Heavy metal has had its ups, downs, ins and outs for decades. No matter how the music is cussed, discussed, dissected and broken up into subgenres, Judas Priest will always have a place very near the top of the thundering heap.
Formed in Birmingham, England, in 1970, Judas Priest songs have been covered by bands from Sepultura to The Donnas, from Annihilator to Kreator. Pat Boone even delivered a rendition of "You've Got Another Thing Comin'" on his "In a Metal Mood" CD.
"A lot of bands cite Judas Priest as influences. The best compliment we've ever had was our music is timeless," said guitarist Glenn Tipton from a tour stop in Brazil. "It's something to be proud of. But we've never really known what we're doing."
Judas Priest has been doing something right. For four decades, the band has weathered evolving musical tastes, personnel changes and the rigors of the road to keep pumping out the music.
Wednesday, Judas Priest — Tipton, Rob Halford (vocals), Ian Hill (bass), Scott Travis (drums) and new guitarist Richie Faulkner — will bring its Epitaph Tour, the band's final world tour, to AT&T Center. Thin Lizzy and Black Label Society will open.
With a sound built on Halford's soaring voice, a driving rhythm section and the storied twin-guitar attack of Tipton and K.K. Downing, albums such as "Sad Wings of Destiny," "Sin After Sin," "Stained Class" and "Hell Bent for Leather" were part of the blueprint with which metal was built. But it's not the sound that Tipton first points to as a key to success.
"You never really know what's going to happen," he said. "I'd been in a lot of local bands. When it was suggested Judas Priest pull in another player, we joined forces. I immediately knew something special had occurred, especially as writers."
Judas Priest's songs, including "Breaking the Law," "Screaming for Vengeance," "Ram It Down," "Heading Out to the Highway" and "Victim of Changes," are group efforts, credited to Tipton, Halford and Downing.
"It's all about the song," Tipton said. "Visually, you have to look good on stage and you have to be good players, you have to rely on the guitar players to be good soloists, but there has to be a reason for that solo break to be there.
"It should be all about the composition, all about the song. The music has to complement what's already there. The song is the most important thing.
"A band is really only as good as its songs. Every now and then, with a combination of writers, we struck a chord with listeners. We've always been proud to be a metal band, but the songs are easy to relate to. But you can't pat yourselves on the back and say you deliberately wrote these songs. We've recorded 17 studio albums and performed for millions of people and we've always evolved."
After years of working with Downing, developing a seamless approach to sharing some of the hottest leads in rock 'n' roll, Tipton is now working with new guitar slinger Faulkner.
"Ken was having a lot of problems with his wrists. He was really struggling on the last tour. When he decided to retire from the band we were pretty much in shock," Tipton said.
"We waited three months to see what would happen. We decided if we could find the right guy we'd go on. We contacted quite a few guitar players. Richie stepped into the band and it's like he was always there. He does the essence of what Ken did, but in his own way. It's been wonderful, really, but nobody wanted to see Ken go."
Tipton said the twin-guitar work is not something that's been intricately charted.
"That's also something that's evolved," he said. "It's obvious when one takes a lead guitar break, the other backs him up. We worked very hard throughout the years and it evolved. We always wanted to experiment. Sometimes it works, sometimes it doesn't."
On the Epitaph Tour, Judas Priest is performing a career retrospective on stage. "With 17 studio albums, we decided to play at least one track off each album," he said.
"This is our last world tour," Tipton emphasized. "It takes 18 months to stage a world tour. After 40 years, we decided it's possibly time to pull back a little bit. It's not absolutely the end of the band. I'd say perhaps it's the beginning of the end.
Legendary rock band RUSH will release "Time Machine 2011: Live In Cleveland" on Blu-ray and DVD formats on November 8 via Rounder Records in the U.S. and Eagle Rock Entertainment abroad.
Captured in April at Cleveland's Quicken Loans Arena during the renowned trio's extensive "Time Machine" world tour, "Time Machine 2011: Live In Cleveland" marks the band's first live effort recorded at a U.S show, a deliberate nod of gratitude to the first city to support RUSH on its radio airwaves. The wildly popular tour featured a set filled with classic hits, fan favorites, and a glimpse into RUSH's forthcoming 20th studio album, "Clockwork Angels". As a centerpiece for the concerts, the band performed their landmark album "Moving Pictures" in its entirety — a first in the band's long and illustrious career. Rave reviews of the tour included The Hollywood Reporter's declaration that "the current 'Time Machine' jaunt is nothing less than a must see… for nearly three hours, with intermission, RUSH proved why it remains among rock's elite live acts."
Track listing:
Set One
* The 'Real' History of Rush Episode No. 2 "Don't Be Rash"
* The Spirit of Radio
* Time Stand Still
* Presto
* Stick It Out
* Workin' Them Angels
* Leave That Thing Alone
* Faithless
* BU2B
* Free Will
* Marathon
* Subdivisions
Set Two
The 'Real'' History of Rush Episode No. 17 "...and Rock and Roll is my name."
* Tom Sawyer
* Red Barchetta
* YYZ
* Limelight
* The Camera Eye
* Witch Hunt
* Vital Signs
* Caravan
* Moto Perpetuo (featuring Love For Sale)
* O'Malley's Break
* Closer To The Heart
* 2112 Overture/The Temples of Syrinx
* Far Cry
Encore
* La Villa Strangiato
* Working Man
Bonus Material
* Outtakes from "History of Rush, Episode 2 & 17"
* "Tom Sawyer" featuring the cast of "History of Rush, Episode 17"
* "Need Some Love" Live from Laura Secord Secondary School
* "Anthem" Live from Passaic New Jersey
Captured in April at Cleveland's Quicken Loans Arena during the renowned trio's extensive "Time Machine" world tour, "Time Machine 2011: Live In Cleveland" marks the band's first live effort recorded at a U.S show, a deliberate nod of gratitude to the first city to support RUSH on its radio airwaves. The wildly popular tour featured a set filled with classic hits, fan favorites, and a glimpse into RUSH's forthcoming 20th studio album, "Clockwork Angels". As a centerpiece for the concerts, the band performed their landmark album "Moving Pictures" in its entirety — a first in the band's long and illustrious career. Rave reviews of the tour included The Hollywood Reporter's declaration that "the current 'Time Machine' jaunt is nothing less than a must see… for nearly three hours, with intermission, RUSH proved why it remains among rock's elite live acts."
Track listing:
Set One
* The 'Real' History of Rush Episode No. 2 "Don't Be Rash"
* The Spirit of Radio
* Time Stand Still
* Presto
* Stick It Out
* Workin' Them Angels
* Leave That Thing Alone
* Faithless
* BU2B
* Free Will
* Marathon
* Subdivisions
Set Two
The 'Real'' History of Rush Episode No. 17 "...and Rock and Roll is my name."
* Tom Sawyer
* Red Barchetta
* YYZ
* Limelight
* The Camera Eye
* Witch Hunt
* Vital Signs
* Caravan
* Moto Perpetuo (featuring Love For Sale)
* O'Malley's Break
* Closer To The Heart
* 2112 Overture/The Temples of Syrinx
* Far Cry
Encore
* La Villa Strangiato
* Working Man
Bonus Material
* Outtakes from "History of Rush, Episode 2 & 17"
* "Tom Sawyer" featuring the cast of "History of Rush, Episode 17"
* "Need Some Love" Live from Laura Secord Secondary School
* "Anthem" Live from Passaic New Jersey
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)
"Frustration" lyrics:
Frustration
In my lexicon of hate
I see you with your portraiture
Does he love you?
Does he love you too?
The brush strokes
Kiss your breasts and toes
I cry icicles in my stein
The heartbeats flutter
With an abnormal rhythm
The pain shoots through my body
A sword between my thighs
I wish that I could kill you
But I too love your eyes
You're feeling less whore but you stimulate
The hatred smolders in your eyes
I'd drop to my knees in a second
To salivate in your thighs
But all I do is fall over
I don't have the strength I once had
In you and your prickless lover
And his easel in his eyes
I feel the pain creep up my leg
Blood runs from my nose
I puke my guts out at your feet
You're more man than I
To be dead to have no feeling
To be dry and spermless like a girl
I want so much to hurt you
I want so much to hurt you
I want so much to hurt you
Marry me
I want you as my wife
Spermless like a girl
More man than I
More man than I
Frustration
In my lexicon of hate
You're feeling less like a whore but you
Stimulate
All I do is fall over
I don't have the strength I once had
All I do is fall over
I don't have the strength I once had
I want you so much to hurt you
I want so much to hurt you
I want so much to hurt you
I want you as a wife
Frustration is my lexicon of hate
Frustration is my lexicon of hate
Fru… fru… frustration, my lexicon of hate
I cry icicles
Heartbeats flutter
Abnormal rhythm
I wish that I could kill you
But I too love your eyes
I want you as my wife
I want you as my wife
Spermless like a girl
Lucky in feeling
More man than I
Marry me, marry me, marry me
I want you as a wife
Spermless like a girl
Puking my guts at your feet
More man than I
Fru… fru… fru… frustration
Frustration [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
"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)
"Frustration" lyrics:
Frustration
In my lexicon of hate
I see you with your portraiture
Does he love you?
Does he love you too?
The brush strokes
Kiss your breasts and toes
I cry icicles in my stein
The heartbeats flutter
With an abnormal rhythm
The pain shoots through my body
A sword between my thighs
I wish that I could kill you
But I too love your eyes
You're feeling less whore but you stimulate
The hatred smolders in your eyes
I'd drop to my knees in a second
To salivate in your thighs
But all I do is fall over
I don't have the strength I once had
In you and your prickless lover
And his easel in his eyes
I feel the pain creep up my leg
Blood runs from my nose
I puke my guts out at your feet
You're more man than I
To be dead to have no feeling
To be dry and spermless like a girl
I want so much to hurt you
I want so much to hurt you
I want so much to hurt you
Marry me
I want you as my wife
Spermless like a girl
More man than I
More man than I
Frustration
In my lexicon of hate
You're feeling less like a whore but you
Stimulate
All I do is fall over
I don't have the strength I once had
All I do is fall over
I don't have the strength I once had
I want you so much to hurt you
I want so much to hurt you
I want so much to hurt you
I want you as a wife
Frustration is my lexicon of hate
Frustration is my lexicon of hate
Fru… fru… frustration, my lexicon of hate
I cry icicles
Heartbeats flutter
Abnormal rhythm
I wish that I could kill you
But I too love your eyes
I want you as my wife
I want you as my wife
Spermless like a girl
Lucky in feeling
More man than I
Marry me, marry me, marry me
I want you as a wife
Spermless like a girl
Puking my guts at your feet
More man than I
Fru… fru… fru… frustration
Frustration [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
Legendary guitarist Slash (GUNS N' ROSES, VELVET REVOLVER) will enter Barefoot Recording in Hollywood, California later this month with producer Eric Valentine (QUEENS OF STONE AGE, THE ALL-AMERICAN REJECTS) to begin recording his second solo album for an early 2012 release. Joining Slash in the studio will be the members of his touring band: vocalist Myles Kennedy (ALTER BRIDGE), rhythm guitarist Bobby Schneck, bassist Todd Kerns (SIN CITY SINNERS, formerly of AGE OF ELECTRIC), and drummer Brent Fitz (formerly of THEORY OF A DEADMAN).
Commented Kerns in a post on his official blog: "Back when I was originally asked to support [Slash] on his first solo tour, I wasn't sure if it would be a month or maybe fly-outs on weekends or what. Now here we are a year and a half later and we're getting ready to record a new CD as a band. [I] did not see that coming.
"We have been working on riffs for a while since we were on the road even. Those riffs have ballooned to almost 20 songs and growing. We have been hard at it in several writing sessions and are now in the midst of two weeks' rehearsal. We'll be entering Barefoot studios with Eric Valentine in a few days to start work on the first few songs. We'll finish up the record before the end of the year.
"Eric has produced a lot of amazing stuff, including Slash's last record. We'll be in the very studio where one of my favorite albums ever was recorded — 'Songs For The Deaf' by QUEENS OF THE STONE AGE (produced by Eric Valentine). It promises to be very exciting. I'm stoked!"
In a recent interview, Slash stated about the musicians in his band, "I was really fortunate. When I'd done the [first solo] record, I thought, 'I've gotta tour on this.' And I had to figure how I was gonna actually pull that off. And I set about auditioning musicians in L.A. and I just happened to meet Brent Fitz, who I'd never played before and who is not from Los Angeles; he was one of the guys I auditioned and he was great. And then he introduced me to Todd Kerns, who fit in perfectly. And it turned out to be a great band from the start — definitely worth going in and making a record with."
Valentine previously worked with Slash on the guitarist's self-titled solo album. But "the big difference," according to Slash, will be that Eric is "also gonna be mastering this one" in addition to recording and mixing the CD. "So it's like one-stop shopping, which is pretty cool," the axeman said.
Regarding the musicial direction of his new material and how it compares to last year's self-titled effort, Slash said, "This one's definitely a very focused… Very hard. Some of it's very heavy. It's got sort of a more unified sound to it, especially with one vocal all throughout."
"Slash" was released in North America in April 2010 via EMI Label Services. The album featured an all-star roster of guest musicians, including Ian Astbury, Chris Cornell, Rocco DeLuca, Fergie, Dave Grohl, Myles Kennedy, Kid Rock, Lemmy Kilmister, Adam Levine of MAROON 5, Duff McKagan, M. Shadows of AVENGED SEVENFOLD, Ozzy Osbourne, Iggy Pop, and Andrew Stockdale of WOLFMOTHER.
"Slash" was completed with the rhythm section of bassist Chris Chaney (JANE'S ADDICTION) and drummer Josh Freese (NINE INCH NAILS). Slash handled the majority of arranging and songwriting duties and hand-picked each guest artist. The album's guests worked collaboratively with Slash to round out the song.
Commented Kerns in a post on his official blog: "Back when I was originally asked to support [Slash] on his first solo tour, I wasn't sure if it would be a month or maybe fly-outs on weekends or what. Now here we are a year and a half later and we're getting ready to record a new CD as a band. [I] did not see that coming.
"We have been working on riffs for a while since we were on the road even. Those riffs have ballooned to almost 20 songs and growing. We have been hard at it in several writing sessions and are now in the midst of two weeks' rehearsal. We'll be entering Barefoot studios with Eric Valentine in a few days to start work on the first few songs. We'll finish up the record before the end of the year.
"Eric has produced a lot of amazing stuff, including Slash's last record. We'll be in the very studio where one of my favorite albums ever was recorded — 'Songs For The Deaf' by QUEENS OF THE STONE AGE (produced by Eric Valentine). It promises to be very exciting. I'm stoked!"
In a recent interview, Slash stated about the musicians in his band, "I was really fortunate. When I'd done the [first solo] record, I thought, 'I've gotta tour on this.' And I had to figure how I was gonna actually pull that off. And I set about auditioning musicians in L.A. and I just happened to meet Brent Fitz, who I'd never played before and who is not from Los Angeles; he was one of the guys I auditioned and he was great. And then he introduced me to Todd Kerns, who fit in perfectly. And it turned out to be a great band from the start — definitely worth going in and making a record with."
Valentine previously worked with Slash on the guitarist's self-titled solo album. But "the big difference," according to Slash, will be that Eric is "also gonna be mastering this one" in addition to recording and mixing the CD. "So it's like one-stop shopping, which is pretty cool," the axeman said.
Regarding the musicial direction of his new material and how it compares to last year's self-titled effort, Slash said, "This one's definitely a very focused… Very hard. Some of it's very heavy. It's got sort of a more unified sound to it, especially with one vocal all throughout."
"Slash" was released in North America in April 2010 via EMI Label Services. The album featured an all-star roster of guest musicians, including Ian Astbury, Chris Cornell, Rocco DeLuca, Fergie, Dave Grohl, Myles Kennedy, Kid Rock, Lemmy Kilmister, Adam Levine of MAROON 5, Duff McKagan, M. Shadows of AVENGED SEVENFOLD, Ozzy Osbourne, Iggy Pop, and Andrew Stockdale of WOLFMOTHER.
"Slash" was completed with the rhythm section of bassist Chris Chaney (JANE'S ADDICTION) and drummer Josh Freese (NINE INCH NAILS). Slash handled the majority of arranging and songwriting duties and hand-picked each guest artist. The album's guests worked collaboratively with Slash to round out the song.
John Dunphy of the Morristown Patch recently conducted an interview with new DREAM THEATER drummer Mike Mangini. A couple of excerpts from the chat follow below.
On dedicating himself fully to one thing — the band — after marrying in 2005 and spending several years as associate professor of percussion at the Berklee College of Music:
"I wanted to make a family. I wasn't able to for one reason or another get that done. Once I moved back home I could be in the area for a long time, I could network. Meet, get married, have children."
On joining DREAM THEATER in the fall of 2010:
"I was looking to get in a band. I had to wait for the right time and opportunity, and it just matched."
On the songwriting process for DREAM THEATER's new album, "A Dramatic Turn Of Events":
"This is important: they composed this with no drummer. This is [guitarist and founder] John Petrucci that always came up with the riffs. He's still here. This is back to John showing up with bags of riffs, as he always did. Except this time, no drummer to steer it in different directions. It was what the writing has been now with no drummer."
"When I write on a keyboard, bass or guitar — which I don't play well but can write on — when I compose, it's good to have only chordal structure and a sense of feel without drums. It changes things. Those guys composed with no drummer. And all the ideas flowed with such ease. I couldn't believe it."
On how he gets along with the other members of DREAM THEATER:
"We're very much the same. We talk music, the show, practice, we share things with a common ground. That's special. I feel like I'm with people I've known for a long time. I don't have to try hard to be someone else.
"I go to bed every night and say 'thank you.' I'm really grateful for this opportunity with all the things that make it so."
On dedicating himself fully to one thing — the band — after marrying in 2005 and spending several years as associate professor of percussion at the Berklee College of Music:
"I wanted to make a family. I wasn't able to for one reason or another get that done. Once I moved back home I could be in the area for a long time, I could network. Meet, get married, have children."
On joining DREAM THEATER in the fall of 2010:
"I was looking to get in a band. I had to wait for the right time and opportunity, and it just matched."
On the songwriting process for DREAM THEATER's new album, "A Dramatic Turn Of Events":
"This is important: they composed this with no drummer. This is [guitarist and founder] John Petrucci that always came up with the riffs. He's still here. This is back to John showing up with bags of riffs, as he always did. Except this time, no drummer to steer it in different directions. It was what the writing has been now with no drummer."
"When I write on a keyboard, bass or guitar — which I don't play well but can write on — when I compose, it's good to have only chordal structure and a sense of feel without drums. It changes things. Those guys composed with no drummer. And all the ideas flowed with such ease. I couldn't believe it."
On how he gets along with the other members of DREAM THEATER:
"We're very much the same. We talk music, the show, practice, we share things with a common ground. That's special. I feel like I'm with people I've known for a long time. I don't have to try hard to be someone else.
"I go to bed every night and say 'thank you.' I'm really grateful for this opportunity with all the things that make it so."
Jose Bosso of Guitar World conducted an interview with guitarist John Petrucci of progressive metal giants DREAM THEATER for the magazine's November 2011 issue, which features the "Big Four" of 1980s thrash metal (METALLICA, MEGADETH, SLAYER and ANTHRAX) on the cover. A few excerpts from the chat follow below.
On drummer Mike Portnoy's decision to leave DREAM THEATER in September 2010 while he was on the road with AVENGED SEVENFOLD:
Petrucci: "Mike had played on AVENGED's album ['Nightmare'] and that was fine. We all do side projects when time permits. But touring with the band, that was a different story. That was taking significant time away from DREAM THEATER at a point when we were all planning to start recording. Initially, we put off recording to go on tour with IRON MAIDEN — that was too good an opportunity for us to turn down. And then when Mike said he was going on the road with AVENGED SEVENFOLD right after the MAIDEN tour, that didn't feel right."
On Portnoy's request that DREAM THEATER take an extended hiatus, with no firm date in sight for reconvening:
Petrucci: "In the end, it was something we couldn't do. Mike wanted to hold all the cards. He wanted to get back together when it suited him. We couldn't abide by that. So he decided to quit. It was quite a blow. As much as we wanted to continue as a band, we didn't want Mike to leave."
On whether Portnoy was hoping his place with AVENGED SEVENFOLD would become permanent:
Petrucci: "I guess Mike was looking at them as the new girlfriend or something. They were younger, up-and-coming… You can definitely draw the parallels."
On Portnoy's request in late 2010 for DREAM THEATER to take him back:
Petrucci: "Mike Portnoy asking to be back in was a problem on a few levels. First, we were very happy to have selected Mike Mangini [as the new drummer]. Second, [Mangini] had quit his teaching gig at Berklee. We certainly weren't going to hang him out to dry when he sacrificed so much for us. Mike Portnoy was too late in asking to come back. We had moved on."
On the "mystery" surrounding Portnoy's decision to leave DREAM THEATER:
Petrucci: "I can't speak for him. I can only see things from my point of view. For him to leave a successful band, one he had been with for 25 years… he must've had his reasons. I guess he really needed a change. Maybe he was confused or conflicted at the same time. I don't know. The biggest thing for me is to not be negative or resentful. I understand the way life is, and change is part of that. People get divorced, they leave companies, they quit bands — it happens. Mike needed a change in his life. That's really the only way I can look at it."
On how the recent European tour with Mike Mangini went:
Petrucci: "It was so smooth that it was almost scary. Even though we felt very good about our decision to hire Mike Mangini, we wouldn't predict how things would've gone during our first tour with him, because we're still getting to know him on a variety of levels. But recording with him was fantastic, touring was great, every night onstage got better and better. I feel like I've been playing with him 20 years already.
On drummer Mike Portnoy's decision to leave DREAM THEATER in September 2010 while he was on the road with AVENGED SEVENFOLD:
Petrucci: "Mike had played on AVENGED's album ['Nightmare'] and that was fine. We all do side projects when time permits. But touring with the band, that was a different story. That was taking significant time away from DREAM THEATER at a point when we were all planning to start recording. Initially, we put off recording to go on tour with IRON MAIDEN — that was too good an opportunity for us to turn down. And then when Mike said he was going on the road with AVENGED SEVENFOLD right after the MAIDEN tour, that didn't feel right."
On Portnoy's request that DREAM THEATER take an extended hiatus, with no firm date in sight for reconvening:
Petrucci: "In the end, it was something we couldn't do. Mike wanted to hold all the cards. He wanted to get back together when it suited him. We couldn't abide by that. So he decided to quit. It was quite a blow. As much as we wanted to continue as a band, we didn't want Mike to leave."
On whether Portnoy was hoping his place with AVENGED SEVENFOLD would become permanent:
Petrucci: "I guess Mike was looking at them as the new girlfriend or something. They were younger, up-and-coming… You can definitely draw the parallels."
On Portnoy's request in late 2010 for DREAM THEATER to take him back:
Petrucci: "Mike Portnoy asking to be back in was a problem on a few levels. First, we were very happy to have selected Mike Mangini [as the new drummer]. Second, [Mangini] had quit his teaching gig at Berklee. We certainly weren't going to hang him out to dry when he sacrificed so much for us. Mike Portnoy was too late in asking to come back. We had moved on."
On the "mystery" surrounding Portnoy's decision to leave DREAM THEATER:
Petrucci: "I can't speak for him. I can only see things from my point of view. For him to leave a successful band, one he had been with for 25 years… he must've had his reasons. I guess he really needed a change. Maybe he was confused or conflicted at the same time. I don't know. The biggest thing for me is to not be negative or resentful. I understand the way life is, and change is part of that. People get divorced, they leave companies, they quit bands — it happens. Mike needed a change in his life. That's really the only way I can look at it."
On how the recent European tour with Mike Mangini went:
Petrucci: "It was so smooth that it was almost scary. Even though we felt very good about our decision to hire Mike Mangini, we wouldn't predict how things would've gone during our first tour with him, because we're still getting to know him on a variety of levels. But recording with him was fantastic, touring was great, every night onstage got better and better. I feel like I've been playing with him 20 years already.
German power metallers BLIND GUARDIAN are the first confirmed band for the Sweden Rock Cruise 2012.
The ship Tallink Silja Galaxy will depart from Stockholm, Sweden on March 29 and make a round trip to Turku, Finland to return to Stockholm 23 hours later (March 30).
Five more acts will be announced during the coming months.
BLIND GUARDIAN is currently collaborating with Germany's best fantasy author Markus Heitz on an orchestral album which is expected to be released in 2012.
"At The Edge Of Time", the tenth studio album from BLIND GUARDIAN, sold around 4,400 copies in the United States in its first week of release to debut at position No. 108 on The Billboard 200 chart. The CD landed at position No. 1 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.
BLIND GUARDIAN's previous CD, "A Twist In The Myth", opened with 3,000 units back in September 2006.
"At The Edge Of Time" entered the German Media Control chart at position No. 2 — the band's strongest chart showing ever in its home country.
The ship Tallink Silja Galaxy will depart from Stockholm, Sweden on March 29 and make a round trip to Turku, Finland to return to Stockholm 23 hours later (March 30).
Five more acts will be announced during the coming months.
BLIND GUARDIAN is currently collaborating with Germany's best fantasy author Markus Heitz on an orchestral album which is expected to be released in 2012.
"At The Edge Of Time", the tenth studio album from BLIND GUARDIAN, sold around 4,400 copies in the United States in its first week of release to debut at position No. 108 on The Billboard 200 chart. The CD landed at position No. 1 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.
BLIND GUARDIAN's previous CD, "A Twist In The Myth", opened with 3,000 units back in September 2006.
"At The Edge Of Time" entered the German Media Control chart at position No. 2 — the band's strongest chart showing ever in its home country.
Reunited U.K. rockers WOLFSBANE — featuring former IRON MAIDEN frontman Blaze Bayley — recently finished recording their new CD for a tentative late 2011/early 2012 release.
Commented guitarist Jase Edwards: "You can never really tell what a record is gonna be like 'til it's all recorded and you have some decent mixes to listen to. So you can hear what the record will actually sound like and how well (or not) ya've done!!
"Happy to report my mood on doing just that with the new WOLFSBANE record is one of ecstasy and excitement!! It's also being a little darling to mix!
"If ya have the right parts and sounds tracked, then it's just a balance and sonic power injection job!! And rest assured WOLFSBANE will be pushing the limiters to the maxxx!"
WOLFSBANE — which features Bayley, Jase Edwards, bassist Jeff Hateley and drummer Steve Danger — released its first record in 17 years in April. Entitled "Did It For The Money", it contained the brand new title track along with re-recordings of four old WOLFSBANE numbers.
Commenting on the reunion, Blaze said, "Although we have done other things over the years, we always had WOLFSBANE in our hearts and following our tour with THE QUIREBOYS last year, we had so much fun and have had so much interest that we decided to get back in the studio."
Formed in 1984 in Tamworth, England, WOLFSBANE signed to Def American Records, and Rick Rubin produced the band's first album, "Live Fast, Die Fast", released in 1989. WOLFSBANE's second release, an EP titled "All Hell's Breaking Loose Down", followed in 1990. The band's second studio album, "Down Fall the Good Guys", was released in 1991, giving WOLFSBANE its only U.K. chart entry, with the single "Ezy" landing at No. 68.
After Def American dropped WOLFSBANE, the band released a live album, "Massive Noise Injection", through the Bronze label in 1993. The group's third studio album, the self-titled "Wolfsbane", followed in 1994.
On September 9, 2007, WOLFSBANE reformed for a one-off short set at the Rock of Ages festival in Tamworth. This was followed by their first U.K. tour in 13 years, with the band playing five dates as support for the THE WILDHEARTS in December 2007. Their next tour came in December 2009 supporting THE QUIREBOYS on the aforementioned "A Little Bit of What You Fancy 20th Anniversary Tour".
Commented guitarist Jase Edwards: "You can never really tell what a record is gonna be like 'til it's all recorded and you have some decent mixes to listen to. So you can hear what the record will actually sound like and how well (or not) ya've done!!
"Happy to report my mood on doing just that with the new WOLFSBANE record is one of ecstasy and excitement!! It's also being a little darling to mix!
"If ya have the right parts and sounds tracked, then it's just a balance and sonic power injection job!! And rest assured WOLFSBANE will be pushing the limiters to the maxxx!"
WOLFSBANE — which features Bayley, Jase Edwards, bassist Jeff Hateley and drummer Steve Danger — released its first record in 17 years in April. Entitled "Did It For The Money", it contained the brand new title track along with re-recordings of four old WOLFSBANE numbers.
Commenting on the reunion, Blaze said, "Although we have done other things over the years, we always had WOLFSBANE in our hearts and following our tour with THE QUIREBOYS last year, we had so much fun and have had so much interest that we decided to get back in the studio."
Formed in 1984 in Tamworth, England, WOLFSBANE signed to Def American Records, and Rick Rubin produced the band's first album, "Live Fast, Die Fast", released in 1989. WOLFSBANE's second release, an EP titled "All Hell's Breaking Loose Down", followed in 1990. The band's second studio album, "Down Fall the Good Guys", was released in 1991, giving WOLFSBANE its only U.K. chart entry, with the single "Ezy" landing at No. 68.
After Def American dropped WOLFSBANE, the band released a live album, "Massive Noise Injection", through the Bronze label in 1993. The group's third studio album, the self-titled "Wolfsbane", followed in 1994.
On September 9, 2007, WOLFSBANE reformed for a one-off short set at the Rock of Ages festival in Tamworth. This was followed by their first U.K. tour in 13 years, with the band playing five dates as support for the THE WILDHEARTS in December 2007. Their next tour came in December 2009 supporting THE QUIREBOYS on the aforementioned "A Little Bit of What You Fancy 20th Anniversary Tour".
"Unto The Locust", the new album from San Francisco Bay Area metallers MACHINE HEAD, sold more than 17,000 copies in the United States in its first week of release to land at position No. 22 on The Billboard 200 chart — putting MACHINE HEAD in the Top 25 for the first time in the band's 17-year history. Even more impressively, this is the third consecutive album to show at least a 20 percent increase in sales over its predecessor, a virtually unprecedented feat for any band or artist, let alone a metal band in 2011. Add to that the fact that MACHINE HEAD's last CD came out four and a half years ago, a period of time that has seen the music market drop by more than 45 percent, and you're looking at something amazing.
Roadrunner A&R guru Monte Conner gushed about the band's achievement in the U.S., stating simply that "It's really incredible to see MACHINE HEAD gain in both first-week sales and on the Billboard Top 200 for three albums in a row. I can't think of one other band here, or anywhere for that matter, that has done that given the tough climate in the music biz over the last few years. This is quite a feat and is a testament to the band's rabid fanbase as well as their ability to win new fans."
MACHINE HEAD has consistently averaged more than 100,000 copies sold in the U.S. for each of its seven albums and has shifted double that overseas (accruing several silver records in the U.K.), resulting in cumulative worldwide sales of more than 2.4 million.
"Unto The Locust" first-week chart positions:
Germany: #5
Austria: #6
Australia: #10
Switzerland: #10
France: #13
Japan: #18
New Zealand: #19
U.S. #22
Belgium: #22
Norway: #28
Canada #32
U.K.: #82 (digital only due to the release of "fanpack")
MACHINE HEAD's previous CD, "The Blackening", opened with just under 15,000 units back in April 2007 to debut at No. 54 on The Billboard 200 chart. The band's 2004 effort, "Through The Ashes Of Empires", premiered with less than 12,000 copies to land at No. 88.
"Unto The Locust" was recorded at GREEN DAY's Oakland, California's JingleTown Recording compound, with guitarist/vocalist Robb Flynn handling production duties for the third consecutive time, and mixing done at JingleTown by engineer Juan Urteaga and Flynn (who flew back to Oakland from the road on every day off during the Rockstar Energy Drink Mayhem Festival), along with Colin Richardson and his U.K.-based team of Carl Bown and Martyn Ford. "Unto The Locust" was tracked and mixed over the course of four months and saw the band bring in a string quartet by the name of Quartet Rouge, who ended up on no less than three of the album's seven songs.
"Unto The Locust" standard CD track listing:
01. I Am Hell (Sonata In C#)
I) Sangre Sani
II) I Am Hell
III) Ashes To The Sky
02. Be Still And Know
03. Locust
04. This Is The End
05. Darkness Within
06. Pearls Before The Swine
07. Who We Are
"Unto The Locust" special-edition CD track listing:
01. I Am Hell (Sonata in C#)
I) Sangre Sani
II) I Am Hell
III) Ashes To The Sky
02. Be Still And Know
03. Locust
04. This Is The End
05. Darkness Within
06. Pearls Before The Swine
07. Who We Are
08. The Sentinel (JUDAS PRIEST cover) *
09. Witch Hunt (RUSH cover) *
10. Darkness Within (Acoustic) *
* Bonus tracks
DVD:
* "The Making Of Unto The Locust" Documentary
Roadrunner A&R guru Monte Conner gushed about the band's achievement in the U.S., stating simply that "It's really incredible to see MACHINE HEAD gain in both first-week sales and on the Billboard Top 200 for three albums in a row. I can't think of one other band here, or anywhere for that matter, that has done that given the tough climate in the music biz over the last few years. This is quite a feat and is a testament to the band's rabid fanbase as well as their ability to win new fans."
MACHINE HEAD has consistently averaged more than 100,000 copies sold in the U.S. for each of its seven albums and has shifted double that overseas (accruing several silver records in the U.K.), resulting in cumulative worldwide sales of more than 2.4 million.
"Unto The Locust" first-week chart positions:
Germany: #5
Austria: #6
Australia: #10
Switzerland: #10
France: #13
Japan: #18
New Zealand: #19
U.S. #22
Belgium: #22
Norway: #28
Canada #32
U.K.: #82 (digital only due to the release of "fanpack")
MACHINE HEAD's previous CD, "The Blackening", opened with just under 15,000 units back in April 2007 to debut at No. 54 on The Billboard 200 chart. The band's 2004 effort, "Through The Ashes Of Empires", premiered with less than 12,000 copies to land at No. 88.
"Unto The Locust" was recorded at GREEN DAY's Oakland, California's JingleTown Recording compound, with guitarist/vocalist Robb Flynn handling production duties for the third consecutive time, and mixing done at JingleTown by engineer Juan Urteaga and Flynn (who flew back to Oakland from the road on every day off during the Rockstar Energy Drink Mayhem Festival), along with Colin Richardson and his U.K.-based team of Carl Bown and Martyn Ford. "Unto The Locust" was tracked and mixed over the course of four months and saw the band bring in a string quartet by the name of Quartet Rouge, who ended up on no less than three of the album's seven songs.
"Unto The Locust" standard CD track listing:
01. I Am Hell (Sonata In C#)
I) Sangre Sani
II) I Am Hell
III) Ashes To The Sky
02. Be Still And Know
03. Locust
04. This Is The End
05. Darkness Within
06. Pearls Before The Swine
07. Who We Are
"Unto The Locust" special-edition CD track listing:
01. I Am Hell (Sonata in C#)
I) Sangre Sani
II) I Am Hell
III) Ashes To The Sky
02. Be Still And Know
03. Locust
04. This Is The End
05. Darkness Within
06. Pearls Before The Swine
07. Who We Are
08. The Sentinel (JUDAS PRIEST cover) *
09. Witch Hunt (RUSH cover) *
10. Darkness Within (Acoustic) *
* Bonus tracks
DVD:
* "The Making Of Unto The Locust" Documentary
Bram Teitelman of MetalInsider.net recently conducted an interview with guitarist/vocalist Robb Flynn of San Francisco Bay Area metallers MACHINE HEAD. A couple of excerpts from the chat follow below.
MetalInsider.net: On first listen, ["Unto The Locust" is] a way ambitious record, and you're doing things that I've never heard on a MACHINE HEAD album before. Was it a conscious effort to stretch and do more than you've done before?
Flynn: I would love to say I had this grand vision, but if you sat in the MACHINE HEAD jam room, it's just so "Beavis And Butt-Head". It's like, "What do you think of this riff?" "Oh, that's cool." "What do you think of this riff?" We just try stuff, and sometimes I get these crazy ideas. I just try and write it out, and the dudes just let me go with it thankfully.
MetalInsider.net: It seems like there are more harmonies than there's been before.
Flynn: Yeah, and there's a lot of — a lot of musicality. The neo-classical influence coming in really opened up a lot of doors that we could have. You know, where as opposed to your having just evil notes, and I'm not — that's how schooled I am. I call it evil notes, or sad notes, or happy notes, or you know, like "Go to the third fret, go to the second fret." I don't know any theory, I just hear it in my head. But, to me, having those — as opposed to evil notes, a little more of the sad minor notes — in the classical context, it really opened up melodies, and then you could build things on top of it. And the more that we went, the more ambitious we were, like "Fuck it. Let's just fucking pile it on, and see what happens." Better to go too far and then pull back, than never go far enough.
MetalInsider.net: It seems like on "The Blackening", your songs started getting longer and more epic. Were you trying to do that? Kind of as a reaction to maybe the "Supercharger" era, where you were kind of writing, it seemed, more radio single-y type stuff?
Flynn: We've always had long songs. I mean, "Burn My Eyes" — "A Thousand Lies" was seven minutes, "A Nation on Fire" was seven minutes, "Death Church" was six minutes. You know, "Supercharger" — "Trephination" was seven minutes. With that record, the first four songs that we wrote, there was no indication that the songs were going to be long. The first four songs that we wrote were the shortest songs on the record — "Beautiful Mourning", "Slanderous", "Aesthetics Of Hate", "Now I Lay Thee Down". The first four months of the recording it was just where we were going. And then, at some point, "Clenching" came along. We've never written for the radio. We've never timed our songs, and gone, "Is this gonna work?" We just write until we feel it's done. And when we timed "Clenching", we were all fucking shocked. Like, "This fucking song is 10 minutes fucking long, and it's killer!" It doesn't feel like it's 10 minutes long. You know what I mean?
MetalInsider.net: I don't think any of your songs do really.
Flynn: And that's great. I mean, that's a huge compliment to hear. I mean, some bands write a 4-minute song, and it feels like a 10-minute song, you know? I've always wanted to write a song in the classic sense and structure of a pop song.
MetalInsider.net: Like verse, chorus, verse?
Flynn: Verse, chorus, verse. Yeah, I want hooks. I want things that repeat. I don't want to write riff soup. I've never wanted to do that. Even my favorite bands — you know, MERCYFUL FATE, METALLICA — there was still a song in there. Maybe in between that, they took all these turns and twists, but eventually it came back to the song. And I still feel that's very important. Sometimes they're shorter, sometimes they're longer. You can plan all you want to, but at the end of the day, more often than not, the music will only go one way. You have to let the music take you where it's going.
MetalInsider.net: On first listen, ["Unto The Locust" is] a way ambitious record, and you're doing things that I've never heard on a MACHINE HEAD album before. Was it a conscious effort to stretch and do more than you've done before?
Flynn: I would love to say I had this grand vision, but if you sat in the MACHINE HEAD jam room, it's just so "Beavis And Butt-Head". It's like, "What do you think of this riff?" "Oh, that's cool." "What do you think of this riff?" We just try stuff, and sometimes I get these crazy ideas. I just try and write it out, and the dudes just let me go with it thankfully.
MetalInsider.net: It seems like there are more harmonies than there's been before.
Flynn: Yeah, and there's a lot of — a lot of musicality. The neo-classical influence coming in really opened up a lot of doors that we could have. You know, where as opposed to your having just evil notes, and I'm not — that's how schooled I am. I call it evil notes, or sad notes, or happy notes, or you know, like "Go to the third fret, go to the second fret." I don't know any theory, I just hear it in my head. But, to me, having those — as opposed to evil notes, a little more of the sad minor notes — in the classical context, it really opened up melodies, and then you could build things on top of it. And the more that we went, the more ambitious we were, like "Fuck it. Let's just fucking pile it on, and see what happens." Better to go too far and then pull back, than never go far enough.
MetalInsider.net: It seems like on "The Blackening", your songs started getting longer and more epic. Were you trying to do that? Kind of as a reaction to maybe the "Supercharger" era, where you were kind of writing, it seemed, more radio single-y type stuff?
Flynn: We've always had long songs. I mean, "Burn My Eyes" — "A Thousand Lies" was seven minutes, "A Nation on Fire" was seven minutes, "Death Church" was six minutes. You know, "Supercharger" — "Trephination" was seven minutes. With that record, the first four songs that we wrote, there was no indication that the songs were going to be long. The first four songs that we wrote were the shortest songs on the record — "Beautiful Mourning", "Slanderous", "Aesthetics Of Hate", "Now I Lay Thee Down". The first four months of the recording it was just where we were going. And then, at some point, "Clenching" came along. We've never written for the radio. We've never timed our songs, and gone, "Is this gonna work?" We just write until we feel it's done. And when we timed "Clenching", we were all fucking shocked. Like, "This fucking song is 10 minutes fucking long, and it's killer!" It doesn't feel like it's 10 minutes long. You know what I mean?
MetalInsider.net: I don't think any of your songs do really.
Flynn: And that's great. I mean, that's a huge compliment to hear. I mean, some bands write a 4-minute song, and it feels like a 10-minute song, you know? I've always wanted to write a song in the classic sense and structure of a pop song.
MetalInsider.net: Like verse, chorus, verse?
Flynn: Verse, chorus, verse. Yeah, I want hooks. I want things that repeat. I don't want to write riff soup. I've never wanted to do that. Even my favorite bands — you know, MERCYFUL FATE, METALLICA — there was still a song in there. Maybe in between that, they took all these turns and twists, but eventually it came back to the song. And I still feel that's very important. Sometimes they're shorter, sometimes they're longer. You can plan all you want to, but at the end of the day, more often than not, the music will only go one way. You have to let the music take you where it's going.
"The Hunter", the new album from Atlanta progressive metallers MASTODON, sold 39,000 copies in the United States in its first week of release to land at position No. 10 on The Billboard 200 chart. The band's previous CD, "Crack The Skye", opened with 41,000 units back in April 2009 to debut at No. 11. MASTODON's 2006 effort, "Blood Mountain", came in with just over 24,000 units — significantly more than the 8,000 first-week tally registered by its predecessor, 2004's "Leviathan" — which put it at No. 32.
"The Hunter" was made available in several configurations that feature an exciting interactive 3D experience known as Augmented Reality. The technology, created by Los Angeles-based company Total Immersion, combines virtual and real worlds to create a 3D one-of-a-kind interactive experience that users can control. Just by using a camera on a computer, their own face and the cover art on "The Hunter", the user can turn themselves into "The Hunter" sculpture that is pictured on the cover.
The physical configurations for "The Hunter" are as follows:
* Standard CD: Includes the album's 13 tracks, plus a basic Augmented Reality Experience in which the users head becomes the "creature" on the album's front cover in full 3D.
* Deluxe Physical CD/DVD: Sold as a 13-song digipack with an alternative cover, this package includes the standard CD, with the basic Augmented Reality Experience, plus a DVD that includes a track-by-track, psychedelic visualizer, the "Deathbound" and "Black Tongue" videos.
* Direct-To-Fan Package: This exclusive package is comprised of the complete 13-song digipack album. Additionally, buyers received two digital bonus tracks on day of release. An exclusive insert was included which triggers an enhanced Augmented Reality Experience and contains additional embedded content. Also included is a 20" x 30" lenticular poster of the standard album cover artwork.
"The Hunter" track listing:
01. Black Tongue
02. Curl Of The Burl
03. Blasteroid
04. Stargasm
05. Octopus Has No Friends
06. All The Heavy Lifting
07. The Hunter
08. Dry Bone Valley
09. Thickening
10. Creature Lives
11. Spectrelight
12. Bedazzled Fingernails
13. The Sparrow
14. The Ruiner (limited-edition bonus track)
15. Deathbound (limited-edition bonus track)
The follow-up to 2009's "Crack The Skye" was MASTODON's third studio CD to be made available on Reprise Records in the U.S. and Canada and the band's first to be issued through Roadrunner Records outside of North America.
"The Hunter" was recorded at Doppler Studios in Atlanta with producer Mike Elizondo. Drum tracks were previously completed in Los Angeles at the legendary Sound City Studios where NIRVANA's masterwork "Nevermind" was recorded.
MASTODON's "Curl Of The Burl" video can be seen below. Drummer Brann Dailor came up with the concept for the clip, which was helmed by director Roboshobo (a.k.a. Robert Schober; METALLICA's "All Nightmare Long"), who previously worked with MASTODON on the "Divinations" and "Sleeping Giant" videos.
"The Hunter" was made available in several configurations that feature an exciting interactive 3D experience known as Augmented Reality. The technology, created by Los Angeles-based company Total Immersion, combines virtual and real worlds to create a 3D one-of-a-kind interactive experience that users can control. Just by using a camera on a computer, their own face and the cover art on "The Hunter", the user can turn themselves into "The Hunter" sculpture that is pictured on the cover.
The physical configurations for "The Hunter" are as follows:
* Standard CD: Includes the album's 13 tracks, plus a basic Augmented Reality Experience in which the users head becomes the "creature" on the album's front cover in full 3D.
* Deluxe Physical CD/DVD: Sold as a 13-song digipack with an alternative cover, this package includes the standard CD, with the basic Augmented Reality Experience, plus a DVD that includes a track-by-track, psychedelic visualizer, the "Deathbound" and "Black Tongue" videos.
* Direct-To-Fan Package: This exclusive package is comprised of the complete 13-song digipack album. Additionally, buyers received two digital bonus tracks on day of release. An exclusive insert was included which triggers an enhanced Augmented Reality Experience and contains additional embedded content. Also included is a 20" x 30" lenticular poster of the standard album cover artwork.
"The Hunter" track listing:
01. Black Tongue
02. Curl Of The Burl
03. Blasteroid
04. Stargasm
05. Octopus Has No Friends
06. All The Heavy Lifting
07. The Hunter
08. Dry Bone Valley
09. Thickening
10. Creature Lives
11. Spectrelight
12. Bedazzled Fingernails
13. The Sparrow
14. The Ruiner (limited-edition bonus track)
15. Deathbound (limited-edition bonus track)
The follow-up to 2009's "Crack The Skye" was MASTODON's third studio CD to be made available on Reprise Records in the U.S. and Canada and the band's first to be issued through Roadrunner Records outside of North America.
"The Hunter" was recorded at Doppler Studios in Atlanta with producer Mike Elizondo. Drum tracks were previously completed in Los Angeles at the legendary Sound City Studios where NIRVANA's masterwork "Nevermind" was recorded.
MASTODON's "Curl Of The Burl" video can be seen below. Drummer Brann Dailor came up with the concept for the clip, which was helmed by director Roboshobo (a.k.a. Robert Schober; METALLICA's "All Nightmare Long"), who previously worked with MASTODON on the "Divinations" and "Sleeping Giant" videos.
San Francisco Bay Area metallers VICIOUS RUMORS will support HAMMERFALL on the second leg of the Swedish metal band's European headlining tour.
Commented VICIOUS RUMORS guitarist Geoff Thorpe: "This will be the highlight of our year! After doing three festivals with HAMMERFALL last summer, we were honored to be invited to join the Swedish metal gods for this tour.
"VICIOUS RUMORS is known for their high-energy show and the band is hot after months of touring. Every show will be a night to remember as VICIOUS RUMORS return to Europe for this end-of-the-year European tour. The best is yet to come!"
VICIOUS RUMORS will support HAMMERFALL on the following dates:
Nov. 27 - Trencin, Slovakia - Piano
Nov. 28 - Budapest, Hungary - Petöfi Hall
Nov. 30 - Bucharest, Romania - Hard Rock Café
Dec. 01 - Belgrade, Serbia - SKC
Dec. 02 - Zagreb, Croatia - Boogaloo
Dec. 03 - Ljubljana, Slovenia - Siska
Dec. 04 - Passau, Germany - Dreiländerhalle
Dec. 06 - Barcelona, Spain - Salamandra 1
Dec. 07 - Madrid, Spain - Sala Heineken
Dec. 08 - Seville, Spain - Fanatic
Dec. 09 - Porto, Portugal - Hard Club
Dec. 10 - Bilbao, Spain - Santana 27 Gold
VICIOUS RUMORS's latest album, "Razorback Killers", was released in Europe on March 28 (except in Germany, where it arrived three days earlier) and in the U.S. on April 5 via SPV/Steamhammer. The CD was recorded at Trident Studios in Pacheco, California with producers Juan Urteaga and Geoff Thorpe.
VICIOUS RUMORS 2011 is:
Larry Howe - Drums
Brian Allen (LAST EMPIRE, MALICE, WILD DOGS) - Vocals
Kiyoshi Morgan - Guitar
Stephen Goodwin - Bass
Geoff Thorpe - Guitar
Commented VICIOUS RUMORS guitarist Geoff Thorpe: "This will be the highlight of our year! After doing three festivals with HAMMERFALL last summer, we were honored to be invited to join the Swedish metal gods for this tour.
"VICIOUS RUMORS is known for their high-energy show and the band is hot after months of touring. Every show will be a night to remember as VICIOUS RUMORS return to Europe for this end-of-the-year European tour. The best is yet to come!"
VICIOUS RUMORS will support HAMMERFALL on the following dates:
Nov. 27 - Trencin, Slovakia - Piano
Nov. 28 - Budapest, Hungary - Petöfi Hall
Nov. 30 - Bucharest, Romania - Hard Rock Café
Dec. 01 - Belgrade, Serbia - SKC
Dec. 02 - Zagreb, Croatia - Boogaloo
Dec. 03 - Ljubljana, Slovenia - Siska
Dec. 04 - Passau, Germany - Dreiländerhalle
Dec. 06 - Barcelona, Spain - Salamandra 1
Dec. 07 - Madrid, Spain - Sala Heineken
Dec. 08 - Seville, Spain - Fanatic
Dec. 09 - Porto, Portugal - Hard Club
Dec. 10 - Bilbao, Spain - Santana 27 Gold
VICIOUS RUMORS's latest album, "Razorback Killers", was released in Europe on March 28 (except in Germany, where it arrived three days earlier) and in the U.S. on April 5 via SPV/Steamhammer. The CD was recorded at Trident Studios in Pacheco, California with producers Juan Urteaga and Geoff Thorpe.
VICIOUS RUMORS 2011 is:
Larry Howe - Drums
Brian Allen (LAST EMPIRE, MALICE, WILD DOGS) - Vocals
Kiyoshi Morgan - Guitar
Stephen Goodwin - Bass
Geoff Thorpe - Guitar
CHICKENFOOT's sophomore album, "III", sold 42,000 copies in the United States in its first week of release to land at position No. 9 on The Billboard 200 chart. The band's self-titled debut opened with 49,000 units back in June 2009 to debut at No. 6.
"III" was produced by Mike Fraser (AC/DC, METALLICA) and is the much-anticipated follow-up album to the successful eponymous debut of a rock band packed with successful veterans — guitar hero Joe Satriani, drummer Chad Smith, former VAN HALEN bassist Michael Anthony and frontman Sammy Hagar.
"I am very proud of the new album," says lead singer Hagar.
"We're calling the album 'Chickenfoot III' because it's so good, the songs are so tight, it's like we jumped right past having to make a second record." He adds, "We've established a real trust, Joe and I, we truly bring out the best in one another, and that spreads to the whole band."
"Chickenfoot III" features 10 tracks with so many moments of epiphany that one can barely take them all in on first listen. Colossal, stadium-shaking riffs abound on earth-movers such as "Alright, Alright", "Last Temptation", "Bigfoot" and "Lighten Up".
Tradition meets innovation on the Nashville pop-tinged "Different Devil", the Delta-blues flavored "Something Going Wrong" and the aching rock ballad "Come Closer".
"Come Closer" marks a dramatic twist in that Hagar wrote the words first and Joe Satriani composed the music to suit the lyrics. Elsewhere, CHICKENFOOT tackles issues such as mortality in "Up Next" and the world's economy in "Three And A Half Letters" on hard-as-nails cuts that rock the body while filling one's senses.
Joe Bosso of MusicRadar says, "In an era when the relevance of the album as an art form is under close scrutiny, CHICKENFOOT comes roaring back with the perfect answer: a superlative, hook-filled rock 'n' roll disc that simply must be experienced from start to finish. Tough yet full of intricate textures, played by musicians at the top of their game, this is the kind of record that bands both young and old dream of making."
"Chickenfoot III" track listing:
01. Last Temptation
02. Alright Alright
03. Different Devil
04. Up Next
05. Lighten Up
06. Come Closer
07. Three And A Half Letters
08. Big Foot
09. Dubai Blues
10. Something Going Wrong
"III" was produced by Mike Fraser (AC/DC, METALLICA) and is the much-anticipated follow-up album to the successful eponymous debut of a rock band packed with successful veterans — guitar hero Joe Satriani, drummer Chad Smith, former VAN HALEN bassist Michael Anthony and frontman Sammy Hagar.
"I am very proud of the new album," says lead singer Hagar.
"We're calling the album 'Chickenfoot III' because it's so good, the songs are so tight, it's like we jumped right past having to make a second record." He adds, "We've established a real trust, Joe and I, we truly bring out the best in one another, and that spreads to the whole band."
"Chickenfoot III" features 10 tracks with so many moments of epiphany that one can barely take them all in on first listen. Colossal, stadium-shaking riffs abound on earth-movers such as "Alright, Alright", "Last Temptation", "Bigfoot" and "Lighten Up".
Tradition meets innovation on the Nashville pop-tinged "Different Devil", the Delta-blues flavored "Something Going Wrong" and the aching rock ballad "Come Closer".
"Come Closer" marks a dramatic twist in that Hagar wrote the words first and Joe Satriani composed the music to suit the lyrics. Elsewhere, CHICKENFOOT tackles issues such as mortality in "Up Next" and the world's economy in "Three And A Half Letters" on hard-as-nails cuts that rock the body while filling one's senses.
Joe Bosso of MusicRadar says, "In an era when the relevance of the album as an art form is under close scrutiny, CHICKENFOOT comes roaring back with the perfect answer: a superlative, hook-filled rock 'n' roll disc that simply must be experienced from start to finish. Tough yet full of intricate textures, played by musicians at the top of their game, this is the kind of record that bands both young and old dream of making."
"Chickenfoot III" track listing:
01. Last Temptation
02. Alright Alright
03. Different Devil
04. Up Next
05. Lighten Up
06. Come Closer
07. Three And A Half Letters
08. Big Foot
09. Dubai Blues
10. Something Going Wrong
Call it "hair metal," "glam metal," or "sleaze rock," but the unique sound that came from the Sunset Strip in 80s Los Angeles was once the dominant vibe of commercial radio. Guns N' Roses' sonic masterpiece, Appetite for Destruction, emerged as the high point of the genre, which subsequently expanded and diluted as record labels rushed forth to cash in on the cultural hysteria. Weaker, lighter fare, packaged as "metal" and "hard rock," found overexposure on MTV and by the decade's end, the music industry was already searching for the next big thing.
The 90s saw hair metal reduced to butt-of-joke status as gravely serious bands like Pearl Jam and Nirvana rolled out music that was low on image but high on intensity. Some hold that grunge killed hair metal, but the fallacy of that statement is that hair metal never died- it simply returned to its hardcore fans. In that process, many of the 80s' biggest names failed to move on to the next millennium, but of those that did, none made music with the consistency and caliber of L.A. Guns.
One of the seminal bands of Hollywood's glam metal movement, L.A. Guns, whose debut album sold over a million copies, has survived more personnel changes than a movie theater, and after nearly 30 years, founder and guitarist Tracii Guns is commemorating the band's legacy with their first ever acoustic album- L.A. Guns: Acoustic Gypsy Live.
What makes this release worthy of a listen? Simply this- it is a meticulously-arranged, high quality rock album, and that's all a music fan ever needs. There are no gimmicks like guest appearances from rappers or pop stars, nor is there a glitzy video full of scantily-clad women caressing pieces of fruit. The music stands on its own, rich in production and deep in musicianship. Recorded at L.A.'s famed Hotel Cafe, Acoustic Gypsy is a bluesy, 14-track set that includes their commercial hits, some live favorites, and a pair of soulful covers (Boudleaux Bryant's "Love Hurts" and Otis Redding's "These Arms of Mine") that expose Tracii's reverence for the music that preceded him.
With this week's release of Acoustic Gypsy and a tour to follow, I sat down with Tracii to get his thoughts on making the album, his opinion of grunge and his all-time fantasy collaboration. I was prepared for neither his answers nor his stunning announcement at the end of the interview.
Joe Daly: Let's talk about the new album- this is your first acoustic album in 29 years, so why now?
Tracii Guns: Well, I'd never really thought about it before. I've had a lot of suggestions brought to me through the years, like instrumental records and solo records, but never really an acoustic project. With L.A. Guns, we just didn't have enough material to make a brand new, original record and our managers at the time- Jason Kramer and Jason Rothberg said, "Hey, you know we've got a good connection over at the Hotel Cafe. What do you think about doing an acoustic album?" At first we weren't sure. Nobody in the band played acoustically, other than myself, and I don't play that much acoustic guitar. So I thought about it and I figured that if I could put a big band together with a lot of guys playing different instruments and stuff like that that it would be not just a re-recording of the songs, but it would be something creative and something that could give old songs a different angle. I thought that if we could pull it off, it could be a great idea.
It was about five months between the initial contact and the two gigs when we were going to record it live and it was kind of a nerve-wracking four months for me before I hired the guys and everybody decided what instrument they were going to play. Then we did a little over a solid week of long rehearsals. There are a lot of chord inversions and things so it doesn't just sound like a campfire thing, and when we got it together and it happened, it turned out to be really good. I'm actually pretty happy with it.
When you say "campfire thing," I assume you mean you weren't just going to play the original electric versions of the songs on acoustic guitars. So how did you deconstruct the songs and then re-imagine them? What was your approach to arranging the material?
Yeah, I thought, "If I had the chance to physically go into the studio and do acoustic versions of the songs, then how would I approach it?" The first thing I thought of was piano, organ and strings, and stuff like that. I had to ask myself "How do I make these songs sound as full as they would sound with a giant, big, fat guitar covering everything," which is generally how those songs were written. And so the best way to do it was to really color it. Since the invention of things like Garageband and home recording stuff, for years now I've really had the opportunity to experiment with music and try different things, so I had a pretty good idea of how to color each song, and it was just kind of experimenting once we all got in there.
Ninety percent of the time, the original idea of how to do a song worked well, and then obviously I had input from the other players who were right on the money with some great suggestions. These guys all have tons of experience in even acoustic music, so yeah, there was definitely a thought process that went into it and had I had even a bigger budget, I could have gone a bit more nuts, but I think that it ended up being very appropriate for what the songs called for. We were asked back in the "Unplugged" days for L.A. Guns to do a VH1 "Unplugged" and the thought was that we would never rehearse it- we'd just run into the studio with these acoustic guitars and hack the songs to bits. So that was the only other time it was brought up, and we said "No." Sometimes for something to be great, you've got to wait a long time. The timing has to be right, and there's a lot of experience that goes into writing hair metal on acoustic instruments. (laughs)
The album sounds very heavy- did you tune down at all? How did you bring the heaviness through an acoustic sound?
We generally tune to E flat live in the rock set, so we tuned to E flat but I think that what really gives it that warmth and that bottom end is that we have electric bass on it, which just makes such a huge difference. We didn't call up an acoustic guitar company and say, "Hey, can you send me over an acoustic bass because we're doing an acoustic thing." I mean, you want full bass in everything. I don't care what kind of music it is, bass is the thing that makes you feel like you're in a bathtub, you know?
So we had electric bass, the tuning is low and the melodies are high, so you have great separation between the instruments and the vocals. You really get a mini-orchestra feel when everything's separated like that. And I also think that the with the aggressiveness of the actual musicians who are used to playing rock in a live situation, we hit it hard. We weren't able to turn the amplifiers up, so on tunes like "Sex Action" I think everybody was probably hitting it hard.
You certainly had no shortage of material to choose from- how did you end up with the final setlist?
Oh, boy. That was the thing that was really nerve-wracking. There were other songs like "Malaria" and "Magdalaine" and some other things I was looking at. There was a song on Shrinking Violet called "Barbed Wire" that I thought would have been really cool for something like this and in the end, when I'd just play it on acoustic, it sounded really mundane, and I realized it wouldn't work. Obviously there were hit songs that we had to do, and crowd favorites that we had to do. With something like this, it is kind of a greatest hits thing, so I thought there were probably eight songs that were necessary. Then we wanted to do the Otis Redding song ("These Arms of Mine"), which is something that (singer) Jizzy (Pearl) and I always wanted to do, and this was a perfect outlet for that. The only song that Jizzy and I had written in the last two years was "Little Soldier" and we had written that acoustically- we had never played it electrically, so that one made sense. "Love Hurts" was really soothing for Jizzy's voice, so we thought that was a great idea, and then the rockers like "Never Enough," "Sex Action," and "Rip and Tear" were kind of an afterthought. We thought, "Hey, let's throw some of these rockers on there," and we went over those the last two days of rehearsal. We changed the rhythms up a little bit to make them feel a little bit warmer, because when we just plaid them straight, like the electric versions, it really got lost in translation so I think we managed to change the rhythms appropriately and give it more of a woody sound and have it make more sense for that kind of instrumentation.
I'm glad you hit on the covers ("Love Hurts," "These Arms of Mine")- those were pretty unusual. Were there other covers that you were considering that didn't make the cut? Was it tough narrowing it down to just those two?
Yeah, in a way it was because there were obvious choices, like a Stones song, and there was a Zeppelin song that we were gonna do- "Hey, Hey What Can I Do." We talked about that a lot, but those things are kind of a bit too obvious. We wanted stuff that a typical L.A. Guns fan, not like the hardcore fan, but just a regular fan who goes out to buy the record- we wanted to give them a surprise. Something different, something they wouldn't expect. So once we decided not to do "Angie" and "Hey Hey What Can I Do," we asked "Well what songs do we love that make sense for us?" With Teddy (Andreadis) playing piano, we had to ask what makes sense for that as well. We were even thinking about doing "Baby I Love You," by Aretha Franklin, which I think would have been better suited for an electric sound. Had we decided to do a double record, then the whole other CD would have been covers, because there are so many cool cover songs that you could do acoustically. Even Jim Croce or Harry Chapin- that's stuff we listen to, but that's a whole different record.
Loads of people are now looking back and saying that grunge killed hair metal. Is that a fair statement?
No, it's not a fair statement and it's very telling of the macho attitude of the rock bands from the 80s, who put the blame on anybody but themselves. Most of my peers want to be right as opposed to being smart, so there's the great hair metal bands of the 80s all pointing fingers. It's the only genre where the camaraderie among bands is zero. (laughs) It's really weird. I think that good music is good music, period. One of the things with hip hop and R&B is that these cats get popular because they tell stories. Real stories that people can relate to. A good love song never gets old because people fall in and out of love every day.
The thing with grunge, and I really don't know exactly what that is, but when I think of grunge I think of Alice in Chains. These are songs that had a little bit more insight than getting in the back of a car and banging a chick, you know? I think there's a huge audience that didn't like what all the 80s bands were doing, and then these (grunge) bands came out, and they were a bit more realistic and a little bit more heartfelt. They were a lot less macho and I think that they related to people on a one-on-one basis. It wasn't about the pyrotechnics and things like that. People are always waiting for something new. I mean, Zeppelin, and the Beatles, and Hendrix, and the Stones, and Pink Floyd and Janis- they already got it right and everything after was just a spin on that stuff.
You mentioned the competition amongst 80s bands, but at the same time, it seems as though so many of the artists have all passed through each other's band at some point or another.
Yeah. Oh yeah. There are a lot of out of work guys.
Apart from L.A. Guns, what's been your favorite "side project," for lack of a better term?
Well, the Brides of Destruction was one of the highlights of my life, musically. In a way, it was nice to be in a band that I actually put together, with a partner who was actually on my ass, to motivate me in different ways, to open my eyes in different directions and to give more thought to a live performance in the way of a show as opposed to the old method. I'm from the school of thought where you put drums and amps on stage and you're a great band if you're a great band, and if you're a shitty band then it's pretty obvious.
Nikki (Sixx) made it apparent to me that if you're a great band and you have this (showmanship), it's even better. So that was fun. It was fun having guys come down to the studio and paint our amplifiers and build our mike stands and props and all that stuff. Which we had in L.A. Guns at certain points in our career, but it always seemed like a pain in the ass. While we should be sound checking or writing songs, there was always a crew on stage putting something together for hours. And I always felt that that took away from what I truly love, and that's just to play.
But that was exciting. I got to play the Download festival and play Motley Crue songs, and our own original songs, and L.A. Guns songs. So that one encompassed everything that I had done twenty years before into that one band, and I was really proud to play in a band with Nikki Sixx. It was a great experience for me.
Is there anyone that you haven't collaborated with yet who's on your hit list? Who's your dream collaboration?
Well, I doubt it will every happen because everyone's getting older, but I've always wanted to do a really traditional 50s rock and roll record with Glenn Danzig. He just has that crooning voice and I love a lot of the stuff that he's done on his own, I love the Misfits stuff that he did, and it would be another direction for him. But he doesn't really do side projects. I reached out to him, and he wanted me to play guitar in Danzig which I thought would be cool. But a guy like that, with a voice like that really lends itself to the Righteous Brothers and stuff like that… I can really visualize what that would sound like, with big, giant clean guitars, weepy bass and the kind of mono-recorded drums and Glen's romantic, dark voice. That's really the only thing, the only guy that I'd really like to do something with.
Other than that, I have another band besides L.A. Guns with a guy named Bronxstyle Bob (Tracii Guns and the Bastard Blues Band) who had a couple hits in the early 90s. He's a really big black guy with a really soulful kind of Stevie Wonder style, and we're writing some really heavy duty Jimi Hendrix-meets-Sly and the Family Stone stuff right now. Once we get enough stuff together we'll probably start pursuing that stuff a little bit more.
So can we expect an album?
Yeah- we have a bunch of original stuff and we've got some stuff recorded already. We've got a couple soundtrack things like a "Summer in the City" cover that we did for a movie called Freaky Deaky, and we just recorded a Stephen Malkmus song, and Stephen Malkmus recorded an L.A. Guns song, and that's coming out as a split single. So we have a lot of very strange, different, odd recordings. We're just waiting until we have enough material that it makes sense to do an album. By definition of an album, I mean there should be some cohesion. So we're just taking our time and playing with different guys and it's an ongoing process. Once it's right, it will get out.
Who's your favorite in the new crop of bands?
The Heavy. It's a British band and the singer's name is Kevin Swaby. They're only channel so far has been through cheesy commercials in the Super Bowl, but they really are a mix of a psychedelic 60s rhythm section with a very R&B, funny lyrics. The guy's voice is so soulful, and they've got a little punk rock edge to them. They've been around for about five or six years, I guess, and they really captured my attention in the last six or seven months. To me it sounds like Led Zeppelin with Stevie Wonder singing. It's just awesome. That's really about all I've been listening to.
So you're getting ready to head out on tour with L.A. Guns. Where are you going and what kind of venues are you hitting?
This brings up one thing we haven't touched on yet- we have a new singer now. Jizzy left the band about three days before the album came out. He was tired of the grind- we're like a little army unit the way we work hard, and he put in his two years. There's no hard feelings over it, and we announced yesterday that Dilana, from the Rockstar: Supernova show is our new singer. So that's what we've been doing. We'll start our tour on October 21 in San Antonio, and we'll go through Texas and then on a diagonal line straight up to the northeast, and we're gonna be in that area for about three weeks, then we're going to hit the southeast, and then the south from the end of November, through December. So that's what's next.
With the new singer, are there going to be any stylistic changes from what people are used to on the albums? Did you have to change anything you did with Jizzy to fit the new vocals?
Dilana really has her own style. She's very bluesy- upper mid-register, and when she hits those high notes, it sounds clear as a bell. Women just have a different set of vocal cords. A lot of L.A. Guns stuff is sung in that register, anyway. You hear guys singing in L.A. Guns and it sounds like they're straining, and the really cool thing with Dilana is that those higher registers are really clean. But the thing is that we're doing a rock set- we're not doing an acoustic set, and there was no intention to do an acoustic set unless for some strange reason the record went through the roof. But we're on the verge of some really great things, so for us to do an acoustic thing live… maybe down the road, it's not out of the question, but for now, we're sticking to the rock set and we're probably going to be adding some songs that we haven't played live in years, because she can sing some of these songs that other people couldn't. We just got started. We had our audition process yesterday and she got the gig, so we've got a solid three weeks of banging our heads together to get the set together. It's pretty exciting having a chick in L.A. Guns. I can't wait to see the look on people's faces with a girl singing "Sex Action." (laughs)
Sounds fun.
It's fun and scary, (laughs) but we can't wait. We're ready to get back out on the road- it's gonna be a lot of fun.
"Kicking & Screaming", the new album from former SKID ROW frontman Sebastian Bach, sold 6,600 copies in the United States in its first week of release to land at position No. 73 on The Billboard 200 chart. The singer's previous CD, "Angel Down", opened with 6,400 units back in November 2007 to debut at No. 190.
"Angel Down" has shifted 43,000 copies in the U.S. so far, according to Nielsen SoundScan.
Released on September 27 via Frontiers Records, "Kicking & Screaming" was produced by Bob Marlette (BLACK SABBATH, SHINEDOWN, ATREYU, FILTER) and features young virtuosic guitarist Nick Sterling and drum pro Bobby Jarzombek (HALFORD, RIOT, ICED EARTH). The follow-up to 2007's "Angel Down" was mastered at Precision Mastering in Los Angeles with Tom Baker.
"Kicking & Screaming" track listing:
01. Kicking & Screaming
02. My Own Worst Enemy
03. TunnelVision (featuring John 5)
04. Dance On Your Grave
05. Caught In A Dream
06. As Long As I Got The Music
07. I'm Alive
08. Dirty Power
09. Live The Life
10. Dream Forever
11. One Good Reason
12. Lost In The Light
13. Wishin'
Bonus tracks:
14. Jumpin' Off The Wagon (on physical CD/DVD editions only)
15. Ain't There Yet (iTunes exclusive)
The "Kicking & Screaming" video can be seen below. According to a press release, the clip — which is one of two videos that the singer filmed on June 28 in Hollywood, California with director Devin DeHaven of Fortress Entertainment (PAPA ROACH, WHITESNAKE, METHOD MAN, TALIB KWELI) — shows Bach "in fine form highlighting his inimitable vocal prowess, as well as the bone-crunching riffs and catchy hooks of the single."
Commented Sebastian: "I could not be happier with the video for 'Kicking & Screaming'. Director Devin DeHaven did a great job and this video has a lot of energy and power, just like the song. Plus, this video is FUN! Just what rock 'n' roll is about."
Bach stated about his new solo material, "This CD will follow along the lines of 'Skid Row', 'Slave To The Grind', 'Subhuman Race' and 'Angel Down'. If you like rockin' guitar riffs, high-energy songs and performances, deadly drums of doom, and ear-shattering screams, we got your rock right here!" He also described the songs as "heavy, interesting, classic sounding, modern sounding, completely rock 'n' roll — just how we like it!"
"Angel Down" has shifted 43,000 copies in the U.S. so far, according to Nielsen SoundScan.
Released on September 27 via Frontiers Records, "Kicking & Screaming" was produced by Bob Marlette (BLACK SABBATH, SHINEDOWN, ATREYU, FILTER) and features young virtuosic guitarist Nick Sterling and drum pro Bobby Jarzombek (HALFORD, RIOT, ICED EARTH). The follow-up to 2007's "Angel Down" was mastered at Precision Mastering in Los Angeles with Tom Baker.
"Kicking & Screaming" track listing:
01. Kicking & Screaming
02. My Own Worst Enemy
03. TunnelVision (featuring John 5)
04. Dance On Your Grave
05. Caught In A Dream
06. As Long As I Got The Music
07. I'm Alive
08. Dirty Power
09. Live The Life
10. Dream Forever
11. One Good Reason
12. Lost In The Light
13. Wishin'
Bonus tracks:
14. Jumpin' Off The Wagon (on physical CD/DVD editions only)
15. Ain't There Yet (iTunes exclusive)
The "Kicking & Screaming" video can be seen below. According to a press release, the clip — which is one of two videos that the singer filmed on June 28 in Hollywood, California with director Devin DeHaven of Fortress Entertainment (PAPA ROACH, WHITESNAKE, METHOD MAN, TALIB KWELI) — shows Bach "in fine form highlighting his inimitable vocal prowess, as well as the bone-crunching riffs and catchy hooks of the single."
Commented Sebastian: "I could not be happier with the video for 'Kicking & Screaming'. Director Devin DeHaven did a great job and this video has a lot of energy and power, just like the song. Plus, this video is FUN! Just what rock 'n' roll is about."
Bach stated about his new solo material, "This CD will follow along the lines of 'Skid Row', 'Slave To The Grind', 'Subhuman Race' and 'Angel Down'. If you like rockin' guitar riffs, high-energy songs and performances, deadly drums of doom, and ear-shattering screams, we got your rock right here!" He also described the songs as "heavy, interesting, classic sounding, modern sounding, completely rock 'n' roll — just how we like it!"
Former SKID ROW frontman Sebastian Bach has posted the following message on his Facebook page:
"Wow, I don't know what to say! For four years I have waited for this day.
"The new CD/DVD/LP, 'Kicking & Screaming', sold 7,089 copies this week and just debuted on the Billboard Current Albums chart at #67! And on the Top 200 album chart at #73! My last CD, 'Angel Down' debuted on the same chart in 2007 at #190. So to say 'things are looking up' is an understatement!
[Note: According to Nielsen SoundScan, 'Kicking & Screaming' sold 6,600 copies this week. — Ed.]
"Today marks the highest position I have been on the Billboard Top 200 since 1995... and the highest ever as a solo artist, so THANK you, USA !!! I am happiest about this because this means we will get to make another one!! Yeah!! Thanks to all of you who went out and got the album!
"Here are the 'Kicking & Screaming' first-week Billboard chart positions:
Top Current Albums: #67
Billboard Top 200: #73
Top Independant Current Albums: #9
Top Current Rock Albums: #15
Current Hard Music Albums: #6
Top Hard Music Albums: #7
"Also in the U.K.:
BBC Top 40 Rock Albums: #30
"Thanks to all who helped with the record, especially The Rick Sales Entertainment Group, Frontiers Records, Bob Marlette, Tom Baker, Bobby Jarzombek, but most of all, my partner in crime on this record, Mr. Nick Sterling [guitar]. Thanks for the great collaboration because 'As Long As I Got the Music', 'I'm Alive'. Never have words fit me more! Thanks, man. See you all soon on the road!"
"Angel Down" opened with 6,400 units back in November 2007 to debut at position No. 190 on The Billboard 200 chart. The CD has shifted 43,000 copies in the U.S. so far, according to Nielsen SoundScan.
Released on September 27 via Frontiers Records, "Kicking & Screaming" was produced by Bob Marlette (BLACK SABBATH, SHINEDOWN, ATREYU, FILTER) and features young virtuosic guitarist Nick Sterling and drum pro Bobby Jarzombek (HALFORD, RIOT, ICED EARTH). The follow-up to 2007's "Angel Down" was mastered at Precision Mastering in Los Angeles with Tom Baker.
"Kicking & Screaming" track listing:
01. Kicking & Screaming
02. My Own Worst Enemy
03. TunnelVision (featuring John 5)
04. Dance On Your Grave
05. Caught In A Dream
06. As Long As I Got The Music
07. I'm Alive
08. Dirty Power
09. Live The Life
10. Dream Forever
11. One Good Reason
12. Lost In The Light
13. Wishin'
Bonus tracks:
14. Jumpin' Off The Wagon (on physical CD/DVD editions only)
15. Ain't There Yet (iTunes exclusive)
The "Kicking & Screaming" video can be seen below. According to a press release, the clip — which is one of two videos that the singer filmed on June 28 in Hollywood, California with director Devin DeHaven of Fortress Entertainment (PAPA ROACH, WHITESNAKE, METHOD MAN, TALIB KWELI) — shows Bach "in fine form highlighting his inimitable vocal prowess, as well as the bone-crunching riffs and catchy hooks of the single."
"Wow, I don't know what to say! For four years I have waited for this day.
"The new CD/DVD/LP, 'Kicking & Screaming', sold 7,089 copies this week and just debuted on the Billboard Current Albums chart at #67! And on the Top 200 album chart at #73! My last CD, 'Angel Down' debuted on the same chart in 2007 at #190. So to say 'things are looking up' is an understatement!
[Note: According to Nielsen SoundScan, 'Kicking & Screaming' sold 6,600 copies this week. — Ed.]
"Today marks the highest position I have been on the Billboard Top 200 since 1995... and the highest ever as a solo artist, so THANK you, USA !!! I am happiest about this because this means we will get to make another one!! Yeah!! Thanks to all of you who went out and got the album!
"Here are the 'Kicking & Screaming' first-week Billboard chart positions:
Top Current Albums: #67
Billboard Top 200: #73
Top Independant Current Albums: #9
Top Current Rock Albums: #15
Current Hard Music Albums: #6
Top Hard Music Albums: #7
"Also in the U.K.:
BBC Top 40 Rock Albums: #30
"Thanks to all who helped with the record, especially The Rick Sales Entertainment Group, Frontiers Records, Bob Marlette, Tom Baker, Bobby Jarzombek, but most of all, my partner in crime on this record, Mr. Nick Sterling [guitar]. Thanks for the great collaboration because 'As Long As I Got the Music', 'I'm Alive'. Never have words fit me more! Thanks, man. See you all soon on the road!"
"Angel Down" opened with 6,400 units back in November 2007 to debut at position No. 190 on The Billboard 200 chart. The CD has shifted 43,000 copies in the U.S. so far, according to Nielsen SoundScan.
Released on September 27 via Frontiers Records, "Kicking & Screaming" was produced by Bob Marlette (BLACK SABBATH, SHINEDOWN, ATREYU, FILTER) and features young virtuosic guitarist Nick Sterling and drum pro Bobby Jarzombek (HALFORD, RIOT, ICED EARTH). The follow-up to 2007's "Angel Down" was mastered at Precision Mastering in Los Angeles with Tom Baker.
"Kicking & Screaming" track listing:
01. Kicking & Screaming
02. My Own Worst Enemy
03. TunnelVision (featuring John 5)
04. Dance On Your Grave
05. Caught In A Dream
06. As Long As I Got The Music
07. I'm Alive
08. Dirty Power
09. Live The Life
10. Dream Forever
11. One Good Reason
12. Lost In The Light
13. Wishin'
Bonus tracks:
14. Jumpin' Off The Wagon (on physical CD/DVD editions only)
15. Ain't There Yet (iTunes exclusive)
The "Kicking & Screaming" video can be seen below. According to a press release, the clip — which is one of two videos that the singer filmed on June 28 in Hollywood, California with director Devin DeHaven of Fortress Entertainment (PAPA ROACH, WHITESNAKE, METHOD MAN, TALIB KWELI) — shows Bach "in fine form highlighting his inimitable vocal prowess, as well as the bone-crunching riffs and catchy hooks of the single."
On Monday, October 17, Las Vegas' favorite band SIN CITY SINNERS will be joined by special guest Sebastian Bach (SKID ROW) at The Crown Theater (inside The Rio Hotel) in Las Vegas. In addition to playing hits from SKID ROW, Sebastian will perform his new single, "Kicking & Screaming", with the SINNERS.
For FREE tickets, go to this location.
The SIN CITY SINNERS lineup for the October 17 show will feature Brent Muscat (FASTER PUSSSYCAT), Rob Cournoyer (RAGING SLAB), Dr. Michael Ellis, Louie Merlino (BEGGARS & THIEVES) and Jimmy Crespo (former lead guitarist of AEROSMITH).
In 2010, SIN CITY SINNERS released two CDs of original music, "Exile on Fremont Street" and the all-acoustic "Broken Record". The SINNERS' music video, "Goin' To Vegas", received the 32nd annual Telly Award and the track "Numb" was nominated for an AVN award for "Best Original Song".
SIN CITY SINNERS is currently in the studio recording "A Sinners Christmas", to be released in November. The CD will feature guest appearances by George Lynch (DOKKEN, LYNCH MOB, SOULS OF WE), Slim Jim Phantom (HEADCAT, THE STRAY CATS), Louie Merlino (BEGGARS & THIEVES), Jimmy Crespo (AEROSMITH) and Paul Shortino (ROUGH CUTT, QUIET RIOT), among others.
For FREE tickets, go to this location.
The SIN CITY SINNERS lineup for the October 17 show will feature Brent Muscat (FASTER PUSSSYCAT), Rob Cournoyer (RAGING SLAB), Dr. Michael Ellis, Louie Merlino (BEGGARS & THIEVES) and Jimmy Crespo (former lead guitarist of AEROSMITH).
In 2010, SIN CITY SINNERS released two CDs of original music, "Exile on Fremont Street" and the all-acoustic "Broken Record". The SINNERS' music video, "Goin' To Vegas", received the 32nd annual Telly Award and the track "Numb" was nominated for an AVN award for "Best Original Song".
SIN CITY SINNERS is currently in the studio recording "A Sinners Christmas", to be released in November. The CD will feature guest appearances by George Lynch (DOKKEN, LYNCH MOB, SOULS OF WE), Slim Jim Phantom (HEADCAT, THE STRAY CATS), Louie Merlino (BEGGARS & THIEVES), Jimmy Crespo (AEROSMITH) and Paul Shortino (ROUGH CUTT, QUIET RIOT), among others.
According to TMZ.com, officials have determined that former WARRANT singer Jani Lane died from alcohol poisoning.
The Los Angeles County coroner's office has completed its investigation and concluded Lane had suffered from "acute ethanol poisoning" when he died at a Comfort Inn motel room in Woodland Hills, California on August 11.
TMZ.com previously reported that investigators found a half-empty bottle of vodka and prescription medication in the hotel room where Lane's body was discovered.
"He was one of the great rock-and-roll frontmen and singers of all time," Jani's manager and longtime friend Obi Steinman said. "His music helped shape the '80s."
Lane had battled alcoholism for years and also had a history of alcohol-related arrests. The singer's sister, Vicky Oswald-Ley, told RadarOnline.com that the death of their mother seven years ago affected Lane's battles against alcohol. "She would always talk him into going into rehab and hospitals," she said. "I think when she passed, that desire to stay healthy died too."
"He finally succumbed to that," Steinman said. "He lost his battle over alcohol."
Lane originally left WARRANT in March 1993 but rejoined the band in September 1994. The group went on to record the "Ultraphobic" (1995), "Belly To Belly" (1996) and "Greatest & Latest" (1999) albums and issued and collection of covers, "Under The Influence", in 2001. Jani quit WARRANT again in 2004 before reuniting with the group four years later.
Lane released a solo album, "Back Down to One", in 2003, but shortly after was admitted to a rehab center for alcohol and drug-related exhaustion. He also appeared on VH1's reality series "Celebrity Fit Club".
On July 19, 2010, Lane pled no contest to DUI stemming from his arrest two months earlier — and was ordered to serve 120 days in jail. In addition, Lane lost his license for three years and had to complete a 30-month alcohol-education program.
Prior to serving time in jail for his most recent legal troubles, Lane issued a statement in which he said, in part, "My true hope is that anyone out there dealing with personal problems... the consequences do not get lighter. I can only say I've never regretted a good decision or action and never been proud of bad ones. People have an astounding ability to forgive... I have to start with forgiving myself. That is something that I find far more difficult than I imagined. I think it starts with gratitude."
In a June 2010 interview, Lane spoke about his battle with alcoholism and the negative impact it has had on his career.
"The last year, I've suffered some consequences from drinking that I've never suffered in my entire life," he said. "It's really made me take a step back and go, 'Is this how you want to continue? Is this how you want to finish up?' The answer is no."
He continued, "I'll tell you, one day you think that this is absolutely normal, this is expected, 'This has been my lifestyle for 20 years, what's the problem?' And, all of a sudden, things take a turn, and you go, 'I don't like these consequences. I don't like how this affects my family, I don't like how this affects my career, I don't like how this affects anything.' Then you begin to work."
When asked if his treatment involved going to a rehab, Lane replied, "I have gone to rehabilitation, absolutely. I know some people who want to be quiet about that kind of stuff, but I am not the kind of person who pride is going to win out over saying, 'Hey, I'm honestly getting this in check and fixing this.' It is a very important thing to me. I mean, this just doesn't affect me like it used to. It affects everything in my life, including the people I love. To be honest, I get tired of giving ammo to the people who don't wish me well."
Jani is survived by his wife, Kimberly; a brother, Eric; three sisters, Marcine Williams, Michelle Robinson and Victoria Oswald; a daughter from his first marriage, Taylar Lane; a daughter from his second marriage, Madison Lane; and two stepdaughters, Ryan and Brittany.
The Los Angeles County coroner's office has completed its investigation and concluded Lane had suffered from "acute ethanol poisoning" when he died at a Comfort Inn motel room in Woodland Hills, California on August 11.
TMZ.com previously reported that investigators found a half-empty bottle of vodka and prescription medication in the hotel room where Lane's body was discovered.
"He was one of the great rock-and-roll frontmen and singers of all time," Jani's manager and longtime friend Obi Steinman said. "His music helped shape the '80s."
Lane had battled alcoholism for years and also had a history of alcohol-related arrests. The singer's sister, Vicky Oswald-Ley, told RadarOnline.com that the death of their mother seven years ago affected Lane's battles against alcohol. "She would always talk him into going into rehab and hospitals," she said. "I think when she passed, that desire to stay healthy died too."
"He finally succumbed to that," Steinman said. "He lost his battle over alcohol."
Lane originally left WARRANT in March 1993 but rejoined the band in September 1994. The group went on to record the "Ultraphobic" (1995), "Belly To Belly" (1996) and "Greatest & Latest" (1999) albums and issued and collection of covers, "Under The Influence", in 2001. Jani quit WARRANT again in 2004 before reuniting with the group four years later.
Lane released a solo album, "Back Down to One", in 2003, but shortly after was admitted to a rehab center for alcohol and drug-related exhaustion. He also appeared on VH1's reality series "Celebrity Fit Club".
On July 19, 2010, Lane pled no contest to DUI stemming from his arrest two months earlier — and was ordered to serve 120 days in jail. In addition, Lane lost his license for three years and had to complete a 30-month alcohol-education program.
Prior to serving time in jail for his most recent legal troubles, Lane issued a statement in which he said, in part, "My true hope is that anyone out there dealing with personal problems... the consequences do not get lighter. I can only say I've never regretted a good decision or action and never been proud of bad ones. People have an astounding ability to forgive... I have to start with forgiving myself. That is something that I find far more difficult than I imagined. I think it starts with gratitude."
In a June 2010 interview, Lane spoke about his battle with alcoholism and the negative impact it has had on his career.
"The last year, I've suffered some consequences from drinking that I've never suffered in my entire life," he said. "It's really made me take a step back and go, 'Is this how you want to continue? Is this how you want to finish up?' The answer is no."
He continued, "I'll tell you, one day you think that this is absolutely normal, this is expected, 'This has been my lifestyle for 20 years, what's the problem?' And, all of a sudden, things take a turn, and you go, 'I don't like these consequences. I don't like how this affects my family, I don't like how this affects my career, I don't like how this affects anything.' Then you begin to work."
When asked if his treatment involved going to a rehab, Lane replied, "I have gone to rehabilitation, absolutely. I know some people who want to be quiet about that kind of stuff, but I am not the kind of person who pride is going to win out over saying, 'Hey, I'm honestly getting this in check and fixing this.' It is a very important thing to me. I mean, this just doesn't affect me like it used to. It affects everything in my life, including the people I love. To be honest, I get tired of giving ammo to the people who don't wish me well."
Jani is survived by his wife, Kimberly; a brother, Eric; three sisters, Marcine Williams, Michelle Robinson and Victoria Oswald; a daughter from his first marriage, Taylar Lane; a daughter from his second marriage, Madison Lane; and two stepdaughters, Ryan and Brittany.
San Diego metallers CAGE will release their sixth album, "Supremacy Of Steel", on November 25 via Music Buy Mail in Europe and Heavy Metal Media in thr U.S. and rest of the world.
Known for crafting great memorable songs, capturing the essence of the classic NWOBHM sound, and always sounding unique and modern, CAGE somehow effortlessly shows how the limits of the genre can be pushed without losing what makes the heavy metal sound a worldwide calling for the faithful. Throughout the 11 tracks, all the smashing CAGE elements are found along with fresh new surprises that are tastefully sprinkled about in just the right fashion.
From the blast beats in the opening scream fest "Bloodsteel", to the eerie King Diamond-like falsettos in "Annaliese Michel", CAGE fans new and old will be banging their heads with horns in the air throughout this entire long player for decades to come. "Supremacy Of Steel" also contains the epic, long-awaited sequel song "Hell Destroyer vs. Metal Devil" and a remake of their unreleased cult classic song "Braindead Woman". Anthems like "Metal Empire" and "King Of The Wasteland" will have all metal fans unable to resist such true, convincing metal emotion.
Their latest and greatest lineup yet includes the hulking frame of riff master Dave Garcia, the unmatched vocal diversity and range of singer Sean Peck, drummer Norm Leggio also of PSYCHOTIC WALTZ, and debuting the new additions of thunder-thrash guitarist Steve Brogden and the amazing bass playing of one America's best, Pete Stone.
All the power and speed from their previous award-winning albums has once more been ramped up with faster drums, blazing leads and riffs that will stay with you into the night, and the highest of inhumanly impossible supersonic screams. This is all pointless without great songs but CAGE has always had its songwriting as its greatest strength and "Supremacy Of Steel" is absolutely no exception. CAGE has carved yet another stone to fit into the foundation that reinforces their title as the American power metal kings.
As always, CAGE has spared no expense when it comes to the presentation and packaging of their products. The amazing artwork of Marc Sasso (DIO, HALFORD, Marvel Comics) depicts the band in a live setting with the very metal godz themselves looking down upon the mayhem! The 16-page interior booklet is second to none with various artists chronicling the contents of each song in vivid color and truly has to be seen to be believed. It may be the finest looking metal booklet ever and that is no exaggeration!
The special pre-order packages are available at www.cageheavymetal.com and have been extended until October 31. These will include both bonus tracks, a special sticker, a full color poster, a CDR with unreleased versions and bonus tracks, and other metal goodies.
"Supremacy Of Steel" track listing:
01. Bloodsteel (feat. guest artist BITTERFROST)
02. The Beast Of Bray Road
03. King Of The Wasteland
04. Metal Empire
05. War Of The Undead
06. Flying Fortress
07. Doctor Doom
08. Annaliese Michel
09. Braindead Woman
10. The Monitor
11. Hell Destroyer vs. Metal Devil
---------------------
12. Skinned Alive (bonus track for Europe)
12. Blood White And Blue (bonus track USA and rest of the world)
Known for crafting great memorable songs, capturing the essence of the classic NWOBHM sound, and always sounding unique and modern, CAGE somehow effortlessly shows how the limits of the genre can be pushed without losing what makes the heavy metal sound a worldwide calling for the faithful. Throughout the 11 tracks, all the smashing CAGE elements are found along with fresh new surprises that are tastefully sprinkled about in just the right fashion.
From the blast beats in the opening scream fest "Bloodsteel", to the eerie King Diamond-like falsettos in "Annaliese Michel", CAGE fans new and old will be banging their heads with horns in the air throughout this entire long player for decades to come. "Supremacy Of Steel" also contains the epic, long-awaited sequel song "Hell Destroyer vs. Metal Devil" and a remake of their unreleased cult classic song "Braindead Woman". Anthems like "Metal Empire" and "King Of The Wasteland" will have all metal fans unable to resist such true, convincing metal emotion.
Their latest and greatest lineup yet includes the hulking frame of riff master Dave Garcia, the unmatched vocal diversity and range of singer Sean Peck, drummer Norm Leggio also of PSYCHOTIC WALTZ, and debuting the new additions of thunder-thrash guitarist Steve Brogden and the amazing bass playing of one America's best, Pete Stone.
All the power and speed from their previous award-winning albums has once more been ramped up with faster drums, blazing leads and riffs that will stay with you into the night, and the highest of inhumanly impossible supersonic screams. This is all pointless without great songs but CAGE has always had its songwriting as its greatest strength and "Supremacy Of Steel" is absolutely no exception. CAGE has carved yet another stone to fit into the foundation that reinforces their title as the American power metal kings.
As always, CAGE has spared no expense when it comes to the presentation and packaging of their products. The amazing artwork of Marc Sasso (DIO, HALFORD, Marvel Comics) depicts the band in a live setting with the very metal godz themselves looking down upon the mayhem! The 16-page interior booklet is second to none with various artists chronicling the contents of each song in vivid color and truly has to be seen to be believed. It may be the finest looking metal booklet ever and that is no exaggeration!
The special pre-order packages are available at www.cageheavymetal.com and have been extended until October 31. These will include both bonus tracks, a special sticker, a full color poster, a CDR with unreleased versions and bonus tracks, and other metal goodies.
"Supremacy Of Steel" track listing:
01. Bloodsteel (feat. guest artist BITTERFROST)
02. The Beast Of Bray Road
03. King Of The Wasteland
04. Metal Empire
05. War Of The Undead
06. Flying Fortress
07. Doctor Doom
08. Annaliese Michel
09. Braindead Woman
10. The Monitor
11. Hell Destroyer vs. Metal Devil
---------------------
12. Skinned Alive (bonus track for Europe)
12. Blood White And Blue (bonus track USA and rest of the world)
In 1980, British punk / metal crossover band ENGLISH DOGS were formed and gained immediate acclaim with top 10 indie chart releases. Though these initial releases were more straight-forward punk rock, the band's metal leanings appeared on the highly acclaimed "Forward Into Battle"
In 1980, British punk / metal crossover band ENGLISH DOGS was formed and gained immediate acclaim with top 10 indie chart releases. Though these initial releases were more straight-forward punk rock, the band's metal leanings appeared on the highly acclaimed "Forward Into Battle" record, released in 1985. The seminal album was a major influence on bands such as METALLICA and SEPULTURA, and this year the "Forward Into Battle" lineup of founding-member Andrew "Pinch" Pinching (also of THE DAMNED), Graham "Gizz" Butt (ex-PRODIGY, THE MORE I SEE) and Adie Bailey has re-grouped to again bring that record to life for North America. Support on the trek will come from THE CASUALTIES, TOXIC HOLOCAUST and HAVOK.
Commented Gizz: "In 1984 to 1986, me , Pinch and Adie were writing and recording some of the most important and influential songs of our lives and our 'Forward into Battle' album was the peak of our success. The American fans completely got it. Crossover had arrived!! Our 1985 debut USA tour exploded with sellout shows and sights we'd never seen before, queues half a mile down the street, moshpits and circle pits all night long. We have finally reunited to achieve a dream that has been going on for over 25 years. To realize the entire 'Forward Into Battle' album, along with 'To The Ends Of The Earth' EP, another ambitious milestone, live in all their glories, to North America."
Added founding ENGLISH DOGS member Pinch: "We were young and hungry for a musical challenge. The hardcore punk scene had become stagnant and new territories needed exploring. Adding Gizz to the band let us off the leash and we were able to wander down any musical alley we chose. We were 20 years old when we recorded 'Forward Into Battle', playing way beyond our abilities as musicians and lacking the studio technology to capture it. Now, 25 years later, we will finally be able to do this album justice, sonically. Live and in your face, the genre we helped to create is going once more 'Forward Into Battle'."
ENGLISH DOGS "Forward Into Battle" tour dates:
Feb. 10 - Baltimore, MD @ Ottobar
Feb. 11 - Boston, MA @ Middle East
Feb. 12 - Brooklyn, NY @ Europa
Feb. 13 - Montreal, QC @ Les Foufounes Electriques
Feb. 14 - Toronto, ON @ Opera House
Feb. 15 - Cleveland, OH @ Peabody's
Feb. 16 - Chicago, IL @ Reggie's Rock Club
Feb. 17 - St Paul, MN @ Station 4
Feb. 19 - Denver, CO @ Summit Music Hall
Feb. 21 - Seattle, WA @ Studio Seven
Feb. 22 - Portland, OR @ Branx
Feb. 23 - Oakland, CA @ The Pound
Feb. 24 - West Hollywood, CA @ Key Club
Feb. 25 - Santa Ana, CA @ Galaxy Theater
In 1980, British punk / metal crossover band ENGLISH DOGS was formed and gained immediate acclaim with top 10 indie chart releases. Though these initial releases were more straight-forward punk rock, the band's metal leanings appeared on the highly acclaimed "Forward Into Battle" record, released in 1985. The seminal album was a major influence on bands such as METALLICA and SEPULTURA, and this year the "Forward Into Battle" lineup of founding-member Andrew "Pinch" Pinching (also of THE DAMNED), Graham "Gizz" Butt (ex-PRODIGY, THE MORE I SEE) and Adie Bailey has re-grouped to again bring that record to life for North America. Support on the trek will come from THE CASUALTIES, TOXIC HOLOCAUST and HAVOK.
Commented Gizz: "In 1984 to 1986, me , Pinch and Adie were writing and recording some of the most important and influential songs of our lives and our 'Forward into Battle' album was the peak of our success. The American fans completely got it. Crossover had arrived!! Our 1985 debut USA tour exploded with sellout shows and sights we'd never seen before, queues half a mile down the street, moshpits and circle pits all night long. We have finally reunited to achieve a dream that has been going on for over 25 years. To realize the entire 'Forward Into Battle' album, along with 'To The Ends Of The Earth' EP, another ambitious milestone, live in all their glories, to North America."
Added founding ENGLISH DOGS member Pinch: "We were young and hungry for a musical challenge. The hardcore punk scene had become stagnant and new territories needed exploring. Adding Gizz to the band let us off the leash and we were able to wander down any musical alley we chose. We were 20 years old when we recorded 'Forward Into Battle', playing way beyond our abilities as musicians and lacking the studio technology to capture it. Now, 25 years later, we will finally be able to do this album justice, sonically. Live and in your face, the genre we helped to create is going once more 'Forward Into Battle'."
ENGLISH DOGS "Forward Into Battle" tour dates:
Feb. 10 - Baltimore, MD @ Ottobar
Feb. 11 - Boston, MA @ Middle East
Feb. 12 - Brooklyn, NY @ Europa
Feb. 13 - Montreal, QC @ Les Foufounes Electriques
Feb. 14 - Toronto, ON @ Opera House
Feb. 15 - Cleveland, OH @ Peabody's
Feb. 16 - Chicago, IL @ Reggie's Rock Club
Feb. 17 - St Paul, MN @ Station 4
Feb. 19 - Denver, CO @ Summit Music Hall
Feb. 21 - Seattle, WA @ Studio Seven
Feb. 22 - Portland, OR @ Branx
Feb. 23 - Oakland, CA @ The Pound
Feb. 24 - West Hollywood, CA @ Key Club
Feb. 25 - Santa Ana, CA @ Galaxy Theater
"Worlds Torn Asunder", the third album from Los Angeles thrashers WARBRINGER, sold around 2,000 copies in the United States in its first week of release, according to Nielsen SoundScan. The CD landed at position No. 11 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.
WARBRINGER's sophomore CD, "Waking Into Nightmares", also opened with around 2,000 units back in May 2009 to debut at No. 14 on the Heatseekers chart.
"Worlds Torn Asunder" was produced and mixed by Steve Evetts (SUICIDE SILENCE, THE DILLINGER ESCAPE PLAN, SYMPHONY X), and features artwork by Dan Seagrave, who designed WARBRINGER's previous album cover (in addition to art for bands such as ENTOMBED, SUFFOCATION and MORBID ANGEL).
Commented WARBRINGER vocalist John Kevill: "The concept behind 'Worlds Torn Asunder' was the decline of our existing world at the hands of the human race. The artwork depicts the world literally being torn and we wanted to include the setting in the cosmos along with a darker 'higher' force lurking behind the shadows. We had worked with Dan Seagrave before on 'Waking Into Nightmares' and were very comfortable with the way he expressed himself. He's been the artist for many bands we love and are inspired by."
"Worlds Torn Asunder" track listing:
01. Living Weapon
02. Shattered Like Glass
03. Wake Up...Destroy
04. Future Ages Gone
05. Savagery
06. Treacherous Tongue
07. Echoes From The Void
08. Enemies of the State
09. Behind the Veils of Night (instrumental)
10. Demonic Ecstasy
Carlos Cruz (HEXEN) made his live debut with WARBRINGER in Mexico City on March 5 at the Eyescream Festival alongside ASESINO, ANVIL, TOXIC HOLOCAUST and ABIGAIL WILLIAMS.
The "Shattered Like Glass" video can be seen below.
Rather than churn out the "standard" live-in-an-abandoned-warehouse music clip, WARBRINGER decided to give "Shattered Like Glass" a horror movie treatment with help from director Dave Vorhes and actor Don Danielson.
Commented WARBRINGER's John Laux: "We are very excited about the latest and greatest official WARBRINGER promo video clip! We had a great experience working with director Dave Vorhes and his team. They used a number of DIY-style tricks to create a very unique and professional environment for the 'Shattered Like Glass' video. We had a blast using smoke and mirrors to escape the trappings of another metal warehouse video. The aim is to have a very dark, horror movie kind of feel in this video."
WARBRINGER's sophomore CD, "Waking Into Nightmares", also opened with around 2,000 units back in May 2009 to debut at No. 14 on the Heatseekers chart.
"Worlds Torn Asunder" was produced and mixed by Steve Evetts (SUICIDE SILENCE, THE DILLINGER ESCAPE PLAN, SYMPHONY X), and features artwork by Dan Seagrave, who designed WARBRINGER's previous album cover (in addition to art for bands such as ENTOMBED, SUFFOCATION and MORBID ANGEL).
Commented WARBRINGER vocalist John Kevill: "The concept behind 'Worlds Torn Asunder' was the decline of our existing world at the hands of the human race. The artwork depicts the world literally being torn and we wanted to include the setting in the cosmos along with a darker 'higher' force lurking behind the shadows. We had worked with Dan Seagrave before on 'Waking Into Nightmares' and were very comfortable with the way he expressed himself. He's been the artist for many bands we love and are inspired by."
"Worlds Torn Asunder" track listing:
01. Living Weapon
02. Shattered Like Glass
03. Wake Up...Destroy
04. Future Ages Gone
05. Savagery
06. Treacherous Tongue
07. Echoes From The Void
08. Enemies of the State
09. Behind the Veils of Night (instrumental)
10. Demonic Ecstasy
Carlos Cruz (HEXEN) made his live debut with WARBRINGER in Mexico City on March 5 at the Eyescream Festival alongside ASESINO, ANVIL, TOXIC HOLOCAUST and ABIGAIL WILLIAMS.
The "Shattered Like Glass" video can be seen below.
Rather than churn out the "standard" live-in-an-abandoned-warehouse music clip, WARBRINGER decided to give "Shattered Like Glass" a horror movie treatment with help from director Dave Vorhes and actor Don Danielson.
Commented WARBRINGER's John Laux: "We are very excited about the latest and greatest official WARBRINGER promo video clip! We had a great experience working with director Dave Vorhes and his team. They used a number of DIY-style tricks to create a very unique and professional environment for the 'Shattered Like Glass' video. We had a blast using smoke and mirrors to escape the trappings of another metal warehouse video. The aim is to have a very dark, horror movie kind of feel in this video."
Austrian symphonic metallers VISIONS OF ATLANTIS have released the following statement:
"Due to some problems concerning the voice and health of our male singer, Mario Plank, who is completely irreplacable for any VISIONS OF ATLANTIS live show, we are forced to cancel the upcoming U.K. shows together with our friends of LEAVES' EYES. This will not affect the show at Metal Female Voices Fest in any way as this show will be played for sure!! And as we're recording our first live DVD on October 23rd, we have to do everything to bring him back to 120% capacity, which won't be possible doing another five gigs before!
"We are very sorry for this as we were really looking forward doing these shows but not under these circumstances and we hope you can understand and respect this decision for a 120% VISIONS OF ATLANTIS show and against some maybe just 50 percent VISIONS OF ATLANTIS shows with the risk of the cancellation of our whole live DVD production, which will be released for everyone to enjoy in 2012!"
VISIONS OF ATLANTIS will release a new EP called "Maria Magdelena" on October 21.
The track listing for the effort is as follows:
01. Maria Magdalena
02. Melancholia
03. Change Of Tides
04. Last Shut Of Your Eyes
05. Distant Shores
06. Beyond Horizon- The Poem Pt. II
VISIONS OF ATLANTIS recently announced the addition of guitarist Cris Tian to the group's ranks.
VISIONS OF ATLANTIS's fourth album, "Delta", was released in North America on March 15 via Napalm Records. The CD was recorded Dreamscape Studios in Munich, Germany and marks the debut of the band's new singer, Maxi Nil, who joined the group in 2009.
"Due to some problems concerning the voice and health of our male singer, Mario Plank, who is completely irreplacable for any VISIONS OF ATLANTIS live show, we are forced to cancel the upcoming U.K. shows together with our friends of LEAVES' EYES. This will not affect the show at Metal Female Voices Fest in any way as this show will be played for sure!! And as we're recording our first live DVD on October 23rd, we have to do everything to bring him back to 120% capacity, which won't be possible doing another five gigs before!
"We are very sorry for this as we were really looking forward doing these shows but not under these circumstances and we hope you can understand and respect this decision for a 120% VISIONS OF ATLANTIS show and against some maybe just 50 percent VISIONS OF ATLANTIS shows with the risk of the cancellation of our whole live DVD production, which will be released for everyone to enjoy in 2012!"
VISIONS OF ATLANTIS will release a new EP called "Maria Magdelena" on October 21.
The track listing for the effort is as follows:
01. Maria Magdalena
02. Melancholia
03. Change Of Tides
04. Last Shut Of Your Eyes
05. Distant Shores
06. Beyond Horizon- The Poem Pt. II
VISIONS OF ATLANTIS recently announced the addition of guitarist Cris Tian to the group's ranks.
VISIONS OF ATLANTIS's fourth album, "Delta", was released in North America on March 15 via Napalm Records. The CD was recorded Dreamscape Studios in Munich, Germany and marks the debut of the band's new singer, Maxi Nil, who joined the group in 2009.
SUICIDAL TENDENCIES and BIOHAZARD are among the confirmed acts for the next edition of the Persistence European tour, set to take place in January. Also scheduled to appear on the bill are TERROR, LIONHEART and CRUSHING CASPARS.
The dates are as follows:
Jan. 20 - Deinze, Belgium - Brielpoort
Jan. 21 - Oberhausen, Germany - Turbinenhalle
Jan. 22 - Hamburg, Germany - Docks
Jan. 23 - Berlin, Germany - Astra
Jan. 24 - Munchen, Germany - Werk
Jan. 25 - Wien, Austria - Gasometer
Jan. 26 - Stuttgart, Germany - LKA Longhorn
Jan. 27 - Saarbrucken, Germany - Garage
Jan. 28 - Dresden, Germany - Eventwerk
Jan. 29 - Tilburg, Netherlands - O13
Jan. 30 - Paris, France - Bataclan
The dates are as follows:
Jan. 20 - Deinze, Belgium - Brielpoort
Jan. 21 - Oberhausen, Germany - Turbinenhalle
Jan. 22 - Hamburg, Germany - Docks
Jan. 23 - Berlin, Germany - Astra
Jan. 24 - Munchen, Germany - Werk
Jan. 25 - Wien, Austria - Gasometer
Jan. 26 - Stuttgart, Germany - LKA Longhorn
Jan. 27 - Saarbrucken, Germany - Garage
Jan. 28 - Dresden, Germany - Eventwerk
Jan. 29 - Tilburg, Netherlands - O13
Jan. 30 - Paris, France - Bataclan
She met him on Facebook, and was impressed enough to cross the Atlantic to meet him.
But Maricar Benedicto's naive trust was repaid in the most horrific way.
The man who lured her to the UK, David Russell, took her to a forest and persuaded the 19-year-old to wear a blindfold, saying he had a gift for her.
Russell then stood behind her and slit her throat. The terrified teenager tried to escape but the 20-year-old McDonald's worker stabbed her several times, hit her in the face with a log and headbutted her. Miraculously, she survived.
At Northampton Crown Court, Russell admitted kidnap and attempted murder and was jailed for life.
The court was told he had posed as tattooed rocker Oliver Sykes, lead singer in the Sheffield-based metal band Bring Me The Horizon, currently touring the Americas.
Prosecuting, Christopher Donnellan QC said that the day before Miss Benedicto arrived from California last April, Russell had searched the internet for 'how to kill someone with bare hands', 'how to cut skin with a knife' and 'the best knife to kill'.
After meeting Miss Benedicto at the town's railway station, Russell took her to a nearby forest, claiming it held special childhood memories.
Mr Donnellan said: 'He asked her to sit down on a fallen tree trunk and said he was going to blindfold her. He said she would get a surprise or a present. He stood behind her, blindfolded her, asked her to put her head back, and her arms up. She did so with her palms up, entirely trusting him.
'Although she did not see any implement because of the blindfold, the next thing she felt was her neck being sliced.'
Deceptive: David Russell pretended he was Oliver Sykes (left), frontman of heavy metal band, Bring Me The Horizon
The court heard that as Russell did it, he shouted: 'Why won't you die? You've ruined my life. It's all your fault.'
The court was told she jumped up and the blindfold fell off. She began to run away 'but he caught up and stabbed her in the back'. A serrated breadknife was found at the scene.
He stopped the attack only when Miss Benedicto told him she had given his name and address to immigration on arrival in the UK.
He ran home, where he took a suspected overdose, while she staggered to a nearby house for help.
Deserted: Russell met his victim in Harlestone Firs Forest, Northampton where he blindfolded and attacked her
The pair had met on Facebook last year and 'engaged in conversations using pseudonyms'. She went by the alias Ruby Townsend.
They chatted online using Skype and Miss Benedicto knew Russell was not who he initially claimed to be before she flew to Britain.
Steven Crouch, defending, said Russell was 'borderline autistic' but had never offended before. 'He is a troubled young man, very young, who committed an act in bizarre circumstances, never to be repeated.'
Jailing him on Tuesday, Judge Charles Wide QC said Russell was 'exceptionally dangerous' and must serve at least 17-and-a-half years in jail before being considered for release.
He added: 'The features of this case are truly horrifying. When she was able to escape, you intended to kill her and must have come very close.'
Radio Metal recently conducted an interview with guitarist Freddy Scherer of Swiss hard rockers GOTTHARD. A couple of excerpts from the chat follow below.
Radio Metal: We heard the new GOTTHARD live [a;bum], and what a performance! It is really nice to hear the band again!
Freddy Scherer: It is true this is a particular performance, because of all the things linked to it, because of Steve's [Lee, vocals] death. We recorded it on the third to last gig of the last "Need To Believe" tour. In fact, we recorded it in order to take a break — we wanted a year off to work on the new album and on an acoustic project — but unfortunately everything has changed… The DVD was supposed to be released in January, but we thought it was not a good thing to do only three months after Steve's death. So we waited for the first anniversary of his death.
Radio Metal: How did the band go through these times right after Steve's death? What happened and what have you done until today?
Freddy Scherer: The first months were very difficult because, you know, if there is a death in your family, you can still go out, you can go anywhere, in a restaurant or a bar. Here there were no places for us to go to; we couldn't run away because each time we went out, the neighbors came out to ask us questions. And when we went to a restaurant, the chef himself came and asked us questions. The two first months were really intense. We took time to talk, just the four of us, we discussed about our thoughts, about what each of us wanted to do. It was a way for us to cope with the situation as well as we could. Two or three months later we met again and talked about our projects, in order to know if we would carry on playing music together, under the name of GOTTHARD. There were so many aspects to consider. First we all wanted to go on creating music, and secondly we all wanted to do this together. And the most important thing was that Steve's family, his father, mother and sister, called us several times to tell us that Steve would have wanted us to carry on under the name of GOTTHARD. They told us that he would have carried on the same if he had been in our place. Considering all these things, we decided to go on, but we didn't know if it was really possible because it wasn't enough just to want it, we had to find a good singer. So in February-March we began slowly to announce that we were looking for a new singer. Six months later, we have almost decided who it will be. I think almost 450 singers have sent us emails, pictures and recordings, etc. Luckily, the management team made a pre-selection, so in the end we received only 150 applications. We invited fifteen singers to Switzerland in our studio to spend some time with us and think together about music and about GOTTHARD. I can tell you that we are hesitating between two or three of them. Auditions are closed and one among those who came to see us will be our new singer. It is the final stage, we are composing music and writing songs with them and we see how it goes.
Radio Metal: Are they famous rock/metal singers or unknown ones?
Freddy Scherer: You can find both among them; there are very famous ones and others nobody has heard of. Today, we can still choose between two or three singers but we decided not to give out their names because it can be disturbing for the famous ones. I believe that in about a month or two we will have made our decision. It is really important for us to take all the time we need. A year has already gone by; we want to take as much time as we can. Besides, we began to write songs for our next album, we began two or three months ago, and at the moment we already have thirteen or fourteen songs that we have already worked on in studio. We'll see how it goes. For now, what matters most for us is to make a choice and then make the album with the new singer, because I believe it is very important to introduce him for the first time with a new project, so that he will be able to show everyone his own nature. It would not be a good thing to introduce him on a tour, playing our old songs, because naturally, everybody would compare him to Steve, and he will not be able to make a name for himself.
Radio Metal: We heard the new GOTTHARD live [a;bum], and what a performance! It is really nice to hear the band again!
Freddy Scherer: It is true this is a particular performance, because of all the things linked to it, because of Steve's [Lee, vocals] death. We recorded it on the third to last gig of the last "Need To Believe" tour. In fact, we recorded it in order to take a break — we wanted a year off to work on the new album and on an acoustic project — but unfortunately everything has changed… The DVD was supposed to be released in January, but we thought it was not a good thing to do only three months after Steve's death. So we waited for the first anniversary of his death.
Radio Metal: How did the band go through these times right after Steve's death? What happened and what have you done until today?
Freddy Scherer: The first months were very difficult because, you know, if there is a death in your family, you can still go out, you can go anywhere, in a restaurant or a bar. Here there were no places for us to go to; we couldn't run away because each time we went out, the neighbors came out to ask us questions. And when we went to a restaurant, the chef himself came and asked us questions. The two first months were really intense. We took time to talk, just the four of us, we discussed about our thoughts, about what each of us wanted to do. It was a way for us to cope with the situation as well as we could. Two or three months later we met again and talked about our projects, in order to know if we would carry on playing music together, under the name of GOTTHARD. There were so many aspects to consider. First we all wanted to go on creating music, and secondly we all wanted to do this together. And the most important thing was that Steve's family, his father, mother and sister, called us several times to tell us that Steve would have wanted us to carry on under the name of GOTTHARD. They told us that he would have carried on the same if he had been in our place. Considering all these things, we decided to go on, but we didn't know if it was really possible because it wasn't enough just to want it, we had to find a good singer. So in February-March we began slowly to announce that we were looking for a new singer. Six months later, we have almost decided who it will be. I think almost 450 singers have sent us emails, pictures and recordings, etc. Luckily, the management team made a pre-selection, so in the end we received only 150 applications. We invited fifteen singers to Switzerland in our studio to spend some time with us and think together about music and about GOTTHARD. I can tell you that we are hesitating between two or three of them. Auditions are closed and one among those who came to see us will be our new singer. It is the final stage, we are composing music and writing songs with them and we see how it goes.
Radio Metal: Are they famous rock/metal singers or unknown ones?
Freddy Scherer: You can find both among them; there are very famous ones and others nobody has heard of. Today, we can still choose between two or three singers but we decided not to give out their names because it can be disturbing for the famous ones. I believe that in about a month or two we will have made our decision. It is really important for us to take all the time we need. A year has already gone by; we want to take as much time as we can. Besides, we began to write songs for our next album, we began two or three months ago, and at the moment we already have thirteen or fourteen songs that we have already worked on in studio. We'll see how it goes. For now, what matters most for us is to make a choice and then make the album with the new singer, because I believe it is very important to introduce him for the first time with a new project, so that he will be able to show everyone his own nature. It would not be a good thing to introduce him on a tour, playing our old songs, because naturally, everybody would compare him to Steve, and he will not be able to make a name for himself.
JANE'S ADDICTION will perform this Thursday night, October 6, on ABC-TV's "Jimmy Kimmel Live!" marking the pioneering alt-rock band's first late-night TV performance in eight years.
On the show's outdoor stage, the band — frontman Perry Farrell, guitarist Dave Navarro and drummer Stephen Perkins, along with Chris Chaney on bass — will perform the transfixing "Irresistible Force", a Top Ten hit on the alternative rock chart, and then one of its classic songs.
JANE'S ADDICTION will release its new album, "The Great Escape Artist", on Tuesday, October 18 via Capitol. Spun through a kaleidoscope of tightly wound riffs, hypnotic harmonies, booming beats, and an unmistakable howl, the record announces the beginning of the next chapter for the alternative rock torchbearers.
The writing process began in 2010 and by early 2011 the band entered a Los Angeles studio with producer Rich Costey. Their intent was to travel a different road, and consequentially they paved an entirely new path for alternative music at large. Costey introduced Perry Farrell, Dave Navarro and Stephen Perkins to TV ON THE RADIO's Dave Sitek with the hopes of getting him involved somehow. After a couple of lab sessions, the chemistry was obvious. Sitek stepped into the role of a songwriter and a bass player for the album with Navarro, and touring bassist Chris Chaney, also sharing four-string duties.
Sitek helped the band evolve their alchemy, expanding the sound even more. Farrell described Sitek's distillation of electronic textures, bombastic rock, and crazed punk to Rolling Stone magazine declaring, "He's like a scientist, and he's not afraid of making a monster."
On the show's outdoor stage, the band — frontman Perry Farrell, guitarist Dave Navarro and drummer Stephen Perkins, along with Chris Chaney on bass — will perform the transfixing "Irresistible Force", a Top Ten hit on the alternative rock chart, and then one of its classic songs.
JANE'S ADDICTION will release its new album, "The Great Escape Artist", on Tuesday, October 18 via Capitol. Spun through a kaleidoscope of tightly wound riffs, hypnotic harmonies, booming beats, and an unmistakable howl, the record announces the beginning of the next chapter for the alternative rock torchbearers.
The writing process began in 2010 and by early 2011 the band entered a Los Angeles studio with producer Rich Costey. Their intent was to travel a different road, and consequentially they paved an entirely new path for alternative music at large. Costey introduced Perry Farrell, Dave Navarro and Stephen Perkins to TV ON THE RADIO's Dave Sitek with the hopes of getting him involved somehow. After a couple of lab sessions, the chemistry was obvious. Sitek stepped into the role of a songwriter and a bass player for the album with Navarro, and touring bassist Chris Chaney, also sharing four-string duties.
Sitek helped the band evolve their alchemy, expanding the sound even more. Farrell described Sitek's distillation of electronic textures, bombastic rock, and crazed punk to Rolling Stone magazine declaring, "He's like a scientist, and he's not afraid of making a monster."
IDES OF GEMINI is a collusion of musical forces precipitated by the haunting and inimitable vocal prowess of singer/bassist Sera Timms, also of Los Angeles dark-psych alchemists BLACK MATH HORSEMAN. The compositions are the long-simmering mental fallout of veteran music and film journalist J. Bennett (guitar, backing vocals), who has spent most of the last 13 years writing for such publications as Decibel, Terrorizer, Revolver, Alternative Press and Thrasher. The third and final corner of the triangle is Kelly Johnston, whose martial drumming techniques and soaring backing vocals literally brought IDES OF GEMINI to life as a performing entity.
Last year, Timms and Bennett recorded and self-released IDES OF GEMINI's four-song EP, "The Disruption Writ", which was anointed "My Favorite Demo of 2010" by the highly influential music blog Invisible Oranges. Lyrically, the songs detailed the terrifying permanence of dismemberment in all its unsettling forms: psychological, emotional and physical. Musically, though? Someone on the Internet called it "dream doom." Nobody likes to be pigeonholed, but IDES OF GEMINI will gladly take up temporary residence in that particular nook for the sake of shorthand. Which is to say that "dream doom" will do the trick for now. And now is nothing if not fleeting. Mostly because IDES OF GEMINI are about to record their full-length debut, set for release via Neurot in the spring of 2012.
"It's all about that moment — that moment when a piece of music comes seemingly from nowhere and is exactly what you were looking for, but you didn't know it," says Neurot boss and NEUROSIS guitarist/vocalist Steve Von Till. "I remember the moment when IDES OF GEMINI warped my brain. I received an email from Scott Kelly in May. The subject heading was simply, 'J. Bennett's band is killer!' and had a link. I had known J. for a while as a stalwart supporter of all that is good and heavy out there, but I had no idea he made music. I clicked the link and was completely hypnotized for the duration of the demo. As soon as it ended and I realized I had been completely captivated, I replied to Scott's email: 'Totally fucking killer.' Then I immediately emailed J. and told him how awesome I thought it was. A few conversations later, and we were working together. It was beautiful and meant to be. IDES OF GEMINI is amazing!"
"We're not religious people, but getting the nod from Steve Von Till and Scott Kelly is like getting onstage only to find Moses and John The Baptist in the front row, wearing your band's t-shirts," Bennett enthuses. "And we don't even have shirts yet, which makes it all the more incredible. The point, though, is this: The impact NEUROSIS has had on our psyches over the years is immeasurable. 'Honored' doesn't quite cover it. But before anyone gets too excited, I should also probably mention that we sound nothing like NEUROSIS."
IDES OF GEMINI will make its Northern California debut at the Oakland Metropolitan Operahouse on October 15 as part of the Blood, Sweat + Vinyl Music & Film Festival alongside Bay Area greats OXBOW and EVANGELISTA. The night will also mark the DVD release of filmmaker Kenneth Thomas' new documentary, "Blood, Sweat & Vinyl: DIY In The 21st Century", which highlights the music and inner workings of three of the finest independent labels currently in operation: Hydra Head, Constellation, and — you guessed it — Neurot.
Two-thirds of IDES OF GEMINI — Sera Timms and J. Bennett — will also be performing a rare cover song on October 20 as a part of Murder Ballads, an annual event sponsored by the L.A. Record and held at the Echoplex in Los Angeles, featuring artists reinterpreting homicidal folk songs of old.
For more information, visit www.idesofgemini.com.
Last year, Timms and Bennett recorded and self-released IDES OF GEMINI's four-song EP, "The Disruption Writ", which was anointed "My Favorite Demo of 2010" by the highly influential music blog Invisible Oranges. Lyrically, the songs detailed the terrifying permanence of dismemberment in all its unsettling forms: psychological, emotional and physical. Musically, though? Someone on the Internet called it "dream doom." Nobody likes to be pigeonholed, but IDES OF GEMINI will gladly take up temporary residence in that particular nook for the sake of shorthand. Which is to say that "dream doom" will do the trick for now. And now is nothing if not fleeting. Mostly because IDES OF GEMINI are about to record their full-length debut, set for release via Neurot in the spring of 2012.
"It's all about that moment — that moment when a piece of music comes seemingly from nowhere and is exactly what you were looking for, but you didn't know it," says Neurot boss and NEUROSIS guitarist/vocalist Steve Von Till. "I remember the moment when IDES OF GEMINI warped my brain. I received an email from Scott Kelly in May. The subject heading was simply, 'J. Bennett's band is killer!' and had a link. I had known J. for a while as a stalwart supporter of all that is good and heavy out there, but I had no idea he made music. I clicked the link and was completely hypnotized for the duration of the demo. As soon as it ended and I realized I had been completely captivated, I replied to Scott's email: 'Totally fucking killer.' Then I immediately emailed J. and told him how awesome I thought it was. A few conversations later, and we were working together. It was beautiful and meant to be. IDES OF GEMINI is amazing!"
"We're not religious people, but getting the nod from Steve Von Till and Scott Kelly is like getting onstage only to find Moses and John The Baptist in the front row, wearing your band's t-shirts," Bennett enthuses. "And we don't even have shirts yet, which makes it all the more incredible. The point, though, is this: The impact NEUROSIS has had on our psyches over the years is immeasurable. 'Honored' doesn't quite cover it. But before anyone gets too excited, I should also probably mention that we sound nothing like NEUROSIS."
IDES OF GEMINI will make its Northern California debut at the Oakland Metropolitan Operahouse on October 15 as part of the Blood, Sweat + Vinyl Music & Film Festival alongside Bay Area greats OXBOW and EVANGELISTA. The night will also mark the DVD release of filmmaker Kenneth Thomas' new documentary, "Blood, Sweat & Vinyl: DIY In The 21st Century", which highlights the music and inner workings of three of the finest independent labels currently in operation: Hydra Head, Constellation, and — you guessed it — Neurot.
Two-thirds of IDES OF GEMINI — Sera Timms and J. Bennett — will also be performing a rare cover song on October 20 as a part of Murder Ballads, an annual event sponsored by the L.A. Record and held at the Echoplex in Los Angeles, featuring artists reinterpreting homicidal folk songs of old.
For more information, visit www.idesofgemini.com.
Rite Of Passage/Mediaskare Records has announced the signing of the Bradenton, Florida-based band ADALIAH. The group entered The Brick Hithouse today with producer Shane Frisby (BURY YOUR DEAD, THE GHOST INSIDE) to begin recording its debut album for an early 2012 release.
"Rite Of Passage / Mediaskare has a reputation of supporting a band to create success with them, all while maintaining a trusting and non-intrusive relationship with the bands creative output," stated ADALIAH drummer Mark Abbacchi. "They actually care about the music."
Formed in 2008, ADALIAH has been amassing a loyal fan base on the East Coast through constant touring in support of its indepdently released EP.
"Our goal is to get listeners to feel emotion," said the band. "We put our own hearts into every song we write, and every song is about something that has impacted our lives in a certain way. We want our listeners to relate to our songs and feel something, whether it be anger, happiness, or regret."
Tracks from ADALIAH's EP can be heard on the band's official Facebook page.
"Rite Of Passage / Mediaskare has a reputation of supporting a band to create success with them, all while maintaining a trusting and non-intrusive relationship with the bands creative output," stated ADALIAH drummer Mark Abbacchi. "They actually care about the music."
Formed in 2008, ADALIAH has been amassing a loyal fan base on the East Coast through constant touring in support of its indepdently released EP.
"Our goal is to get listeners to feel emotion," said the band. "We put our own hearts into every song we write, and every song is about something that has impacted our lives in a certain way. We want our listeners to relate to our songs and feel something, whether it be anger, happiness, or regret."
Tracks from ADALIAH's EP can be heard on the band's official Facebook page.
Norwegian symphonic black metallers DIMMU BORGIR have issued the following update via their Facebook page:
"Wanted to let you guys know that DIMMU BORGIR had several studio sessions lately and have lots of new material for the upcoming 20th-anniversary album."
"Abrahadabra", the ninth album from DIMMU BORGIR, sold 9,400 copies in the United States in its first week of release to land at position No. 42 on The Billboard 200 chart. The band's previous CD, "In Sorte Diaboli", opened with 14,000 units back in May 2007 to debut at No. 43. This was more than double the 6,400 first-week tally achieved by its predecessor, "Death Cult Armageddon", which came out in September 2003 and landed at position No. 169 on The Billboard 200 chart.
The word "abrahadabra" (which roughly translates into "I will create as I speak") first publicly appeared in Chapter III of "Liber AL vel Legis" (commonly referred to as "The Book of the Law") written by Aleister Crowley in Cairo, Egypt in 1904.
"Abrahadabra" was released in Germany on September 24, 2010, in the rest of Europe on September 27, 2010, and it was made available in North America on October 12, 2010 via Nuclear Blast Records.
DIMMU BORGIR will embark on a very special European tour in November. There will be no support band and DIMMU will perform two sets. The first set will be a full album in its entirety as chosen by the fans and the second set will include a variety of DIMMU classics.
DIMMU BORGIR's most recent touring lineup included Geir Bratland (APOPTYGMA BERZERK, THE KOVENANT) on keyboards and Terje Andersen (a.k.a. Cyrus; SUSPERIA) on bass.
"Wanted to let you guys know that DIMMU BORGIR had several studio sessions lately and have lots of new material for the upcoming 20th-anniversary album."
"Abrahadabra", the ninth album from DIMMU BORGIR, sold 9,400 copies in the United States in its first week of release to land at position No. 42 on The Billboard 200 chart. The band's previous CD, "In Sorte Diaboli", opened with 14,000 units back in May 2007 to debut at No. 43. This was more than double the 6,400 first-week tally achieved by its predecessor, "Death Cult Armageddon", which came out in September 2003 and landed at position No. 169 on The Billboard 200 chart.
The word "abrahadabra" (which roughly translates into "I will create as I speak") first publicly appeared in Chapter III of "Liber AL vel Legis" (commonly referred to as "The Book of the Law") written by Aleister Crowley in Cairo, Egypt in 1904.
"Abrahadabra" was released in Germany on September 24, 2010, in the rest of Europe on September 27, 2010, and it was made available in North America on October 12, 2010 via Nuclear Blast Records.
DIMMU BORGIR will embark on a very special European tour in November. There will be no support band and DIMMU will perform two sets. The first set will be a full album in its entirety as chosen by the fans and the second set will include a variety of DIMMU classics.
DIMMU BORGIR's most recent touring lineup included Geir Bratland (APOPTYGMA BERZERK, THE KOVENANT) on keyboards and Terje Andersen (a.k.a. Cyrus; SUSPERIA) on bass.
Norway's SO MUCH FOR NOTHING has inked a deal with My Kingdom Music. The band's new album, "Livsgnist", will be released on January 16 on CD and LP format. According to a press release, the CD features "a sound that is unique, bringing in instruments as saxophone, trumpet, cello, violin and flute among others, making for sure an original work! An overall desperate and gloomy feeling mixed to the natural rage of the black metal is what comes out from SO MUCH FOR NOTHING and you won't lose a moment to be enchanted by this delirium! This is definitively an album for fans of JOYLESS, SHINING, DEN SAAKALDTE, LIFELOVER and MY DYING BRIDE. Inspired by general decadence over the years, SO MUCH FOR NOTHING serves you the finest tunes of dark and arcane black metal-pop/rock. Expect a masterpiece that will change your attitude towards this kind of sounds."
Formed by Erik Unsgaard (SARKOM) and Uruz (URGEHAL), SO MUCH FOR NOTHING's new CD features guest appearances by current and former members of SHINING, RAM-ZET, URGEHAL, 1349 and ABSU.
Formed by Erik Unsgaard (SARKOM) and Uruz (URGEHAL), SO MUCH FOR NOTHING's new CD features guest appearances by current and former members of SHINING, RAM-ZET, URGEHAL, 1349 and ABSU.
Over 20 years after the release of their self-titled debut album, ABOMINATION — the acclaimed 1990s death/thrash metal band formed by MASTER mainman Paul Speckmann — will have its early material re-released on November 4 via Nuclear Blast. The two-CD set includes the albums "Abomination" (1990) and "Tragedy Strikes" (1991) as well as rare demos and EP.
The track listing is as follows:
CD1:
Abomination:
01. The Choice
02. Murder, Rape, Pillage and Burn
03. Reformation
04. Redeem Deny
05. Possession
06. Suicidal Dreams
07. Life And Death
08. Victim Of The Future
09. Tunnel Of Damnation
10. Follower (Bonus CD)
11. Impending Doom
Demo (1988):
12. Over The Edge
13. Reformation
14. Impending Doom
15. Curses Of The Deadly Sin
16. Tunnel Of Damnation
17. Follower
CD2:
Tragedy Strikes:
01. Blood For Oil
02. They're Dead
03. Pull The Plug
04. Will They Bleed
05. Industrial Sickness
06. Soldier
07. Kill Or Be Killed
08. Oppression
Final War (EP):
09. Face In The Crowd
10. You Could Be Next
11. Take A Sip Of Power
12. Man Created God
13. Mistaken Reality
Demo (1987):
14. Victim Of The Future
15. Social Outcast
16. Raping The Grave
17. Possession
18. Doomed By The Living
19. The Truth
When asked about ABOMINATION's split and the possibility of a reunion, Speckmann stated in a 2009 interview, "Management played a big part in the fall of ABOMINATION and [the band's record label] Nuclear Blast made many mistakes as well. As for a reunion, this will never happen as guitarist Dean Chioles died of multiple sclerosis many years ago and this was a sad loss for all."
Regarding what significance ABOMINATION has had for him personally and musically, Speckmann said, "ABOMINATION was a group that experimented with many genres of music and wasn't afraid to try new ideas out and this was a chance to try out many of my crazy changes and the band would successfully implement them in their songs. I had the pleasure of bringing my ABOMINATION vision to Europe one time only for 26 performances and I will never forget this."
The track listing is as follows:
CD1:
Abomination:
01. The Choice
02. Murder, Rape, Pillage and Burn
03. Reformation
04. Redeem Deny
05. Possession
06. Suicidal Dreams
07. Life And Death
08. Victim Of The Future
09. Tunnel Of Damnation
10. Follower (Bonus CD)
11. Impending Doom
Demo (1988):
12. Over The Edge
13. Reformation
14. Impending Doom
15. Curses Of The Deadly Sin
16. Tunnel Of Damnation
17. Follower
CD2:
Tragedy Strikes:
01. Blood For Oil
02. They're Dead
03. Pull The Plug
04. Will They Bleed
05. Industrial Sickness
06. Soldier
07. Kill Or Be Killed
08. Oppression
Final War (EP):
09. Face In The Crowd
10. You Could Be Next
11. Take A Sip Of Power
12. Man Created God
13. Mistaken Reality
Demo (1987):
14. Victim Of The Future
15. Social Outcast
16. Raping The Grave
17. Possession
18. Doomed By The Living
19. The Truth
When asked about ABOMINATION's split and the possibility of a reunion, Speckmann stated in a 2009 interview, "Management played a big part in the fall of ABOMINATION and [the band's record label] Nuclear Blast made many mistakes as well. As for a reunion, this will never happen as guitarist Dean Chioles died of multiple sclerosis many years ago and this was a sad loss for all."
Regarding what significance ABOMINATION has had for him personally and musically, Speckmann said, "ABOMINATION was a group that experimented with many genres of music and wasn't afraid to try new ideas out and this was a chance to try out many of my crazy changes and the band would successfully implement them in their songs. I had the pleasure of bringing my ABOMINATION vision to Europe one time only for 26 performances and I will never forget this."
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