JUDAS PRIEST, one of the most renowned and influential heavy metal groups, has embarked on what the band is calling its final world tour, with abundant support from Meyer Sound equipment and supplier Major Tom Limited. JUDAS PRIEST's "Epitaph" tour has included Europe, South America, Mexico, and 35 stops in Canada and the U.S. The next stop is Japan in early 2012.
The Meyer Sound system includes 48 MILO line array loudspeakers, 24 700-HP and four 600-HP subwoofers, three M'elodie line array loudspeakers, and six MJF-212A stage monitors.
"It's a very full sound," says production manager and front-of-house engineer Martin Walker, who has been with JUDAS PRIEST for more than a decade. "MILO is a consistent-sounding box. I try and keep the system as flat as I can, and the coverage is great and very even. When you get side hangs, you can make that coverage seamless between the side and main hangs. I don't have to work that hard at it, to be honest."
Walker is also a fan of the 700-HP and 600-HP subwoofers. "A lot of subs just move loads of air and make a big noise, but not necessarily a musical noise," he says. "These sound very musical as well as being powerful and moving lots of air."
Monitor engineer Kevin McCarthy, who first mixed JUDAS PRIEST in 1991, says the band is especially fond of the MJF-212A stage monitors: "We struggled to find the right wedge for years, and then found the MJF-212A. JUDAS PRIEST is a guitar band and the MJF-212A duplicates the guitar sounds fantastically. They get really loud; they sound really clear. They loved them from the first day we used them."
In an atypical setup, the three M'elodie line array loudspeakers are hung pointing straight down from the front truss. "I try to keep the pit and edge of the stage clear because the band will use every inch of the stage," Walker explains. "It was an idea I had a long time ago, to put the in-fill up high and point it down. It works really well and keeps the stage clear."
The front-of-house package is comprised of a DiGiCo SD7 console, TC Electronic D-Two delay, Avalon compressor for the lead singer's vocals, Eventide Eclipse Harmonizer, and a few Yamaha SPX990 multi-effects processors. At monitors, McCarthy mixes on a Yamaha PM5D with help from an Apogee Big Ben master clock and plug-in package from Waves. The band uses Shure microphones and wireless personal monitor systems, along with JH Audio in-ear monitors.
For a classic hard-rock band such as JUDAS PRIEST, the Meyer Sound equipment is proving to be an ideal match. "It goes as loud as you want it to," Walker says. "It can sound hi-fi, but you can also make it sound like a big rock PA. JUDAS PRIEST is a huge-sounding band, and they have plenty of dynamics, too. They have their quiet moments, which make the loud moments sound even louder."
The Meyer Sound system includes 48 MILO line array loudspeakers, 24 700-HP and four 600-HP subwoofers, three M'elodie line array loudspeakers, and six MJF-212A stage monitors.
"It's a very full sound," says production manager and front-of-house engineer Martin Walker, who has been with JUDAS PRIEST for more than a decade. "MILO is a consistent-sounding box. I try and keep the system as flat as I can, and the coverage is great and very even. When you get side hangs, you can make that coverage seamless between the side and main hangs. I don't have to work that hard at it, to be honest."
Walker is also a fan of the 700-HP and 600-HP subwoofers. "A lot of subs just move loads of air and make a big noise, but not necessarily a musical noise," he says. "These sound very musical as well as being powerful and moving lots of air."
Monitor engineer Kevin McCarthy, who first mixed JUDAS PRIEST in 1991, says the band is especially fond of the MJF-212A stage monitors: "We struggled to find the right wedge for years, and then found the MJF-212A. JUDAS PRIEST is a guitar band and the MJF-212A duplicates the guitar sounds fantastically. They get really loud; they sound really clear. They loved them from the first day we used them."
In an atypical setup, the three M'elodie line array loudspeakers are hung pointing straight down from the front truss. "I try to keep the pit and edge of the stage clear because the band will use every inch of the stage," Walker explains. "It was an idea I had a long time ago, to put the in-fill up high and point it down. It works really well and keeps the stage clear."
The front-of-house package is comprised of a DiGiCo SD7 console, TC Electronic D-Two delay, Avalon compressor for the lead singer's vocals, Eventide Eclipse Harmonizer, and a few Yamaha SPX990 multi-effects processors. At monitors, McCarthy mixes on a Yamaha PM5D with help from an Apogee Big Ben master clock and plug-in package from Waves. The band uses Shure microphones and wireless personal monitor systems, along with JH Audio in-ear monitors.
For a classic hard-rock band such as JUDAS PRIEST, the Meyer Sound equipment is proving to be an ideal match. "It goes as loud as you want it to," Walker says. "It can sound hi-fi, but you can also make it sound like a big rock PA. JUDAS PRIEST is a huge-sounding band, and they have plenty of dynamics, too. They have their quiet moments, which make the loud moments sound even louder."
Barry Clayton, the man behind the spoken-word introduction to "The Number Of The Beast", the title track of IRON MAIDEN's classic 1982 album, has died at the age of 80.
During the recording sessions for "The Number Of The Beast", the band reportedly asked the famous horror film actor Vincent Price to read the intro text to the title song. However, according to MAIDEN singer Bruce Dickinson, Price refused to do it for anything less than £25,000. The bandmembers then heard of someone who read ghost stories at Capital Radio and got him to do it instead. The man was Clayton, who had no interest in MAIDEN, but obliged when he was asked to put on a Vincent Price kind of voice.
According to the Islington Tribune, Clayton was a resident of Islington, which is in Greater London, England, for 40 years. He was a pioneer of black television and radio programming. He produced the "Black Londoners" radio program for the BBC — the first black daily radio program — from its first airing in 1974 until 1988 when he left to join Capital Radio.
Clayton's deep, booming voice is forever etched in the minds of IRON MAIDEN fans, thanks to the way he spoke those famous, ominous words that start "The Number Of The Beast":
"Woe to You Oh Earth and Sea
For the Devil sends the beast with wrath
Because he knows the time is short
Let him who have understanding
Reckon the number of the beast
For it is a human number
Its number is six hundred and sixty six."
During the recording sessions for "The Number Of The Beast", the band reportedly asked the famous horror film actor Vincent Price to read the intro text to the title song. However, according to MAIDEN singer Bruce Dickinson, Price refused to do it for anything less than £25,000. The bandmembers then heard of someone who read ghost stories at Capital Radio and got him to do it instead. The man was Clayton, who had no interest in MAIDEN, but obliged when he was asked to put on a Vincent Price kind of voice.
According to the Islington Tribune, Clayton was a resident of Islington, which is in Greater London, England, for 40 years. He was a pioneer of black television and radio programming. He produced the "Black Londoners" radio program for the BBC — the first black daily radio program — from its first airing in 1974 until 1988 when he left to join Capital Radio.
Clayton's deep, booming voice is forever etched in the minds of IRON MAIDEN fans, thanks to the way he spoke those famous, ominous words that start "The Number Of The Beast":
"Woe to You Oh Earth and Sea
For the Devil sends the beast with wrath
Because he knows the time is short
Let him who have understanding
Reckon the number of the beast
For it is a human number
Its number is six hundred and sixty six."
Zakk Wylde passed the point of needing an introduction a long time ago. All hard rock and metal fans (and even American Idol viewers) know him from his long stint as Ozzy Osbourne's guitarist and as the main man in his own band, Black Label Society. It's been business as usual of late for Zakk, which means he's been in and out of the recording studio, releasing a Christmas EP via iTunes, touring with rock legends, putting together a special BLS show for next year with strings, backing singers and other musicians, working on a book and showing up in some of the strangest places. As BLS wound down its U.S. tour with Judas Priest, Zakk discussed these things and more with Live Metal's Greg Maki.
LIVE METAL: Well, available now on iTunes, Glorious Christmas Songs That Will Make Your Black Label Heart Feel Good. It might take some people by surprise, but it makes a lot of sense to me, because the holidays and Black Label are both all about family, right?
ZAKK WYLDE: Yeah, totally. The iTunes people called me up 'cause I did the "First Noel" thing (last year). They were like, "Would Zakk want to do a couple Christmas songs?" I was like, "Yeah, of course." Somebody said, "How'd that come about?" They just asked me to record some tunes. You ask any musician if you want to go into the studio and record some tunes—it's always fun recording. Plus, I got my own studio with the Black Vatican and everything like that, so we just record there. Knocked that out just before we went out on the great Judas Priest/Thin Lizzy crusade.
How did you pick those three songs in particular ("I'll Be Home for Christmas," "O Little Town of Bethlehem" and "It's a Wonderful World")?
We just googled up while we were in the studio. We got the Pro Tools thing, so me and (engineer) Adam (Klumpp)—I said, "Just put up every Christmas song on there." So all the Christmas titles were on there. We were like, "Which one is this one, that one?" I googled up Sarah McLachlan to see what tunes she did. We just picked it off from there. She did "I'll Be Home for Christmas," so we just picked a couple of those and I learned them. We just kept her performing them, and I took an acoustic guitar and just started learning the chords, and then that was it. And then obviously, Al Jolson with "It's a Wonderful World"—same thing. We just YouTubed that and I saw a performance of him doing that. And same thing: I just put the acoustic guitar, learned all the bass notes and put the chords to it, and said, "Alright, let's record it."
Did you ever think about bringing in the full band and going full Black-Label-style on any of these?
Yeah. You had the Metal Christmas. Brian Setzer always does awesome jobs on those things when he brings the whole Brian Setzer Orchestra in and the whole nine yards. With the instrumental things, I just want to keep it mellow.
What is Christmas like back home at the Wylde compound?
Well, obviously, the kids opening Christmas presents, me and you getting tanked. (laughs) That's the way it used to be, with me having to put together toys all day. I always wondered, "How come my dad's always drunk on Christmas?" (laughs) Because he's got to put together every freakin' toy! (laughs) Our two oldest are in college now, and Hendrix is still 9, so it's still awesome with the little guy. He just goes nuts and everything like that.
It was always awesome for the kids while they were little. I used to have a Rottweiler, Dorian, he was about 150 pounds, and what I would do is I would take his footprints, get a thing of mud and I'd stick his paw print in there and have him walking around the front lawn and the front porch, so the bottom line is it looks like there was reindeer there and the whole nine yards. (laughs) The kids, we had them buying that one for years. We'd leave vegetables out there, carrots and stuff like that, for the reindeer. Me and you would be chewing it up and spitting it out all over the place. The kids were buying that for years, man.
 | |
| | |
| | |
So what about for you, growing up, when you were younger, do you have any Christmas memories that really stand out to you?
Oh yeah. I remember, somebody said, "Was there any one toy?" I was way into electric football, Evel Knievel dolls and then superhero dolls, Star Trek dolls and all that stuff. The big one was I wanted to get the Bionic Man doll. (laughs) It wasn't at the house, and I was all crushed. Then I went over to my grandmother and my aunt's, and they said, "Santa left something here for you." And I went ballistic 'cause I had my Six Million Dollar Man doll. We were just in some antique toy shop I saw the other day, and the doll was there. I was like, "Check it out (laughs), it's the Steve Austin Six Million Dollar Man doll with the bionic eye and everything like that." So it was pretty funny.
As you mentioned, you've been out on tour this fall with Judas Priest. A couple years ago, Rob Halford put out a Christmas album. Did you ever hear any of that?
Yeah. It's insane, 'cause Rob can sing his ass off. It's ridiculous. We googled that, and we were like, "Dude, check this out. Rob put out a Christmas record, man." It's pretty hysterical, man.
It's getting toward the end, but how has the Priest tour been going?
Yeah, we got two more gigs. We got tonight and, I think, tomorrow night. We all went out to dinner the other night, an end-of-the-tour-type thing. Great people. The guys are consummate pros. Every night they get up there, there is no good nights or bad nights. Every night, it's a consistent wrecking ball of doom. They've always been that way, though.
Some people were a little bummed that (guitarist) KK (Downing)'s not with them. How's Richie Faulkner doing?
Richie's amazing. Aside of having amazing chops and being an amazing player, Richie's just a great guy. With him, he's just like, "Whatever happened with the guys, it's none of my business. I'm just gonna go out there and throw down, and try and keep the machine rolling."
In Black Label, you've got Chad (Szeliga), formerly from Breaking Benjamin, playing drums. He used to also be in Hourcast. Was he with them when they toured with you earlier this year?
Yeah, and the guys met him on that thing. With Black Label, it's not like we do a cattle call and have a line around the building and audition guys like American Idol. We're past that. It's just like, who's a good drummer out there, who's a good bass player, who's a good guitar player? That's the way we go about it. Plus, any of my friends, they'll call me up and go, "Zakk, do you know any good guitar players?" A bunch of my buddies are killer players, so if you need a guitar player, hopefully he'll fit the situation. Chad's doing a great job. He's kicking ass.
You've had a bunch of drummers, especially in the past year or so. I'm getting a little worried. You're not letting them do any gardening are you?
(laughs) Exactly. We were just cracking up about that the other day, 'cause we were saying with the symbols from when we did the Order (of the Black) record. I said, "Let's do the symbols like the Zeppelin thing." And actually, somebody goes, "Do it like a Zeppelin thing with Zoso and the three circles with Bonzo and Plant and John Paul Jones." I go, "No, we got it from Prince, and Prince got it from Zeppelin, and Zeppelin got it from the druids." (laughs) It's just a trickle-down effect, and apparently, as you can see, we're the weakest, watered-down one of the batch. We were saying that for now on, after Will (Hunt) left—'cause Will's symbol's gone—I said, "For now on, the drummer's symbol is just a question mark." (laughs) And that's all it is. It's just a question mark, and it doesn't matter who's back there 'cause no one knows. (laughs) It'll either be a question mark or the Crackerjack box logo. Even we don't know what you're gonna get 'til you get to the end of the box. (laughs)
After this, in December, you're playing some shows with Guns N' Roses. I know you go back a long ways with Axl. Are you looking forward to that tour?
Yeah, catching up with the guys, and just having a laugh, laughing our balls off and just talking about goofy stuff. And getting up there and throwing down every night, and then getting a chance to watch Axl and the guys kick some ass. It's just like the same thing with the Priest guys. We go up there and just watch the guys, and it's awesome.
This happened a while ago and I'm sure you've talked about it a lot, but back in the mid-'90s, you kind of jammed with Axl and the guys a little bit. What actually happened back then?
We were jamming stuff at the rehearsal place and at the complex. Nothing was really going on. I was playing with the boss at the same time, 'cause we recorded Ozzmosis. Ozz was like, "Zakk, are you jamming with them? Eventually, I'm gonna have to know. We're gonna start doing this tour." I go, "Of course, I wouldn't leave or do anything like that." Ozz was like, "Zakk, I can't blame you. If you wanna go jam with them, knock yourself out." I'm like, "Of course, Ozz, I'm not gonna leave you hanging. Without you, I wouldn't even be talking to the guys." And without Ozzy, there'd be no Black Label. That's just a fact. So the whole thing is, nothing was going on, and then Ozzy just got to the point where he was like, "Zakk, I gotta get another guitar player." I'm like, "Ozz, I don't blame you." I'm like, I'm sitting around here, I don't know whether we're coming or going, or whether we're gonna do this thing or not do this thing. So nothing was happening with the boss. That's when Joe Holmes came in, and Joe's a killer player. Joe came in, and then after that, nothing was happening. We were just sitting around. I had riffs laying around, and I was like, "Fuck it, I'll just go do it myself."
I gotta work, dude. It really doesn't matter how much dough you have. You could be the richest dude on the planet. I still gotta wake up every day knowing I got something going on. What is my purpose for getting up? George Foreman said it. After he retired from fighting, he was sitting around, he said, "Now I can finally go fishing. And then, after a while, it's like, 'I really am tired of fishing.'" (laughs)
I've never gone on a vacation in my life 'cause they're boring. I'd go, "What am I doing here?" I'm not really a beach guy 'cause with my white, pasty, Mick/Kraut skin, I'm a couple shades away from clear. Sitting out in the sun and getting sand up my ass is really not my idea of a good time. Whenever we go out on these things, it would just be me and you sitting at the bar. Barb and the kids would be out. That's not my thing. It's a 103 degrees out, and you want me to sit around and act like I'm having a good time? I'll be at the bar with the air conditioning, chilling out, and I'll be watching football. You can knock yourself out. I'll go to the weight room, go back to the bar, then I'm gonna go jam on the guitar for a bit, and then I'm gonna go back to the bar, then I'm gonna go back, jam for a bit, then back to the bar, and then start all over again tomorrow. Knock yourself out. I could be doing this at the house. How much is this costing me? $8,000? I'm like, "Just remind me not to send me on any of these trips again. I could think of plenty of other things to do with $8,000 to $10,000."
Another thing you've been talking about, that's been in the works, is this acoustic or, as you've been calling it, the "unblackened" live DVD. Where are you on putting that together?
Probably, after we get done, I think it's in January, we're gonna start working on this thing. Just two weeks of solid rehearsals, just going over songs, dialing everything in. We'll have probably a week of rehearsals with the string section, pedal steel, dial in the background singers. So we're gonna blow it up. But it'll still have electric solos and stuff like that. It's not just gonna be all acoustic guitars, just the band and acoustic guitars and mellow drums or anything like that. It's gonna be full-blown.
Is this something you would take on tour next year or that would just be a special show?
Maybe. Obviously, between bringing a four-piece string section out, a pedal steel guy, it's gonna cost a lot of dough. So I don't know if it's feasible money-wise to be bringing that many people out.
You always have so much going on. The book, Bringing Metal to the Children, is due out next year. It's been kind of delayed a bit. But what can you tell me about that?
| \ | |
| | |
A new literary masterpiece up there with Gone with the Wind. It's basically a literary bible of stupidity. (laughs) Me and (co-author) Eric (Hendrikx) were writing the thing, we were just laughing our balls off when we were writing some of this stuff. A lot of the situations are really real. It's me talking about a lot of real situations that have actually happened and talking about how ridiculous the music business is.
The whole thing is, you've got your posters of Jimmy Page up on the wall and Randy Rhoads and Eddie Van Halen and Jimi Hendrix, Frank Marino, Robin Trower—all my favorite guys—and you practice your balls off 'til your fingers and your hands are bleeding to hone your craft, and anything after that just basically goes down the shitter. It's one rude wakeup call after another.
But that's what makes the music business what it is. The cast of characters that you get—there really is no job qualifications to be in the music business. If I have a license to scuba dive and weld, I have to get a license to do that. To be a doctor, I have to have a degree. To be a brain surgeon, I have to go to school and get a degree. And I have proof that I can do this. What proof do I have that I can run the music business? (laughs) Nothing! The reason why you're my manager? Because we went to high school together. That's pretty much it. And we used to have a lemonade stand when we were 6 years old. (laughs) And now you're gonna be my manager. Does he know anything about contracts? We'll figure it out as we're going along. Who's your manager? Oh, that's my buddy, Andy. That massive, big dude? Yeah, yeah, he used to bounce at a tit bar that I used to work at. (laughs)
Sounds qualified.
Yeah, I think he'll do fine. It really doesn't matter. That's the funniest thing, dude. But that's what makes it so great. That's why you get all these characters. Everybody I know is like a walking cartoon character. You can't even make them up.
This past year, you've been showing up in some unexpected places, like American Idol. How did that come about?
Father (Chris) Jericho was doing Dancing with the Stars, so we were ribbing him about that thing. He gave me a call. He goes, "Zakk, we're right next to the set of American Idol. James Durbin, he's a good kid. He digs Ozzy, Black Label and all this other stuff. They're letting them do songs from movies, and he picked Heavy Metal. So they're gonna do Sammy Hagar's song, 'Heavy Metal.'" I said, "Oh, cool." He goes, "We were just shooting the shit. I was telling him about some of our drinking stories, and he goes, 'Oh man, it'd be great if you could get Zakk to come down. That would be amazing.'" It was that easy. It would be like you just calling me up, going, "Zakk, you wanna come down?" "Yeah, no problem. Where do you want me to meet you?" "Here's the address for American Idol. Just come on down on Tuesday." "Alright, no problem. See ya on Tuesday." It was that easy.
So I met Randy Jackson. I met J.Lo. I kissed her. She got a massive wart on the side of her face, had surgery to take it off. I got a picture with her. She told me to leave her trailer and never to see her again. It was a good time. (laughs)
So when are we gonna see you on Dancing with the Stars then?
(laughs) Dude, that should be a pay-per-view event right there, Dancing with the Idiots. You get Kerry King, you get me, you get Phil Anselmo—you get all the tough guys—Tom Araya. (laughs) You get all these guys. Get some of the guys in the death metal bands that burn down churches and stuff like that. You get some of these clowns dancing. You get some of the guys in Gwar. And then now, you have a true Dancing with the Stars. The whole concept of the show is, who continues is not who danced the best, it's who sucked the least. (laughs) It's basically a bunch of guys who have no business dancing, who can't dance and don't want to dance—dancing. (laughs) I didn't even dance at my prom. It's stupid. What do I wanna dance for?! So you just put that concept in, with a bunch of idiots, and it'll be wonderful. That's a pay-per-view event. That's bigger than TV.
You also collaborated with William Shatner on a new version of "Iron Man." That's pretty interesting. How did that happen?
Well, the guys that were working on the record, they called me up. I've known them for years. They called me up and said, "Zakk, we're doing this record with Father Shatner. You want to jam on it?" I said, "Yeah, of course." How many people can say they played for the Prince of Darkness and the greatest Starfleet commander of all time? That was a no-brainer. Father Shatner came down. I went to Star Trek conventions when I was like 10 years old, so I remember seeing him then. I had Star Trek dolls and the whole nine yards. Super-cool dude.
The crazy thing is he's 80 years old. My dad passed away not too long ago. My dad was 89. He would have more in common talking with my father than he would with Ozzy. Ozzy's a baby next to him. It's like if you talk about William Shatner, "What was he, Vietnam generation?" No, that's Ozzy's generation. He's closer to World War II generation. It's crazy when you think about it. We were just trying to comprehend that. Ozzy's 20 years younger than him. He was already 40-something years old when Ozzy was 20 and started doing Sabbath.
Well, what else do you have going on? (laughs) It seems like we've covered a lot here.
Aside of trying to split the atom, trying to figure out how you can get non-alcoholic beer to get you loaded. (laughs) Aside of that, just hitting the gym and making sure I look sexy for the big hot rock show.
LINKS
www.blacklabelsociety.com
www.zakkwylde.com
www.twitter.com/ZakkWyldeBLS
www.facebook.com/blacklabelsociety
www.theblacklabelorder.com
www.blacklabelsociety.com
www.zakkwylde.com
www.twitter.com/ZakkWyldeBLS
www.facebook.com/blacklabelsociety
www.theblacklabelorder.com
STRATOVARIUS' November 19, 2011 concert at Pakkahuone in Tampere, Finland was filmed for future DVD release. The show was part of the band's "Jörg Farewell Tour" — the last one to feature STRATOVARIUS' longtime drummer Jörg Michael, who is leaving the group for personal reasons. Jörg, who has been in the band for sixteen years, will play all the remaining tour dates until the end of January.
STRATOVARIUS is inviting its fans to come up with a title for the forthcoming DVD by posting their suggestions on the band's official Facebook page. The winner will receive two copies of the DVD and a credit in the liner notes.
You must have an active Facebook account to take part.
STRATOVARIUS' setlist for the Tampere concert was as follows:
01. Under Flaming Skies
02. I Walk To My Own Song
03. Speed Of Light
04. The Kiss Of Judas
05. Deep Unknown
06. Eagleheart
07. Paradise
08. Visions (Southern Cross)
09. Coming Home
10. Legions
11. Darkest Hours
Encore:
12. Burn (DEEP PURPLE cover)
13. Behind Blue Eyes (THE WHO cover)
14. I Don't Believe In Love (QUEENSRŸCHE cover)
15. Winter Skies
16. Black Diamond
Encore 2:
17. Father Time
18. Hunting High And Low
STRATOVARIUS is inviting its fans to come up with a title for the forthcoming DVD by posting their suggestions on the band's official Facebook page. The winner will receive two copies of the DVD and a credit in the liner notes.
You must have an active Facebook account to take part.
STRATOVARIUS' setlist for the Tampere concert was as follows:
01. Under Flaming Skies
02. I Walk To My Own Song
03. Speed Of Light
04. The Kiss Of Judas
05. Deep Unknown
06. Eagleheart
07. Paradise
08. Visions (Southern Cross)
09. Coming Home
10. Legions
11. Darkest Hours
Encore:
12. Burn (DEEP PURPLE cover)
13. Behind Blue Eyes (THE WHO cover)
14. I Don't Believe In Love (QUEENSRŸCHE cover)
15. Winter Skies
16. Black Diamond
Encore 2:
17. Father Time
18. Hunting High And Low
Jörg joined STRATOVARIUS in 1995 and made his recording debut with the band on the "Episode" album (1996). He has appeared on nine full-length releases from STRATOVARIUS and has played nearly 1,000 shows with the band.
Commented STRATOVARIUS singer Timo Kotipelto: "The rest of us just has to accept Jörg's decision with a lot of sadness and wish him all the best for the future. But we can also assure that the band will still go on."
STRATOVARIUS and Jörg will not completely go their separate ways, however, since Jörg will still be working for the band through his booking agency, Twisted Talent Concerts.
Commented STRATOVARIUS singer Timo Kotipelto: "The rest of us just has to accept Jörg's decision with a lot of sadness and wish him all the best for the future. But we can also assure that the band will still go on."
STRATOVARIUS and Jörg will not completely go their separate ways, however, since Jörg will still be working for the band through his booking agency, Twisted Talent Concerts.
ARCH ENEMY are going to visit Greece for two intensive live shows, on January 20 & 21, 2011.
Rock Overdose had the chance to meet Arch Enemy's sexy frontwoman, ANGELA GOSSOW, and ask her some questions...
ENJOY...
Rockoverdose.gr: Hello Angela, welcome to Rockoverdose.gr! How are you?"Khaos Legions" is the eighth album of the band that was released six months ago. Are you satisfied with the final result and what has the response been so far from fans and music press?
I am well, thank you. I am finally getting a few days off between Christmas and New Years Eve.. Response has been really good. We can tell by the fact that more and more people come to our live shows J
Rockoverdose.gr: Where did the album title come from?
I came up with it. It is a great headline for the album concept and it's also a good way to describe our fans.
Rockoverdose.gr: Compared with the previous albums, what is in your opinion the main difference of "Khaos Legions"? I think in a way, it's more powerful with fast, sharp-riffing songs. What do you believe?
The album is more complex – we used 4 years worth of riffs and melodies. So there is a lot of stuff happening on the album. More is more – that was our approach to this record. Make it an intense journey..
Rockoverdose.gr: According to tour roadmap, you have an extremely busy schedule with shows day after day and short breaks. Where did you find all this energy in the stage during the concert?
Yes, we play a lot of shows and my workload as the manager and vocalist in Arch Enemy is immense. I have to be strong and healthy for that – so I take good care of my body, I am a vegan, I work out a lot. I will also take a year or more off after we finish the touring cycle for Khaos Legions in 2012. I need some time to re-charge my batteries. Arch Enemy will go on hiatus for a while.
Rockoverdose.gr: Would you say you prefer touring or being in the studio?
I prefer the real thing – playing live.
Rockoverdose.gr: One of my favorite tracks is "No Gods, No Masters". This song has amazing lead guitars and depressive but angry vocals, combined with deep inner lyrics. Would you like to give us more details about it?
No Gods No Masters represents what Arch Enemy is about: Anarchist Atheists. It is about finding that inner strength instead of looking for phantasy help 'from above'. It is about finding yourself really and fighting for your dreams, taking responsibility for yourself. It is quite a personal song – it reflects exactly how I feel and how I live my life.
Rockoverdose.gr: What do you like to do, to relax in your spare time?
I love working out, relaxing in a sauna, smoking weed, watching documentaries, educating myself.
Rockoverdose.gr: How would you describe yourself? Extrovert or introvert?
I have become very introvert over the years.. The more 'public' and known I am getting, the more I need privacy and silence. I am very extroverted on stage, so the rest of the day I am almost invisible.
Rockoverdose.gr: How would you like people to remember the name "Arch Enemy" after years? Have you ever thought about it?
I hope they remember us for the music we created and what we are: A dedicated, hard working, intelligent metal band which toured all over the world and broke many preconceptions and boundaries and played in many exotic places.
Rockoverdose.gr: You already know that you have a strong fan base here in Greece. Do we have to expect any surprises for your live?
Yeah, Sharlee will strip for you on stage, haha. We are known for an intense and insane live show. You like metal? You gotta witness Arch Enemy's force live!
Rockoverdose.gr: Thank you very much Angela for the great interview! It was a great honor and I wish you good luck for the upcoming gigs.
INFOS ABOUT THE LIVE SHOWS IN GREECE:
Guitarist/vocalist Matt Tuck of Welsh metallers BULLET FOR MY VALENTINE revealed via Twitter earlier today that the band will start writing material for its fourth album in three weeks.
BULLET FOR MY VALENTINE released a deluxe CD/DVD edition of its third full-length album, "Fever", titled "Fever Tour Edition", on February 15. The set featured three new songs recorded live at Xfm radio in the U.K. ("Fever", "The Last Fight" and "Bittersweet Memories") and a DVD of "Your Betrayal", "Fever" and "Waking the Demon", recorded live from Graspop Metal Meeting 2010 in Dessel, Belgium. The DVD also included videos for "Your Betrayal", "The Last Fight" and "The Making of The Last Fight" as well as a BULLET FOR MY VALENTINE track-by-track commentary of "Fever".
"Fever" sold 71,000 copies in the United States in its first week of release to debut at position No. 3 on The Billboard 200 chart. "Fever" also landed in the Top Five in Australia, the U.K., Japan, Germany, Austria and Switzerland.
In a September 2011 interview with Lithium Magazine, BULLET FOR MY VALENTINE guitarist Michael "Padge" Paget stated about "Fever", "As opposed to the other albums, this is right up there. This is definitely where we wanted to go as a band and it's definitely the right record when it comes to maturing. It's the third album; it's definitely where we wanted to go and has taken us where we want to be. It's ticking all the boxes so far and hopefully the next record does the same thing . . . We strive to write great songs and I think 'Fever' comes across as a great album, not just songs, and a complete album. You can sit down and listen to the whole thing as opposed to 'Scream, Aim, Fire'. We tried to take it back to the roots to the 'Poison' sort of thing on the new album, if you know what I mean."
BULLET FOR MY VALENTINE released a deluxe CD/DVD edition of its third full-length album, "Fever", titled "Fever Tour Edition", on February 15. The set featured three new songs recorded live at Xfm radio in the U.K. ("Fever", "The Last Fight" and "Bittersweet Memories") and a DVD of "Your Betrayal", "Fever" and "Waking the Demon", recorded live from Graspop Metal Meeting 2010 in Dessel, Belgium. The DVD also included videos for "Your Betrayal", "The Last Fight" and "The Making of The Last Fight" as well as a BULLET FOR MY VALENTINE track-by-track commentary of "Fever".
"Fever" sold 71,000 copies in the United States in its first week of release to debut at position No. 3 on The Billboard 200 chart. "Fever" also landed in the Top Five in Australia, the U.K., Japan, Germany, Austria and Switzerland.
In a September 2011 interview with Lithium Magazine, BULLET FOR MY VALENTINE guitarist Michael "Padge" Paget stated about "Fever", "As opposed to the other albums, this is right up there. This is definitely where we wanted to go as a band and it's definitely the right record when it comes to maturing. It's the third album; it's definitely where we wanted to go and has taken us where we want to be. It's ticking all the boxes so far and hopefully the next record does the same thing . . . We strive to write great songs and I think 'Fever' comes across as a great album, not just songs, and a complete album. You can sit down and listen to the whole thing as opposed to 'Scream, Aim, Fire'. We tried to take it back to the roots to the 'Poison' sort of thing on the new album, if you know what I mean."
Reunited Los Angeles heavy metal legends MALICE have inked a deal with SPV/Steamhammer. The band is currently recording updated versions of six classic MALICE metal anthems such as "Stellar Masters" and "No Haven For The Raven" as well as "four killer new tracks" for an album which is due to be released sometime early in 2012.
MALICE's current lineup includes three original members — Mick Zane on guitar, Jay Reynolds on guitar and Mark Behn on bass — alongside Pete Holmes (BLACK 'N BLUE, MICHAEL SCHENKER GROUP) on drums and James Rivera (HELSTAR, VICIOUS RUMORS, SEVEN WITCHES, FLOTSAM AND JETSAM) on vocals.
In an early 2011 interview with KNAC.COM, Zane stated about MALICE's present incarnation, "Pete's been out on the road with MICHAEL SCHENKER GROUP for the last ten years and he's doing some dates with BLACK 'N BLUE. . . We're excited to have James Rivera come in and [play] with us. He did a great job on the VICIOUS RUMORS 'Warball' record. . . Brian Allen, who did our last reunion show, is now singing with VICIOUS RUMORS and we even approached Tim 'The Ripper' Owens (JUDAS PRIEST, ICED EARTH, YNGWIE MALMSTEEN) at one point."
Regarding MALICE's forthcoming album, Zane told KNAC.COM, "We have some killer new songs in the can and we're really stoked at the thought of getting back in the studio and releasing a new MALICE record. We released a new CD of rare and unreleased tracks last year on Retrospect Records that's been doing very well. Everyone's really going to like the new stuff."
MALICE 2011 is:
* Mick Zane - Guitar
* Jay Reynolds - Guitar
* Mark Behn - Bass
* Pete Holmes (BLACK 'N BLUE, MICHAEL SCHENKER) - Drums
* James Rivera (HELSTAR, VICIOUS RUMORS, SEVEN WITCHES, FLOTSAM AND JETSAM) - Vocals
The band released an album titled "The Rare And Unreleased" last year on Retrospect Records.
MALICE's two Atlantic releases — "In the Beginning" (1985) and "License to Kill" (1986) — are available Stateside on WEA label Wounded Bird and have continued to sell over the years.
For more information, visit MALICE's official web site, www.malicemusic.com.
MALICE's current lineup includes three original members — Mick Zane on guitar, Jay Reynolds on guitar and Mark Behn on bass — alongside Pete Holmes (BLACK 'N BLUE, MICHAEL SCHENKER GROUP) on drums and James Rivera (HELSTAR, VICIOUS RUMORS, SEVEN WITCHES, FLOTSAM AND JETSAM) on vocals.
In an early 2011 interview with KNAC.COM, Zane stated about MALICE's present incarnation, "Pete's been out on the road with MICHAEL SCHENKER GROUP for the last ten years and he's doing some dates with BLACK 'N BLUE. . . We're excited to have James Rivera come in and [play] with us. He did a great job on the VICIOUS RUMORS 'Warball' record. . . Brian Allen, who did our last reunion show, is now singing with VICIOUS RUMORS and we even approached Tim 'The Ripper' Owens (JUDAS PRIEST, ICED EARTH, YNGWIE MALMSTEEN) at one point."
Regarding MALICE's forthcoming album, Zane told KNAC.COM, "We have some killer new songs in the can and we're really stoked at the thought of getting back in the studio and releasing a new MALICE record. We released a new CD of rare and unreleased tracks last year on Retrospect Records that's been doing very well. Everyone's really going to like the new stuff."
MALICE 2011 is:
* Mick Zane - Guitar
* Jay Reynolds - Guitar
* Mark Behn - Bass
* Pete Holmes (BLACK 'N BLUE, MICHAEL SCHENKER) - Drums
* James Rivera (HELSTAR, VICIOUS RUMORS, SEVEN WITCHES, FLOTSAM AND JETSAM) - Vocals
The band released an album titled "The Rare And Unreleased" last year on Retrospect Records.
MALICE's two Atlantic releases — "In the Beginning" (1985) and "License to Kill" (1986) — are available Stateside on WEA label Wounded Bird and have continued to sell over the years.
For more information, visit MALICE's official web site, www.malicemusic.com.
Mark Holmes of Metal Discovery conducted an interview with guitarists Esa Holopainen and Tomi Koivusaari of Finnish melancholic dark rock/metal icons AMORPHIS on November 27, 2011 in London, England. A couple of excerpts from the chat follow below.
Metal Discovery: The new album, "The Beginning Of Times", hit the top spot in the Finnish album charts and you got your highest ever position in Germany at No. 16. Even though you've been going for twenty years, is there still a sense that you're still trying to raise your profile with each new album and trying to make it bigger in different countries?
Esa: We don't think about it that way. I think we're happy if we can keep this whole thing on a level as it is now. And the charts, we know that in Finland it always does well; we've sort of got a reputation there that it always does well. But everything else, I think, is just extra and it was a big surprise for us what happened in Germany. But we don't look that much to that charts. As long as we keep the wheels running and tour, and people go to shows, I think that's what matters.
Metal Discovery: And chart-wise, I guess a higher position now equates to less CD sales than ten years ago anyway.
Esa: Yeah, and who knows what will happen in the future. Bands start selling less and less albums and I think the record companies are in trouble when they start to think about what will happen in the future.
Metal Discovery: There's a female voice on the album again, and you'd previously used female vocals on "Eclipse" and "Silent Waters". Is that something which will feature on future AMORPHIS albums or will that depend on the nature of the material you write?
Tomi: Yeah, we didn't plan it at all; it was just an idea one day before mixing starts, to bring a little bit of freshness to the sound.
Esa: Yeah, and in the studio we started to talk with the studio manager because he's a friend of ours, and we started to talk about it would be nice to have female vocals that would fit there and there but there's probably not any good vocalists available for such a short period of time. So he said that he's got a new girlfriend who is a very good singer and we were like, "Yeah, of course she's a good singer." [laughs] But we gave her a try and she's really good.
Metal Discovery: You've had the same lineup now for four albums which is the most you've ever recorded with the same lineup. Would it be fair to say that lineup stability has enhanced creativity?
Esa: Errrr….
Metal Discovery: Or at least productivity?! [laughs]
Esa: Well, we always try to come up with some new ideas but the reason our sound changed a lot in the past is because of the members changing in the band. Everybody always brings something new. Nowadays, it's easier for us to write music because everybody knows what other people are doing. We hope to bring some freshness and new ideas into our music as we don't want to be stuck with a particular formula. Even though we've used a lot of the same people producing the album and the same studio, we always try to come up with some fresh ideas and some new elements that really fit the whole concept.
Tomi: We already started to talk about what's happening in the future that something has to be changed, like maybe it's the studio or the way we are doing the album. Four albums the same, I think this is the last album with this formula.
Esa: Yeah, yeah, a little radical change! [laughs]
Metal Discovery: When re-recording the old material for the "Magic & Mayhem" album, was there a temptation to change parts of songs more than you did to fit how you've developed as players and to suit band members' styles who didn't originally record the tracks?
Esa: I think for us, at least, not really, no. We played pretty much how we played before. But some little things; I think Santeri, at least, did some additional keyboards for some songs that didn't actually have keyboards. But, yeah, it was a fun thing to do. We didn't want those old albums to be replaced by this because we play these old songs live and we have a lot of new fans, kids or whatever, and they're always like, "What is this; what are these songs?" So having an updated album…
Metal Discovery: Did you have to relearn any songs, maybe some you hadn't played live over the years?
Tomi: I think most of the songs we've played live at some point. For us it was easier. We just went into the studio.
Metal Discovery: The new album, "The Beginning Of Times", hit the top spot in the Finnish album charts and you got your highest ever position in Germany at No. 16. Even though you've been going for twenty years, is there still a sense that you're still trying to raise your profile with each new album and trying to make it bigger in different countries?
Esa: We don't think about it that way. I think we're happy if we can keep this whole thing on a level as it is now. And the charts, we know that in Finland it always does well; we've sort of got a reputation there that it always does well. But everything else, I think, is just extra and it was a big surprise for us what happened in Germany. But we don't look that much to that charts. As long as we keep the wheels running and tour, and people go to shows, I think that's what matters.
Metal Discovery: And chart-wise, I guess a higher position now equates to less CD sales than ten years ago anyway.
Esa: Yeah, and who knows what will happen in the future. Bands start selling less and less albums and I think the record companies are in trouble when they start to think about what will happen in the future.
Metal Discovery: There's a female voice on the album again, and you'd previously used female vocals on "Eclipse" and "Silent Waters". Is that something which will feature on future AMORPHIS albums or will that depend on the nature of the material you write?
Tomi: Yeah, we didn't plan it at all; it was just an idea one day before mixing starts, to bring a little bit of freshness to the sound.
Esa: Yeah, and in the studio we started to talk with the studio manager because he's a friend of ours, and we started to talk about it would be nice to have female vocals that would fit there and there but there's probably not any good vocalists available for such a short period of time. So he said that he's got a new girlfriend who is a very good singer and we were like, "Yeah, of course she's a good singer." [laughs] But we gave her a try and she's really good.
Metal Discovery: You've had the same lineup now for four albums which is the most you've ever recorded with the same lineup. Would it be fair to say that lineup stability has enhanced creativity?
Esa: Errrr….
Metal Discovery: Or at least productivity?! [laughs]
Esa: Well, we always try to come up with some new ideas but the reason our sound changed a lot in the past is because of the members changing in the band. Everybody always brings something new. Nowadays, it's easier for us to write music because everybody knows what other people are doing. We hope to bring some freshness and new ideas into our music as we don't want to be stuck with a particular formula. Even though we've used a lot of the same people producing the album and the same studio, we always try to come up with some fresh ideas and some new elements that really fit the whole concept.
Tomi: We already started to talk about what's happening in the future that something has to be changed, like maybe it's the studio or the way we are doing the album. Four albums the same, I think this is the last album with this formula.
Esa: Yeah, yeah, a little radical change! [laughs]
Metal Discovery: When re-recording the old material for the "Magic & Mayhem" album, was there a temptation to change parts of songs more than you did to fit how you've developed as players and to suit band members' styles who didn't originally record the tracks?
Esa: I think for us, at least, not really, no. We played pretty much how we played before. But some little things; I think Santeri, at least, did some additional keyboards for some songs that didn't actually have keyboards. But, yeah, it was a fun thing to do. We didn't want those old albums to be replaced by this because we play these old songs live and we have a lot of new fans, kids or whatever, and they're always like, "What is this; what are these songs?" So having an updated album…
Metal Discovery: Did you have to relearn any songs, maybe some you hadn't played live over the years?
Tomi: I think most of the songs we've played live at some point. For us it was easier. We just went into the studio.
Seven hours before his headlining set at Reggie's Rock Club in Chicago, IL, Devin Townsend and I sat down for a chat. We met in the back lounge of his tour bus, strewn with guitars, laptops, overflowing bags, a Roland practice amp, and stamped Devin Townsend picks that looked almost like collectors' items. I resisted stealing one.
It was a grey day—appropriate for a man who has rebranded himself to the world in a grey suit, showed up to our interview wearing a dark grey hoodie, and in the chill autumn midnight after the show signed autographs in a great, grey parka. Leaning back into his seat, with fingers tucked into armpits and a knit cap covering his shaved head, Devin looked a little weary. And who could blame him? He's been touring the nation for weeks, the world for months, and has released four full-length albums in barely two years. But once the conversation turned from typical tour banter to the themes underlying the arc of his career, Devin's words lit up with passion and insight. Unfortunately, the first part of our discussion is lost, as my handheld recorder has finally given up the ghost. But if any one interview had to destroy it, it might as well have been Devin's.
We pick up with the fuel that feeds Devin's creative flames, now that (most of) his demons are banished from the fireside.
Devin Townsend: The things that define what I do are things that I don't understand. But I do feel them. So I'm just trying to put across that feeling more than anything like a particular statement or whatever. A lot of people—specifically religious type of groups—feel that they've got an answer, right? And I don't believe anybody has an answer. But I think we're all talking about the same thing, if you know what I mean. So I think that what I'm trying to do is make those feelings felt rather than trying to define it. And if the things that inspire me to do that lead me in directions that are crass, heavy, brutal, pretty, stupid, or whatever, I'm just rolling with it. I just think that if I get it out there and say, "Well, this is where we were," [then it's just another extension of the exact same shit I've been talking about the whole time. If anyone says, "What are you talking about?", well, [chuckles] I have no idea. But it feels something like that [points], though.
Maximum Metal: Well, then, on a similar note, in this project of four records and this grand plan that you laid out, it was very much a self-exploration and an introspective journey that brought you to these different conclusions. And ultimately the result is neutral, in a way.
Devin Townsend: Totally, yeah.
Maximum Metal: And I've seen some of these same themes being explored since I started listening back around 'Physicist'. For instance, I've been hearing you just scream the word "burn" for a decade. Does that word have a different meaning for you now than it used to? Or in this same exploration of these themes, are you just circling around it?
Devin: Well, as I said earlier about Chicago, I like the smell of smoke—
[Laughter]
Devin: I think before I resolved my religious hang-ups, there was some kind of fear of hell, right? And then once I just started thinking, "Well, that's all bullshit," I thought that I liked the idea of burning your hang-ups. Part of the whole 'Deconstruction' thing was realizing that destroying your hang-ups wasn't an option. It's this perpetual hamster wheel that you get into trying to change the past. So 'Ghost' is about learning to live with it and merging with it and accepting that you've got to forgive yourself for being...you. Specifically if your motivations from the beginning—however skewed they've been along the way—have always been to try and do good things. But, shit, I think 'burn', on a basic level: it's just easy to scream.
MM: Hah. True, it does sound good as a metal word.
Devin: Totally. It's either that or 'Doooom'.
MM: I remember listening to the newer Celtic Frost stuff for the first time and hearing the word 'Flesh', like, 18 million times. And he sounds great singing it, right?
Devin: Oh, yeah, man. [half-whispers] 'Fleesssh.' Totally. And I think what I was trying—hopefully—to do with 'Deconstruction' was even underline that: that through all this existential crisis I've been batting around for so many years, that there really is an awareness that I'm just fucking around. And I think that's the healthiest part of this whole four-record thing. When we're talking about a 'master plan' and laying out these records, it really didn't work that way. I was just going to make one record, and I found that I just had too much material. And the brass tacks of it was that whenever I was doing interviews I was having to rationalize things that I couldn't articulate. They're like, "Well, why did you quit Strapping Young Lad?" "Well, I didn't want to do it anymore." Well, that's not going to cut it, you know? There's got to be some sort of drama, there.
So, then as I quit doing drugs and drinking and had a kid, I just started thinking. And because every time I read an interview with myself I'm saying different things, I obviously have no real clue what I'm writing about, so I might as well just go on autopilot and let it become an audio representation of what I'm feeling. Hopefully by the end of it, when I go do something else next, there won't be as many questions. Because it'll be like, "Well, there it started with 'Ki', then went on to 'Addicted!'.
It was a grey day—appropriate for a man who has rebranded himself to the world in a grey suit, showed up to our interview wearing a dark grey hoodie, and in the chill autumn midnight after the show signed autographs in a great, grey parka. Leaning back into his seat, with fingers tucked into armpits and a knit cap covering his shaved head, Devin looked a little weary. And who could blame him? He's been touring the nation for weeks, the world for months, and has released four full-length albums in barely two years. But once the conversation turned from typical tour banter to the themes underlying the arc of his career, Devin's words lit up with passion and insight. Unfortunately, the first part of our discussion is lost, as my handheld recorder has finally given up the ghost. But if any one interview had to destroy it, it might as well have been Devin's.
We pick up with the fuel that feeds Devin's creative flames, now that (most of) his demons are banished from the fireside.
Devin Townsend: The things that define what I do are things that I don't understand. But I do feel them. So I'm just trying to put across that feeling more than anything like a particular statement or whatever. A lot of people—specifically religious type of groups—feel that they've got an answer, right? And I don't believe anybody has an answer. But I think we're all talking about the same thing, if you know what I mean. So I think that what I'm trying to do is make those feelings felt rather than trying to define it. And if the things that inspire me to do that lead me in directions that are crass, heavy, brutal, pretty, stupid, or whatever, I'm just rolling with it. I just think that if I get it out there and say, "Well, this is where we were," [then it's just another extension of the exact same shit I've been talking about the whole time. If anyone says, "What are you talking about?", well, [chuckles] I have no idea. But it feels something like that [points], though.
Maximum Metal: Well, then, on a similar note, in this project of four records and this grand plan that you laid out, it was very much a self-exploration and an introspective journey that brought you to these different conclusions. And ultimately the result is neutral, in a way.
Devin Townsend: Totally, yeah.
Maximum Metal: And I've seen some of these same themes being explored since I started listening back around 'Physicist'. For instance, I've been hearing you just scream the word "burn" for a decade. Does that word have a different meaning for you now than it used to? Or in this same exploration of these themes, are you just circling around it?
Devin: Well, as I said earlier about Chicago, I like the smell of smoke—
[Laughter]
Devin: I think before I resolved my religious hang-ups, there was some kind of fear of hell, right? And then once I just started thinking, "Well, that's all bullshit," I thought that I liked the idea of burning your hang-ups. Part of the whole 'Deconstruction' thing was realizing that destroying your hang-ups wasn't an option. It's this perpetual hamster wheel that you get into trying to change the past. So 'Ghost' is about learning to live with it and merging with it and accepting that you've got to forgive yourself for being...you. Specifically if your motivations from the beginning—however skewed they've been along the way—have always been to try and do good things. But, shit, I think 'burn', on a basic level: it's just easy to scream.
MM: Hah. True, it does sound good as a metal word.
Devin: Totally. It's either that or 'Doooom'.
MM: I remember listening to the newer Celtic Frost stuff for the first time and hearing the word 'Flesh', like, 18 million times. And he sounds great singing it, right?
Devin: Oh, yeah, man. [half-whispers] 'Fleesssh.' Totally. And I think what I was trying—hopefully—to do with 'Deconstruction' was even underline that: that through all this existential crisis I've been batting around for so many years, that there really is an awareness that I'm just fucking around. And I think that's the healthiest part of this whole four-record thing. When we're talking about a 'master plan' and laying out these records, it really didn't work that way. I was just going to make one record, and I found that I just had too much material. And the brass tacks of it was that whenever I was doing interviews I was having to rationalize things that I couldn't articulate. They're like, "Well, why did you quit Strapping Young Lad?" "Well, I didn't want to do it anymore." Well, that's not going to cut it, you know? There's got to be some sort of drama, there.
So, then as I quit doing drugs and drinking and had a kid, I just started thinking. And because every time I read an interview with myself I'm saying different things, I obviously have no real clue what I'm writing about, so I might as well just go on autopilot and let it become an audio representation of what I'm feeling. Hopefully by the end of it, when I go do something else next, there won't be as many questions. Because it'll be like, "Well, there it started with 'Ki', then went on to 'Addicted!'.
| What I write in the future will be rooted in my life, you know, but I just don't think I need to worry so much about having to stick my hand in the fire to write about what burning feels like. Because I already know |
Fear the dark, your own dark, then getting over your hang-ups and realizing everything's an addiction on some level because you're trying to compensate for this, that, or the other thing. Then deconstruct it and try to figure out why you're trying to compensate and realize it's all based on your ego. On some level of thinking it's important to figure this shit out. To figure out things that are perhaps not meant to be figured out for humans, right? At that point it's, 'Well, we still have some time left in life. We're about halfway through, for sure, but what is it really that you want? I want to be happy, have a good time, hang with my buddies, I want to laugh, and play some tunes. So there's 'Ghost'. So I think at this point, now, whatever I do in the future will have a lot less to do with metaphor, meaning-of-life shit. I think it's quite obviously an age thing, too, as I'm getting older. And just...well, you're never going to win that—
[Laughter]
Devin: You know what I mean? I got a buddy in a band and they do really complicated, intense music, and we were having a conversation about it as well. You can go so far into your own mind, and keep thrilling yourself because you think you're uncovering all these things. But you're just uncovering these little bits of an infinite puzzle. And it's so tiring that, if it's infinite, who are you trying to impress? We're just trying to impress ourselves so we don't have to face the fact that we're just like our dads, and would much rather just eat pot roast and sit in front of the TV.
MM: [Laughs] Right, well, I can't complain with that sort of future.
Devin: Yeah. Well, the sooner I get to the point where I can say [pointing in various directions], 'Well, this is what you like. And this is what you don't like, and you're not going to be able to figure that out, and you don't like that. So, fuck it.' Roll with that and you're good.
MM: Well, now that you've reached this...I won't call it complete kind of peace—
Devin: [Laughs] Yeah, I can tell you that...
MM: It certainly seems that so much of your output in the past was driven by this very strong creative tension. And now that there's some kind of equilibrium, what do you think will drive you? Not just to write music, but also lyrically and ideologically?
Devin: Well, because I think I am pretty left-brained—more than I gave myself credit for—I think I've managed to really dissect emotions. At least my own. And I've been able to understand what they do, how they do it, and when. So I think that writing music now, if the story (if I ever write stories) calls for this emotion, then it's very easy for me to say, 'Ok, how do you achieve that? How does the audience come to that so that when it hits, they'll know that it's fear, or beauty?' I understand it and I don't think I necessarily have to participate in some drama to present that.
For me I think that's really cool, because it's liberating. There's going to be a certain amount of people who are going to miss that history, saying, 'You had a very personal investment in that.' And I still will. But I have no desire or need.... You know, there are some artists that say, 'We're going to write a song about the Arctic, so let's go sit in the Arctic in my underwear for two weeks.' But I've done it. I've been through a ton of shit. And I definitely made mental notes: 'Well, that's how that feels. And that's why that happened. That plus that equals that.' And I think, as we talked about math, talked about emotions—it's all the same shit. Everything's the same, right? When it comes to writing music in the future, as with the music I've been writing, I can say, 'Well, this goes here, and here, and here.' Because I'm more on autopilot than ever before now, it's simple. I think the thing that hasn't changed is that...I do believe that I'm interested in life, and I do believe that I am passionate about certain things in ways that I never was before. Because there's no gauze in front of it—it just is what it is. So what I write in the future will be rooted in my life, you know, but I just don't think I need to worry so much about having to stick my hand in the fire to write about what burning feels like. Because I already know.
MM: So it's less of a bewildered catharsis and more of an exploration of senses...?
Devin: I think it's even less of an exploration. I think now, it's just write music, you know? All the catharsis and all the drama—that was a product of me at that dramatic, exploring stage of my life. Now, I've got no need. I know what's going to happen if I fuck another chick on tour. I know what's going to happen if I do acid. I know. The age of, 'Oh, I wonder what would happen if...'. Well, you know what's going to happen, dude. In a lot of ways that's very liberating, because how much time do you waste, to be honest, going through all that 'woe is me' shit when you know exactly? The last time I did mushrooms, years ago, I remember I was all high and thinking, 'Well, you knew that this was going to happen.' You know what I mean? 'What were you expecting?' So, I think with drugs or booze or sex...there's a certain limit to where you're at the end of the road with it. You're not going to go any further, or transcend your own mind by doing a bunch of blow. You're just going to be high. So I think all the information I needed to get from those experiences in my life, I've gotten. Now it's liberating to not have to wonder.
MM: So, then, when you say that you're on autopilot now more than ever before, it's autopilot in a good way where you're allowing yourself to be following intuition—
Devin: Shit, yeah. Totally. And instinct, and all these things. There were a lot of people who were never fortunate enough to get away from all of that; I've had a good support network and good friends. The end result of any experimentation that I do...I trust myself now. I know I'm not going to do a bunch of stupid shit. Well, I'm always going to do stupid shit, but the things I may have been tempted to do in the past—even though there's still temptation—I have no doubt that I'll make the right decision when the time comes. Making these four records was almost an exercise for me of learning to forgive and consequently trust my instincts. In the past, in trusting my instincts when I was drunk or high or whatever, I made a series of really stupid mistakes. At the time, I was like, 'Oh, no, that was some mechanism in you. It's got nothing to do with your activities, you're just a bad person.' And once you get rid of those things, you're like, 'Nah, you're not a bad person; you're just high and being an idiot,' right? The consequences of your past are always there. But now I think it's kind of funny when people are like, 'Oh, you're the crazy guy,' and I'm like [waves hand], 'Yeah, ok...you got it, man.'
[Laughter]
Devin: I think that you take the past and just run with it. But now when I write, I can say, 'Oh, I guess we're going...there. Cool.' I know what to do when we go there. And lyrics are doing...this. Ok. If that's the part of the song going to these depths, or whatever, then I've got tons of things to draw on from that.
MM: Well, I think that's all I have time for, but thank you so much. I look forward to being able to sit down again next time; I didn't even begin to delve into all the musical technical items that I wanted....
Devin: Thanks, man, good interview. And it's all smoke and mirrors.
[Laughter]
Devin: You know what I mean? I got a buddy in a band and they do really complicated, intense music, and we were having a conversation about it as well. You can go so far into your own mind, and keep thrilling yourself because you think you're uncovering all these things. But you're just uncovering these little bits of an infinite puzzle. And it's so tiring that, if it's infinite, who are you trying to impress? We're just trying to impress ourselves so we don't have to face the fact that we're just like our dads, and would much rather just eat pot roast and sit in front of the TV.
MM: [Laughs] Right, well, I can't complain with that sort of future.
Devin: Yeah. Well, the sooner I get to the point where I can say [pointing in various directions], 'Well, this is what you like. And this is what you don't like, and you're not going to be able to figure that out, and you don't like that. So, fuck it.' Roll with that and you're good.
MM: Well, now that you've reached this...I won't call it complete kind of peace—
Devin: [Laughs] Yeah, I can tell you that...
MM: It certainly seems that so much of your output in the past was driven by this very strong creative tension. And now that there's some kind of equilibrium, what do you think will drive you? Not just to write music, but also lyrically and ideologically?
Devin: Well, because I think I am pretty left-brained—more than I gave myself credit for—I think I've managed to really dissect emotions. At least my own. And I've been able to understand what they do, how they do it, and when. So I think that writing music now, if the story (if I ever write stories) calls for this emotion, then it's very easy for me to say, 'Ok, how do you achieve that? How does the audience come to that so that when it hits, they'll know that it's fear, or beauty?' I understand it and I don't think I necessarily have to participate in some drama to present that.
For me I think that's really cool, because it's liberating. There's going to be a certain amount of people who are going to miss that history, saying, 'You had a very personal investment in that.' And I still will. But I have no desire or need.... You know, there are some artists that say, 'We're going to write a song about the Arctic, so let's go sit in the Arctic in my underwear for two weeks.' But I've done it. I've been through a ton of shit. And I definitely made mental notes: 'Well, that's how that feels. And that's why that happened. That plus that equals that.' And I think, as we talked about math, talked about emotions—it's all the same shit. Everything's the same, right? When it comes to writing music in the future, as with the music I've been writing, I can say, 'Well, this goes here, and here, and here.' Because I'm more on autopilot than ever before now, it's simple. I think the thing that hasn't changed is that...I do believe that I'm interested in life, and I do believe that I am passionate about certain things in ways that I never was before. Because there's no gauze in front of it—it just is what it is. So what I write in the future will be rooted in my life, you know, but I just don't think I need to worry so much about having to stick my hand in the fire to write about what burning feels like. Because I already know.
MM: So it's less of a bewildered catharsis and more of an exploration of senses...?
Devin: I think it's even less of an exploration. I think now, it's just write music, you know? All the catharsis and all the drama—that was a product of me at that dramatic, exploring stage of my life. Now, I've got no need. I know what's going to happen if I fuck another chick on tour. I know what's going to happen if I do acid. I know. The age of, 'Oh, I wonder what would happen if...'. Well, you know what's going to happen, dude. In a lot of ways that's very liberating, because how much time do you waste, to be honest, going through all that 'woe is me' shit when you know exactly? The last time I did mushrooms, years ago, I remember I was all high and thinking, 'Well, you knew that this was going to happen.' You know what I mean? 'What were you expecting?' So, I think with drugs or booze or sex...there's a certain limit to where you're at the end of the road with it. You're not going to go any further, or transcend your own mind by doing a bunch of blow. You're just going to be high. So I think all the information I needed to get from those experiences in my life, I've gotten. Now it's liberating to not have to wonder.
MM: So, then, when you say that you're on autopilot now more than ever before, it's autopilot in a good way where you're allowing yourself to be following intuition—
Devin: Shit, yeah. Totally. And instinct, and all these things. There were a lot of people who were never fortunate enough to get away from all of that; I've had a good support network and good friends. The end result of any experimentation that I do...I trust myself now. I know I'm not going to do a bunch of stupid shit. Well, I'm always going to do stupid shit, but the things I may have been tempted to do in the past—even though there's still temptation—I have no doubt that I'll make the right decision when the time comes. Making these four records was almost an exercise for me of learning to forgive and consequently trust my instincts. In the past, in trusting my instincts when I was drunk or high or whatever, I made a series of really stupid mistakes. At the time, I was like, 'Oh, no, that was some mechanism in you. It's got nothing to do with your activities, you're just a bad person.' And once you get rid of those things, you're like, 'Nah, you're not a bad person; you're just high and being an idiot,' right? The consequences of your past are always there. But now I think it's kind of funny when people are like, 'Oh, you're the crazy guy,' and I'm like [waves hand], 'Yeah, ok...you got it, man.'
[Laughter]
Devin: I think that you take the past and just run with it. But now when I write, I can say, 'Oh, I guess we're going...there. Cool.' I know what to do when we go there. And lyrics are doing...this. Ok. If that's the part of the song going to these depths, or whatever, then I've got tons of things to draw on from that.
MM: Well, I think that's all I have time for, but thank you so much. I look forward to being able to sit down again next time; I didn't even begin to delve into all the musical technical items that I wanted....
Devin: Thanks, man, good interview. And it's all smoke and mirrors.
German female-fronted rockers SKEW SISKIN have announced the addition of bassist Jan Le Grow to the group's ranks. SKEW SISKIN states, "Jan has the right attitude and fits in the band both musically and personally."
During SKEW SISKIN's bassist search, the band re-released some of the cover songs it recorded, including MOTÖRHEAD's "Boogeyman" and THE WHO's "My Generation" and "Young Man".
SKEW SISKIN released its latest album, "Peace Breaker", in May 2007 via Monongo Records.
During SKEW SISKIN's bassist search, the band re-released some of the cover songs it recorded, including MOTÖRHEAD's "Boogeyman" and THE WHO's "My Generation" and "Young Man".
SKEW SISKIN released its latest album, "Peace Breaker", in May 2007 via Monongo Records.
English metallers FOREFATHER have just released their new album, entitled "Last Of The Line", through Seven Kingdoms.
The track listing for the effort is as follows:
01. Cometh The King
02. Last Of The Line
03. Chorus Of Steel
04. By Thy Deeds
05. Up High
06. Wolves Of Prayer
07. Wyrda Gesceaft
08. Doomsday Dawns
09. Shadows Of The Dead
10. Spears Of Faith
11. The Downfallen
12. Into The Rising Sun
A preview sample of the title track is available at the band's MySpace page.
FOREFATHER is the creation of brothers Athelstan and Wulfstan, begun in Surrey, England in 1997. With influences drawn from across the metal spectrum, from IRON MAIDEN to BURZUM, FOREFATHER's music doesn't fit easily in any particular sub-genre, but many people find the pagan metal tag most appropriate. Whereas many Scandinavian bands are guided lyrically by their Viking heritage, FOREFATHER frequently looks to England's Anglo-Saxon roots for inspiration. With six albums under their belts, including "Last Of The Line", FOREFATHER has gained the respect and recognition of many critics and fans while carving a distinctive niche in the metal world.
The track listing for the effort is as follows:
01. Cometh The King
02. Last Of The Line
03. Chorus Of Steel
04. By Thy Deeds
05. Up High
06. Wolves Of Prayer
07. Wyrda Gesceaft
08. Doomsday Dawns
09. Shadows Of The Dead
10. Spears Of Faith
11. The Downfallen
12. Into The Rising Sun
A preview sample of the title track is available at the band's MySpace page.
FOREFATHER is the creation of brothers Athelstan and Wulfstan, begun in Surrey, England in 1997. With influences drawn from across the metal spectrum, from IRON MAIDEN to BURZUM, FOREFATHER's music doesn't fit easily in any particular sub-genre, but many people find the pagan metal tag most appropriate. Whereas many Scandinavian bands are guided lyrically by their Viking heritage, FOREFATHER frequently looks to England's Anglo-Saxon roots for inspiration. With six albums under their belts, including "Last Of The Line", FOREFATHER has gained the respect and recognition of many critics and fans while carving a distinctive niche in the metal world.
Three former members of the Baltimore-based sludge/thrash/hardcore act SWARM OF THE LOTUS have joined forces with vocalist Jason Borowy in a brand new project called GRAVEN. The band states, "[Jason] is an old friend as well as a sick vocalist and has played in local Baltimore area bands, which some of you may remember, DEADLAMB, SET THE WHORE ON FIRE and LAST PIG IN THE YARD. The first two being with our own drummer, Chris Csar. It's a natural fit, personally and stylistically, and [we] feel it's a good marriage. We've had a few rehearsals and he already has vocals/lyrics for three out of the five tracks on the forthcoming EP. Our focus now, as well as his, is to get in the studio [as soon as possible] to finish that up and get it out. We're very excited about this and the practices we've had have been sick. Sends everything over the top and finally puts the icing on the cake."
GRAVEN is:
Peter Maturi - Guitar
Chris Csar - Drums
Bobby "Digital" Brockmeyer - Guitar
Jason Borowy - Vocals
GRAVEN is:
Peter Maturi - Guitar
Chris Csar - Drums
Bobby "Digital" Brockmeyer - Guitar
Jason Borowy - Vocals
Los Angeles thrashers ANGER AS ART have entered Trench Studio in Corona, California to begin recording their fourth album, "Hubris Inc." for a 2012 release.
Songtitles set to appear on the CD:
* Hubris Inc. (intro)
* This is Why I Hate
* Pieces Of Red
* Divided We Fall
* As The Exhalted Seethe
* Time Devours Life
* Gods Of Hate
* Head Of The Snake
* Anger Is The Reason
* The Evil You Create
*Pearls Before Swine
* Never Forgive Never Forget
Bonus tracks:
* Speed Kills
* Rage And Retribution
ANGER AS ART's concert DVD, "Live Dissent", was released last year. The disc features footage from the February 21, 2010 concert at the Galaxy Theatre in Santa Ana, California, clips of the band on tour in Europe and in the USA, and a segment of the recording process for the "Disfigure" album.
ANGER AS ART's third album, "Disfigure", was released in November 2009 via Old School Metal Records. The bulk of the tracking was done at Trench Studio in Corona, California with John Haddad, while the vocals and "extra stuff" was overseen by Chris Trent at CT Audio.
ANGER AS ART's current lineup:
Steve Gaines - Vocals, Guitar
Angelo Espino - Bass
Rob Alaniz - Drums
Daniel Oliverio - Guitar, Vocals
* Hubris Inc. (intro)
* This is Why I Hate
* Pieces Of Red
* Divided We Fall
* As The Exhalted Seethe
* Time Devours Life
* Gods Of Hate
* Head Of The Snake
* Anger Is The Reason
* The Evil You Create
*Pearls Before Swine
* Never Forgive Never Forget
Bonus tracks:
* Speed Kills
* Rage And Retribution
ANGER AS ART's concert DVD, "Live Dissent", was released last year. The disc features footage from the February 21, 2010 concert at the Galaxy Theatre in Santa Ana, California, clips of the band on tour in Europe and in the USA, and a segment of the recording process for the "Disfigure" album.
ANGER AS ART's third album, "Disfigure", was released in November 2009 via Old School Metal Records. The bulk of the tracking was done at Trench Studio in Corona, California with John Haddad, while the vocals and "extra stuff" was overseen by Chris Trent at CT Audio.
ANGER AS ART's current lineup:
Steve Gaines - Vocals, Guitar
Angelo Espino - Bass
Rob Alaniz - Drums
Daniel Oliverio - Guitar, Vocals
Cleveland, Ohio-based metallers CHIMAIRA have issued the following update:
"We are proud to announce the addition of Matt Szlachta [DIRGE WITHIN] and Jeremy Creamer [DAATH] to CHIMAIRA.
"The plan was to build an undeniable string section and we have done just that.
"Jeremy will be pounding on the bass, and Matt shredding alongside Emil [Werstler, DAATH] on guitar.
"As a way to say hello to the CHIMAIRA fans, Jeremy recently remixed a couple of tracks from [CHIMAIRA's latest album] 'The Age Of Hell'.
"We look forward to 2012.
"Thank you all for your overwhelming, and continuous support."
CHIMAIRA 2012 is:
Mark Hunter - Vocals
Matt Szlachta (DIRGE WITHIN) - Guitar
Jeremy Creamer (DAATH) - Bass
Emil Werstler (DAATH) - Guitar
Sean Zatorsky (DAATH) - Keyboards
Austin D'Amond (BLEED THE SKY, THE ELITE) - Drums
CHIMAIRA earlier in the week released a free digital EP, "The Age Of Remix Hell", via Multiupload.com.
The track listing for the effort — which, as the title suggests, contains remixed versions of songs from CHIMAIRA's latest album, "The Age Of Hell" — is as follows:
01. Year Of The Snake (Dubba Jonny Mix)
02. Clockwork (Hunter Mix)
03. Year Of The Snake (Allinaline Mix)
04. Losing My Mind (Allinaline Mix)
"The Age Of Hell" sold more than 7,000 copies in the United States in its first week of release to debut at position No. 54 on The Billboard 200 chart. The band's previous CD, "The Infection", opened with 15,000 units back in April 2009 to land at No. 30. This figure was roughly in line with the first-week tally registered by CHIMAIRA's 2007 album, "Resurrection", which shifted 16,000 copies to enter the chart at No. 42.
"The Age Of Hell" was released in the U.S. on August 16 via eOne Music; in Germany on August 26; and in the United Kingdom, Australia and the rest of Europe on August 29 through Long Branch Records.
"We are proud to announce the addition of Matt Szlachta [DIRGE WITHIN] and Jeremy Creamer [DAATH] to CHIMAIRA.
"The plan was to build an undeniable string section and we have done just that.
"Jeremy will be pounding on the bass, and Matt shredding alongside Emil [Werstler, DAATH] on guitar.
"As a way to say hello to the CHIMAIRA fans, Jeremy recently remixed a couple of tracks from [CHIMAIRA's latest album] 'The Age Of Hell'.
"We look forward to 2012.
"Thank you all for your overwhelming, and continuous support."
CHIMAIRA 2012 is:
Mark Hunter - Vocals
Matt Szlachta (DIRGE WITHIN) - Guitar
Jeremy Creamer (DAATH) - Bass
Emil Werstler (DAATH) - Guitar
Sean Zatorsky (DAATH) - Keyboards
Austin D'Amond (BLEED THE SKY, THE ELITE) - Drums
CHIMAIRA earlier in the week released a free digital EP, "The Age Of Remix Hell", via Multiupload.com.
The track listing for the effort — which, as the title suggests, contains remixed versions of songs from CHIMAIRA's latest album, "The Age Of Hell" — is as follows:
01. Year Of The Snake (Dubba Jonny Mix)
02. Clockwork (Hunter Mix)
03. Year Of The Snake (Allinaline Mix)
04. Losing My Mind (Allinaline Mix)
"The Age Of Hell" sold more than 7,000 copies in the United States in its first week of release to debut at position No. 54 on The Billboard 200 chart. The band's previous CD, "The Infection", opened with 15,000 units back in April 2009 to land at No. 30. This figure was roughly in line with the first-week tally registered by CHIMAIRA's 2007 album, "Resurrection", which shifted 16,000 copies to enter the chart at No. 42.
"The Age Of Hell" was released in the U.S. on August 16 via eOne Music; in Germany on August 26; and in the United Kingdom, Australia and the rest of Europe on August 29 through Long Branch Records.
Canadian label War On Music has announced the long-overdue vinyl release of GORGUTS' 1998 album, "Obscura". The groundbreaking record is highly regarded as an unrivalled masterpiece of the death metal genre. When it first was unleashed in 1998, "Obscura" was a drastic but not unexpected departure from the earlier more traditional death metal GORGUTS offerings. Technical, extreme, often odd and discordant but deeply compelling, "Obscura" was an album which appeared difficult at first but commanded repeated listens and unquestioned respect. Over an hour of relentless, punishing, highly evolved compositions bearing no worthy comparison, but fitting in comfortably and confidently among the highest ranks of eastern Canadian metal such as VOIVOD, CRYPTOPSY and KATAKLYSM.
Never before on vinyl, the highly anticipated monstrous onslaught will be released as a double gatefold LP available early spring 2012. Watch for release details and pre-orders at www.waronmusic.com.
Track listing:
Side A
01. Obscura
02. Earthly Love
03. The Carnal State
04. Nostalgia
Side B
05. The Art of Sombre Ecstasy
06. Clouded
Side C
07. Subtle Body
08. Rapturous Grief
09. La Vie Est Prelude… (La Morte Orgasme)
Side D
10. Illuminatus
11. Faceless Ones
12. Sweet Silence
GORGUTS recently reformed with a new lineup including genre heavyweights John Longstreth (drums; DIM MAK, ORIGIN, THE RED CHORD, SKINLESS, POSSESSION, ANGELCORPSE), Colin Marston (bass; DYSRHYTHMIA, BEHOLD... THE ARCTOPUS, BYLA, KRALLICE, INDRICOTHERE) and Kevin Hufnagel (guitar; DYSRHYTHMIA, WHILE HEAVEN WEPT, BYLA, EUCLID STREET, THE FIFTH SEASON, GREY DIVISION BLUE). They are currently putting the finishing touches on their new record, which is expected sometime in early 2012.
Never before on vinyl, the highly anticipated monstrous onslaught will be released as a double gatefold LP available early spring 2012. Watch for release details and pre-orders at www.waronmusic.com.
Track listing:
Side A
01. Obscura
02. Earthly Love
03. The Carnal State
04. Nostalgia
Side B
05. The Art of Sombre Ecstasy
06. Clouded
Side C
07. Subtle Body
08. Rapturous Grief
09. La Vie Est Prelude… (La Morte Orgasme)
Side D
10. Illuminatus
11. Faceless Ones
12. Sweet Silence
GORGUTS recently reformed with a new lineup including genre heavyweights John Longstreth (drums; DIM MAK, ORIGIN, THE RED CHORD, SKINLESS, POSSESSION, ANGELCORPSE), Colin Marston (bass; DYSRHYTHMIA, BEHOLD... THE ARCTOPUS, BYLA, KRALLICE, INDRICOTHERE) and Kevin Hufnagel (guitar; DYSRHYTHMIA, WHILE HEAVEN WEPT, BYLA, EUCLID STREET, THE FIFTH SEASON, GREY DIVISION BLUE). They are currently putting the finishing touches on their new record, which is expected sometime in early 2012.
__._,_.___
MARKETPLACE
.
__,_._,___
0 comments:
Post a Comment