BLACK SABBATH drummer Bill Ward has released the following statement:
"Dear SABBATH fans and musicians,
"I have read Geezer's [Butler, BLACK SABBATH bassist] statement of May 19, 2012 titled 'Heavy Heart.' Out of respect for the Birmingham gig, I wanted to wait 24 hours before releasing this statement. There are some points he brought up which I want to respond to.
"1) I had indeed notified Ozzy [Osbourne, BLACK SABBATH singer], Tony [Iommi, BLACK SABBATH guitarist] and Geezer well before my first public statement that I was having contractual difficulties.
"2) I came out into a public forum to be accountable to the fans primarily, and to say at a public level there's a problem. The band members stopped talking and corresponding with me some time ago, with the exception of a nice letter from Tony on my birthday. Prior to that, Geezer and I were corresponding, but that stopped abruptly in late February after I emailed a specific question to him.
"3) In my statement of May 15, I clearly stated I would play Birmingham for free. That was not a problem — charity or otherwise.
"4) My Download fee was not an extravagant amount. Originally, when Download was part of a full tour, I had asked for a decent fee. More recently, as we were negotiating just Download/Birmingham and Lollapalooza, I told my attorney that I would accept the proposed small Download fee, but there were other parts of the offer that were unsatisfactory.
"I will continue to be honest and respectful towards the band and our fans. I will also confront any untruths about me, and any fault-finding missions aimed at me that come to my attention.
"I hope the band and the fans had a good gig in Brum."
"Stay safe/stay strong."
BLACK SABBATH played a hometown concert last night (Saturday, May 19) at the intimate 3,800-capacity O2 Academy in Birmingham, England as a warm-up show for the band's appearance at the Download festival at Donington next month. The band's first performance in Birmingham in 13 years — and their first concert since 2005 — featured three-quarters of the legendary heavy metal act's original lineup — Iommi, Osbourne and Butler. Tommy Clufetos, a member of Ozzy's solo band, is filling in for Ward, who is sitting out the group's reunion shows due to a contractual dispute with his bandmates.
BLACK SABBATH was supposed to tour the Europe and North America this year as part of a worldwide trek in support of a new album, but Iommi's cancer diagnosis put those plans on hold.
Ozzy, Iommi and Butler recently spent time in London recording their first album together in 33 years, although without drummer Bill Ward it is not the original SABBATH reunion announced last November.
"Dear SABBATH fans and musicians,
"I have read Geezer's [Butler, BLACK SABBATH bassist] statement of May 19, 2012 titled 'Heavy Heart.' Out of respect for the Birmingham gig, I wanted to wait 24 hours before releasing this statement. There are some points he brought up which I want to respond to.
"1) I had indeed notified Ozzy [Osbourne, BLACK SABBATH singer], Tony [Iommi, BLACK SABBATH guitarist] and Geezer well before my first public statement that I was having contractual difficulties.
"2) I came out into a public forum to be accountable to the fans primarily, and to say at a public level there's a problem. The band members stopped talking and corresponding with me some time ago, with the exception of a nice letter from Tony on my birthday. Prior to that, Geezer and I were corresponding, but that stopped abruptly in late February after I emailed a specific question to him.
"3) In my statement of May 15, I clearly stated I would play Birmingham for free. That was not a problem — charity or otherwise.
"4) My Download fee was not an extravagant amount. Originally, when Download was part of a full tour, I had asked for a decent fee. More recently, as we were negotiating just Download/Birmingham and Lollapalooza, I told my attorney that I would accept the proposed small Download fee, but there were other parts of the offer that were unsatisfactory.
"I will continue to be honest and respectful towards the band and our fans. I will also confront any untruths about me, and any fault-finding missions aimed at me that come to my attention.
"I hope the band and the fans had a good gig in Brum."
"Stay safe/stay strong."
BLACK SABBATH played a hometown concert last night (Saturday, May 19) at the intimate 3,800-capacity O2 Academy in Birmingham, England as a warm-up show for the band's appearance at the Download festival at Donington next month. The band's first performance in Birmingham in 13 years — and their first concert since 2005 — featured three-quarters of the legendary heavy metal act's original lineup — Iommi, Osbourne and Butler. Tommy Clufetos, a member of Ozzy's solo band, is filling in for Ward, who is sitting out the group's reunion shows due to a contractual dispute with his bandmates.
BLACK SABBATH was supposed to tour the Europe and North America this year as part of a worldwide trek in support of a new album, but Iommi's cancer diagnosis put those plans on hold.
Ozzy, Iommi and Butler recently spent time in London recording their first album together in 33 years, although without drummer Bill Ward it is not the original SABBATH reunion announced last November.
Canadian rock legends RUSH have been confirmed for next year's edition of the Sweden Rock Festival, set to take place June 5-8, 2013 in Sölvesborg, Sweden. It will mark the band's first appearance at a European festival in 34 years (since they played at Pinkpop in Holland in 1979).
Sweden Rock Festival 2013 will be a four-day festival featuring a total of 80 bands performing on five outdoor stages.
Tickets will be made available September 25.
In 2004, RUSH played in Sweden for the first time in 25 years, selling out the Globe Arena in Stockholm. The overwhelming audience response marked the beginning of a passionate love story between the band and Sweden, and on June 8, 2013 they will be back again. The event promises to be a magnificent assault on all senses — Geddy Lee (vocals/bass), Alex Lifeson (guitar) and Neil Peart (drums) tell the Sweden Rock organizers that the stage production will be one of the greatest in RUSH's entire history, and the biggest they have ever brought to Europe.
RUSH's first new collection of original material in over five years and their first studio release via Anthem/Roadrunner Records, "Clockwork Angels" will be released on June 12.
Sweden Rock Festival 2013 will be a four-day festival featuring a total of 80 bands performing on five outdoor stages.
Tickets will be made available September 25.
In 2004, RUSH played in Sweden for the first time in 25 years, selling out the Globe Arena in Stockholm. The overwhelming audience response marked the beginning of a passionate love story between the band and Sweden, and on June 8, 2013 they will be back again. The event promises to be a magnificent assault on all senses — Geddy Lee (vocals/bass), Alex Lifeson (guitar) and Neil Peart (drums) tell the Sweden Rock organizers that the stage production will be one of the greatest in RUSH's entire history, and the biggest they have ever brought to Europe.
RUSH's first new collection of original material in over five years and their first studio release via Anthem/Roadrunner Records, "Clockwork Angels" will be released on June 12.
http://www.roadrunnerrecords.com/blabbermouth.net/soulflypremiere/rushsweden2013.jpg
Official Metallica.com footage of METALLICA's pre-show meet-and-greet, tuning-room jam and "The God That Failed" performance at the May 10 show of the band's European tour at the Sonisphere festival at the Bemowo Airport in Warsaw, Poland can be viewed below.
METALLICA performed its top-selling 1991 LP, "Metallica", a.k.a. "the black album," in its entirety at the Warsaw concert. As they have done on all the shows on their current European tour, the band played the LP backwards, starting with closing number "The Struggle Within" and ending with "Enter Sandman".
The band's setlist was as follows:
01. Hit The Lights
02. Master Of Puppets
03. The Shortest Straw
04. For Whom The Bell Tolls
05. Fight Fire With Fire
06. The Struggle Within
07. My Friend Of Misery
08. The God That Failed
09. Of Wolf & Man
10. Nothing Else Matters
11. Through The Never
12. Don't Tread On Me
13. Wherever I May Roam
14. The Unforgiven
15. Holier Than Thou
16. Sad But True
17. Enter Sandman
Encore:
18. Creeping Death
19. One
20. Seek & Destroy
Asked whose idea it was for METALLICA to play the "black" album in reverse on the current tour, the band's drummer, Lars Ulrich, told Rolling Stone magazine, "If you like the idea, it was mine. If you don't, it was James' [Hetfield, guitar/vocals]. For better or worse, I'm the setlist guy. This is all subject to change if it doesn't work. But the idea of starting off with the lesser-known songs buried down there and ending up with 'Sad But True' and 'Enter Sandman' seems like a winner. You finish with the money shot, which is the first song."
On the topic of the "black" album's shift away from sped metal to shorter, simpler songs, which set the tone for the rest of METALLICA's career, Lars said, "I'm a big believer that the records all thread together. That straighter, four-on-the-floor thing was present on earlier records, in 'Harvester Of Sorrow' and 'Ride The Lightning'. But we went all-out because there was nowhere else to go. Where do you go after 'Dyer's Eve'? You can't get faster. You can't get more pissed off than Hetfield barking at his parents. That was the end of the Eighties for us."
He continued, "We played a show with AEROSMITH in the summer of 1990, right at the time we started writing the 'black' album. I remember sitting under the grandstand with [co-manager] Cliff Burnstein. He said, 'The MISFITS are a huge part of your influence — 'Last Caress' is a minute and a half long, [THE ROLLING STONES'] 'Jumpin' Jack Flash' is part of who you are. You just haven't released it yet.'
"I went back to San Francisco and there was a riff on Kirk's [Hammett, guitar] on tape [hums the 'Enter Sandman' lick]. The whole thing is just that riff. 'Enter Sandman' was the blueprint. The rest of the record appeared over two months."
METALLICA will play the complete "black album" at its own Orion Music + More festival, scheduled for June 23-24 in Atlantic City, New Jersey. METALLICA is headlining both days and will perform its entire 1984 album "Ride The Lightning" for the first time ever on the other day of the festival.
"Metallica" in 2009 surpassed SHANIA TWAIN's 1997 record, "Come On Over", as the best-selling CD of the SoundScan era. To date, the black album has sold 15,776,000 copies in the United States.
Although METALLICA had scored their first radio and video airplay with their previous effort, 1988's "...And Justice For All", the black album was the band's biggest commercial breakthrough, producing five singles and making them into one of the most popular rock bands in the world.
METALLICA performed its top-selling 1991 LP, "Metallica", a.k.a. "the black album," in its entirety at the Warsaw concert. As they have done on all the shows on their current European tour, the band played the LP backwards, starting with closing number "The Struggle Within" and ending with "Enter Sandman".
The band's setlist was as follows:
01. Hit The Lights
02. Master Of Puppets
03. The Shortest Straw
04. For Whom The Bell Tolls
05. Fight Fire With Fire
06. The Struggle Within
07. My Friend Of Misery
08. The God That Failed
09. Of Wolf & Man
10. Nothing Else Matters
11. Through The Never
12. Don't Tread On Me
13. Wherever I May Roam
14. The Unforgiven
15. Holier Than Thou
16. Sad But True
17. Enter Sandman
Encore:
18. Creeping Death
19. One
20. Seek & Destroy
Asked whose idea it was for METALLICA to play the "black" album in reverse on the current tour, the band's drummer, Lars Ulrich, told Rolling Stone magazine, "If you like the idea, it was mine. If you don't, it was James' [Hetfield, guitar/vocals]. For better or worse, I'm the setlist guy. This is all subject to change if it doesn't work. But the idea of starting off with the lesser-known songs buried down there and ending up with 'Sad But True' and 'Enter Sandman' seems like a winner. You finish with the money shot, which is the first song."
On the topic of the "black" album's shift away from sped metal to shorter, simpler songs, which set the tone for the rest of METALLICA's career, Lars said, "I'm a big believer that the records all thread together. That straighter, four-on-the-floor thing was present on earlier records, in 'Harvester Of Sorrow' and 'Ride The Lightning'. But we went all-out because there was nowhere else to go. Where do you go after 'Dyer's Eve'? You can't get faster. You can't get more pissed off than Hetfield barking at his parents. That was the end of the Eighties for us."
He continued, "We played a show with AEROSMITH in the summer of 1990, right at the time we started writing the 'black' album. I remember sitting under the grandstand with [co-manager] Cliff Burnstein. He said, 'The MISFITS are a huge part of your influence — 'Last Caress' is a minute and a half long, [THE ROLLING STONES'] 'Jumpin' Jack Flash' is part of who you are. You just haven't released it yet.'
"I went back to San Francisco and there was a riff on Kirk's [Hammett, guitar] on tape [hums the 'Enter Sandman' lick]. The whole thing is just that riff. 'Enter Sandman' was the blueprint. The rest of the record appeared over two months."
METALLICA will play the complete "black album" at its own Orion Music + More festival, scheduled for June 23-24 in Atlantic City, New Jersey. METALLICA is headlining both days and will perform its entire 1984 album "Ride The Lightning" for the first time ever on the other day of the festival.
"Metallica" in 2009 surpassed SHANIA TWAIN's 1997 record, "Come On Over", as the best-selling CD of the SoundScan era. To date, the black album has sold 15,776,000 copies in the United States.
Although METALLICA had scored their first radio and video airplay with their previous effort, 1988's "...And Justice For All", the black album was the band's biggest commercial breakthrough, producing five singles and making them into one of the most popular rock bands in the world.
Rolling Stone magazine conducted separate interviews with the four members of METALLICA — guitarist/vocalist James Hetfield, drummer Lars Ulrich, guitarist Kirk Hammett and bassist Robert Trujillo — during a recent visit to the band's headquarters in San Rafael, California. The full interviews can be found in Rolling Stone's "The Big Issue", available on newsstands now. A few excerpts follow below.
Rolling Stone: How far have you gotten into writing for a new album?
James Hetfield: "I only have 846 riffs."
Rolling Stone: Is that an exact figure?
James Hetfield: "In iTunes, you can see how many things you've got. And that does not include the soundchecks, the stuff we goof around with here. You plug in an amp. Suddenly it makes you feel good — you come up with a riff. 'Dude, did you get that?' You can't get away from being recorded here.
"But Lars, the hoarder of METALLICA, is obsessed with revisiting every stone, turning it over: 'That could be great!' Yeah, it could all be great. But I've got a new one right now. That's the Catch-22. You've got a riff from five years on tour that's amazing. Do I still feel it? Don't worry. Something better will show up."
Rolling Stone: Are there too many distractions — tours, the [Orion Music + More] festival, the [upcoming 3D] movie — that take you away from the primary business of…
James Hetfield: "Writing songs? Absolutely. This week is interviews, photo shoots, shooting videos for things. When are we going to start writing? 'We've got to rehearse the 'black' album.' I would love to sit and write without having to think of other stuff."
Rolling Stone: How much will playing [the "black" album in its entirety on METALLICA's current tour] affect your next album?
Lars Ulrich: "I've been sitting with [the songs from the 'black' album] for a month now, listening to them while I'm driving, immersing myself before we play them: 'Why did we go one key up there? Why did we repeat that thing four times instead of two?' I was thinking about it again today. There was a moment in 'Sad But True' with that half-chorus in the middle. Then it went back to the guitar solo, and then there was a little break before it goes into the third verse.
"I couldn't help thinking, 'Why was it put together like that?' Maybe we can slightly borrow that?' If you can't rip yourself off, what's the point? It will be interesting to see, once we take this album out to people in different countries, what we'll come back with for the writing sessions in the fall."
Rolling Stone: You do have a lot of projects that get in the way of making new music.
Lars Ulrich: "I don't want to be that band that just does record, tour; record, tour. I will say to my dying day, 'Who wouldn't want to make a record with Lou Reed?' They are adventures, uncharted territory, places where you do more than just use muscle memory. I want to get away from that model, that the sole reason for a band to exist is to just make another record."
Rolling Stone: How do you look at your long-term future? You just celebrated your 30th anniversary. Another 30 years might be optimistic.
Lars Ulrich: "I still don't feel we've challenged ourselves enough. We still talk about 'the next album.' We can do whatever we want with our music. 'We've hidden a new METALLICA CD in each ZIP code in America. Go find it!' There's nothing but options.
"Just don't mention the word 'work.' The a.m. grind, getting my three kids ready for school — that is the work part of my day. When I come in here, that's when the fun starts."
Rolling Stone: You've fallen way behind in making new music, because you're so busy with touring, the festival and the 3D movie.
Kirk Hammett: "We've known for at least two years that we have to start writing songs. It feels like I'm standing on the side of a hill: There's this big boulder at the top that I know is going to start rolling one of these days. And when it does, we won't be able to stop it. But it hasn't started rolling yet.
"It's on everybody's mind. When we finished [playing the 30th-anniversary shows] at the Fillmore [in San Francisco] last year, I thought, 'A year from now, I'm going to be 50. At this rate, does that mean I have two albums left in me? Three?' But if we run at a different rate, who knows? Five? The one thing I've learned is you can't be too prophectic in this band, because something happens, and things completely change."
Rolling Stone: How much have you written, riff-wise, for the next record?
Robert Trujillo: I have about 20 ideas that I feel really good about, whereas on 'Death Magnetic' I had one or two. But one of them ended up being 'Suicide And Redemption'. Hetfield — he's a writing machine. Kirk has over 300 ideas. There's so much stuff from the tuning-room jams, from all those years of touring. I like to think I have 20 ideas I believe in."
Rolling Stone: What's the best one so far?
Robert Trujillo: "[Grins] There's one that reminds me of something off BLACK SABBATH's 'Vol. 4'."
Rolling Stone: How far have you gotten into writing for a new album?
James Hetfield: "I only have 846 riffs."
Rolling Stone: Is that an exact figure?
James Hetfield: "In iTunes, you can see how many things you've got. And that does not include the soundchecks, the stuff we goof around with here. You plug in an amp. Suddenly it makes you feel good — you come up with a riff. 'Dude, did you get that?' You can't get away from being recorded here.
"But Lars, the hoarder of METALLICA, is obsessed with revisiting every stone, turning it over: 'That could be great!' Yeah, it could all be great. But I've got a new one right now. That's the Catch-22. You've got a riff from five years on tour that's amazing. Do I still feel it? Don't worry. Something better will show up."
Rolling Stone: Are there too many distractions — tours, the [Orion Music + More] festival, the [upcoming 3D] movie — that take you away from the primary business of…
James Hetfield: "Writing songs? Absolutely. This week is interviews, photo shoots, shooting videos for things. When are we going to start writing? 'We've got to rehearse the 'black' album.' I would love to sit and write without having to think of other stuff."
Rolling Stone: How much will playing [the "black" album in its entirety on METALLICA's current tour] affect your next album?
Lars Ulrich: "I've been sitting with [the songs from the 'black' album] for a month now, listening to them while I'm driving, immersing myself before we play them: 'Why did we go one key up there? Why did we repeat that thing four times instead of two?' I was thinking about it again today. There was a moment in 'Sad But True' with that half-chorus in the middle. Then it went back to the guitar solo, and then there was a little break before it goes into the third verse.
"I couldn't help thinking, 'Why was it put together like that?' Maybe we can slightly borrow that?' If you can't rip yourself off, what's the point? It will be interesting to see, once we take this album out to people in different countries, what we'll come back with for the writing sessions in the fall."
Rolling Stone: You do have a lot of projects that get in the way of making new music.
Lars Ulrich: "I don't want to be that band that just does record, tour; record, tour. I will say to my dying day, 'Who wouldn't want to make a record with Lou Reed?' They are adventures, uncharted territory, places where you do more than just use muscle memory. I want to get away from that model, that the sole reason for a band to exist is to just make another record."
Rolling Stone: How do you look at your long-term future? You just celebrated your 30th anniversary. Another 30 years might be optimistic.
Lars Ulrich: "I still don't feel we've challenged ourselves enough. We still talk about 'the next album.' We can do whatever we want with our music. 'We've hidden a new METALLICA CD in each ZIP code in America. Go find it!' There's nothing but options.
"Just don't mention the word 'work.' The a.m. grind, getting my three kids ready for school — that is the work part of my day. When I come in here, that's when the fun starts."
Rolling Stone: You've fallen way behind in making new music, because you're so busy with touring, the festival and the 3D movie.
Kirk Hammett: "We've known for at least two years that we have to start writing songs. It feels like I'm standing on the side of a hill: There's this big boulder at the top that I know is going to start rolling one of these days. And when it does, we won't be able to stop it. But it hasn't started rolling yet.
"It's on everybody's mind. When we finished [playing the 30th-anniversary shows] at the Fillmore [in San Francisco] last year, I thought, 'A year from now, I'm going to be 50. At this rate, does that mean I have two albums left in me? Three?' But if we run at a different rate, who knows? Five? The one thing I've learned is you can't be too prophectic in this band, because something happens, and things completely change."
Rolling Stone: How much have you written, riff-wise, for the next record?
Robert Trujillo: I have about 20 ideas that I feel really good about, whereas on 'Death Magnetic' I had one or two. But one of them ended up being 'Suicide And Redemption'. Hetfield — he's a writing machine. Kirk has over 300 ideas. There's so much stuff from the tuning-room jams, from all those years of touring. I like to think I have 20 ideas I believe in."
Rolling Stone: What's the best one so far?
Robert Trujillo: "[Grins] There's one that reminds me of something off BLACK SABBATH's 'Vol. 4'."
According to DailyRecord.co.uk, GUNS N' ROSES has requested for the front row of their Glasgow, U.K. concert on Friday, May 25 to be filled by models.
The show's promoter invited 20 models from All Talent – The Sonia Scott Agency to attend the gig and join GN'R backstage after the concert.
A source told DailyRecord.co.uk: "The band's promoter contacted Sonia and asked if she could provide the band with models for the gig. He asked Sonia for 20 of her prettiest models to stand in the front row and wow the band while they're performing. The girls have then been invited to join Axl [Rose, GN'R lead singer] and the boys backstage for drinks and they've even asked Sonia if she can arrange a party for the band."
The source added: "Axl and the rest of the band love girls from Scotland and they want to party in Glasgow. No other band has ever requested models from the agency to party with a rock band before, so this is a first. But then again, it is Axl Rose."
Among the girls chosen to party with the band are 19-year-old Layla Ferguson, 23-year-old Kyleen McKerlich, and 22-year-old Annie Voigt.
An online posting from a fan who attended last night's (Sunday, May 20) GUNS N' ROSES concert in Liverpool, England suggests that a smilar request was made for yesterday's performance. He writes on the GN'R fan site Here Today… Gone To Hell!, "What was with all the girls stood infront of the stage? They came in just before the show started? All dolled up then showered in cups of booze?"
After the DailyRecord.co.uk article was published earlier today, GUNS N' ROSES guitarist Ron "Bumblefoot" Thal took to Twitter to link to the story and say, "Hey all, I have nothing to do with this. Nor do I decide when the shows start — when you're waiting, so am I." On his Facebook page, Bumblefoot added, "*I* think the story is presented dishonestly and it's disrespectful to the families of bandmembers, and I'm bringing it up 1) because they deserve to be respected and defended, 2) a lot of fans feel that access is being granted to people that haven't earned it — by that I mean standing loyally by the band for years, buying a ticket, waiting on sore feet for hours and hours, cheering until they have no voice left, staying til the end and trying to find a way home after public transportation has been shut down... and doing it again the next time we're in town. I have nothing against 'the models', they were offered a fun night out and they deserve equal treatment from the band that any person at the show should get. But 'the band' did not request it, this kinda stuff comes from other people that are offering a good time by whatever means they have, and that's fine. I just feel the need to speak up on behalf our families and the fans, because they're respected and I don't want them feeling like they're not."
The show's promoter invited 20 models from All Talent – The Sonia Scott Agency to attend the gig and join GN'R backstage after the concert.
A source told DailyRecord.co.uk: "The band's promoter contacted Sonia and asked if she could provide the band with models for the gig. He asked Sonia for 20 of her prettiest models to stand in the front row and wow the band while they're performing. The girls have then been invited to join Axl [Rose, GN'R lead singer] and the boys backstage for drinks and they've even asked Sonia if she can arrange a party for the band."
The source added: "Axl and the rest of the band love girls from Scotland and they want to party in Glasgow. No other band has ever requested models from the agency to party with a rock band before, so this is a first. But then again, it is Axl Rose."
Among the girls chosen to party with the band are 19-year-old Layla Ferguson, 23-year-old Kyleen McKerlich, and 22-year-old Annie Voigt.
An online posting from a fan who attended last night's (Sunday, May 20) GUNS N' ROSES concert in Liverpool, England suggests that a smilar request was made for yesterday's performance. He writes on the GN'R fan site Here Today… Gone To Hell!, "What was with all the girls stood infront of the stage? They came in just before the show started? All dolled up then showered in cups of booze?"
After the DailyRecord.co.uk article was published earlier today, GUNS N' ROSES guitarist Ron "Bumblefoot" Thal took to Twitter to link to the story and say, "Hey all, I have nothing to do with this. Nor do I decide when the shows start — when you're waiting, so am I." On his Facebook page, Bumblefoot added, "*I* think the story is presented dishonestly and it's disrespectful to the families of bandmembers, and I'm bringing it up 1) because they deserve to be respected and defended, 2) a lot of fans feel that access is being granted to people that haven't earned it — by that I mean standing loyally by the band for years, buying a ticket, waiting on sore feet for hours and hours, cheering until they have no voice left, staying til the end and trying to find a way home after public transportation has been shut down... and doing it again the next time we're in town. I have nothing against 'the models', they were offered a fun night out and they deserve equal treatment from the band that any person at the show should get. But 'the band' did not request it, this kinda stuff comes from other people that are offering a good time by whatever means they have, and that's fine. I just feel the need to speak up on behalf our families and the fans, because they're respected and I don't want them feeling like they're not."
Glenn Danzig will perform his "Legacy" career-spanning set featuring songs from DANZIG, SAMHAIN and MISFITS, in a number of U.S. cities in late May and early June. In addition, he has announced four DANZIG shows where he will be joined by ex-MISFITS axeman Doyle Von Frankenstein as a "special guest."
A "Danzig Legacy" TV special will be filmed on Tuesday, May 29 in Glendale, California with director Mark Brooks (Adult Swim's "Metalocalypse"). There will be two separate tapings with very limited seating available at each one. Seperate tickets will be required for each as there will be different segments shot at each taping. You must have a ticket to the Irvine "Danzig Legacy" show on May 26 to be eligible.
Glenn Danzig is streaming the track "Devil's Angels" on his official web site. It was originaly the theme song for the late '60's biker film of the same title.
Commented Glenn: "I've wanted to record this song since 1979 and this is exactly the same arrangement I had for it back then, so it pretty much sounds like that late '70s style of mine. I'm really happy with the way it turned out; it actually came out much better than I had hoped it would. We're going to be playing it live on these upcoming shows."
DANZIG is currently in the studio putting the finishing touches on the as-yet-untitled covers record for a late summer/early fall release.
When asked about the reports that he was recording an album of covers, Glenn said in a 2011 interview, "It's [got] lots of different stuff [on it]. Of course there's an Elvis [Presley] song on there, there's a BLACK SABBATH cover… Then I took some old biker-movie theme songs and made them all old punk-sounding or whatever… Just fucking around, really — just having a good time taking songs and giving them a different life or a different dimension. I just do what I feel like doing, as long as I don't just cover it, because that's boring to me. I wanna take it and change it and give it some other kind of thing. Otherwise just leave it alone."
A "Danzig Legacy" TV special will be filmed on Tuesday, May 29 in Glendale, California with director Mark Brooks (Adult Swim's "Metalocalypse"). There will be two separate tapings with very limited seating available at each one. Seperate tickets will be required for each as there will be different segments shot at each taping. You must have a ticket to the Irvine "Danzig Legacy" show on May 26 to be eligible.
Glenn Danzig is streaming the track "Devil's Angels" on his official web site. It was originaly the theme song for the late '60's biker film of the same title.
Commented Glenn: "I've wanted to record this song since 1979 and this is exactly the same arrangement I had for it back then, so it pretty much sounds like that late '70s style of mine. I'm really happy with the way it turned out; it actually came out much better than I had hoped it would. We're going to be playing it live on these upcoming shows."
DANZIG is currently in the studio putting the finishing touches on the as-yet-untitled covers record for a late summer/early fall release.
When asked about the reports that he was recording an album of covers, Glenn said in a 2011 interview, "It's [got] lots of different stuff [on it]. Of course there's an Elvis [Presley] song on there, there's a BLACK SABBATH cover… Then I took some old biker-movie theme songs and made them all old punk-sounding or whatever… Just fucking around, really — just having a good time taking songs and giving them a different life or a different dimension. I just do what I feel like doing, as long as I don't just cover it, because that's boring to me. I wanna take it and change it and give it some other kind of thing. Otherwise just leave it alone."
Ex-KYUSS members John Garcia (vocals) and Brant Bjork (drums) have agreed to answer questions from RollingStone.com over e-mail about the lawsuit filed by their former KYUSS bandmates Josh Homme and Scott Reeder over the use of the KYUSS name.
Garcia, Bjork and ex-KYUSS bassist Nick Oliveri reunited for shows last year under the KYUSS LIVES! banner, in which they were joined by guitarist Bruno Fevery. The band has since toured on both sides of the Atlantic and is said to be currently working on a live album for a late 2012 release. There are also plans for the group to record a brand new studio CD — albeit without Oliveri, who exited the group a short time after the lawsuit was filed.
Homme and Reeder released a statement on March 10 via public relations firm Nasty Little Man in which they claimed that they "made every attempt to help [Garcia, Bjork and Oliveri] continue KYUSS LIVES! respectfully. Only to discover while they looked us in the eye, KYUSS LIVES! management and band had filed federal documents in 2011 in an attempt to steal the name KYUSS. This is desperately what we were trying to avoid."
What follows are excerpts from Garcia and Bjork's interview with RollingStone.com.
On whether the federal lawsuit filed by Josh and Scott in March came as a surprise:
Brant Bjork: Was I surprised? As far as Scott is concerned, yes, I was very surprised. I wasn't surprised by Josh at all. They don't want to mention that they trademarked the name KYUSS after I left the band, assuring that I had no rights in KYUSS' future. They're both accusing John and I of doing something that they actually did themselves. Their inner conflict is this: both Josh and Scott want control and money from KYUSS LIVES!, but they don't want to participate and they ultimately don't want us to exist. The double standard is unbelievable.
"Josh filing this lawsuit is not an issue of today … it's an issue that began over 20 years ago. That is why the band was short-lived. Josh and I were the creative force within the band and after the completion of our second record, 'Blues For The Red Sun', we developed an opposing view on how the band should exist and operate. In 1992 Josh discovered publishing, which is the financial revenue stream for songwriting. After that, he wanted to write all the songs. As a drummer I couldn't make him play my songs. I wasn't going to compromise my heart and soul and play drums for Josh to make money in a band I started. So I left the band. I was a confused, angry and sad 19-year-old idealist who sacrificed my love of my band for what I believed in. Two-and-a-half years later, Josh would break up the band after John confronted him about the same thing; his need to control the band for personal gain."
On Nick Oliveri's departure and his replacement:
Brant Bjork: I honestly don't know exactly why Nick left the band. My speculation is that he became overwhelmed with the lawsuit in combination with his personal legal issues, and it was simply too much for him to manage. Nick has mended his friendship with Josh over the years, and that, combined with his love of QUEENS OF THE STONE AGE … I think he just couldn't stand to be caught in the middle of everything. Nick did not play a major role when he was in KYUSS, but he played a very important role in QUEENS OF THE STONE AGE. He is still brokenhearted over being fired from the band. His heart is still with QUEENS. Now, with all this mess, I believe Nick simply didn't feel his time and energy was worth it, so he gave up."
On KYUSS LIVES!'s future plans:
Brant Bjork: After Nick left, John and I sat down to talk about what we were going to do. Josh basically told John to give him what he wanted and he would then pull the lawsuit. After being bullied by Josh for 20 years, we both decided to stand up for our rights. We love music and we love our band, and we want to continue on and we feel we have the right to do so. So, we now know the lawsuit is not going away. Without Nick, I suggested to John we give Scott the benefit of the doubt — that he initially reacted the way he did because of his feelings being hurt — and ask him to now be the full-time player, which is what he wanted in the first place. John reluctantly agreed. I called Scott and we had a very nice conversation that ended with him saying he wanted to think about it and that he would call me in a day or two. Scott sent both John and I an e-mail two days later saying, 'No,' that he was going to continue siding with Josh and was moving forward with the lawsuit. I was shocked. John was not.
"I made a statement last year that without Nick or Scott, KYUSS LIVES! wouldn't work. This statement was a show of respect directed to Nick, Scott and the fans. I now have decided that KYUSS LIVES! can and will work without Nick or Scott, and this is a show of respect towards John and me. For them to be denied the opportunity to participate in the beginning would, of course, have been disrespectful. But for them to individually not want to participate and expect John and I to sit down, that's straight-up not cool.
"John and I — along with Bruno — have a new bass player and we will carry on. His name is Billy Cordell and he is a very old friend from our desert home. Both John and I have experience playing in bands with Billy. He is a monster player and a super-cool guy.
"Both John and I are sad that there is bitterness between members of KYUSS, but we are excited to go back to work and continue bringing the music to the fans. We have a new record deal and will begin recording in July."
Read RollingStone.com's entire interview with KYUSS LIVES! at this location.
Reeder played a handful of European live dates with KYUSS LIVES! last year as a fill-in for Oliveri. He was also a "special guest" at KYUSS LIVES!'s homecoming show on November 18, 2011 at The Wiltern in Los Angeles.
Reeder played bass on KYUSS' classic LPs "Welcome to Sky Valley" and "...And the Circus Leaves Town" and was also a member of doom legends THE OBSESSED.
Regarding why Homme is not involved in the KYUSS reunion, Garcia previously told Rock Sound magazine, "I have nothing bad to say about Josh — he's extremely intelligent, very smart, a great guitar player, great songwriter, a great vocalist — he is a bad-ass, there is no question, and I love him dearly but he is busy with his own thing. He has THEM CROOKED VULTURES, QUEENS OF THE STONE AGE, he's a father, a businessman and even if we asked him to do it, I don't think he'd say yes, so I don't want to set myself up for a big fat no which is 99.9 percent what he would say."
In a 2010 interview, Homme explained his hesitation to participate in a KYUSS reformation.
"The offers come in all the time," he said. "They're getting more and more expensive, and more and more elaborate. The money is crazy, but I've never been tempted — I don't really care about the money, I never have. That's not what KYUSS was about, so to punctuate the end of our sentence with that would be blasphemy… KYUSS has such a great history that it would be a total error. I like that nobody saw KYUSS, and that it was largely misunderstood. That sounds like a legend forming to me. I'm too proud of it to rub my dick on it."
Garcia, Bjork and ex-KYUSS bassist Nick Oliveri reunited for shows last year under the KYUSS LIVES! banner, in which they were joined by guitarist Bruno Fevery. The band has since toured on both sides of the Atlantic and is said to be currently working on a live album for a late 2012 release. There are also plans for the group to record a brand new studio CD — albeit without Oliveri, who exited the group a short time after the lawsuit was filed.
Homme and Reeder released a statement on March 10 via public relations firm Nasty Little Man in which they claimed that they "made every attempt to help [Garcia, Bjork and Oliveri] continue KYUSS LIVES! respectfully. Only to discover while they looked us in the eye, KYUSS LIVES! management and band had filed federal documents in 2011 in an attempt to steal the name KYUSS. This is desperately what we were trying to avoid."
What follows are excerpts from Garcia and Bjork's interview with RollingStone.com.
On whether the federal lawsuit filed by Josh and Scott in March came as a surprise:
Brant Bjork: Was I surprised? As far as Scott is concerned, yes, I was very surprised. I wasn't surprised by Josh at all. They don't want to mention that they trademarked the name KYUSS after I left the band, assuring that I had no rights in KYUSS' future. They're both accusing John and I of doing something that they actually did themselves. Their inner conflict is this: both Josh and Scott want control and money from KYUSS LIVES!, but they don't want to participate and they ultimately don't want us to exist. The double standard is unbelievable.
"Josh filing this lawsuit is not an issue of today … it's an issue that began over 20 years ago. That is why the band was short-lived. Josh and I were the creative force within the band and after the completion of our second record, 'Blues For The Red Sun', we developed an opposing view on how the band should exist and operate. In 1992 Josh discovered publishing, which is the financial revenue stream for songwriting. After that, he wanted to write all the songs. As a drummer I couldn't make him play my songs. I wasn't going to compromise my heart and soul and play drums for Josh to make money in a band I started. So I left the band. I was a confused, angry and sad 19-year-old idealist who sacrificed my love of my band for what I believed in. Two-and-a-half years later, Josh would break up the band after John confronted him about the same thing; his need to control the band for personal gain."
On Nick Oliveri's departure and his replacement:
Brant Bjork: I honestly don't know exactly why Nick left the band. My speculation is that he became overwhelmed with the lawsuit in combination with his personal legal issues, and it was simply too much for him to manage. Nick has mended his friendship with Josh over the years, and that, combined with his love of QUEENS OF THE STONE AGE … I think he just couldn't stand to be caught in the middle of everything. Nick did not play a major role when he was in KYUSS, but he played a very important role in QUEENS OF THE STONE AGE. He is still brokenhearted over being fired from the band. His heart is still with QUEENS. Now, with all this mess, I believe Nick simply didn't feel his time and energy was worth it, so he gave up."
On KYUSS LIVES!'s future plans:
Brant Bjork: After Nick left, John and I sat down to talk about what we were going to do. Josh basically told John to give him what he wanted and he would then pull the lawsuit. After being bullied by Josh for 20 years, we both decided to stand up for our rights. We love music and we love our band, and we want to continue on and we feel we have the right to do so. So, we now know the lawsuit is not going away. Without Nick, I suggested to John we give Scott the benefit of the doubt — that he initially reacted the way he did because of his feelings being hurt — and ask him to now be the full-time player, which is what he wanted in the first place. John reluctantly agreed. I called Scott and we had a very nice conversation that ended with him saying he wanted to think about it and that he would call me in a day or two. Scott sent both John and I an e-mail two days later saying, 'No,' that he was going to continue siding with Josh and was moving forward with the lawsuit. I was shocked. John was not.
"I made a statement last year that without Nick or Scott, KYUSS LIVES! wouldn't work. This statement was a show of respect directed to Nick, Scott and the fans. I now have decided that KYUSS LIVES! can and will work without Nick or Scott, and this is a show of respect towards John and me. For them to be denied the opportunity to participate in the beginning would, of course, have been disrespectful. But for them to individually not want to participate and expect John and I to sit down, that's straight-up not cool.
"John and I — along with Bruno — have a new bass player and we will carry on. His name is Billy Cordell and he is a very old friend from our desert home. Both John and I have experience playing in bands with Billy. He is a monster player and a super-cool guy.
"Both John and I are sad that there is bitterness between members of KYUSS, but we are excited to go back to work and continue bringing the music to the fans. We have a new record deal and will begin recording in July."
Read RollingStone.com's entire interview with KYUSS LIVES! at this location.
Reeder played a handful of European live dates with KYUSS LIVES! last year as a fill-in for Oliveri. He was also a "special guest" at KYUSS LIVES!'s homecoming show on November 18, 2011 at The Wiltern in Los Angeles.
Reeder played bass on KYUSS' classic LPs "Welcome to Sky Valley" and "...And the Circus Leaves Town" and was also a member of doom legends THE OBSESSED.
Regarding why Homme is not involved in the KYUSS reunion, Garcia previously told Rock Sound magazine, "I have nothing bad to say about Josh — he's extremely intelligent, very smart, a great guitar player, great songwriter, a great vocalist — he is a bad-ass, there is no question, and I love him dearly but he is busy with his own thing. He has THEM CROOKED VULTURES, QUEENS OF THE STONE AGE, he's a father, a businessman and even if we asked him to do it, I don't think he'd say yes, so I don't want to set myself up for a big fat no which is 99.9 percent what he would say."
In a 2010 interview, Homme explained his hesitation to participate in a KYUSS reformation.
"The offers come in all the time," he said. "They're getting more and more expensive, and more and more elaborate. The money is crazy, but I've never been tempted — I don't really care about the money, I never have. That's not what KYUSS was about, so to punctuate the end of our sentence with that would be blasphemy… KYUSS has such a great history that it would be a total error. I like that nobody saw KYUSS, and that it was largely misunderstood. That sounds like a legend forming to me. I'm too proud of it to rub my dick on it."
Two years ago, Dee Snider was gearing up to make a sequel to 1998's "Strangeland", which he wrote and starred in as antagonist Captain Howdy. So what's happening with it? Sadly, nothing, as the TWISTED SISTER singer explained to VH1 Radio Network's Dave Basner.
"'Strangeland' is my one like; it's just a heartache for me. The sequel for it has been on and off literally since the first movie came out and a couple years ago or a year ago, they were going into production and it fell apart again so I've taken out my septum piercing retainer and I've kind of given up. So who knows if one day it will have life?! I don't know, but I've stopped obsessing on it, because I was been obsessing on it. And they were going, 'But, Dee, you have all these other wonderful things going on.' 'But I want that! I want 'Strangeland 2'!' So who knows?! Nothing now, though."
In a February 2009 interview with FlickDirect, Snider stated about "Strangeland: Disciple", the proposed follow-up to "Strangeland", "'Hostel' and 'Saw' are children of 'Strangeland'. Before that, there was no torture genre; everyone was still beating the dead horse being chased and dying of 'Halloween'. The idea of being torn into had not been developed yet.
"I did a Fangoria radio show, dedicated to the world of horror; and the makers of 'Hostel' and 'Saw' would talk about how they loved 'Strangeland'. With 'Strangeland: Disciple', I'm going to take my crown back. That calls for a really intense effort on the part of the script.
"It is the graphic nature of 'Strangeland: Disciple'. It will be NC-17. We can allow ourselves to focus more on things happening to the subjects. We don't have to cut away so rapidly — so rabidly. 'R' leaves a lot to the imagination. I tend to leave a lot less to the imagination."
Regarding his decision to shoot for an NC-17 rating NC-17 from the MPAA's ratings board for "Strangeland: Disciple", Snider said, "I wanted to make the first one NC-17, but the company making the picture said, 'No, you can't. You won't get any screens. When did you last see an NC-17 movie at the multiplex?'
"There is a conservative undercurrent in this country that won't allow [this type of movie] to be seen. Their view is that the rating is to protect the public, not educate them.
"I know, from experience, that kids are buying tickets to 'Snow White' or whatever and sneaking in to see R-rated films. So we toned down 'Strangeland'. With 'Strangeland: Disciple', we are doing the reverse of what is going on today — which is to release the R-rated movie in the theaters and then do the unrated director's cut on DVD.
"When 'The Exorcist' came out, it only showed in New York and L.A. The word spread about this insane movie. The first cut was a lot more intense, with more subliminal cuts and things like the spider-walk that got taken out of the release version. People were passing out in the theater.
"We're going to do the initial screenings with NC-17, and then a wider release at 'R.' People will be going, 'You have to see the original.'
"I'm not making an intense picture for the purpose of making an intense picture. It's reality-based. The first one was also; when I wrote it, Internet crime didn't exist. In the last movie, Captain Howdy appears to burn to death — he is on fire. When you see how he survives, people will go, 'Oh crap, I get that!' It is reality-based."
"'Strangeland' is my one like; it's just a heartache for me. The sequel for it has been on and off literally since the first movie came out and a couple years ago or a year ago, they were going into production and it fell apart again so I've taken out my septum piercing retainer and I've kind of given up. So who knows if one day it will have life?! I don't know, but I've stopped obsessing on it, because I was been obsessing on it. And they were going, 'But, Dee, you have all these other wonderful things going on.' 'But I want that! I want 'Strangeland 2'!' So who knows?! Nothing now, though."
In a February 2009 interview with FlickDirect, Snider stated about "Strangeland: Disciple", the proposed follow-up to "Strangeland", "'Hostel' and 'Saw' are children of 'Strangeland'. Before that, there was no torture genre; everyone was still beating the dead horse being chased and dying of 'Halloween'. The idea of being torn into had not been developed yet.
"I did a Fangoria radio show, dedicated to the world of horror; and the makers of 'Hostel' and 'Saw' would talk about how they loved 'Strangeland'. With 'Strangeland: Disciple', I'm going to take my crown back. That calls for a really intense effort on the part of the script.
"It is the graphic nature of 'Strangeland: Disciple'. It will be NC-17. We can allow ourselves to focus more on things happening to the subjects. We don't have to cut away so rapidly — so rabidly. 'R' leaves a lot to the imagination. I tend to leave a lot less to the imagination."
Regarding his decision to shoot for an NC-17 rating NC-17 from the MPAA's ratings board for "Strangeland: Disciple", Snider said, "I wanted to make the first one NC-17, but the company making the picture said, 'No, you can't. You won't get any screens. When did you last see an NC-17 movie at the multiplex?'
"There is a conservative undercurrent in this country that won't allow [this type of movie] to be seen. Their view is that the rating is to protect the public, not educate them.
"I know, from experience, that kids are buying tickets to 'Snow White' or whatever and sneaking in to see R-rated films. So we toned down 'Strangeland'. With 'Strangeland: Disciple', we are doing the reverse of what is going on today — which is to release the R-rated movie in the theaters and then do the unrated director's cut on DVD.
"When 'The Exorcist' came out, it only showed in New York and L.A. The word spread about this insane movie. The first cut was a lot more intense, with more subliminal cuts and things like the spider-walk that got taken out of the release version. People were passing out in the theater.
"We're going to do the initial screenings with NC-17, and then a wider release at 'R.' People will be going, 'You have to see the original.'
"I'm not making an intense picture for the purpose of making an intense picture. It's reality-based. The first one was also; when I wrote it, Internet crime didn't exist. In the last movie, Captain Howdy appears to burn to death — he is on fire. When you see how he survives, people will go, 'Oh crap, I get that!' It is reality-based."
Jeremy Lafrentz of Backstage Entertainment conducted an interview with former SKID ROW singer Sebastian Bach at this year's Lazerfest on May 13 at the Central Iowa Expo in Boone, Iowa. During the chat, which can be seen below, Bach introduced his new guitar player, Andy Wood, who previously played in the Knoxville, Tennessee hard rock band DOWN FROM UP. It is not presently clear if Wood is a permanent replacement for Nick Sterling, who played guitar, and co-wrote many of the songs, on Bach's latest album, "Kicking & Screaming".
Shortly after joining forces with Sterling in 2009, Bach stated about the young guitarist, "After searching for 'my Randy Rhoads' for the last couple of decades, I am very excited to introduce to you a guitar player whom I feel has what it takes to take on the world of rock n' roll and beyond...
"After flipping through an issue of Guitar World magazine (good place to find guitar players, it turns out!), I saw an ad for an amplifier that featured Nick Sterling. After I found Nick's web sites, I could not believe how talented this guy was... He sings, plays all guitars and basses, and all the drums on his recordings! Now that's something I know very few people are capable of. His songs rock, he plays great... I was very interested in making some music with this dude. I contacted him through his MySpace page, and soon we were emailing song ideas back and forth.
"Nick is younger than I am. The reason I dig his tunes is that, to me, rock 'n' roll is all about the spirit of the 'youth gone wild,' and honestly, some musicians, as they get older, tend to 'write older.' I am simply far too in love with rock n' roll, still, to change my 'musical direction' right now. I just want to keep making albums that have tons of energy, are melodic, cool, groovin' and fit into the catalog of what I have put out so far. Nick's songs and vibe fit perfectly alongside such tracks as 'Youth Gone Wild', '18 & Life', etc."
Bassist Jason Christopher — who filled in for Shawn Economaki during STONE SOUR's spring 2011 tour and who previously played with SLIPKNOT/STONE SOUR frontman Corey Taylor in the JUNK BEER KIDNAP BAND — recently joined Bach's solo group.
Bach completed a short run of North American dates in February and took part in the Rock 'N' Roll Allstars tour, which hit the road in South America in late April.
Shortly after joining forces with Sterling in 2009, Bach stated about the young guitarist, "After searching for 'my Randy Rhoads' for the last couple of decades, I am very excited to introduce to you a guitar player whom I feel has what it takes to take on the world of rock n' roll and beyond...
"After flipping through an issue of Guitar World magazine (good place to find guitar players, it turns out!), I saw an ad for an amplifier that featured Nick Sterling. After I found Nick's web sites, I could not believe how talented this guy was... He sings, plays all guitars and basses, and all the drums on his recordings! Now that's something I know very few people are capable of. His songs rock, he plays great... I was very interested in making some music with this dude. I contacted him through his MySpace page, and soon we were emailing song ideas back and forth.
"Nick is younger than I am. The reason I dig his tunes is that, to me, rock 'n' roll is all about the spirit of the 'youth gone wild,' and honestly, some musicians, as they get older, tend to 'write older.' I am simply far too in love with rock n' roll, still, to change my 'musical direction' right now. I just want to keep making albums that have tons of energy, are melodic, cool, groovin' and fit into the catalog of what I have put out so far. Nick's songs and vibe fit perfectly alongside such tracks as 'Youth Gone Wild', '18 & Life', etc."
Bassist Jason Christopher — who filled in for Shawn Economaki during STONE SOUR's spring 2011 tour and who previously played with SLIPKNOT/STONE SOUR frontman Corey Taylor in the JUNK BEER KIDNAP BAND — recently joined Bach's solo group.
Bach completed a short run of North American dates in February and took part in the Rock 'N' Roll Allstars tour, which hit the road in South America in late April.
Tori Stafford of the Kingston Whig-Standard recently conducted an interview with vocalist/guitarist Steve "Lips" Kudlow of Canadian metal legends ANVIL. A couple of excerpts from the chat follow below.
On whether he's ever surprised the band is still together and rocking some 40-plus years after its formation:
Lips: "What, that ANVIL's still together? Hell, no, Man! Not at all. You have to understand that when you talk about two guys that started in 1973, we were just 15 or 16 years old. I mean, would we have ever thought at that point that I'd be doing it when I was 56? Well, probably not. But at the same time, it's no big surprise."
On touring:
Lips: "Nothing could feel more at home and more normal, really. We're one of those bands that kind of loves to be on the road, we're not one of those bands that can't wait to get home. It's usually the opposite. But I think what that has to do with is a long, long period of deprivation."
"The schedules are extraordinarily hectic at some points where you don't really sleep. Sometimes there is no time, and I've found myself asleep in change rooms an hour before stage. But you sleep when you can."
On recently being approached in London's Heathrow Airport by a small man in a long coat and a hat that turned out to be Ian Anderson of JETHRO TULL:
Lips: "He had a solemn voice, a deep voice, one that I knew, but couldn't place for the life of me. He told me he wanted to let me know how inspiring and life-changing the movie was for him. He said 'It made me put my band back together and back on the road. How out there is that?! But it feels amazing. I want to be humble, but it really is a great feeling to have people searching me out to let me know they have respect for the band and what we've done."
On putting on a really great show:
Lips: "As much as this band is about the love of metal, I've learned recently there's a lot more to performing than just loving the metal. I love to entertain. People come away from ANVIL shows with a smile on their faces having just seen a great show. It's not normal, I guess, for a metal band — we don't inspire punching someone out, or Satan worshiping. But we have enough angst to keep die hard metal lovers happy, and entertain a whole age range, from the kids of today to elderly rockers."
On whether he is ever surprised that ANVIL can still pull in an audience, still fill the seats after all these years:
Lips: "I think I'm more surprised when we don't! It truly has been a hard and long road to get here, and it's more of a surprise when we don't do well than when we do… At this point. Because it used to be the other way around!"
On whether he's ever surprised the band is still together and rocking some 40-plus years after its formation:
Lips: "What, that ANVIL's still together? Hell, no, Man! Not at all. You have to understand that when you talk about two guys that started in 1973, we were just 15 or 16 years old. I mean, would we have ever thought at that point that I'd be doing it when I was 56? Well, probably not. But at the same time, it's no big surprise."
On touring:
Lips: "Nothing could feel more at home and more normal, really. We're one of those bands that kind of loves to be on the road, we're not one of those bands that can't wait to get home. It's usually the opposite. But I think what that has to do with is a long, long period of deprivation."
"The schedules are extraordinarily hectic at some points where you don't really sleep. Sometimes there is no time, and I've found myself asleep in change rooms an hour before stage. But you sleep when you can."
On recently being approached in London's Heathrow Airport by a small man in a long coat and a hat that turned out to be Ian Anderson of JETHRO TULL:
Lips: "He had a solemn voice, a deep voice, one that I knew, but couldn't place for the life of me. He told me he wanted to let me know how inspiring and life-changing the movie was for him. He said 'It made me put my band back together and back on the road. How out there is that?! But it feels amazing. I want to be humble, but it really is a great feeling to have people searching me out to let me know they have respect for the band and what we've done."
On putting on a really great show:
Lips: "As much as this band is about the love of metal, I've learned recently there's a lot more to performing than just loving the metal. I love to entertain. People come away from ANVIL shows with a smile on their faces having just seen a great show. It's not normal, I guess, for a metal band — we don't inspire punching someone out, or Satan worshiping. But we have enough angst to keep die hard metal lovers happy, and entertain a whole age range, from the kids of today to elderly rockers."
On whether he is ever surprised that ANVIL can still pull in an audience, still fill the seats after all these years:
Lips: "I think I'm more surprised when we don't! It truly has been a hard and long road to get here, and it's more of a surprise when we don't do well than when we do… At this point. Because it used to be the other way around!"
Canadian hard rockers HELIX will release a compilation CD entitled "1983-2012" in September. Singer Brian Vollmer states, "It will feature 19 tracks from various HELIX CDs over the years plus one brand new track, the Christmas track that Sean [Kelly; CRASH KELLY] and I wrote. We're keeping the name of the song under wraps for the time present, but as we get into the later part of the summer I'll let everyone know what it is. Last Friday, I was at Brent's [Doerner, guitar] place in Kitchener and we were working on the video and it was looking good. The game plan is to have the song go to radio the first week of September and the video to be released on Facebook, MySpace, YouTube and [the] Planet Helix [web site] at the same time. At the end of the video will be the Christmas tour dates plus a link to the Heavy Mental Christmas web site where fans will be able to buy tickets online. I'm very excited about this and everyone who has heard the song thinks it's going to get lots of airplay/video play. We'll see..."
"1983-2012" CD tentative track listing:
01. Danger Zone
02. Running Wild In The 21st Century
03. Give It To You
04. Jaws Of The Tiger
05. Deep Cuts The Knife
06. Skin In The Game
07. Good To The Last Drop
08. The Same Room
09. Heavy Metal Love
10. Fill Your Head With Rock
11. Get Up!
12. Wild In The Streets
13. Six Feet Underground
14. Rock You
15. Champagne Communist
16. Animal Inside
17. Make 'Em Dance
18. I'm A Live Frankenstein
19. You Got The Love That I Like
20. Mystery Christmas Song
HELIX last year released the "Skin In The Game" EP. The CD was mixed by Aaron Murray and was mastered at Carvello Mastering in Toronto, Ontario. The artwork was once again created by Babyjack Design, who previously worked with the band on the "Vagabond Bones" and "Smash Hits Unplugged" releases.
"1983-2012" CD tentative track listing:
01. Danger Zone
02. Running Wild In The 21st Century
03. Give It To You
04. Jaws Of The Tiger
05. Deep Cuts The Knife
06. Skin In The Game
07. Good To The Last Drop
08. The Same Room
09. Heavy Metal Love
10. Fill Your Head With Rock
11. Get Up!
12. Wild In The Streets
13. Six Feet Underground
14. Rock You
15. Champagne Communist
16. Animal Inside
17. Make 'Em Dance
18. I'm A Live Frankenstein
19. You Got The Love That I Like
20. Mystery Christmas Song
HELIX last year released the "Skin In The Game" EP. The CD was mixed by Aaron Murray and was mastered at Carvello Mastering in Toronto, Ontario. The artwork was once again created by Babyjack Design, who previously worked with the band on the "Vagabond Bones" and "Smash Hits Unplugged" releases.
Former STRATOVARIUS, REVOLUTION RENAISSANCE and SYMFONIA mainman Timo Tolkki recently launched a PledgeMusic.com campaign to support the release of his fourth solo album, "Classical Variations 2: Credo". Tentatively due on October 29, 2012, the double album will include over two hours of music and will feature guest appearances by Michael Kiske (<unisonic< b="">, HELLOWEEN), Jens Johansson (STRATOVARIUS), Derek Sherinian (BLACK COUNTRY COMMUNION, DREAM THEATER), Tuomo Lassila (the founder of STRATOVARIUS) on drums, Michael Vescera (OBSESSSION, LOUDNESS, YNGWIE MALMSTEEN) on vocals and Michele Luppi (THAUROROD, ex-VISION DIVINE) on vocals. In addition, Tolkki, Lassila and Antti Ikonen (original STRATOVARIUS keyboardist) will re-record 12 songs from the first three STRATOVARIUS albums for a separate CD called "Dreaming In Twilight". A digipack version of the "Dreaming In Twilight" album will include a bonus DVD featuring footage of Tolkki, Lassila and Ikonen performing those songs live in the studio recorded with six cameras.
Re-recorded STRATOVARIUS songs to be included on the "Dreaming In Twilight" CD:
* Future Shock
* Witch Hunt
* Night Screamer
* The Hands Of Time
* The Hills Have Eyes
* Out Of The Shadows
* 4th Reich
* Abyss
* Dreamspace
* Eyes Of The World
* Wings Of Tomorrow
* Hold On To Your Dream
For more information, go to this location.
PledgeMusic.com encourages fans to contribute funds to the recording of albums and the artists themselves to donate to charity as a part of their fundraising.
Tolkki recently made his "Loneliness Of A Thousand Years" book available for free download at this location.
Tolkki is most well-known for his music and thought-provoking lyrics. In many of his songs lies just a hint of the pain he has suffered that has shaped him into the artist he has become.
In the spring of 2004, Timo was overtaken by a nervous breakdown that caused him to be hospitalized. The next few years would completely engulf his life and leave him on the brink of suicide. "Loneliness Of A Thousand Years" candidly describes his heart-breaking journey through life and gives his fans just a glimpse into the intricate psyche of Timo Tolkki.
With a touching honesty, he describes his tumultuous childhood, his battle with a debilitating psychosis, and the philosophies that shape much of his deep thinking and views on the world. His story reveals the other side of the man that most people know only as the mastermind of STRATOVARIUS. It is an intimate portrait of his agony, as well as a probing look at an illness that affects millions, yet is widely misunderstood.
Written in a clear and compelling prose, "Loneliness Of A Thousand Years" is a bold, honest and ultimately uplifting look at the life of a man and his childhood, growing up as Timo Tolkki.
"Loneliness Of A Thousand Years" was originally published in October 2010 via Goldenworks.
Tolkki drew up and signed an official waiver on May 20, 2008 giving up all rights to the STRATOVARIUS name. The remaining STRATOVARIUS members — Timo Kotipelto (vocals), Jens Johansson (keyboards) and Lauri Porra (bass) — have since recorded and released two additional STRATOVARIUS albums with guitarist Matias Kupiainen.</unisonic<>
Re-recorded STRATOVARIUS songs to be included on the "Dreaming In Twilight" CD:
* Future Shock
* Witch Hunt
* Night Screamer
* The Hands Of Time
* The Hills Have Eyes
* Out Of The Shadows
* 4th Reich
* Abyss
* Dreamspace
* Eyes Of The World
* Wings Of Tomorrow
* Hold On To Your Dream
For more information, go to this location.
PledgeMusic.com encourages fans to contribute funds to the recording of albums and the artists themselves to donate to charity as a part of their fundraising.
Tolkki recently made his "Loneliness Of A Thousand Years" book available for free download at this location.
Tolkki is most well-known for his music and thought-provoking lyrics. In many of his songs lies just a hint of the pain he has suffered that has shaped him into the artist he has become.
In the spring of 2004, Timo was overtaken by a nervous breakdown that caused him to be hospitalized. The next few years would completely engulf his life and leave him on the brink of suicide. "Loneliness Of A Thousand Years" candidly describes his heart-breaking journey through life and gives his fans just a glimpse into the intricate psyche of Timo Tolkki.
With a touching honesty, he describes his tumultuous childhood, his battle with a debilitating psychosis, and the philosophies that shape much of his deep thinking and views on the world. His story reveals the other side of the man that most people know only as the mastermind of STRATOVARIUS. It is an intimate portrait of his agony, as well as a probing look at an illness that affects millions, yet is widely misunderstood.
Written in a clear and compelling prose, "Loneliness Of A Thousand Years" is a bold, honest and ultimately uplifting look at the life of a man and his childhood, growing up as Timo Tolkki.
"Loneliness Of A Thousand Years" was originally published in October 2010 via Goldenworks.
Tolkki drew up and signed an official waiver on May 20, 2008 giving up all rights to the STRATOVARIUS name. The remaining STRATOVARIUS members — Timo Kotipelto (vocals), Jens Johansson (keyboards) and Lauri Porra (bass) — have since recorded and released two additional STRATOVARIUS albums with guitarist Matias Kupiainen.</unisonic<>
Jay Nanda of the San Antonio Metal Music Examiner recently conducted an interview with former ANTHRAX and current RED LAMB guitarist Dan Spitz. A couple of excerpts from the chat follow below.
San Antonio Metal Music Examiner: The stats released by the CDC say one in 88 children will be born with autism. Your sons were not born with it. Can you explain how they contracted it?
Dan: It's one in every 88 children born, and one in every 54 is boys. That's because boys have a slower developing nervous system than girls. That right there should tell you, common-sense-wise. If you have an autistic child, you already know what I'm talking about. Or someone whose child is on the spectrum, what we call the spectrum, meaning from extremely, extremely low-functioning autism. We call it "on the spectrum" because we have extremely high-functioning children that are still part of extreme lows in many areas in functioning in society at a normal level. They don't want to be touched. In most other areas, let's say, they are extremely high-functioning. So, extreme highs vs. extreme lows, which is very commonplace today. My children were not born autistic. For the naysayers who say, "Hey, we don't know if autism is developed later on in life," one of the main principles of autism that I'm trying to bring awareness to, that me and [my wife] Candi are doing through the world of music, is there is no testing. There is no blood test, there is no doctor's test, there's no anything to say your child has autism. Nothing. Zero. Zilch. We're way behind the 8-ball with what is really a global epidemic. Our children were speaking at 9 months, walking, talking, feeding themselves. Later on, about 16-18 months, they started to unlearn what they already learned at a very fast pace.
San Antonio Metal Music Examiner: Does the fact your boys are identical mirror-image twins present any extracurricular challenges during what might be described as irregular behavioral patterns?
Dan: Most people have twins during early birth, problematic birth. We have twins everywhere now, on every block. When I grew up and in high school, there were maybe two or three sets of twins in high school. My twins are identical, but they come from the exact same egg. Because they're mirror-image twins, if one has a freckle on the right side of his face, the other has it on his left. If one sleeps on his right side, the other one sleeps on his left side. If one tooth comes in on the right side of one child, the same tooth at the same time comes in on the opposite side of the other child. Literally, they are the same human being, but they've been affected by autism in different ways. It just goes to show you why it's so hard to find something to cure it.
San Antonio Metal Music Examiner: What is a typical day like for you and Candi?
Dan: A typical day? Oh-oh, boy! (Laughs). People ask, "Why do you take 3 1/2 years to launch and write a new album?" Everyone knows it's not easy to start something brand new, especially for someone such as myself. I'm an extreme creator. I created ANTHRAX. I'm the co-founder with Scott (Ian). It's not easy to start something over, but it should explain to you why, in our house, pretty much every 30 seconds there's a disaster beyond a disaster. One child having what we call meltdowns. Someone who doesn't have an autistic child: "Well, you know, my kids have fits, too." Ours are quite different. They can't handle eating. They have to drink out of the same cup with the same straw. If something changes, if that cup is one-thousandth of an inch to the right of the table where he normally wants it, he'll go into an extreme meltdown. He'll literally throw himself on the floor, try to bash his head on the floor, bash his head against the wall. That's just one of the different kinds of disasters we have. It can last anywhere from five minutes to five hours. If you have normal identical twins, they have their own language. They can talk to each other without talking to each other. They are affected by each other. So when one goes into a deep meltdown, the other one reacts to that other twin. So we have compounded sets of problems added to normal autism and one child who also has an extreme low case. He can't normally just put on a T-shirt in the morning to get ready to go to school. It can take him over an hour to choose a T-shirt, and we can't just say, "Listen, Brendan. You're going to wear this black T-shirt today. Here it is. I'm putting it on you. I've been waiting for half an hour for you to try to choose one." If you put a different T-shirt on him, that's when he completely feels like I took a blowtorch out and I shamed him all over his body. That's what he feels. Their brain reacts differently than our brain. So all those sets of motherly rules that we all grew up with, with Mommy saying, "Your fit's over. You're going to wear this shirt. That's enough now, little Tommy." All those rules, you might as well — you need to relearn. It's extremely hard on our parenting skills. Candi is such a wonderful mom. She's a giver. She loves to take care of a problem. We're both fixers. A typical day is very long. As you know, when we were trying to schedule, there are certain times of the day when I can't do interviews because we have to get Brendan and Jaden literally from the car door to the front door of our home. That, minimum, is an hour.
San Antonio Metal Music Examiner: How did you and Dave [Mustaine, MEGADETH] decide to make your friendship turn into a musical collaboration given all he has going on with MEGADETH?
Dan: Releasing RED LAMB, it was just a quiet, wonderful friendship. We never really talked about music. When Dave did offer and heard the music, he kind of freaked out: "Whoa, this is incredible! Would you want me to help?" It was kind of like, should we both cross that bridge? Will it hurt our friendship? It was an honor for me. I got a bunch of Grammy-type stuff and all kinds of platinum this and gold that from ANTHRAX, including stuff that I wrote. When we did decide to do it, plenty of people would've loved to have videotaped the whole thing and put it on YouTube with us sitting together in the studio. Nobody from the "Big Four" has ever worked together before this. I wanted to just make a good album, put it out somehow, let the core fans find it, let's go on the road. That's really what I do. It's not, "Coming soon, Dave Mustaine works with Dan Spitz!" That's not really about reality. I knew it would be very hard to start over and be prepared to travel in ways that were reminiscent of the beginning again. So it was a hard decision to do and leave all my watchmaking people behind who relied on me when there was really no one else to lean over. I decided that when I did the ANTHRAX reunion. So, it was a wonderful time, a wonderful creation process with Dave. We both work in similar ways, we're both overly perfectionists, and that was just incredible. And everyone's starting to hear it now.
San Antonio Metal Music Examiner: The stats released by the CDC say one in 88 children will be born with autism. Your sons were not born with it. Can you explain how they contracted it?
Dan: It's one in every 88 children born, and one in every 54 is boys. That's because boys have a slower developing nervous system than girls. That right there should tell you, common-sense-wise. If you have an autistic child, you already know what I'm talking about. Or someone whose child is on the spectrum, what we call the spectrum, meaning from extremely, extremely low-functioning autism. We call it "on the spectrum" because we have extremely high-functioning children that are still part of extreme lows in many areas in functioning in society at a normal level. They don't want to be touched. In most other areas, let's say, they are extremely high-functioning. So, extreme highs vs. extreme lows, which is very commonplace today. My children were not born autistic. For the naysayers who say, "Hey, we don't know if autism is developed later on in life," one of the main principles of autism that I'm trying to bring awareness to, that me and [my wife] Candi are doing through the world of music, is there is no testing. There is no blood test, there is no doctor's test, there's no anything to say your child has autism. Nothing. Zero. Zilch. We're way behind the 8-ball with what is really a global epidemic. Our children were speaking at 9 months, walking, talking, feeding themselves. Later on, about 16-18 months, they started to unlearn what they already learned at a very fast pace.
San Antonio Metal Music Examiner: Does the fact your boys are identical mirror-image twins present any extracurricular challenges during what might be described as irregular behavioral patterns?
Dan: Most people have twins during early birth, problematic birth. We have twins everywhere now, on every block. When I grew up and in high school, there were maybe two or three sets of twins in high school. My twins are identical, but they come from the exact same egg. Because they're mirror-image twins, if one has a freckle on the right side of his face, the other has it on his left. If one sleeps on his right side, the other one sleeps on his left side. If one tooth comes in on the right side of one child, the same tooth at the same time comes in on the opposite side of the other child. Literally, they are the same human being, but they've been affected by autism in different ways. It just goes to show you why it's so hard to find something to cure it.
San Antonio Metal Music Examiner: What is a typical day like for you and Candi?
Dan: A typical day? Oh-oh, boy! (Laughs). People ask, "Why do you take 3 1/2 years to launch and write a new album?" Everyone knows it's not easy to start something brand new, especially for someone such as myself. I'm an extreme creator. I created ANTHRAX. I'm the co-founder with Scott (Ian). It's not easy to start something over, but it should explain to you why, in our house, pretty much every 30 seconds there's a disaster beyond a disaster. One child having what we call meltdowns. Someone who doesn't have an autistic child: "Well, you know, my kids have fits, too." Ours are quite different. They can't handle eating. They have to drink out of the same cup with the same straw. If something changes, if that cup is one-thousandth of an inch to the right of the table where he normally wants it, he'll go into an extreme meltdown. He'll literally throw himself on the floor, try to bash his head on the floor, bash his head against the wall. That's just one of the different kinds of disasters we have. It can last anywhere from five minutes to five hours. If you have normal identical twins, they have their own language. They can talk to each other without talking to each other. They are affected by each other. So when one goes into a deep meltdown, the other one reacts to that other twin. So we have compounded sets of problems added to normal autism and one child who also has an extreme low case. He can't normally just put on a T-shirt in the morning to get ready to go to school. It can take him over an hour to choose a T-shirt, and we can't just say, "Listen, Brendan. You're going to wear this black T-shirt today. Here it is. I'm putting it on you. I've been waiting for half an hour for you to try to choose one." If you put a different T-shirt on him, that's when he completely feels like I took a blowtorch out and I shamed him all over his body. That's what he feels. Their brain reacts differently than our brain. So all those sets of motherly rules that we all grew up with, with Mommy saying, "Your fit's over. You're going to wear this shirt. That's enough now, little Tommy." All those rules, you might as well — you need to relearn. It's extremely hard on our parenting skills. Candi is such a wonderful mom. She's a giver. She loves to take care of a problem. We're both fixers. A typical day is very long. As you know, when we were trying to schedule, there are certain times of the day when I can't do interviews because we have to get Brendan and Jaden literally from the car door to the front door of our home. That, minimum, is an hour.
San Antonio Metal Music Examiner: How did you and Dave [Mustaine, MEGADETH] decide to make your friendship turn into a musical collaboration given all he has going on with MEGADETH?
Dan: Releasing RED LAMB, it was just a quiet, wonderful friendship. We never really talked about music. When Dave did offer and heard the music, he kind of freaked out: "Whoa, this is incredible! Would you want me to help?" It was kind of like, should we both cross that bridge? Will it hurt our friendship? It was an honor for me. I got a bunch of Grammy-type stuff and all kinds of platinum this and gold that from ANTHRAX, including stuff that I wrote. When we did decide to do it, plenty of people would've loved to have videotaped the whole thing and put it on YouTube with us sitting together in the studio. Nobody from the "Big Four" has ever worked together before this. I wanted to just make a good album, put it out somehow, let the core fans find it, let's go on the road. That's really what I do. It's not, "Coming soon, Dave Mustaine works with Dan Spitz!" That's not really about reality. I knew it would be very hard to start over and be prepared to travel in ways that were reminiscent of the beginning again. So it was a hard decision to do and leave all my watchmaking people behind who relied on me when there was really no one else to lean over. I decided that when I did the ANTHRAX reunion. So, it was a wonderful time, a wonderful creation process with Dave. We both work in similar ways, we're both overly perfectionists, and that was just incredible. And everyone's starting to hear it now.
Vocalist Randy Blythe of Richmond, Virginia metallers LAMB OF GOD has deleted his Twitter account. In his final tweet, which was re-tweeted by the band's official Twitter account, he wrote, "After a few short hours of no Twitter on my phone, I feel much better. Although I believe social networking can be used in a positive manner, I also believe it is, for the most part, a gigantic waste of time. Especially for me. It doesn't hurt that it's kinda addictive, and I certainly have that aspect of my personality. So peace, I'm fucking outta here. If you see someone on Twitter or Facebook claiming to be me, don't believe them, because I've never had Facebook and in about three minutes I won't have Twitter. So it was nice to meet some of y'all. I wish you well. Now I'm gonna go read a good book."
In a January 2012 interview with MetalInsider.net, Blythe spoke about his feelling on Twitter in detail, explaining, "A friend of mine told me about Twitter when it first started. A woman who lives here in Richmond, and she was like, 'You gotta get one of these things. It's Twitter, it's micro-blogging, it's a blog post in 140 characters or less.' And I'm like, 'Well, that sounds really stupid,' because what can you say in 140 characters or less? And I tend to be long-winded, as several of my Twitter posts illustrate. But I just started it, kind of on a lark, really. And as I continued doing it, people started following me and I started noticing its potential and its downside as a communication tool. As its potential for talking to a fan base, it really is unparalleled because it's an immediate response to a question from a fan or whatever. And it's not like you have to e-mail them and you can answer questions all day long. . . And I saw it as an instant communication medium with the fans. But also I began to see it in a way to de-mystify the whole 'rock stars are like these bizarre entity' type of things because I really don't feel like a rock star. I'm just a dude with a regular band and I think the perception of myself and the members of my band by our fans is very erroneous about our day-to-day lives. So I engage people on Twitter about different topics that don't deal with my band for the most part. I'm not foolish enough to state that all these people are following me because they think I'm Einstein or something. But it's a way for me to kind of talk to them on almost a one-to-one basis."
He added, "As I said, I saw the potential for it to be a great communication tool. There's also a huge downside: number 1, speaking face-to-face with a person communicates what you're trying to say in the manner you say it far more efficiently than typing 140 characters. Nuances of speech are just lost and sarcasm is pretty much, unless you just make it so wrenchingly, blatantly obvious, it's just lost in Twitter. . . And the other thing with me with Twitter is I actually like engaging people and discussing topics that interest me and might make someone's head turn a little bit. They might think a little bit after arguing with me — I love arguing as well. And I do that quite a bit. And that's another thing, it's funny, a lot of people on the Twitter are like, 'How can you argue with your fucking fans?' And I'm like, 'I'm not Mr. Heavy Metal Robot. You don't just press a button and say, 'Rock on, dude.'' If I want to say something, I'm gonna say it. And you're a human being, you have a brain, if you disagree, you and I should talk and hash it out. And Twitter is kind of good for that. And with that being said, I have something now approaching something like 24,000 followers, that's a whole lot of people to discuss with. So it can get kind of hectic and I waste too much time on it sometimes. But it is pretty useful."
In a January 2012 interview with MetalInsider.net, Blythe spoke about his feelling on Twitter in detail, explaining, "A friend of mine told me about Twitter when it first started. A woman who lives here in Richmond, and she was like, 'You gotta get one of these things. It's Twitter, it's micro-blogging, it's a blog post in 140 characters or less.' And I'm like, 'Well, that sounds really stupid,' because what can you say in 140 characters or less? And I tend to be long-winded, as several of my Twitter posts illustrate. But I just started it, kind of on a lark, really. And as I continued doing it, people started following me and I started noticing its potential and its downside as a communication tool. As its potential for talking to a fan base, it really is unparalleled because it's an immediate response to a question from a fan or whatever. And it's not like you have to e-mail them and you can answer questions all day long. . . And I saw it as an instant communication medium with the fans. But also I began to see it in a way to de-mystify the whole 'rock stars are like these bizarre entity' type of things because I really don't feel like a rock star. I'm just a dude with a regular band and I think the perception of myself and the members of my band by our fans is very erroneous about our day-to-day lives. So I engage people on Twitter about different topics that don't deal with my band for the most part. I'm not foolish enough to state that all these people are following me because they think I'm Einstein or something. But it's a way for me to kind of talk to them on almost a one-to-one basis."
He added, "As I said, I saw the potential for it to be a great communication tool. There's also a huge downside: number 1, speaking face-to-face with a person communicates what you're trying to say in the manner you say it far more efficiently than typing 140 characters. Nuances of speech are just lost and sarcasm is pretty much, unless you just make it so wrenchingly, blatantly obvious, it's just lost in Twitter. . . And the other thing with me with Twitter is I actually like engaging people and discussing topics that interest me and might make someone's head turn a little bit. They might think a little bit after arguing with me — I love arguing as well. And I do that quite a bit. And that's another thing, it's funny, a lot of people on the Twitter are like, 'How can you argue with your fucking fans?' And I'm like, 'I'm not Mr. Heavy Metal Robot. You don't just press a button and say, 'Rock on, dude.'' If I want to say something, I'm gonna say it. And you're a human being, you have a brain, if you disagree, you and I should talk and hash it out. And Twitter is kind of good for that. And with that being said, I have something now approaching something like 24,000 followers, that's a whole lot of people to discuss with. So it can get kind of hectic and I waste too much time on it sometimes. But it is pretty useful."
In a recent interview with the India-based web site Tehelka, drummer Chris Adler of Richmond, Virginia metallers LAMB OF GOD was asked for his thoughts on LAMB OF GOD vocalist Randy Blythe comment that the music industry is dying because Marilyn Manson's new album sold "only" 38,000 copies in its first week of release and still managed to land at position No. 10 on The Billboard 200 chart.
"Randy and I don't always agree," Chris was quoted as saying. "According to me, Manson's career finished a long time ago."
Earlier today (Sunday, May 20), Adler released the following statement/clarification to BLABBERMOUTH.NET:
"We are preparing to leave for our show in Bangalore, India this week. Very exciting for us. In preparation, we have been doing a lot of interviews for publications in India.
"In a recent interview, I was asked what I thought of Randy's comments about the record industry dying based on a sales number achieved by Marilyn Manson. My response was paraphrased, likely due to it being transcribed by hand during the interview. There were also some language issues that created a few misquotes here and there.
"My full response was: 'Randy and I don't see eye to eye on everything. I agree that the commerce of the music industry is in a rough spot, but I personally wouldn't look to Marilyn Manson as a barometer."
"That's it.
"'Antichrist Superstar' is, to this day, one hell of a record. I saw the tour and was blown away. Incredible stuff.
"I have no interest in publicly commenting on anyone's career path or choices. Not my business. We are all in this to create art and keep food on the table. Good luck to us all.
"P.S.: MESHUGGAH!!!!"
"Randy and I don't always agree," Chris was quoted as saying. "According to me, Manson's career finished a long time ago."
Earlier today (Sunday, May 20), Adler released the following statement/clarification to BLABBERMOUTH.NET:
"We are preparing to leave for our show in Bangalore, India this week. Very exciting for us. In preparation, we have been doing a lot of interviews for publications in India.
"In a recent interview, I was asked what I thought of Randy's comments about the record industry dying based on a sales number achieved by Marilyn Manson. My response was paraphrased, likely due to it being transcribed by hand during the interview. There were also some language issues that created a few misquotes here and there.
"My full response was: 'Randy and I don't see eye to eye on everything. I agree that the commerce of the music industry is in a rough spot, but I personally wouldn't look to Marilyn Manson as a barometer."
"That's it.
"'Antichrist Superstar' is, to this day, one hell of a record. I saw the tour and was blown away. Incredible stuff.
"I have no interest in publicly commenting on anyone's career path or choices. Not my business. We are all in this to create art and keep food on the table. Good luck to us all.
"P.S.: MESHUGGAH!!!!"
Niclas Müller-Hansen of Sweden's Metalshrine recently conducted an interview with guitarist/vocalist Mille Petrozza of German thrash metal veterans KREATOR. A couple of excerpts from the chat follow below.
Metalshrine: Where did the title "Phantom Antichrist" come from?
Mille: It's a metaphor. It was inspired by certain things that I read in the media, especially the death of Osama Bin Laden, who got killed and thrown into the ocean for religious reasons, even though there are no such thing as a sea burial in the Muslim religion. It's a metaphor for control and for the state of the world at this time basically and that's also what most of the songs are about. You get your typical KREATOR treatments where I talk about injustice, war, horror, pain and oppression of course.
Metalshrine: It is a crazy world. In your country, how are things with the former East and Germany as a whole? Are things getting better for former East Germany?
Mille: That's a tough question to answer. I mean, I'd like to say yes, but I'm not an expert on these things. I can say it has definitely gotten better in some parts and a bit worse in others. There are places in the eastern part of Germany where there's nothing and all the people there, when they turn 18, they leave to go to Berlin or somewhere in the west, maybe. There's no work there. Of course, it's great to have access to the eastern part of Germany, which wasn't the case when the Wall was still there and it is also great that the people who live in East Germany can go wherever they want to, but there are still a lot of things that need work in the future.
Metalshrine: The ["Phantom Antichrist"] video then? It looks like you spent some money on that one. It's a great looking video!
Mille: In my opinion, it's either you do a video and you do it right, or you don't. In this day and age, maybe it's not necessary to make videos anymore. For me it's an art form and it's always exciting. It makes sense to me. There are still a couple of TV stations in Germany that play it and some stations play it in South America and even in North America. There are still some stations that play metal videos. It's not money out the window, but, of course, most people watch it on YouTube, but I think it's a great promotion tool and also a great art form, in my opinion.
Metalshrine: A video like that, how much is your idea and how much of it is the director's idea?
Mille: Basically, it's all the director's idea. I sent him some rough scripts and then he came up with his own script and I was fine with it. The script that I had was a little bit different, but it was all his idea. I sent him the lyrics I think. The lyrics they wanted and I think they did a great job. It looks spectacular and it doesn't look like an amateur video or something.
Metalshrine: Those old school gas masks are always kinda creepy.
Mille: I know. [laughs] I think it's still some kinda '80s trauma and nightmarish vision that we all have. It gives an association of terror and the apocalypse. It's quite disturbing, if you think about it, but that's what I like about it also. The artwork and the music round it up quite nicely.
Metalshrine: What was it like working with [Swedish producer] Jens Bogren and was that something that you decided early on and what made you go with him?
Mille: Well, we were basically looking for a new producer and there were a couple of people that I had in mind, but a friend of mine who worked with Jens, Nick [Holmes] in PARADISE LOST, he recommended Jens in 2009 already. He was like "You should check him out, he's great!" and I checked out Nick's album and I was really enjoying it and I thought it sounded great and it was quite an organic-sounding record, so when I first talked with Jens on the phone, it was either I work with him or I don't, but I got a great vibe from him and the most important thing, if you work with somebody for production, is that you like that person and when he makes a suggestion you have respect for it and he has respect for the band. I didn't really think too much about working with Jens, because I had a great feel towards the guy. He's a metalhead and he knows a lot about music. When I sent him the first demo tape, he wasn't like "Oh, this is great!" He was very critical, which I thought was great. He was never too enthusiastic, but if he liked something, he was like "Yeah!" and if he didn't like it, he made it better. To me, he was the perfect producer and we had some really great times. Sweden is very cool for a recording situation. The people were very nice and it was nice living in Örebro. A nice little city. There was not much to do there, but if we went out, it was always great. There were a couple of great nights we had there, and it was good.
Metalshrine: You've been doing this for such a long time now, but do you still feel that you need a producer?
Mille: Yeah, definitely. In my opinion, there are very few bands that can produce themselves without losing focus. I mean, you might focus on things but sometimes you… you know, when you're in the studio you're very emotional about your music and I think somebody from the outside is always more critical. If I was to record my own album and produce my own album, not only would it be more work, but I wouldn't know whether or not it's gonna be better. I trust people, I trusted Jens and I've trusted the people we've worked with in the past so, yeah, we need a producer. We've always done it with a producer. Sometimes we had producers that were great and sometimes we had producers that were OK, but it was always a good experience or an experience. Sometimes it was a bad experience, but most of the time it was great experiences. You always learn something.
Metalshrine: Does it ever happen that you write something and you realize that you've already written about it 10 years ago or that you've used similar lyrics before?
Mille: Many times. And then you have to rewrite the whole song, which doesn't make your life easier. [laughs] It doesn't start with the title, it starts with the words. Look at a band like MANOWAR. I've got nothing [against] MANOWAR, but if you take their lyrics, their vocabulary is very limited. Not that I'm saying that my vocabulary is larger or anything. I also have words that I use all the time like terror, war, pain, death… They've all been used and I think you have to be convincing. Even on the new record there's a couple of songs, like I had this title "Death To The World" and it's a great title, but it sounds like I've heard it before and there's probably a couple of bands that have that title. Then you start googling and you see that NIGHTWISH has a song called "Death To The World" and you wonder "Can I still use it? Is it cool?", but you have to make it your own song. There are so many songs that have the same names and you cannot always have an album with songtitles that nobody's used before. But I think a song title like "Phantom Antichrist", with two words combined that doesn't really make any sense, is a song title that nobody has. It's also a very controversial song. When we put up the song title, many people on our website said "This sucks man! What's up with that?" There's always people complaining.
Metalshrine: That's something that has happened a lot lately, a lot of metal musicians talking about people writing negative comments and so on. It's so easy these days, to sit at home in front of your computer and write negative stuff and not be creative at all.
Mille: Yeah and it's something that I don't take that serious. Of course, we get that many times and I know in rap it's even worse. In metal it's still OK. People are very passionate about metal, so it's OK with me. On the other hand, it's so strange. The reality on the Internet is so much different from the actual world out there. I've never heard anybody, at a concert or anywhere else, say something like that to my face. As easy as it is for people to write negative things, it's just as hard to actually say that to anyone. Whatever. I guess it's just a human thing when you have too much time on your hands and you start complaining about things. People that don't do much have the time to complain.
Metalshrine: Where did the title "Phantom Antichrist" come from?
Mille: It's a metaphor. It was inspired by certain things that I read in the media, especially the death of Osama Bin Laden, who got killed and thrown into the ocean for religious reasons, even though there are no such thing as a sea burial in the Muslim religion. It's a metaphor for control and for the state of the world at this time basically and that's also what most of the songs are about. You get your typical KREATOR treatments where I talk about injustice, war, horror, pain and oppression of course.
Metalshrine: It is a crazy world. In your country, how are things with the former East and Germany as a whole? Are things getting better for former East Germany?
Mille: That's a tough question to answer. I mean, I'd like to say yes, but I'm not an expert on these things. I can say it has definitely gotten better in some parts and a bit worse in others. There are places in the eastern part of Germany where there's nothing and all the people there, when they turn 18, they leave to go to Berlin or somewhere in the west, maybe. There's no work there. Of course, it's great to have access to the eastern part of Germany, which wasn't the case when the Wall was still there and it is also great that the people who live in East Germany can go wherever they want to, but there are still a lot of things that need work in the future.
Metalshrine: The ["Phantom Antichrist"] video then? It looks like you spent some money on that one. It's a great looking video!
Mille: In my opinion, it's either you do a video and you do it right, or you don't. In this day and age, maybe it's not necessary to make videos anymore. For me it's an art form and it's always exciting. It makes sense to me. There are still a couple of TV stations in Germany that play it and some stations play it in South America and even in North America. There are still some stations that play metal videos. It's not money out the window, but, of course, most people watch it on YouTube, but I think it's a great promotion tool and also a great art form, in my opinion.
Metalshrine: A video like that, how much is your idea and how much of it is the director's idea?
Mille: Basically, it's all the director's idea. I sent him some rough scripts and then he came up with his own script and I was fine with it. The script that I had was a little bit different, but it was all his idea. I sent him the lyrics I think. The lyrics they wanted and I think they did a great job. It looks spectacular and it doesn't look like an amateur video or something.
Metalshrine: Those old school gas masks are always kinda creepy.
Mille: I know. [laughs] I think it's still some kinda '80s trauma and nightmarish vision that we all have. It gives an association of terror and the apocalypse. It's quite disturbing, if you think about it, but that's what I like about it also. The artwork and the music round it up quite nicely.
Metalshrine: What was it like working with [Swedish producer] Jens Bogren and was that something that you decided early on and what made you go with him?
Mille: Well, we were basically looking for a new producer and there were a couple of people that I had in mind, but a friend of mine who worked with Jens, Nick [Holmes] in PARADISE LOST, he recommended Jens in 2009 already. He was like "You should check him out, he's great!" and I checked out Nick's album and I was really enjoying it and I thought it sounded great and it was quite an organic-sounding record, so when I first talked with Jens on the phone, it was either I work with him or I don't, but I got a great vibe from him and the most important thing, if you work with somebody for production, is that you like that person and when he makes a suggestion you have respect for it and he has respect for the band. I didn't really think too much about working with Jens, because I had a great feel towards the guy. He's a metalhead and he knows a lot about music. When I sent him the first demo tape, he wasn't like "Oh, this is great!" He was very critical, which I thought was great. He was never too enthusiastic, but if he liked something, he was like "Yeah!" and if he didn't like it, he made it better. To me, he was the perfect producer and we had some really great times. Sweden is very cool for a recording situation. The people were very nice and it was nice living in Örebro. A nice little city. There was not much to do there, but if we went out, it was always great. There were a couple of great nights we had there, and it was good.
Metalshrine: You've been doing this for such a long time now, but do you still feel that you need a producer?
Mille: Yeah, definitely. In my opinion, there are very few bands that can produce themselves without losing focus. I mean, you might focus on things but sometimes you… you know, when you're in the studio you're very emotional about your music and I think somebody from the outside is always more critical. If I was to record my own album and produce my own album, not only would it be more work, but I wouldn't know whether or not it's gonna be better. I trust people, I trusted Jens and I've trusted the people we've worked with in the past so, yeah, we need a producer. We've always done it with a producer. Sometimes we had producers that were great and sometimes we had producers that were OK, but it was always a good experience or an experience. Sometimes it was a bad experience, but most of the time it was great experiences. You always learn something.
Metalshrine: Does it ever happen that you write something and you realize that you've already written about it 10 years ago or that you've used similar lyrics before?
Mille: Many times. And then you have to rewrite the whole song, which doesn't make your life easier. [laughs] It doesn't start with the title, it starts with the words. Look at a band like MANOWAR. I've got nothing [against] MANOWAR, but if you take their lyrics, their vocabulary is very limited. Not that I'm saying that my vocabulary is larger or anything. I also have words that I use all the time like terror, war, pain, death… They've all been used and I think you have to be convincing. Even on the new record there's a couple of songs, like I had this title "Death To The World" and it's a great title, but it sounds like I've heard it before and there's probably a couple of bands that have that title. Then you start googling and you see that NIGHTWISH has a song called "Death To The World" and you wonder "Can I still use it? Is it cool?", but you have to make it your own song. There are so many songs that have the same names and you cannot always have an album with songtitles that nobody's used before. But I think a song title like "Phantom Antichrist", with two words combined that doesn't really make any sense, is a song title that nobody has. It's also a very controversial song. When we put up the song title, many people on our website said "This sucks man! What's up with that?" There's always people complaining.
Metalshrine: That's something that has happened a lot lately, a lot of metal musicians talking about people writing negative comments and so on. It's so easy these days, to sit at home in front of your computer and write negative stuff and not be creative at all.
Mille: Yeah and it's something that I don't take that serious. Of course, we get that many times and I know in rap it's even worse. In metal it's still OK. People are very passionate about metal, so it's OK with me. On the other hand, it's so strange. The reality on the Internet is so much different from the actual world out there. I've never heard anybody, at a concert or anywhere else, say something like that to my face. As easy as it is for people to write negative things, it's just as hard to actually say that to anyone. Whatever. I guess it's just a human thing when you have too much time on your hands and you start complaining about things. People that don't do much have the time to complain.
Former FREHLEY'S COMET vocalist, keyboardist and guitarist Tod Howarth is preparing to release a brand new song and video, "Cold Beach". He writes on his Facebook page, "I've gotta say this (I've said it before and I will state it again). Ever since I wrote and recorded 'It's Over Now' in 1988 for FREHLEY'S COMET (originally written at Rick Nielsen's Rockford Ill condo for CHEAP TRICK to record in 1986), some music fans have thought of me as being too 'light.' I've been asked about this countless times by fans and interviewers (not their fault) and it never ceases to amaze me. I guess they don't listen to my other music. I used to be VERY dark but I can write very 'easy' songs, or any type really as I am a songwriter, melody man first and foremost. I can play leads, but don't care, as it's all about the melody and transitions... Anyhow before I ramble on here (evidently again), this new song 'Cold Beach' is another slammin' rock tune which is more me than any other impression... so I hope that you'll all enjoy!"
Howarth released a solo album, "Opposite Gods", in April 2010 via his official web site.
FREHLEY'S COMET recorded three albums, produced four videos before the lineup dissolved and Ace Frehley moved on to his solo effort. Tod continued writing and pursuing a solo record deal and received one from Gene Simmons in 1990. However this was short-lived because of the refreshing sounds of "grunge." Tod liked this new sound but also knew it was to change the face of music, and the direction of his career. After rejoining CHEAP TRICK in 1990, he helped support the continuing "Lap of Luxury" tour with the hit "The Flame". Tod played with CHEAP TRICK consistently until 1997 whereupon he went back at work on solo material. Since 2000 he has played with CHEAP TRICK in special live and TV shows and handled the keys, and backing vocals on the "Silver" DVD. In 2008 he traveled to Japan with CHEAP TRICK to once again handle the keys and vocals for the band's 30th-year anniversary concert, "Live at Budokan".
Howarth released a solo album, "Opposite Gods", in April 2010 via his official web site.
FREHLEY'S COMET recorded three albums, produced four videos before the lineup dissolved and Ace Frehley moved on to his solo effort. Tod continued writing and pursuing a solo record deal and received one from Gene Simmons in 1990. However this was short-lived because of the refreshing sounds of "grunge." Tod liked this new sound but also knew it was to change the face of music, and the direction of his career. After rejoining CHEAP TRICK in 1990, he helped support the continuing "Lap of Luxury" tour with the hit "The Flame". Tod played with CHEAP TRICK consistently until 1997 whereupon he went back at work on solo material. Since 2000 he has played with CHEAP TRICK in special live and TV shows and handled the keys, and backing vocals on the "Silver" DVD. In 2008 he traveled to Japan with CHEAP TRICK to once again handle the keys and vocals for the band's 30th-year anniversary concert, "Live at Budokan".
Hard-rocking Ohio trio AMERICAN DOG — consisting of Michael Hannon (lead vocals, electric bass), Steve Theado (guitar, vocals) and Michael "Hazard" Harris (drums) — will release its sixth studio album, "Poison Smile", on June 6 via Colonial Canine in North America and Bad Reputation in Europe. The CD is now available for pre-order on AMERICAN DOG's web site in two different packages. The seluxe version of "Poison Smile" comes with an autographed poster, a three-piece collectors' button set, a sticker and an embroidered patch.
"Poison Smile" features the new single "Just Like Charlie Sheen" and a "Dogatized" version of THE CRAMPS classic "Can Your Pussy Do the Dog?" A video for "Just Like Charlie Sheen" will also debut on the June 8 release date.
AMERICAN DOG will celebrate the release of the CD with a free show on Saturday, June 9 at the Cock-n-Bull in Summit Station, Ohio.
"Poison Smile" track listing:
01. Devil Dog
02. Just Like Charlie Sheen
03. Old Dog, New Tricks
04. The Real Nitty Gritty
05. 2012 A.D.
06. Poison Smile
07. Lust And Greed
08. Bathroom Romance
09. Splinterin' Sally
10. Off The Chain
11. Can Your Pussy Do The Dog?
"Poison Smile" features the new single "Just Like Charlie Sheen" and a "Dogatized" version of THE CRAMPS classic "Can Your Pussy Do the Dog?" A video for "Just Like Charlie Sheen" will also debut on the June 8 release date.
AMERICAN DOG will celebrate the release of the CD with a free show on Saturday, June 9 at the Cock-n-Bull in Summit Station, Ohio.
"Poison Smile" track listing:
01. Devil Dog
02. Just Like Charlie Sheen
03. Old Dog, New Tricks
04. The Real Nitty Gritty
05. 2012 A.D.
06. Poison Smile
07. Lust And Greed
08. Bathroom Romance
09. Splinterin' Sally
10. Off The Chain
11. Can Your Pussy Do The Dog?
Century Media Records has announced the signing of the London, England-based tech-metal quintet MONUMENTS. The band's long-awaited debut album, "Gnosis", will be released in August.
Commented MONUMENTS: "We're looking forward to working with Century Media and getting our music to every corner of the world. Expect to have your ears and minds destroyed before the end of 2012. Get ready, planet Earth, we're coming to fuck you!"
MONUMENTS recently recruited singer Matt Rose after they went through a long, grinding, and global search for a new frontman. "We have found the perfect guy right here in our own back yard, we couldn't be happier with the work Matt has done so far," says MONUMENTS guitarist John Browne.
For the past seven months, Rose has been working with the band to make this a monster of an album. Rose will enter Fortress Studios later this month with Dan Weller (SIKTH) for final vocal production and recording.
"Gnosis" was originally supposed to be released last year via Basick Records. MONUMENTS has since split with the U.K.-based label, which issued the band's debut EP, "We Are The Foundation", in 2010.
MONUMENTS is:
John Browne - Guitar
Olly Steele - Guitar
Adam Swan - Bass
Mike Malyan - Drums
Matt Rose - Vocals
Commented MONUMENTS: "We're looking forward to working with Century Media and getting our music to every corner of the world. Expect to have your ears and minds destroyed before the end of 2012. Get ready, planet Earth, we're coming to fuck you!"
MONUMENTS recently recruited singer Matt Rose after they went through a long, grinding, and global search for a new frontman. "We have found the perfect guy right here in our own back yard, we couldn't be happier with the work Matt has done so far," says MONUMENTS guitarist John Browne.
For the past seven months, Rose has been working with the band to make this a monster of an album. Rose will enter Fortress Studios later this month with Dan Weller (SIKTH) for final vocal production and recording.
"Gnosis" was originally supposed to be released last year via Basick Records. MONUMENTS has since split with the U.K.-based label, which issued the band's debut EP, "We Are The Foundation", in 2010.
MONUMENTS is:
John Browne - Guitar
Olly Steele - Guitar
Adam Swan - Bass
Mike Malyan - Drums
Matt Rose - Vocals
ArtistWorks, the first collaborative global learning community comprised of master artists and ambitious amateurs, announces the May 23 launch of the online, interactive Rock Guitar School With Paul Gilbert. Most noted as a member acclaimed heavy metal band RACER X, platinum-selling hard rock band MR. BIG and a recent member of the G3 guitar super tour, "guitar deity" Paul Gilbert's distinctive playing has influenced and inspired an entire generation of guitar players across the globe. Gilbert's new Rock Guitar School will feature a complete course of beginner-to-advanced guitar lessons — ranging from classic riffs and guitar licks to Paul's signature blazing arpeggios and string skipping.
World-renowned guitarist Paul Gilbert, is one of Guitar World's "50 Fastest Guitarists of All Time and one of Guitar One magazine's "Top 10 Fastest Shredders of All Time."
"I know there are people out there who are hungry to learn the guitar, or just want to improve, or get back to playing," says Gilbert. "But there are so many things that can keep you from it — lack of time, money or even access to great teachers — my Rock Guitar School really eliminates all of those barriers and lets me have a real conversation with people who are passionate about playing guitar."
The Rock Guitar School With Paul Gilbert utilizes ArtistWorks' patent-pending, breakout video technology to create a direct, personalized educational experience. Subscribing students view Gilbert's lessons and submit video questions/performances directly to Gilbert via webcam or smart phone for critique and guidance. Gilbert then reviews and responds personally to each student with a personalized video response. This Video Exchange Learning Platform is available in the Rock Guitar School for all subscribing students to view and subsequently learn from Gilbert — and from watching each other — creating a "virtual classroom" with an ever-evolving curriculum.
ArtistWorks students study in a guided, self-paced environment that allows them to drive the learning process according to their schedule and access instructor guidance and feedback at their own pace. Multiple camera angles allow students to see lessons from alternate viewpoints so they may analyze techniques from different vantage points. In addition, students can slow lessons down, and loop lessons to allow them to break lessons down and focus on every detail.
The Rock Guitar School With Paul Gilbert is open to guitar players at all levels of proficiency. Subscription fees are reasonably priced at $90.00 for 3 months, $150.00 for 6 months and $240.00 for a 12-month subscription.
Go to www.artistworks.com/paul-gilbert now to be one of the first to be admitted to the Rock Guitar School With Paul Gilbert.
Founded in 2008 by former AOL executive David Butler, ArtistWorks, Inc. is a Napa, California-based technology and music education company that has created a proprietary, patent pending, online Video Exchange interactive education platform which allows virtuoso musicians to "teach the world" by presenting their full method, technique or curriculum in HD video to subscribing students. Utilizing simple web cams, iPhones, iPads and more, students are able to submit videos through the site to the ArtistWorks' instructors for individualized feedback and guidance — creating a two-way, individualized educational experience.
World-renowned guitarist Paul Gilbert, is one of Guitar World's "50 Fastest Guitarists of All Time and one of Guitar One magazine's "Top 10 Fastest Shredders of All Time."
"I know there are people out there who are hungry to learn the guitar, or just want to improve, or get back to playing," says Gilbert. "But there are so many things that can keep you from it — lack of time, money or even access to great teachers — my Rock Guitar School really eliminates all of those barriers and lets me have a real conversation with people who are passionate about playing guitar."
The Rock Guitar School With Paul Gilbert utilizes ArtistWorks' patent-pending, breakout video technology to create a direct, personalized educational experience. Subscribing students view Gilbert's lessons and submit video questions/performances directly to Gilbert via webcam or smart phone for critique and guidance. Gilbert then reviews and responds personally to each student with a personalized video response. This Video Exchange Learning Platform is available in the Rock Guitar School for all subscribing students to view and subsequently learn from Gilbert — and from watching each other — creating a "virtual classroom" with an ever-evolving curriculum.
ArtistWorks students study in a guided, self-paced environment that allows them to drive the learning process according to their schedule and access instructor guidance and feedback at their own pace. Multiple camera angles allow students to see lessons from alternate viewpoints so they may analyze techniques from different vantage points. In addition, students can slow lessons down, and loop lessons to allow them to break lessons down and focus on every detail.
The Rock Guitar School With Paul Gilbert is open to guitar players at all levels of proficiency. Subscription fees are reasonably priced at $90.00 for 3 months, $150.00 for 6 months and $240.00 for a 12-month subscription.
Go to www.artistworks.com/paul-gilbert now to be one of the first to be admitted to the Rock Guitar School With Paul Gilbert.
Founded in 2008 by former AOL executive David Butler, ArtistWorks, Inc. is a Napa, California-based technology and music education company that has created a proprietary, patent pending, online Video Exchange interactive education platform which allows virtuoso musicians to "teach the world" by presenting their full method, technique or curriculum in HD video to subscribing students. Utilizing simple web cams, iPhones, iPads and more, students are able to submit videos through the site to the ArtistWorks' instructors for individualized feedback and guidance — creating a two-way, individualized educational experience.
TESTAMENT/ALEX SKOLNICK TRIO guitarist Alex Skolnick will join STRATOSPHEERIUS on stage during their CD-release party at the Shrine in New York City on May 24.
STRATOSPHEERIUS is a New York City-based band that has been around since 2001 and that combines progressive rock, jazz fusion, and jam-band styles. They are led by vocalist/electric violinist Joe Deninzon. Skolnick was the guitarist in STRATOSPHEERIUS on their 2002 release, "Adventures Of Stratospheerius", and also appeared on their "Live Wires" live CD.
STRATOSPHEERIUS' current guitarist is Frenchman Aurelien Budynek (he is also a guitarist in DAREDEVIL SQUADRON along with Angus Clark). The band is rounded out by bass player Jamie Bishop and longtime drummer Lucianna Padmore.
On May 24, STRATOSPHEERIUS will be celebrate the release of their fifth album, "The Next World...", released on Steve Vai's Digital Nations. The band will play the entire new CD, plus some of their past catalogue. Skolnick will sit in with the band for a song or two.
STRATOSPHEERIUS is a New York City-based band that has been around since 2001 and that combines progressive rock, jazz fusion, and jam-band styles. They are led by vocalist/electric violinist Joe Deninzon. Skolnick was the guitarist in STRATOSPHEERIUS on their 2002 release, "Adventures Of Stratospheerius", and also appeared on their "Live Wires" live CD.
STRATOSPHEERIUS' current guitarist is Frenchman Aurelien Budynek (he is also a guitarist in DAREDEVIL SQUADRON along with Angus Clark). The band is rounded out by bass player Jamie Bishop and longtime drummer Lucianna Padmore.
On May 24, STRATOSPHEERIUS will be celebrate the release of their fifth album, "The Next World...", released on Steve Vai's Digital Nations. The band will play the entire new CD, plus some of their past catalogue. Skolnick will sit in with the band for a song or two.
Long Island, New York-based hardcore/metal band LETTER TO THE EXILES has inked a deal with Facedown Records. The group's new album, "Make Amends", will be released on August 14.
According to a press release, LETTER TO THE EXILES has persisted in sharpening their skill and sound, honing it into finely pointed hardcore-influenced metal even during the most formidable of times. LETTER TO THE EXILES know the struggle to keep moving forward is worth it; know that the creative push that allows them to write the honest and direct lyrics that comprise their new album, 'Make Amends', is essential to what the band is at its very core.
"'Make Amends' promises to be aggressive, following in the immortal footsteps of the great New York hardcore and metal bands that have come before, while simultaneously exhibiting the band's ability to keep things progressive by interspersing the hard with the soft, and unveiling the moments of peaceful calm they have interwoven throughout the album."
Commented LETTER TO THE EXILES: "As a band we recognize that nothing is going to be given to us. But we also know that great things and great potential lie ahead if we just keep moving forward."
According to a press release, LETTER TO THE EXILES has persisted in sharpening their skill and sound, honing it into finely pointed hardcore-influenced metal even during the most formidable of times. LETTER TO THE EXILES know the struggle to keep moving forward is worth it; know that the creative push that allows them to write the honest and direct lyrics that comprise their new album, 'Make Amends', is essential to what the band is at its very core.
"'Make Amends' promises to be aggressive, following in the immortal footsteps of the great New York hardcore and metal bands that have come before, while simultaneously exhibiting the band's ability to keep things progressive by interspersing the hard with the soft, and unveiling the moments of peaceful calm they have interwoven throughout the album."
Commented LETTER TO THE EXILES: "As a band we recognize that nothing is going to be given to us. But we also know that great things and great potential lie ahead if we just keep moving forward."
On May 17, vocalist Jacoby Shaddix of Sacramento, California rockers PAPA ROACH was interviewed by Army Sergeant Russell Toof of American Forces Network Europe. You can now listen to the chat in the YouTube clip below.
PAPA ROACH last fall entered the studio with producer James Michael (MÖTLEY CRÜE, HALESTORM, SIXX: A.M., SCORPIONS) to begin recording its new album for a late 2012 release.
When asked if he can reveal any detals about the forthcoming CD, such as a title or exact release date, Jacoby told American Forces Network, "We don't know the name of the album; we're still kind of going back and forth on what we feel like the album should be called. The release date is gonna be sometime in September. And that will be the worldwide release date; I don't have the date yet, but sometime in September. The first single, we're still trying to whittle down to the final right now. We're actually about to send another batch of songs off to the label and kind of see which songs they're feeling. So all that stuff is gonna be decided in the next week of two. We recorded it in Sacramento and James Michael produced the album. We bought a recording studio at home, and this is the first time we've written and recorded in Sacramento since our first major label release, 'Infest'. And so, it's kind of cool. It's all come full circle. We're back home in Sacramento ripping it. I think we've topped ourselves again with this new record, so I think the fans are gonna trip on where we took the music this time."
In an October 2011 interview with the Albany, New York radio station Q103, Shaddix said that the band was focusing on creating something unusual this time around. He stressed the importance of creating something "out of the norm" — including a duet with a female vocalist, which they'd never done before — that will be "aggressive and uplifting."
Shaddix previously stated about PAPA ROACH's new music, "We want to separate ourselves from the pack again. When we came out in '99 and 2000, we were like part of an underground movement and then that was really cool. Then that movement kind of fell apart and there weren't many bands still out there doing it. So we evolved and separated ourselves again and evolved into more of a rock band. Now we have been lumped into all these rock bands and we are like, 'Cool we like that. We like that sense of community in rock.' But I want to evolve it into something more even of our own sound." He added, "I wouldn't necessarily say that is the move to make it creatively original. I just think the music we have been listening to, we have been listening to everything from honkytonk country music to electronic music to heavy metal to punk rock. I don't want to make an average white-guy rock record. I want to make a fucking record that inspires people to fuck, fight, love, forgive. An inspiring album that makes people want to move, makes people want to do something."
PAPA ROACH's 2010 release "Time For Annihilation... On The Road And On The Record", featured a mix of live tracks and new studio cuts.
"Time For Annihilation" was PAPA ROACH's first release on Eleven Seven Music, after parting ways with Interscope/Geffen Records in 2010.
PAPA ROACH last fall entered the studio with producer James Michael (MÖTLEY CRÜE, HALESTORM, SIXX: A.M., SCORPIONS) to begin recording its new album for a late 2012 release.
When asked if he can reveal any detals about the forthcoming CD, such as a title or exact release date, Jacoby told American Forces Network, "We don't know the name of the album; we're still kind of going back and forth on what we feel like the album should be called. The release date is gonna be sometime in September. And that will be the worldwide release date; I don't have the date yet, but sometime in September. The first single, we're still trying to whittle down to the final right now. We're actually about to send another batch of songs off to the label and kind of see which songs they're feeling. So all that stuff is gonna be decided in the next week of two. We recorded it in Sacramento and James Michael produced the album. We bought a recording studio at home, and this is the first time we've written and recorded in Sacramento since our first major label release, 'Infest'. And so, it's kind of cool. It's all come full circle. We're back home in Sacramento ripping it. I think we've topped ourselves again with this new record, so I think the fans are gonna trip on where we took the music this time."
In an October 2011 interview with the Albany, New York radio station Q103, Shaddix said that the band was focusing on creating something unusual this time around. He stressed the importance of creating something "out of the norm" — including a duet with a female vocalist, which they'd never done before — that will be "aggressive and uplifting."
Shaddix previously stated about PAPA ROACH's new music, "We want to separate ourselves from the pack again. When we came out in '99 and 2000, we were like part of an underground movement and then that was really cool. Then that movement kind of fell apart and there weren't many bands still out there doing it. So we evolved and separated ourselves again and evolved into more of a rock band. Now we have been lumped into all these rock bands and we are like, 'Cool we like that. We like that sense of community in rock.' But I want to evolve it into something more even of our own sound." He added, "I wouldn't necessarily say that is the move to make it creatively original. I just think the music we have been listening to, we have been listening to everything from honkytonk country music to electronic music to heavy metal to punk rock. I don't want to make an average white-guy rock record. I want to make a fucking record that inspires people to fuck, fight, love, forgive. An inspiring album that makes people want to move, makes people want to do something."
PAPA ROACH's 2010 release "Time For Annihilation... On The Road And On The Record", featured a mix of live tracks and new studio cuts.
"Time For Annihilation" was PAPA ROACH's first release on Eleven Seven Music, after parting ways with Interscope/Geffen Records in 2010.
Johan Hegg of AMON AMARTH has laid down guest vocals on the forthcoming fourth album from Swedish death metallers EVOCATION. The as-yet-untitled CD is being recorded in part at IF Studios, the IN FLAMES-owned facility in Gothenburg, Sweden, with producer Roberto Laghi (IN FLAMES, SONIC SYNDICATE, HARDCORE SUPERSTAR). A late 2012 release is expected via the band's new label home, Century Media Records.
Commented EVOCATION: "Do we need to say that [Johan] did an amazing job? As always when Johan is around, it's easy to think that the thunder is roaring outside, when, in fact, it's just his mighty voice which makes you think so! Thanx, Johan, for an amazing job!"
EVOCATION recently parted ways with bassist Martin "Tore" Toresson and is currently seeking a replacement.
As previously reported, Century Media Records will release the complete demo recordings of EVOCATION. Entitled "Evoked From Demonic Depths - The Early Years", it will feature the following tracks:
01. A Wind Has Risen
02. Through The Darkened Peril
03. The Ancient Gate
04. Desolated Spirits
05. On A Journey To Heaven
06. Where The Headstones Shine
07. Veils Were Blown
08. Spiritual Affinity
09. Outro
10. On A Journey To Heaven (rehearsal)
11. Where The Headstones Shine (rehearsal)
12. Spiritual Affinity (rehearsal)
13. Veils Were Blown (rehearsal)
14. Genesis
Video enhancements
15. The Ancient Gate (live at Gamlestaden, Gothenburg 1992)
16. Genesis (live at Gamlestaden, Gothenburg 1992)
17. Where The Headstones Shine (live at Gamlestaden, Gothenburg 1992)
Tracks 1 to 4 are taken from the "The Ancient Gate" demo, tracks 5 to 9 from the "Promo 1992" demo. Tracks 10 to 13 are previously unreleased rehearsal tracks and as a very special the band has recorded the unreleased track "Genesis", which has been written in 1992, but so far has never ever been available before (track 14). "Genesis" was recorded at IF Studios (IN FLAMES, THE HAUNTED) by producer Robert Laghi. All tracks have been mastered at Fascination Street Studio (OPETH, PARADISE LOST, ENSLAVED, GRAND MAGUS and many more). The remastering of the demo tracks was done using the original master tapes. The CD version also includes three live bootleg video enhancements as a bonus.
Besides the historical musical content, the release is packed with in-depth information on the history of EVOCATION. A foreword has been written by Anzo Sadoni (Metal Hammer), Björn-Thorsten Jaschinski (Rock Hard, Legacy) and Frank Schenk (Chaos magazine) took a deep dive into EVOCATION's history from their start in 1991 until the reunion in 2005 and on until the release of the band's highly praised third studio album "Apocalyptic". Guitarist Marko Palmén comments on every song and gives not just a glimpse but a detailed view into the writing process of the demos. All this information gets underlined by an elaborate usage of band photos, concert flyers and other visual content from the years 1991 to 1993 and the noble and balanced layout by Xaay (NILE, BEHEMOTH).
"Evoked From Demonic Depths - The Early Years" will be released as CD with 32-page booklet and an O-card as well as on deluxe 2LP (180g vinyls, gatefold sleeve, printed inner sleeves) and as digital download.
The album will be released on the following dates:
* Germany, Austria, Switzerland, Norway: Friday, June 22
* Spain, Italy: Tuesday, June 26
* Sweden, Finland, Hungary: Wednesday, June 27
* Rest Of Europe: Monday, June 25
* Australia, New Zealand: Friday, June 29
EVOCATION's third album, "Apocalyptic", was released on October 29, 2010 via Cyclone Empire Records.
Commented EVOCATION: "Do we need to say that [Johan] did an amazing job? As always when Johan is around, it's easy to think that the thunder is roaring outside, when, in fact, it's just his mighty voice which makes you think so! Thanx, Johan, for an amazing job!"
EVOCATION recently parted ways with bassist Martin "Tore" Toresson and is currently seeking a replacement.
As previously reported, Century Media Records will release the complete demo recordings of EVOCATION. Entitled "Evoked From Demonic Depths - The Early Years", it will feature the following tracks:
01. A Wind Has Risen
02. Through The Darkened Peril
03. The Ancient Gate
04. Desolated Spirits
05. On A Journey To Heaven
06. Where The Headstones Shine
07. Veils Were Blown
08. Spiritual Affinity
09. Outro
10. On A Journey To Heaven (rehearsal)
11. Where The Headstones Shine (rehearsal)
12. Spiritual Affinity (rehearsal)
13. Veils Were Blown (rehearsal)
14. Genesis
Video enhancements
15. The Ancient Gate (live at Gamlestaden, Gothenburg 1992)
16. Genesis (live at Gamlestaden, Gothenburg 1992)
17. Where The Headstones Shine (live at Gamlestaden, Gothenburg 1992)
Tracks 1 to 4 are taken from the "The Ancient Gate" demo, tracks 5 to 9 from the "Promo 1992" demo. Tracks 10 to 13 are previously unreleased rehearsal tracks and as a very special the band has recorded the unreleased track "Genesis", which has been written in 1992, but so far has never ever been available before (track 14). "Genesis" was recorded at IF Studios (IN FLAMES, THE HAUNTED) by producer Robert Laghi. All tracks have been mastered at Fascination Street Studio (OPETH, PARADISE LOST, ENSLAVED, GRAND MAGUS and many more). The remastering of the demo tracks was done using the original master tapes. The CD version also includes three live bootleg video enhancements as a bonus.
Besides the historical musical content, the release is packed with in-depth information on the history of EVOCATION. A foreword has been written by Anzo Sadoni (Metal Hammer), Björn-Thorsten Jaschinski (Rock Hard, Legacy) and Frank Schenk (Chaos magazine) took a deep dive into EVOCATION's history from their start in 1991 until the reunion in 2005 and on until the release of the band's highly praised third studio album "Apocalyptic". Guitarist Marko Palmén comments on every song and gives not just a glimpse but a detailed view into the writing process of the demos. All this information gets underlined by an elaborate usage of band photos, concert flyers and other visual content from the years 1991 to 1993 and the noble and balanced layout by Xaay (NILE, BEHEMOTH).
"Evoked From Demonic Depths - The Early Years" will be released as CD with 32-page booklet and an O-card as well as on deluxe 2LP (180g vinyls, gatefold sleeve, printed inner sleeves) and as digital download.
The album will be released on the following dates:
* Germany, Austria, Switzerland, Norway: Friday, June 22
* Spain, Italy: Tuesday, June 26
* Sweden, Finland, Hungary: Wednesday, June 27
* Rest Of Europe: Monday, June 25
* Australia, New Zealand: Friday, June 29
EVOCATION's third album, "Apocalyptic", was released on October 29, 2010 via Cyclone Empire Records.
Ohio metal goliaths SKELETONWITCH are featured in the latest "Through the TurnStyle" session. The eight-minute clip, which can be seen below, includes an interview with the band followed by a performance of the song "Reduced To The Failure Of Prayer" at the Grog Shop in Cleveland, Ohio.
The new vinyl reissues of the SKELETONWITCH's breakthrough releases "Breathing The Fire" and "Beyond The Permafrost" are now available from the Prosthetic store. Both are available in three variants — splatter, half-and-half and 180-gram black wax — and feature gatefold Stoughton "tip-on" record jackets. The black vinyl versions of both albums were made available in select retail stores on April 10.
SKELETONWITCH recently completed a tour alongside THE BLACK DAHLIA MURDER, NILE and labelmates HOUR OF PENANCE. This marked the group's first North American tour action of 2012 in support of "Forever Abomination". The band will take a brief break before heading overseas for a stretch of European dates.
The new vinyl reissues of the SKELETONWITCH's breakthrough releases "Breathing The Fire" and "Beyond The Permafrost" are now available from the Prosthetic store. Both are available in three variants — splatter, half-and-half and 180-gram black wax — and feature gatefold Stoughton "tip-on" record jackets. The black vinyl versions of both albums were made available in select retail stores on April 10.
SKELETONWITCH recently completed a tour alongside THE BLACK DAHLIA MURDER, NILE and labelmates HOUR OF PENANCE. This marked the group's first North American tour action of 2012 in support of "Forever Abomination". The band will take a brief break before heading overseas for a stretch of European dates.
Paul Kuhr and Mike Feldman of U.S. death/doom pioneers NOVEMBERS DOOM have launched Charred Owen, a record label catering to vinyl enthusiasts and collectors.
Commented Paul: "Having a mutual love for what is collectable and a vinyl format now considered classic, [we] have brought to life a newly formed record label. Charred Owen was created out of nostalgia and a desire to see our own work released on a timeless format, vinyl. Not only is it collectable, but no other format has even been able to capture the full beauty of cover art, along with a tonal warmth only vinyl could bring.
"We will start with a collaboration with The End Records to release select NOVEMBERS DOOM titles, starting with 'Aphotic' available June 19th, but we won't stop there. Plans for other releases in the future are already in the works, with other bands in consideration.
"As musicians in the metal industry and fans of the same genre, our goal with Charred Owen is to create collectable quality vinyl, from talented bands. We have many plans for the future, and we're looking forward to seeing it all come to life.
For more information, visit www.charredowen.com.
Commented Paul: "Having a mutual love for what is collectable and a vinyl format now considered classic, [we] have brought to life a newly formed record label. Charred Owen was created out of nostalgia and a desire to see our own work released on a timeless format, vinyl. Not only is it collectable, but no other format has even been able to capture the full beauty of cover art, along with a tonal warmth only vinyl could bring.
"We will start with a collaboration with The End Records to release select NOVEMBERS DOOM titles, starting with 'Aphotic' available June 19th, but we won't stop there. Plans for other releases in the future are already in the works, with other bands in consideration.
"As musicians in the metal industry and fans of the same genre, our goal with Charred Owen is to create collectable quality vinyl, from talented bands. We have many plans for the future, and we're looking forward to seeing it all come to life.
For more information, visit www.charredowen.com.
SWALLOW THE SUN writer and guitarist Juha Raivio's female-fronted side project with singer Aleah Stanbridge, TREES OF ETERNITY, recently signed a publishing deal with AMF Music — a U.K.-based servicing publishing company that also offers management services, synchronization opportunities and additional marketing. Andy Farrow, who manages bands such as PARADISE LOST, OPETH, Devin Townsend and KATATONIA, is head of the company and now in charge of finalizing the album deal TREES OF ETERNITY has on the table. "The current plan is to record the album with Jens Bogren at Fascination Street studios in Sweden, and hopefully a recording date and more details can be announced soon," he says.
TREES OF ETERNITY's musical style is described in a press release as "down-tempo, doom/death inspired melancholia with ghostly female vocals." The full band's recording lineup will include three more musicians (whose identities will not be revealed until album recording details are released), as well as some acclaimed guest musicians.
TREES OF ETERNITY came into being when Raivio and Stanbridge got together in the studio to work on the song "Lights On The Lake" for SWALLOW THE SUN's album "New Moon". The plan was to to feature Aleah's vocals on part of the song already prepared by Juha, but when they instead began to experiment with a vocal line Aleah had written for the occasion, the session quickly headed off in a new direction and the project took on a life of its own.
For more information, visit www.facebook.com/treesofeternity.
TREES OF ETERNITY's musical style is described in a press release as "down-tempo, doom/death inspired melancholia with ghostly female vocals." The full band's recording lineup will include three more musicians (whose identities will not be revealed until album recording details are released), as well as some acclaimed guest musicians.
TREES OF ETERNITY came into being when Raivio and Stanbridge got together in the studio to work on the song "Lights On The Lake" for SWALLOW THE SUN's album "New Moon". The plan was to to feature Aleah's vocals on part of the song already prepared by Juha, but when they instead began to experiment with a vocal line Aleah had written for the occasion, the session quickly headed off in a new direction and the project took on a life of its own.
For more information, visit www.facebook.com/treesofeternity.
According to The Australian, Sydney, Australia-based quintet OUROBOROS may be the first death-metal band to receive support from the Australian government through the Australia Council For The Arts.
The Australia Council For The Arts offers a broad range of grants for Australian artists and arts organizations. In 2010-2011, the arts-funding body invested over AUD 163 million (approximately $160 million) in artists and arts organizations to support Australian artists to make art for Australian and international audiences.
OUROBOROS' AUD 20,000 grant (approximately $19,670) is to help the band write new songs for its next album that will include a symphony orchestra.
"This is amazing for us," drummer David Horgan told The Australian. "We couldn't consider hiring an orchestra to do this without this kind of support."
Composer Matthew Hindson, chair of the Australia Council music board which approved the grant, said of OUROBOROS: "They have a degree of technical virtuosity and musicianship. No matter what kind of music you are involved in, that comes through."
The Australia Council For The Arts offers a broad range of grants for Australian artists and arts organizations. In 2010-2011, the arts-funding body invested over AUD 163 million (approximately $160 million) in artists and arts organizations to support Australian artists to make art for Australian and international audiences.
OUROBOROS' AUD 20,000 grant (approximately $19,670) is to help the band write new songs for its next album that will include a symphony orchestra.
"This is amazing for us," drummer David Horgan told The Australian. "We couldn't consider hiring an orchestra to do this without this kind of support."
Composer Matthew Hindson, chair of the Australia Council music board which approved the grant, said of OUROBOROS: "They have a degree of technical virtuosity and musicianship. No matter what kind of music you are involved in, that comes through."
French-Canadian technical death masters MARTYR, who feature in their ranks current VOIVOD guitarist Daniel Mongrain, have issued the following update:
"After 14 years of great musical adventures, drummer Pat Hamelin has decided to leave the band MARTYR due to personal reasons. We all wish him well. The remaining members of MARTYR are unsure about the future of the band, as there has been a lot of undergoing tensions through the last years that was not taken care of, thus resulting in a frustrating negative vibe that would stagnate creativity and motivation. MARTYR is on hold for now. More news to come later. Thanks for your support over all these years!!"
MARTYR's third studio album, "Feeding the Abscess", was released in October 2006 via Galy Records. The CD was recorded and mixed by Pierre Rémillard (ANVIL, GORGUTS, CRYPTOPSY, KRISIUN) and was mastered by Alan Douches. MARTYR's back catalog was also reissued through Galy Records. The "Hopeless Hopes" (1997) album was re-released with a stunning new booklet, while both "Hopeless Hopes" and "Warp Zone" (2000) were remastered by Yannick St-Amand and contain four bonus tracks.
"After 14 years of great musical adventures, drummer Pat Hamelin has decided to leave the band MARTYR due to personal reasons. We all wish him well. The remaining members of MARTYR are unsure about the future of the band, as there has been a lot of undergoing tensions through the last years that was not taken care of, thus resulting in a frustrating negative vibe that would stagnate creativity and motivation. MARTYR is on hold for now. More news to come later. Thanks for your support over all these years!!"
MARTYR's third studio album, "Feeding the Abscess", was released in October 2006 via Galy Records. The CD was recorded and mixed by Pierre Rémillard (ANVIL, GORGUTS, CRYPTOPSY, KRISIUN) and was mastered by Alan Douches. MARTYR's back catalog was also reissued through Galy Records. The "Hopeless Hopes" (1997) album was re-released with a stunning new booklet, while both "Hopeless Hopes" and "Warp Zone" (2000) were remastered by Yannick St-Amand and contain four bonus tracks.
Citizen Brick prides itself creating Minifigs for collectors of all sorts. Even if they happen to love Satan. This guy may or may not have a sacrificial alter in his apartment storage unit, yet still embodies the Norwegian black metal aesthetic in sinister detail. Perfect for your dystopian horrorscapes or as a gift for your metalhead cousin.
Citizen Brick premium printed LEGO-compatible Minifigs are said to be the finest quality Minifigs and bricks around. They feature no labels, decals, hand painting, or ink jet digital. Printed like the real thing using authentic LEGO parts.
For more information, visit CitizenBrick.com.
Citizen Brick premium printed LEGO-compatible Minifigs are said to be the finest quality Minifigs and bricks around. They feature no labels, decals, hand painting, or ink jet digital. Printed like the real thing using authentic LEGO parts.
For more information, visit CitizenBrick.com.
Swedish death metal juggernaut THE FORSAKEN will release its fourth album, "Beyond Redemption", on June 29 via the German label Massacre Records. The CD, which was mixed and mastered at Fascination Street Studios in Örebro, Sweden, features the same trademark THE FORSAKEN sound and hellish groove established on previous releases ("Manifest Of Hate" [2001], "Arts Of Desolation" [2002] and "Traces Of The Past" [2003], all of which were released worldwide via Century Media Records), as well as showcased during European road work with such bands as NILE, THE HAUNTED, GRAVE, SOILWORK and CALIBAN.
"Beyond Redemption" track listing:
01. Beyond Redemption
02. Only Hell Remains
03. Foul Messianic Grace
04. No Dawn Awaits
05. There Is No God
06. As We Burn
07. Reap As We Have Sown
08. The Light Divine
09. Force Fed Repentance
10. Blessed With Wrath
THE FORSAKEN's current lineup consists of almost all original members, the latest addition being guitarist Calle Fäldt (ex-DERANGED, FEARED CREATION), who replaces Stefan Holm. A full-time member since winter of 2010, Calle is a perfectly adjusted wheel in the machinery of THE FORSAKEN, fitting perfectly both in his string execution and in the band's chemistry.
THE FORSAKEN 2012 is:
Anders Sjöholm - Vocals
Patrik Persson - Guitars
Calle Fäldt - Guitars
Stefan Berg - Bass
Nicke Grabowski – Drums
"Beyond Redemption" track listing:
01. Beyond Redemption
02. Only Hell Remains
03. Foul Messianic Grace
04. No Dawn Awaits
05. There Is No God
06. As We Burn
07. Reap As We Have Sown
08. The Light Divine
09. Force Fed Repentance
10. Blessed With Wrath
THE FORSAKEN's current lineup consists of almost all original members, the latest addition being guitarist Calle Fäldt (ex-DERANGED, FEARED CREATION), who replaces Stefan Holm. A full-time member since winter of 2010, Calle is a perfectly adjusted wheel in the machinery of THE FORSAKEN, fitting perfectly both in his string execution and in the band's chemistry.
THE FORSAKEN 2012 is:
Anders Sjöholm - Vocals
Patrik Persson - Guitars
Calle Fäldt - Guitars
Stefan Berg - Bass
Nicke Grabowski – Drums
Chicago-based death metallers BLACK SEPTEMBER have entered the studio to begin recording their sophomore album, "Into The Darkness Into The Void", for a fall release via Prosthetic Records. The CD is being tracked in the band's hometown with Andy Nelson at Bricktop Recording (WEEKEND NACHOS, VEIL OF MAYA), the same studio where they recorded their debut full-length, "The Forbidden Gates Beyond", which Decibel magazine praised for its "savage riffing and elemental leads."
Commented BLACK SEPTEMBER guitarist C.M.: "This record enters the depths of our past while retaining the fire from 'The Forbidden Gates Beyond'. One step beyond our previous efforts into a realm of untamed energy. Ravenous and pure."
BLACK SEPTEMBER just played a show with TRAGEDY and will next perform on June 6 at Chicago's Archer Nemesis.
Commented BLACK SEPTEMBER guitarist C.M.: "This record enters the depths of our past while retaining the fire from 'The Forbidden Gates Beyond'. One step beyond our previous efforts into a realm of untamed energy. Ravenous and pure."
BLACK SEPTEMBER just played a show with TRAGEDY and will next perform on June 6 at Chicago's Archer Nemesis.
Candlelight Records has announced the signing of Ukrainian heathen black metal masters KHORS. The band's fifth album, "Wisdom Of Centuries", will be released in September. According to a press release, the dense sound of the CD, which was recorded earlier this year, is harmoniously complemented with the addition of ethnic instruments, shrouded with a bewitching atmosphere of shamanic mysticism. This album is also the first in the band's history to be performed in their native language.
"It has been a long and difficult way for us to finally reach this opportunity to show the world who we are and what we are stand for," comments bassist Khorus. "We thank the Candlelight crew for giving us such an opportunity and we're really very excited to be a part of the Candlelight roster."
KHORS began their career in 2004 as a trio of skilled musicians already known within the Ukrainian heathen black metal scene. Inspired by the spiritual ancient world of the elder ancestors, the band recorded their debut album, "The Flame of Eternity's Decline", in 2005 (released via Oriana Music in the same year). Having strengthened the band's lineup with the addition of a rhythm guitarist, KHORS then began to play live shows. The second album, released the following year and entitled "Cold", had a more mid-tempo approach, in general having shifted the emphasis to melody and the atmospherics of keyboards and leads. On this second album the band departed from many of the stereotypes of black metal. Further musical evolution saw the release of their third album, "Mysticism" — the most progressive record in the band's discography so far, offering a cloak of atmosphere and moods to the listener, incorporating elements of dark metal. This third album saw KHORS move to American label Paragon Records and the band began to receive increasing resonance in the world of underground metal. The fourth album, "Return To Abandoned", released in 2010, garnered further support from metal fans worldwide. Continuing the creative and ideological concept of the previous album, "Return To Abandoned" also absorbed the spirit of the earlier records as the band gained strength, spirit and wisdom from the years that had passed. The sound had become more complex, full of aggression and atmosphere.
"It has been a long and difficult way for us to finally reach this opportunity to show the world who we are and what we are stand for," comments bassist Khorus. "We thank the Candlelight crew for giving us such an opportunity and we're really very excited to be a part of the Candlelight roster."
KHORS began their career in 2004 as a trio of skilled musicians already known within the Ukrainian heathen black metal scene. Inspired by the spiritual ancient world of the elder ancestors, the band recorded their debut album, "The Flame of Eternity's Decline", in 2005 (released via Oriana Music in the same year). Having strengthened the band's lineup with the addition of a rhythm guitarist, KHORS then began to play live shows. The second album, released the following year and entitled "Cold", had a more mid-tempo approach, in general having shifted the emphasis to melody and the atmospherics of keyboards and leads. On this second album the band departed from many of the stereotypes of black metal. Further musical evolution saw the release of their third album, "Mysticism" — the most progressive record in the band's discography so far, offering a cloak of atmosphere and moods to the listener, incorporating elements of dark metal. This third album saw KHORS move to American label Paragon Records and the band began to receive increasing resonance in the world of underground metal. The fourth album, "Return To Abandoned", released in 2010, garnered further support from metal fans worldwide. Continuing the creative and ideological concept of the previous album, "Return To Abandoned" also absorbed the spirit of the earlier records as the band gained strength, spirit and wisdom from the years that had passed. The sound had become more complex, full of aggression and atmosphere.
Swedish death metallers ENTRAILS have inked a deal with Metal Blade Records. The band is in the final stages of songwriting for its third studio album, to be recorded during the summer.
Commented the group: "Our upcoming third opus is filled with old-school and rotten bastards of songs. Groovy and heavy like a pile of flesh that will be like a punch in your face. To us, it's the perfect step from 'The Tomb Awaits' album… beware!"
ENTRAILS formed in the '90s, but split up before they were able to release a demo or even an album. It took them until 2008 to come back when guitarist Jimmy Lundqvist rediscovered some old tapes. In a moment of nostalgia, he decided that they deserved to be released as they should have been originally. With modern recording technology, the first ENTRAILS demo could finally take shape. After releasing another demo in 2009, ENTRAILS recorded and released their debut album, "Tales From The Morgue", in 2010. Just a year later, "The Tomb Awaits" was released, an album that gained worldwide attention of music fans of the extreme and was considered by many as the best death metal release of 2011.
ENTRAILS is:
Joakim Svensson - Vocals/Bass
Jimmy Lundqvist - Guitar
Mathias Nilsson – Guitar
Adde Mitroulis – Drums
Commented the group: "Our upcoming third opus is filled with old-school and rotten bastards of songs. Groovy and heavy like a pile of flesh that will be like a punch in your face. To us, it's the perfect step from 'The Tomb Awaits' album… beware!"
ENTRAILS formed in the '90s, but split up before they were able to release a demo or even an album. It took them until 2008 to come back when guitarist Jimmy Lundqvist rediscovered some old tapes. In a moment of nostalgia, he decided that they deserved to be released as they should have been originally. With modern recording technology, the first ENTRAILS demo could finally take shape. After releasing another demo in 2009, ENTRAILS recorded and released their debut album, "Tales From The Morgue", in 2010. Just a year later, "The Tomb Awaits" was released, an album that gained worldwide attention of music fans of the extreme and was considered by many as the best death metal release of 2011.
ENTRAILS is:
Joakim Svensson - Vocals/Bass
Jimmy Lundqvist - Guitar
Mathias Nilsson – Guitar
Adde Mitroulis – Drums
Swedish death metal masters DIABOLICAL are preparing to enter Necromorbus Studio (WATAIN, UNANIMATED, DESTRÖYER 666) in Alvik, Sweden to begin recording their as-yet-untitled fifth album. The CD will once again be produced by the band's vocalist/guitarist Sverker Widgren.
Commented guitarist Carl Stjärnlöv: "We have more than enough material written and pre-produced already, and we are confident that this album will be a milestone for DIABOLICAL as a band and for metal as a genre."
The first in a series of video clips featuring behind-the-scenes footage from the studio can be seen below.
DIABOLICAL's latest album, "Ars Vitae", came out in February 2011 via Abyss Records.
The band's third full-length CD, "The Gallery of Bleeding Art", was released in November 2008 through ViciSolum Productions.
Commented guitarist Carl Stjärnlöv: "We have more than enough material written and pre-produced already, and we are confident that this album will be a milestone for DIABOLICAL as a band and for metal as a genre."
The first in a series of video clips featuring behind-the-scenes footage from the studio can be seen below.
DIABOLICAL's latest album, "Ars Vitae", came out in February 2011 via Abyss Records.
The band's third full-length CD, "The Gallery of Bleeding Art", was released in November 2008 through ViciSolum Productions.
Alexandre Locher (also known as Xytras or Xy) of Swiss industrial black metallers SAMAEL recently travelled to Finland to oversee pre-production on the new album from the Finnish modern thrash/death-influenced metal band DEAD SHAPE FIGURE.
It's been years since Xy produced an album for another band; it started with MISERY's "Mystic" CD in 1993; he would later produce two albums for Greek death/black metal veterans ROTTING CHRIST (1997's "A Dead Poem" and 1999's "Sleep Of The Angel") as well as the first two LPs from Germany's MY INSANITY.
A short video clip of Xy in the studio with DEAD SHAPE FIGURE can be seen below.
DEAD SHAPE FIGURE's mini-CD, "Dev!lle Ride", was released via Dynamic Arts Records.
The track listing for the effort is as follows:
01. Strangle The Hero
02. And They Adore The Replacement
03. Leave Your Buildings
04. Dead Again
Guitarist Kride Lahti left DEAD SHAPE FIGURE last year "due to personal reasons and lack of motivation." He has since been replaced by Silver Ots (THE NIBIRUAN, ex-AMORAL).
DEAD SHAPE FIGURE's second full-length album, "The Disease Of St. Vitus", was released in October 2010 via Dynamic Arts Records. The CD was mastered at Virtalähde Analog Audio Studios in Helsinki, Finland.
The band's debut album, "The Grand Karoshi", came out in 2008 via Season Of Mist. The CD's lyrical content was translated by Kallio into Finnish as a book of poetry, entitled "Loppusäkeet".
It's been years since Xy produced an album for another band; it started with MISERY's "Mystic" CD in 1993; he would later produce two albums for Greek death/black metal veterans ROTTING CHRIST (1997's "A Dead Poem" and 1999's "Sleep Of The Angel") as well as the first two LPs from Germany's MY INSANITY.
A short video clip of Xy in the studio with DEAD SHAPE FIGURE can be seen below.
DEAD SHAPE FIGURE's mini-CD, "Dev!lle Ride", was released via Dynamic Arts Records.
The track listing for the effort is as follows:
01. Strangle The Hero
02. And They Adore The Replacement
03. Leave Your Buildings
04. Dead Again
Guitarist Kride Lahti left DEAD SHAPE FIGURE last year "due to personal reasons and lack of motivation." He has since been replaced by Silver Ots (THE NIBIRUAN, ex-AMORAL).
DEAD SHAPE FIGURE's second full-length album, "The Disease Of St. Vitus", was released in October 2010 via Dynamic Arts Records. The CD was mastered at Virtalähde Analog Audio Studios in Helsinki, Finland.
The band's debut album, "The Grand Karoshi", came out in 2008 via Season Of Mist. The CD's lyrical content was translated by Kallio into Finnish as a book of poetry, entitled "Loppusäkeet".
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