Original BLACK SABBATH guitarist Tony Iommi, singer Ozzy Osbourne and bassist Geezer Butler are working on their first new album together in 33 years with legendary producer Rick Rubin (seven-time Grammy winner, two of those as "Producer Of The Year") for release worldwide on Vertigo, and Vertigo/Universal Republic in the U.S.
Commenting on the progress of the sessions, Osbourne said: We've written about 15 songs so far, whether they'll get on an album [I don't know]… You just keep on writing. I was trying to [work out]: where would we be now musically if we'd have stayed together?"
He added: "Next year — 2013 — is a good clue of what we'll call the album."
Regarding how Rubin approached the writing sessions with the band, Butler said, "He sat us down, put the first album on and said 'listen to this', imagine it's 1969, you've just done that, what would you do next?"
Iommi also discussed his battle with cancer and how playing with the band at their comeback show at O2 Academy Birmingham last month (May 19) gave him a "boost." He said: "It was great. Going through what I've gone through over the past year has been like living in a different world — being onstage and to get that [reaction from the fans] is just fantastic, it really boosts you up."
BLACK SABBATH drummer Bill Ward recently announced again that he was declining to join his former bandmates for its scheduled 2012 dates, as well as the recording of a new album, due to a contractual dispute.
He also allegedly had his lawyers direct SABBATH to remove him from photos of the band posted at the official BLACK SABBATH web site "so as to not give the public the wrong impression about his involvement in the current BLACK SABBATH lineup," according to a statement issued by the band's publicist.
Geezer Butler issued a lengthy retort at his own web site, writing that Ward "hadn't told any one of us he was having contractual problems, and frankly those things are worked out between our representatives, and never between the four of us let alone in public."
Butler added that the band did not expect to make a lot of money from its Download appearance and planned to donate the proceeds from the Birmingham gig, saying, "Apparently, this wasn't acceptable to Bill's representatives, they wanted an amount that was so unrealistic that it seemed to have been a joke."
In addition to Download, the members of SABBATH will play at Lollapalooza this August in Chicago, their only scheduled U.S. gig. The rest of the scheduled SABBATH tour dates are being played by Ozzy and billed as "Ozzy & Friends."
He added: "Next year — 2013 — is a good clue of what we'll call the album."
Regarding how Rubin approached the writing sessions with the band, Butler said, "He sat us down, put the first album on and said 'listen to this', imagine it's 1969, you've just done that, what would you do next?"
Iommi also discussed his battle with cancer and how playing with the band at their comeback show at O2 Academy Birmingham last month (May 19) gave him a "boost." He said: "It was great. Going through what I've gone through over the past year has been like living in a different world — being onstage and to get that [reaction from the fans] is just fantastic, it really boosts you up."
BLACK SABBATH drummer Bill Ward recently announced again that he was declining to join his former bandmates for its scheduled 2012 dates, as well as the recording of a new album, due to a contractual dispute.
He also allegedly had his lawyers direct SABBATH to remove him from photos of the band posted at the official BLACK SABBATH web site "so as to not give the public the wrong impression about his involvement in the current BLACK SABBATH lineup," according to a statement issued by the band's publicist.
Geezer Butler issued a lengthy retort at his own web site, writing that Ward "hadn't told any one of us he was having contractual problems, and frankly those things are worked out between our representatives, and never between the four of us let alone in public."
Butler added that the band did not expect to make a lot of money from its Download appearance and planned to donate the proceeds from the Birmingham gig, saying, "Apparently, this wasn't acceptable to Bill's representatives, they wanted an amount that was so unrealistic that it seemed to have been a joke."
In addition to Download, the members of SABBATH will play at Lollapalooza this August in Chicago, their only scheduled U.S. gig. The rest of the scheduled SABBATH tour dates are being played by Ozzy and billed as "Ozzy & Friends."
According to Billboard.com, AEROSMITH's new single, "Legendary Child", has landed on Billboard's Mainstream Rock chart at No. 32 and the Hard Rock Digital Songs chart at No. 2. On the former chart, the song is the group's first entry since 2006, when "Devil's Got a New Disguise" reached No. 15.
"Legendary Child" will appear on AEROSMITH's 15th studio album, titled "Music From Another Dimension", which will arrive on August 28 via Columbia Records. The track was also supposed to be included in the upcoming summer film "G.I. Joe: Retaliation", but that movie was abruptly bumped from its June 29 release date to March 2013.
AEROSMITH premiered "Legendary Child"with a live performance during the season finale of "American Idol". It is a reworked version of a song originally written in 1991 during the sessions for the "Get A Grip" album.
"Music From Another Dimension" track listing:
01. What Could Have Been Love
02. Beautiful
03. Street Jesus
04. Legendary Child
05. Oh Yeah
06. We All Fall Down
07. Another Last Goodbye
08. Out Go the Lights
09. Love Three Times a Day (Hello Goodbye)
10. Closer
11. Shakey Ground
12. Lover A Lot
13. Freedom Fighter
14. Up On The Mountain
AEROSMITH began work on its first all-new album since 2001 last year, with the rest of the band working on music while singer Steven Tyler made his "American Idol" debut.
"Music From Another Dimension" is being helmed by producer Jack Douglas, who previously worked with AEROSMITH on classic early albums like "Toys In The Attic" and "Rocks" as well as on 2004's "Honkin' On Bobo".
"This record is different from the recent past, say the last 20 years, where everybody is getting in the studio and throwing down their songs," guitarist Joe Perry recently told Billboard.com. "This record is a lot more band-written stuff than there has been in the recent past."
AEROSMITH's "The Global Warming" tour will kick it off on June 16 at the Target Center in Minneapolis, Minnesota and wrap up on August 8 in Tacoma, Washington.
"Legendary Child" will appear on AEROSMITH's 15th studio album, titled "Music From Another Dimension", which will arrive on August 28 via Columbia Records. The track was also supposed to be included in the upcoming summer film "G.I. Joe: Retaliation", but that movie was abruptly bumped from its June 29 release date to March 2013.
AEROSMITH premiered "Legendary Child"with a live performance during the season finale of "American Idol". It is a reworked version of a song originally written in 1991 during the sessions for the "Get A Grip" album.
"Music From Another Dimension" track listing:
01. What Could Have Been Love
02. Beautiful
03. Street Jesus
04. Legendary Child
05. Oh Yeah
06. We All Fall Down
07. Another Last Goodbye
08. Out Go the Lights
09. Love Three Times a Day (Hello Goodbye)
10. Closer
11. Shakey Ground
12. Lover A Lot
13. Freedom Fighter
14. Up On The Mountain
AEROSMITH began work on its first all-new album since 2001 last year, with the rest of the band working on music while singer Steven Tyler made his "American Idol" debut.
"Music From Another Dimension" is being helmed by producer Jack Douglas, who previously worked with AEROSMITH on classic early albums like "Toys In The Attic" and "Rocks" as well as on 2004's "Honkin' On Bobo".
"This record is different from the recent past, say the last 20 years, where everybody is getting in the studio and throwing down their songs," guitarist Joe Perry recently told Billboard.com. "This record is a lot more band-written stuff than there has been in the recent past."
AEROSMITH's "The Global Warming" tour will kick it off on June 16 at the Target Center in Minneapolis, Minnesota and wrap up on August 8 in Tacoma, Washington.
According to The Hollywood Reporter, AEROSMITH members Steven Tyler and Joe Perry will present actor Johnny Depp with the Generation Award at this year's MTV Movie Awards.
The actor is being given the accolade as a celebration of his contribution to cinema over the last twenty years, in films such as "Edward Scissorhands", "Charlie And The Chocolate Factory" and "Sleepy Hollow".
The MTV Movie Awards will be hosted by comedian Russell Brand and will air live from the Gibson Amphitheatre in Universal City, California on Sunday, June 3 at 9 p.m. ET/PT.
Depp joined Alice Cooper, Perry and Tyler on stage at the premier after-party for the new Tim Burton film, "Dark Shadows", on May 7 to play THE BEATLES classic "Come Together".
The actor is being given the accolade as a celebration of his contribution to cinema over the last twenty years, in films such as "Edward Scissorhands", "Charlie And The Chocolate Factory" and "Sleepy Hollow".
The MTV Movie Awards will be hosted by comedian Russell Brand and will air live from the Gibson Amphitheatre in Universal City, California on Sunday, June 3 at 9 p.m. ET/PT.
Depp joined Alice Cooper, Perry and Tyler on stage at the premier after-party for the new Tim Burton film, "Dark Shadows", on May 7 to play THE BEATLES classic "Come Together".
Experience Hendrix LLC and Legacy Recordings, the catalog division of Sony Music Entertainment, will release a restored and newly expanded edition of "Jimi Plays Berkeley" on Blu-ray and DVD, on Tuesday, July 10.
A historic documentary film chronicling the two concerts Jimi Hendrix performed at the Berkeley Community Theatre on Saturday, May 30, 1970, "Jimi Plays Berkeley" captures the cultural milieu surrounding one of the finest Hendrix performances ever lensed.
Made from a new, digitally-restored transfer from the original 16mm negative, "Jimi Plays Berkeley" premieres more than 15 minutes of previously unseen documentary and performance footage of Hendrix classics including "Voodoo Child (Slight Return)", "Machine Gun" and "Hear My Train A Comin'" not featured in the original film release.
"We take great pride in doing our part to preserve the music of my brother, Jimi, especially during his 70th birthday year," said Janie Hendrix, President and CEO of Experience Hendrix and co-producer (with John McDermott) of the "Jimi Plays Berkeley" DVD. (Jimi Hendrix, born November 27, 1942, would be 70 this year.)
"Jimi Plays Berkeley" features a 5.1 Surround stereo soundtrack mixed by original Jimi Hendrix engineer Eddie Kramer and commentary from Abe Jacob, the audio engineer who recorded the Hendrix Berkeley concerts in 1970.
As an added bonus, the newly expanded "Jimi Plays Berkeley" includes an audio-only presentation of Jimi's complete Berkeley May 30, 1970 second show mixed in 5.1 Surround Sound. Showcasing 67 minutes of music, the second set concert recordings include "Pass It On (Straight Ahead)", "Hey Baby (New Rising Sun)", "Lover Man", "Stone Free", "Hey Joe", "I Don't Live Today", "Machine Gun", "Foxey Lady", "Star Spangled Banner", "Purple Haze" and "Voodoo Child (Slight Return)".
The second set from May 30, 1970, will be released on CD and on 12-inch vinyl as "Jimi Hendrix Experience: Live At Berkeley (The Second Set)". The audiophile 12" double album release is an all analog recording cut by Bernie Grundman from the master tapes and struck by Quality Record Pressings (QRP) on 200-gram vinyl.
The most complete record ever-released of that magical Saturday in late May 1970, "Jimi Plays Berkeley" includes an essay on the film by noted Jimi Hendrix historian John McDermott.
Also on July 10, Legacy Recordings will release the "Jimi Hendrix - Voodoo Child" film for the first time on Blu-ray. A 90 minute documentary directed by the multiple Grammy award-winning Bob Smeaton, "Jimi Hendrix - Voodoo Child" was originally included as a DVD in the "West Coast Seattle Boy" Jimi Hendrix boxed set. An autobiographical journey told in the legendary musician's own words as read by PARLIAMENT-FUNKADELIC's Bootsy Collins, the film incorporates interviews with Hendrix, coupled with the artist's letters, writings and recordings to provide new insight into one of the most enduring icons of popular culture. The documentary features some of Jimi's greatest performances as well as rare and never-before-seen footage and photos including — for the first time ever — examples from the Hendrix family archive of the late guitarist's personal drawings, postcards home to his father, song drafts, sketches, and lyrics.
A historic documentary film chronicling the two concerts Jimi Hendrix performed at the Berkeley Community Theatre on Saturday, May 30, 1970, "Jimi Plays Berkeley" captures the cultural milieu surrounding one of the finest Hendrix performances ever lensed.
Made from a new, digitally-restored transfer from the original 16mm negative, "Jimi Plays Berkeley" premieres more than 15 minutes of previously unseen documentary and performance footage of Hendrix classics including "Voodoo Child (Slight Return)", "Machine Gun" and "Hear My Train A Comin'" not featured in the original film release.
"We take great pride in doing our part to preserve the music of my brother, Jimi, especially during his 70th birthday year," said Janie Hendrix, President and CEO of Experience Hendrix and co-producer (with John McDermott) of the "Jimi Plays Berkeley" DVD. (Jimi Hendrix, born November 27, 1942, would be 70 this year.)
"Jimi Plays Berkeley" features a 5.1 Surround stereo soundtrack mixed by original Jimi Hendrix engineer Eddie Kramer and commentary from Abe Jacob, the audio engineer who recorded the Hendrix Berkeley concerts in 1970.
As an added bonus, the newly expanded "Jimi Plays Berkeley" includes an audio-only presentation of Jimi's complete Berkeley May 30, 1970 second show mixed in 5.1 Surround Sound. Showcasing 67 minutes of music, the second set concert recordings include "Pass It On (Straight Ahead)", "Hey Baby (New Rising Sun)", "Lover Man", "Stone Free", "Hey Joe", "I Don't Live Today", "Machine Gun", "Foxey Lady", "Star Spangled Banner", "Purple Haze" and "Voodoo Child (Slight Return)".
The second set from May 30, 1970, will be released on CD and on 12-inch vinyl as "Jimi Hendrix Experience: Live At Berkeley (The Second Set)". The audiophile 12" double album release is an all analog recording cut by Bernie Grundman from the master tapes and struck by Quality Record Pressings (QRP) on 200-gram vinyl.
The most complete record ever-released of that magical Saturday in late May 1970, "Jimi Plays Berkeley" includes an essay on the film by noted Jimi Hendrix historian John McDermott.
Also on July 10, Legacy Recordings will release the "Jimi Hendrix - Voodoo Child" film for the first time on Blu-ray. A 90 minute documentary directed by the multiple Grammy award-winning Bob Smeaton, "Jimi Hendrix - Voodoo Child" was originally included as a DVD in the "West Coast Seattle Boy" Jimi Hendrix boxed set. An autobiographical journey told in the legendary musician's own words as read by PARLIAMENT-FUNKADELIC's Bootsy Collins, the film incorporates interviews with Hendrix, coupled with the artist's letters, writings and recordings to provide new insight into one of the most enduring icons of popular culture. The documentary features some of Jimi's greatest performances as well as rare and never-before-seen footage and photos including — for the first time ever — examples from the Hendrix family archive of the late guitarist's personal drawings, postcards home to his father, song drafts, sketches, and lyrics.
Patrick Prince of Powerline magazine recently conducted an interview with THE CULT guitarist Billy Duffy. A couple of excertps from the chat follow below.
Powerline: The [new THE CULT] album ["Choice Of Weapon"] seems so spontaneous and raw. I mean, there's no fucking around. It's right to the point.
Duffy: Yeah, it kind of came out that way. It just sort of what turned out. The selection of tracks were written over different periods, so they kind of reflect different feels. They had been written in different places: New York, some were in the desert in California, some were right in West Hollywood. That was the initial phase and then it just started escalating from there, you know.
Powerline: With some bands, you hear five years off and you think there's gonna be a lot of tinkering, there's gonna be a lot of creative indecision on the album.
Duffy: Yeah, if you think that musicians, all they do is music. But if you think that we have lives and families and interests as well as music and the band … I think that's one of the changes that happens when you become a little older — you sort of generate a life that has more facets than music. The actual trick is to keep music as important and vital to you as it was, so you don't get distracted by stuff. You know, it wasn't like we were lollygagging. I mean, we toured every year since 2006. Not heavy like we used to. We tour more when we have an album but we've certainly done dates — 60-70 shows a year, maybe more. So the band's been … I wouldn't say inactive but I think we were just responding to the way the music business is now, and the fact that you don't really sell records. Nobody really buys them in sufficient quantities to make them cost-effective. I'm sure you talk to loads of guys who say the same thing, but the music's kind of vibrant and it's the lifeblood of a band, and certainly with HE CULT, that's really our main reason.
Powerline: THE CULT never fit into any particular genre, which is a good thing.
Duffy: It certainly gives you longevity and that's really the most important thing. Because we do it 'cause we enjoy it, and always have done. But, on the other end, you might say that if you don't particularly dominate one genre, you fall between two stools, and people don't quite now what you are. So there can be a little bit of possible confusion on how to market the band, if you will, when those things matter.
Powerline: And how has your relationship with Ian [Astbury, vocals] changed as far as songwriting?
Dufy: We just show up and get on with it. We're at a point in our relationship where we see each other for a few months and once we get down to business, it's business as usual. The only difference is, I say, is that me and Ian forensically go through all the guitar riffs that I write. Ian writes his own stuff. He writes his own songs and stuff. But the vast majority of THE CULT's music is guitar riff-orientated and it has been since day one in 1983. It's like the music suggests a certain feel, mood and emotion and Ian kind of goes into his lyric stuff and starts ramping on it, and luckily for me, we got a certain chemistry that works. We don't have to try too hard. And I know this because I tried working with other singers who are great friends of mine and very talented guys but … There's one song on the album, "The Wolf", where it took a long time to get that song together. I had that riff for a number of years. And it really took Ian to come in and nail it. He just proved to me that he has a special relationship to the music that I do. And no disrespect to the guys that I work with. It's just that that chemistry is very unique. Very hard to find. Anybody that knows anything about music history knows that. I've been blessed. But, yeah, since grunge, they don't want to do a lot of solos, and there's always that '90s kind of cookie-monster stuff where the guitar would be very clean and very linear and almost robotic and then they drop into the chorus and it's really like a heavy metal hip-hop vibe and then they go back to the clean. You know, the originator was "Smells Like Teen Spirit", really. But that stuff had a lot of real emotion, NIRVANA. What followed that was a little antiseptic and soulless, So, for me, I couldn't sense any of the blues in there. In any way, shape or form. It was all just from the head, and not from the heart. It was as it came across to me as a consumer. It didn't really resonate with me. I'm thankful that people have gotten back to possibly a more organic way of playing, and hopefully young guitar players won't be afraid to express themselves. There's a lot of savants that do meaningless guitar solos for hours. That really doesn't do anything that hasn't been done. But when people take the spirit of that [solos] and move forward with it, I think that's what's really exciting.
Powerline: You see a lot of kids today wearing the old-school t-shirts and really getting into the older stuff.
Duffy: I think people will always be drawn to quality and I think if people have to work a little bit harder to find some cool stuff it's all the better. I think everything's a little too instant, a little too easy right now. And I'm all for convenience and like my iThis and my iThat — I'm totally aboard — but I think in order to create a healthy musical environments going forward , it's great that people want to work a bit harder. I think they get the deeper rewards. And I am all for it. They [kids] go for those iconic images and I'm thankful once in a while I see a CULT shirt that's worn in the same way. And it either makes me feel great, or old. Or both.
Powerline: The [new THE CULT] album ["Choice Of Weapon"] seems so spontaneous and raw. I mean, there's no fucking around. It's right to the point.
Duffy: Yeah, it kind of came out that way. It just sort of what turned out. The selection of tracks were written over different periods, so they kind of reflect different feels. They had been written in different places: New York, some were in the desert in California, some were right in West Hollywood. That was the initial phase and then it just started escalating from there, you know.
Powerline: With some bands, you hear five years off and you think there's gonna be a lot of tinkering, there's gonna be a lot of creative indecision on the album.
Duffy: Yeah, if you think that musicians, all they do is music. But if you think that we have lives and families and interests as well as music and the band … I think that's one of the changes that happens when you become a little older — you sort of generate a life that has more facets than music. The actual trick is to keep music as important and vital to you as it was, so you don't get distracted by stuff. You know, it wasn't like we were lollygagging. I mean, we toured every year since 2006. Not heavy like we used to. We tour more when we have an album but we've certainly done dates — 60-70 shows a year, maybe more. So the band's been … I wouldn't say inactive but I think we were just responding to the way the music business is now, and the fact that you don't really sell records. Nobody really buys them in sufficient quantities to make them cost-effective. I'm sure you talk to loads of guys who say the same thing, but the music's kind of vibrant and it's the lifeblood of a band, and certainly with HE CULT, that's really our main reason.
Powerline: THE CULT never fit into any particular genre, which is a good thing.
Duffy: It certainly gives you longevity and that's really the most important thing. Because we do it 'cause we enjoy it, and always have done. But, on the other end, you might say that if you don't particularly dominate one genre, you fall between two stools, and people don't quite now what you are. So there can be a little bit of possible confusion on how to market the band, if you will, when those things matter.
Powerline: And how has your relationship with Ian [Astbury, vocals] changed as far as songwriting?
Dufy: We just show up and get on with it. We're at a point in our relationship where we see each other for a few months and once we get down to business, it's business as usual. The only difference is, I say, is that me and Ian forensically go through all the guitar riffs that I write. Ian writes his own stuff. He writes his own songs and stuff. But the vast majority of THE CULT's music is guitar riff-orientated and it has been since day one in 1983. It's like the music suggests a certain feel, mood and emotion and Ian kind of goes into his lyric stuff and starts ramping on it, and luckily for me, we got a certain chemistry that works. We don't have to try too hard. And I know this because I tried working with other singers who are great friends of mine and very talented guys but … There's one song on the album, "The Wolf", where it took a long time to get that song together. I had that riff for a number of years. And it really took Ian to come in and nail it. He just proved to me that he has a special relationship to the music that I do. And no disrespect to the guys that I work with. It's just that that chemistry is very unique. Very hard to find. Anybody that knows anything about music history knows that. I've been blessed. But, yeah, since grunge, they don't want to do a lot of solos, and there's always that '90s kind of cookie-monster stuff where the guitar would be very clean and very linear and almost robotic and then they drop into the chorus and it's really like a heavy metal hip-hop vibe and then they go back to the clean. You know, the originator was "Smells Like Teen Spirit", really. But that stuff had a lot of real emotion, NIRVANA. What followed that was a little antiseptic and soulless, So, for me, I couldn't sense any of the blues in there. In any way, shape or form. It was all just from the head, and not from the heart. It was as it came across to me as a consumer. It didn't really resonate with me. I'm thankful that people have gotten back to possibly a more organic way of playing, and hopefully young guitar players won't be afraid to express themselves. There's a lot of savants that do meaningless guitar solos for hours. That really doesn't do anything that hasn't been done. But when people take the spirit of that [solos] and move forward with it, I think that's what's really exciting.
Powerline: You see a lot of kids today wearing the old-school t-shirts and really getting into the older stuff.
Duffy: I think people will always be drawn to quality and I think if people have to work a little bit harder to find some cool stuff it's all the better. I think everything's a little too instant, a little too easy right now. And I'm all for convenience and like my iThis and my iThat — I'm totally aboard — but I think in order to create a healthy musical environments going forward , it's great that people want to work a bit harder. I think they get the deeper rewards. And I am all for it. They [kids] go for those iconic images and I'm thankful once in a while I see a CULT shirt that's worn in the same way. And it either makes me feel great, or old. Or both.
The eighth annual MusiCares MAP Fund benefit concert honored ALICE IN CHAINS co-founder Jerry Cantrell and certified interventionist and Sony/ATV Music Publishing Senior Consultant Neil Lasher this past Thursday, May 31 at Club Nokia in Los Angeles. Cantrell was honored with the Stevie Ray Vaughan Award for his dedication and support of the MusiCares MAP Fund, and for his commitment to helping other addicts with the addiction and recovery process. All proceeds benefit the MusiCares MAP Fund, which provides members of the music community access to addiction recovery treatment regardless of their financial situation.
"I'm honored to be chosen this year," Cantrell told Rolling Stone magazine. He added, "I am nobody's fucking role model. It's too much pressure: Everybody's human, everybody has flaws, everybody falls down. It's just a fucking fact of life. And a lot of people stand and get the fuck back up after falling. Some people don't get that chance. My band's been a harsh example of that — what happens when you don't deal with it."
Hosted by television personality Steve-O, the evening featured a special performance by Cantrell and his ALICE IN CHAINS bandmates, who played a five-song acoustic set at the event consisting of "Nutshell", "Your Decision", "No Excuses", "Got Me Wrong" and "Would?" Grammy-nominated musician Moby DJed live during dinner.
Video footage of ALICE IN CHAINS' performance as well as pre-show interviews on the event's "red carpet" can be seen below.
"Jerry's role in shaping the world of rock music is profound and ongoing," said Neil Portnow, President/CEO of The Recording Academy and MusiCares. "His artistry as a guitarist is inspiring, and his contributions as a songwriter have earned ALICE IN CHAINS millions of fans around the world. And Neil has built an extraordinary career spanning more than 30 years in the music industry, and a parallel career in the field of substance abuse where his name has become synonymous with recovery and survival. But what unites Jerry and Neil are their unwavering support of MusiCares and our recovery programs, and their unselfish capacity to be of service to music people struggling with addiction."
"From what I've seen, addiction can be an occupational hazard in the music business and I know firsthand how the MusiCares MAP Fund helps artists and members of the music community find the resources for recovery," said Cantrell. "I've been a supporter for a long time, and I'm proud to help raise awareness and funds so this organization can continue to save lives."
The MusiCares Foundation offers programs and services to members of the music community including emergency financial assistance for basic living expenses including rent, utilities and car payments; medical expenses including doctor, dentist and hospital bills; psychotherapy; and treatment for HIV/AIDS, Parkinson's disease, Alzheimer's disease, hepatitis C, and other critical illnesses. MusiCares offers nationwide educational workshops covering a variety of subjects, including financial, legal, medical, and substance abuse issues, and programs in collaboration with healthcare professionals that provide services such as flu shots, hearing tests, and medical/dental screenings.
The MusiCares MAP Fund allows access to addiction recovery treatment and sober living resources for members of the music community. Staffed by qualified chemical dependency and intervention specialists, MusiCares Safe Harbor Rooms, supported by the Bohemian Foundation, offer a support network to those in recovery while they are participating in the production of televised music shows and other major music events. MusiCares holds weekly addiction support groups for people to discuss how to best cope with the issues surrounding the recovery process. The MusiCares Sober Touring Network is a database of individuals across the United States who can take music people to recovery support meetings while on the road.
Established in 1989 by The Recording Academy, MusiCares provides a safety net of critical assistance for music people in times of need. MusiCares' services and resources cover a wide range of financial, medical and personal emergencies, and each case is treated with integrity and confidentiality. MusiCares also focuses the resources and attention of the music industry on human service issues that directly impact the health and welfare of the music community.
"I'm honored to be chosen this year," Cantrell told Rolling Stone magazine. He added, "I am nobody's fucking role model. It's too much pressure: Everybody's human, everybody has flaws, everybody falls down. It's just a fucking fact of life. And a lot of people stand and get the fuck back up after falling. Some people don't get that chance. My band's been a harsh example of that — what happens when you don't deal with it."
Hosted by television personality Steve-O, the evening featured a special performance by Cantrell and his ALICE IN CHAINS bandmates, who played a five-song acoustic set at the event consisting of "Nutshell", "Your Decision", "No Excuses", "Got Me Wrong" and "Would?" Grammy-nominated musician Moby DJed live during dinner.
Video footage of ALICE IN CHAINS' performance as well as pre-show interviews on the event's "red carpet" can be seen below.
"Jerry's role in shaping the world of rock music is profound and ongoing," said Neil Portnow, President/CEO of The Recording Academy and MusiCares. "His artistry as a guitarist is inspiring, and his contributions as a songwriter have earned ALICE IN CHAINS millions of fans around the world. And Neil has built an extraordinary career spanning more than 30 years in the music industry, and a parallel career in the field of substance abuse where his name has become synonymous with recovery and survival. But what unites Jerry and Neil are their unwavering support of MusiCares and our recovery programs, and their unselfish capacity to be of service to music people struggling with addiction."
"From what I've seen, addiction can be an occupational hazard in the music business and I know firsthand how the MusiCares MAP Fund helps artists and members of the music community find the resources for recovery," said Cantrell. "I've been a supporter for a long time, and I'm proud to help raise awareness and funds so this organization can continue to save lives."
The MusiCares Foundation offers programs and services to members of the music community including emergency financial assistance for basic living expenses including rent, utilities and car payments; medical expenses including doctor, dentist and hospital bills; psychotherapy; and treatment for HIV/AIDS, Parkinson's disease, Alzheimer's disease, hepatitis C, and other critical illnesses. MusiCares offers nationwide educational workshops covering a variety of subjects, including financial, legal, medical, and substance abuse issues, and programs in collaboration with healthcare professionals that provide services such as flu shots, hearing tests, and medical/dental screenings.
The MusiCares MAP Fund allows access to addiction recovery treatment and sober living resources for members of the music community. Staffed by qualified chemical dependency and intervention specialists, MusiCares Safe Harbor Rooms, supported by the Bohemian Foundation, offer a support network to those in recovery while they are participating in the production of televised music shows and other major music events. MusiCares holds weekly addiction support groups for people to discuss how to best cope with the issues surrounding the recovery process. The MusiCares Sober Touring Network is a database of individuals across the United States who can take music people to recovery support meetings while on the road.
Established in 1989 by The Recording Academy, MusiCares provides a safety net of critical assistance for music people in times of need. MusiCares' services and resources cover a wide range of financial, medical and personal emergencies, and each case is treated with integrity and confidentiality. MusiCares also focuses the resources and attention of the music industry on human service issues that directly impact the health and welfare of the music community.
Daniel Pavlica of The Rocktologist recently conducted an interview with GREAT WHITE singer Terry Ilous. A couple of excerpts from the chat follow below.
The Rocktologist: There has been a lot of turmoil lately around the right to use GREAT WHITE name. How does that affect the guys in the band?
Terry: Well, Daniel, I have to tell you that everyone is a bit annoyed and upset… I don't want to get info controversy. All I want to say is that the history of the band is very simple. The history speaks for itself. Mark Kendall started the band in 1978 with a different singer, a different drummer and a different bass player. Then band was by then called DANTE FOX. This lineup toured for about two years before Jack Russell joined the band. Basically, the band then toured and changed the name, but the point is that the band was started by Mark Kendall back in 1978. At the time, in 1978, Jack Russell wasn't even around, Jack Russell was in jail. Now, how does he affect me and the band? It's really annoying, to be honest with you. I'm not saying anything bad about Jack whatsoever, but I'm starting to get annoyed. I've never heard of a singer leaving a band and taking the name with him. I mean, when Steve Perry left JOURNEY, he called himself Steve Perry formerly of JOURNEY, the same goes for Lou Gramm (FOREIGNER), Ozzy Osbourne (BLACK SABBATH) or David Coverdale (DEEP PURPLE). The bottom line is that when you leave the band… Let's not forget that Jack never got fired, he left the band of his own accord. So, once again, the situation is very annoying, to be honest, because it's affecting our shows, it's bothering our fans, not to mention that the fact that Jack is saying so many bad things about us is just wrong. You know, I wish Jack only the very, very best, success and health; whatever he wants, I'm good with that. Still, I don't thing that saying bad thing about his former bandmembers is right. I think he should be more of a gentleman. It's like a relationship with your ex-girlfriend or your ex-wife. When it's over, it's over, and you have to remember the good times and move on.
The Rocktologist: GREAT WHITE is now up against JACK RUSSELL'S GREAT WHITE. Are you confident in reaching the top spot?
Terry: Absolutely! (laughs)
The Rocktologist: No problem there, then?
Terry: No problem there! You know, Jack was a great singer, and he did wonderful things with the band. I would never criticize Jack. I'm not that kind of a person. If he can come back with a great album I would say good for him. All I want for us is to move on and be happy. I just want to be left alone and do my thing, that's all.
The Rocktologist: One more question about Jack. He in particular has an army strong pack of devoted fans. How does it feel stepping into his shoes — on stage, that is?
Terry: I'd like for him to step into my shoes if he can do it! I'm a lead singer from XYZ and everybody knows that I have lots of chops. Singing my songs is not easy. Anyway, every time that I go onstage it's always a pleasure for me to sing songs that Jack and Mark have written or co-written… I know that Mark was mostly the writer in the band…it's always a pleasure to sing this songs. In a certain way, Jack will always be with me on stage, because I will be singing things like "Save Your Love" and "Lady Red Light". Every time I sing those songs, the fans would be singing thinking about him, and to be honest with you, they should think about him, because he was the voice in GREAT WHITE before. So I only have respect for him. Even my new fans should respect him as well. As far as going on stage and filling his shoes… Well, Jack was a great singer, and I'm also a great singer. It's not like, "Oh, my god, I don't know if I can do it!" The truth is that Jack and I are very similar but we are different also. I'm European so I'm very flashy on stage. My influences are Freddie Mercury and people like that, you know, people that put on a great show. So again, Jack and I are very similar. That's why I am the singer in GREAT WHITE now, because of the similarities, the blues, the rock, except that I'm a bit heavier that him. I grew up listening to Ronnie James Dio. My heart is into metal but also blues, because I'm very personal.
The Rocktologist: There has been a lot of turmoil lately around the right to use GREAT WHITE name. How does that affect the guys in the band?
Terry: Well, Daniel, I have to tell you that everyone is a bit annoyed and upset… I don't want to get info controversy. All I want to say is that the history of the band is very simple. The history speaks for itself. Mark Kendall started the band in 1978 with a different singer, a different drummer and a different bass player. Then band was by then called DANTE FOX. This lineup toured for about two years before Jack Russell joined the band. Basically, the band then toured and changed the name, but the point is that the band was started by Mark Kendall back in 1978. At the time, in 1978, Jack Russell wasn't even around, Jack Russell was in jail. Now, how does he affect me and the band? It's really annoying, to be honest with you. I'm not saying anything bad about Jack whatsoever, but I'm starting to get annoyed. I've never heard of a singer leaving a band and taking the name with him. I mean, when Steve Perry left JOURNEY, he called himself Steve Perry formerly of JOURNEY, the same goes for Lou Gramm (FOREIGNER), Ozzy Osbourne (BLACK SABBATH) or David Coverdale (DEEP PURPLE). The bottom line is that when you leave the band… Let's not forget that Jack never got fired, he left the band of his own accord. So, once again, the situation is very annoying, to be honest, because it's affecting our shows, it's bothering our fans, not to mention that the fact that Jack is saying so many bad things about us is just wrong. You know, I wish Jack only the very, very best, success and health; whatever he wants, I'm good with that. Still, I don't thing that saying bad thing about his former bandmembers is right. I think he should be more of a gentleman. It's like a relationship with your ex-girlfriend or your ex-wife. When it's over, it's over, and you have to remember the good times and move on.
The Rocktologist: GREAT WHITE is now up against JACK RUSSELL'S GREAT WHITE. Are you confident in reaching the top spot?
Terry: Absolutely! (laughs)
The Rocktologist: No problem there, then?
Terry: No problem there! You know, Jack was a great singer, and he did wonderful things with the band. I would never criticize Jack. I'm not that kind of a person. If he can come back with a great album I would say good for him. All I want for us is to move on and be happy. I just want to be left alone and do my thing, that's all.
The Rocktologist: One more question about Jack. He in particular has an army strong pack of devoted fans. How does it feel stepping into his shoes — on stage, that is?
Terry: I'd like for him to step into my shoes if he can do it! I'm a lead singer from XYZ and everybody knows that I have lots of chops. Singing my songs is not easy. Anyway, every time that I go onstage it's always a pleasure for me to sing songs that Jack and Mark have written or co-written… I know that Mark was mostly the writer in the band…it's always a pleasure to sing this songs. In a certain way, Jack will always be with me on stage, because I will be singing things like "Save Your Love" and "Lady Red Light". Every time I sing those songs, the fans would be singing thinking about him, and to be honest with you, they should think about him, because he was the voice in GREAT WHITE before. So I only have respect for him. Even my new fans should respect him as well. As far as going on stage and filling his shoes… Well, Jack was a great singer, and I'm also a great singer. It's not like, "Oh, my god, I don't know if I can do it!" The truth is that Jack and I are very similar but we are different also. I'm European so I'm very flashy on stage. My influences are Freddie Mercury and people like that, you know, people that put on a great show. So again, Jack and I are very similar. That's why I am the singer in GREAT WHITE now, because of the similarities, the blues, the rock, except that I'm a bit heavier that him. I grew up listening to Ronnie James Dio. My heart is into metal but also blues, because I'm very personal.
SLIPKNOT will make a "big announcement" on Monday, according to a posting on the band's official Facebook page. The artwork that accompanied the message can be seen below.
As previously announced, SLIPKNOT's greatest-hits album, "Antennas To Hell", is scheduled for release on July 17 via Roadrunner Records.
There is no word yet on which tracks will be included on "Antennas To Hell", and if it will contain any previously unheard music or other bonus content.
SLIPKNOT vocalist Corey Taylor has confirmed that the group is finally "putting together demos" for its fifth major label album, which it is expected to begin recording next year for a mid-to-late 2013 release.
SLIPKNOT is getting back to work after an extended hiatus following the passing of bassist Paul Gray in 2010. May 24 was the two-year anniversary of Gray's death from an overdose of drugs.
Playing bass on SLIPKNOT's recent tours has been early band member Donnie Steele. Percussionist Shawn "Clown" Crahan told The Pulse Of Radio that Steele has been doing a great job, but no decisions on a permanent replacement have been made. "Donnie's a beautiful person and he's just done a remarkable job," he said. "He's always got a smile on his face and he's doing Paul proud and Paul's proud of it and it's amazing. He's filling in for Paul now and we'll see what happens in the future, but it's way too early to even remotely even entertain those ideas."
Crahan said in an interview with Metal Injection in March that all the members of SLIPKNOT had been writing music, adding, "But nothing is done because we're not together yet. And there is no reason to get together and talk about it because there are other things moving, like the grieving process."
SLIPKNOT will headline the Rockstar Energy Drink Mayhem Festival tour this summer in the U.S., starting on June 30 in Devore, California.
As previously announced, SLIPKNOT's greatest-hits album, "Antennas To Hell", is scheduled for release on July 17 via Roadrunner Records.
There is no word yet on which tracks will be included on "Antennas To Hell", and if it will contain any previously unheard music or other bonus content.
SLIPKNOT vocalist Corey Taylor has confirmed that the group is finally "putting together demos" for its fifth major label album, which it is expected to begin recording next year for a mid-to-late 2013 release.
SLIPKNOT is getting back to work after an extended hiatus following the passing of bassist Paul Gray in 2010. May 24 was the two-year anniversary of Gray's death from an overdose of drugs.
Playing bass on SLIPKNOT's recent tours has been early band member Donnie Steele. Percussionist Shawn "Clown" Crahan told The Pulse Of Radio that Steele has been doing a great job, but no decisions on a permanent replacement have been made. "Donnie's a beautiful person and he's just done a remarkable job," he said. "He's always got a smile on his face and he's doing Paul proud and Paul's proud of it and it's amazing. He's filling in for Paul now and we'll see what happens in the future, but it's way too early to even remotely even entertain those ideas."
Crahan said in an interview with Metal Injection in March that all the members of SLIPKNOT had been writing music, adding, "But nothing is done because we're not together yet. And there is no reason to get together and talk about it because there are other things moving, like the grieving process."
SLIPKNOT will headline the Rockstar Energy Drink Mayhem Festival tour this summer in the U.S., starting on June 30 in Devore, California.
According to Ticketmaster.com, SLIPKNOT will headline the inaugural installment of their own festival, Knotfest, on Friday, August 17 at Mid America Motorplex in Pacific Junction, Iowa.
Scheduled performers:
SLIPKNOT
DEFTONES
LAMB OF GOD
DETHKLOK
SERJ TANKIAN
THE URGE
PRONG
Tickets go on sale on Friday, June 8 at 10:00 a.m. CDT.
As previously announced, SLIPKNOT's greatest-hits album, "Antennas To Hell", is scheduled for release on July 17 via Roadrunner Records.
There is no word yet on which tracks will be included on "Antennas To Hell", and if it will contain any previously unheard music or other bonus content.
SLIPKNOT will headline the Rockstar Energy Drink Mayhem Festival tour this summer in the U.S., starting on June 30 in Devore, California.
Scheduled performers:
SLIPKNOT
DEFTONES
LAMB OF GOD
DETHKLOK
SERJ TANKIAN
THE URGE
PRONG
Tickets go on sale on Friday, June 8 at 10:00 a.m. CDT.
As previously announced, SLIPKNOT's greatest-hits album, "Antennas To Hell", is scheduled for release on July 17 via Roadrunner Records.
There is no word yet on which tracks will be included on "Antennas To Hell", and if it will contain any previously unheard music or other bonus content.
SLIPKNOT will headline the Rockstar Energy Drink Mayhem Festival tour this summer in the U.S., starting on June 30 in Devore, California.
SKID ROW's Rachel Bolan has laid down the bass tracks on the forthcoming fourth studio album from STONE SOUR, tentatively due in October via Roadrunner Records. He has described the material on the record as "fucking fierce."
A photo of Bolan in the studio with STONE SOUR can be seen below.
STONE SOUR parted ways with bassist Shawn Economaki earlier in the year. The band's guitarist Jim Root stated about the split, "A lot has happened in the past year… We need to move forward and [there will] be more detail when the time is right. He's still a great friend and we're in touch."
Economaki left STONE SOUR in April 2011 in the middle of the "Avalanche Tour" to deal with "personal issues." He was temporarily replaced by Jason Christopher, who has since joined Sebastian Bach's touring band.
STONE SOUR frontman Corey Taylor recently spoke to Revolver magazine about the band's forthcoming CD. The project — which will likely end up becoming a double effort — will follow up 2010's "Audio Secrecy".
"Picture [PINK FLOYD's] 'The Wall' crossed with ALICE IN CHAINS' 'Dirt' with some good heavy blasts in there," Corey said. "The heaviest song is a total ass-kicker that sounds as if SLAYER and ANTHRAX had a baby. Then, there's a darker bluesy dirge that has the vibe of LED ZEPPELIN's 'In My Time Of Dying'. There's even a little industrial vibe. It's definitely going to blow people's fucking minds.
Taylor added that he came up with a very ambitious concept for the disc.
"The album is a morality play about a man who's standing at the crossroads of his life trying to figure out what to do next," he said. "He's going, 'Do I move foward and evolve? Do I become more responsible or do I run backwards and pilfer the basket of youth?' Sometimes it's romantic to live in the mistakes that you made when you were 20, and condemn yourself to perpetual adolescence."
The album is being recorded at Sound Farm Studios, just outside STONE SOUR's home base of Des Moines, Iowa, with producer David Bottrill (TOOL, MUSE, STAIND).
Guitarist Josh Rand recently said that the CD will be "another progression for the band," adding. "Musically, we have always challenged one another to push things to our limits, and this record is no exception."
Taylor and STONE SOUR guitarist Jim Root will also be busy this summer with SLIPKNOT as that band headlines the Rockstar Energy Drink Mayhem Festival.
A photo of Bolan in the studio with STONE SOUR can be seen below.
STONE SOUR parted ways with bassist Shawn Economaki earlier in the year. The band's guitarist Jim Root stated about the split, "A lot has happened in the past year… We need to move forward and [there will] be more detail when the time is right. He's still a great friend and we're in touch."
Economaki left STONE SOUR in April 2011 in the middle of the "Avalanche Tour" to deal with "personal issues." He was temporarily replaced by Jason Christopher, who has since joined Sebastian Bach's touring band.
STONE SOUR frontman Corey Taylor recently spoke to Revolver magazine about the band's forthcoming CD. The project — which will likely end up becoming a double effort — will follow up 2010's "Audio Secrecy".
"Picture [PINK FLOYD's] 'The Wall' crossed with ALICE IN CHAINS' 'Dirt' with some good heavy blasts in there," Corey said. "The heaviest song is a total ass-kicker that sounds as if SLAYER and ANTHRAX had a baby. Then, there's a darker bluesy dirge that has the vibe of LED ZEPPELIN's 'In My Time Of Dying'. There's even a little industrial vibe. It's definitely going to blow people's fucking minds.
Taylor added that he came up with a very ambitious concept for the disc.
"The album is a morality play about a man who's standing at the crossroads of his life trying to figure out what to do next," he said. "He's going, 'Do I move foward and evolve? Do I become more responsible or do I run backwards and pilfer the basket of youth?' Sometimes it's romantic to live in the mistakes that you made when you were 20, and condemn yourself to perpetual adolescence."
The album is being recorded at Sound Farm Studios, just outside STONE SOUR's home base of Des Moines, Iowa, with producer David Bottrill (TOOL, MUSE, STAIND).
Guitarist Josh Rand recently said that the CD will be "another progression for the band," adding. "Musically, we have always challenged one another to push things to our limits, and this record is no exception."
Taylor and STONE SOUR guitarist Jim Root will also be busy this summer with SLIPKNOT as that band headlines the Rockstar Energy Drink Mayhem Festival.
TRIVIUM, AS I LAY DYING, CALIBAN and UPON A BURNING BODY will join forces for a European tour this fall. Confirmed dates so far are as follows:
Oct. 23 - La Bataclan - Paris, France
Oct. 26 - Club X - Herford, Germany
Oct. 27 - LKA Longhorn - Stuttgart, Germany
Oct. 28 - Live Music Hall - Cologne, Germany
Nov. 07 - Huxleys - Berlin, Germany
Nov. 08 - Docks - Hamburg, Germany
Nov. 10 - Südbahnhof - Chemnitz, Germany
Nov. 11 - Backstage Werk - Munich, Germany
Nov. 12 - Live Club - Milan, Italy
For more information, go to this location.
TRIVIUM's latest album, "In Waves", sold 22,000 copies in the United States in its first week of release to land at position No. 13 on The Billboard 200 chart — the highest U.S. chart entry of the band's career. The group's previous CD, "Shogun", opened with just under 24,000 units back in October 2008 to debut at No. 23. The effort followed up "The Crusade", which registered a first-week tally of 31,000 copies in October 2006 to enter the chart at No. 25.
"In Waves" was recorded primarily at Paint It Black Studios in Orlando, Florida (with only the drums having been tracked at Audiohammer Studios in Sanford, Florida) with the production/mixing team of Colin Richardson (MACHINE HEAD, BULLET FOR MY VALENTINE, SLIPKNOT, FEAR FACTORY) and Martin "Ginge" Ford, along with engineer Carl Bown. A two-disc special edition is also available. It features five bonus tracks, plus a DVD with a 40-minute, behind-the-scenes documentary, as well as an exclusive concert filmed in a warehouse located in Orlando, Florida, which is the band's stomping grounds. This concert features the first performances of tracks from "In Waves", along with TRIVIUM classics.
AS I LAY DYING entered the studio last month to begin recording its new CD for a late 2012 release via Metal Blade Records. The CD is being helmed by Bill Stevenson, who has played drums for both the DESCENDENTS and BLACK FLAG and is one of the most highly renowned producers in rock. His production credits include work on records by RISE AGAINST, NOFX, PROPAGANDHI, THE CASUALTIES, ANTI-FLAG and many more.
Oct. 23 - La Bataclan - Paris, France
Oct. 26 - Club X - Herford, Germany
Oct. 27 - LKA Longhorn - Stuttgart, Germany
Oct. 28 - Live Music Hall - Cologne, Germany
Nov. 07 - Huxleys - Berlin, Germany
Nov. 08 - Docks - Hamburg, Germany
Nov. 10 - Südbahnhof - Chemnitz, Germany
Nov. 11 - Backstage Werk - Munich, Germany
Nov. 12 - Live Club - Milan, Italy
For more information, go to this location.
TRIVIUM's latest album, "In Waves", sold 22,000 copies in the United States in its first week of release to land at position No. 13 on The Billboard 200 chart — the highest U.S. chart entry of the band's career. The group's previous CD, "Shogun", opened with just under 24,000 units back in October 2008 to debut at No. 23. The effort followed up "The Crusade", which registered a first-week tally of 31,000 copies in October 2006 to enter the chart at No. 25.
"In Waves" was recorded primarily at Paint It Black Studios in Orlando, Florida (with only the drums having been tracked at Audiohammer Studios in Sanford, Florida) with the production/mixing team of Colin Richardson (MACHINE HEAD, BULLET FOR MY VALENTINE, SLIPKNOT, FEAR FACTORY) and Martin "Ginge" Ford, along with engineer Carl Bown. A two-disc special edition is also available. It features five bonus tracks, plus a DVD with a 40-minute, behind-the-scenes documentary, as well as an exclusive concert filmed in a warehouse located in Orlando, Florida, which is the band's stomping grounds. This concert features the first performances of tracks from "In Waves", along with TRIVIUM classics.
AS I LAY DYING entered the studio last month to begin recording its new CD for a late 2012 release via Metal Blade Records. The CD is being helmed by Bill Stevenson, who has played drums for both the DESCENDENTS and BLACK FLAG and is one of the most highly renowned producers in rock. His production credits include work on records by RISE AGAINST, NOFX, PROPAGANDHI, THE CASUALTIES, ANTI-FLAG and many more.
Legendary Swedish doom metallers CANDLEMASS have released the following statement:
"We are sorry to inform you that Robert Lowe is no longer the singer for CANDLEMASS. It has been a very difficult decision for the band and has mainly to do with the quality of the live performances.
"For the upcoming shows, Robert will be replaced with Mats Levén [YNGWIE MALMSTEEN, THERION, TREAT, ADAGIO, AT VANCE, KRUX], longtime friend of the band. We are convinced this will work out just great.
"The band is currently rehearsing new and old songs with Mats and we know that nobody attending the gigs at Debaser Slussen, Metaltown, Borås or Southern Discomfort will be disappointed.
"Bring you earplugs….it will be hard, massive and loud!
"Keyboard player Per Wiberg [OPETH, SPIRITUAL BEGGARS] is also joining CANDLEMASS onstage for the live shows."
Lowe — who is still a member of SOLITUDE AETERNUS — joined CANDLEMASS in January 2007 and sang on the band's last three studio albums: "King Of The Grey Islands" (2007), "Death Magic Doom" (2009) and "Psalms For The Dead" (2012).
CANDLEMASS will release its 11th and final album, "Psalms For The Dead", on June 8 via Napalm Records. A limited-edition seven-inch vinyl single contaning two album tracks —"Dancing In The Temple Of The Mad Queen Bee" and "The Killing Of The Sun" — preceded the full-length effort on April 13.
CANDLEMASS will celebrate the release of the new album with June 5 performance at Debaser Slussen in Stockholm, Sweden. The band will play a full set that will contain songs from the new CD, a few surprises and some classics.
"Psalms For The Dead" track listing:
01. Prophet
02. The Sound Of Dying Demons
03. Dancing In The Temple (Of The Mad Queen Bee)
04. Waterwitch
05. The Lights Of Thebe
06. Psalms For The Dead
07. The Killing Of The Sun
08. Siren Song
09. Black As Time
10. Sadness Runs Deep (7" bonus single)
11. Beneath The Fire (7" bonus single)
"This record represents everything that is CANDLEMASS," Leif Edling states. "It is big, fat, epic and heavy, and it's also metal as fuck! We couldn't have done a better album! It's our last one and we put just all we had into it. 'Psalms For The Dead' is an album about the presence and absence of time, false prophets and inner demons....hymns, regret and farewell. Let there be doom!"
Despite the fact that "Psalms For The Dead" is being billed as CANDLEMASS' final studio album, Edling told Terrorizer magazine in a recent interview that the group is not planning on hanging it up anytime soon.
"We're not splitting up," he said. "Yes, this is to be our last album, but we don't plan to disappear from the scene for quite awhile. We will tour this year, hopefully the next one as well, and then there's our upcoming 30th anniversary. So plenty more doom to come! It's just that we want to stop before we get too old and start putting out half-lame albums. Instead, we'll slowly fade away into the sunset with our dignity intact. We're not young anymore. Actually, some of the stuff I've been writing for this album ism in fact, about saying goodbye. It's a bit psalm-like in parts and has got a big epic vibe."
He added, "I have got a very good feeling about this album. It's so metal, so heavy, so doomy, so epic.. It's fucking colossal! I think this will turn out as good as [2009's] 'Death Magic Doom', something I thought would be impossible."
"We are sorry to inform you that Robert Lowe is no longer the singer for CANDLEMASS. It has been a very difficult decision for the band and has mainly to do with the quality of the live performances.
"For the upcoming shows, Robert will be replaced with Mats Levén [YNGWIE MALMSTEEN, THERION, TREAT, ADAGIO, AT VANCE, KRUX], longtime friend of the band. We are convinced this will work out just great.
"The band is currently rehearsing new and old songs with Mats and we know that nobody attending the gigs at Debaser Slussen, Metaltown, Borås or Southern Discomfort will be disappointed.
"Bring you earplugs….it will be hard, massive and loud!
"Keyboard player Per Wiberg [OPETH, SPIRITUAL BEGGARS] is also joining CANDLEMASS onstage for the live shows."
Lowe — who is still a member of SOLITUDE AETERNUS — joined CANDLEMASS in January 2007 and sang on the band's last three studio albums: "King Of The Grey Islands" (2007), "Death Magic Doom" (2009) and "Psalms For The Dead" (2012).
CANDLEMASS will release its 11th and final album, "Psalms For The Dead", on June 8 via Napalm Records. A limited-edition seven-inch vinyl single contaning two album tracks —"Dancing In The Temple Of The Mad Queen Bee" and "The Killing Of The Sun" — preceded the full-length effort on April 13.
CANDLEMASS will celebrate the release of the new album with June 5 performance at Debaser Slussen in Stockholm, Sweden. The band will play a full set that will contain songs from the new CD, a few surprises and some classics.
"Psalms For The Dead" track listing:
01. Prophet
02. The Sound Of Dying Demons
03. Dancing In The Temple (Of The Mad Queen Bee)
04. Waterwitch
05. The Lights Of Thebe
06. Psalms For The Dead
07. The Killing Of The Sun
08. Siren Song
09. Black As Time
10. Sadness Runs Deep (7" bonus single)
11. Beneath The Fire (7" bonus single)
"This record represents everything that is CANDLEMASS," Leif Edling states. "It is big, fat, epic and heavy, and it's also metal as fuck! We couldn't have done a better album! It's our last one and we put just all we had into it. 'Psalms For The Dead' is an album about the presence and absence of time, false prophets and inner demons....hymns, regret and farewell. Let there be doom!"
Despite the fact that "Psalms For The Dead" is being billed as CANDLEMASS' final studio album, Edling told Terrorizer magazine in a recent interview that the group is not planning on hanging it up anytime soon.
"We're not splitting up," he said. "Yes, this is to be our last album, but we don't plan to disappear from the scene for quite awhile. We will tour this year, hopefully the next one as well, and then there's our upcoming 30th anniversary. So plenty more doom to come! It's just that we want to stop before we get too old and start putting out half-lame albums. Instead, we'll slowly fade away into the sunset with our dignity intact. We're not young anymore. Actually, some of the stuff I've been writing for this album ism in fact, about saying goodbye. It's a bit psalm-like in parts and has got a big epic vibe."
He added, "I have got a very good feeling about this album. It's so metal, so heavy, so doomy, so epic.. It's fucking colossal! I think this will turn out as good as [2009's] 'Death Magic Doom', something I thought would be impossible."
OVERKILL drummer Ron Lipnicki has joined forces with HADES guitarist Scott LePage and two former members of '80s thrash band PROWLER (New Renaissance Records) in a new outfit called MINISTRY OF HATE.
MINISTRY OF HATE's debut album, "All Your Godz Are Dead", features 10 tracks and is available online as individual song downloads or in CD form from CDBaby and other well-known digital distribution outlets such as iTunes and Amazon.
According to a press release, MINISTRY OF HATE was formed after Mike Cusumano (vocals, guitar) and MJ Malinski (vocals, bass) from PROWLER began penning tunes on a whim in 2010. "After a couple of songs, we thought we had some good stuff and it became a realization that we should get some other talent involved and put out a record," said Cusumano.
He continued, "In the '90s, MJ and I both played in a local metal cover band with Scott, whom I stayed close with over the years and I gave him a call. Scott plays with a lot of feel and was great choice. Even though Scott lives in Texas now, the Internet makes recording pretty easy these days.
"During the writing process, the drums were done with either drum loops or midi drums and sounded out of control, like no human could do it. We knew we needed someone kick-ass for that!
"I played with Ron in different metal cover bands [between] 2008 [and] 2010 and didn't hesitate to see if he would be into it.
"Ron's performance, in my opinion, made the record.
"This side project won't affect Ron's road schedule with OVERKILL. If we do any shows, they will be local… unless the demand is high!"
Lipnicki added, "I'm excited about the album and I am real proud of the drumming and love the songs. I can't wait to see what everyone thinks."
"All Your Godz Are Dead" track listing:
01. Rise To The Bottom
02. 912
03. Blood of Achmed
04. Bagged
05. Prelude To Hate
06. Threads Of Hate
07. Painmaker
08. Thrash & Bang
09. Machine Gun Serenade
10. Ballad Of Charlie Sheen
For more information, visit www.mohate.com.
MINISTRY OF HATE's debut album, "All Your Godz Are Dead", features 10 tracks and is available online as individual song downloads or in CD form from CDBaby and other well-known digital distribution outlets such as iTunes and Amazon.
According to a press release, MINISTRY OF HATE was formed after Mike Cusumano (vocals, guitar) and MJ Malinski (vocals, bass) from PROWLER began penning tunes on a whim in 2010. "After a couple of songs, we thought we had some good stuff and it became a realization that we should get some other talent involved and put out a record," said Cusumano.
He continued, "In the '90s, MJ and I both played in a local metal cover band with Scott, whom I stayed close with over the years and I gave him a call. Scott plays with a lot of feel and was great choice. Even though Scott lives in Texas now, the Internet makes recording pretty easy these days.
"During the writing process, the drums were done with either drum loops or midi drums and sounded out of control, like no human could do it. We knew we needed someone kick-ass for that!
"I played with Ron in different metal cover bands [between] 2008 [and] 2010 and didn't hesitate to see if he would be into it.
"Ron's performance, in my opinion, made the record.
"This side project won't affect Ron's road schedule with OVERKILL. If we do any shows, they will be local… unless the demand is high!"
Lipnicki added, "I'm excited about the album and I am real proud of the drumming and love the songs. I can't wait to see what everyone thinks."
"All Your Godz Are Dead" track listing:
01. Rise To The Bottom
02. 912
03. Blood of Achmed
04. Bagged
05. Prelude To Hate
06. Threads Of Hate
07. Painmaker
08. Thrash & Bang
09. Machine Gun Serenade
10. Ballad Of Charlie Sheen
For more information, visit www.mohate.com.
Niclas Müller-Hansen of Sweden's Metalshrine recently conducted an interview with former MEGADETH guitarist Marty Friedman. A couple of excerpts from the chat follow below.
Metalshrine: Have you stayed in touch with [MEGADETH mainman] Dave Mustaine and the other guys through the years?
Friedman: Not all that much. Not really that much, but not zero. We've been in touch a few times and it's very friendly and I have no problem in the world with them and wish them nothing but success and hopefully they feel the same.
Metalshrine: Have you listened to any of the stuff they did after you left?
Friedman: Actually, I heard the one record they made right after I left and that's the last most recent thing I heard of theirs. That's about it, really.
Metalshrine: I read that one of the reasons that you left was that MEGADETH wasn't aggressive enough. Is that true?
Friedman: Oh yes, that's totally true. Totally, totally true. At the time when I left it was the beginning of 2000, but I actually told the guys that I was gonna leave in the middle of '99, but that's another story. I left in 2000 and at that time every other band was just about a thousand times more aggressive than we were. At the time you had, I guess, KORN and MARILYN MANSON and even LIMP BIZKIT had stuff that was deeply heavy and our stuff just sounded thin and small and to my ear it just sounded really dated and very old-fashioned and traditional. There's absolutely nothing wrong with any of those things and in fact a lot of people who are into heavy metal really like that traditional sound and don't want it to change, so that's a very valid point and I understand it, especially since I've been a RAMONES fan since I was a baby. When they changed just the slightest thing, I got all crazy, so I understand that, but with a name like MEGADETH and all the other bands are just blowing you away with this big deep heavy sound that is way scarier and way harder and more aggressive than a band called MEGADETH, it was not turning me on anymore. I was like, "Let's do one thing or the other! Let's either get friggin' heavier or let's just be a little bit more marketable, because right now, we're kind of an underground band and we shouldn't be. We've got so much great potential within the four members of the band that we shouldn't be an underground traditional metal band." That's not where I wanted to go, but maybe that's where they wanted to go. It was just a completely musical decision why I left the band and it had absolutely nothing to do with any personal problems. I was just seeing all these other bands and I love aggressive music, but it's gotta be really fucking aggressive. I hear stuff now like DECAPITATED and stuff like that. I would've wanted to play stuff more in that vein than what we were doing. I thought, maybe our first couple of records when I joined the band were kind of aggressive for that time, but there was so much stuff after it that I would say was trumping us in that department. I know music's not a competition and I wasn't competing, but I just thought that other bands were doing what I thought we should do better. I don't know why we were always in the mid-tempo kind of '80s thrash metal zone and we were all beyond that, but that's really what I meant back then and I totally meant it.
Metalshrine: About doing something different, did you listen to METALLICA's "Lulu" project?
Friedman: Ahhh, I think I heard one song where Lou Reed is, like, talking or something. I didn't listen to it thinking that I was gonna be asked about it, I just remember, "What's this?" Was he rapping or was it spoken-word?
Metalshrine: Yeah, I guess it's more like spoken-word throughout the album.
Friedman: Yeah, I don't know. I have no idea.
Metalshrine: But as a musician, could you see yourself doing something that's totally different from what you've done before in a way to push things forward?
Friedman: I absolutely believe it and I absolutely get it and I understand it. The thing with METALLICA is that they're such a great band and they've got so much great stuff already in their history, that they could just like fart on a record and people would at least wanna see why they're doing it, you know. They've got so much great stuff and they're allowed to be experimental if they want. I have a lot of weird trippy stuff that I haven't released that maybe if I was in a band like METALLICA, I would have the opportunity to release it, but I kinda keep my stuff a little bit more to how I'd like to represent myself, but I think all musicians have a lot of experimental stuff and that's how you grow. I give them total props and total credit for always being experimental and that's why they're always one step ahead of the curve in the world of heavy metal and that's why they're like THE ROLLING STONES of heavy metal. They've always continued to reinvent themselves while keeping that great sound, but I can't really speak for that whole "Lulu" album. I don't think they're gonna lose fans with it, but they have fans of their old stuff who are not gonna like it as much most likely, but if they like it, that's all that matters. It really is. Especially when you have a history of success behind you. It takes balls to do something that you know your hardcore fans are not gonna like. It's easy to preach to the converted. It's easy to do that and it's fun to do it because everyone's gonna love you and it's great, but it takes balls to take a risk and even more balls to do it in public and release it so I give them credit.
Metalshrine: Have you stayed in touch with [MEGADETH mainman] Dave Mustaine and the other guys through the years?
Friedman: Not all that much. Not really that much, but not zero. We've been in touch a few times and it's very friendly and I have no problem in the world with them and wish them nothing but success and hopefully they feel the same.
Metalshrine: Have you listened to any of the stuff they did after you left?
Friedman: Actually, I heard the one record they made right after I left and that's the last most recent thing I heard of theirs. That's about it, really.
Metalshrine: I read that one of the reasons that you left was that MEGADETH wasn't aggressive enough. Is that true?
Friedman: Oh yes, that's totally true. Totally, totally true. At the time when I left it was the beginning of 2000, but I actually told the guys that I was gonna leave in the middle of '99, but that's another story. I left in 2000 and at that time every other band was just about a thousand times more aggressive than we were. At the time you had, I guess, KORN and MARILYN MANSON and even LIMP BIZKIT had stuff that was deeply heavy and our stuff just sounded thin and small and to my ear it just sounded really dated and very old-fashioned and traditional. There's absolutely nothing wrong with any of those things and in fact a lot of people who are into heavy metal really like that traditional sound and don't want it to change, so that's a very valid point and I understand it, especially since I've been a RAMONES fan since I was a baby. When they changed just the slightest thing, I got all crazy, so I understand that, but with a name like MEGADETH and all the other bands are just blowing you away with this big deep heavy sound that is way scarier and way harder and more aggressive than a band called MEGADETH, it was not turning me on anymore. I was like, "Let's do one thing or the other! Let's either get friggin' heavier or let's just be a little bit more marketable, because right now, we're kind of an underground band and we shouldn't be. We've got so much great potential within the four members of the band that we shouldn't be an underground traditional metal band." That's not where I wanted to go, but maybe that's where they wanted to go. It was just a completely musical decision why I left the band and it had absolutely nothing to do with any personal problems. I was just seeing all these other bands and I love aggressive music, but it's gotta be really fucking aggressive. I hear stuff now like DECAPITATED and stuff like that. I would've wanted to play stuff more in that vein than what we were doing. I thought, maybe our first couple of records when I joined the band were kind of aggressive for that time, but there was so much stuff after it that I would say was trumping us in that department. I know music's not a competition and I wasn't competing, but I just thought that other bands were doing what I thought we should do better. I don't know why we were always in the mid-tempo kind of '80s thrash metal zone and we were all beyond that, but that's really what I meant back then and I totally meant it.
Metalshrine: About doing something different, did you listen to METALLICA's "Lulu" project?
Friedman: Ahhh, I think I heard one song where Lou Reed is, like, talking or something. I didn't listen to it thinking that I was gonna be asked about it, I just remember, "What's this?" Was he rapping or was it spoken-word?
Metalshrine: Yeah, I guess it's more like spoken-word throughout the album.
Friedman: Yeah, I don't know. I have no idea.
Metalshrine: But as a musician, could you see yourself doing something that's totally different from what you've done before in a way to push things forward?
Friedman: I absolutely believe it and I absolutely get it and I understand it. The thing with METALLICA is that they're such a great band and they've got so much great stuff already in their history, that they could just like fart on a record and people would at least wanna see why they're doing it, you know. They've got so much great stuff and they're allowed to be experimental if they want. I have a lot of weird trippy stuff that I haven't released that maybe if I was in a band like METALLICA, I would have the opportunity to release it, but I kinda keep my stuff a little bit more to how I'd like to represent myself, but I think all musicians have a lot of experimental stuff and that's how you grow. I give them total props and total credit for always being experimental and that's why they're always one step ahead of the curve in the world of heavy metal and that's why they're like THE ROLLING STONES of heavy metal. They've always continued to reinvent themselves while keeping that great sound, but I can't really speak for that whole "Lulu" album. I don't think they're gonna lose fans with it, but they have fans of their old stuff who are not gonna like it as much most likely, but if they like it, that's all that matters. It really is. Especially when you have a history of success behind you. It takes balls to do something that you know your hardcore fans are not gonna like. It's easy to preach to the converted. It's easy to do that and it's fun to do it because everyone's gonna love you and it's great, but it takes balls to take a risk and even more balls to do it in public and release it so I give them credit.
Metal Army recently conducted an interview with PRONG mainman Tommy Victor. A couple of excerpts from the chat follow below.
Metal Army: You have been critical of your own output at times. How does this new album ["Carved Into Stone"] stack up to the history of PRONG?
Tommy: I think it's one of the best ones, I mean, it doesn't have the cutting-edge impact that "Cleansing" did where we were going in a new direction for heavy music in general. It isn't anything groundbreaking, but I think it's up there in the quality of songs are up there with the best we've ever done. That was important for me. I wouldn't know where to start to try to break any ground anymore, it seems like everything's been done. So with that in mind, it was a matter of just getting the best songs we could possibly put together in reflection of the previous PRONG records, without going off in a complete different direction like we did with "Scorpio Rising", for instance. Where I think it failed, it wasn't the right time. We didn't work at it as hard. I just had a batch of songs I was just fooling around with. This wasn't like that. This was much more intense. We put the work in and let the chips fall where they may. I feel this is one of the most hard-working efforts I've ever done as far as PRONG goes. As far as anything, really.
Metal Army: Between your work in DANZIG and MINISTRY, would you say one or either have a reverse influence back to your work in PRONG?
Tommy: Not at all! PRONG is a completely different entity, it's its own mindset. I don't really listen to a hell of a lot of stuff. It all comes from the heart, really. I'm not out there scouring the charts or delving into countless hardcore metal records to find influences, I don't have he energy to do that. I'm not being a snob, I just don't have the time and energy to do that. I don't want to do that or bring in any other project I'm involved in. I worked on the last two DANZIG records and Glenn has his own way of arranging stuff. Then with Al [Jourgensen], I mentioned with his process, is highly computer-oriented and I didn't wanna do that either.
Metal Army: Looking back, did you know at the time that "Beg To Differ" and "Prove You Wrong" were going to influence so many other bands?
Tommy: For years I didn't really see that. People have been saying that for a long time; it's mainly people in the press. We've toured with younger bands. I don't wanna name names, but the attitude we got was, "Who the fuck are you, guys?" I mean completely unfamiliar with PRONG and didn't like us. I almost feel like I've gotten more of that attitude out there then any congratulations. But on a personal side, I had to re-investigate the early PRONG records recently and I listened to "Beg To Differ". I haven't heard it in years! I was like, "Oh my god!" How did this thing come about? It's bizarre to me. I don't know how that really came together like that. It's like that song "Carved Into Stone". It was something outside myself made that happen. I have not a clue! I wasn't even really playing guitar that long when PRONG did that record. It's bizarre to me the things that go down. It wasn't even calculated. On a personal level, I'm happy with the discography, but it's not like I go down the street and people are, "Oh, Tommy!" I don't hear it that much. It's mainly press people, but other bands, they either don't recognize it or they don't know. If anything about the past, like when I was forced to re-investigate "Beg To Differ", I just kinda of zap it into the void. Like anything in the past, I think everyone needs to do that, it's like a personal psychotherapy in a way. It's all good. I don't have any bitterness towards anything. Maybe at one time I did. It's been so worn out, I just have a different attitude about that stuff.
Metal Army: You have been critical of your own output at times. How does this new album ["Carved Into Stone"] stack up to the history of PRONG?
Tommy: I think it's one of the best ones, I mean, it doesn't have the cutting-edge impact that "Cleansing" did where we were going in a new direction for heavy music in general. It isn't anything groundbreaking, but I think it's up there in the quality of songs are up there with the best we've ever done. That was important for me. I wouldn't know where to start to try to break any ground anymore, it seems like everything's been done. So with that in mind, it was a matter of just getting the best songs we could possibly put together in reflection of the previous PRONG records, without going off in a complete different direction like we did with "Scorpio Rising", for instance. Where I think it failed, it wasn't the right time. We didn't work at it as hard. I just had a batch of songs I was just fooling around with. This wasn't like that. This was much more intense. We put the work in and let the chips fall where they may. I feel this is one of the most hard-working efforts I've ever done as far as PRONG goes. As far as anything, really.
Metal Army: Between your work in DANZIG and MINISTRY, would you say one or either have a reverse influence back to your work in PRONG?
Tommy: Not at all! PRONG is a completely different entity, it's its own mindset. I don't really listen to a hell of a lot of stuff. It all comes from the heart, really. I'm not out there scouring the charts or delving into countless hardcore metal records to find influences, I don't have he energy to do that. I'm not being a snob, I just don't have the time and energy to do that. I don't want to do that or bring in any other project I'm involved in. I worked on the last two DANZIG records and Glenn has his own way of arranging stuff. Then with Al [Jourgensen], I mentioned with his process, is highly computer-oriented and I didn't wanna do that either.
Metal Army: Looking back, did you know at the time that "Beg To Differ" and "Prove You Wrong" were going to influence so many other bands?
Tommy: For years I didn't really see that. People have been saying that for a long time; it's mainly people in the press. We've toured with younger bands. I don't wanna name names, but the attitude we got was, "Who the fuck are you, guys?" I mean completely unfamiliar with PRONG and didn't like us. I almost feel like I've gotten more of that attitude out there then any congratulations. But on a personal side, I had to re-investigate the early PRONG records recently and I listened to "Beg To Differ". I haven't heard it in years! I was like, "Oh my god!" How did this thing come about? It's bizarre to me. I don't know how that really came together like that. It's like that song "Carved Into Stone". It was something outside myself made that happen. I have not a clue! I wasn't even really playing guitar that long when PRONG did that record. It's bizarre to me the things that go down. It wasn't even calculated. On a personal level, I'm happy with the discography, but it's not like I go down the street and people are, "Oh, Tommy!" I don't hear it that much. It's mainly press people, but other bands, they either don't recognize it or they don't know. If anything about the past, like when I was forced to re-investigate "Beg To Differ", I just kinda of zap it into the void. Like anything in the past, I think everyone needs to do that, it's like a personal psychotherapy in a way. It's all good. I don't have any bitterness towards anything. Maybe at one time I did. It's been so worn out, I just have a different attitude about that stuff.
CALL ME NO ONE — the new project featuring SEVENDUST drummer Morgan Rose and guitarist Clint Lowery — will release its debut album, "Last Parade", on June 5. The CD's first single, "Biggest Fan", was made available to purchase on iTunes on April 24.
CALL ME NO ONE's lineup is rounded out by bassist Rek Mohr (HURT) and guitarist Alan Price (SOULS HARBOR, SHINEDOWN).
In a new posting on his official blog, Lowery writes, "[I am] sitting at home on my couch with the wife two days away from releasing the CALL ME NO ONE project.
"Been a long process getting this thing to happen. I believe the real work began after the actual record was recorded. The business end of music sucks the joy out of it sometimes. It becomes very cold and heartless after the recording process. All the excitement and creative thinking that goes on, the building of the songs, debating on what's gonna be the better part, overcoming fear of being able to beat your last effort. It's an emotional roller coaster for me, but all good. Then the process begins with release — the 'business people' take your music like a child out of your arms and have little to no emotional attachment; tell you which song should be released; what they don't like about or kinda like about this. There are some who give it praise one week and the next week not able to get them on the phone.
"We had a entire different management change right after the record was completed, which confused a lot of issues and switched up the game plan a few times. But regardless of what you have going on, there's some type of battle with 'the label' about the over all presentation of the record. How we want to deliver this to people, when we do, it's all a very intense game that everyone involved has all the answers but when it comes time for the answers to be gived, they're not around or they forget their idea or answers. I wouldn't have it any other way, though; I'm so used to it. There are are a few people who make the process enjoyable. The artwork, some of the label folk really get what it is you're trying to do, some teach me things I wasn't aware of and present great ideas and strategies. It's good, bad and, for sure, the ugly. The MONEY is always an issue. The amount people get from the record sales, the commissions, the 'hands in the pot' and — my favorite expression in the industry — 'this is industry standard,' when talking about their cut. It's funny to me.
"We have a good team I think behind this. Do I think they care about it as much as I do? Not even close. But I do believe in one thing: people's drive to make money. I don't trust many things in the music business, but I trust that people in this business want money and power. If your band is in the pipeline of that, you can also gain something.
"We all have different things that drive us; mine used to be money and fame. Now it's security, support and longevity. I want to make music and sell enough of it to survive, I want to be able to support my family doing what I love. I want to make honest music and grow as a musician. I don't really care about selling a bunch of records; I'd much rather people come to a show and connect that way. I'd be lying if I said I didn't want a ton of people to like it, because that's what I do it for. To do what so many other bands have done for me: provide an escape. A tunnel out of real life into some better mindset than I live in daily. I love being in a situation like the airport or DMV and putting earbuds in and listening to something that changes the environment completely. That's the goal.
"The best part, by far, of the record process is this time now, the few days before it comes out and the day it does. Finally sharing it with people who support what you do, hearing the good and bad about the music, lyrics and artwork. The people are so different in what they like or don't like. It's what it's all about.
"I care about what people at labels say because some of them are the vessels to get it to the people so I have to work with them and respect some of them in what they do. But if I could simply hand deliver each record to people and skip the process, I would. But on most records I've been a part of, I rely on that machine. Which can be great, or dilute the whole product I'm making.
"I can't wait to hear what people think about CALL ME NO ONE — Morgan and I worked hard on it, had a forth of the resources most bands have and a great creative team around us. I had the support of my family and friends and other bands and colleagues. I learned a lot about singing and can't wait to get out there and try this live. We pulled in Alan Price and Rek Mohr to play this stuff live with us and love these guys. Great players and positive cats, for sure.
"Will I be able to work a crowd, keep my voice, sing things right and good?? Who knows? I will find out shortly. I say this, though: I will give it the best I have and I have faith that we will be a great live band. I wanna make a statement for the under dog. The anti-rock star, the common man's rock band. Be honest with the crowd instead of saying things like, 'This is our favorite town ever' — unless it is.
"I just lost my father, Willie Lowery — the reason I do this in the first place. He played music his whole life, believed he was gonna make it to the next level his whole life. I watched him play his guitar in an assisted-living home as if he was playing to a sold-out crowd in a stadium. He never lost hope; he was on the sunset of his life and believed in music — it never abandoned him and he never stopped playing it.
"When I think about doing something else or getting jaded or bitter at this business, I think of him. He would have chewed this business' ass up if he could have. It certainly did a number on him. He never let the fact that he didn't break into the big time stop him from loving it all the same. It's what he did.
"I lost my dad, but I gained my drive back.
"I'm gonna do whatever it takes in music to survive — to provide for my family and help other bands achieve it. Period. He did it 'till the end, and so will I.
"I dedicate this record to him, my wife and son and to God for giving me life, love and music.
"I love whoever is reading this — yep, I said it. hope peace surrounds you and love finds you.
"God bless.
"P.S.: Go check out the record Tuesday — I promise you the people who made it will truly appreciate it."
CALL ME NO ONE's lineup is rounded out by bassist Rek Mohr (HURT) and guitarist Alan Price (SOULS HARBOR, SHINEDOWN).
In a new posting on his official blog, Lowery writes, "[I am] sitting at home on my couch with the wife two days away from releasing the CALL ME NO ONE project.
"Been a long process getting this thing to happen. I believe the real work began after the actual record was recorded. The business end of music sucks the joy out of it sometimes. It becomes very cold and heartless after the recording process. All the excitement and creative thinking that goes on, the building of the songs, debating on what's gonna be the better part, overcoming fear of being able to beat your last effort. It's an emotional roller coaster for me, but all good. Then the process begins with release — the 'business people' take your music like a child out of your arms and have little to no emotional attachment; tell you which song should be released; what they don't like about or kinda like about this. There are some who give it praise one week and the next week not able to get them on the phone.
"We had a entire different management change right after the record was completed, which confused a lot of issues and switched up the game plan a few times. But regardless of what you have going on, there's some type of battle with 'the label' about the over all presentation of the record. How we want to deliver this to people, when we do, it's all a very intense game that everyone involved has all the answers but when it comes time for the answers to be gived, they're not around or they forget their idea or answers. I wouldn't have it any other way, though; I'm so used to it. There are are a few people who make the process enjoyable. The artwork, some of the label folk really get what it is you're trying to do, some teach me things I wasn't aware of and present great ideas and strategies. It's good, bad and, for sure, the ugly. The MONEY is always an issue. The amount people get from the record sales, the commissions, the 'hands in the pot' and — my favorite expression in the industry — 'this is industry standard,' when talking about their cut. It's funny to me.
"We have a good team I think behind this. Do I think they care about it as much as I do? Not even close. But I do believe in one thing: people's drive to make money. I don't trust many things in the music business, but I trust that people in this business want money and power. If your band is in the pipeline of that, you can also gain something.
"We all have different things that drive us; mine used to be money and fame. Now it's security, support and longevity. I want to make music and sell enough of it to survive, I want to be able to support my family doing what I love. I want to make honest music and grow as a musician. I don't really care about selling a bunch of records; I'd much rather people come to a show and connect that way. I'd be lying if I said I didn't want a ton of people to like it, because that's what I do it for. To do what so many other bands have done for me: provide an escape. A tunnel out of real life into some better mindset than I live in daily. I love being in a situation like the airport or DMV and putting earbuds in and listening to something that changes the environment completely. That's the goal.
"The best part, by far, of the record process is this time now, the few days before it comes out and the day it does. Finally sharing it with people who support what you do, hearing the good and bad about the music, lyrics and artwork. The people are so different in what they like or don't like. It's what it's all about.
"I care about what people at labels say because some of them are the vessels to get it to the people so I have to work with them and respect some of them in what they do. But if I could simply hand deliver each record to people and skip the process, I would. But on most records I've been a part of, I rely on that machine. Which can be great, or dilute the whole product I'm making.
"I can't wait to hear what people think about CALL ME NO ONE — Morgan and I worked hard on it, had a forth of the resources most bands have and a great creative team around us. I had the support of my family and friends and other bands and colleagues. I learned a lot about singing and can't wait to get out there and try this live. We pulled in Alan Price and Rek Mohr to play this stuff live with us and love these guys. Great players and positive cats, for sure.
"Will I be able to work a crowd, keep my voice, sing things right and good?? Who knows? I will find out shortly. I say this, though: I will give it the best I have and I have faith that we will be a great live band. I wanna make a statement for the under dog. The anti-rock star, the common man's rock band. Be honest with the crowd instead of saying things like, 'This is our favorite town ever' — unless it is.
"I just lost my father, Willie Lowery — the reason I do this in the first place. He played music his whole life, believed he was gonna make it to the next level his whole life. I watched him play his guitar in an assisted-living home as if he was playing to a sold-out crowd in a stadium. He never lost hope; he was on the sunset of his life and believed in music — it never abandoned him and he never stopped playing it.
"When I think about doing something else or getting jaded or bitter at this business, I think of him. He would have chewed this business' ass up if he could have. It certainly did a number on him. He never let the fact that he didn't break into the big time stop him from loving it all the same. It's what he did.
"I lost my dad, but I gained my drive back.
"I'm gonna do whatever it takes in music to survive — to provide for my family and help other bands achieve it. Period. He did it 'till the end, and so will I.
"I dedicate this record to him, my wife and son and to God for giving me life, love and music.
"I love whoever is reading this — yep, I said it. hope peace surrounds you and love finds you.
"God bless.
"P.S.: Go check out the record Tuesday — I promise you the people who made it will truly appreciate it."
SEVENDUST's Morgan Rose will lay down the drums tracks on the forthcoming sophomore album from the Staten Island, New York- and Tom's River, New Jersey-based hard rock band THE INFINITE STAIRCASE.
THE INFINITE STAIRCASE members, brothers Lenny and Jeff Cerzosie, have been working pre-production at their home recording facility, Majickly Malicious Studios in Staten Island, New York, but will begin tracking the new album with Rose at Architekt Studios in Butler, New Jersey in the coming weeks.
THE INFINITE STAIRCASE released its debut album, "The Road Less Taken", in March 2009 before embarking on "The Black Label Bash" tour with BLACK LABEL SOCIETY, SEVENDUST and DOPE. The CD was mixed by guitar virtuoso Blues Saraceno (POISON) and featured guest appearances by Saraceno and Earl Slick (DAVID BOWIE). After a year-long hiatus following a much-publicized and still-ongoing dispute with former drummer Paris Bierk (son of ex-SKID ROW singer Sebastian Bach), and a few sporadic and special acoustic performances (including a 2010 performance with BLACK LABEL SOCIETY bassist John JD DeServio), this is the first official announcement of the band's continuity.
THE INFINITE STAIRCASE members, brothers Lenny and Jeff Cerzosie, have been working pre-production at their home recording facility, Majickly Malicious Studios in Staten Island, New York, but will begin tracking the new album with Rose at Architekt Studios in Butler, New Jersey in the coming weeks.
THE INFINITE STAIRCASE released its debut album, "The Road Less Taken", in March 2009 before embarking on "The Black Label Bash" tour with BLACK LABEL SOCIETY, SEVENDUST and DOPE. The CD was mixed by guitar virtuoso Blues Saraceno (POISON) and featured guest appearances by Saraceno and Earl Slick (DAVID BOWIE). After a year-long hiatus following a much-publicized and still-ongoing dispute with former drummer Paris Bierk (son of ex-SKID ROW singer Sebastian Bach), and a few sporadic and special acoustic performances (including a 2010 performance with BLACK LABEL SOCIETY bassist John JD DeServio), this is the first official announcement of the band's continuity.
PROJECTED, the new project featuring SEVENDUST members John Connolly (guitar) and Vince Hornsby (bass) alongside ALTER BRIDGE/CREED drummer Scott Phillips and guitarist/vocalist Eric "Erock" Friedman (a.k.a. Erock; TREMONTI), has completed work on its debut album, "Human", to be released later in the year.
Commented Connolly: "The idea behind this project originally started as nothing more than a group of us who were friends already, going into the studio to just record some tunes we had laying around and basically just have a good time with it. No pressure from labels or any preconceived notions or expectations. Just making music and having a good time.
"This album, 'Human', is the end result of us working without dealines or budget constraints… or really a budget at all
"The drums and rhythm guitars were recorded by Bill Papp, Jacob Crabb and Ryan Denman at Paint It Black studios [in] Orlando [Florida]. The vocals and guitar solos, overdubs and bass were tracked by myself and Bill at studio 1119, which is the studio in my home office when it's not being used by my wife to pay the bills or my daughter to play Webkins. Editing was done by Jef Moll, Ryan Denman, Jacob Crabb. Programming by Jef Moll, Eric Friedman and myself. String arrangements and mixed by Michael 'Elvis' Baskette and mastered by Ted Jensen. Produced by John Connolly, co-produced by Elvis Baskette.
"I've honestly had the time of my life making this record and couldnt have done it without everyone involved."
"Human" track listing:
01. Into
02. HELLo
03. Watch It Burn
04. So Low
05. Bring You Back
06. 12804
07. Alive
08. The Crown
09. Stella
10. Closure
11. Breaking Me
Check out audio samples at www.projectedband.com.
Connolly previously revealed that the song "12804" was written as a tribute to late PANTERA/DAMAGEPLAN guitarist "Dimebag" Darrell Abbott.
The songtitle "12804" is a reference to the December 8, 2004 date, which is when Abbott was shot and killed onstage while performing with DAMAGEPLAN at the Alrosa Villa in Columbus, Ohio.
Connolly describes PROJECTED's musical direction as "not super heavy. . . somewhere closer to FOO FIGHTERS/A PERFECT CIRCLE. It's sorta heavy, just not real metal. I guess. The songs are pretty badass, though."
PROJECTED is:
John Connolly (SEVENDUST) - Guitar, Vocals
Vince Hornsby (SEVENDUST) - Bass
Scott Phillips (ALTER BRIDGE, CREED) - Drums
Eric Friedman (a.k.a. Erock; TREMONTI) - Guitar, Vocals
Commented Connolly: "The idea behind this project originally started as nothing more than a group of us who were friends already, going into the studio to just record some tunes we had laying around and basically just have a good time with it. No pressure from labels or any preconceived notions or expectations. Just making music and having a good time.
"This album, 'Human', is the end result of us working without dealines or budget constraints… or really a budget at all
"The drums and rhythm guitars were recorded by Bill Papp, Jacob Crabb and Ryan Denman at Paint It Black studios [in] Orlando [Florida]. The vocals and guitar solos, overdubs and bass were tracked by myself and Bill at studio 1119, which is the studio in my home office when it's not being used by my wife to pay the bills or my daughter to play Webkins. Editing was done by Jef Moll, Ryan Denman, Jacob Crabb. Programming by Jef Moll, Eric Friedman and myself. String arrangements and mixed by Michael 'Elvis' Baskette and mastered by Ted Jensen. Produced by John Connolly, co-produced by Elvis Baskette.
"I've honestly had the time of my life making this record and couldnt have done it without everyone involved."
"Human" track listing:
01. Into
02. HELLo
03. Watch It Burn
04. So Low
05. Bring You Back
06. 12804
07. Alive
08. The Crown
09. Stella
10. Closure
11. Breaking Me
Check out audio samples at www.projectedband.com.
Connolly previously revealed that the song "12804" was written as a tribute to late PANTERA/DAMAGEPLAN guitarist "Dimebag" Darrell Abbott.
The songtitle "12804" is a reference to the December 8, 2004 date, which is when Abbott was shot and killed onstage while performing with DAMAGEPLAN at the Alrosa Villa in Columbus, Ohio.
Connolly describes PROJECTED's musical direction as "not super heavy. . . somewhere closer to FOO FIGHTERS/A PERFECT CIRCLE. It's sorta heavy, just not real metal. I guess. The songs are pretty badass, though."
PROJECTED is:
John Connolly (SEVENDUST) - Guitar, Vocals
Vince Hornsby (SEVENDUST) - Bass
Scott Phillips (ALTER BRIDGE, CREED) - Drums
Eric Friedman (a.k.a. Erock; TREMONTI) - Guitar, Vocals
On Tuesday, June 5, the brand new music video for POISON singer Bret Michaels' single "Get Your Rock On" will make its online debut at BretMichaels.com.
The title track of Bret's new solo album, "Get Your Rock On" features guest appearances by Phil Collen of DEF LEPPARD and Sal Coz Costa of MY DARKEST DAYS.
In a recent interview with Gimme Noise, Bret stated about his upcoming CD, "My album will be out this summer and I'm really proud of what we've done with it. It's actually going to be called 'Bret Michaels And Friends: Get Your Rock On', and I'll explain why: It's really not just a Bret Michaels album. I had so many other talented artists come in and support that it's really a 'Bret Michaels And Friends' album. There's a staggering amount of talent on this album — from Ace Frehley of KISS to Michael Anthony of VAN HALEN to Loretta Lynn and Lil Jon. Sal Costa of MY DARKEST DAYS, Joe Perry of AEROSMITH and Phil Collen of DEF LEPPARD are on there as well. It's been such a fun project for me and I'm excited to share it with the fans."
Speaking to Rolling Stone magazine in February, Bret revealed that his new solo album will feature a remake of the POISON smash "Every Rose Has Its Thorn" as a duet between him and Loretta Lynn>. He said, "For me, growing up in a family that my father loved country music and 'Coal Miner's Daughter', this is gonna be a really awesome time."
He added, "The song 'Get Your Rock On' has Phil Collen playing guitar with me and it also has Sal Costa from MY DARKEST DAYS — [a] really, really good guitar player and good friend. Jimmy Buffet and I did a live version of 'Margaritaville' together."
Michaels said the two duets, with Lynn and Buffett, will be "two bonus tracks." And of the rest of the record he said, "It is just straight-up in-your-face rock and roll."
The title track of Bret's new solo album, "Get Your Rock On" features guest appearances by Phil Collen of DEF LEPPARD and Sal Coz Costa of MY DARKEST DAYS.
In a recent interview with Gimme Noise, Bret stated about his upcoming CD, "My album will be out this summer and I'm really proud of what we've done with it. It's actually going to be called 'Bret Michaels And Friends: Get Your Rock On', and I'll explain why: It's really not just a Bret Michaels album. I had so many other talented artists come in and support that it's really a 'Bret Michaels And Friends' album. There's a staggering amount of talent on this album — from Ace Frehley of KISS to Michael Anthony of VAN HALEN to Loretta Lynn and Lil Jon. Sal Costa of MY DARKEST DAYS, Joe Perry of AEROSMITH and Phil Collen of DEF LEPPARD are on there as well. It's been such a fun project for me and I'm excited to share it with the fans."
Speaking to Rolling Stone magazine in February, Bret revealed that his new solo album will feature a remake of the POISON smash "Every Rose Has Its Thorn" as a duet between him and Loretta Lynn>. He said, "For me, growing up in a family that my father loved country music and 'Coal Miner's Daughter', this is gonna be a really awesome time."
He added, "The song 'Get Your Rock On' has Phil Collen playing guitar with me and it also has Sal Costa from MY DARKEST DAYS — [a] really, really good guitar player and good friend. Jimmy Buffet and I did a live version of 'Margaritaville' together."
Michaels said the two duets, with Lynn and Buffett, will be "two bonus tracks." And of the rest of the record he said, "It is just straight-up in-your-face rock and roll."
http://www.roadrunnerrecords.com/blabbermouth.net/soulflypremiere/bretmakeover.jpg
German thrashers EXUMER are filming their first-ever official video in their 27-year long history today in Sao Paulo, Brazil. The clip will feature the title track of the band's latest album, "Fire And Damnation", which was released last month via Metal Blade Records.
EXUMER is in the middle of its "South American Damnation" tour with Danish thrashers ARTILLERY, trekking through Argentina, Chile and Brazil.
Commented EXUMER vocalist Mem V. Stein: "It's an amazing opportunity for us to film our first video clip in a country that has a deep connection to the band since the 1980s. Our fans here in Brazil have been very vocal about us returning to play live since the band's last tour in 1988, and there is no better way to document our return to Brazil than to capture it all on camera."
EXUMER's first album in 24 years , "Fire & Damnation", was released in North America on April 10 via Metal Blade Records. The 10-track CD, which was recorded with renowned producer Waldemar Sorychta (GRIP INC., THERION, SODOM, MOONSPELL), "combines a punishing production with aggressive songwriting," according to a press release. "EXUMER manages to capture the intensity and feel of the 1980s thrash metal gems and yet sound up to date on their latest output."
"Fire & Damnation" track listing:
01. Fire & Damnation
02. Vermin Of The Sky
03. The Weakest Limb
04. A New Morality
05. Waking The Fire
06. Fallen Saint
07. Crushing Point
08. Devil Chaser
09. I Dare You
10. Tribal Furies
11. Destructive Solution (bonus live track)
12. A Mortal In Black (bonus live track)
13. Xiron Darkstar (bonus live track)
EXUMER is:
Mem V. Stein - Vocals
Ray Mensh - Guitar
T. Schiavo - Bass
H.K. - Guitar
Matthias Kassner - Drums
Formed in 1985 by Mem V. Stein and guitarist Ray Mensh, EXUMER went on to release two albums (1986's "Possessed By Fire" and 1987's "Rising From The Sea") that are regarded as some of the most cult thrash metal releases ever to come out of Germany. EXUMER was also one of the first thrash metal acts to capture exotic, foreign markets like Poland and Brazil, where their albums were domestically released in the 1980s. The subsequent tours that followed those releases secured the band live shows in front of thousands of fans and an unusually large following outside of Germany.
Plagued by lineup changes and internal turmoil, the band broke up in 1990, and did not perform live, with the exception of 2001 appearance at the prestigious Wacken Open Air festival, until 2009.
Mem and Ray decided to re-activate EXUMER in 2008, and the band embarked on their first tour since 1988. The "5 Nights of Fire Tour", took the band through Europe (Germany, Holland, Greece), and the USA, where they headlined the "Thrasho de Mayo Festival" in front of 1,300 fans in Los Angeles.
EXUMER returned to Europe in spring and the fall of 2010, where the band appeared at Norway's Inferno Festival, among other stops in Italy, Germany, Switzerland, Poland and Bulgaria during the "European Ignition Tour Part I & II".
EXUMER is in the middle of its "South American Damnation" tour with Danish thrashers ARTILLERY, trekking through Argentina, Chile and Brazil.
Commented EXUMER vocalist Mem V. Stein: "It's an amazing opportunity for us to film our first video clip in a country that has a deep connection to the band since the 1980s. Our fans here in Brazil have been very vocal about us returning to play live since the band's last tour in 1988, and there is no better way to document our return to Brazil than to capture it all on camera."
EXUMER's first album in 24 years , "Fire & Damnation", was released in North America on April 10 via Metal Blade Records. The 10-track CD, which was recorded with renowned producer Waldemar Sorychta (GRIP INC., THERION, SODOM, MOONSPELL), "combines a punishing production with aggressive songwriting," according to a press release. "EXUMER manages to capture the intensity and feel of the 1980s thrash metal gems and yet sound up to date on their latest output."
"Fire & Damnation" track listing:
01. Fire & Damnation
02. Vermin Of The Sky
03. The Weakest Limb
04. A New Morality
05. Waking The Fire
06. Fallen Saint
07. Crushing Point
08. Devil Chaser
09. I Dare You
10. Tribal Furies
11. Destructive Solution (bonus live track)
12. A Mortal In Black (bonus live track)
13. Xiron Darkstar (bonus live track)
EXUMER is:
Mem V. Stein - Vocals
Ray Mensh - Guitar
T. Schiavo - Bass
H.K. - Guitar
Matthias Kassner - Drums
Formed in 1985 by Mem V. Stein and guitarist Ray Mensh, EXUMER went on to release two albums (1986's "Possessed By Fire" and 1987's "Rising From The Sea") that are regarded as some of the most cult thrash metal releases ever to come out of Germany. EXUMER was also one of the first thrash metal acts to capture exotic, foreign markets like Poland and Brazil, where their albums were domestically released in the 1980s. The subsequent tours that followed those releases secured the band live shows in front of thousands of fans and an unusually large following outside of Germany.
Plagued by lineup changes and internal turmoil, the band broke up in 1990, and did not perform live, with the exception of 2001 appearance at the prestigious Wacken Open Air festival, until 2009.
Mem and Ray decided to re-activate EXUMER in 2008, and the band embarked on their first tour since 1988. The "5 Nights of Fire Tour", took the band through Europe (Germany, Holland, Greece), and the USA, where they headlined the "Thrasho de Mayo Festival" in front of 1,300 fans in Los Angeles.
EXUMER returned to Europe in spring and the fall of 2010, where the band appeared at Norway's Inferno Festival, among other stops in Italy, Germany, Switzerland, Poland and Bulgaria during the "European Ignition Tour Part I & II".
Violin player Janne Liljekvist has left the Swedish "Viking metal" act MÅNEGARM "due to lack of motivation."
Commented the remaining members of the group: "It's of course unfortunate after almost 15 years together, but it's also an unsustainable situation if one out of five can't find the motivation and put the effort into the band that is needed to move forward. However, MÅNEGARM will definitely move on as planned and this will have no impact on our music at all. The work with the new album goes on as planned and we can promise you that it will be a killer! The mighty wolf WILL strike again, this time harder than ever before!"
MÅNEGARM last year inked a deal with Napalm Records. The band's new album is scheduled for release at the end of 2012.
MÅNEGARM's most recent CD, "Nattväsen", was released in November 2009 via Regain Records.
"Vetrarmegin" (English translation: Winter Force), the latest video from MÅNEGARM, was shot in a "Viking village" near the band's hometown, Norrtälje, with an "incredible pre-renaissance atmosphere." The clip was helmed by Sweden's Standard Film Team, which has previously worked with DARK FUNERAL, PLECTOR and ZONARIA.
Commented the remaining members of the group: "It's of course unfortunate after almost 15 years together, but it's also an unsustainable situation if one out of five can't find the motivation and put the effort into the band that is needed to move forward. However, MÅNEGARM will definitely move on as planned and this will have no impact on our music at all. The work with the new album goes on as planned and we can promise you that it will be a killer! The mighty wolf WILL strike again, this time harder than ever before!"
MÅNEGARM last year inked a deal with Napalm Records. The band's new album is scheduled for release at the end of 2012.
MÅNEGARM's most recent CD, "Nattväsen", was released in November 2009 via Regain Records.
"Vetrarmegin" (English translation: Winter Force), the latest video from MÅNEGARM, was shot in a "Viking village" near the band's hometown, Norrtälje, with an "incredible pre-renaissance atmosphere." The clip was helmed by Sweden's Standard Film Team, which has previously worked with DARK FUNERAL, PLECTOR and ZONARIA.
A man was shot in the arm Saturday evening (June 2) during what was being billed as the first headlining show in 23 years for recently reformed thrash metallers MACE at the Northwest Metal Fest in Spanaway, Washington. The cancer fundraising event was being put on by a biker club called the Bandidos at Uncle Sam's American Bar & Grill.
According to Q13Fox.com, a dispute occurred "when a small group of members of another biker club, Ghostriders, showed up, [and] one of the members tried to enter the bar while wearing his jacket. The Bandidos asked him to remove his jacket so as not to disrespect their club. When he refused, a group of Bandidos surrounded him. The Ghostriders member felt threatened, and reportedly pulled out a gun and shot a Bandidos member in the arm. He was then tackled by a friend of the victim, disarmed, and held for police."
According to Northwest Music Scene, authorities are still sorting through conflicting accounts about what really happened and Ed Troyer of the Pierce County Sheriff's Office said that the shooter would also need medical attention because of the assault. Deputies were also looking for another man late Saturday that is also reportedly a member of the Ghostriders. That member is a 70-year-old blind man who fled the scene before officers arrived and he left his car at the event.
According to Q13Fox.com, a dispute occurred "when a small group of members of another biker club, Ghostriders, showed up, [and] one of the members tried to enter the bar while wearing his jacket. The Bandidos asked him to remove his jacket so as not to disrespect their club. When he refused, a group of Bandidos surrounded him. The Ghostriders member felt threatened, and reportedly pulled out a gun and shot a Bandidos member in the arm. He was then tackled by a friend of the victim, disarmed, and held for police."
According to Northwest Music Scene, authorities are still sorting through conflicting accounts about what really happened and Ed Troyer of the Pierce County Sheriff's Office said that the shooter would also need medical attention because of the assault. Deputies were also looking for another man late Saturday that is also reportedly a member of the Ghostriders. That member is a 70-year-old blind man who fled the scene before officers arrived and he left his car at the event.
http://www.roadrunnerrecords.com/blabbermouth.net/soulflypremiere/macemetalfest2.jpg
North Carolina thrashers EUGENIC DEATH have inked a deal with Heaven And Hell Records. The band is currently in the studio recording its debut album, "Crimes Against Humanity", for a summer release.
EUGENIC DEATH is an "uncompromising old-school thrash band" featuring Jonathan McCanless (guitar), Keith Davis (vocals), Shane Lucas (bass), and Ian Pasquini (drums). The group's 2011 demo, "The Devil Waits", has spread through the underground rapidly and now time has come to unleash them to the rest of the world. With a sound akin to ONSLAUGHT, DEMOLITION HAMMER and the Bay Area scene, EUGENIC DEATH stays true to its roots with determination to make it faster and more aggressive. The goal of this band is to attack your senses with unrelenting force.
"Crimes Against Humanity" track listing:
01. The Practice
02. Medication Time
03. Indicative Deity
04. Crimes
05. Medication Time
06. Plagued by Ignorance
07. Epitaph
EUGENIC DEATH is an "uncompromising old-school thrash band" featuring Jonathan McCanless (guitar), Keith Davis (vocals), Shane Lucas (bass), and Ian Pasquini (drums). The group's 2011 demo, "The Devil Waits", has spread through the underground rapidly and now time has come to unleash them to the rest of the world. With a sound akin to ONSLAUGHT, DEMOLITION HAMMER and the Bay Area scene, EUGENIC DEATH stays true to its roots with determination to make it faster and more aggressive. The goal of this band is to attack your senses with unrelenting force.
"Crimes Against Humanity" track listing:
01. The Practice
02. Medication Time
03. Indicative Deity
04. Crimes
05. Medication Time
06. Plagued by Ignorance
07. Epitaph
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