Greece's Rockpages web magazine conducted an exclusive interview with legendary rock producer Chris Tsangarides (JUDAS PRIEST, THIN LIZZY, GARY MOORE, ANVIL) when he was recently in Greece for a seminar. A couple of excerpts from the chat follow below.
Rockpages.gr: How much would you say that a producer interferes in an album?
Chris Tsangarides: Well, I've done everything from composing the song to saying, "That song is actually fine," so it all depends on what situation we are in. Sometimes I don't have to say anything, because it's as perfect as I like. Sometimes it's like, "Maybe we should re-write the chorus or the verse, or whatever," but I am blessed I am allowed to say anything I like, because that's the whole point — you don't hire someone like myself and not take the advice.
Rockpages.gr: When someone approaches you to hire you to work on their record, do you have criteria according to which you might turn down an offer?
Chris Tsangarides: Yes… But my criteria is "Is it good?" It doesn't matter what style of music it is. Is it good? Can I bring something to this? And, I've got such an ego that I always think I can! You have to have a certain amount of confidence, and knowledge to know that, "Yes, I can do this record, I know what I'm doing," and as I get on in my career, and on my years of experience it becomes a bit easier, because experience has told you before. So, I've come to a point in my life now when I am mixing something I don't very often second-guess myself or have battles in my head about what I'm doing. If I like what I've done, then it's done. I don't pontificate, I don't do fifteen different versions… this is the version. Because that was how I was taught. We only ever did THE mix back in the day, and that's when there were no computers, none of that, and fifty people around the desk… "At this point, guitar player, press that button, when we get to
the chorus, you press this one" … 'cause there were so many things you wanted to do, and that was the only way to do it. But, you all felt, "Yeah, that's the right take, this is the mix," and you went with it. Today the biggest problem with all the new technology is there are so many choices. You can keep anything you've recorded, you can change anything anytime, and it's kind of lost that spark of, "Yeah, we've recorded the song!" Because the song can change so radically now, you could record one thing, and finish with something else, just using the technology you have. And I think that kind of loses it a bit these days, because I just used to [go] like that (snaps his fingers) "Yeah! That's the one," and we're all happy, and we go away with it, and most of the records I've done were like that…
Rockpages.gr: Which would you say that are the most important albums you made in your career?
Chris Tsangarides: Well, the first one I made, "Back On The Streets" (GARY MOORE), that was important because it set me on my way, and the next thing was ANVIL's album "Metal On Metal" in 1982, I think it was, because it became the template for the likes of METALLICA, ANTHRAX and SLAYER, the speed metal thing, that we didn't know it was speed metal; it was just what they did and I would recorded it and people happened to like that. Then, it would be THIN LIZZY's "Thunder And Lightning" for its sonic properties, if you like. It became the benchmark for European heavy bands to sort of try and emulate that sort of tonality. And then I suppose it's been on to "Painkiller" by JUDAS PRIEST, which set up a whole new benchmark of how fast, heavy speed metal should be; it was kind of pivotal. Then the other ones for me were the record I did with CONCRETE BLONDE, and the records with TRAGICALLY HIP, huge-selling alternative products, if you like. They sold more
copies than the metal records, which is surprising. They are completely different to that, but it was very good for me because it means I have a career; I can either do rock, metal, or indie, whatever you wanna call it.
Rockpages.gr: Working and making a living… which decade would you say it was easier for you? The '70s, '80s, '90s, or the '00s, and why?
Chris Tsangarides: I guess it would have been, for making the sort of types of money that everyone thinks a producer makes, the end of the '80s, '90s for me. Because I had great successes in the U.S. where the marketplace is that much bigger, and therefore the royalty stream was that much bigger as well. It's also where you build a reputation and they are willing to pay you well enough for someone of a certain stature in the business. It used to take longer to make records then, for some reason, and I could only do three a year maximum. Nowadays, since I had my little studio in four years we've made over 35 albums! I don't know how I would have done that if the things were like they used to be in the '70s, '80s, '90s, or whatever… I think it's a whole new ballgame the way finances work these days.
Legendary singer for Iron Maiden's first two studio LPs, Paul Di'Anno appeared at the Stone Pony in Asbury Park, NJ on this ice cold December evening, in part to support the 30th Anniversary of Maiden's first LP but mostly just to kick our asses!
Paul performed for over an hour, pulling out all the great Iron Maiden hits that he made famous including "Wrathchild, Killers," "Phantom of the Opera" and of course my favorite "Running Free," just to name a few. Paul also played "Marshall Lowjack" and "Faith Healer" from his solo band, Killers.
His opening act Icarus Witch, a new band out of Pittsburg, PA also doubled as his backing band, minus the singer. These guys did a stellar job recreating the hits of Maiden note for note flawlessly, as well as had some great rocking originals when opening for Paul.
By the end of the set Paul admitted his voice was shot and apologized that he wouldn't be able do the last two songs but the crowd wanted more. With the help of a few shots of Jack Daniels and a highly-energized audience, Paul was able to finish the set strong with "Iron Maiden" and "Sanctuary."
I had a chance to interview the colorful fast talking Beast after the show in a crowded VIP area, where thongs of fans were lined up to get an autograph and photo of the singer. Since it was getting late and Paul was going to meet all of this fans I held back on some of my questions, asking only a few of the burning ones.
Paul Di'Anno Iron Maiden
Paul Di'Anno Photo Credit Rob Cavuoto
******
Rob Cavuoto: When Bruce left Maiden in 1999, were you a candidate to replace him?
Paul Di'Anno: Not in a million years, I would've done it for 3 or 4 million dollars, with half going to Unicef and half going to another charity. I don't need the money. I make quite enough off my own records and the Maiden records.
It's never been about the money, it's been about playing. Thanks to the fans my children have gone off to college, I owe them everything. Thanks for supporting my drug habit, taking care of my ex-wives [Laughing], my custom Harleys and my five clubs in Brazil.
Rob: Were you involved in the writing of Number of the Beast ?
Paul: I was, there is a very rare demo going around of me signing "Run to the Hills" and "Hallowed Be Thy Name." I laid one of them down in Toronto but by then, I had lost all interest.
Rob: Do you still talk with Clive Burr and Dennis Stratton?
Paul: I love Clive, he is like my brother and I'll do anything for him. Two and a half years ago I flew in from Brazil to perform with a French band at the Clive Aid Benefit. The band was awful but I did the best I could to make money for him. I had trouble with the flights and think it cost me more to fly in and out than we made for Clive. But I'll do it again for Clive anytime.
Me and Dennis aren't talking, he's an asshole. He once dropped LSD in a band members drink before a show. You have to be some kind of prick to do that.
Rob: How is Clive doing?
Paul: He's not doing too well you know.
Paul Di'Anno of Iron Maiden
Paul Di'Anno Photo Credit Rob Cavuoto
Rob: Do you talk to any other members of Maiden?
Paul: Yeah, the problem is that we all live in other counties. When they came to Brazil, Stevie and Bruce were looking for me but I was out touring. It may happen where I join them on stage someday. That's another bad press thing that says we all hate each other, it's not true.
I love Steve and Dave. Me, Steve, Dave and Clive were like a gang and always in trouble. Anyone who slags off on Maiden I'll punch them out. I quit the band because of all the ethics and politics. We all need to make money, but there's making money and exploitation of money. That my only quip that I have about Maiden. I'm proud to be an ex-member of Iron Maiden.
Rob: Your book The Beast paints you as a pretty dark and angry guy.
Paul: That book is bullshit! It's an old chapter in my life when I was a lunatic. I didn't want to do the book for years and only agreed to do it to close that chapter on my life and because all the proceeds would go to a cancer charity. I had a ghost writer who tried to make it sound like it was me talking and I gave him a little too much artistic license. He took things a bit too far.
Rob: In it, you talk about all the lies and myths said about you. What the biggest lie that you want to dismiss?
Paul: That I beat all my old ladies. That's bullshit. One of my wives' pulled a knife on me and I hit her while trying to get it away from her. The LAPD didn't see it that way and brought me up on charges.
Rob: What's next after this tour?
Paul: I'm going back to Brazil to get my license to give tattoo. Then I'm taking the guns on the road to tattoo the fans. I have signed so many tits and arms over the years for them to go get tattooed; now the fans can come back and I'll tattoo my name on them for free.
Rob: Are you really a member of Hell Angels?
Paul: Hell yeah, been a member since 1981.
Guitarist Reb Beach (WHITESNAKE, WINGER) has issued the following year-end update:
"Well, it was a great year with the WINGER boys. We toured all through Europe, and had a great run in South America. I am home now, and looking forward to writing something cool.
"I recently went to Tahoe to record the new WHITESNAKE record. It was a great experience. I worked closely with Doug [Aldrich, guitar] and David [Coverdale, vocals], and we got some great solos. I did a lot of singing as well and I even had the honor of doing sort of a duet with David.
"The record sounds fantastic with some classic WHITESNAKE-type songs.
"I want to announce that I am playing in New York City at a jazz club called Iridium on December 27th. Click here for more information on the show. It is a tribute to Les Paul, and I am in some great company with the other artists who have done it. Todd Rungren, Jeff Beck, Paul McCartney, Keith Richards, and Slash! Come down if you can, it should be great fun.
"I am booking a clinic tour for the latter part of January in Italy. I will play Rome, Florence, Venice, Pisa, and Bologna plus a few more. I will [announce] the dates when I have them.
"I am thinking WHITESNAKE will tour the world again in the spring, so I look forward to seeing all my friends around the world again."
WHITESNAKE has set "Forevermore" as the title of its new album, tentatively due at the end of March 2011 via Frontiers Records.
ADLER'S APPETITE — the band led by former GUNS N' ROSES drummer Steven Adler — has released two new singles — "Stardog" and "Fading" — via iTunes and other online music stores.
ADLER'S APPETITE entered the studio last month to begin recording its new album with CINDERELLA drummer Fred Coury producing.
"I am really proud of the new songs," says Adler. "Fred did a great job on these tracks, we are really looking forward to playing this stuff live!"
"We are really happy with the way these songs came out," adds ADLER'S APPETITE guitarist Alex Grossi (also of QUIET RIOT). "I think people who liked [previous single] 'Alive' are really going to dig 'Stardog' and the song 'Fading' shows a mellower side of the band's songwriting, I cannot wait to finish up the entire record."
A radio edit of the last ADLER'S APPETITE single, "Alive", was released on July 29 in conjunction with Adler's tell-all autobiography, "My Appetite for Destruction: Sex, and Drugs, and Guns N' Roses".
ADLER'S APPETITE will kick off an extensive European tour on February 3 in Rome, Italy.
ADLER'S APPETITE's current lineup is rounded out by guitarist Michael Thomas (FASTER PUSSYCAT), bassist Chip Z'nuff (ENUFF Z'NUFF) and vocalist Rick Stitch (LADYJACK).
For more information, visit www.adlersappetiteonline.com.
Rocker-turned-filmmaker Rob Zombie told The Pulse Of Radio about a great gift he got his wife Sheri one recent Christmas, and the problem it created for him. "You know, Sheri loves 'Family Guy', and loves, you know, the character of Stewie," he said. "So I got some of the artists at 'Family Guy' to do some cel animation of Sheri with Stewie, like she's reading him a story. She's reading him 'The Shining' and there's like a little blurb saying (Stewie voice), 'Oh, it's like an instruction manual for killing Lois!' And, you know, she loved it, but then after that, you're like, 'Great, that idea was too good. Now what am I gonna do next time?'"
Rob Zombie will do some more touring early in the new year before getting to work on his fifth feature film as a writer and director, "The Lords Of Salem".
Sean Yseult was the bassist for pioneering eighties and nineties metal band White Zombie, a group whose penchant for horror and psychotronic imagery and ultra-heavy, driving grooves made them superstars in the days when MTV actually played music videos. The band broke up in 1998 with lead singer Rob Zombie's decision to pursue a solo career, but Yseult never stopped playing the music she loves, bringing her bass playing skills and artistic vision to several notable bands, including Famous Monsters, Rock City Morgue and The Cramps. This fall publisher Soft Skull released I'm in the Band: Backstage Notes From the Chick in White Zombie, a collection of rare photos, notes and more curated by Yseult from her own private archives. These days Yseult stays busy. In addition to her ongoing work as one of metal's great bassists, she manages a multitude of business endeavors, including designing a line of popular scarves that can be found in high end
retailers around the country. I was lucky enough to catch this rocking "chick" during one of her very infrequent moments of down time to discuss her life with White Zombie and her career beyond.
What was it like putting together the book? Was it hard choosing what to include and what not to?
It was crazy – organizing chaos, once again. It took a couple of years. At first I was just trying to match up photos, tour diaries, flyers and backstage passes to the same date and time. As soon as that got together, I started writing, making commentary on what you are looking at. It's almost as though I'm looking at it with you for the first time, because I am! Memories and stories would pop in my head as I saw these photos and ticket stubs that have been sitting in storage for almost fifteen years. It was difficult editing things down – I've got two huge photo albums filled entirely of our tours just with Pantera: Phil and Dimebag goofing off and mugging for the camera constantly, on and off stage. That could have been a book on it's own. I'm happy with what made it in the book though, it seems to cover just about everything!
Lisa JohnsonA visual arts background, or at least a strong appreciation for the visual arts, seems to be a common denominator for many of the members of White Zombie, and I seem to recall an interview with you guys a long time ago where (perhaps Rob?) said that whether members of the group liked the same comic books was just as important as their musical ability. So how did a bunch of art school students go on to be one of heavy metal's most legendary super-groups? How did you manage to balance finishing your education with being in a band?
First question: It was a slow and gradual transition, going from being an art school/noise band in the Lower East Side to a headlining metal arena act. Even in the beginning when we were dubbed "psycho/noise/damage music and playing CBGB's, we were heavy – and we loved Kiss and Sabbath and Alice Cooper. Those elements came through and appealed to our drummer Ivan dePrume, who was a Brooklyn metalhead, still in high school. We also appealed to some of the hardcore bands that were crossing over to metal, like the Cro-Mags and Biohazard. These bands invited us to open for them at the infamous metal club in Brooklyn, L'Amours, and their fans liked us. We were starting to organize the chaos of our sound, and we liked that we were playing to an audience that responded to us. Before, we were headbanging and running around like nuts, to an audience of hipsters just staring at us, or at their feet. Ivan was constantly blasting Metallica and Slayer in the
van and at his house where we practiced – after a while it just seeped into our brains and all made sense. The next thing you know, we were opening in small clubs for Pantera, then Slayer, and the rest is history.
Second: Balancing my education with the band was not easy, especially since we practiced every night and I worked three jobs to stay afloat! Everyone else dropped out, but somehow I managed to get my BFA from Parsons, even graduating with honors. As far as our touring schedule, I was lucky because Ivan was still in high school so we would only tour on vacation breaks back then.
What do you recall about the recording of Make Them Die Slowly? How did the Sean of those days differ from the Sean who would record Astro Creep: 2000?
Ugh. I've tried to erase that out of my mind. We made it once, it sounded good, Rob hated it. We made it again, the songs getting more and more uptight and overwritten, and got interrupted halfway through – Bill Laswell now wanted to make the record and start from scratch. We made it a third time, and it was the worst version of all three! I hate the way this record sounds, not to mention my memories of Laswell sitting me down and making me play in a chair, having me hit the strings ever so lightly so I wouldn't "clip" the note – what a pile of bullshit! I hit hard – did anyone ever tell DeeDee or Lemmy to lay off the bass and play like a wuss? He really fucked with my performance and the whole sound was NOT White Zombie – it sounds like a tin can to me, with a muffled non-existent bass.
How did I differ from then to future recordings? I never deferred to a producer trying to tell me how to play or what my bass should sound like again, and never had to. Andy Wallace and Terry Date were fantastic to work with, and never complained about me hitting hard or having a big full sound.
For me, at least, it seemed like White Zombie was partially responsible for introducing me to an entirely new world of cinema sleaze and horror. I doubt that I would have ever been exposed to things like Faster Pussycat! Kill! Kill! and Spiderbaby without you guys. Movies always seemed to be a part of the White Zombie aesthetic, and I was curious how you guys got turned on to some of the same strange stuff. Could you talk about that?
Growing up, I was obsessed with the classic and kitschy horror movies, and would get up at 6am to see Sunrise Theater – I think a wolfman was the host. This is from age 5 or 6. I especially loved the Toho films, the old Universal stuff and the Harryhausen ones. Later in high school I went to visit friends in Atlanta and they had Elvira hosting horror movies, what a treat! We'd watch whatever bad movie she was showing and loved it. Before I met Rob at Parsons, I was already living in the Lower East Side and hanging out with a bunch of freaks – they would turn me on to bars showing Blood Sucking Freaks, messed up Herschell Gordon Lewis movies, John Waters, etc. It was just part of the underground and punk culture. When I met Rob, he was completely obsessed with horror movies, more than anyone I've ever met. He turned me onto a lot more gore, and classics. I remember us going to Times Square to see Cannibal Holocaust, and then peeling off a 4 foot
tall poster for the movie off of the side of a building (because it was raining and loosened the wheatpaste) and decorating our apartment with it. He was really more into the gore than me; I was more into haunting and atmospheric stuff, or monsters and vampires. I knew about Russ Meyers from the Cramps, who I'd loved since high school and through their music had been turned on to Faster Pussycat! Kill! Kill!. When I met Rob he was really obsessed with all of Myers movies though – what straight guy wouldn't be?!!
For a long time heavy metal has been a male-dominated medium. I look at early heavy metal/hard rock artists like Lita Ford and Doro Pesch and it seems like if women are allowed into the club they are expected to trade on their sex appeal as much or even more than their talent. In recent years, it seems like things have been getting better, but I was wondering if there has been a difference between how much of that kind of double standard you experienced during your years with White Zombie and how much you experience with your current musical projects, and if so, do you feel like your own career has helped promote women in metal?
I experience none at all now. Back in WZ days, it was very unusual for me to be up there playing in a heavy band of guys, and not being a sexy front woman singer. To be honest I think I was the only one doing that at the time we were touring, and people were confused to say the least. I had girls coming backstage to meet me thinking I was a dude. I had metalhead dudes thinking I was a dude, and then instead of being sexist, later saying I was their favorite bassist along with Cliff Burton – there is no higher, non-sexist praise from a metahead dude than that, so I consider myself very lucky. Occasionally the local crew or stagehands would treat me like shit and try to throw me out of my own backstage, assuming I didn't belong since I was a girl. But the fans and the bands we played with always accepted me as one of the guys, which I loved.
The title of your book, I'm in the Band, would seem to be a nod to Pamela Des Barres infamous groupie memoir I'm with the Band, but it also refers to your own experiences of constantly having to convince people that you were actually in White Zombie. Did people assume that you were a groupie, girlfriend or hanger-on, and how did you handle this? It must have been extremely difficult to be in a very popular band yet suffer this kind of indignity on a daily basis. How did the press treat you?
The press were always nice to me, and like the fans and bands, treated me as an equal. Not once but twice did a big Metal magazine vote me best bass player of the year – not best female bassist, note. That is as equal as it gets.
You've been very busy since the White Zombie days, playing with a number of bands, including Famous Monsters and Rock City Morgue. Did you learn any lessons from your time with White Zombie that you've been able to successfully apply to the rest of your musical career?
Not really! I brought a rigorous practice schedule to the table for White Zombie, because I had grown up that way with piano and violin lessons. Classes twice a week, practice at least two hours a day. Writing, practicing and playing live are things you have to do constantly to be good at them and get better, and I was brought up doing all three since I was six years old. I have another band now that is getting back to the metal, called Star and Dagger. It's blues rock, but heavy and tuned down. The members are split between NY and N.O., so it takes longer to write and record but I love what we're coming up with. We like to think of it as Anita Pallenberg fronting Sabbath!
Having lost Lux Interior just last year, I was wondering if you had any personal anecdotes or stories, or maybe just some thoughts about what it was like to play with The Cramps. If so, could you share them?
God playing with The Cramps was like a wonderful dream. Lux and Ivy are both such amazing, intelligent, interesting people with a wealth of knowledge and experience. My favorite memories are sitting around backstage after a show, drinking red wine and hearing their stories, or learning about some serial killer or where Man Ray lived – I found out they loved the Dada movement as much as I did, which shouldn't have been surprising. ("Naked Lady Falling Down the Stairs"? An homage to the Duchamp painting of course!) Once we hopped a fence in New Orleans to a graveyard that I wanted to show them, and we got busted. Just got bitched out and a slap on the wrist though, along with some great photos!
What I've found very interesting about your career is that you've always kept a foot in both the visual arts and music. It seems to me that people who have a wide range of talents like you sometimes have trouble being taken seriously in their respective fields. Has your musical fame been a help or hindrance in your work as a designer?
I always feel like it is a hindrance, to be honest. I used to get mad at myself for trying to do too many things – better to focus on one thing and really excel, I thought. But creating is creating, who cares how you feel you need to express yourself as long as it is something you honestly want to do?
I know you spend a lot of time in New Orleans. How has the city been doing since Katrina? What impact will the disaster have on the long-term musical heritage of the city?
New Orleans is back better than ever. The first year or two was tough, but now with the Obama administration that money is finally seeing it's way down here, and there are new restaurants, bars, shops and businesses every day – I think it's the only city not hit hard by the recession! I don't see the hurricane stopping music or musicians here. Walk down any street; you'll hear music!
A couple of personal questions: you keep incredibly busy, obviously, but what's a day off like for you? What do you like to do? What's the most "heavy metal" thing about you? What's the least?
I don't know the meaning of a day off! In some ways, all my days are days off, but I do as much as I can every day, even on a weekend I will do an interview or two and write some riffs or design a poster for someone. People who do creative things for a living are blessed and cursed at the same time – you do what you love for a living, but you live it, 24 hours a day. You don't stamp the clock at 5pm and forget about it. My husband even works in his sleep – he will wake up with an entire song or movie outline in his head, that he has to get up at 5am and write it down for the next two hours! But these are the things we like to do, as well. If we have time we will go see other bands, go to the movies, go out to eat at all of the great restaurants either here or New York, where we have a lot of friends who are chefs. We go bar hopping, the usual stuff!
The most heavy metal thing about me? I still think a lot of music is weak and like to drive around listening to Sleep or Black Sabbath. The least? The only radio station I can stomach is the classical station – actually that is a cliché for metalheads, isn't it?
Finally, will you be touring to support your book?
Yes, I already have done North Carolina, New Orleans and Los Angeles. I will be heading to NYC to do an instore January 5th at 7pm at the Tribeca Barnes and Noble, and guest DJing at Home Sweet Home on January 7th doing a late night free White Zombie raffle! I just did one of these in LA and it was a huge success!
ACCEPT, KREATOR, IN EXTREMO, HATE and IMPERIUM DEKADENZ have been confirmed for next year's edition of the Metalcamp festival, set to take place July 11-16, 2011 in Tolmin, Slovenia.
The festival billing is shaping up as follows (in alphabetical order):
ACCEPT
ALESTORM
AMORPHIS
ARKONA
HATE
IMPERIUM DEKADENZ
IN EXTREMO
IN SOLITUDE
KALMAH
KREATOR
KYLESA
MOONSORROW
MOONSPELL
RISING DREAM
THAUROROD
VANDERBUYST
WATAIN
WINTERSUN
For more information, visit www.metalcamp.com.
German metal queen Doro Pesch will embark on a tour of South America and Mexico in April 2011. Confirmed dates are as follows:
April 21 - BRA - Belo Horizonte - Lupa Multshow
April 23 - BRA - Sao Luis - Red Club
April 24 - BRA - Sao Paulo - Carioca Club
April 26 - ARG - Buenos Aires - Roxy Live
April 28 - COL - Bogota - Teatro Mama
April 30 - MEX - Mexico City - Lunario
Doro Pesch's newly released 2DVD/CD set, "25 Years In Rock", features Doro's entire 25-year anniversary concert, including guest performances in front of about 10,000 enthusiastic fans in Düsseldorf, Germany as well as a China special, outtakes from Doro's 2500th concert and a whole lot more. The DVD was released in Europe via Nuclear Blast on November 26 and will be made available in the rest of the world sometime in 2011.
"Fear No Evil", the latest album from Pesch, was made available in North America in June 2009 via AFM/Dismanic/Ryko Distribution.
Released in Europe in January 2009 via AFM Records, "Fear No Evil" entered the German Media Control chart at position No. 11. This was the highest chart entry for Doro in her home country in almost 20 years.
After a break in 2011, Doro will begin writing material for a new studio album.
THE JIMMY CRESPO PROJECT, the new band led by Jimmy Crespo — best known as the guitarist who replaced Joe Perry in AEROSMITH from 1979 to 1984 — has parted ways with vocalist Chris Van Dahl (formerly of L.A. GUNS). According to a press release, "It is important to the band to find a singer with his own identity who can also do justice to the Crespo-era AEROSMITH songs."
Starting in January, Jimmy will be performing with SIN CITY SINNERS in Las Vegas until the band's singer/guitarist Todd Kerns returns from touring with Slash.
Video footage of THE JIMMY CRESPO PROJECT performing the AEROSMITH classic "Bolivian Ragamuffin" on November 6 at Green Valley Ranch in Las Vegas, Nevada can be viewed below.
Crespo appeared on AEROSMITH's "Night In The Ruts" album and co-wrote the majority of songs on 1982's "Rock In A Hard Place", performing almost all the guitar duties on the LP.
After years of performing with such artists as Rod Stewart, Stevie Nicks, Billy Squier, Dee Snider and Lita Ford, Jimmy has returned to center stage with THE JIMMY CRESPO PROJECT.
2012 will mark the 30-year anniversary of the release of "Rock In a Hard Place" and for the next two years Jimmy Crespo will let the music do the talkin'. THE JIMMY CRESPO PROJECT also has plans to release an album of origina material, that promises to pick up where classic AEROSMITH left off.
For more information, visit the official THE JIMMY CRESPO BAND Facebook page.
German metallers MOB RULES have parted ways with longtime keyboardist Sascha Onnen and have replaced him with Jan Christian Halfbrodt. The group states, "Sascha left the band to have more time for his family life and his newborn child. We wish Sascha and his young family all luck and thank him for the great years together."
MOB RULES is currently working on material for the follow-up to last year's "Radical Peace". In addition, the band has been confirmed for the ProgPower USA XII festival, which is set to take place September 14-17, 2011 at Center Stage in Atlanta, Georgia.
MOB RULES' "The Oswald File" video can be viewed below. The clip is an edited version of the 18-minute-long epic which appears in six parts on the band's latest album, "Radical Peace".
"Radical Peace" was released in November 2009 via AFM Records. The CD was recorded at Bazement Studio with longtime engineer Markus Teske (VANDEN PLAS, SPOCK'S BEARD, OASIS). A single, "Astral Hand", preceded the full-length CD on October 9, 2009.
Southern rock legends MOLLY HATCHET have been confirmed for next year's edition of the Sweden Rock Festival, set to take place June 8-11, 2011 in Sölvesborg in southern Sweden.
The festival billing is shaping up as follows (in alphabetical order):
AGENT STEEL
BUCKCHERRY
CLUTCH
DAN REED BAND
DESTRUCTION
ELECTRIC WIZARD
FLÄSKET BRINNER
GHOST
GROUNDHOGS
HELLOWEEN
JASON & THE SCORCHERS
JOAN JETT AND THE BLACKHEARTS
JUDAS PRIEST
MASON RUFFNER
MOLLY HATCHET
MOONSPELL
MR. BIG
MUSTASCH
OVERKILL
OZZY OSBOURNE
RAGE (acoustic)
RAUBTIER
RHAPSODY OF FIRE
ROB ZOMBIE
SAXON
STYX
THE CULT
THE DAMNED
THE HAUNTED
WALTER TROUT
WHITESNAKE
SAXON will celebrate the 30th anniversary of its classic album "Denim And Leather" by performing it in its entirety at the event, "spiced with a lot of other immortal SAXON classics and yes, they will bring the eagle!"
BULLETBOYS frontman Marq Torien has joined the Hollywood, California-based rock band VICIOUS LICKS. The singer made his live debut with the group on December 4, 2010 at Hollywood's Three Clubs.
Fan-filmed video footage of three songs from the Three Clubs show — "Hate To Love You", "I Can't Survive" and "Shadow" — can be viewed below.
VICIOUS LICKS' lineup is rounded out by RJ (guitar), Tchad (guitar), Dish (drums) and Dave Cruise (bass).
For more information, visit www.viciouslicks.com.
Former THE CHASM bass player Alfonso Polo has announced the release of the debut album, "The Dark Corners Of The Mind", from his Chicago, Illinois-based heavy metal/doom project called QUESTION OF MADNESS.
Polo had the idea to create his own musical vision after he left THE CHASM in 2004, taking inspiration from bands like ROOT, CANDLEMASS, MERCYFUL FATE, SOLITUDE AETERNUS, TROUBLE, BLACK SABBATH, MY DYING BRIDE, CATHEDRAL and BOLT THROWER, with a lyrical foundation of reality, fantasy and personal experiences. In mid-2008, a four-song demo was recorded and a deal with Luxinframundis Productions was secured. By late 2009, nine songs were completed, and in January 2010 the recording process started to take shape, with the drums having been tracked at the Ensomberoom Studios (Fort Wayne, Indiana) by Antonio Leon (THE CHASM). The recording sessions/mixing were completed during 2010 at Luxinframundis Studios.
QUESTION OF MADNESS' lineup is rounded out by Julio Viterbo (THE CHASM) on lead guitar and Albert Rybka (KATEGORY V) on vocals.
For more information, visit www.luxinframundis.com.
Old-school thrashers SPEED\KILL/HATE — who feature in their ranks OVERKILL guitarist Dave Linsk — will release their long-awaited sophomore album, "Out For Blood", on January 25 via Hammerfist Records. The CD was recorded and mixed by Dave Linsk at SKH Studios and was mastered by Roger Lian at Masterdisk in New York.
The video for the song "No Remorse" — taken from "Out For Blood" — can be viewed below.
In other news, Linsk has opened a recording/rehearsal studio in Stuart, Florida. Dubbed SKH Recording And Rehearsal Studios, the facility has unlimited track recording and fully equipped rehearsal rooms.
SPEED\KILL/HATE's current lineup:
Bob Barnak: Vocals
Dave Linsk: Guitar
Tony Ochoa: Drums
Dave Bizzigotti: Bass
Bassist Dave Bizzigotti replaced Derek Tailer (also in OVERKILL) in September 2007 after Tailer was dismissed from the group due to "questionable availability and uncertain commitment," according to a posting on the band's web site.
SPEED\KILL/HATE's debut album, "Acts of Insanity", was released in Europe in February 2005 via Listenable Records.
For more information, visit www.speedkillhate.com.
Drummer David Kinkade (BORKNAGAR) has joined forces with guitarist Marco Martell (MALEVOLENT CREATION, DIVINE EMPIRE) and vocalist Jarret Roberts of Chicago's KASTASYDE to form MONARCH.
Commented Kinkade: "For the past 10 or so years, I've been putting my personal musical ideas on the backburner in order to commit to other already established bands. I'm quite happy that I made that choice, because as a result, I learned a lot of helpful things, made great friends and had great experiences. I've become a part of one of my favorite bands (BORKNAGAR) and I love it, but all my life I've really wanted the chance to create my own music. So with that, I've been able to apply all the 'what to and what not to do' towards the creation of my own project — MONARCH.
"In early 2010, I sat down with friend and guitarist/producer Johnny Dove and started laying down the collection of riffs I've had in my mind for 10 years or so. It was a lot of hard fucking work, but after nearly 10 months at it, we are ready to release our work to the world.
"I found the people who I feel fit perfectly to be a part of this, including guitarist Marco Martell and vocalist Jarret Roberts.
"As drummer and now a songwriter, I love everything from SLIPKNOT, METALLICA and IRON MAIDEN to RUSH, PINK FLOYD and MUSE... so be sure to check it out."
The reunited original ELECTRIC BOYS lineup — Franco Santunione (guitar), Andy Christell (bass), Niklas Sigevall (drums) and Conny Bloom (guitar, vocals) — has been confirmed for the next Sweden Rock Cruise, set to sail from Stockholm to Turku, Finland and back on April 7-8, 2011. Also scheduled to appear is the German metal queen Doro Pesch. Four more acts will perform at the event. Ticket prices — including cabin accomodations — start at only 395 SEK (approximately 43 euros) per person.
ELECTRIC BOYS recently inked a deal with Supernova Records, a division of the Cosmos Music Group. The band's new album will be released in March. The first single, "Father Popcorn's Magic Oyster", will precede the full-length CD in early 2011.
ELECTRIC BOYS last year released a 20-track "best-of" collection, titled "Now Dig This!", via Spinefarm Records. It features songs from the band's three studio albums, including "Psychedelic Eyes", "Mary In The Mystery World", "Groovus Maximus", "The Groover", "Rags To Riches", "Captain Of My Soul" plus a 2009 remix of "All Lips N' Hips", along of course with the original version, a longstanding staple of rock clubs around the world.
CHARRED WALLS OF THE DAMNED — the project led by acclaimed metal drummer Richard Christy (ICED EARTH, DEATH, LEASH LAW, CONTROL DENIED, BURNING INSIDE) — is preparing to enter Criteria Recording Studios in Miami, Florida with producer Mark Lewis (ALL THAT REMAINS, DEVILDRIVER, TRIVIUM, CHIMAIRA) to begin recording its sophomore album for an early 2011 release via Metal Blade Records.
Fans got a chance to watch Christy and vocalist Tim "Ripper" Owens (JUDAS PRIEST, YNGWIE MALMSTEEN, ICED EARTH) perform the songs from CHARRED WALLS OF THE DAMNED's debut album during a July 2010 tour that included stops in Chicago, Detroit, Montreal, Toronto, New York, Cleveland and Pittsburgh before wrapping up in Worcester, Massachusetts as part of a massive show with DREAM THEATER.
CHARRED WALLS OF THE DAMNED's touring lineup made its live debut on July 1 in Chicago, Illinois. Stepping in for the concerts were Cleveland guitarists John Comprix and Matt Sorg. Comprix is Owens' bandmate in several projects, and Sorg plays with Comprix in RINGWORM.
The self-titled debut album from CHARRED WALLS OF THE DAMNED sold around 2,200 copies in the United States in its first week of release. The CD landed at No. 6 on the Top New Artist Albums (Heatseekers) chart, which lists the best-selling albums by new and developing artists, defined as those who have never appeared in the Top 100 of The Billboard 200.
The recording sessions for the CHARRED WALLS OF THE DAMNED CD took place at Audiohammer Studios in Sanford, Florida with producer Jason Suecof, who has previously worked with TRIVIUM, ALL THAT REMAINS, BURY YOUR DEAD, AUGUST BURNS RED, THE BLACK DAHLIA MURDER, DAATH, CHIMAIRA, DEVILDRIVER and GOD FORBID, among others.
CHARRED WALLS OF THE DAMNED's recording lineup:
* Richard Christy - Drums
* Jason Suecof - Guitar, Producer
* Tim "Ripper" Owens (JUDAS PRIEST, YNGWIE MALMSTEEN, ICED EARTH) - Vocals
* Steve DiGiorgio (SADUS, TESTAMENT) - Bass
CHARRED WALLS OF THE DAMNED's "Ghost Town" video can be viewed below.
For more information, visit www.myspace.com/charredwallsofthedamned.
Last May, ACHERON founder/bassist/vocalist Vincent Crowley announced that the band was calling it quits and that it would not be doing any more shows or making any more albums. It was a surprise to both fans and bandmembers alike, considering ACHERON had just released a well-received CD called "The Final Conflict: Last Days Of God", filmed its first official music video for "I Am Heathen" and was on the verge of taking part in a slew of other projects, including another studio recording, a DVD release and a variety of shows and festival dates.
So what happened to cause the band's breakup? It seems that a lot of things went down before "the shit finally hit the fan," according to a posting on ACHERON's MySpace page. Crowley states, "There is too much involving the whole reason for the band's demise. All I can say is that there were a lot of misunderstandings, including a lack of communication and some actions that were done. The end result of it all pretty much killed my will to continue the band."
After almost a year, the smoke has cleared and the negative things between the bandmembers have been worked out. Crowley, Kyle Severn (drums) and Max Otworth (guitar) have decided to re-open Hell's Gate and invoke the music beast ACHERON once again. Crowley comments: "I really didn't think I would do ACHERON again. Before the band broke up I was working with a talented bunch of new musicians, but the vibe just wasn't there. I couldn't play without having that vibe. Now that almost everyone from the last studio lineup has agreed to work together again, I am totally on board and open to any ideas regarding this musical entity!"
Adds Severn: "I am happy as hell that we were able to put aside the unfortunate B.S. band politics/drama that sometimes can arise; hell, even worse when you're not even sure why it even happens. Especially when Vince and I, who have been jamming together for 10 years and have been friends even longer, are able to continue to go forward. It is a great metal pleasure to announce that we are going to be able to play for the ACHERON friends and fans and to continue working forward on the next piece of pure aggression that we call ACHERON. Yes, we will be moving at our own pace, but the important issue is that we will be moving forward. Late last year we were working on new material and can't wait to bust out the rehearsal tapes and start reviewing our next installment of Blasphemy and Apocalypse."
So what is the next chapter of the band? Are they doing a new album? Will there be any touring or festivals booked? Crowley says: "We are taking things one step at a time. We are not rushing into anything or getting pressured into doing things until we all agree they are worth doing. What I can say is that we have agreed to re-open Pandora's Box. Hopefully all the vile diabolical things that spew forth from it with be worthy of the actions of ACHERON."
Norwegian extreme metal act LEGIONES has inked a deal with Duplicate Records. The band will release a seven-inch EP in March containing two songs from its very limited 2009 demo.
LEGIONES' demo tape contained the following tracks:
01. Threat of Captivity
02. Against Judah
03. Lament For Egypt
LEGIONES is:
R.H. - Vocals
Rune Holm - Guitar
Erlend Holm - Guitar
Ole Nordsve - Drums
For more information, visit www.myspace.com/legionesnorway.
The Scream Queen Interviews Ben Falgoust of Goatwhore!
Date: December 22, 2010
How has this tour been doing so far?
It's been good, man. I mean there's been four shows so far. We missed St. Paul [Minnesota] because we had a problem with our van. So, basically this is the 3rd one for us. It started in Pittsburgh [Pennsylvania], Chicago [Illinois], St. Paul [Minnesota], and we actually were lucky because yesterday was an off day to go from St. Paul to here [Denver]. So, even though we didn't get to play St. Paul, it kinda helped out because we got our van back yesterday fixed, and drove here, which was a pretty lengthy drive. We were in Wisconsin, so it was a 15-16 hour drive, or something like that. But, you know, we're determined, so we go after it.
Over all, the shows have been really great. Watain's an unique band, with what they do and everything, so it's actually pretty cool to tour with them. I saw them-- this is the third time they've toured the U.S. and I saw them in New Orleans on their second tour, it was this little small place that smelled really bad because of--and it was, I think it was more during the-- it wasn't as cold then either. I mean, the cold helps the animals not just rot so fast, you know. (laughs)
But they're a unique band, with what they do, so it's awesome to be out on tour with them and everything in this kind of situation. Like I said, it's really early in the tour, so you can't be like, "I have all of these fuckin' creative stories about the tour, you know, because we're only a few shows in. But so far, as far as turn-outs and response, it's been really good.
Carving Out the Eyes of God was released around this time last year, how would you say this album has done compared to your previous ones?
I think it was actually a really good step for us, I think we went into this record too a little different as far as our attitudes and everything. We didn't really care-- we didn't go in thinking, "Ok, we have to beat A Haunting Curse." We weren't really one of these bands that wanted to be like, "Oh this record's going to be better than the last record." Like every cleche thing that's said by every band. We went in and we did a lot of stuff that we really liked and we incorporated things-- ideas of things that we grew up on from thrash metal, to death metal, to you know-- I mean, of course Celtic Frost is a huge influence for Goatwhore, but beyond that I think we were expanded more, and the fact that Sammy [Duet, guitarist] and Zack [Simmons, drummer] now have been together jamming for a while.
Once you get two people, three people, four people all in a pocket together, you start to get that flow back again. When you shift members out, you change something, you change the whole layout of the band and everything, so everybody's got to fall into place again. And Zack [Simmons] and Sammy [Duet] work together really well and we have James [Harvey] now as well, I mean, he's-- when we do the next record, it'll be his first record, but he blends in really well with Zack and Sammy with writing and everything.
We're working on some new stuff as well for the next record. So we just went after things that we were influenced by, things that we really enjoyed, and we kinda wrote for ourselves, in a way. Nothing against fans or anything, but it's not always trying to please everyone, you know? You�ve got to please yourself as well in this situation. The outcome actually-- I think all of us were surprised at the outcome of the record, just like the production, all the songs came out and everything, and it got a lot of really good feedback. We didn't even expect the feedback that we got from it, so it turned out really well, overall.
We focused on a lot of things; like, there were a lot of times where with guitars with a lot of metal records nowadays, they're really like, mixed back, and drums and vocals are so up front, and we want it like traditional metal records, where the guitars attack and that's the reason why it was metal, because of the guitar tone and everything, so not so much that it buries everything else, but that it has this attacking thing and everything else kind of falls into with it. So, it's something we were really after when we went in.
The thing about it too, working with [Erik] Rutan already before that, we were all comfortable with each other and we knew how things were going to work. We were doing a lot of pre-production before we went in Carving Out the Eyes of God, which we never did before where we demoed songs and sent them ahead to Rutan. So, he kind of knew the material before we even entered the studio; so, as an engineer, he was familiar. We were coming in with almost like he was a member of the band, so there were a lot of things we changed and it kind of helped the whole production of doing the record.
As you said earlier, you've been working on some things for the next album, how do you believe it's going to turn out?
Umm...Well, we don't have a ton of stuff, we just have pieces here and there, some full songs, we can't really-- it's almost like, we can't even determine if they're (laughs) good enough or not to ourselves because we've been on the road so long. It's like, we get home, we might be home for a week or to, and we go, "Ok, well lets spend a few days feeling around with new stuff, throw it around and everything." And then all of a sudden, you're reversing the next set for the next tour, and so we're like, "Ok, and then what?"
We'll be at a venue and Sammy [Duet] will have his rigs set up and play a few riffs from it, and yeah, it's good, but you can't really grasp the feeling of it just yet; you need to sit in a room and go over it and go over it and feel it out and everything. So, I'm not really sure what it is; I know we've got a lot of pressure on us because of the way Carving [Out the Eyes of God] came out, but I think too, we'll kind of push that off to the side, and we're just gonna do like we did when we wrote Carving [Out the Eyes of God] and just go after stuff that we like. And we're pretty picky ourselves, we'll tear things apart and re-put together songs, or have a song that'll pop up out of nowhere that'll be something that we're into. It's just time, basically.
What is going on with Soilent Green?
It's there... It's just that everybody-- I play with Goatwhore, Tommy [Buckley], the drummer, also plays in Crowbar, and Brian [Patton] also plays in EYEHATEGOD, and EYEHATEGOD has been doing stuff. Crowbar just recorded a record and they're going to do a tour coming up for a couple of weeks, and they're record comes out in the early part of next year [2011]. Soilent [Green] is going to do some fests in Europe in April and then I think after that, we're going to start doing some shows and stuff through the states, and finish up working on some new material.
Goatwhore is known for the high-energy live shows... When you record your albums, how do you capture the raw presence you guys have while you're on stage performing and decipher that into the studio?
Umm... That's actually a good question... Ummm... Because too, if you kind of go back to all of the Goatwhore records, I don't think we really captured the way we are live until recently with Carving [Out the Eyes of God], you know, just like tone and the way it attacks and everything. I think it has a thing to do with too, being really comfortable the studio, and you kind of fall into that pocket where you really get into it because it's hard, you're in a little booth or whatever, you're doing you're trick, but I got to the point where when I was doing vocals for Carving Out the Eyes of God prior to me actually starting to record the vocals, like the week beforehand, I got [Erik] Rutan to set up a mic in the room and just let the reel play all of the stuff that was recorded and basically rehearse over it. You know, go over it, get used to it, get comfortable being in the room.
We had never done that before and Rutan's like, "That's a cool idea." Because at the end of the night, I'm dropping all of the stuff from the computer into a drive and let the tape roll, and you can sit there, go over it, break yourself in, and when you don't feel like you can do it anymore, you can just stop. It helped out, it helped because what happens is, when you're in the studio, the singer's pretty much the last one that does his stuff; so when you're in there for five weeks/four weeks, you're pretty much about the beginning of the fourth week or somewhere in there when you start your stuff. So, there's a couple weeks or so beforehand when you're not doing anything.
By doing that, it made it more comfortable, and when you're in there, it actually-- I can't really just attack it the way it is in the live setting, you'll never be able to do that because you have the energy of the crowd and everything as well with that, but I felt way more comfortable this time because it almost sets you up and prepared you. And so, I could get into in the booth when I was doing everything and I just enjoyed it a little more.
When you're on stage, how do you transform into the person you are now to the person you are destroying the stage?
It depends, sometimes I'll have a beer before I'll play-- I don't really drink a lot, but every now-- like, recently, I started drinking like maybe a half an hour, or an hour before, just like a beer or something, but usually it's just like, I could still be running around doing stuff and then right when I-- five minutes before we start is almost like it shifts, it's like a mode, and I just go into that mode, and that's where it is.
And it's funny because sometimes we'll be out on tour and a guy in the band will be 20 minutes before we play and it'll be another guy that'll be like, "So, you ready to play?" And I'm like, "Not yet." But it's kind of weird because you're like...Wait, we play in 20 minutes, and you play in 15 minutes, and you play in 10 minutes; and it's like, no it's not, it's like right when I step on there and it's ready to go, then I'm ready, and it just takes off from there. It's a whole different thing. It's kind of weird, it's like, I don't get into this thing where I'll sit in a room alone or other things you can hear about other bands and they get in this "mind-frame" and it's almost like it changes right there, when it's time; it shifts. And this is what it is, this is what has to be done at this time.
I have to say, I really do-- I enjoy playing live a lot, whatever it's 30 minutes, 45 minutes, an hour, whatever tour we're on, but there's so much about it. Even if it's not a really packed show, big show, we've done shows that've been in some small towns where there's 25 kids, 20 kids, whatever, you know? I still get on stage and I do the same thing as I've done for a packed audience because it's like, this is the reason I'm out here; this is the reason I've done it from the get-go, was to play the music and be into it. I guess the day where I'm not really into it and step on the stage and don't have that urge, then that should be the day when I should stop and just let whoever else move into. Not saying necessarily move into my place, but another band, with the same kind of style move into this terrain, or whatever, so it's one of those things. It's not like this thing where I pump myself up and I'm like, "Oh I gotta get this going!" It's just a step
into it and it takes off from there.
How did your passion for metal start?
You know, when I was younger, I listened to a lot of stuff from like, metal to punk to hardcore, everything. I went to a lot of shows and it was always like an intriguing thing to me, it was always interesting. Also, when I go see these bands, and then you see them roll up in a bus, in a van, or anything, and I was like, "Wow! I'd really like to do that! It's pretty fuckin' cool looking." Even though when you get out there, you realize a lot of things are a lot different, you're stuck in a vehicle with 4-5 other guys and you learn about people a little more in those situations. That's what makes a band too, because when you go out, and if it don't last, you knew that it wasn't the right thing, but if you can sort your differences out and keep moving, it makes it happen.
It was one of those things and I got into a band when I was like, 16-17 and then it was just with some guys and we were jammin, and I used to play guitar a little bit. And then, I started singing for this band, Paralysis, and we put out a CD, on this label, Grindcore Records, and it was when I was 19 or something like that. It was like a "cookie monster" death metal band. And then things kind of crumbled with that, and I joined Soilent [Green], and then Goatwhore got put together by Sammy [Duet] and Zak [Nolan], the old drummer. It used to be Kilgore, but they changed the name to Goatwhore, and Sammy got his jaw broken in some kind of fight in Baton Rouge [Louisiana], and then I stepped in to help out with vocals and stuff, and then from there it just kind of stuck with Goatwhore, and then we kind of moved from that. So, it's been a while, so I've been doing it, I ain't going to say how old I am, but I've been doing it for a little while. (laughs)
I've been doing it for a little while! And you know, this is a perfect example too, there's not a lot of money in it [touring], I mean, some bands like the Lamb of Gods and Slipknots, things like that, yeah. They make a lucrative career out of it and it's awesome. I mean, if we could do that, it'd be great. But a lot of times we go out, we might make enough money to cover a month or two of bills, rent, things like that. But when I'm home, I work a job and everything, you know? And it's fine, it's a shift and everything, but it's like, after a while of being at work for maybe a month or two, I'm ready to get back out here and fuckin' do it. Even though the money isn't there and I know I'm going to lose in a sense, and when I get home, I'm going to have to bust my ass again to catch up. Sometimes you feel like, "Wow, there's so much going on, and I feel like I'm working so fuckin' hard." But, when you get on that stage and you play and everybody's having a
good time and everybody's pumpin' fists, going fuckin' crazy, you're like, "This is what it's for. This is the whole thing, this is what makes up for the damn nights of being up working ten hours a day, going into fuckin' practice after work and just doing it and doing it and doing it and coming out, and this is what happens.
I mean, if we never ever get to the "Lamb of God level" or anything like that, but we do something and a lot of people appreciate it, I guess, it's unique in it's own way, and you had a good time, I think it's awesome.
It sounds kind of addicting, in a way.
It is, in a sense. You know, it is because it's fun. But I guess that's maybe a better addiction than me being addicted on some kind of drug or some shit like that. (laughs) But yeah, it's got a small addiction to it, I'd say... Like sniffin' markers or something (laughs) or gasoline! (laughs)
I know you've talked about horror before in the past... How much of an impression would you say that horror in general has an impact on Goatwhore's music?
There's different horror movies that probably influence it-- like, it's more-- I don't think it has to do with maybe the music, but maybe some of the writing and stuff like that, the lyrics, because there's a lot of unique horror movies out there from old, to new stuff. Even in different cultures. I've come to the terms where American cinemas have gotten kind of lame and then you find out that they have all these great movies in all these different countries coming from Japan, China, over seas, Europe, and things like that; their ideas are kind of new. It's funny too, because the American market has grabbed on and been like, "Oh, well that's interesting!" And then they redo it. But it doesn't quite touch like it was originally done. But it starts to make you think, different cultures have different ideas of the basis of fear and the haunting and things like that, and the way their beliefs are in things, and it's cool to see the different ideas and
everything. I don't mind the subtitles and everything, its got its uniqueness to it as well, but it's cool because it does and generates a thing in your head to give you different ideas and everything to chase down stuff.
You've also said that you want to use Dantes Inferno to inspire your lyrics?
Yeah, yeah, yeah. I have a book at home, it's thick, it's all of Dante's Inferno, illustrated by Gustave Dor. That story just in general is fuckin' amazing just because it touches a-- I'd say all these people with the Bible and everything, it's like why don't you get rid of that and read something like that [Dante's Inferno]? Because it's more, to me, ground-breaking and deeper and the ideas of things, is just like, layers of Hell and all of these other fuckin' things, it's very unique, man. I don't think it influences me more now because I've used so much in the past with it, you know? But I'm sure I go-- every now and then something kind of pulls up from the past because it never leaves you, you know? You kinda dig back or you go back to it and find something you really never noticed before, as well. There's a lot of books too I use to write lyrics, like art books; where I look at the art and the imagery gives me ideas in-- like, there's this one guy
named Wayne Barlowe, he does some crazy stuff, and he did a book on his basis of Dante's Inferno, and it's all art. It's really fuckin' unique, man. You should pick it up. Even like artists, like photography stuff, like Joel-Peter Witkin, it's really disturbing stuff. But sometimes, the images-- I just kind of drift through them, but sometimes they catch me and they give me an idea, and I can write like a paragraph about it, so sometimes just a book with pictures create kind of an element as well. And then you kind of run off with it in your own kind of idea.
What songs were influenced by Dante's Inferno?
Ummm... Probably a lot of things like earlier stuff like, Sky Inferno, Baptized in a Storm of Swords. Baptized in a Storm of Swords from Funeral Dirge [for the Rotting Sun] was a lot of mixture of Dante's Inferno and also like a personal thing when I was-- 'cause I was in an accident and I was in a wheelchair, I went through nine surgeries, and there was like, it's intertwined with ideas I kinda fuckin' created when I was in the hospital, kinda like disturbing kind of things about being in the whole hospital regimen and going through surgeries and things like that. And then also Joel-Peter Witkin stuff too, 'cause he's got-- he does this really crazy photography stuff, and a lot of it's pretty disturbing, but there's some aspects of it that, that-- I can't explain it, man.
They're unique and beautiful in a fuckin' odd way, (laughs) but they conjure up a lot of thoughts that kind of fill in for really good lyrics, as well. So, I got a lot of variation in how I do my lyrics, like from looking at art stuff, to photography stuff, and reading stuff, and also researching stuff; 'cause I'll research a lot of things, like within religious structures, within Satanism, within you know-- I'm not going to be like this person that leaves out an element.
Usually I'll take organized religious structures and I'll make puns of things and songs about them as well because I have this bad-- I guess a hatred with organized religion, you know? When I say that, I just don't categorize like, "Oh, we're going after the Christians, or whatever." I don't like any kind of religious structure. It's-- to me, it's like a crutch. I think mankind is a better brain than that actually to deal with that, you know?
It trips me out that in this day-in-age that's so advanced to what man is, still embraces that so much. It's kind of confusing, man's making phones smarter than people, at this point. You know, smart phone is smarter than the person, in a sense, that's using it. But, man can't get over the idea of keeping religion so close and everything. I mean, I understand that some people need something because they fear death and they fear what's going to happen in the after-life, but I think the concern is what's going on now, and not what's going on then. You should care about more the people around you, and what's going on here. I know it's weird because I'm being positive and I play in an evil band, but it's the structure of things. It's almost like, "Are you so blind to see that you're worried about that, when you should be worried about everything now."
A lot of religions are hypocrisy, I mean, like with the Bible, any religious book, and churches, churches teach what they want; their version of what the Bible or whatever is, not really what's in it. It's cult-like.
Yeah, yeah. It's not only that, too, I can't stand that it's still involved in politics, as well. There was always supposed to be this separation of church and state, but it's still in there because people always concern, "Well, is our president a Christian? Is he Catholic? Is this guy running?" You know, this or that. It's just like, what matters is what he's going to do, or what she's going to do, not what their religious denomination is; it's not going to change anything. An angel's not going to come down and sprout wings and offer us free health care for Christ's sakes. (laughs) I could go on for days about it, but you know, you get the point. It's like what I was saying, in Apocalyptic Havoc, we say, "Who needs a God, when you've got Satan?" We say, "A God." We don't say, "Who needs God?" We say, "A God." Because it's more open and it covers the terrain of everything.
How do you express your passion and emotion through your music whether it be with Goatwhore or Soilent Green?
I guess like, in the writing and then in the performing because it definitely triggers, ok so you write, you write, and you write; some stuff you write and you're just like, "Eh, this is terrible. It's not coming across how I want it to come across." You know, just like anything, you go through these little trails of things, and then sometimes you hit it. It's like I said, I jot down things pretty much all the time, I use my phone now, open notes, if I think of one line, I jot it down. If I think of a paragraph of shit, I jot it all down, and then I just let them build up, and build up, and build up, and then when it's time to go put stuff in songs, I go through all of them and I pick out elements I think fit with the idea I'm going to write about.
It's kind of like I plagiarize from myself, like I write all of these things down, then I steal all of these things, and I make a song with it. That's the part where it starts to get you going. It's like once you start fitting them in, and then you're going over it with the song, and then you're practicing with the song, and sometimes you come to it, and you'll be like, "Ah, it's just not workin', it's not working."
Like, a perfect example would be, on Carving Out the Eyes of God, Razor Flesh Devoured, I had a problem with the song when I started recording it. I had all the lyrics, it felt comfortable, but then when I started going in with it, things weren't coming out quite right. So, I was like, "Scratch it!" And then, I came back, and I changed a bunch of shit in it, and it hit and it flowed better, and then I caught onto it, the wheel just started going, and it took off from there. And then from there, you feel comfortable with it, the whole song, and when you hit the stage with it, that's even more of the cycle and it steps even further and takes off. So it's all like a wheel or a snowball going down a hill, and it gets bigger and bigger and bigger, and it just fuckin' goes.
You've said before that music gives people a freedom, tell me how it gives you a freedom?
Well, just like anybody else, like when you come to a show, you leave all the bullshit at home, you come here and you leave whatever issues you had; you had a bad day, a bad week, it's just not going right, your boyfriend did something stupid, your girlfriend did something stupid, anything, any kind of situation, just a bad day at work, somebody smashed into your fuckin' vehicle, whatever. You come to a situation like this, and you leave it all behind, and you have a good fuckin' time, you know, whatever. You get a few drinks or you don't get a few drinks, but you come and you have a good time.
It's the same thing, when we get in a practice room, we go into the practice room and that's the element, at that point. And when we're out here, that's the element at that point, that's what we're doing, that's what we're focusing on. It's not like we roll into the practice room, and I'm telling Sammy [Duet], "Oh, work was shitty ALL day, fuck this shit, fuck life, fuck that." You know, it's just like it's in the practice room, and that's what we're doing, we're focusing on the things, pretty much-- it's like a release. You're letting it all go there, in the writing, in the music, and everything like that.
Those are all of my questions, would you like to add anything else?
I would like to say this tour is pretty much our last tour for Carving Out the Eyes of God because we really need to sit down at home and start getting on the music for our new stuff a little more, you know? We've been out on the road for a while, so I'm sure people have seen enough of us. It's probably time for us to start working on some new stuff and get it done. And we'll probably be going to the studio sometime close to late spring and early summer, somewhere up in there.
Death metal psychopaths ABORTED have issued the following update:
"We are starting pre-productions for our upcoming record on January 4th. This means we will demo all the songs for the record, make sure everything sounds good and make the necessary adjustments to make sure they are all more lethal than a chainsaw in Mr. Leatherface's hands.
"We're all very excited about the material thus far and can't wait to get this over with and proceed to the actual recordings later this year. Expect a fall 2011 release through our partners in mayhem Century Media."
ABORTED vocalist Sven De Caluwé previously stated about the group's new material, "The aim is to have about 11 ready for the record and two bonus tracks because, well, 2011 is going to be a special year for ABORTED. We have the whole concept written out and there won't be any spoilers yet but I think there will be quite some surprises for everyone, in a good, horrific ABORTED way, of corpse! The material itself is definitely good ole ABORTED.
"As we said with 'Coronary Reconstruction', we are getting that old-school brutal vibe back mixing it up with some newer stuff. All I can say is this is definitely some [of], if not the most punishing material the band has ever written, we are going to bpms that we never went to before, some of the riffing is pretty damn technical. Imagine a bastard child of 'Engineering The Dead', 'Goremageddon' and 'Archaic' on steroids. That, and of course, some new elements as we don't really like to write the same record twice."
ABORTED's recent "Machines Of Grind/Terrorizer Tourture" European tour with ROTTEN SOUND was the first trek featuring the band's new lineup, which released a new EP entitled "Coronary Reconstruction". The EP was made available as a limited-edition digipack sold through the band and Indiemerch, containing four new tracks and a cover of ENTOMBED's "Left Hand Path". The artwork for "Coronary Reconstruction" was created by Justin Osbourn from Slasher design and comprises the most gruesome and disgusting art the band ever had.
Swedish black metallers MÖRKER have issued the following update:
"We are currently working on album #3 and it's going quite well so far. Music for two songs are ready and we're hoping to finish the writing process in the coming months. We're really excited about this and we're already feeling that the songs will be the best we're ever done. We're aiming for a late 2011 release. Hopefully everything goes as we've planned and as we're writing we'll maybe record a few demo versions and then upload a few teasers. Since we believe that you guys deserve to hear some of the best MÖRKER songs that's ever been written!"
MÖRKER's sophomore album, "Höstmakter", came out in 2008 via Germany's Northern Silence Productions.
MÖRKER is:
Ascaroth - Vocals, Backing Vocals
Grimner - Guitar, Acoustic Guitar, Bass
Larssa - Synthezisers, Piano
Nicke - Session Drums
Icelandic death metallers SEVERED CROTCH have inked a deal with Japan's Amputated Vein Records for the release of the band's debut full-length album, "The Nature Of Entropy", in early 2011. The CD was recorded by Ási Jóhannson and co-produced by SEVERED CROTCH.
According to a press release, "SEVERED CROTCH has been at the forefront of the new wave of Icelandic death metal the past few years since their formation. Their brand of death metal blends various influences together to create a mix of progressive technical brutality interspersed with old school homage.
"'The Nature Of Entropy' exhibits scrupulous guitar work and spiraling bass lines complemented by unconfined drum patterns and a ferocious vocal assault. [It] is mandatory for fans of GORGUTS, SUFFOCATION, CEPHALIC CARNAGE, and just about any death metal enthusiast!"
"The Nature Of Entropy" track listing:
01. Precursor To Entropy
02. Breeding Failure
03. Ecstasy In Death
04. Human Recipes
05. XII
06. Soul Cremation
07. A Breath Of Hatred
08. The Nature Of Infidelity
09. Caught In Transcendence
For more information, visit severedcrotch.bandcamp.com.
VADER, DESTRUCTION, MELECHESH, SCAR SYMMETRY, REVAMP and SYLOSIS have been confirmed for next year's installment of the Summer Breeze festival, set to take place August 18-20, 2011 in Dinkelsbühl, Germany.
The festival billing is shaping up as follows (in alphabetical order):
ARCH ENEMY
BOLT THROWER
CALIBAN
CORVUS CORAX
DECAPITATED
DESTRUCTION
EXCREMENTORY GRINDFUCKERS
FARMER BOYS
HAIL OF BULLETS
HATEBREED
HAYSEED DIXIE
J.B.O.
KALMAH
KAMPFAR
KVELERTAK
MARDUK
MELECHESH
MOONSORROW
PRIMORDIAL
REVAMP
SALTATIO MORTIS
SCAR SYMMETRY
SKELETONWITCH
SODOM
SONIC SYNDICATE
SYLOSIS
TARJA
THE HAUNTED
TURISAS
TÝR
VADER
VOMITORY
WITCHERY
Tickets can be purchased for 72 euros (excluding pre-sale fees, including parking/camping) at Silverdust-Shop.de. The first 10,000 tickets get a free DVD with live footage and impressions from the 2009 edition of the festival.
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