chorus needed some work because it just repeated itself over and over. Lemmy came in on the first day recording in the studio so we had to set up quickly because Lemmy was going on tour the next day. It was great that we were able to get Lemmy on the record. Lemmy is holy, so to speak. He's sacred. I was honored to have Lemmy and Lucinda on the album; they are the coolest guests.
You brought in Jack Douglas to produce "Sensory Overdrive." Why did you select him?
We didn't have that many names in the list of potential producers. I know Jack's work and I thought he would be great for us. I was lucky that he was available at the time we were going into the studio. Sami and Steve were familiar with him because they worked with him when they were in The New York Dolls. We got in touch with him and we sent him the demos and he got back to us and said that he'd do it.
You made a brilliant move in selecting "'78" as the lead single for the album. It's got a great balance of punk rock attitude, melodic hard rock and power pop. There are so many songs on the album — how hard was it selecting 'the song' that would launch the album?
We really thought that this was the best song to start with because it really represented the band the best.
I also love the video — it's a great performance clip. It captures the energy of the song very well.
Well thank you. I felt that the kind of clip that would best represent what we are all about is a performance video. I think it turned out great.
Check out the video for "78″ here:
You have a great band together. Ginger will be absent from the North American tour this fall. He left the band. What was the circumstance behind his departure?
Basically he was at a point where he didn't want to tour as much. He has a four-year old at home and he wants to spend quality time with his kid and pursue his solo career. Between his family situation, a solo career and doing this, it was too much. I'll be honest, I was very surprised when he joined that he wanted to be a part of this. He has been the front man in the past and here he was in a supporting role. I asked him pointblank, "Are you going to be cool being the guitarist in this band?" Ginger said, "Oh, yeah." I talked it over with Sami and he agreed that it would be cool to have him. A few months ago he started asking about the length of the album's touring cycle and I let him know that I wanted to tour for a year. That didn't work for Ginger so I asked him to hold on until we found a replacement. I called Dregen from The Backyard Babies and The Hellacopters since the Ginger thing had runs its course.
How is your relationship between you and Ginger? I read in an interview that he hoped to help write the next album. Is that something you'd be receptive to?
Right, we are still good friends and we will be writing together in the future. Ginger is a fantastic songwriter and I do want to work with him in the future. Originally he was just going to help me write this record but he joined the band. Now it looks like he'll just help write in the future.
You brought in Dregen as guitarist to replace Ginger. How did you go about selecting him and what does he bring to the table?
I called Dregen — he was the first guy that came to mind. I asked him if he wanted to be part of the band. He said, "Let me think about this over night and I'll get back to you in the morning." I waited and I got a call the next day from Dregen who said, "Hey Michael, let's do it!" It was hard to find a guy to replace Ginger with his talent, looks, style and attitude, but I think Dregen is the only choice — absolutely.
Ginger and Steve are both lead singers; the harmonies on this record are great. Ginger is a great guitar player and Dregen is more of a punk-style player; as a singer it takes him a little longer to learn the parts. With Dregen we just needed to practice a little bit more than with Ginger but we'll be just fine. As far as a guitarist, Dregen is a bit more punk and trashier than Ginger. We're not going to have Dregen sound like Ginger; Dregen has his own style. Dregen is a wild man on stage. It's a great fit because he's hyperactive like me. (laughs) Let me say this: People who saw us before didn't think things could get more energetic with Dregen. We have. I'm very happy that he was available and happy to do this.
When you tour North America what are you looking at, lengthwise, as far as a set?
I don't know what our contract says yet, but a full show. We do 75, 80, 90 minutes — a full show. At least 75 minutes since we're not a support band on this tour. We're working hard at coming back to North America next year as an opening act on a bigger tour. I'd love to play to a larger audience. We're in touch with our friends in other bands so we'll see what happens. We have a lot of ground to cover and I haven't done a proper tour in the states in a long time.
You released your live album, Another Night In The Sun, last year in Europe. Is there a plan to release that in North America in the near future?
That's a a good question. I'm not sure about that — I'll have to ask about it. That's the album that features a live version of "Motorheaded For A Fall" that I was talking about earlier. I'd love for it to be released in North America, because throughout my whole career a lot of my albums have only been available as imports. I don't like fans having to pay outrageous prices for the albums.
Why didn't Jerusalem Slim make it?
(pauses) Oh….well. (pauses) That was an idea that looked good on paper and the idea died of loneliness! (laughs) Steve and I made some great demos and he's a very talented player. On the demos he was playing stuff that I liked. It was a very early rock 'n' roll, leaning more toward Chuck Berry, style. No two hands on the neck type of thing. The record label brought in Michael Wagener as producer. He's a heavy metal producer who, together with Steve, took the album in a completely different direction. It was a heavy metal guitar hero type record and it didn't work. The end result was totally wrong for me. I tried to stop the project half-way into the recording process. No one supported my idea. There are fans that have told me that they liked that record, but to me it's the worst record I've ever done in my life. It's the worst thing that ever happened to me, pretty much. It ruined my career in the United States. It was a complete catastrophe — that album cost me $700,000.00! I should have just donated the money to the homeless! (laughs) It was unfortunate. Next?! (laughs)
Axl Rose was admittedly a huge Hanoi Rocks fan. He even made a guest appearance on your "Dead, Jail or Rock 'n' Roll" video. What's your relationship with Axl these days?
Axl's doing his own thing. I don't have his contact information. I said hello to him through Sebastian Bach at the end of 2009 when Sebastian was on tour in Finland. He sent a text to Axl saying hello, along with a picture of Sebastian and I together. Axl replied with the message "Doesn't that guy ever age?!" (laughs) Which was a great compliment. I have nothing but cool things to say about Axl. He was very good to me and Hanoi Rocks as he released our European catalog on Uzi Suicide. God bless him. He knows where to find me if he wants to talk.
When Hanoi Rocks disbanded the first time in 1985, how much of a role did Vince Neil play in that happening?
(long pause) There was a car accident where, unfortunately, our drummer [Razzle Dingley] was killed. That was one of the reasons that Hanoi Rocks disbanded. As far as Vince Neil, I have nothing to say. It was an accident that surely all of us would like to put behind us already. I would never blame anybody for an accident — you can't. What happened happened and I can't change that. Everybody suffered from this and we'd like to put that behind us. Unfortunately for Hanoi Rocks, we couldn't keep it together after that happened — it was a major blow for everybody. Let me say this, it wasn't just that Razzle died, but Sami Yaffa left the band. We had no bass player and no drummer. The band was so much like a family; we were so young and close with those key losses we couldn't keep it together after that.
Michael Monroe will perform at Dante's on October 16th. Tickets are $15.00 advance, $18.00 at the door. Doors at 7pm, show at 7:30pm.
Tim Clark of Forbes.com recently conducted an interview with ANTHRAX guitarist Scott Ian. A couple of excerpts from the chat follow below.
Forbes.com: Like it or not, ANTHRAX is a brand. How do you protect and nurture it?
Scott: Branding is such a huge part of what we do which means protecting the brand at all costs. You could also say this is a baby we all have to take care of. That includes five guys in the band, management, our agent and the head of our record label. If one person misses a feeding a lot of shit will go wrong. If we do our job and write good songs then people are still going to want to be involved with us. We've played some of the biggest shows in our career, in the last two years, in places we've never been before. That really shows us how many people all over the world want to be involved in this brand.
Forbes.com: Does ANTHRAX use social media to stay in touch with fans?
Scott: I'd say social media is one of the few positives that the Internet has given the music business. Certainly Twitter is something I have embraced since I got into it a year ago. To be able to talk to people without a middle man… it's a great way for me to express myself. I think you get to know people a little bit better through Twitter. It's a really cool window into the world and a really great tool to market your band. I have about 60,000 followers on Twitter and ANTHRAX has about the same. It would be really interesting to know how many people found out about the new record because of us tweeting about it. I bet it's a pretty big percentage. You're able to motivate people directly. It doesn't take weeks for budgets to be approved, ads placed in magazines. Just go online and there's 60,000 people that want to hear what you have to say.
Forbes.com: So you think there's also a dark side to social media and the Internet?
Scott: All that I love about Twitter doesn't make up for the amount of music that is stolen. So I would gladly give up the Internet. If someone gave me the power tomorrow to push a button and erase the Internet from our lives — and that means people would actually go out and start buying music again — I'd push that button in a second. It includes more than music. Movies, magazines, newspapers – all of these businesses would be reborn. Content isn't free. The bottom line is that people are stealing and stealing is wrong. Before torrent sites, the only way to steal music was to walk into a record store and walk out with it. You know you'd face a consequence if you got caught. Most people grow up learning that. With the Internet, there is no consequence.
Forbes.com: Like it or not, ANTHRAX is a brand. How do you protect and nurture it?
Scott: Branding is such a huge part of what we do which means protecting the brand at all costs. You could also say this is a baby we all have to take care of. That includes five guys in the band, management, our agent and the head of our record label. If one person misses a feeding a lot of shit will go wrong. If we do our job and write good songs then people are still going to want to be involved with us. We've played some of the biggest shows in our career, in the last two years, in places we've never been before. That really shows us how many people all over the world want to be involved in this brand.
Forbes.com: Does ANTHRAX use social media to stay in touch with fans?
Scott: I'd say social media is one of the few positives that the Internet has given the music business. Certainly Twitter is something I have embraced since I got into it a year ago. To be able to talk to people without a middle man… it's a great way for me to express myself. I think you get to know people a little bit better through Twitter. It's a really cool window into the world and a really great tool to market your band. I have about 60,000 followers on Twitter and ANTHRAX has about the same. It would be really interesting to know how many people found out about the new record because of us tweeting about it. I bet it's a pretty big percentage. You're able to motivate people directly. It doesn't take weeks for budgets to be approved, ads placed in magazines. Just go online and there's 60,000 people that want to hear what you have to say.
Forbes.com: So you think there's also a dark side to social media and the Internet?
Scott: All that I love about Twitter doesn't make up for the amount of music that is stolen. So I would gladly give up the Internet. If someone gave me the power tomorrow to push a button and erase the Internet from our lives — and that means people would actually go out and start buying music again — I'd push that button in a second. It includes more than music. Movies, magazines, newspapers – all of these businesses would be reborn. Content isn't free. The bottom line is that people are stealing and stealing is wrong. Before torrent sites, the only way to steal music was to walk into a record store and walk out with it. You know you'd face a consequence if you got caught. Most people grow up learning that. With the Internet, there is no consequence.
Anniversaries can often bring reflection. And Enter Music Publishing, publishers of hip, drum/percussion magazines, worldwide and online, is no exception as it celebrates 20 years of publishing DRUM! Two issues ago, the magazine had Chad Smith on the cover, discussing new RED HOT CHILI PEPPERS percussion. Indeed, appropriate since Smith has been on the cover of DRUM! more than any other drummer.
So, it's quite apropos, that DRUM!'s October issue features ANTHRAX drummer Charlie Benante since it was 20 years ago last month that he appeared on the first cover of DRUM! At that time, the magazine was a free tabloid with a circulation mainly in Northern California. Benante, on the other hand, had already made a name for himself with his eight years of blast beats that had propelled ANTHRAX to the forefront of the rock/metal music scene during the late Eighties and early Nineties.
Indeed, Benante was and remains very well respected for his drumming, guitar playing, and songwriting abilities. And, as noted in the "Epilogue" (20-Year Thrashback Charlie Benante and DRUM!) to the story on page 104 of the current issue, Benante reveals that his fame, then and now, had not made him a snobby rock star since he shared the first cover with Joe Franco. In fact, "He (Benante) seemed thrilled to be in the same room with Franco, one of his idols," back in 1999.
As further discussed in "Thrashback," the success of DRUM! and that of Benante, have intriguing similarities. Benante continues to evolve and influence drummers all over the world with those original blast beats and double bass and DRUM! is now a color newsstand magazine with a worldwide readership. Thus, having Benante featured on the cover of DRUM! simply makes sense because ANTHRAX has shattered an eight-year hiatus with the release of its 10th album, "Worship Music". And Benante is in rare form in term of all his artistic output and also discusses some of the challenges related to the group.
Benante, during his candid interview with DRUM! assistant editor Andrew Lentz gives the reader a complete insight regarding what Benante and crew had been up to since the 2004 release, "We've Come For You All". Over that period, the group experienced a series of ups and downs, based on each player's interests. Benante had let his passion for the fret board loose, which resulted in new material that he explored with guitarists Scott Ian and Rob Caggiano as well as bassist Frank Bello. However, after a brief, successful reunion in 2006, Joey Belladonna, vocalist and a solid drummer as well, announced that he would not take part on the album of material led by Benante. During this time, the vocal seat was a revolving door with vocalist John Bush coming and going twice. As Benante explains, "At first, there was a honeymoon period and then it 'the honeymoon' was gone."
Interestingly enough, Belladonna's return to work with Benante on a solo project resulted in a new, fresh perspective for ANTHRAX in 2010. Rather than pursue the solo project, Benante explains, the material was a better fit for ANTHRAX even though Belladonna had been absent from the vocal position for almost 18 years.
As Lentz explains, the material that became "Worship Music" really demonstrated past success with new ideas, especially in the drum parts. Benante, well known for his speed and agility, embraced more straight-ahead rock. He had learned new strategies for playing fast without knocking himself out A good example is the tune "Judas Priest", described as a real "anklebreaker." Describing his approach, Benante said, "Let's say on some shows I don't feel like playing it as fast as I would alternating feet so on my right kick, I'll do two hits and then on the left kick, I'll do one … It sounds like you're doing singles. And then sometimes, I'll do two on the right and two on the left."
Of course, the story includes great transcriptions and a surprise sidebar discussing Belladonna's drumming and vocal approach.
So, it's quite apropos, that DRUM!'s October issue features ANTHRAX drummer Charlie Benante since it was 20 years ago last month that he appeared on the first cover of DRUM! At that time, the magazine was a free tabloid with a circulation mainly in Northern California. Benante, on the other hand, had already made a name for himself with his eight years of blast beats that had propelled ANTHRAX to the forefront of the rock/metal music scene during the late Eighties and early Nineties.
Indeed, Benante was and remains very well respected for his drumming, guitar playing, and songwriting abilities. And, as noted in the "Epilogue" (20-Year Thrashback Charlie Benante and DRUM!) to the story on page 104 of the current issue, Benante reveals that his fame, then and now, had not made him a snobby rock star since he shared the first cover with Joe Franco. In fact, "He (Benante) seemed thrilled to be in the same room with Franco, one of his idols," back in 1999.
As further discussed in "Thrashback," the success of DRUM! and that of Benante, have intriguing similarities. Benante continues to evolve and influence drummers all over the world with those original blast beats and double bass and DRUM! is now a color newsstand magazine with a worldwide readership. Thus, having Benante featured on the cover of DRUM! simply makes sense because ANTHRAX has shattered an eight-year hiatus with the release of its 10th album, "Worship Music". And Benante is in rare form in term of all his artistic output and also discusses some of the challenges related to the group.
Benante, during his candid interview with DRUM! assistant editor Andrew Lentz gives the reader a complete insight regarding what Benante and crew had been up to since the 2004 release, "We've Come For You All". Over that period, the group experienced a series of ups and downs, based on each player's interests. Benante had let his passion for the fret board loose, which resulted in new material that he explored with guitarists Scott Ian and Rob Caggiano as well as bassist Frank Bello. However, after a brief, successful reunion in 2006, Joey Belladonna, vocalist and a solid drummer as well, announced that he would not take part on the album of material led by Benante. During this time, the vocal seat was a revolving door with vocalist John Bush coming and going twice. As Benante explains, "At first, there was a honeymoon period and then it 'the honeymoon' was gone."
Interestingly enough, Belladonna's return to work with Benante on a solo project resulted in a new, fresh perspective for ANTHRAX in 2010. Rather than pursue the solo project, Benante explains, the material was a better fit for ANTHRAX even though Belladonna had been absent from the vocal position for almost 18 years.
As Lentz explains, the material that became "Worship Music" really demonstrated past success with new ideas, especially in the drum parts. Benante, well known for his speed and agility, embraced more straight-ahead rock. He had learned new strategies for playing fast without knocking himself out A good example is the tune "Judas Priest", described as a real "anklebreaker." Describing his approach, Benante said, "Let's say on some shows I don't feel like playing it as fast as I would alternating feet so on my right kick, I'll do two hits and then on the left kick, I'll do one … It sounds like you're doing singles. And then sometimes, I'll do two on the right and two on the left."
Of course, the story includes great transcriptions and a surprise sidebar discussing Belladonna's drumming and vocal approach.
http://www.roadrunnerrecords.com/blabbermouth.net/soulflypremiere/charliedrum.jpg
Former GUNS N' ROSES drummer Steven Adler will perform songs off the band's classic album "Appetite For Destruction" with ASKING ALEXANDRIA on October 31 at The Wiltern in Los Angeles, California. Also scheduled to appear are WINDS OF PLAGUE, WE CAME AS ROMANS, D.R.U.G.S. (DESTROY REBUILD UNTIL GOD SHOWS) and STICK TO YOUR GUNS. WINDS OF PLAGUE's performance will include a special appearance by the world-renowned professional wrestling legend The Ultimate Warrior, who will reprise his spoken-word segment from the group track "The Warrior Code". This will mark the very first time that The Ultimate Warrior will perform alongside a live band in full costume and it's definitely going to make it a memorable night.
Adler recently revealed that he is working on "an original band" with ADLER'S APPETITE guitarist Michael Thomas and Lonnie Johnson. He added, "Our first single has one of the hottest new singers in the game right now on vocals. Hint: his band's initials are just like mine — AA." [Presumably referring to ASKING ALEXANDRIA. — Ed.]
Adler's new band entered NRG Recording in North Hollywood, California last month to begin recording its first material. The group spent September 26 laying down what will likely turn out to be its new single. Adler tweeted at the end of the session, "What an amazing day. We finished our first song today. I'm soooo thrilled we [are] headed in the right direction."
Adler recently revealed that he is working on "an original band" with ADLER'S APPETITE guitarist Michael Thomas and Lonnie Johnson. He added, "Our first single has one of the hottest new singers in the game right now on vocals. Hint: his band's initials are just like mine — AA." [Presumably referring to ASKING ALEXANDRIA. — Ed.]
Adler's new band entered NRG Recording in North Hollywood, California last month to begin recording its first material. The group spent September 26 laying down what will likely turn out to be its new single. Adler tweeted at the end of the session, "What an amazing day. We finished our first song today. I'm soooo thrilled we [are] headed in the right direction."
Sebastian Bach is best-known as the singer for Skid Row, a hair band from the '80s that found fame with rock tracks like "18 And Life," "I Remember You" and "Youth Gone Wild."
Born in the Bahamas and raised in Canada, Bach looked like a star—he had great hair—and sounded like many of the other rock singers of the era, able to bring screams and fast tremolo to most of the songs he sang.
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On Kicking & Screaming, his new solo album, he brings a different side of his artistry in songs like "I'm Alive" and "Lost In The Light," rock tracks to be sure but embodying melody and arrangements that pushes past the work he did on his earlier Angel Down album and that certainly stretches out from the Skid Row records several decades ago.
A surprisingly insightful and humorous character, the singer talks about the new record, old records, life on Skid Row and life on the television screen.
UG: All the way back to Skid Row, you've worked with great guitar players like Dave Sabo. What attracted you to Nick Sterling, the guitarist on the new Kicking & Screaming CD?
Sebastian Bach: I've got the next f-ckin' hotshot rockstar guitar player that is gonna blow every guitar player away. His name is Nick Sterling and you should probably be interviewing him.
Maybe we'll get around to that.
Well, you know talking about music is kind of funny because we're all trying to describe why we like a sound. I don't know why I love his sound. I mean I either like a riff or a song or I don't. People can say I'm hard to work with but I don't see that at all. If I like a song and I like a riff, a guitar riff and I can put emotion into the melody that I sing over the top of it, that's what I'm really good at. And if I emotionally am invested in the music then I can put my heart into it.
Where did you find Nick Sterling?
In Guitar World magazine, there was an ad for an amp or somethin' and he looked really cool—I'm not gonna lie. He looked like a rockstar like he totally did. I go, "Who the f-ck is this guy?" When I flipped through the magazine, he looked like a rockstar. So I was lookin' for a new guitar player and I didn't know if he was gonna be any good or not; I went to his YouTube page and that blew me away. Then I went to nicksterling.com and there's a song on Kicking & Screaming called "Dance On Your Grave" and the riff goes dah dahdahdah [sings riff] and that riff came blasting out of my computer and I couldn't believe it. Not to throw anybody under the bus but my first thought when I heard that exact riff, I go, "Skid Row wished they wrote that riff!" [laughs] I go, "That's the sh-t." I think because he's very young, when we came up with the first Skid Row record we were his age, around that age you know. I think that really rock and roll has a lot to do with the spirit of being a teenager and being reckless and free and wild and you can't help it when you're 19, 20, 21.
Are you still a teenager at heart?
I'm very immature—I haven't progressed much past 14 myself so that's like my personality. And it very, very, very much reminds me of Ozzy with Randy—the wunderkind, prodigal guitar player, the angel and Ozzy is the old crazy f-ckin' wild man [laughs].
You talk about the spirit of working with Nick Sterling being similar to what you felt working with Skid Row back in the day. Is the actual process of doing a solo record similar to recording a record where a real band is involved?
I don't do anything at all different; I do the exact same thing. If I heard "Monkey Business" and they'd go, "Do you like this?" I'd go, "Yeah, I like this." What I would say is there's far less arguing. The thing is Nick doesn't walk in the room and say, "I'm the songwriter or the singer."
Is that what happened in Skid Row?
That's such garbage; that's just a foolish way to live your life. If somebody has a good idea, use it. Don't say, "That's not my idea so we can't use it." What kind of immaturity is that? I don't see how you could make good music your whole life if you demand that you're the only one that can have an idea. I don't think you're gonna have very good music [laughs]. And I think that my stuff proves it. I've always done the same exact same thing.
"If I emotionally am invested in the music then I can put my heart into it."
Even on the Skid Row and Slave to the Grind albums?
Slave to the Grind was a real collaborative effort and so was the first record but the first record we were just kids. I was a little boy and I didn't know if I changed all the notes in "18 and Life" which I did—I put all these screams in—I didn't know I was helping write the melody line. I was just a little boy. It was, "Hey, can I do this? Ahahahaha [sings sustained note]. And they're like, "Yeah, do that." [laughs]
You bring up songs like "18 and Life" and "Monkey Business" and those are certainly your signature rock songs. But on Kicking & Screaming there's this entirely different side of you, which can be heard in songs like "I'm Alive" and "Dream Forever."
I think that "I'm Alive" and "Dream Forever" and "Wishin'" are totally along the lines of "18 and Life" and "I Remember You." I don't see any difference—I just see one as recorded in 1989 and one is recorded in 2011. Those songs are 22, 25 years old and I consider these totally the logical follow-up. I'm the guy who chooses what I sing and I'm not interested in singing any of the music my old band's making these days [laughs]. It's not that, "Could this be the follow-up?" This is the follow-up; there is no other.
In your mind, Kicking & Screaming could have been the Skid Row album after Subhuman Race?
I know those songs as well as anybody else and when I listen to the ballads on the new record, it's seamless. It's like, "Oh, here's the new one." "By Your Side" on Angel Down [Bach's previous solo record]. I don't see how you could like "18 and Life" and not like "I'm Alive." I don't see how that's possible.
Some of your influences go back pretty far and on "Wishin'" it sounds like you've channeled Thunderclap Newman's "Something In the Air."
Thunderclap Newman! Wow, that's wild. The thing I get from "Wishin'" is kinda like a Rolling Stones thing. One thing I'm a stickler for when I'm doing a ballad is that it can't be a dirge; it's gotta be on top of the beat. And "Wishin'" we had a couple different cuts and Bob Marlette, the producer, he saw it more as a big rock ballad. Like really more slower and more like "Wasted Time" kind of feel. I don't know how to describe it.
I understand what you mean.
Yeah. The one that I picked and I had to fight everybody in the room on it was the very first time Bobby [Jarzombek] played it on the drums; he didn't think about it or anything and it's more on top of the beat. It's dundundundun nahnahnahnah [sings the riff] and I was like, "This is what I want to sing to." And everybody was looking at me like I was crazy as usual. And I was going, "This is the one that I feel in my heart" and the other ones were more Def Leppardy—that's the word I was looking for. They were more like that. To me the lyrics have to sound like the music.
That's an intriguing concept. Where did that come from?
One person I learned that from was Halford in Judas Priest. When he wrote the song "Desert Plains," to me it sounds exactly like I'm on a desert plain and I don't know why that is [laughs]. And "Wishin'" I was thinkin' of the lyrics and to me it had more of an upbeat feel than the slower thing and live I'm the same way. I think when you do a ballad live and if you do it too slow, it's just boring. It puts the crowd to sleep.
"Lost In the Light" was another forward-looking type of song.
Oh, "Lost In the Light." You're not gonna believe the influence on that. Since you said Thunderclap Newman, I'm gonna tell you that the harmonies on "Lost In the Light" are influenced by Gino Vanelli [laughs]. I'm not jokin'. I'm a big vinyl fan. You know "Living inside myself/Living without your lo-ooove" [sings melody from Vanelli's big hit of the same name]. And he even says lost there ["I am lost"]. But I love playing old records and Gino Vanelli was a great singer from the '70s who had incredible harmonies and I listen to tons of '70s music.
Your sense of harmony comes from '70s bands?
Steely Dan I listen to all the time. Some musician said, "Dude, these harmonies are like straight up Steely Dan" and I go, "Don't tell anybody." [laughs]
When you're composing the melody on a song like "Lost In the Light" are you hearing how Gino Vanelli or Donald Fagen might approach the song? Where does the input come from?
I can be totally specific on that exact song—one of the heaviest songs I ever heard was "Sabbath Bloody Sabbath." When the riff goes gunhgunhdadadada and Ozzy comes in with that super high, [sings] "Where can you run to/What more can you do?" It sounds like it's at the top of his range but it's so clean and clear. That's what I love about a lot of singing when it's really clean and clear. And so when I hear a really heavy f-ckin' riff like "Lost In the Light," I go, "Man, I just love how Ozzy would sing on 'Sabbath Bloody Sabbath'" so I'm not gonna tell a lie—I kinda like pictured those verses like "Sabbath Bloody Sabbath." But then when it got to the chorus, Nick's playing these chords that are very much Jeff Buckley influenced.
Jeff Buckley is someone you and Nick listened to?
On Angel Down, our common ground in the band with Metal Mike [Chlasciak, guitarist] was Judas Priest; that was the band we all loved. On Kicking & Screaming, me and Nick's favorite artist is Jeff Buckley and also we love Sly & The Family Stone. I turned him onto that. We love metal and everything but Nick listens an incredible array of music and Jeff Buckley was the guy that we totally bonded on and trading bootlegs and we collect all that kind of thing. And some of the chords he's playing are very, very much along those lines so that's another flavor to the music too.
"That's why I love my record 'cause it kicks my ass from the first time I press play on the first song right to the very last note."
On the B-Side Ourselves album you covered everything from Hendrix's "Little Wing" to Rush's "What You're Doing." Rush really meant something to you?
Yeah, to me music is about not having any rules. I'm always astonished or kind of surprised people are like, "Wow, you like that?" I go, "I like whatever the f-ck I want to like. Don't tell me what I should like." I like pretty much all kinds of music. That was something Dimebag said. He's like, "There's very little music that I don't like." Like I don't like boy bands and there's a lot of rap I don't understand because it's all the same note and I want to hear it go up and down a little bit sometimes. I like a lot more music than I don't like. I'm not looking to not like music [laughs]. I collect it all; I want more of it. It makes me happy and I like it.
Did a lot of your influences come out on The Last Hard Men album?
Ooh, I don't like it [laughs].
It was a very cool record.
Well I have to regroup with that comment. I haven't heard that.
What was it about The Last Hard Men that left you empty?
The production on it a lot; it was not a great sounding album. There are some songs on there that I really dug like the title track that Kelley [Deal] did and "Who Made You Do It" and "Sleep" was pretty heavy. There are some good songs on there but it's just I'm very much into the sound of a record. The sound of this Kicking & Screaming album to me sonically on my Sony Professional studio headphones, I really like the production of it and I've listened to it a billion times. But that's not what alternative music is about—they'll play in a garbage can and go, "Hey, Steve Albini presents!" [much laughter]
In talking about the sound of Kicking & Screaming, how did it feel working with producer Bob Marlette?
Bob Marlette was incredible. Obviously the technology has completely progressed since 1989. Literally back then when we wanted to dub in a part, we would go to the little machine in the corner with a razor blade and cut the tape and put the tape in. I mean that's crazy to people now but that's how we did it. Now of course you can tweak things to the 9th degree and the nth degree and Bob doesn't use too much of that, which I love. It still sounds like me and it's not Celine Dion or somethin'. It's me but it's me with totally brand new production and brand new sounds and I really think that's the big difference on the record is it's a 2011 incredibly hi-tech sounding album and we pulled out all the stops. We made a real record with a real budget in a real studio with a real producer.
All of those elements are pretty hard to find nowadays.
I consider myself lucky in 2011 to even be doing that. I mean I just signed a huge record deal and people don't really buy records. I'm one of the crazy ones that'll be doing this until the day I die 'cause I love making albums. I love it. I don't care if people want singles—I don't give a sh-t. I'm not interested in what other people want. I want album [laughs].
Can you characterize what it was like working with Bob Marlette versus working with Michael Wagener on the first Skid Row albums?
Wow. Well, that's not really fair to Michael because of the technology; it's just a completely different recording world now. Maybe it's not fair to Bob Marlette! Because when I think of it, when we had a good drum take on Slave to the Grind, it was like a precious thing because there was no such thing as ProTools; it didn't exist. We couldn't move or quantize the drum beat and make it perfect and all that and it actually had to be perfect. We could dub in parts from this take and parts from that take but you couldn't run the whole thing through the computer and move around the kick and snare and put space between the snare hits; you couldn't do any of that.
Do you remember the actual track of "Slave to the Grind"?
We did it on a demo and then we went and rerecorded the whole record in the studio and ended up going back and using the demo because of the spirit of the drum take. That ended up being on the record and it's like, "That's the heaviest song you guys ever did." And I'm going, "Well, it's a good thing we pressed record that day."
Subhuman Race was your last album with Skid Row. Were you looking forward to pursuing a solo career after leaving the band?
I never ever, ever, never in a million years wanted to pursue a solo career. That was done out of necessity and also because I have this silly celebrity status of my name. I wanted to use all the TV shows that I do to help my rock and roll career. I get noticed walking down the street for Trailerpark Boys and Gilmore Girls just as much as Skid Row. It depends on what part of town I'm in.
Do you enjoy acting?
If somebody watches me on the Gilmore Girls and notices me on the street, I want 'em to say, "Oh, that dude's got a new record." I want it all to be one thing and it's actually easier like that. But that's the reason I'm Sebastian Bach—I'm not doing all these television shows because I enjoy the art form of television. I mean I like some better than others. Gilmore Girls and Trailerpark Boys were two really fun shows I did but all these reality shows I did, I basically do to help my rock and roll career and to make my name bigger. So I never wanted to pursue a solo career—I just wanted to make music.
Your father, David Bierk, was an artist who actually did the cover of the Slave to the Grind album. Did he help mentor you in any way in terms of pursuing music or other creative fields?
He taught me when I was younger, when I was about 10, the difference between form and content. He taught art—he was an art teacher—and he was talking about punk versus heavy metal and I was a little kid and didn't know what the f-ck he was talkin' about. But he taught about what's inside an art form is more important than how it looks or what it appears to be. That's why I'm not Mr. Reunion tour—I don't give a sh-t about just playing old songs for people to put their beers up in the air and pretend that they're in high school again. Nothing disinterests me more than that. I'm interested in making a new CD that you like and that's part of my body of work next to the other Skid Row records and when I'm dead that's what's gonna be around and that's what's gonna last is the content. It's not, "Is this a Skid Row record or a Sebastian Bach record?" That goes away after time; people put it in their iPods and they just listen so that's what I'm interested in. That interests me a lot.
"People can say I'm hard to work with but I don't see that at all."
On Bach 2: Basics you covered Zeppelin's "Communication Breakdown" and "Immigrant Song" and "Tonight's the Night" by Rod Stewart.
You know your sh-t, man!
Thank you. Are you looking for the type of career that both Robert Plant and Rod Stewart had inasmuch as they both came from rock bands to pursue pretty eclectic solo careers?
Yeah, I'm the guy when Robert Plant does an interview and says that he doesn't want to be in Led Zeppelin, he wants to be with Alison Krauss, I'm the guy that respects that. I'm not the guy who goes, [in exaggerated voice], "We all need Led Zeppelin." I don't see why he should be; he's not feeling it. My whole thing is I let the artist be the artist. I don't watch an artist make art and then cut up his art because it's his f-ckin' art. Let him make what he is here to make. Don't tell Picasso what to paint. "Why isn't he painting this?" What the f-ck? Let him paint what he wants to paint. Let me sing what I want to sing. I am me. I'm a Neil Young fan and I don't listen to his records on samples on Amazon before I buy it—I just go and f-ckin' buy it 'cause he's never let me down before. And even if he makes a record that doesn't sound like I was expecting, I won't not like him for it. I kind of listen to it and try and figure out where he's comin' from and it's interesting to me. I don't need my music to be cookie cutter and all nice and wrapped up nice. I like stuff that's dangerous and exciting and somethin' that I never heard before. Somebody said, "What's rock and roll?" and they said, "Somethin' you've never heard before." And I was like, "That's a really good way to describe it." I don't want to be bored.
Kicking & Screaming will surprise a lot of your fans.
That's why I love my record 'cause it kicks my ass from the first time I press play on the first song right to the very last note. It's entertaining and the performances are very good and the songs are very good and that's what I wanted to achieve. Neal Peart said, "When you're judging somebody's art, what was their purpose that they wanted to achieve and did the achieve it well?" And I think if I go on those two criteria, my album is a f-ckin' winner because all I wanted to do was make an album that kicked your ass and I achieved that [laughs].
The next step will be taking the new album on the road?
We're putting together a tour now in Europe and some dates in the U.S. before December and as soon as I get some dates I'll put 'em on my website.
You'll be bringing in other musicians?
I have a bass player, Rob DeLuca that I've heard for years and years and years and he'll play live. Nick played [bass] on pretty much all the demos on this CD and if another bass player was to come in, I'd just say, "Play what Nick played."
You'll add another guitar player?
Yeah, I have a guitar player, Johnny Chromatic, that wrote some songs on Angel Down like "Stuck Inside," which was amazing and "Stabbing Daggers" was really amazing, too. That's my album before this one. Johnny's still in the band and this record wasn't a slight against those two guys; it's just that Nick came in with all these ideas and maybe I'll write with them on the next one. But Nick just f-ckin' crushed me with f-ckin' rock [laughs].
You dig the two-guitar thing ala Skid Row?
Yes, I do. But my first concern is the song and what is gonna make this song sound better? I just focus in on that and I think with Nick playing the bass and the guitar, it's kinda like the Van Halen thing with the two brothers or Pantera—he's overdubbing to his own riffs. And so I just think that's the way it has to be and maybe the next record will be completely different. But this record had to be like this.
Talking about Van Halen, are you looking forward to hearing their supposed new album?
Yeah, I can't wait to hear that; that's awesome. That's cool, man, I can't wait. Great talking to you.
After a successful first leg of the KYUSS LIVES! tour, Austin, Texas metal luminaries THE SWORD have announced the addition of drummer Santiago "Jimmy" Vela III to the group's ranks. The band would like to thank Kevin Fender, best known for his work with the Texas hardcore outfit EMPLOYER, EMPLOYEE for sitting in this past year, following the departure of original drummer, Trivett Wingo.
THE SWORD will wrap up the touring cycle for its third album, "Warp Riders", with 18 U.S and Canadian shows November 19 through December 10, once again supporting KYUSS LIVES!
THE SWORD was forced to cancel its appearance at this past July's Heavy T.O. festival at Downsview Park in Toronto, Ontario because Fender was denied entry to Canada.
"Warp Riders" sold around 8,900 copies in the United States in its first week of release to debut at position No. 47 on The Billboard 200 chart.
"Warp Riders" marked the first release where the group has worked with an outside producer. Helmed by Matt Bayles (PEARL JAM, MASTODON, ISIS), the album is anchored by an epic science-fiction narrative. The storyline is a psychedelic space opera that explores temporal themes of death and rebirth. "Warp Riders" also finds THE SWORD expanding its range from pure metal to include bone-crunching hard rock at large. Rather than dampening its sound, the band actually sounds more amplified than ever, spewing out some of its most scalding riffs to date and channeling an unearthly bellow from its low end.
THE SWORD will wrap up the touring cycle for its third album, "Warp Riders", with 18 U.S and Canadian shows November 19 through December 10, once again supporting KYUSS LIVES!
THE SWORD was forced to cancel its appearance at this past July's Heavy T.O. festival at Downsview Park in Toronto, Ontario because Fender was denied entry to Canada.
"Warp Riders" sold around 8,900 copies in the United States in its first week of release to debut at position No. 47 on The Billboard 200 chart.
"Warp Riders" marked the first release where the group has worked with an outside producer. Helmed by Matt Bayles (PEARL JAM, MASTODON, ISIS), the album is anchored by an epic science-fiction narrative. The storyline is a psychedelic space opera that explores temporal themes of death and rebirth. "Warp Riders" also finds THE SWORD expanding its range from pure metal to include bone-crunching hard rock at large. Rather than dampening its sound, the band actually sounds more amplified than ever, spewing out some of its most scalding riffs to date and channeling an unearthly bellow from its low end.
British thrashers EVILE will be in session on the BBC Radio 1 "Rock Show" tonight (Monday, October 17) for the playback of a special live recording, as well as a chat with "Rock Show" presenter Daniel P. Carter. Tune in to hear the exclusive tracks and to catch up with the band on the road during their U.K. tour.
Commented EVILE lead guitarist Ol Drake : "Prepare to tune in to the BBC Radio 1 'Rock Show' tonight to hear the exclusive live session we recorded at Maida Vale for the BBC! We laid down some new 'Five Serpent's Teeth' tracks so if you haven't had chance to see us live on this tour yet, check it out! There will be quite a few hilarious fluffs, but that's live! Haha."
Added Carter: "I was stoked to get EVILE into Maida Vale for a session; the sessions there are a chance to hear a band doing what they do best, tearing it up live. Check out the kings of U.K. thrash in session tonight..."
Commented EVILE lead guitarist Ol Drake : "Prepare to tune in to the BBC Radio 1 'Rock Show' tonight to hear the exclusive live session we recorded at Maida Vale for the BBC! We laid down some new 'Five Serpent's Teeth' tracks so if you haven't had chance to see us live on this tour yet, check it out! There will be quite a few hilarious fluffs, but that's live! Haha."
Added Carter: "I was stoked to get EVILE into Maida Vale for a session; the sessions there are a chance to hear a band doing what they do best, tearing it up live. Check out the kings of U.K. thrash in session tonight..."
You just released your new album, Sounds of a Playground Fading... It sounds a little different compared to your previous releases...
There will always be elements that we've changed a little bit. It's mainly to keep us (laughs) interested and challenged a bit, as well. We don't want to make the same record over again. This is our tenth album. So, we've done a lot of things on our album. We try to find new ground a little bit, but most of the stuff comes kind of naturally... I mean, riffs and melodies, they're created the exact same way as fifteen years ago. But it's more about the arrangements and the fact that we've toured-- wow, we started touring in 1998 over here [United States], and toured five years before that in Europe...
So, you've been touring since 1993?
Yeah, '93-'94... And it's-- you know, you learn a lot from touring. So, that goes into the song-writing as well, because you understand what's possible to do live, and how you can get really good, and what you can do better. So, of course it will change a little bit. Also, the fact that the other guitar player [Jesper Strömblad], the one I was bouncing my ideas off, and he was bouncing his ideas off of me, he quit.
So, yeah, Jesper quit. That obviously altered the songwriting that I mix a little bit. But I've been writing since I joined the band, in '95, something like that. So, it's not new for me. But I've been working really closely with the other guys, Anders [Friden] especially; our singer, so we could work around the vocals a lot more, and I think that made the whole album more solid, and not just riff based and you put the vocals on top. This way we could actually do the vocals where it actually made sense and get the energy in the right spots and everything.I saw you guys in 2008 at the Fillmore here [Denver] and you guys had so much energy, the crowd was literally drained by the end of the show! So, that brings me to this question... When you're writing an album, or recording, how do you really try to incorporate some of that energy that you get from doing a live show into the album?
I think the important thing is to find the right dynamics in the song because you can't keep all that energy up. I mean, in the music; it's not like we're running around doing back flips and stuff like that. But it's within the music and that comes through good arrangements, I think, or really well thought through arrangements and dynamics of the song, and of course to add some hooks in there, melodies that people remember, that helps too.
Like The Quiet Place...
Yeah, exactly! And trying to invite the audience up on stage, basically... I mean, in a mental sense, you know? I think that's important, and it gives us the most pleasure if we manage to do that in a proper way because that gives so much back.
Yeah. As you said, you try to invite the audience on stage, how do you do that exactly, or how does that happen?
We love what we do, we really do. And that's why there's always huge smiles on our faces when we play. Music for us is dead serious. But you should be able to have the (inaudible) in the eye or whatever. You should be able laugh around it, have a good time. I think that shows up and that's one way of inviting people. And also not trying to be behind, like I am right now, sunglasses or a huge image or something. We've never had that. And we kind of focus more on the music than looks, you know?
As you said earlier again, when you're writing, you focus on the dynamics of the music. How do you write your music so that has the dynamics within it? Or what is it that really brings the music to life?
I think, in the end, it's the arrangements and the way you try to work around-- (pauses) I really like when it goes fairly straight to the point in a song. I don't like to wait for eight minutes before the first chorus, you know? And that's one way of inviting people fairly quickly [on stage]; to start out with a theme of the song, and then it comes really quickly into the first chorus. It doesn't need to be a full chorus... But that's one way of just glimpsing at the full potential of the song kind of early. I don't know, I've never thought about it... I just write songs the way I would like to hear them myself and get to the good, fun stuff, you know, so you don't have to wait.
With everything you just said, it shows your passion for the music, how would you describe what happened when that passion for you initially sparked?
For me, I grew up with it... My dad's a metal head. I grew up to Black Sabbath, of course, Deep Purple, Rainbow, Dio, Mountains, all these bands and so when it came to me rebelling, like you do, nothing really happened. (laughs) I started listening to [Iron] Maiden and Metallica, but my dad liked that too, so it wasn't no real rebelling there either. So, I've always been around music. I was in my mom's belly when my dad took her to a Black Sabbath concert in Gothenburg [Sweden]. The first thing I probably ever heard was that. So, for me it was never a-- I was probably, in that case born with it, with the spark or the taste for metal. It's the only thing I know.
How would you describe the journey you've been on ever since you joined In Flames?
Well, basically, I joined -- I was eighteen/nineteen, something like that when I joined the band, and from that day on, we decided directly from ourselves that we're going to be in control of everything musically, especially. We might work with people and get help from people, but nobody can decide for us. It needs to be all of us in a decision. And having done that, everything is way easier. When record labels said, "No, you guys should try this; this band is really successful, you should sound like them." We said, "Fuck you." Because we decide, you know? It's the same with management, same with basically everybody around, and that includes fans as well because you can't cater to everybody, that's not possible. What we can do is rely on what we like and try to do the best out of that we can. So, having decided that we wanted to do it that way, things were kind of easy, you know? We have at least those problems set aside, now you can focus on practical issues like touring and doing albums that we like because that takes some time!
And the journey from then has been fantastic. It's been a lot of touring, we've met so many awesome bands, people, fans, friends that we still have fifteen years later and that still come out to the shows all over the world. So, it's great.
And the journey from then has been fantastic. It's been a lot of touring, we've met so many awesome bands, people, fans, friends that we still have fifteen years later and that still come out to the shows all over the world. So, it's great.
You guys have an incredibly strong connection with your fans, what do you think makes that so strong?
I don't know, it's-- we really, genuinely love the people that come to our show because they are there for a reason, they love music the same way that we do. And you don't need to like everything in the band, that's not possible. Or it's very hard to like everything with the band; I'm the exact same way. But if you go to a concert and really enjoy yourself, then it's easy to go back, really easy to go back. And being interactive with people, we try really hard to do that with the internet, with Facebook, all of that stuff, but also trying to meet people. We do lots of meet and greets, signings because that's-- me, growing up, meeting my absolute favorites were some of the biggest moments in my life. So, if all it takes is for us to shake a couple of hands and appreciate the people who come to the show, that's very easy.
Throughout the years, what has been one of the most enlightening things, whether it be an up or a down that you have been through?
I think, one of the biggest things that ever happened to me was we played in Japan. And we've done so many awesome festivals there, it's really, really hard to name just one of them, but we played this, I think it was called (inaudible) or something like that in Japan a couple years ago... And we were having a meeting in a bar at our hotel and somebody taps my shoulder and I turn around and it's this guy I know in Canada, I met him in Canada and we had beers and a lot of fun and [sic] "Wow, what are you doing here?!" "Oh, I'm working with a guy you should meet..." So I said, "Yeah, sure." So the guys [In Flames] said, "Just go, we'll take care of the meeting." I turn around and I see it was Ronnie James Dio!! So he [the guy at the bar] was his assistant. So I spent like two hours just sitting down talking about his view of music, his history, and I was blown away! And that day was fantastic.
Wow! When was that?
Let me think... Ah! When was that... Five years ago? Something like that, four-five years ago.
That has to be so special that you have that memory!
Yeah. It was [special]!
When you're on stage, how does your connection--
That all really depends because on certain days can be really rough, so what you do then is just rely on what you know and you try to show people that you're actually having fun, that you're enjoying this, that you like the people standing up front singing. Certain days, you have ups and downs; it's just how it works... Even they [fans] could have bad days too.
Yeah, a lot of artists have this feeling, when they're on stage, that they're on 'fire' as I've had it put to me before, or they feel something... What exactly is it that you feel?
I think... What we talked about earlier is the more the give and take, the more the people respond directly to what you do, and they like it... That is a feeling of being on fire because you know, when everything clicks, the sound is great in your ears, the audience is happy, the whole band plays great, then you know, that's fantastic! But those days, they're not rare, but the days that are rougher, they always, towards the end of the show, always feel that way, always feels awesome. We just might take a couple more songs before we really get into it, but most of the time; this is a really short set that we play [Mayhem Fest 2011], 35 minutes, and that is for us, having made ten albums, it's kind of tough...
Yeah...The set list probably wasn't easy.
Yeah, basically, we need to find the songs that we really like to play, that we really want to play, and we try to (laughs) measure time-wise because we only have 35 minutes, it's 35 minutes... I mean, we change a little bit, we add one song once, then we might take another one away, and you know it cannot be more than 35 minutes. We'll be back hopefully next year for a proper headline tour.
I'll be there! I remember last time I saw you guys it was a sold out crowd... How does that feel for you whenever that happens?
It's awesome, of course because everyone is there to see you and they're there to hang out and have a great time, so of course that's fantastic. We've done some festivals headlining, Wacken [Open Air], for instance in Germany, I don't know if it had 70,000 people, or something like that; 50-60-70,000 people and they're all there watching you and that feeling is hard to explain if you haven't done it, but it's-- everything's possible pretty much when you're standing on stage in front of all the people. It's something you need to take with you, not in a bad way, you can always remember that in one of those rough patches.
Like you were saying about rough patches... What is something that you've been through that's made you stronger as a person and as an artist?
I think basically, all of the touring, all of the hardship that is on tour... I mean, it's not tough work to be on stage, it just is fantastic. But the rest, for instance now, we do 35 minutes, that leaves, you know 23 hours and 25 minutes to do something else... And this is a nice relief, you know, doing some interviews, and we have, as I said, a meet and greet, and signings, and stuff. That's only a couple of hours, so we spend a lot of time together, we guys in the band. We really get to know each other. And it hopefully can make you stronger. We lost one guy earlier, as I said, he couldn't handle the touring, but that only made us stronger. We have a great time on tour. We know what mistakes not to make now...
Yeah, I was going to ask you this next... How would you say In Flames has grown stronger as a band over the years you've been together?
Yeah. It is through the touring, I mean, we don't agree on everything. That's not possible... We agree on music, you know? And that's all it takes. And we know each other really well, as I said. So, we try to not have any blow outs, we've had those in the past, many times. But that's just natural... Just like with a family, you turn into one. And this is a tour family.
Yeah, I've heard it described like that a few times.. What is so special to you about heavy metal?
I think the dedication that the people put into the music, it's more than just background music or something. It's a lifestyle. You choose-- if you really like this, you choose to be a metal-head, and you are a metal-head, and you will stay a metal-head, you know? I don't know many people that are [like], "Oh, I've quit metal." I don't think I've ever heard that. But then you were never into it, but that's not by their own choice then... It doesn't matter, it's after all, a fairly free world. But so, I've never heard somebody go, "Oh, I've quit metal. I'm all into synth, pop music now." That's one of the things I really like with metal, the metal community, it's very supportive of the band's work, and you don't need to be super famous. We still get respect and love from people and bands of all sizes can tour together. That's not the same thing with pop music, or anything else?
How do you express your passion through the music and how does that represent who you are?
I think that it starts out with that [passion], but then after that, it turns into more of a practical thing, it needs to fire a spark in you somewhere when you come up with a melody, or that riff. That's where it starts. From that on, it's more into, I don't know what you call it... It's more of a labor, it's more work after that. So that's-- it needs to start that way. And you try to keep it all away in the process of recording it and most of the time I've managed to get-- sometimes a little bit of it gets lost but most of the time, it stays.
Those are all of my questions... As it seems we're out of time! Would you like to add anything else?
Yeah, we'll be back, make sure you guys are there! We'll be back very soon.
According to The Pulse Of Radio, JANE'S ADDICTION guitarist Dave Navarro said in a new interview with CNN that he's lost count of how many times the band has "parted ways" and doesn't even consider breaks in the group's career as a split anymore. Navarro explained, "I'm not really sure how many times we've parted ways. I wasn't really one of the people who thought we wouldn't be back together, primarily because we've gotten back together so many times over the years. We don't break up anymore. We just go on five-year hiatuses."
JANE'S ADDICTION first called it a day in 1992, reuniting five years later for a successful tour and compilation album. The band reconvened again in 2003 for its third all-new studio set, "Strays", and another tour. Both instances were marked by reported fighting and turbulence within the group.
The Pulse Of Radio asked Navarro how the group overcame its differences this time around and managed to make a new album. "We've been touring since 2009," he said. "It really was just a matter of wanting to continue playing music live, but wanting more music to play. I mean, it's just that simple. I know that there's a lot of misconceptions about the band breaks up and it's volatile and it's this and it's that, but the truth is that we've been doing this for several years now, and although the record's new and the material's new, like, our relationships aren't. You know, we've been doing this a long time together."
Drummer Stephen Perkins told CNN, "Ever since I was 13, I've been playing with Navarro. I met Perry [Farrell, singer] when I was 17. And no matter how much we stopped playing with each other, and tried to get away from each other, it's the magnet — it pulls us closer."
JANE'S ADDICTION will release its fourth studio effort, "The Great Escape Artist", on Tuesday (October 18).
Farrell said about the disc, "The sound is definitely updated on this album. The differences are that we are now working with synthesizers and computer software that goes with guitars, so you'll hear a lot of very modern sounds mixed in with what people call the ageless, or timeless, sound of JANE'S ADDICTION."
JANE'S ADDICTION plays on Monday (October 17) and Tuesday in New York City.
JANE'S ADDICTION first called it a day in 1992, reuniting five years later for a successful tour and compilation album. The band reconvened again in 2003 for its third all-new studio set, "Strays", and another tour. Both instances were marked by reported fighting and turbulence within the group.
The Pulse Of Radio asked Navarro how the group overcame its differences this time around and managed to make a new album. "We've been touring since 2009," he said. "It really was just a matter of wanting to continue playing music live, but wanting more music to play. I mean, it's just that simple. I know that there's a lot of misconceptions about the band breaks up and it's volatile and it's this and it's that, but the truth is that we've been doing this for several years now, and although the record's new and the material's new, like, our relationships aren't. You know, we've been doing this a long time together."
Drummer Stephen Perkins told CNN, "Ever since I was 13, I've been playing with Navarro. I met Perry [Farrell, singer] when I was 17. And no matter how much we stopped playing with each other, and tried to get away from each other, it's the magnet — it pulls us closer."
JANE'S ADDICTION will release its fourth studio effort, "The Great Escape Artist", on Tuesday (October 18).
Farrell said about the disc, "The sound is definitely updated on this album. The differences are that we are now working with synthesizers and computer software that goes with guitars, so you'll hear a lot of very modern sounds mixed in with what people call the ageless, or timeless, sound of JANE'S ADDICTION."
JANE'S ADDICTION plays on Monday (October 17) and Tuesday in New York City.
Dutch symphonic metallers EPICA are currently recording their fifth full-length album at Gate Studio in Wolfsburg, Germany under the watchful eye of Sascha Paeth for a March 9, 2012 release via Nuclear Blast Records.
Commented guitarist/vocalist Mark Jansen: "The vocal recordings have started! Tonight I have recorded the grunts of the opening song of the upcoming album.
"After a travel of 4.5 hours, Ariën [van Weesenbeek, drums] and I arrived in the studio at 22:00. We were still full of energy and decided to start recording already. Tomorrow, Simone [Simons, vocals] will arrive as well so we'll continue with the vocal recordings.
"The recordings in general are going very well and the result sounds like we were hoping for. We know the pressure is quite high after 'Design Your Universe' but we're confident that the new album will pay off the expectations."
A CD-release party for the new EPICA album will be held on March 16, 2012 at 013 in Tilburg, Netherlands.
Commented the band: "As our previous CD presentation ('Design Your Universe' at Paradiso in Amsterdam) sold out in advance, we have decided to play the next one in a slightly bigger club."
EPICA will play the new album in its entirety, along with some older tracks, during the more-than-two-hour event. Pyrotechnics and special show elements will be added as well.
EPICA's latest album, "Design Your Universe", landed at position No. 12 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.
"This Is The Time", the latest single from EPICA, was released digitally on October 15, 2010. A video for the song, which was written for the World Wildlife Fund (WWF), was filmed in March 2010 was in Hilversum, The Netherlands.
Commented guitarist/vocalist Mark Jansen: "The vocal recordings have started! Tonight I have recorded the grunts of the opening song of the upcoming album.
"After a travel of 4.5 hours, Ariën [van Weesenbeek, drums] and I arrived in the studio at 22:00. We were still full of energy and decided to start recording already. Tomorrow, Simone [Simons, vocals] will arrive as well so we'll continue with the vocal recordings.
"The recordings in general are going very well and the result sounds like we were hoping for. We know the pressure is quite high after 'Design Your Universe' but we're confident that the new album will pay off the expectations."
A CD-release party for the new EPICA album will be held on March 16, 2012 at 013 in Tilburg, Netherlands.
Commented the band: "As our previous CD presentation ('Design Your Universe' at Paradiso in Amsterdam) sold out in advance, we have decided to play the next one in a slightly bigger club."
EPICA will play the new album in its entirety, along with some older tracks, during the more-than-two-hour event. Pyrotechnics and special show elements will be added as well.
EPICA's latest album, "Design Your Universe", landed at position No. 12 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.
"This Is The Time", the latest single from EPICA, was released digitally on October 15, 2010. A video for the song, which was written for the World Wildlife Fund (WWF), was filmed in March 2010 was in Hilversum, The Netherlands.
Former NIGHTWISH frontwoman Tarja Turunen has announced a collaboration with designer label Nordenfeldt. As a part of this, the young designer label Nordenfeldt will not only be providing clothes, accessorees and shoes for Tarja, but also design an exclusive stage outfit for her next album artwork.
Tarja, who is famous for her voice and her combination of various music styles, is also a fashion icon. Tarja fascinates especially on stage with her elegant, but also extravagant clothes.
"Music is the main part of my performance, but every musician knows that there is also visual part of music, especially on stage," Tarja states. "I am always trying to find clothes for this visual aspect that are special, but that also represent me and my style. Therefore Nordenfeldt fits perfectly."
The young design label Nordenfeldt, founded by German-Finnish designer Julia Trompert, wants to provide functional, though fashionable clothes that combine a strong sense of creativity, innovation and strive for the ideal.
With their first collections the label got attention from various media and the fashion scene. The focus of Nordenfeldt is to embody armour for the city by recapturing the essence of mythical Nordic era. The designer explains the decision for the collaboration with Tarja: "Next to being an incredible artist, Tarja Turunen embodies the mysterious aura and the style of our designs. She needs wearable outfits, especially on stage, that still look elegant and have an extravagant twitch. That is exactly what Nordenfeldt wants to create for its customers."
The creation of an outfit for the singer was also an inspiration for the designer.
"Creating fashion is an ongoing process. You can get input from every aspect in your life," Julia Trompert says. "When Tarja asked us to design an outfit for her, my answer was a straight 'yes' and the ideas came immediately; we only had to take the necessities into consideration that arise when she will be performing in that outfit."
Tarja, who is famous for her voice and her combination of various music styles, is also a fashion icon. Tarja fascinates especially on stage with her elegant, but also extravagant clothes.
"Music is the main part of my performance, but every musician knows that there is also visual part of music, especially on stage," Tarja states. "I am always trying to find clothes for this visual aspect that are special, but that also represent me and my style. Therefore Nordenfeldt fits perfectly."
The young design label Nordenfeldt, founded by German-Finnish designer Julia Trompert, wants to provide functional, though fashionable clothes that combine a strong sense of creativity, innovation and strive for the ideal.
With their first collections the label got attention from various media and the fashion scene. The focus of Nordenfeldt is to embody armour for the city by recapturing the essence of mythical Nordic era. The designer explains the decision for the collaboration with Tarja: "Next to being an incredible artist, Tarja Turunen embodies the mysterious aura and the style of our designs. She needs wearable outfits, especially on stage, that still look elegant and have an extravagant twitch. That is exactly what Nordenfeldt wants to create for its customers."
The creation of an outfit for the singer was also an inspiration for the designer.
"Creating fashion is an ongoing process. You can get input from every aspect in your life," Julia Trompert says. "When Tarja asked us to design an outfit for her, my answer was a straight 'yes' and the ideas came immediately; we only had to take the necessities into consideration that arise when she will be performing in that outfit."
Swedish melodic metal masters LION'S SHARE have issued the following update:
"The songwriting for the seventh LION'S SHARE album is going great. So far we have music and vocal melodies written for six new songs that we are really excited about."
LION'S SHARE's critically acclaimed "Dark Hours" album was released in March 2009 via Blistering Records. The follow-up to 2007's "Emotional Coma" was mixed and mastered by Jens Bogren (OPETH, SYMPHONY X, PARADISE LOST, AMON AMARTH) and features a guest appearance by SYMPHONY X guitarist Mike Romeo (solo on "Behind The Curtain").
LION'S SHARE played a couple of songs with legendary drummer Vinny Appice (HEAVEN & HELL, BLACK SABBATH, DIO), during his Scandinavian Drum Day appearance on October 30, 2010 in Stockholm, Sweden.
LION'S SHARE was the main band that performed during the Ronnie James Dio tribute concert that took place on the Sweden Rock Cruise on October 7, 2010, with guest appearances by current and former members of such bands as IN FLAMES, HARDCORE SUPERSTAR, KING DIAMOND, STRATOVARIUS, YNGWIE MALMSTEEN and AMON AMARTH.
"The songwriting for the seventh LION'S SHARE album is going great. So far we have music and vocal melodies written for six new songs that we are really excited about."
LION'S SHARE's critically acclaimed "Dark Hours" album was released in March 2009 via Blistering Records. The follow-up to 2007's "Emotional Coma" was mixed and mastered by Jens Bogren (OPETH, SYMPHONY X, PARADISE LOST, AMON AMARTH) and features a guest appearance by SYMPHONY X guitarist Mike Romeo (solo on "Behind The Curtain").
LION'S SHARE played a couple of songs with legendary drummer Vinny Appice (HEAVEN & HELL, BLACK SABBATH, DIO), during his Scandinavian Drum Day appearance on October 30, 2010 in Stockholm, Sweden.
LION'S SHARE was the main band that performed during the Ronnie James Dio tribute concert that took place on the Sweden Rock Cruise on October 7, 2010, with guest appearances by current and former members of such bands as IN FLAMES, HARDCORE SUPERSTAR, KING DIAMOND, STRATOVARIUS, YNGWIE MALMSTEEN and AMON AMARTH.
Former SOIL and current DIRGE WITHIN guitarist Shaun Glass has issued the following update:
"[DIRGE WITHIN] just wrapped up a full U.S. tour for the new 'Absolution' EP and we're now preparing to enter the studio in early December to begin the new album and we're pretty stoked on how much the songs are still growing as we keep hammering 'em to make sure they are the strongest they can be. Some of the titles [set to appear on this new album, which will be out in early 2012] are 'Memories', 'For My Enemies', 'Murder… Savior'. Trust me, this is gonna stomp some asses!"
In other news, Glass has commented on has absence from the current SOIL U.K. tour, which features a lineup that includes the band's original lead singer and founding member Ryan McCombs (on loan from DROWNING POOL) alongside fellow founding members Tim King (bass) and Adam Zadel (lead guitar) along with former STAIND drummer Jon Wysocki. Glass states, "I am not in SOIL nor is their tour a original lineup reunion. Yes, Ryan is on board as well as Tim, Adam are from the original lineup. I wish them the best, and truthfully I am 100 percent busy and focused on DIRGE WITHIN."
"Absolution" was made available on August 16. The three-song effort gives fans a taste of what's to come from the band's forthcoming sophomore album.
According to a press release, "Absolution" "showcases what fans of DIRGE WITHIN have grown familiar with — powerful grooves, strong hooks and punishing guitar riffs the band has built its sound around. 'Absolution' and 'Prey' bring a sound that fans are familiar with, while showing progression overall in their sound and songwriting; 'All Light Fades' takes their sound up a few notches in intensity and edginess alike."
The "Absolution" EP was produced by the band and Scott Creekmore at Mercenary Digital Studios in Zion, Illinois.
Shaun Glass previously stated about the group's new material, "I think the songs are more powerful and musical than some of the past tracks but still remaining true to our sound."
In addition to Glass DIRGE WITHIN features vocalist Jeremy "Jerms" Genske, guitarist Matt Szlachta, bassist James Pezanoski (ex-FROM ALL WITHIN), and drummer Frankie Harchut (ex-THE DOOMSDAY CATALYST).
DIRGE WITHIN's debut album, "Force Fed Lies", came out on September 1, 2009 via E1 Music. The band has since split with the label.
"[DIRGE WITHIN] just wrapped up a full U.S. tour for the new 'Absolution' EP and we're now preparing to enter the studio in early December to begin the new album and we're pretty stoked on how much the songs are still growing as we keep hammering 'em to make sure they are the strongest they can be. Some of the titles [set to appear on this new album, which will be out in early 2012] are 'Memories', 'For My Enemies', 'Murder… Savior'. Trust me, this is gonna stomp some asses!"
In other news, Glass has commented on has absence from the current SOIL U.K. tour, which features a lineup that includes the band's original lead singer and founding member Ryan McCombs (on loan from DROWNING POOL) alongside fellow founding members Tim King (bass) and Adam Zadel (lead guitar) along with former STAIND drummer Jon Wysocki. Glass states, "I am not in SOIL nor is their tour a original lineup reunion. Yes, Ryan is on board as well as Tim, Adam are from the original lineup. I wish them the best, and truthfully I am 100 percent busy and focused on DIRGE WITHIN."
"Absolution" was made available on August 16. The three-song effort gives fans a taste of what's to come from the band's forthcoming sophomore album.
According to a press release, "Absolution" "showcases what fans of DIRGE WITHIN have grown familiar with — powerful grooves, strong hooks and punishing guitar riffs the band has built its sound around. 'Absolution' and 'Prey' bring a sound that fans are familiar with, while showing progression overall in their sound and songwriting; 'All Light Fades' takes their sound up a few notches in intensity and edginess alike."
The "Absolution" EP was produced by the band and Scott Creekmore at Mercenary Digital Studios in Zion, Illinois.
Shaun Glass previously stated about the group's new material, "I think the songs are more powerful and musical than some of the past tracks but still remaining true to our sound."
In addition to Glass DIRGE WITHIN features vocalist Jeremy "Jerms" Genske, guitarist Matt Szlachta, bassist James Pezanoski (ex-FROM ALL WITHIN), and drummer Frankie Harchut (ex-THE DOOMSDAY CATALYST).
DIRGE WITHIN's debut album, "Force Fed Lies", came out on September 1, 2009 via E1 Music. The band has since split with the label.
Montreal, Quebec, Canada-based band VENGEFUL has set "Vengeful" as the title of its third album, due on November 29. The CD was recorded with producer Chris Donaldson (CRYPTOPSY, THE LAST FELONY, NEURAXIS) and is comprised of two parts, Face A being "Towards Obliteration" and Face B bearing the name "Leaping Through The Void". The group states, "The first one features our high-speed/face-melting side and the latter leans on the slower/moodier approach heard on older songs such as 'Counterfeit Deity' or 'Transcending'."
"Vengeful" track listing:
Towards Obliteration
01. Decay
02. Abyss
03. Consumed
04. Skinned
05. Delirium
06. Pernicious
07. Delusional
Leaping Through The Void
01. Visions
02. Still
03. Malice
04. Distant
05. Exit
VENGEFUL adds: "Even though we recorded two cover songs during these sessions, they will not appear on the album. They will both be available for streaming sometime in November but they'll appear on a future release. An alternate version of the song 'Pernicious' will surface on 'From Coast to Coast: Death Metal Edition', a compilation that features exclusively Canadian bands on October 18th via Metal Made In Canada."
VENGEFUL 2011 is:
Marc-André Grenier: Vocals
Jean-Marie Leblanc: Guitar/Back Vocals
Emmanuel Pronovost: Guitar/Back Vocals
Philipp Truesdell: Drums
VENGEFUL's second full-length album, "The Omnipresent Curse", was released in August 2009. The cover artwork was once again painted by Martin Lacroix (AUGURY, HUMANOID).
VENGEFUL's debut album, "Karma", was released in 2007 via Disconcert Music.
"Vengeful" track listing:
Towards Obliteration
01. Decay
02. Abyss
03. Consumed
04. Skinned
05. Delirium
06. Pernicious
07. Delusional
Leaping Through The Void
01. Visions
02. Still
03. Malice
04. Distant
05. Exit
VENGEFUL adds: "Even though we recorded two cover songs during these sessions, they will not appear on the album. They will both be available for streaming sometime in November but they'll appear on a future release. An alternate version of the song 'Pernicious' will surface on 'From Coast to Coast: Death Metal Edition', a compilation that features exclusively Canadian bands on October 18th via Metal Made In Canada."
VENGEFUL 2011 is:
Marc-André Grenier: Vocals
Jean-Marie Leblanc: Guitar/Back Vocals
Emmanuel Pronovost: Guitar/Back Vocals
Philipp Truesdell: Drums
VENGEFUL's second full-length album, "The Omnipresent Curse", was released in August 2009. The cover artwork was once again painted by Martin Lacroix (AUGURY, HUMANOID).
VENGEFUL's debut album, "Karma", was released in 2007 via Disconcert Music.
EX DEO — the Ancient Roman-themed arsenal led by KATAKLYSM frontman Maurizio Iacono — will enter the studio in November with producer Jean-François Dagenais (KATAKLYSM, MALEVOLENT CREATION, MISERY INDEX, DESPISED ICON) to begin recording its sophomore album, "Caligula", for a summer 2012 release via Austria's Napalm Records. The CD, which will be completed over the winter, will feature appearances by "some very special guests."
Commented Maurizio: "Writing for the new EX DEO album is in full force. Everything is coming together nicely. We've taken some new steps with 'Caligula' that we have never explored before musically. The album is shaping up in a very sinister but glorious opus that will turn the heads of not only mortals on this earth but also grab the attention of 'Caligula' himself who is probably in full debauchery as we speak
somewhere down below. We intend to make a mark that will last a very long time with this album..
"Fans have been impatient asking why its taking soo long... The answer is pretty simple: We are looking to create a monumental album, and this takes time, on top of our engagements with KATAKLYSM and its world tour, which has, of course, delayed the process. But have no fear, fellow Romans, as we have a tentative release date for you. Next year will mark the 2000th anniversary of Caligula, so we plan on releasing the album on August 31st , 2012 on Caligula's birthday worldwide via Napalm Records... and what an event this will be.
"To prove how serious we are in anticipation of 'Caligula', EX DEO will embark on U.S. tour next winter/spring on a very cool tour that many of Pagan beliefs will come to worship in celebration. Details to follow on this... A time of change is coming."
The artwork and layout for "Caligula" will be handled by classic artist Seth (SEPTICFLESH). Songtitles set to appear on the CD include "I, Caligula", "Burned to Serve the Nocturnal Light", "In War & Conquest/Roma Caput Mundi" and "Teutoburg (The Ambush of Varus) - Part 1".
EX DEO last year completed a North American tour with NILE, PSYCROPTIC and KEEP OF KALESSIN.
"The Final War (Battle Of Actium)", the latest video from EX DEO, can be viewed below. The clip was helmed by renowned director Ivan Colic and producer Stanimir "Staca" Lukic (MOONSPELL, KAMELOT, DEATHSTARS, TYPE O NEGATIVE) in Belgrade, Serbia.
"Romulus", the debut album from EX DEO, landed at position No. 90 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 June 2009 via Nuclear Blast Records, "Romulus" was recorded with producer (and KATAKLYSM guitarist) Jean-Francois Dagenais (MISERY INDEX, DESPISED ICON, MALEVOLENT CREATION).
Commented Maurizio: "Writing for the new EX DEO album is in full force. Everything is coming together nicely. We've taken some new steps with 'Caligula' that we have never explored before musically. The album is shaping up in a very sinister but glorious opus that will turn the heads of not only mortals on this earth but also grab the attention of 'Caligula' himself who is probably in full debauchery as we speak
somewhere down below. We intend to make a mark that will last a very long time with this album..
"Fans have been impatient asking why its taking soo long... The answer is pretty simple: We are looking to create a monumental album, and this takes time, on top of our engagements with KATAKLYSM and its world tour, which has, of course, delayed the process. But have no fear, fellow Romans, as we have a tentative release date for you. Next year will mark the 2000th anniversary of Caligula, so we plan on releasing the album on August 31st , 2012 on Caligula's birthday worldwide via Napalm Records... and what an event this will be.
"To prove how serious we are in anticipation of 'Caligula', EX DEO will embark on U.S. tour next winter/spring on a very cool tour that many of Pagan beliefs will come to worship in celebration. Details to follow on this... A time of change is coming."
The artwork and layout for "Caligula" will be handled by classic artist Seth (SEPTICFLESH). Songtitles set to appear on the CD include "I, Caligula", "Burned to Serve the Nocturnal Light", "In War & Conquest/Roma Caput Mundi" and "Teutoburg (The Ambush of Varus) - Part 1".
EX DEO last year completed a North American tour with NILE, PSYCROPTIC and KEEP OF KALESSIN.
"The Final War (Battle Of Actium)", the latest video from EX DEO, can be viewed below. The clip was helmed by renowned director Ivan Colic and producer Stanimir "Staca" Lukic (MOONSPELL, KAMELOT, DEATHSTARS, TYPE O NEGATIVE) in Belgrade, Serbia.
"Romulus", the debut album from EX DEO, landed at position No. 90 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 June 2009 via Nuclear Blast Records, "Romulus" was recorded with producer (and KATAKLYSM guitarist) Jean-Francois Dagenais (MISERY INDEX, DESPISED ICON, MALEVOLENT CREATION).
Northeast Ohio-based metallers WRETCH have announced the addition of second guitarist Mike Stephenson to the group's ranks.
Shaun Vanek (ETERNAL LEGACY, CELLBOUND, MANIMALS, BREAKER) had been filling this role on a part-time basis the past couple of years but was unable to continue due to his busy schedule and other commitments.
Stephenson will make his live debut with WRETCH on October 16 when the band opens "The Frets of Fury" tour with FIREWIND, ARSIS, WHITE WIZZARD and NIGHTRAGE at Peabody's Concert Club in Cleveland, Ohio.
"I'm very excited to play with WRETCH," says Stephenson. "I actually haven't been active in any bands since the early '90s. When the whole grunge scene made it look like it killed metal, I sold my equipment and walked away. But I should have known you can't kill the metal!
"When I read the announcement that WRETCH was looking for another guitarist, I jokingly contacted Nick (Giannakos) and told him I was interested. After we both thought about it a bit, it actually made sense. Nick taught me how to play guitar back in the '80s and we actually played together in a band called CASTLE BLACK in the '90s with Tim Frederick. When I showed up for the first practice, things snapped right into place. And, of course, I love WRETCH's brand of pure, straight-ahead unadulterated power metal.""
WRETCH's current lineup is rounded out by drummer Butch Likens (who joined the group in February) alongside longtime members Nick Giannakos (guitar), Colin Watson (vocals) and Tim Frederick (bass).
"The new lineup is really kicking ass," adds Watson. "Butch and Tim have given us the best foundation we have ever had. We also now have a powerful dual guitar attack locked in place with Nick and Mike. It's making me feel young again!"
WRETCH is gearing up for the release of its brand new, as-yet-untitled studio album, due out next year on Auburn Records.
WRETCH was one of the featured bands at the 2007 Headbangers Open Air festival in Germany. The group composed the festival anthem "Make This Garden Burn".
WRETCH is (left to right in photo below):
Tim Frederick - Bass
Mike Stephenson - Guitar
Nick Giannakos - Guitar
Colin Watson - Vocals
Butch Likens – Drums
Shaun Vanek (ETERNAL LEGACY, CELLBOUND, MANIMALS, BREAKER) had been filling this role on a part-time basis the past couple of years but was unable to continue due to his busy schedule and other commitments.
Stephenson will make his live debut with WRETCH on October 16 when the band opens "The Frets of Fury" tour with FIREWIND, ARSIS, WHITE WIZZARD and NIGHTRAGE at Peabody's Concert Club in Cleveland, Ohio.
"I'm very excited to play with WRETCH," says Stephenson. "I actually haven't been active in any bands since the early '90s. When the whole grunge scene made it look like it killed metal, I sold my equipment and walked away. But I should have known you can't kill the metal!
"When I read the announcement that WRETCH was looking for another guitarist, I jokingly contacted Nick (Giannakos) and told him I was interested. After we both thought about it a bit, it actually made sense. Nick taught me how to play guitar back in the '80s and we actually played together in a band called CASTLE BLACK in the '90s with Tim Frederick. When I showed up for the first practice, things snapped right into place. And, of course, I love WRETCH's brand of pure, straight-ahead unadulterated power metal.""
WRETCH's current lineup is rounded out by drummer Butch Likens (who joined the group in February) alongside longtime members Nick Giannakos (guitar), Colin Watson (vocals) and Tim Frederick (bass).
"The new lineup is really kicking ass," adds Watson. "Butch and Tim have given us the best foundation we have ever had. We also now have a powerful dual guitar attack locked in place with Nick and Mike. It's making me feel young again!"
WRETCH is gearing up for the release of its brand new, as-yet-untitled studio album, due out next year on Auburn Records.
WRETCH was one of the featured bands at the 2007 Headbangers Open Air festival in Germany. The group composed the festival anthem "Make This Garden Burn".
WRETCH is (left to right in photo below):
Tim Frederick - Bass
Mike Stephenson - Guitar
Nick Giannakos - Guitar
Colin Watson - Vocals
Butch Likens – Drums
DAGGER, the Swedish hard rock/heavy metal band featuring Fred Estby (NECRONAUT, ex-DISMEMBER), David Blomqvist (ex-DISMEMBER) and Tobias Cristiansson (GRAVE, ex-DISMEMBER) and Tyrant (NIFELHEIM), is currently seeking a lead singer. The group states, "Our aim is to create real classic hard rock music the way we like it.
"We have made a live recording with five of our songs in Gutterview Recorders Studio (owned by Fred Estby and Nicke Andersson) and now we are looking for a singer to front DAGGER.
"The voice we are looking for is classic hard rock/heavy metal singing based in the rock and blues tradition.
"If you think you're the man for this job, or if you know someone who is, don't hesitate to contact us. The influences we have are: RAINBOW, BLACK SABBATH, THIN LIZZY, DEEP PURPLE, IRON MAIDEN and many more. Send us your info to: heavydagger@gmail.com."
Formed in 2009, DAGGER consists of the following musicians:
* Fred Estby (NECRONAUT, ex-DISMEMBER) - Drums
* David Blomqvist (ex-DISMEMBER) - Electric Guitar
* Tyrant (NIFELHEIM) - Electric Guitar
* Tobias Cristiansson (GRAVE, ex-DISMEMBER) - Electric Bass
* [to be announced] – Vocals
"We have made a live recording with five of our songs in Gutterview Recorders Studio (owned by Fred Estby and Nicke Andersson) and now we are looking for a singer to front DAGGER.
"The voice we are looking for is classic hard rock/heavy metal singing based in the rock and blues tradition.
"If you think you're the man for this job, or if you know someone who is, don't hesitate to contact us. The influences we have are: RAINBOW, BLACK SABBATH, THIN LIZZY, DEEP PURPLE, IRON MAIDEN and many more. Send us your info to: heavydagger@gmail.com."
Formed in 2009, DAGGER consists of the following musicians:
* Fred Estby (NECRONAUT, ex-DISMEMBER) - Drums
* David Blomqvist (ex-DISMEMBER) - Electric Guitar
* Tyrant (NIFELHEIM) - Electric Guitar
* Tobias Cristiansson (GRAVE, ex-DISMEMBER) - Electric Bass
* [to be announced] – Vocals
French comic artist Fabrice Gagos has integrated a tribute to MELECHESH members Ashmedi and Moloch into his weekly updated web comic through inscribing one of the main characters named Sayid to the two. The artist states, "'Ghouls Of Nineveh' is an ongoing web-comic featuring a pack of super-cool metalheads fighting bloodthirsty Mesopotamian zombies for their lives after they've been awakened by mistake by a bunch of ultra-conservative Christians praying in their church. All of the above based upon some Mesopotamian legends, including goddess Ereshkigal and her long lost beloved, Nergal, god of plague...
"Mesopotamia, ghouls, metal-heads and mysticism — I couldn't help but find that particular MELECHESH's title fitted perfectly. Most of all, I don't want to spoil you the fun, but I can tell you that Sayid, guitar player and PhD in archeology owner (character tribute to Moloch and Ashmedi), will take part in the rescuing of his friends. Metal, friendship and fun to save the world — with a bit of gore!"
Commented Ashmedi: "Seeing how our music, songtitles, lyrics, concepts, no matter how loosely related, inspire different artistic endeavours such as on this comic is satisfying and flattering to say the least! Plus I found it to be very entertaining and well done."
* English version of the comic
* French version of the comic
MELECHESH has just completed a European tour with SAMAEL in support of its latest album, "The Epigenesis", which was recorded in the newly built Babajim Studios in Istanbul, Turkey and was mixed by Reuben de Lautour and mastered by Pieter Snapper.
The "The Epigenesis" cover art was created by the U.K.-based renowned occult artist John Coulthart, who had already collaborated with MELECHESH in the past.
MELECHESH recently amicably parted ways with bassist Rahm, who joined the band last year. The remaining members of the group cited "professional reasons" as the reason for the split.
"Mesopotamia, ghouls, metal-heads and mysticism — I couldn't help but find that particular MELECHESH's title fitted perfectly. Most of all, I don't want to spoil you the fun, but I can tell you that Sayid, guitar player and PhD in archeology owner (character tribute to Moloch and Ashmedi), will take part in the rescuing of his friends. Metal, friendship and fun to save the world — with a bit of gore!"
Commented Ashmedi: "Seeing how our music, songtitles, lyrics, concepts, no matter how loosely related, inspire different artistic endeavours such as on this comic is satisfying and flattering to say the least! Plus I found it to be very entertaining and well done."
* English version of the comic
* French version of the comic
MELECHESH has just completed a European tour with SAMAEL in support of its latest album, "The Epigenesis", which was recorded in the newly built Babajim Studios in Istanbul, Turkey and was mixed by Reuben de Lautour and mastered by Pieter Snapper.
The "The Epigenesis" cover art was created by the U.K.-based renowned occult artist John Coulthart, who had already collaborated with MELECHESH in the past.
MELECHESH recently amicably parted ways with bassist Rahm, who joined the band last year. The remaining members of the group cited "professional reasons" as the reason for the split.
Death metal veterans CANNIBAL CORPSE will headline the first-ever edition of Metal Hammer's Destroyers Of The Faith tour, and will be bringing with them some of the biggest names in extreme music!
Joining the Florida-based titans of gore on this history-making trek will be none other than bowel-exploding doom metal kings TRIPTYKON, spearheaded by seminal extreme metal icon Tom G. Warrior of CELTIC FROST and HELLHAMMER fame. And, as if that wasn't enough, both bands will also be joined by veteran Norwegian progressive black metallers ENSLAVED and Arizona death metal favourites JOB FOR A COWBOY!
"Just being a part of such a killer package and having these bands on there...it's gonna be an exciting time and a great tour for the U.K.," says CANNIBAL CORPSE drummer Paul Mazurkiewicz. "I hope all the fans are really pumped for this one, because we definitely are! This is the first time that this is happening in the U.K., and it's very exciting."
"It's the perfect tour!" adds JOB FOR A COWBOY frontman Jonny Davy. "We still feel like we have a lot to prove, and this is the perfect tour to get in everyone's faces."
Destroyers Of The Faith marks the first time that four such blockbuster extreme metal bands have toured the U.K. on one bill, and promises to be a legendary showcase of some of the gnarliest, darkest and downright heaviest music to ever grace these shores.
Destroyers Of The Faith will hit the U.K. on the following dates:
March 07 - Bristol, UK - O2 Academy
March 08 - Glasgow, UK - O2 ABC
March 09 - Manchester, UK - Academy
March 00 - London, UK - HMV Forum
March 11 - Birmingham, UK - HMV Institute
Joining the Florida-based titans of gore on this history-making trek will be none other than bowel-exploding doom metal kings TRIPTYKON, spearheaded by seminal extreme metal icon Tom G. Warrior of CELTIC FROST and HELLHAMMER fame. And, as if that wasn't enough, both bands will also be joined by veteran Norwegian progressive black metallers ENSLAVED and Arizona death metal favourites JOB FOR A COWBOY!
"Just being a part of such a killer package and having these bands on there...it's gonna be an exciting time and a great tour for the U.K.," says CANNIBAL CORPSE drummer Paul Mazurkiewicz. "I hope all the fans are really pumped for this one, because we definitely are! This is the first time that this is happening in the U.K., and it's very exciting."
"It's the perfect tour!" adds JOB FOR A COWBOY frontman Jonny Davy. "We still feel like we have a lot to prove, and this is the perfect tour to get in everyone's faces."
Destroyers Of The Faith marks the first time that four such blockbuster extreme metal bands have toured the U.K. on one bill, and promises to be a legendary showcase of some of the gnarliest, darkest and downright heaviest music to ever grace these shores.
Destroyers Of The Faith will hit the U.K. on the following dates:
March 07 - Bristol, UK - O2 Academy
March 08 - Glasgow, UK - O2 ABC
March 09 - Manchester, UK - Academy
March 00 - London, UK - HMV Forum
March 11 - Birmingham, UK - HMV Institute
Bassist Tobias Cristiansson of Swedish death metal veterans DISMEMBER has released the following statement to BLABBERMOUTH.NET:
"After 23 years, DISMEMBER have now decided to quit. We wish to thank all our fans for your support."
DISMEMBER played its first concert since 2008 as the headliners of Death Feast Open Air festival on June 23, 2011 in Hünxe, Germany. They were added to the event as the replacement for GORGUTS, which was forced to cancel all of its previously announced summer festival appearances.
Check out photos of the concert at Metalchroniques.fr.
Video footage of DISMEMBER's performance can be seen below.
Prior to the show, DISMEMBER stated, "This will be our only show in 2011, and our first since 2008 and we feel extremely excited to hit the stage once again for some serious headbanging. We will do a set that covers our whole career, from 'Like An Ever Flowing Stream' from 1991 up until the self-titled album released in 2008, so get ready for some serious Swedish death metal!!"
The latest, self-titled album from DISMEMBER was released in Europe in February 2008 via Regain Records. The CD was recorded at B.A.S. studios with producer Nico Elgstrand (MURDER SQUAD, KRUX, MERCILESS, ENTOMBED).
"After 23 years, DISMEMBER have now decided to quit. We wish to thank all our fans for your support."
DISMEMBER played its first concert since 2008 as the headliners of Death Feast Open Air festival on June 23, 2011 in Hünxe, Germany. They were added to the event as the replacement for GORGUTS, which was forced to cancel all of its previously announced summer festival appearances.
Check out photos of the concert at Metalchroniques.fr.
Video footage of DISMEMBER's performance can be seen below.
Prior to the show, DISMEMBER stated, "This will be our only show in 2011, and our first since 2008 and we feel extremely excited to hit the stage once again for some serious headbanging. We will do a set that covers our whole career, from 'Like An Ever Flowing Stream' from 1991 up until the self-titled album released in 2008, so get ready for some serious Swedish death metal!!"
The latest, self-titled album from DISMEMBER was released in Europe in February 2008 via Regain Records. The CD was recorded at B.A.S. studios with producer Nico Elgstrand (MURDER SQUAD, KRUX, MERCILESS, ENTOMBED).
TARDY BROTHERS, the project featuring John Tardy (vocals) and Donald Tardy (drums) of Florida-based death metal veterans OBITUARY, will guest on the "Death Metal Dave, In Your Face" radio show from Redneck Studios on Tuesday, October 18 from 6:00 p.m. to 9:00 p.m. EST on MetalMessiahRadio.com. The program will also be available for viewing via a live webcam on Obituary.cc.
TARDY BROTHERS will make its live debut on Friday, October 21 at the Brass Mug in Tampa, Florida. The brothers state, "Ever since we released [our debut] album, we have been wanting to play some shows! We are really looking forward to finally getting the first show under our belts."
TARDY BROTHERS' first-ever concert is tentatively scheduled to be webcast via the social-networking site Unation.com. The group states, "We are hoping that we will be broadcasting the show live over the Internet worldwide. Unation is set to launch on 11.11.11, but this will be a nice preview of what this web site is capable of."
TARDY BROTHERS' debut album, "Bloodline", came out in April 2009. The CD was described in a press release as an opportunity for the Tardy brothers to "expand their musical playcard showcasing not only a new artistic outlet but also extending opportunity for them to take their global fan base on an exciting new journey."
"Bloodline" featured guitar work by Ralph Santolla (OBITUARY, DEATH, DEICIDE), original XECUTIONER (pre-OBITUARY) guitarist Jerry Tidwell and solo work from 19-year-old John Lee and longtime friend Scott Johnson.
Said John Tardy of the project: "This is something Donald and I have talked about and planned for many years and we just never had the time to do it. With the addition of our new studio, it has finally given us the abilitity to get this music recorded. It is not going to affect anything that OBITUARY is doing nor is it supposed to sound like OBITUARY."
TARDY BROTHERS will make its live debut on Friday, October 21 at the Brass Mug in Tampa, Florida. The brothers state, "Ever since we released [our debut] album, we have been wanting to play some shows! We are really looking forward to finally getting the first show under our belts."
TARDY BROTHERS' first-ever concert is tentatively scheduled to be webcast via the social-networking site Unation.com. The group states, "We are hoping that we will be broadcasting the show live over the Internet worldwide. Unation is set to launch on 11.11.11, but this will be a nice preview of what this web site is capable of."
TARDY BROTHERS' debut album, "Bloodline", came out in April 2009. The CD was described in a press release as an opportunity for the Tardy brothers to "expand their musical playcard showcasing not only a new artistic outlet but also extending opportunity for them to take their global fan base on an exciting new journey."
"Bloodline" featured guitar work by Ralph Santolla (OBITUARY, DEATH, DEICIDE), original XECUTIONER (pre-OBITUARY) guitarist Jerry Tidwell and solo work from 19-year-old John Lee and longtime friend Scott Johnson.
Said John Tardy of the project: "This is something Donald and I have talked about and planned for many years and we just never had the time to do it. With the addition of our new studio, it has finally given us the abilitity to get this music recorded. It is not going to affect anything that OBITUARY is doing nor is it supposed to sound like OBITUARY."
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