[Classic_Rock_Forever] Dio, Metallica, Megadeth, DOwn, Phil Anselmo, Ace Frehley, Danko Jones, Testament, Drowning Pool, My Dying Bride, Lamb of God, and tons of hard rock and heavy metal news


A new DIO compilation album, "The Very Beast Of Dio Vol. 2", will be released later in the year. The 17-song set will include three bonus tracks, two of which are new and have never been made available on a full DIO CD before. The cover artwork for the set was created by Marc Sasso, who previously worked on DIO's "Killing The Dragon" and "Master Of The Moon" albums.

The original "The Very Beast Of Dio" compilation was officially certified gold by the Recording Industry Association of America (RIAA) on March 11, 2009 for shipments in the United States in excess of 500,000 copies.

Issued in October 2000, "The Very Beast Of Dio" was the second greatest-hits collection CD — and the first to be released in the U.S. — from the Ronnie James Dio-fronted band.

In late 2010, former DIO member Craig Goldy revealed that there were plans to release a new song which Ronnie nearly completed before his death. The guitarist told U.K.'s Classic Rock magazine, "We were working on tracks for a new DIO album just before Ronnie died in May [2010]. And we did almost finish one song. Wendy [Dio, Ronnie's widow/manager] has been talking about reissuing [DIO's] 'Magica' album (originally released in 2000) with bonus tracks, including this one." He adds, "The thing is that the lyrics deal with what Ronnie was going through at the time, when he was battling cancer. So now they are very emotional. It's hard to listen without a lump in your throat."

Prior to his death, Ronnie was working on two follow-up albums to "Magica". One of the songs completed during those sessions, "Elektra", was made available as part of the DIO "Tournado" box set (which was originally made for the DIO fall 2009 European tour which was cancelled after Ronnie got sick) in a limited edition of 1,500 copies, signed and numbered.

Ronnie previously said about "Elektra", "It's a really good song, and part of the whole 'Magica' trilogy. It's hard for it to stand alone, so I did write an explanation of what it was about. It's just a brief glimpse into what will be 'Magica' again. There are some special plans."

One of the last-ever recorded sons by Ronnie James Dio, "Metal Will Never Die", appears on "Bitten By The Beast", the new solo album from Dio's cousin David "Rock" Feinstein — a former member of RONNIE DIO & THE PROPHETS, THE ELECTRIC ELVES, ELF, and the leader of the legendary New York band THE RODS.

The second song Ronnie James Dio recorded during the sessions with Feinstein — entitled "The Code" — surfaced on THE RODS' latest LP, "Vengeance".

DIO's last release was the "Holy Diver Live" CD, featuring a performance of the classic "Holy Diver" album in its entirety, from start to finish, recorded live for the very first time in 2005 in front of a sold-out London crowd. It also includes, among others, "Heaven & Hell", "Sign of the Southern Cross" and "Mob Rules" from vocalist Ronnie James Dio's BLACK SABBATH days, "Tarot Woman", "Man on the Silver Mountain" and "Long Live Rock 'N' Roll" from the RAINBOW era and "We Rock" from his solo career.
METALLICA is scheduled to enter the studio in September to begin work on its next full-length album, tentatively due in 2013. The will once again be helmed by producer Rick Rubin, who worked on 2008's "Death Magnetic".

METALLICA's drummer, Lars Ulrich, took part in a conference call with reporters on Tuesday (July 24) to promote the band's headlining appearance at the 2012 edition of Outside Lands festival, and he revealed that will be no shortage of material when studio album number 10 does get underway. He explained, "Every time [METALLICA frontman] James Hetfield picks up a guitar, there are some brilliant riffs that come out of it, and I try to make sure that they are all recorded and try to do my best to keep up with them and try to put some drums in behind them. So there are, obviously, tons of ideas sitting around waiting to be had at in terms of turning ideas of James' into songs. Pretty much when we're done with the [3D] movie [project] and with Outside Lands, which should all be wrapped up by early September, we're gonna basically just concentrate on new music and try to get another METALLICA record [done]."

Hetfield himself told The Pulse Of Radio that he's always working on music. "I can't turn off the creative part of me, which is — what a great gift," he said. "There's stuff coming out all the time, whether it's in the tuning room, in my hotel room, sitting at home with the acoustic, wherever. The stuff is coming out, and it gets recorded or written down or something, some way, and it'll come out at some point. Whether it's on this album, the next album, who knows."

"Death Magnetic" was METALLICA's last under its contract with Warner Music Group — where the band has been making records since 1984.

Hetfield told The Pulse Of Radio about the end of the band's contract with Warner, "It's kind of a good feeling to feel that you're free from any piece of paper that binds you to something. But over our career, we've learned a lot about record companies, the goods and evils of the business and this and that, and we're not very focused on that right now. It is what it is, and when it becomes time for us to either renegotiate or shop around or do things ourselves or something like that, we don't know. There's nothing but options, which is great."

METALLICA's 3D movie begins filming later this summer and will mix concert footage with a storyline.

The band is financing the project itself and has hired "Predators" director Nimród Antal to get behind the camera. Antal will film METALLICA's August 24 concert in Vancouver, Canada for use in the movie.

The show will feature a brand new 140-foot-by-50-foot stage that will include what a post at the band's web site called "colossal components and striking visual elements spanning METALLICA's entire 30-year career."
According to The Pulse Of Radio, METALLICA drummer Lars Ulrich has told Rolling Stone that the band's Orion Music + More festival, a two-day event featuring more than 20 bands which took place late last month in Atlantic City, New Jersey, will definitely be back in 2013 and won't be moving far from its original location. Ulrich said, "We had a great experience in New Jersey, and as we look to 2013, we're definitely looking to keep it in New Jersey or to keep it on the East Coast." Even though the band is based on the West Coast, it staged the event on the other side of the country to make it easier for European fans to come.

The two shows on June 22 and June 23 sold a total of 24,000 tickets, according to The Press Of Atlantic City.

Next up for METALLICA is a headlining slot at the Outside Lands festival, which takes place from August 10 to August 12 in the group's adopted hometown of San Francisco.

The show will be METALLICA's first in Golden Gate Park, with Ulrich saying, "There's a long, long, long history of experiences and culture and music (in Golden Gate Park). It's a history that dates back to the '60s, when bands like the GRATEFUL DEAD and JEFFERSON AIRPLANE would perform free shows in the park."


After Outside Lands, METALLICA will spend the rest of the summer working on their 3D feature film — which will involve unveiling a new stage show at some gigs in Canada that will be filmed for the movie — before finally starting work on its 10th studio album in September.
MEGADETH bassist David Ellefson recently talked to Guitar Center about his new signature model bass guitar from Jackson, as well as how he came up through the metal ranks and what keeps him going today. Check out the three-minute clip below.

The U.S.A. Custom Shop David Ellefson Signature Model Jackson Concert Bass is based on the Jackson Concert Bass with which Ellefson recorded MEGADETH's landmark 1990 metal magnum opus "Rust In Peace". Further, it's a spot-on replica of the instrument he played during MEGADETH's triumphant "Rust In Peace" 20th-anniversary tour in 2010 (as seen in the MEGADETH "Rust In Peace Live" DVD/CD and "The Big 4" live from Sofia, Bulgaria DVD).

The bass features an alder body, quartersawn maple neck with compound-radius ebony fingerboard and jumbo frets, pearl shark fin inlays, EMG 35CS neck pickup and EMG 35DC bridge pickup, EMG BQS electronics, Badass bridge, Hipshot tuners, limited-edition burned-in fallout logo and "Rust In Peace"-themed case.

Ellefson previously stated about his affiliation with Jackson, "When MEGADETH set out to replicate the 'Rust In Peace' tour, there was only one clear choice of bass guitar — my original Jackson Concert Bass. The instrument is based on the Jackson I played on the album and is exactly like the one I'm playing today. This bass truly takes no prisoners."
A brand new DOWN song, "Witchtripper", is available for streaming at RollingStone.com. The track comes off the band's upcoming EP, entitled "EP One", which will be released on September 18.

DOWN entered the studio last October to begin recording the first in a series of four EPs, to be released over the next few years (with a year between EPs), each touching on a different aspect of the band's sound.

The first six-song EP, "EP One", which heralds the sound of DOWN going back to its roots, with influences from BLACK SABBATH, SAINT VITUS and WITCHFINDER GENERAL, will be followed by the second collection of songs early next year, around the time of a planned U.S. tour. EPs three and four are scheduled for later in 2013.

"I have not really put too much pressure on myself with DOWN, and I think that's the best approach," vocalist Philip Anselmo tells RollingStone.com. "Right now I'm looking forward to the public's consumption and letting them hear it. I'm not sure if it's gonna break any ground. I never put any expectation on any friggin' record I do. We didn't overanalyze anything. We just let the songs kind of unfold, and once it felt right, there was no reason to go back."

When asked about DOWN's plans to release four separate EPs, Anselmo recently said, "That's the idea right now, but I think that after you work on a body of music, you need to reload, you need to refresh, you need to clear your head. Get that, digest it, get it out of your system, and then decide what direction you're going to go. It's a good idea and I think we should see it through. But there's no way we can rush it. Because I think if it is a series of four, each one should be unique, and that… We've shown flexibility — we have songs like 'Bury Me In Smoke' and then we have songs like 'Stone The Crow'… acoustic pieces and what-not… We have all that. So we've touched on many, I guess, dynamics, so… I would expect each EP to have its own life."

Fan-filmed video footage of DOWN performing a brand new song, "The Misfortune Teller", on May 29 at the Vinyl Music Hall in Pensacola, Florida can be seen below. The entire concert is available at this location.

Anselmo previously described DOWN's new EP as "very stripped down. Nothing flashy. Straight to the point… really just DOWN music. If you liked the first record, the demos… something like that… This record, we're pretty dead straight and honest and on the money as far as making it as simple and direct as possible and I think we did that. . . It has that practice-room vibe to it. We didn't really try and fucking slick it out and anything. We went the more raw route, as far as an approach."
The track listing for the effort is as follows:

01. Levitation
02. Witchtripper
03. Open Coffins
04. The Curse Is A Lie
05. This Work Is Timeless
06. The Misfortune Teller
According to Metal Sucks, Philip Anselmo (DOWN, PANTERA, ARSON ANTHEM, SUPERJOINT RITUAL) and BloodyDisgusting.com writer Corey Mitchell have enlisted literary super-agent Jeff Herman to shop the proposal for Anselmo's autobiography, which will tentatively be titled "Mouth For War: Pantera, Pain, & Pride - Heavy Metal Highs, Drugged Out Lows, & The Battle For My Life". Corey will co-author the book, which is described as "a no-holds-barred look inside of Philip's brain, his history with PANTERA, the loss of his best-friend, Dimebag Darrell, and an unflinching examination into the downward spiral of pain and drug addiction that nearly cost him his life."

In a 2010 interview with MetalSucks, Anselmo stated about his upcoming autobiography, "Well, as opposed to what most people may figure or think or imagine that I'm going to write about, this is not a book that's in any way, shape or form really like your average rock book. It's not a pissing contest when it comes to the death of my guitar player. [correcting himself] The murder of my guitar player. Honestly, it's coming from my perspective of being a guy that has fought through chronic pain his entire career, and what it's like to be in my situation with all the pitfalls, all the crooked fucking doctors out there, all the things that can go wrong. It's well documented how many things have gone wrong in my career. So, it's kind of my take on that, and a lot of the lessons I've learned from pain — chronic pain itself. You can win or lose, straight-up. Anyone who deals with chronic pain can attest that it fucking creeps into the mind, y'know?"

He continued, "There is going to be some [discussion of my music]. If I didn't talk about some of the music career, I think it would be a little bit of a fucking gyp for the fans. People want to know certain things. Of course, yeah it's going to be about it, but then again, I've been carrying pain around with me since I was 24. I've been through major back surgery. I've had knee surgery. I broke both my wrists. I've broken my ribs twice. All of my fucking fingers, two of my toes, I've had a hernia. Man, you name it. I'm like a fucking football player. Once again, pain comes with every step of my fucking life — chronic pain. There are ways to fight it, and there are ways to submit to it. I'm going to show both sides of that, and hopefully shed some light on the drug world, the evils of the drug world, the helpful drugs, certain doctors, and hopefully shed some light on how you can cope with chronic pain through a regimen and through will power — unabashed, undivided motherfucking will power. There's a strength there that needs to be untapped. I'm going to give a couple of keys, and it's up to people to find their own locks and unlock that motherfucker."

Anselmo's former PANTERA and DOWN bandmate Rex Brown last year signed a deal with Da Capo Press to write a memoir. Due in the fall, "Official Truth, 101 Proof: The Inside Story Of Pantera" is described as a "starkly honest and revealing" book about Rex's time in one of the most influential and enduringly popular bands in heavy metal history, offering Brown's shocking personal insight into a band that had swapped the grimy clubs of Texas for arenas around the world but whose story would ultimately be touched by tragedy.
In a brand new interview with The Oakland Press, original KISS guitarist revealed that he prefers recording and touring as a solo artist over being in the band.

"I like running my own life now," Frehley said. "One of the things that made me crazy when I was in KISS was being at the mercy of Paul [Stanley] and Gene [Simmons], who were like workaholic. They wanted to tour constantly and record constantly, over-merchandise the brand, and that made me crazy."

He added, "I'm not a kid any more. Touring constantly can be very exhausting. I don't want to put myself in that position, so I'm happier with what I'm doing now."

Frehley is working on several new projects, including a new solo album, a possible acoustic CD, the score to a science fiction movie and a sequel to his 2011 autobiography, "No Regrets". The guitarist said that he might also celebrate the 35th anniversary of his self-titled first solo album, which went platinum, by performing the album in its entirety next year.

"Writing ['No Regrets'] opened the floodgates and put me in contact with a lot of people I haven't spoken to in a while," Frehley said. "A lot of stories came up I had forgotten about, and there were a lot of stories I came across too late. I've spoken with a couple of my old bodyguards, roadies and stuff; they helped me with the first book and they're helping with stories for the second book, too.

"I'm having more fun now than I was way back then because now, in a sober state, I remember what I do. That's a nice feeling, to wake up the following day and remember what you did the day before. It wasn't like that for a long time."
Canadian rockers DANKO JONES will release their new album, "Rock And Roll Is Black And Blue", on October 9.

Over the course of six full-length albums, DANKO JONES has forged a singular sound that draws equally from the blues, '60s garage, '70s hard rock, '80s hardcore, punky power-pop, Scandinavian metal, and classic stand-up comedy records without ever being fully defined by any of those sources. But while built from the same rudiments, each DANKO JONES record possesses a distinct sonic identity. "Born A Lion" (2002) brought the boogie and sledgehammer soul; "We Sweat Blood" (2003) was, by contrast, more anxious and aggro. "Sleep Is The Enemy" (2006) wielded the sharpest hooks. "Never Too Loud" (2008) was as slick as "Below The Belt" (2010) was stripped-down. But, compared to all that's come before, "Rock And Roll Is Black And Blue" is, hands down, the most emotional and, as a result, the most epic DANKO JONES album to date.

Now, don't be scared off by those E-words — there's not a children's choir, orchestra or piano ballad to be found within a 500-mile radius of this album. But what you hear on "Rock And Roll Is Black And Blue" is the DANKO JONES ideal blown up to skyscraping proportions, resulting in 13 tracks that are bolder, brasher, and brawnier than anything they've attempted before. The album is produced in full by their longtime partner in crime Matt DeMatteo and was mixed by Mike Fraser, known for his work with AC/DC, AEROSMITH, FRANZ FERDINAND and ELVIS COSTELLO, to name a few. It is also the first album recorded with "new" drummer Atom Willard — the sixth person in DANKO JONES history to hold the "drummer" title, but the first to stand on equal creative footing with Danko and his longtime foil, bassist John "JC" Calabrese. The man's résumé speaks for itself: Not only was Willard the driving percussive force behind Danko's all-time favorite San Diegan garage-punk armada ROCKET FROM THE CRYPT, he's also been keeping time for the multi-platinum likes of THE OFFSPRING, SOCIAL DISTORTION and ANGELS & AIRWAVES, so he knows how to drum his way around a massive tune.

The first single from , "Rock And Roll Is Black And Blue""Just A Beautiful Day" — will be serviced to radio all over the world shortly.

The new DANKO JONES album follows the June release of "Bring On The Mountain" — a two-disc DVD featuring a 90-minute documentary, a short film, exclusive live clips from around the world and all the music videos they have ever done. A lengthy European tour scheduled for October/November was announced during spring. Tour dates in Canada, U.S. and Australia will be announced soon, with more European touring and a busy festival summer in 2013 also on the horizon.
**UPDATE**: Due to the cancelation of DETHKLOK's North American tour with LAMB OF GOD, drummer Gene Hoglan has once again become available and will end up sitting behind the kit for TESTAMENT on the European run.

In a series of tweets, TESTAMENT guitarist Alex Skolnick explained, "As some of you know, there's been a sub-drummer lined up for this tour, Mark Hernandez (ex-FORBIDDEN), subbing for Gene Hoglan, who was booked.

"So we find out Gene is available now (due to last-minute LAMB OF GOD/DETHKLOK tour cancellation). Calls were made and it's worked out: Gene is coming [out with us].

"Mark Hernandez took it very well; [he was a] total pro! Agreed it's best to have Gene if he's now available. But [the other] guys [in TESTAMENT] didn't tell me!!

"So I show up [to rehearsal] and they tell me [Mark] doesn't know and ask me to break the news to him. I take him outside and tell him. He acts devastated! Eric [Peterson, guitar] films it from afar. I told him please not to take it hard, it's just like being an understudy on Broadway! He tells me he's crushed, he's been working so hard, etc. And then, I said a line that everyone's now quoting and probably will for years. That's when they all came out and everyone started laughing.

"The quote of the year... Here's what I said, while looking this dude straight in the eye: 'It sucks to be the understudy.'"

The original article follows below.

San Francisco Bay Area metallers TESTAMENT have recruited drummer Mark Hernandez (pictured below; FORBIDDEN, HEATHEN, DEFIANCE, VIO-LENCE) for their upcoming two-week European tour, which kicks off on July 31 at the Total Metal Festival in Toritto, Italy. Hernandez is filling in for Gene Hoglan (STRAPPING YOUNG LAD, DEATH, DETHKLOK, FEAR FACTORY, DARK ANGEL), who is unable to make this run due to scheduling conflicts.

For a list of upcoming TESTAMENT shows, go to this location.

TESTAMENT's new album, "Dark Roots Of Earth", will be released in North America on July 31 via Nuclear Blast Records. The CD was produced, mixed and mastered by acclaimed British producer Andy Sneap (ARCH ENEMY, NEVERMORE, ACCEPT, EXODUS). Special bonus tracks were recorded, mixed and mastered by Juan Urteaga (MACHINE HEAD, EXODUS, TED NUGENT, NIGHT RANGER) at his Trident Studios. The cover artwork for the effort (see below) was painted by Eliran Kantor, who has previously worked with ATHEIST, SIGH, ANACRUSIS and GWAR, among others.
DROWNING POOL yesterday (Wednesday, July 25) confirmed, after much speculation, that it has tapped singer Jasen Moreno from fellow Texas band THE SUICIDE HOOK to be the band's fourth and newest frontman. Moreno made his live debut as a member of the band on July 8 at a club in Ardmore, Oklahoma. Moreno replaces vocalist Ryan McCombs, who exited the group at the end of 2011 after a six-year stint in the lineup.

In a posting on the band's official Facebook page, DROWNING POOL guitarist C.J. Pierce wrote, "It's been a real pleasure for all of us working with Jasen Moreno. He jumped right in and stepped up to the plate. He's everything we hoped for in a singer."

He continued, "Jasen came in and got straight to work on new music for our next CD. Out of respect to all past singers, and most importantly the DROWNING POOL fans, he learned every song from every CD we've made in the past as well.

"Jasen has brought us not only a new voice but a new fire to the DROWNING POOL sound. We all can't wait to get the new music out to there to everyone with the live show.

"We just did a two-week run, and I have to say I haven't had this much fun in over ten years. It's really great playing a lot of old songs and jamming some of the new tunes as well. I think some of my favorite moments on this run is when fans come up and request songs and we can play any song from any CD for them.

"Looking forward to the rest of our career with Jasen. The singer switch is finally over!"

In an exclusive interview in the September 2012 issue of Guitar World magazine, Moreno said, "I am extremely happy and very grateful to be a part of the DROWNING POOL family. Everyone's been so welcoming, especially the fans. I can't praise them enough. They've made me feel right at home. This first run of live shows couldn't have gone any better!"

DROWNING POOL's fifth album and their first with Moreno is due out early 2013. The band teamed up with producer Kato Khandwalla at House of Loud Studios in New Jersey earlier this year, and will be finishing the album in Dallas.

Pierce said in an interview conducted last May that the new album "is heavier, there's more metal on it, there's a lot of double bass, a lot of guitar solos . . . stepping up a notch."

The guitarist said late last year that the decision to part with McCombs came about because "[We've] grown apart, especially in the last three years . . . we kind of had it in the back of our heads that [McCombs] may not be in it for the long haul."

McCombs sang on two studio efforts by DROWNING POOL, 2007's "Full Circle" and 2010's self-titled fourth album.

He joined the band in 2005 and provided some stability on the microphone after the group's first two albums featured two different vocalists.

Original frontman Dave Williams died on tour in 2002 after singing on the band's debut, "Sinner". He was replaced by Jason "Gong" Jones, who also contributed to one record, "Desensitized", before being shown the door in 2004.


C.J. Pierce - Guitar, Vocals
Stevie Benton - Bass, Vocals
Mike Luce - Drums, Vocals
Jasen Moreno - Vocals
U.K. doom metal veterans MY DYING BRIDE have set "A Map Of All Our Failures" as the title of their new album, due on October 15 In Europe and October 16 in the U.S. via Peaceville Records on CD, double vinyl and special-edition CD/DVD. The CD eas recorded and mixed at Futureworks Studios in Manchester, England with the band's longtime production partner Rob "Mags" Magoolagan at the helm.

According to a press release, "a step up from 2009's 'For Lies I Sire' — which set and subsequently met new heights of expectation placed upon the legendary Yorkshire doom troupe — 'A Map Of All Our Failures' is a further voyage into the darkest depths of humanity, religion, folklore, love and death. MY DYING BRIDE's distinctively sumptuous dual-guitar melodies effortlessly flood into juggernaut doom metal riffs, with the vocals of Aaron Stainthorpe weaving a rich tapestry of tragic tales into the accompanying soundscapes. 'A Map Of All Our Failures' is perhaps best and most effectively summarized by guitarist Andrew Craighan, who describes the album as 'a controlled demolition of all your hopes.'"

"A Map Of All Our Failures" track listing:

01. Kneel Till Doomsday
02. The Poorest Waltz
03. A Tapestry Scorned
04. Like A Perpetual Funeral
05. A Map Of All Our Failures
06. Hail Odysseus
07. Within The Presence Of Absence
08. Abandoned As Christ

MY DYING BRIDE will embark on a European tour in December in support of the new album. The band will also make an appearance at the U.K.'s esteemed Damnation Festival in November, at which Peaceville will be a proud sponsor to coincide with the label's 25th anniversary.
LAMB OF GOD's publicist, Adrenaline PR, released the following statement:

"Due to the continued incarceration of LAMB OF GOD singer Randy Blythe in the Czech Republic, the band's co-headline tour with DETHKLOK scheduled to begin August 1 in Seattle has been canceled. LAMB OF GOD regrets the decision but the uncertainty of Randy's release makes it impossible to carry on with the tour. Upon Randy's release, it is the band's intention to rebook a tour in the fall and at this time the band fully intends to participate in the Mayhem Cruise in December.

"LAMB OF GOD wishes to thank DETHKLOK, Adult Swim and GOJIRA for their support and patience as well as all of the promoters who had dates on the tour. Last but certainly not least, the band thanks all of the fans who bought tickets for the tour and who have been supportive of Randy and the band over the last month that Randy has been held in Prague. Without the fans, there is no LAMB OF GOD."

Blythe was arrested at the Prague airport on June 27 and is accused of shoving a local fan off the stage during LAMB OF GOD's May 2010 concert in the city. The man, who is said to have stormed the stage three times during the show, reportedly suffered a brain hemorrhage that resulted in his death nearly a month later.

After the court doubled Blythe's bail last week from about $200,000 to about $400,000, the prosecutor once again filed a complaint against the singer's release. The judge now reportedly has five days to determine whether the attempt to post bail will be granted.
Hungarian "progressive-grunge metallers" ANGERTEA have completed recording their fourth full-length album, "Nr. 4: Songs Exhaled", for a mid-September release via the Norwegian label Smash Fabric Records. The CD, which is currently being mixed by producer Gábor Vári, features guest appearances by Bill Gould (FAITH NO MORE), who played some guitar harmonies in the song "No Computation", and Tibor Rákos of Hungarian progressive band ECLIPSE, who sang some lines in "Meeting Satan On The Way To Personal Desertification".

Video footage of the recording process for the new CD — featuring a sample of the new song "A For Afrodita" (beginning at the 12:30 mark) — can be seen below.

The cover artwork for "Nr. 4: Songs Exhaled" was drawn by ANGERTEA singer Gergo and was edited by Anna Pukánszky.

"Nr. 4: Songs Exhaled" will feature the following tracks:

01. No Computation (feat. Bill Gould)
02. Demons Surfaced
03. V.
04. In Light Air
05. Decay
06. Lions' Region
07. A For Afrodita
08. Akråm
09. Meeting Satan On The Way To Personal Desertification (feat. Tibor Rákos)
10. Distance Of You

ANGERTEA previously stated about the forthcoming effort, "Compared to our previous recordings, this one is gonna include shorter and maybe more 'understandable' songs."

ANGERTEA previously released three full-length albums — "Lélekvágy" (2001), "Rushing Towards the Hateline" (2006) and "Twenty-Eight Ways to Bleed" (2009) — and an EP that was mixed by Neil Kernon (NILE, NEVERMORE, CANNIBAL CORPSE).


Mihály Gergely - Vocals/Guitar
Peralta Miguel - Bass
Bárkai László - Drums
Phil Freeman of Roadrunner Records recently conducted an interview with vocalist Jesse Leach of Massachusetts metallers KILLSWITCH ENGAGE. A couple of excerpts from the chat follow below.

Roadrunner Records: So what can you say about the next record at this point?

Jesse: I've got a couple of songs done. I've got a bunch to go, but I've got a lot of ideas. I listen to it every once in a while out here [on the road] just to keep me familiar with it, so when I get home and attempt to finish the record, it's still fairly fresh in my mind. Sonically, this is definitely — it's got a more urgent feeling to it. It's a lot faster, there's definitely huge melody going on, but the songs are a lot shorter. Not one song really goes over the three-and-a-half-, four-minute mark. I just anticipate lyrically and vocally it to be a very urgent record. We're at a state in this world right now where someone needs to talk about what's going on. There's a lot of apathy in this world, there's a lot of really screwed-up stuff in our government and the world's governments, and the whole class vs. class thing, the protests that happened all around the United States — there's a lot of unrest, and I think it kinda needs to be touched upon. And it's up to the metal community to have a voice, and that's what I'm aiming to do with this next record — make it very important. Make it matter.

Roadrunner Records: Given that you've been out of the band for 10 years – obviously they've welcomed you back, but is everybody on the same page regarding what the songs will be about? Are you running the lyrics past them as you go?

Jesse: Oh, yeah, this band is a total democracy, which is great. Coming back into it, the guys basically said, "Do what you wanna do — we trust you," but I like to show them my progress, so I send them demos, I'll show them my lyrics and concepts for the songs. And so far, every single person's been really excited about my ideas, and probably just the energy that I'm bringing to the project.

Roadrunner Records: Do you write much on the road, or do you need down time?

Jesse: Yeah, you kinda need down time. It's tough out here. Being a creative person on tour's tough, because you're so used to a schedule, and it sounds funny, people who don't do it wouldn't really know, but it's tiring. You don't really have a lot of creative time when you're out here. You're trying to socialize with the other bands, doing your show, and to be creative you've gotta hide somewhere and get privacy, and that's rare on tour. So I'll go for long walks by myself outside of the show grounds and attempt to write, but it's really tough out here. I've had a few days the past two weeks where I've had a little bit of creativity, but outside of that, the road isn't really conducive to creative thought, for me.

Roadrunner Records: How does writing for KILLSWITCH differ from writing for TIMES OF GRACE, or even for your old band, SEEMLESS?

Jesse: I think for TIMES OF GRACE, that was just — that record happened at a particular time in my life where I couldn't help but write those lyrics, 'cause that's exactly what I was going through. I think with KILLSWITCH now, I'm looking outward to the world, and I want people to be able to relate to it on a bigger level. TIMES OF GRACE was a very personal album for me and Adam [Dutkiewicz, guitar], and as far as SEEMLESS goes, I mean, SEEMLESS has been gone for years now. I'm definitely a different person than I was in the SEEMLESS days. I think more importantly, with the KILLSWITCH stuff going forward, I want it to be crucial, I want it to matter. I want people to be able to relate to it, you know?
Wojtek Gabriel of Noizz Eater recently conducted an interview with ADRENALINE MOB drummer Mike Portnoy (ex-DREAM THEATER) and singer Russell Allen (also of SYMPHONY X). A couple of excerpts from the chat follow below.

Noizz Eater: Many reviewers have complained about the cheesiness in the lyrics [on ADRENALINE MOB's debut album, "Omertá"]. So, what do you think did people expect lyric-wise?

Russell: Well, most of people that reviewed the record and had negative things to say about it were obviously our prog fans. You need to put it in perspective. Bringing name value to this project was a hurdle that had to be overcome. Because the initial people that even gave a shit about this band were the people who knew who Mike Portnoy and Russell Allen were and expected certain things from them. The lyrics maybe seem cheesy to them because they're not over the top fantastic. SYMPHONY X is more fantasy-based or mythologically-based, more high-literature sort of stuff, you know? DREAM THEATER is very introspective... This band isn't about trying to wow you with literary expertise. The lyrics are from the heart, you know? If that's cheesy, then fuck you. That's all I got to say. This is the heart here, you know what I'm saying? I tell it like it is in this band. That stuff is great, but in this band [it] has no place. So most negative reviewers unfortunately are from the world that expected something different from us and what we gave them was maybe something too weird for them to handle.

Noizz Eater: Since Rich Ward left to focus on FOZZY, you've been a one-guitar band. Is it like you don't really need another guitarist or you just can't find a suitable one?

Mike: I think Russ and Mike Orlando [guitar] didn't even want a second guitar player. It was something that I suggested. After my time with AVENGED [SEVENFOLD], I just really thought this could be a very cool two-guitar band. So we did that for the first tour last year and then once Rich and Paul [DiLeo, bass] decided to stay with FOZZY and we knew we needed to replace them, these guys suggested, "Let's just try it as a four-piece." And when John Moyer [DISTURBED] auditioned we gave it a shot and the sound was really full and the three bands that come to mind for me that have this kind of instrumentation are BLACK SABBATH, VAN HALEN and PANTERA. And those are like three bands I think this band models itself after. And those were just guitar, bass, drums and vocals. Once we played that way, it really worked and we decided to keep it that way. I think Mike's guitar cuts throughout more this way and it's also one less person to argue with. [laughs]

Russell: Having a band is like having a bunch of wives, you know? That's what they say and it's true.

Mike: It's one less schedule to worry about. It just made more sense this way.

Russell: We weren't certain whether or not it would actually work, but when we finally got to try it, it was killer. And so that is what we need. We kinda needed to go through these growing pains, and even though we've been around the block with all the stuff that we've done, this is a brand new thing, you know? So we still had to go through the growing pains and we're still going through some growing pains. But the truth of it is this is the band and it took a while to get there, but this is the band.

Noizz Eater: Do you still get negative reactions from people who expected ADRENALINE MOB to play progressive metal and not straight-forward modern hard rock/metal?

Mike: We got a lot of that at the beginning when the EP came out, but I think everybody's over that now. I think everybody knows what this band is now and had stopped with the preconceptions and now accepts it for what it is.

Russell: We had all of that negative shit coming on because of the expectations, but we exceeded that and then some, so everybody who got the "Omertá" album already knew what they were getting into. So our success to this point is not due in any part to the progressive negative force; it already has passed us.

Mike: I also think people still won't truly understand what this band is about unless they come to a show. I think people that are still on the fence about his band and are unsure, "Ehh, is it my cup of tea," unanimously, 100% of the audience that comes to see the band live walks out and says, "Wow, I get this now, I totally get it."

Russell: People got to come here and they're gonna get their head blown back for about 75 minutes and I think that, like you said, they don't get the power that's happening until they actually witness it and they see it and they understand what's happening. Before, you have all these preconceived ideas, bla, bla, bla... But there's powerful drummer, a powerful presence on stage. Orlando's playing is fierce, he's one of the fiercest shredders I've ever seen and he kills you with a smile; this guy just smiles all night. And, of course, Moyer is an amazing bassist; he comes with his own vibe and high energy, so this band is a super-high-energy band.

Mike: And you got Russell Allen fronting that whole band...

Russell: ...and me up there fronting this mob of just super-charged, high-energy guys, I mean, no one's expecting this. That's what's so great about it. We actually have a lot of fun fucking with people, because when we get up there and the show's over they're like, "Gee, what just happened?"

Mike: I actually feel on stage, and I'll tell you honestly, and I've played with some of the greatest musicians in the world, but I tell you, when I'm on stage with this band, I just feel like I'm in the world's most dangerous band. Seriously, there's no fuckin' stopping this band. It's like a freight train. When you see it live, you'll see there's energy and a buzz and excitement and I'm up there and I'm proud of each and every one of these guys. You know, hey, maybe there's bass players that are faster or singers that are more operatic or whatever, but that's not what this band's about. This band is about going up there and taking over the fuckin' room. And everybody that's in that audience, if you're not moving by the first song or two, you will be. Just by the end of the night, you're down with the MOB.
Despite the best attempts of those now in charge to consign him to a mere footnote in the band's four-decade long history, the fact cannot be ignored that Tony Martin was the second longest serving Black Sabbath vocalist. Serving a total of nine years and recording five albums with Iommi and co during his two stints (from 1987 - 1990 and again from 1993 - 1997) fronting the Midlands metal monsters. In the 15 years since "the phone stopped ringing", as the man himself puts it, he has been extremely busy, both as a solo artist (with two albums under his own name and another in the early recording stage) and in conjunction with a huge range of other artists.
As he prepares to bring his solo live show to the UK - and, fittingly, his hometown of Birmingham, what better time to sit down with the man born Anthony Philip Harford and otherwise known as 'The Cat' for an honest, forthright - and, in the latter part, thought provoking - chat about his lengthy and prolific career?
The obvious first question Tony is why has it taken you so long to grace an English stage as a solo artist in your own right?
That's a good question! Essentially, I've always been with a band - Sabbath, the Whitesnake guys, Bernie Marsden and Micky Moody.  So any time I've come to my home country, or my hometown, it's been playing somebody else's stuff. This is the first time I've been able to assemble all of that, and my solo stuff, in one show.
So, what can we expect from a Tony Martin solo live show?
I'm not going to tell you what the songs are, but we've got 17 songs spanning ten albums, which is obviously my solo stuff, Sabbath stuff, some other things... it's basically all in the same vein.  I mean, there's no reggae in there, although I have been known to do that in my past. When I was younger, I worked with Musical Youth, Dexy's Midnight Runners, and people like that... so, while I've been known to go off at tangents in my past, it's going to be all rock-based stuff.
I was going to ask if there would be any Sabbath songs in there?
Well, I would say a good percentage of it will be from that period: after all, it was a big period - I was there for nearly ten years, between 1987 and 1997, so there's a fair whack of stuff that could be included.
This is perhaps the most opportune moment to enter into the obvious Sabbath phase of our conversation, so, going back nigh on 25 years, what do you remember of how it felt when he got that call asking him if you wanted to be a part of Black Sabbath?
It was weird, because my manager at the time was already friends with them. I mean they used to go to school together, and he was their tour manager during the 70s: basically, he gave me a call one day and said "Oi, kid, I want you meet me somewhere, we're gonna take and drive" and I said "oh alright, where we going?" and he said just to meet him. So, I met him and we drove for a while, and ended up at this big house: he got out and rang the doorbell and Iommi answered the door... I was like "bloody hell, you could have warned me!" but in I went, nervous as hell, played him a few things and next thing I had audition in London, and that was it - I was in!
If we then move the clock forward slightly to your live debut with Sabbath, which took place at the Panathanaikos football stadium in Athens on Midsummer's Day 1987 - the hottest and longest day of the year, which in turn seemed to spark an eventful turn of events, at least according to Tony Iommi's recent autobiography, 'Iron Man': I wonder if you have the same recollections of that baptism of fire?
I remember he (Iommi) had the promoter up against the wall, and a photographer up the wall. It was fraught with things going on, they let the people in while we were sound checking, and there were all sorts of things going on... it turned out all right, though, as far as I can recall.
[Tony freely admits to not having read Iommi's autobiography, and therefore is not familiar with the latter's take on that eventful decade in the Sabbath chronology, and especially criticisms levelled at the singer during his return to the band after the brief reunion with Ronnie James Dio for 1992's 'Dehumanizer' album. Referring to the period, especially the touring phase following the release of 'Cross Purposes' in 1994, the guitarist lambasts his former singer as "unprofessional" and having "no stage presence". Whilst the singer's initial reaction is one of laughter when I mention this in passing, I can't help but wonder if, even after all these years, comments like that grate and hurt].
It surprises me. I mean, they never said anything to me. Surely, if you've got a problem, the first person you should say something to is the person that's in the band with you... You don't wait ten years. It sounds like a really stupid thing to say, as they didn't say anything to my face - and, if that's the case, then more fool them for not saying anything, because, you know, we could have fixed it. I said to them, endlessly, that if there was anything they wanted changed, done differently, just to say and we could fix it, but clearly they didn't, they hadn't got the guts to, obviously, and to write about it in a book afterwards seems a bit daft to me. I'm not bitter about it, but it is surprising...it seems a bit stupid to say that after the event.
From the outside looking in, there seems to have been a deliberate attempt to expunge that whole period of Sabbath's history, covering the years and albums involving Ian Gillan, Ray Gillen and Martin himself: for example, a quick check on a certain website on the morning of the interview proved that most of the albums from the era are deleted, and those that are available are decade-old rehashes. In addition, more recent Sabbath 'Best of?' collections omit songs such as 'Headless Cross' (one of this particular Über scribe's all-time top ten Sabbath songs by the way): it's something you have bound to have noticed yourself Tony, so how do you he feel about it?
It seems a bit of a waste of ten years of the band's history. To cut that out, they're not just cutting me out, they're cutting themselves out. It seems like cutting your own nose off to spite your face. Why would you want to delete ten years of your history? It seems to me that they've got their minds elsewhere, and whatever brings them the most money seems to be what they go for. I mean, the Ozzy reunion. How many times do you want to go and pay to see them do the same stuff? OK, people argue that those old songs are people's favourites, well; it's probably that way because you keep ramming it down people's throats and don't give them a chance to buy anything else. It seems disjointed and disconnected to me, and I don't understand why they would want to even cut themselves out of that history.
Despite the legalities or whatever of the reasoning behind Sabbath (or their management, or whoever) seeming to try and ignore that decade (and more, if you add in the Gillan/Gillen years) of their history, it could be argued that 'The Cat' is still officially a member of the band. The fact is that he, like Ian Gillan before him, was never officially fired from the group...
The phone just stopped ringing - for 15 years.
So, despite this somewhat ironic state of affairs, as far as you are concerned personally, is the door still open to your former band-mates - would you answer that call, if the phone happened to ring again?
I met Geezer a few years later in Moscow, where I was playing with my band, and again at a festival we were both playing. I had my own band and we played 'Headless Cross': he congratulated me on doing a good job, liked the band and said it was good to hear those songs again. So, the last communication I had with him, even though it was short, was quite amicable. But, I don't think it could get into the professional arena again. I think they're elsewhere and I don't think they'd want to go back to that era: the only thing is that I heard, through the grapevine, was that Tony was thinking of re-releasing the albums, if they got a chance, but they didn't hold all the rights to them, so I think it's pretty much put to bed... but, you never know!
Over the years, you have kept one direct connection with Sabbath alive, and this is via continuing to work, both in the studio and live, with Black Sabbath keyboard player (and old friend) Geoff Nicholls - a link which brings us smack up to date in the Tony Martin story I guess. Not counting the Sabbath albums, you have featured, in one way or another, on around two dozen albums by different bands and projects since the release of your own first solo outing, the retrospectively ironically titled 'Back Where I Belong', exactly 20 years ago: it's an output that perhaps places you in the "workaholic" category, no?
I have been yeah. It's 30 albums, including six with Sabbath and three with The Cage. I like to try and vary what I do. I really enjoy picking up different instruments and getting involved with different projects. I just like to do that. Even when I was with Sabbath, I did a spell with Blue Murder (with John Sykes) and various other things: it's always been that way for me; it's not a new thing. It's the make up of who I am as a musician. I like that and people seem to get off on it, and each thing I do I try to make it the best it can possibly be, and as long as that keeps working for people I'm happy to keep doing it.
Having most recently crossed Uber Rock's radar with the highly rated 'Cage 3' opus, what else has the ever productive vocalist been up to recently?
I'm working with a new Italian band called Silver Horses, which is blues-Zeppelin type stuff, and it's just beautiful: I like three-piece bands, and this is just guitar, bass and drums - and they really, really sound like an English band, which I think is fascinating. They have clearly picked up on the English scene, and they do it really well. And, it's an opportunity for me to expand again. I've never really been into the blues thing, I found it difficult with M3 (his aforementioned collaboration with Bernie Marsden and Micky Moody), but, they gave me these songs and it just works, and I just love it, so I'm really excited about that.
And then I have this solo band, Tony Martin's Headless Cross, which concentrates on the other side of me, so I'm just trying to keep as many things going as possible, really.
And a new Tony Martin solo album?
You know what, that's a little way off. I did start it, and I named it ('The Book Of Shadows'), and I got about a third of the way through it and then, as usually happens in the music industry, you need to pay the bills and so you need to find something to do, so it got put on hold. I still intend to finish it, if I can.
Several times during our chat you've alluded to the fact that you can play multiple instruments including bass, drums, violin, keyboards, harmonica, and even the bagpipes and panpipes, but, isn't it true your musical journey started out on the guitar?
I started playing the guitar when I was seven, and stayed as a guitar player until I was about 27, when I went for an audition and they told me not to worry about the guitar because they just wanted me to sing: I got the job as a singer, but I'm not sure if that was because I'm a good singer or a crap guitar player!
I'm sort of a jack-of-all-trades and master-of-none, so I play little bits of things on all sorts of instruments, but I'm not a virtuoso.  Again, it just widens your horizons: when you're writing, especially, and you have an idea, it's so much easier to get it across if you can express it that way.
Tony your musical talent obviously has been inherited by your children: your son Joe used to play in Headless Cross, until in your own words "he did something really intelligent and got a day job", you're obviously proud of all his children in terms of their creative abilities.
I've got four kids and they are all musicians and writers. They write their own stuff, which is really intelligent, I mean, my youngest, my 15-year old daughter, comes up with lyrics, which I've no idea about or their thought processes. I can't even remember thinking about the possibility of imagining some words they come up with, well, not the words, necessarily, but the way they use them. I'm really in awe of the kids.
Having been in the business for nigh on 30 years, I was wondering if, looking back and given the ability to travel back to the beginning of your career, if there is any advice you would give to the young Tony Martin just starting out? Any regrets? Or anything you'd change?
Oh, that is HUGE. OK, for a start, when I started, it was a completely different industry to what it is today. So, if I was advising people then, it would be different advice to what I would give today - in that the music industry today is destroyed.
Funny, I was with Geoff (Nicholls) the other day and we were talking about this: we reckon we are among the last remaining group of people, still in the business, to have an old-style music industry contract.  You had an A&R guy, you had an advance, you had a five-year deal, you had all sorts of things to help you build up your career. You don't get all that now: it just doesn't exist. I don't even think there are many A&R guys now? The money that was about then was a different kind of money too. You always expected there to be another album. Now, you can't expect that. These days, you can't just go spending all your money; you really, really need to hold on to something. That's if you can get any money in the first place!
If you think about it, the artist is the first person in the chain of events, but the last person to get paid. You create the song, and then you've got the promoters, the publishers, the record labels, the managers and all the rest. They're all still taking the same percentage cuts that they did over the years, and you get paid at the end. Well, there's no money left after all that. It (the business) has got destroyed in so many ways... cos then there's the whole downloading thing: you put all that effort into making an album and then someone downloads one track - it seems to me all a waste of time and money.
I think it's time for the artists to start reclaiming the industry, and by that I mean stop giving music away for free! That doesn't work. Once the people who like your stuff have got it, then there's nobody else left to sell it to. All that's happened is you have given it away! Stop working for free as well: this whole 'pay to play' thing - that's ridiculous. Once you play for free, then the next time they expect you to play for free. It's really time to start giving stuff away for free: as hard as it is, it really is time to take a hold of things and start turning the industry around again. So, if I had to give any advice it would be to hold on to what you have, see if you can change the contracts, change the percentages, find some way to recoup your real value, because it's a bit of a worthless art at the moment and that's so not fair.
It's a big thing. I've studied it in the past few years and had lawyers and union people on it and, essentially, it boils down to the fact that we as artists lost control of OUR product, because we are manufacturers in the very beginning, but we lost control of how we price our products: WE were supposed to have contracts with the record industry, and they were supposed to do that for us: they didn't do that.
It's got to the point where artists are getting paid pence for their tracks... the last album I did, we got one euro forty cents per album - and that's gotta be shared between the band. So. It's just a worthless thing. It's time for artists to start really getting a grip and say "hey, hang on a minute, we need to do something about this".
Does this mean that he would be advocate of something like, say, the Pledge Music style of doing things?
I have heard about it, although I haven't taken part in it. I still think we need to take charge of our own music, because once we've given it out, once we've handed it over, it's just lost, and there's got to be a way of hanging on to that. We don't have copyrights like we had, and what we have doesn't seem to make any difference.  People can put it on YouTube or splash it out wherever they like. It's got to change somehow.
Which provides a thought provoking conclusion to a highly illuminating discussion with the one and only Tony Martin.
Everyone here at Uber Rock would like to thank Tony for his openness during this interview and we wish him all the best for his Tony Martin's Headless Cross show at The Asylum in Birmingham on Friday July 27th. Support comes from Blaze Bayley, and you can buy tickets here: http://www.theasylumvenue.co.uk/gigs.php
Renowned drummer Bobby Jarzombek, whose credits include HALFORD, RIOT, FATES WARNING, SPASTIC INK and SEBASTIAN BACH, has scheduled an in-store appearance at Vic's Drum Shop in Chicago this Friday, July 27 prior to the Bach band's Congress Theater show that night. Bobby will be be signing autographs, taking photos, and chatting with fans starting at 2 p.m. local time.

For more information, go to this location.

Jarzombek is currently on tour with Sebastian Bach in support of the "Kicking & Screaming" album, out on Frontiers Records worldwide.

Remaining tour dates:

Jul. 26 - Brew Bash at LC Pavilion - Columbus, OH
Jul. 27 - Congress Theater - Chicago, IL
Jul. 28 - Orpheum Theatre - Sioux City, IA
Jul. 29 - Capital EX - Northlands Park - Edmonton, AB
Aug. 02 - Club Nokia - Los Angeles, CA
Aug. 03 - OC Fair / Pacific Ampitheatre - Costa Mesa, CA
Aug. 04 - Xclamation Festival - Modesto, CA
Aug. 07 - Full Throttle Saloon - Sturgis, SD
Aug. 13 - Oneida Bingo & Casino - Green Bay, WI
Aug. 14 - The Rave II - Milwaukee, WI
Aug. 16 - Kentucky State Fair - Louisville, KY
Aug 18 - DTE Energy Music Theater - Clarkston, MI
Sep. 28 - Casino Nova Scotia - Halifax, NS
Sep. 29 - The Roi - Oshawa, ON

Best known for his 12-year tenure with the HALFORD band, featuring legendary JUDAS PRIEST vocalist Rob Halford, Bobby Jarzombek is also currently the drummer for progressive metal pioneers FATES WARNING, long-running New York City metal institution RIOT, and former SKID ROW frontman Sebastian Bach. Making his recording debut with JUGGERNAUT on "Baptism Under Fire" in 1986, the San Antonio, Texas native has also toured and recorded with SPASTIC INK, CED EARTH, DEMONS & WIZARDS, ROB ROCK, JOHN WEST and PAINMUSEUM, among others.
While passing through a border check point in Kennedy County in the great state of Texas on Monday, July 23, former MISFITS frontman Michale Graves was arrested for possession of 6 grams of marijuana. Graves was taken into custody by the Kingsville Sheriff's department and charged with a misdemeanor. He was held overnight, missing the El Paso show at Lips Lounge on Tuesday.

Graves was released Tuesday, July 24 at 4:00 p.m. on a $750 bond. He must return to Texas to answer to the charges. The band drove for 20 straight hours to reach tonight's (Wednesday, July 25) show at the Silverdome in Lukachukai, Arizona. He hopes to be able to make up the El Paso concert in some way.

Michale Graves is currently on the "War Of Information" summer U.S. tour. This is his first full band tour in five years.

Graves will enter the studio this fall to record his new studio album, "War Of Information", to be released in the spring of 2013.
Canberra, Australia-based progressive metal outfit AEON OF HORUS has entered The Brain Studios in Sydney with engineer Clayton Segelov to begin recording its sophomore album for a tentative late 2012/early 2013 release. The effort follows the bands acclaimed debut full-length, 2008's "The Embodiment Of Darkness And Light", and the 2011 EP, "Exile".

Commented the band: "We've been working on this record for a long time and we are excited to release tunes that we believe represent the band and our musical ethos. We have 10 tracks of some of the heaviest, most progressive tunes we've ever written. The sound has definitely evolved but we believe it to be a natural progression."

AEON OF HORUS will finish tracking the album over the coming months.
French female-fronted symphonic metallers KERION will release their new concept album, "CloudRiders Part 1: Road To Skycity", on September 25 via Metalodic Records. The CD will feature guest appearances by CARAVELLUS' Raphael Dantas, FAIRYLAND's Phil Giordana and SILENT FALL's Adrien Eyraud. Also featured on the album is the 40-person Rimiez Choir.

"CloudRiders Part 1: Road To Skycity" was produced by Will Lievin (HAMKA). The artwork for the album was created by Genzo (World Of Warcraft) and contains characters and scenes of the story.

"CloudRiders Part 1: Road To Skycity" track listing:

01. Rider's Theme (intro)
02. The Map
03. Everlasting Flight
04. Bounty Hunter
05. The Sky Is My Ocean
06. Fireblast
07. Tribal Vibes
08. Never More
09. Celticia's Song
10. Ghost Society
11. The Fall Of Skycity Pt. 1
12. The Fall Of Skycity Pt. 2
13. Rider's Theme (outro)
Former MEGADETH guitarist Marty Friedman will join Taiwanese metallers CHTHONIC on stage at the Fuji Rock Festival on Sunday, July 29 at Naeba Ski Resort in Yuzawa-machi, Niigata, Japan.

Says Friedman: "[CHTHONIC's] latest album, 'Takasago Army' . . ."is absolutely on fire!"

CHTHONIC's sixth full-length effort, "Takasago Army", was released in North America last September via Spinefarm Records. Produced by Rickard Bengtsson (ARCH ENEMY, NEMESIS) at Sweet Spot Studios in Halmstad, Sweden, this 10-track outing completes a trilogy of CHTHONIC releases, telling a story that binds together the band's "Seediq Bale" and "Mirror Of Retribution" albums, released in 2007 and 2009, respectively.

Friedman will embark on the "Guitar Universe 2012" European tour in October. Support on the trek will come from Israel's Yossi Sassi (ORPHANED LAND) and France's Stéphan Forté (ADAGIO).

As previously reported, three recent albums by Marty Friedman — whose groundbreaking work with MEGADETH and CACOPHONY continues to receive international acclaim to this day — will be released in North America by Prosthetic Records on August 14.
Raymond Westland of About.com Heavy Metal recently conducted an interview with keyboardist and main composer Martijn Westerholt of Dutch female-fronted symphonic metallers DELAIN. A couple of excerpts from the chat follow below.

About.com Heavy Metal: A lot of things happened before [the new DELAIN album] "We Are The Others" got released. Can you explain what happened?

Martijn Westerholt: It was a very turbulent period, because by the time we finished the album, our record label was taken over by Warner Music. Apparently they were looking for the next NICKELBACK and they thought we had some crossover potential to a more mainstream-oriented public. When they heard our new record, they really didn't understand it, so the album got shelved, much to my frustration. Luckily, Cees Wessels [Roadrunner founder] did see the potential and he bought our record from Warner to release on his other label, CNR Records. There was a lot legal hassle going on, so it took a lot of time before that corner was turned. We were lucky though, because many other records got shelved.

About.com Heavy Metal: Irony has it that Roadrunner is going to merge completely with Warner Music (in Europe). Your thoughts?

Martijn Westerholt: I think it's a shame, really. Roadrunner is really strong brand within the metal community and they really have the know-how how to promote a band like DELAIN, something the people at Warner Music don't have a clue about. And for us as band, it's a shame as well, because when you're signed to Roadrunner as a band, it really meant something and it would open a lot of doors for you. Now we're signed to CNR Music in the Netherlands, but we still have to deal with Warner Music who are releasing our album overseas. It's not an ideal situation, but we have to make the best of it.

About.com Heavy Metal: The music industry is in a state of flux and album sales have pretty much collapsed. How does it impact your life as a musician?

Martijn Westerholt: I'm in a lucky position that playing in DELAIN is actually my real job, so I don't have to worry about any other jobs. Despite the recent upheavals within the music industry, I'm still able to make ends meet. It's getting more and more difficult and sometimes I wish I could devote more time to writing and composing music than to the business side of things. Someone has to do it and bills need to be paid. It's not all doom and gloom, though, because the current situation stimulates bands and musicians to be creative and it also brings new opportunities.

About.com Heavy Metal: I understand you're already working on a new DELAIN album. Can you tell anything about the musical direction?

Martijn Westerholt: Yes, we already started the creative and writing process for the next album, but it's too early to say anything definitive about the musical direction. One thing I'm really sure of is with the new album I want to write music I enjoy and not to push myself into really experimental avenues. If this means that the new album will be very much in line with "We Are The Others" or our previous material, so be it. I really want to get the fun back again of being in a band and compose new music. I lost a lot of that, because of all the label hassle we went through.
For the third consecutive year, the staff of DRUM! magazine has joined a host of high-profile cosponsors to present the biggest drumming event in Northern California, while raising money and awareness for the cause of music education in schools.

DRUM! Night 2012 will transform the San Jose Repertory Theatre into a drummer's playground on Friday, August 10, for an exciting evening of drum clinics, performances, instruction, exhibits, raffles, and awards.

The show will spotlight the talents of three incredible drummers — Kenny Aronoff (CHICKENFOOT, JOHN FOGERTY), Tim Yeung (MORBID ANGEL, DIVINE HERESY), and Cora Coleman-Dunham (PRINCE, BEYONCÉ) — demonstrating startling chops and sharing professional playing tips.

Between acts, the animated punk-rock ensemble STREET DRUM CORPS will provide percussive interludes on drums and everyday objects, while acting as the evening's MCs to welcome the star performers onstage.

"We're really excited about this year's lineup," says Andy Doerschuk, editorial director of Enter Music Publishing. "It's such a diverse presentation of styles, from straight-up rock, to extreme metal, and funk. All those incredible chops will definitely keep the audience on their toes."

As attendees queue up before the show, the award-winning ensemble SAN JOSE TAIKO will take over the plaza outside the theater at 4:30 p.m. to showcase their infectious brand of choreographed drumming that draws from both Japanese and Western traditions.

While the main show begins at 6:30, the doors will open at 5:00 to allow early attendees to tour through a vintage drum museum, a Roland electronic drums lab, and exhibits of gear made by drum and percussion manufacturers. In the meantime, onlinedrummer.com's celebrated educator Nate Brown will conduct a pre-show "stick tricks" workshop in the lobby.

To celebrate the rich drumming history of the San Francisco Bay Area, in 2011 DRUM! inaugurated the Bay Area Drummers Achievement Awards (or BADAAS). The first award was presented to Mike Bordin, best known for his work with FAITH NO MORE and OZZY OSBOURNE.

This year's winner has been chosen and notified by the editors of DRUM! magazine, and the prized trophy is being engraved with his name, which will remain a mystery until it is presented during DRUM! Night 2012.

"We're lucky to be part of such an incredible music community here in the Bay Area," says DRUM! publisher Phil Hood. "We realized DRUM! Night gives us a prime opportunity to honor those drummers who have contributed to this legacy."

DRUM! Night 2012 will raise revenue for the music department at Lincoln High, a San Jose performing arts magnet school. With more than 40 course offerings in dance, music, and theater arts, more than 900 Lincoln High students of all ability levels study and learn to attain the highest levels of achievement.
INCITE, the Phoenix, Arizona-based metal band fronted by Richie Cavalera — the stepson of SOULFLY/CAVALERA CONSPIRACY mainman Max Cavalera — will release its sophomore album, "All Out War", on November 20 via Minus Head Records. The CD was recorded at Darth Mader Music in Hollywood, California with producer Logan Mader (GOJIRA, SOULFLY).

"INCITE has a fresh take on thrash, [and] we're excited to be a part of it!" said Minus Head owner Brad Hardie.

INCITE recently added a new guitar player, Gene Macazan.

The band returns to the road next week, joining SOULFLY for a three-week run.

INCITE released its debut album, "The Slaughter", in North America on October 20, 2009 and in Europe on November 2, 2009 via I Scream Records.

INCITE's current lineup is as follows:

Richie Cavalera - Vocals
Zak Sofaly - Drums
Gene Macazan - Guitar
Luis Marrufo - Bass

Richie Cavalera has made a number of guest appearances in the studio and on stage with both SOULFLY and CAVALERA CONSPIRACY.
Bazillion Points Books has revealed that legendary performer Skin, frontwoman of SKUNK ANANSIE, has penned a foreword titled "Who Put That Shaven-Headed Black Woman On The Stage?" for the forthcoming book "What Are You Doing Here?: A Black Woman's Life And Liberation In Heavy Metal", by author Laina Dawes.

Skin writes: "The first time I heard rock music it was really exciting. I felt that this new music and vibe was really me. I remember going to bed and having dreams that I was performing this music and visualizing myself on stage, way before it actually happened... What always appealed to me about rock music is the feeling of freedom, that I could finally be who I wanted to be and sing the music that I felt in my heart. Some black people that I met in the music industry felt that we could be stronger and better empowered if we all stayed within in the same box, but I had always relished the fact that I never belonged to any cliques, or any scenes..."

Coming October 2012, "What Are You Doing Here?" investigates how black women musicians and fans navigate the metal, hardcore, and punk music scenes that are regularly thought of as inclusive spaces and centered on a shared experience; plus how their taste in music affects their lives in the black community. The book combines memoir with interviews, creating an incredibly perceptive portrait of heavy metal and its traditions.

Says Dawes: "I wanted to find other black women like me, metal, hardcore, and punk fans and musicians that were rabid about the music and culture and adamant about asserting their rightful place as black women within those scenes. I wanted to find other women who put aside the cultural baggage that dictates that we must listen to certain musical styles, and simply enjoy the music that influenced us, not just as black women, but as individuals who grew up in an era when, thanks to technology, a large variety of music is accessible and available to everyone. I found many black women and have shared their stories, but I also realize there is still a lot of work to be done."

Laina Dawes is a music and cultural critic and opinion writer from Toronto. She is an active public speaker and contributor to CBC Radio, current affairs columnist for Afrotoronto.com, and contributing editor for Blogher.org.
According to Alessandra Martins of ROCKPressBrasil, Brazilian singer, keyboard player and composer André Matos (ANGRA, SHAAMAN, VIPER) will release his third solo album, "The Turn Of The Lights", simultaneously in Brazil, Japan and Europe on August 22. In Brazil, the CD will be made available through Azul whereas in Japan, the effort will be handled through Marquee Avalon.

Matos' current solo band includes new drummer Rodrigo Silveira and bass player Bruno Ladislau — replacing Eloy Casagrande (now with SEPULTURA) and Luis Mariutti, respectively. Keyboardist Fabio Ribeiro also left the group. André's longtime collaborators, guitar players Hugo Mariutti and Andre "Zaza" Hernanades, have remained with the singer.

The concept of "The Turn Of The Lights" is guided by its theme: when you give light to something that has never been lit before, you reveal verity, faces and shapes that had been imagined before. It is a reflexion of mankind nowadays, where it is necessary to comprehend that we are part of the whole, even exercising our individuality. When we do something — positive or not — it reflects on the entire planet.

"The Turn Of The Lights" contains eleven breathtaking tracks produced by American sound engineer Brendan Duffey and Adriano Daga at Norcal Studios in Brazil. Duffey and Daga skillfully balanced tha aggressive and precise lines of Mariutti and Hernandes' guitars, with excellent orchestral textures on piano and keyboards, played by Matos.

The track listing for the Japanese version of "The Turn Of The Lights" is as follows:

Disc 1:

01. Liberty
02. Course Of Life
03. The Turn Of The Lights
04. Gaza
05. Stop!
06. On Your Own
07. Unreplaceable
08. Oversoul
09. White Summit
10. Light-Years
11. Sometimes

Disc 2:

01. At Least A Chance (VIPER cover)
02. I Don't Believe In Love (QUEENSRŸCHE cover)
03. Fake Plastic Trees (RADIOHEAD cover)
04. (JAPANESE ENKA cover)
JANETSHAREROXYGINA (a.k.a. JSRG), the newly formed band featuring three former members of the platinum-selling all-female '80s band VIXEN — singer Janet Gardner, drummer Roxy Petrucci and bassist Share Ross, along with guitarist Gina Stile, who was the guitarist on VIXEN's "Tangerine" album — "might" get up on stage and play "one or even TWO songs" this coming Saturday, July 28 at Club Loaded at Ollie's Point/Revolution in Amityville, New York.

JSRG writes on its official Facebook page: "Is anyone living on the edge?? How much love do [you] have to visit Long Island??"

According to the official Ollie's Point web site, the following acts are scheduled to appear Saturday night: COMPLETELY UNCHAINED (VAN HALEN tribute), THUNDERBOX, HOLY DIVA (DIO tribute) and MR. SCARY (DOKKEN/LYNCH MOB tribute).

Commented Gardner, "It feels so good to be reunited with Roxy and Share. And when we started jammin' some old VIXEN songs with Gina, we knew this was right."

Share Ross added, "With hits like 'Edge Of A Broken Heart', 'Cryin'', 'How Much Love', 'Not a Minute Too Soon', 'Love is a Killer' and 'Rev It Up' emblazoned upon our souls, we knew it was time to resurrect our sound. We want to give the fans what they want."

In 1987, "Edge Of A Broken Heart" climbed the Billboard chart to the Top Ten and VIXEN had hit after hit. EMI suddenly had the only platinum-selling all-female rock band of its time on their roster.

Dubbed "MTV Darlings", the hits kept coming with "Cryin'", "How Much Love", "Love Is A Killer" and "Not a Minute Too Soon". The band earned credibility as they opened up for superstars, including OZZY OSBOURNE, DEEP PURPLE, SCORPIONS and BON JOVI, to name a few. A live performance on the "Arsenio Hall" television show sealed their credibility with the fact that these girls could play.

JSRG will play a select number of casinos, festivals and showcase dates in 2013 and perform all the VIXEN hits along with new songs from their as-yet-unreleased EP. The debut gig will take place at the kick-off party as well as on board the Monsters Of Rock Cruise on March 16-20, 2013 sailing out of Fort Lauderdale, Florida bound for CoCoCay and Freeport, Bahamas.

JSRG is not to be confused with the current version of VIXEN, which consists of founding member Jan Kuehnemund (guitar) alongside Jenna Sanz-Agero (vocals), Lynn Louise Lowrey (bass), and Kat Kraft (drums).

VIXEN's original members Gardner, Kuehnemund, Pedersen and Petrucci appeared together on VH1's "Bands Reunited" in October 2004 to reminisce about their start on L.A.'s Sunset Strip and their rise to fame in the late 1980s, before the onset of grunge in the early 1990s displaced metal at the top of the charts. They also took part in a short performance for the program.
Reactivated Boston-based hardcore/punk band BLOOD FOR BLOOD has released the following statement:

"A month or so ago we were made aware of serious allegations against [BLOOD FOR BLOOD vocalist] Erick 'Buddha' Medina. Upon becoming aware of said allegations, we immediately cancelled our Boston and New York City shows, which were scheduled for the following weekend.

"We have remained silent since, as the allegations shocked and devastated us personally. Also we did not wish to engage in any sensationalism (accusations, mudslinging, gossip, etc). We also hoped we might get a clearer picture of the situation. None of us were present at the time of the alleged incident, nor had we been made aware of it until nearly a month after the event in question transpired.

"This band has seen its share of difficulties and personal crisis but this was a situation we were never prepared to deal with. And since we had no hand in creating this situation and can only react, we feel we have to be very clear.

"Make no mistake, the nature of the alleged activity, true or false, is an affront to EVERYTHING this band is about. Some of the members of this band have been mistreated and abused as a children, personally. We would never, COULD never ignore, condone, or even associate with such behavior. At this time we are too emotionally drained to make plans for the band's future, but due to the nature of these allegations, we feel it is impossible to continue with anyone linked to such allegations, thus, whatever the future holds for BLOOD FOR BLOOD, it will not include Erick 'Buddha' Medina. Our most sincere apologies to anyone affected by this situation.

"Lastly, as mentioned before, we are unable to make concrete plans for the band's future. But for the time being we would like to remind everyone that BLOOD FOR BLOOD has ALWAYS been the story of 'White Trash Rob,' as told through HIS eyes and through HIS words.

"Since the allegations surfaced, the hardcore scene as a whole has seemed to understand that the rest of the band is entirely separate and blameless in this thing and we are grateful. However, we have seen and heard some comments from people expressing regret for supporting the band in the past or getting BLOOD FOR BLOOD's words or imagery tattooed on their bodies.

"Just to be clear, for the last 16 years, Rob has written and produced ALL the words and music for BLOOD FOR BLOOD. And those words and music are as sincere and honest today as they were a month ago.

"Once again, our most sincere apologies to anyone affected by all this."

After lying dormant for six years, BLOOD FOR BLOOD made its American return at last year's New England Metal And Hardcore Festival.

BLOOD FOR BLOOD reunited in 2010 for the European Persistence Tour, which also featured SICK OF IT ALL, UNEARTH and EVERGREEN TERRACE.
Guitarist/vocalist Patrick Mameli of the resurrected late '80s/early '90s death metal outfit PESTILENCE has issued the following update:

"We are very pleased that we can officially announce that David Haley (PSYCROPTIC) will replace Tim Yeung for the upcoming PESTILENCE album and upcoming shows. Bassist Stefan Fimmers (ex-NECROPHAGIST) already joined PESTILENCE for the new album, 'Obsideo', and live performances.

"Although Tim was really excited to join PESTILENCE, it was because of his conflicting tour schedules with MORBID ANGEL (and other projects), that made it nearly impossible for Tim to tour with PESTILENCE. But we (guitarist Patrick Uterwijk, Fimmers and Mameli) weren't really too disappointed by this unfortunate development because of our talks with David soon after.

"The new material will fit David perfectly. He is such an amazing drummer and a really cool guy as well!!! We all welcome him into the PESTILENCE camp."

Added Haley: "I'm very excited to be performing the drums on the new PESTILENCE album...and quite nervous about it, too!! PESTILENCE have been such an influential band within the metal community throughout their whole career, so it's quite an honor to be asked to perform for the upcoming album. The material I've heard thus far is amazing — and I am really looking forward to start the recording process."

PESTILENCE has written eight songs so far for "Obsideo" and hopes to begin recording the CD before the end of the year for an early 2013 release. Songtitles set to appear on the album include "Necromorph", "Saturation", "Soulrot", "Laniatus" and "Superconcious". According to Mameli, the CD's overall lyrical theme will be "the journey of the human soul."


Patrick Mameli - Lead guitar/Vocals
Patrick Uterwijk - Lead guitar
Stefan Fimmers - Bass
David Haley - Drums

PESTILENCE's latest album, "Doctrine", was released in North America in July 2011 via Mascot Records. The eleven-track CD was recorded and mixed at Woodshed Studio in southern Germany with engineer Victor Bullok (a.k.a. V. Santura; TRIPTYKON, DARK FORTRESS). The artwork was designed by Marko Saarelainen.
President and publisher of E-Comix, Vince Brusio, has announced that Halloween 2012 will be ground zero for the release of the company's second self-contained full-color comic book, Autopsy: Hell On Halloween.

As with the publisher's first title (Dying Fetus: Supreme Violence), E-Comix's Autopsy: Hell On Halloween is a fully-authorized title by one of the music industry's biggest names in metal. Shown the cover and told the plot for the book at the 10th-anniversary Maryland Deathfest, AUTOPSY gave Brusio their go-ahead to start work on the project and bring to life their brand of chaos in a ferocious full-color nightmare.

The one-shot comic book tells the twisted tale of teenage kids who make a terrible mistake that they must suffer dearly for. When they play with stolen property at an impromptu field party, they open a doorway that allows spirits into our material world. Friends are abducted. A rescue is planned, but none of this is made known to rival biker gangs who don't appreciate their turf trampled on by strangers. Seeking vengeance, they approach an old abandoned house to wreak havoc on their party crashers, and learn too late that once the door to Hell is opened, it can't be closed.

"AUTOPSY have driven the hearse bringing the masses death metal since the late '80s," Brusio quipped. "It was a natural fit to fuse their brand of music with a grisly ghost story. So we took the cover image of 'Severed Survival', expanded on it, and developed a story that takes place on Halloween night. It's pretty gory stuff. As it should be."

Vocalist/drummer for AUTOPSY, Chris Reifert, commented: "It was great to meet and chat with Vince at the Maryland Deathfest. We're damn excited about this, and know it will be a real killer when it's done!"

Details about distribution for the comic are to be announced in the upcoming months.
Dutch death metallers SINISTER will release their new album, "The Carnage Ending", on September 28 via Massacre Records. The CD was once again recorded at Soundlodge studios in Rhauderfehn, Germany with producer Jörg Uken (GOD DETHRONED, OBSCENITY).

"The Carnage Ending" track listing:

01. Gates Of Bloodshed (Intro)
02. Unheavenly Domain
03. Transylvania (City Of The Damned)
04. My Casual Enemy
05. Crown Of Thorns
06. The Carnage Ending
07. Oath Of Rebirth
08. Regarding The Imagery
09. Blood Ecstacy
10. Defamatory Content
11. Final Destroyer

The digipack version will include a bonus disc with five covers:

* Spit On Your Grave (WHIPLASH
* Succubus (MASSACRE
* Swing Of The Axe (POSSESSED
* Dethroned Emperor (CELTIC FROST

Recent Activity:



Post a Comment