LEIF EDLING Is Working On New CANDLEMASS Song: 'This Will Be A New Challenge For Me As A Songwriter'
Leif Edling is working on a new CANDLEMASS song, to be released next year. The Swedish bassist and songwriter broke the news in a Facebook post, writing: "[The track] will see the light of day early 2018. It will be a part of something bigger, something really cool that will take [CANDLEMASS] on another adventure. This will be very exciting and a new challenge for me as a songwriter." Edling, who has been unable to tour the last few years due to unspecified health problems, also revealed that he is no longer a member of AVATARIUM, the band he launched more than four years ago. "My doctors have said absolutely NO to me for work with more than one band at the time," he wrote. "They did not like it when I did THE DOOMSDAY KINGDOM album at the same time as [CANDLEMASS] 'Death Thy Lover' and they are always right, of course. As a result of this, I had another breakdown not long after 'Death Thy Lover' was ready." Although Edling is not a member of AVATARIUM anymore, he will continue to work with the band in the future. "[AVATARIUM guitarist] Marcus [Jidell] and [singer] Jennie [Jennie-Ann Smith] are good friends so I hope that [AVATARIUM's latest album] 'Hurricanes And Halos' will get the success it deserves. I'm quite sure of it. The reviews this far have all been mindblowing! (the ones outside of Sweden anyway, hahaha!) So when the next one is due, I will definitely be contributing!" According to Leif, he will carry on with his THE DOOMSDAY KINGDOM project, which released its self-titled debut LP earlier this year. "There will definitely be another THE DOOMSDAY KINGDOM album," he said. "Next year or the year after that. Promise!" "Death Thy Lover" was released last year as CANDLEMASS's special thirtieth-anniversary EP. The four-track effort — which featured Mats Levén on vocals — was recorded during September/October 2015 and was made available as a four-page digipack, one-LP gatefold edition and one-LP gatefold webstore edition and old-school "skull-and-cross" slipmat. The cover artwork for the EP was created by Erik Rovanperä.
DAVE LOMBARDO Recalls Moment He Knew SLAYER Was Doing 'Something Special'
Former SLAYER and current SUICIDAL TENDENCIES drummer Dave Lombardo was interviewed on a recent installment of the "Peer Pleasure" podcast. You can now listen to the chat below. Asked at which point he knew that SLAYER had finally become successful, Lombardo said: "I think once we signed with Rick Rubin, once the major label interest happened, that moment, I think that was a turning point. It was, like, 'Wait, we're doing something special. We're gaining the attention of major companies, and managers as well.' I remember… Well, it was this manager. [Q Prime co-founder] Cliff Burnstein shows up at SLAYER's rehearsal. And Cliff Burnstein was about to choose whether he wanted METALLICA or SLAYER. And that happened. He obviously chose METALLICA. But there was a lot of interest [in SLAYER] from people. And, of course, we started playing bigger venues and traveling a lot more. So I think about that period was when everything just changed. We knew that we were on to something." Lombardo was effectively fired from SLAYER after sitting out the band's Australian tour in February/March 2013 due to a contract dispute with the other members of the group. He has since been replaced by Paul Bostaph, who was previously SLAYER's drummer from 1992 until 2001. Lombardo has just completed the first-ever U.S. tour with his DEAD CROSS project, which also features singer Mike Patton (FAITH NO MORE), bassist Justin Pearson (THE LOCUST, RETOX, HEAD WOUND CITY) and guitarist Michael Crain (RETOX, FESTIVAL OF DEAD DEER).
DAVE GROHL On JUSTIN TIMBERLAKE's Guest Appearance On FOO FIGHTERS Album: 'He Was Such A Pro'
FOO FIGHTERS frontman Dave Grohl spoke to U.K.'s Absolute Radio about Justin Timberlake's guest appearance on the band's new album, "Concrete And Gold". "He's the greatest," Dave said (see video below). "He's fun, he's smart, he's funny, obviously he's really talented. He's fun to hang out with. I mean, his career has taken him to quite a ride — going from the band that he was in when he was young and then going solo and then all the acting and stuff. He's really legitimized himself as an artist and a songwriter. And when he came in to sing on this song with us, he was such a pro, man — it was just like that [snaps fingers]; his pitch, his singing, everything was perfect. And then he gets behind the desk and he says, 'Okay, you might wanna roll off a little 2K on the high-frequency thing with the three-part harmony, favor this line over the others because that's the root note. He seemed like a producer, you know." Prior to announcing Timberlake as the mystery guest on "Concrete And Gold", Grohl previously described the singer and sometime actor as the "world's biggest pop star" and "more than a pop star," adding that he'd "been around a long time." In an interview with Rolling Stone, Grohl said that FOO FIGHTERS' collaboration with Timberlake came about because they were recording at the same Los Angeles studio and would hang out. Grohl explained, "We'd drink whiskey in the parking lot. He was really, really cool. Then the night before his last day, he says, 'Can I sing on your record? I don't want to push it, but — I just want to be able to tell my friends.'" Timberlake ended up doing background "la la la" vocals on the song "Make It Right". Grohl first teased fans about the collaboration in June, telling fans, "I'd never spent time with this person, and we had a blast together.” Other cameos on "Concrete And Gold" include Paul McCartney, THE BIRD AND THE BEE's Inara George, THE KILLS' Alison Mosshart and BOYZ II MEN singer Shawn Stockman. FOO FIGHTERS have lined up a fall North American tour that kicks off on October 7 in San Bernardino, California with Cal Jam 17, also featuring QUEENS OF THE STONE AGE, CAGE THE ELEPHANT, Liam Gallagher, ROYAL BLOOD, THE STRUTS and more. The rest of the tour begins on October 12 in Washington D.C.
ACE FREHLEY And GENE SIMMONS: Video Of Full KQRS 92.5 FM Interview
KISS legends Gene Simmons and Ace Frehley were interviewed together for the first time in many years on September 20 prior to performing at a charity concert at CHS Field in St. Paul, Minnesota. They were joined at the studios of the KQRS 92.5 FM radio station by CHEAP TRICK guitarist Rick Nielsen and former EAGLES lead guitarist Don Felder. The interview marked Simmons and Frehley's first joint public appearance since KISS's Rock And Roll Hall Of Fame induction in 2014. Ace and Gene did not perform at the Hall Of Fame — the organizers wanted the original quartet only to play, while Simmons and Paul Stanley insisted on the current lineup, which also includes guitarist Tommy Thayer and drummer Eric Singer, performing as well. In the end, nobody won that battle. Ace later predicted that Simmons and Stanley would "regret" the decision not to play with the original band at the event. Speaking to StarTribune shortly after the KQRS interview, Simmons said that anyone asking about any of the past friction between him and Frehley was "delusional." "Do you ever argue and scream at family members?" he said. "It's called family biz. Family is family, and you go through all kinds of things, and if that's news to you, then you're being delusional. You disagree with your mom and your dad and other family members. That's called family." Frehley also downplayed the infighting between him and his former bandmates, saying: "[Gene] was over at my house about six weeks ago, and we wrote two songs for my new album. He came to my show when I performed in Los Angeles about six months ago. Whenever I get together with Gene — or last year I got together and did a video with Paul — it's just a lot of fun." Simmons and Frehley performed together onstage for the first time in over sixteen years at The Children Matter benefit concert to support the victims of Hurricane Harvey. The event saw the two musicians sharing vocal duties for three classic KISS songs: "Parasite" from the 1974 album "Hotter Than Hell"; "Cold Gin" from KISS's self-titled 1974 debut; and "Shock Me" from 1977's "Love Gun".
Watch Former PANTERA Bassist REX BROWN Perform With His Solo Band For First Time
Former PANTERA bassist Rex Brown took his solo band out on the road for the first time earlier this month in support of his debut solo album, "Smoke On This…". Backing Rex at several shows in Germany were Joe Shadid on guitar, John Luke Hebert on drums, Francisco "Pancho" Tomaselli on bass and Lance Harvill on guitar. Fan-filmed video footage of Rex's concerts in Göttingen, Düsseldorf and Leipzig can be seen below. Prior to embarking on the German tour, Rex played a one-off show at Mercy Lounge in Nashville, Tennessee on July 14. "Smoke On This…" was released on July 28 via Entertainment One (eOne). The disc marks the first time in Brown's career in which he serves as both lead vocalist and guitarist in a band. Rex tracked lead vocals, rhythm guitars, and bass for the album, working with his primary collaborator and old friend Lance Harvill, a Nashville-based guitarist and songwriter, on the album's songs. "Lance was and is my main man on this. Everything we did was finely tuned, both musically and brotherly," Brown said. Drums were tracked by Christopher Williams, whose talent has been utilized by country music star Lee Greenwood, the reconstituted BLACKFOOT and most recently, power metal legends ACCEPT. The album was produced by New Yorker-turned-Nashville-transplant Caleb Sherman, a multi-instrumentalist with work on records by LITTLE BIG TOWN and PORTER BLOCK, among others. "Caleb produced the project from a musician's standpoint," said Brown. "Not just a typical producer's standpoint, which was something I definitely needed. Between Caleb and Lance, we were a force to be reckoned with. They really pulled out the best in me." Peter Keyes, known for his work with LYNYRD SKYNYRD, can also be heard on a few tracks. "My motto these days is 'Shake some shit up,'" Brown declared. "I've had my ups and downs, like anybody in this business. I wanted to feel like a true artist again, where I can write and record songs without worrying about any of the bullshit. This is just something else I'm doing for fun, man. And musical freedom. Fun has to come into it or I'm not going to do it. I've had a tremendous career and now I feel like I'm twenty-five years old again. This has given me that freedom I needed."
Video: MINISTRY Performs New Song 'Antifa' At Chicago's RIOT FEST
Industrial metal veterans MINISTRY played a new song called "Antifa" during their September 15 appearance at this year's edition of the Riot Fest at Douglas Park in Chicago, Illinois. Video footage of the performance can be seen below (courtesy of In The Loop magazine). "Antifa" is expected to be included on MINISTRY's next studio album, "AmeriKKKant", which will tentatively arrive in early 2018. The disc will feature guest appearances by DJ Swamp (Beck), Burton C. Bell (FEAR FACTORY), Arabian Prince (N.W.A.) and Lord Of The Cello. Fans can pre-order the album now from PledgeMusic, where they can find a number of different pledge options, including opportunities to have their name listed among the album credits, get a copy of a signed lyric sheet, a personalized signed signature Al Jourgensen guitar, a vinyl test pressing, a happy birthday message delivered as an MP3 file, various merch options and more, all at staggered pricing. In 2016, Jourgensen announced plans to record a new MINISTRY studio album to follow 2013's "From Beer To Eternity", despite previously saying there would be no further MINISTRY records after the death of longtime guitarist Mike Scaccia in 2012. Jourgensen's side project SURGICAL METH MACHINE released its self-titled debut album in April 2016 via Nuclear Blast. The CD was recorded primarily at Jourgensen's home studio in Burbank, California with his longtime engineer Sam D'Ambruoso.
Video: DEE SNIDER Performs In Ridgefield, Connecticut
Fan-filmed video footage of Dee Snider's September 22 performance at the Ridgefield Playhouse in Ridgefield, Connecticut can be seen below. During an August 17 appearance on the "Trunk Nation" show on SiriusXM channel Volume (106), Snider spoke about TWISTED SISTER's decision to call it quits last year after completing a farewell fortieth-anniversary tour. "Basically, the level of intensity that I performed at with TWISTED SISTER, I had to stop while I could still deliver that before I could no longer deliver that," the singer explained. "The headbanging, the thrashing, all that energy… Where Alice [Cooper] always seemed like a crotchety old dude, and he's crawling around the stage, that works great for a 72-year-old dude now. But what I did does not work for a 62-year-old. I mean, it's just too fucking hard to stay in the shape. Just to keep that going just got harder and harder. I said, 'I wanna stop while people are still smiling and not looking at me saying, 'Oh, remember when he was good?'' According to Snider, he has had to approach his live performance differently while touring around the world with his new solo band. "Everything I'm doing now, there's no more headbanging involved," he said. "My neck just about had it. And with TWISTED, I had to stop headbanging. And as long as I'm on stage with TWISTED SISTER, I just could not perform with that band and just not want to… I had to thrash. So I felt if I stepped out of that, I don't know if just… At least I could say, 'Hey, I'm doing some new things, I'm trying some new things, and I'm not… I'm not in TWISTED SISTER. I'm Dee Snider now.' And people seem to be cool with it. And I'm cool with it, because, for some reason, without having that big 'TS' [logo] hanging over my head, I don't feel this obligation to get out there and just start doing that [thrashing around]." Dee said that he wanted TWISTED SISTER to go out at the peak of its game before it became embarrassing. "I didn't wanna have that Mike Tyson moment where you're crawling around on all fours looking for your mouthpiece," he explained. "I'll never forget that image in my head. There was film footage of Babe Ruth playing with… I don't know who they traded him to, but when he left the Yankees, and he's literally walking around the bases 'cause he can no longer run at all. So I did not wanna ever have that happen… And now, separate from TWISTED SISTER, people are coming down [to see my solo band] and going, 'Well, he's not as intense as he was.' I'm hopeful that people will go, 'Well, that was TWISTED SISTER.'" Dee's solo album, "We Are The Ones", was released last October via Red River Records (distributed by BFD/RED). Produced by Damon Ranger, the disc was described by Dee as "an album that is think part FOO FIGHTERS, part IMAGINE DRAGONS, part THIRTY SECONDS TO MARS." He added: "Forget anything from the past. Most of my heavy metal fans are gonna hate it; I've abandoned my past to move forward."
LITA FORD Would Take Part In RUNAWAYS Reunion 'In A Heartbeat'
Lita Ford, a former member of the pioneering '70s all-female rock band THE RUNAWAYS, was asked by Guitars Exchange if she now has any new perspective on why the band broke up. She responded: "We weren't happy with what we were doing. We weren't a team. Joan [Jett] and Cherie [Currie] were very much a team and Joan and I tried but we really didn't click musically. I wanted to play heavy metal and Joan wanted to play… Well, her first hit was 'I Love Rock 'N' Roll', which was very pop rock and it took off and did great; whereas I released 'Out For Blood'. We were going in different musical directions." Ford also addressed the inevitable question of a possible RUNAWAYS reunion, saying: "Cherie and I tried to get Joan to work with us. We had dinner, we called her and we sent her e-mails, but we never really never got any response. I think most likely it was her manager who didn´t want her to do it." Lita added that she would take part in a RUNAWAYS reunion "in a heartbeat. I'd love to do it," she said. "We miss Joan." Currie told the "White Line Fever" podcast last year that RUNAWAYS came close to reunining more than two decades ago. "Lita had reached out to us to convince us, me and Joan, to do a RUNAWAYS reunion. And we did, with Kenny Laguna [Jett's manager, co-producer and co-songwriter for the past three and a half decades] basically at the helm, he secured a tour and Lita, she just basically doesn't get along with Kenny and she just walked away from that." In a 2015 interview with with the WHMH (Rockin' 101) radio station, Lita explained that she decided against a possible RUNAWAYS reunion in the early '90s because "NIRVANA was just kicking in, and it was really bad timing; it wouldn't have worked. People would have just turned their nose up at it." A movie about THE RUNAWAYS' brief history, starring Dakota Fanning as Currie and Kristin Stewart as Jett, came out in 2010.
PAPA ROACH Pays Tribute To CHESTER BENNINGTON With 'In The End' Cover (Video)
Fan-filmed video footage of PAPA ROACH paying tribute to Chester Bennington by performing a partial cover of the LINKIN PARK classic "In The End" on September 20 at Gasometer in Vienna, Austria can be seen below. PAPA ROACH singer Jacoby Shaddix admitted in several interviews that he came close to taking his own life in 2012 as he struggled with both marital problems and falling off the wagon druing the making of the band's "The Connection" album. "There was a moment in the record where I was suicidal," Shaddix told the Associated Press at the time. "I was done. I'm like, 'I'm over this. I can't do this anymore. I can't take this pain anymore. Like, I feel so alone and broken and just shattered.' "Like, everything that I had worked for in my life and said that I wasn't going to be, I don't want to be like my father — what happens? I'm like this drunk fuckup that destroyed his family," he said. "I did it. I'm sitting there like, 'I did everything I said I'd never do.'" He added: "I was just an emotional wreck, couldn't do nothing, man. I was just paralyzed emotionally. Musically, I was just stunned. I didn't even want to work on the record. I was just like, 'I just can't do this.' My producer's like, 'The best thing you do right now is write about exactly what's going on, just tell it and be a hundred percent completely honest about what's going on in your life." Asked to describe in more detail what he was feeling when he was dealing with these issues, Shaddix said: "I'll tell you this about when you're in that moment and you feel like you want to end it all ... you do not think rationally, you don't think straight. Your emotions, you are just so caught up in the pain. ... And luckily I just had these moments of clarity at night or I just thought about what would happen. What would it be like? My family's life and my band's life, what would their lives be like if I wasn't here? It's terrible. Like, I ran that story in my head and I'm like, 'Why would I do something so selfish?' It's a terrible thing and I hate to like really admit that's where I was, but that's where I was." Bennington committed suicide at the age of 41 on July 20 at his home in the Los Angeles area, leaving behind a wife and six children. PAPA ROACH has spent the last few months touring in support of its ninth studio album, "Crooked Teeth", which was released on May 19 via Eleven Seven Music.
Video: CHESTER BENNINGTON's Former DEAD BY SUNRISE Bandmate, Ex-KORN Touring Guitarist Perform 'One More Light'
Chester Bennington's longtime friend Ryan Shuck, who played guitar in Bennington's side project DEAD BY SUNRISE, teamed up with KORN's onetime touring guitarist Wes Geer to perform an acoustic version of the LINKIN PARK song "One More Light" as a tribute to the late LP singer at Rock To Recovery's second annual awareness event and benefit on September 16 at the Fonda Theatre in Hollywood, California. Video footage of their performance can be seen below. Geer founded Rock To Recovery on December 12, 2012, in an effort to give non-musicians access to the magic, healing powers of playing music, and advance the use of music expression groups in various treatment settings. In each session, program participants form a band, write a song together, and record their work, offering an uplifting, therapeutic release to patients recovering from PTSD, alcoholism, drug addiction, depression, cancer treatments and more, by organically helping improve body/brain chemistry by stimulating the natural release of serotonin, dopamine, endorphins, and oxytocin. Rock To Recovery typically operates as an adjunct service to a treatment center's curriculum, and in just four years, the program has grown to become an integral part of the weekly treatment curriculum for nearly eighty programs. Rock To Recovery's non-profit entity donates its services to the U.S. Department of Defense's Wounded Warriors program, state-funded programs and indigent rehabs like the Salvation Army and Clare Foundation, programs for at-risk youths including Turning Point and North County Lifeline, as well as Breath of Heaven, and local VA programs including New Directions for Veterans and the Brentwood VA. Prior to the inception of these annual concerts, Rock To Recovery has been entirely self-funded. Due to the program's success and subsequent demand, coupled with the overwhelming successes of last year's event, the organization will continue to grow its reach through these annual fundraising celebrations in order to bring the healing power of music to more people. For more information on Rock To Recovery, visit www.rocktorecovery.org.
Canal Metal has uploaded professionally filmed video footage of DEATH ANGEL's performance at the at the tenth edition of the Alcatraz Hard Rock & Metal Festival, which was held August 11-13 in Kortrijk, Belgium. Check it out below. DEATH ANGEL's latest album, "The Evil Divide", entered The Billboard 200 chart at position No. 98 with first-week sales of just over 6,000 units — nearly all from pure album sales. The set followed the No. 72-peaking "The Dream Calls For Blood", which opened with around 5,400 copies back in 2013. "The Evil Divide" was released in May 2016 via Nuclear Blast. The CD was once again recorded at AudioHammer studios in Sanford, Florida with producer Jason Suecof (TRIVIUM, DEICIDE), who previously worked on 2010's "Relentless Retribution" and 2013's "The Dream Calls For Blood". Mastering duties were handled by Ted Jensen at Sterling Sound in New York City. The cover artwork was created by Tyrrell.
CAVALERA CONSPIRACY: 'Psychosis' Cover Artwork, Track Listing Revealed
CAVALERA CONSPIRACY, the band led by brothers and founding SEPULTURA members Max (also of SOULFLY) and Igor Cavalera, will release its fourth album, "Psychosis", on November 17 via Napalm Records. The disc, which was produced by longtime friend Arthur Rizk, was recorded primarily at a studio in Phoenix, Arizona. The cover artwork for "Psychosis" can be seen below. The track listing for the CD is as follows: 01. Insane 02. Terror Tactics 03. Impalement Execution 04. Spectral War 05. Crom 06. Hellfire 07. Judas Pariah 08. Psychosis 09. Excruciating Speaking to Metal Wani's Jake Patton, Max stated about the follow-up to 2014's "Pandemonium": "The album right now is finished. It was produced by Arthur Rizk, our friend and a great producer — an upcoming, underground producer. And he did a great job. I love the record. There are nine songs. We've got one song with Justin [Broadrick] from GODFLESH — just a great NAILBOMB, GODFLESH, CAVALERA kind of song. The rest is all pure thrash madness. And we had it mastered a couple of days ago by Joel Grind from TOXIC HOLOCAUST; he mastered the album. And it's great, man. It's a beast of an album. I think a lot of people are are gonna be surprised when they hear it. It's, for me, the best of all the CAVALERA albums, my favorite one. And it's got the same intensity and energy of the old stuff like [SEPULTURA's] 'Beneath The Remains' and 'Arise'. So a lot of people are gonna be happy to hear that." Max also talked in more detail about the lyrical themes covered on the new CAVALERA CONSPIRACY disc. He said: "It's a bit… kind of like a mix. There's some stuff about what's going on right now, so there's some terrorist stuff in songs like 'Impalement Execution' and 'Terror Tactics' and 'Excruciating'. And there's some kind of fantasy stuff, like 'Crom', which is the father of Conan. That was a really fun song to make. We have a song called 'Insane' — it's about the state of the world, with Donald Trump and the bombings in England and France. And then, of course, there's an instrumental called 'Psychosis', which is the name of the album, which I think is cool, because I think it also reflects the state of mankind right now, the state of the world right now. It's pretty much psycho — we're living in a psycho age, with madness everywhere we go. The GODFLESH song is called 'Hellfire' — it's about drones. It was inspired by a movie called 'Eye In The Sky' and a movie called 'Good Kill', which is about drones and how people just sit in an air-conditioned office in Nevada and bomb people in Afghanistan and Pakistan with those crazy drones. It was a really cool song built around that, and I really love Justin from GODFLESH's vocals. He sings more in the line of the 'Streetcleaner' vocals from the early GODFLESH, so that came out really nice." Asked if Max and Igor's recent tour on which they celebrated the twentieth anniversary of SEPULTURA's classic album "Roots" by performing the LP in its entirety influenced the musical content of the new CAVALERA CONSPIRACY material, Max said: "The 'Psychosis' song is very tribal. Some of the recordings were done with Igor in Uganda, in Africa. Igor went there for a thing he did with his wife, like helping people from Uganda, a humanitarian kind of thing. And he recorded a bunch of cool sounds when he was in Africa. So we created this kind of… almost like a voodoo, ambient kind of real tribal… It could have been on [SEPULTURA's] 'Roots'; this song could be on the 'Roots' album. It's got a really great buildup with the drums, and then it has real cool melodic guitars on it — almost like prog rock a little bit. It's kind of like the one 'off' song of the album that really is not like the rest of the record. But it's very cool, it's very tribal and definitely influenced by 'Roots'." Igor told HeavyMetal.dk that it was "good" for him and Max to have Rizk involved with the new CAVALERA CONSPIRACY album because Arthur "is super passionate about music, the same way we are. So to have someone like him coming in and helping us with ideas and things like that, I think it's gonna surprise a lot of people, 'cause he understands a lot about what's going on today in music, and that's pretty cool — that exchange with us, with the old-school ideas with also someone that understands music right now. I'm far more excited than I've been in many years to put out a record like this. So I have to say I'm quite into it, what we're doing right now." Max concurred, telling HeavyMetal.dk: "[Arthur] captured the classic Max and Igor in a way that's never really quite been captured before. It was always his objective from the beginning — he wanted to capture the soul of the brothers, and I think he did. I think it's quite amazing, looking back, that somebody can get that out of you after twenty-five years, man. That's awesome. But, like Igor said, there's a lot of noise also — between songs we're gonna hear all this kind of crazy just pure noise and heaviness, which is unheard of. So I'm very excited." "Pandemonium" sold around 2,600 copies in the United States in its first week of release to debut at position No. 177 on The Billboard 200 chart. CAVALERA CONSPIRACY's previous CD, 2011's "Blunt Force Trauma" opened with around 5,000 units to land at No. 122. The band's first CD, 2008's "Inflikted", registered a first-week tally of 9,000 copies to enter the chart at No. 72. "Pandemonium" was produced by John Gray, who has previously worked with SOULFLY.
ROY MAYORGA On COREY TAYLOR's Influence On STONE SOUR: 'It's A Gang. It's Not Just One Person'
Riccardo Ball of New Zealand's Wrecking Ball Media recently conducted an interview with STONE SOUR drummer Roy Mayorga. You can listen to the entire chat below. A few excerpts follow (transcribed by BLABBERMOUTH.NET). On whether he sees himself still playing in STONE SOUR in the next five or ten years: Roy: "Absolutely. I mean, the day I joined the band, I felt I was definitely going to be in here for a while. Here we are eleven years later, four or five albums later, too. Do I foresee that? Absolutely. For however long we can go. I definitely won't be stopping anytime soon to play. I'm always going to play until the end of my days. I plan to keep playing until I can't play anymore." On the common perception that STONE SOUR is vocalist Corey Taylor's band: Roy: "It's a band. It's a gang. It's not just one person. Corey will tell you that too. We're a gang. We're a band and all the decisions come from us. We talk about it, we work it out, we make it happen." On some of STONE SOUR's unconventional ideas, including the two-part "House Of Golden Bones" concept album and band-related comic books: Roy: "That comes from Corey. He's definitely the mastermind behind all that, like the comic books, the concepts, the story. Yeah, that's his baby. We kind of like added to it and enhanced it more." On whether Taylor starts to introduce some of his elaborate ideas while the band is practicing: Roy: "Here's the thing: When we do jam together, he's not singing, he's not coming up with any lyrics on the spot. That's an afterthought. He does it afterwards. We basically get together and we write together. Sometimes it will be me and Tucc [guitarist Christian Martucci] or me, Tucc and Johny [Chow, bass]. Sometimes it will be me and Josh [Rand, guitar]. Once we hash out our ideas and have little rough sketches, then we'll get together and listen to each other's sketches and try to elaborate on them more and shape them into STONE SOUR songs. Then, when that's finished, then Corey will take them and start writing lyrics to it. Then he'll surprise the fuck out of us a month later, like, 'Holy shit!' He's got some insane ideas. I love it.'" On STONE SOUR's evolution from their 2002 self-titled debut to their most recent album, "Hydrograd": Roy: "Well, definitely we're not scared to explore. We are definitely more into exploring other regions of music and we're not afraid to do it. It's definitely stepped up a lot from the first record. The first record is great, too. Although I wasn't involved in it, I love the first album. I like every album that I've been involved in with the band and past members I've played with, but the lineup we have now, I think, is where it should be. It sounds good. It feels good." "Hydrograd" was released on June 30 via Roadrunner Records. The disc was recorded at Sphere Studios in North Hollywood, California with producer Jay Ruston, who has previously worked with ANTHRAX and STEEL PANTHER. The band tracked the album live in the studio, cutting a total of eighteen songs from which fifteen made the CD.
SATYRICON Frontman Questions Whether AC/DC Is Still 'Relevant'
Vocalist Sigurd "Satyr" Wongraven of Norwegian black metallers SATYRICON was interviewed on the latest installment of "The MetalSucks Podcast". You can now listen to the chat below (starting at the 21:38 mark). A few excerpts follow (transcribed by BLABBERMOUTH.NET). On his relationship with drummer Frost (real name: Kjetil-Vidar Haraldstad), who has been the only other permanent member of SATYRICON since 1993: Satyr: "I think the mutual respect would be the most obvious thing that comes to my mind. And I think the fact there's an incredibly strong friendship, but it's not a friendship based on seeing each other on a regular basis. It is a professional relationship with a strong personal friendship that does not need to be nurtured in a social way. I think that's a couple of things that seem to me as pretty obvious as to why we've been doing this so long and so well together." On whether he feels like his relationship with Frost is "like a marriage" and whether he hopes to continue working with the drummer well into the future: Satyr: "I certainly hope to be working with him in some capacity always. I really like his drumming, I like his attitude toward music and I think he's a really interesting person. So, yeah, I also like working with other people and people that I haven't worked with before and collaborating with other musicians makes me a better one. But I would always want to do something with Frost as long as I play music." On whether he thinks SATYRICON's longevity is attributed to the fact the band has constantly updated its sound: Satyr: "I think about literally the word 'relevant.' AC/DC has been going on for a really long time and they used to be one of my favorite bands. I still think even on their new record, there's one or two good songs, but it's more or less the same all the time. I don't know; it works. I think it's nice to listen to it because it's really good, but is it relevant? I don't know. When a lot of people show up apparently, it's relevant. It's an open question, but most lovers of more marginalized art and really underground stuff will argue that art is not a necessity like fresh air and water that we can drink and food and medicine. Those are things that we can't do without, but we can do without art, but then a lot of people are going to argue, what kind of life would that be? It's also interesting how people, especially in hard times, they turn to art. If no one is trying to do anything interesting and move things forward, then what is there for us to enjoy? That's the way I see it." On whether he feels any kind of pressure in his home country of Norway, where SATYRICON debuted at No. 1 in 2013 with their self-titled album: Satyr: "The only thing important to me about it was that I know that when it comes to some of these commercial mechanisms, there are some outlets that are not going to even consider making what we do available, when you hit No. 1, they have to, whether they think this or that. So that's a mechanism that obviously I appreciate with it. Other than that, from a metal fan point of view, it feels good to know that there are a lot of people out there like me who like music like that and rather have that dominate the airways rather than boring commercial pop music, R&B, whatever it may be. But I still don't have a mansion. [Laughs]" On how his 2015 brain tumor diagnosis changed his life: Satyr: "It's the lack of predictability [that] is kind of interesting. Today, I had sort of a pre-appointment conversation with my doctor on the phone and I told him that the reason I'm going to see him is because in the last couple of days — I'm okay today — I've been in terrible shape, but it's funny because I've been doing so much press lately that I've said to them all 'Thanks for asking. I'm doing really good. I haven't felt bad in a long, long time. Obviously I have to look after myself and keep track of this and all of that and make sure I'm being monitored, but I'm fine.' I think I did my last interview a few days ago, I started feeling really, really bad. That whole night and following day was really awful. I remember e-mailing the guys saying, 'Okay, I'm better now. I don't think I'll be coming to rehearsals tomorrow either. I'm okay.' That's the weird part of being around me because I'm as strong as I've always been and I really live a normal life. I look after SATYRICON, I have a wine production business on the side that is fun and I have two sons, a lot of stuff to look after, and I'm doing all of it, but sometimes, out of the blue, this stuff can make me really, really sick. And when it does, it's not uncomfortable; it takes over the entire situation. It paralyzes me. Maybe one could say that it's tougher mentally than physically to deal with it." On the band's approach to live shows and whether SATYRICON prefers to pick and choose where they play, or if they are interested in building an audience in new territories: Satyr: "A little bit of both. A little bit of both. If we jump straight to North America, if we didn't have any of the visa complications that we've had with Frost, then we would have been visiting America on a regular basis. But, we would have been visiting only cities where you can expect to meet with a pretty serious, extreme metal music following. That has been the hard part for me about touring America, is that when you play places where there are actually a lot of fans; I'm not talking about attendance, I'm talking about people who understand this type of music, because I enjoy meeting fans after the show, who listen to the same music as I do and understand the same music. But I don't necessarily enjoy it if we play a show and someone tells me, 'I loved your show, man. That was pretty cool shit there.' Something stupid like that. That makes me understand that, 'Okay, you don't get it.' That makes me feel stupid because that makes me feel like an entertainer. I acknowledge that playing live, unlike making records, it's much more about entertainment, but I don't want it to be solely about entertainment, there has to be some purpose here. I don't want to play in Oklahoma City, if you want to put it like that." SATYRICON's new studio album, "Deep Calleth Upon Deep", was released September 22 via Napalm Records. The disc was recorded in Oslo, Norway and Vancouver, Canada, during early 2017 and mixed together with revered studio guru Mike Fraser, who previously worked on SATYRICON's 2006 album, "Now, Diabolical".
SACRED REICH Frontman: DONALD TRUMP Is 'An Embarrassment To Our Country'
Frontman Phil Rind of veteran Arizona thrashers SACRED REICH has compared President Donald Trump to an "Oompa-Loompa," the pint-sized, orange characters depicted in the 1971 film "Willy Wonka & The Chocolate Factory", which was adapted from author Roald Dahl's 1964 "Charlie And The Chocolate Factory" children's novel. Speaking with Todd Owens of Hellbound.ca prior to the band's September 16 show at Slim's in San Francisco, California, where SACRED REICH was celebrating the thirtieth anniversary of its debut album, "Ignorance", Rind was asked about his thoughts on the current political situation in the United States. "I think everybody, it's pretty obvious to know what's going on," he said (see video below). "[It's obvious] there's an 'Oompa-Loompa' living in the White House [referring to Trump]. He's not a clown. He's like the 'It' clown [from Stephen King's novel and recent movie]. A clown is like [makes laughing sound]; what a joke. But that dude has got nuclear codes and has a lot of say in the things that go on and he's an embarrassment to our country. It's a sad state of affairs. Hopefully, what this will do is wake people up and make them pay a little more attention. We'll see." SACRED REICH, known for their political commentary on efforts like "Ignorance" and its 1990 follow-up, "The American Way", would appear to be suited to release their first album of all-new material since 1996's "Heal" given today's political climate. Yet, the band has steadfastly resisted calls to release a new studio album. Rind did, however, leave the door open for new music: "We have been pretty adamant about no new material, but now we're like 'We'll see.' If we have some cool stuff, then we will do it." Asked whether Trump's polarizing presidency would drive SACRED REICH to write and record new material, Phil said: "You know, it's funny, everybody's, like 'There's so much to talk about now!' I go 'Look, there's always fucking bullshit to talk about.'" Released a year after their 1986 formation, "Ignorance" remains the most popular SACRED REICH album. From there, SACRED REICH quickly became part of the second wave of thrash metal alongside TESTAMENT, DEATH ANGEL, DESTRUCTION and DARK ANGEL, earning praise for their politically charged brand of metal. Absent a hiatus from 2000 to 2006, the band remains a steady presence on the European festival circuit. During the same interview, Rind was asked if, upon recording "Ignorance", SACRED REICH had any inkling it would still be active three decades later. "No, we had no idea," he said. "When we started, we were just happy to make a record. No one thought thirty years ahead. I mean, who knew? We are really super-fortunate to be able to still play and not having made a record in twenty-one years or toured the U.S. in twenty-one years is pretty cool." SACRED REICH's "Live At Wacken" DVD+CD package was released in North America in November 2012 through Metal Blade. The set contained professionally filmed and recorded footage of the group's August 4, 2007 performance at the Wacken Open Air festival in Wacken, Germany in front of sixty thousand heavy metal fans.
MOONSPELL Frontman On Why New '1755' Record Is Sung In Portuguese: 'I Don't Think The Album Could Be Otherwise'
Spark TV, which is part of the Czech monthly magazine Spark, recently conducted an interview with frontman Fernando Ribeiro of Portuguese metal veterans MOONSPELL. You can watch the entire chat below. A few excerpts follow (transcribed by BLABBERMOUTH.NET). On MOONSPELL's forthcoming Portuguese-sung "1755" full-length, which was originally intended as an EP: Fernando: "When we first talked with you, we were entertaining the idea of making this into an EP. We recorded, just recently, a DVD in a venue in Lisbon, our hometown and capital, that is going to be released next year. We got gripped by the music and by the concept. We said, 'Let's put all the strategy, all the releases, etcetera, because we are a band, and what counts for us, definitely what keeps us together, is our creativity. This is a great concept.' So we decided to make a full LP, '1755'. We couldn't stop at those four songs, so we created six more songs. It's quite a step into other directions. It's totally sung in Portuguese." On whether "1755", which was written about the 1755 Lisbon earthquake, also known as the Great Lisbon earthquake, could be considered a "metal opera": Fernando: "I don't know. Opera is a different thing than metal. Sometimes there's rock operas, metal operas, especially in the '70s, there was a lot. So it's not really constructed like that. It's more constructed as a kind of a tragedy, like with a choir, like a Greek tragedy, more of a theater play with music. We're also trying to put this into the live show when we start touring for this album. It has to be more [theatrical]. It's in Portuguese, so there has to be extra [visuals] so people know what I'm singing about. It has many, many references to metal, but also to other kinds of music. In Lisbon and still in Portugal, the end of the eighteenth century, we were one of the metropolises for the whole of Europe and all over the world. Big ports. White people living there, black people, people from the Far East. It was a community that was together besides the Inquisition, was very strong in Portugal, but they lived in a kind of harmony. There was many influences from other cultures that we took as well as a part of our Portuguese culture. That's why the album is much more dramatic, it's also heavier, because it's [about] an earthquake. We couldn't do ballads. [Laughs] Also, there is the percussion part, this orchestra parts, lots of work with the vocals, with the choirs. We wanted people to get transported also into their fears. I think regardless of if we call it a metal opera or metal theater or a historical album, I think, what we've tried to do is paint the picture to the listener." On why the band decided to sing the album entirely in Portuguese: Fernando: "I don't think the album could be otherwise. We never tried it in English. It's just for the fun of it. We could make it sound [okay], but I think it was very important, the subject I'm talking about and the names I wanted to invoke like Lisbon, Portugal, I wanted to say 'Lisbon, Portugal.' I wanted to say it in my own language. It makes perfect sense. Some people say it's a dare, but when you see bands like [Icelandic atmospheric metal outfit] SÓLSTAFIR, we don't understand anything what they say, or bands who sing in Norwegian, many bands did that, I think sometimes the language can be a barrier and sometimes you pay too much attention. I think when you don't know the language, you pay more attention to the music and to the atmosphere. I think the Portuguese and the vocals are another element to this new MOONSPELL adventure. It couldn't be otherwise. It had to be in Portuguese. And when I told the band and when I told the label, nobody was too scared about it." On why the Lisbon earthquake of 1755 fascinates him so much: Fernando: "It's a big part of our history. First that I heard of it, I was in a classroom. Everybody knows it, of course. Lisbon is still an area that is very exposed because there's a big raft, just like a breaking point just outside of Lisbon, into the sea. Our institute is always checking it for possible earthquakes. A couple of weeks ago when we were releasing the news for '1755', there was a minor earthquake in Lisbon, like 4.3 [on the Richter scale]. While in 1755, there wasn't the Seismology, it was one of the many things that earthquakes brought, not only death and destruction, but progress as well. That's this contrast that interests me." "1755" will be released on November 3 via Napalm Records. The 1755 Lisbon earthquake occurred in the Kingdom of Portugal. In combination with subsequent fires and a tsunami, the earthquake almost totally destroyed Lisbon and adjoining areas.
Ex-MEGADETH Drummer SHAWN DROVER Says Making New ACT OF DEFIANCE Album Was 'Seamless'
Rustyn Rose of Metalholic recently conducted an interview with former MEGADETH and current ACT OF DEFIANCE drummer Shawn Drover. You can listen to the entire chat below. A few excerpts follow (transcribed by BLABBERMOUTH.NET). On the songwriting process for ACT OF DEFIANCE's forthcoming sophomore album, "Old Scars, New Wounds": Shawn: "The main difference in songwriting is with [2015's] 'Birth And The Burial', when that record was written, it was just myself and Chris [Broderick, guitar; also ex-MEGADETH]. There was no band at the time. We were juggling so many hats at that time. It was 'Okay, let's write a record. Let's get a band. Let's get a record label. Let's get a manager. Get a booking agent.' All these things Chris and I were doing on our own, but primarily, we had to write a record, so when we did get bandmembers, whoever they were, we didn't even know at the time that we're going to get Matt [Bachand, bass; SHADOWS FALL], we're going to get Henry [Derek Bonner, ex-SCAR THE MARTYR]. The search was on as we were writing music. By the time Henry and Matt came into the fold, the music was already written. Henry contributed a lot of the lyrics because he got there before Matt did and he was able to contribute lyrically and, of course, with vocal melodies. Matt came in literally [when] the record was about to be recorded. It's like 'Okay, dude, here's the record! Bass tracks start as soon as we're done with drum tracks and guitar tracks.' He jumped right in head first. Of course, he did a fantastic job. With this new record, we played about a hundred and ten shows in support of 'Birth And The Burial', and got a year under our belt of getting acclimated to each other and seeing what our mannerisms were with music and so forth. When it came time to do this new record, we had the affordability of a little more time this time around. Of course, Matt being such a great songwriter with SHADOWS FALL and all that stuff, that was a no-brainer. He wrote three songs on the record. Henry actually wrote a song on the record as well, which is going to be our second single. It's a song called 'Overexposure'. He stepped up to the plate musically as well, contributing a lot of lyrics and vocal melodies to this new record. Like I said, the main difference was we had a little more time and we had all four bandmembers contributing this time, which was a very welcome change." On the biggest challenge ACT OF DEFIANCE faced while creating "Old Scars, New Wounds": Shawn: "I don't think we had anything that was challenging, to be honest. I think this one was more seamless than the first record. Like I said, Chris and I had so many things and so many hats we were wearing to get that record done. I look back now in retrospect and I don't know how we did it. We were able to do all those things in a matter of less than five months and turn a finished record into the record company and assemble all the things I stated previously with what we had to do to assemble the band and get all the pieces of the puzzle together. I don't know how we did it; just sheer determination. That in itself was a challenge, and we didn't have any of that with this record at all. Like I said, we've been a band now for well over two years. Again, we had a set plan. 'Okay, we're going to start writing music at this time. We're going to start recording at this time.' We had more of a game plan, more of a heads-up to what we were doing in advance. We didn't have any snags at all in this record. It was quite the seamless record, from my perspective. I recorded drum tracks for the first time in my career in Atlanta, Georgia, where I live. I recorded 'Birth And The Burial' in Connecticut; I recorded the MEGADETH records in California and England; I recorded the EIDOLON [Drover's pre-MEGADETH outfit] records in Canada. I was always traveling to perform drum tracks. And this time, I made the decision, like, 'Look, there's some great studios here in Atlanta. We're already going to be recording in different areas. Why don't I just record at home in the hometown where I live?' And that's what I did. My experience, certainly from a personal perspective, was fantastic on this record." On how long it took for him to view "Birth And The Burial" objectively: Shawn: "You've got to remember something: Chris and I wrote the music for the record, we've been doing this for so long. We didn't write those songs in a week. It was written over the course of a couple of months. Chris had some ideas that he had in his vault. Most of my stuff was all new riffs. I had a couple of ideas that I had laying around on that I hadn't recorded. By and large, it was all new material. I've been doing this crap for so long now that I know, for me, I know if something that I write is good or not good enough. For me personally, I have to like it before I can present it to Chris or the band or whatever. Whether somebody else down the road, whether they like or they don't like it, for me it doesn't matter one way or the other. Obviously, you hope that your fans like it and you build a fanbase, but if somebody doesn't like it for musical reasons, I have no issue with that. All you can do at the end of the day is write the best music you can and something you believe in and hope that others will like it as well. At this point in the game, the songs I had written for 'Birth And The Burial', I knew they were good, for what I can do, just writing solid heavy metal songs. I'm proud of what I did and I'm proud of what Chris did on 'Birth And The Burial' with his songs as well." "Old Scars, New Wounds" will be released on September 29 via Metal Blade Records. The disc was mixed by Dave Otero, who has previously worked with CEPHALIC CARNAGE and CATTLE DECAPITATION, among others. The cover artwork was created by Travis Smith (KING DIAMOND, OPETH, AVENGED SEVENFOLD, STRAPPING YOUNG LAD).
Listen To BLACK STONE CHERRY's Cover Version Of ALBERT KING's 'Born Under A Bad Sign'
Kentucky rockers BLACK STONE CHERRY have released another track from their upcoming blues covers EP, "Black To Blues", due out on September 29 via Mascot Records/Mascot Label Group. Their version of Albert King's "Born Under A Bad Sign" is available to stream using the SoundCloud widget below. Speaking about why the band decided to pick this track for the EP, BLACK STONE CHERRY bassist Jon Lawhon said: "We wanted to do that song because CREAM did that song, but we were looking for songs that were 'obscure,' but not so obscure that people hadn't maybe heard them before and have some familiarity with it. It was tough to pick some stuff; I'll be honest with you. And, too, we had to think about the arrangement — how could we alter the riff a bit and make it ours. So it was a deep process." Before releasing five critically acclaimed albums, playing 12,000-capacity arena shows, topping U.K. charts and sharing the stage with bands like DEF LEPPARD, LYNYRD SKYNYRD, BAD COMPANY, ALTER BRIDGE and SHINEDOWN, the guys in the Kentucky-based active rock powerhouse were just teenagers finding their way jamming on the blues. "Black To Blues" is a collection of blues classics and obscurities reimagined with the meaty moxie of classic BLACK STONE CHERRY. "I know it's crazy for four rock 'n' roll dudes to make a blues EP, but it's us sharing with everyone the music that's been our DNA from day one," says BLACK STONE CHERRY vocalist and guitarist Chris Robertson. "Blues is the music we listen to when we sit around on the bus with a bottle of bourbon." "A defining moment for me was realizing all the rock 'n' roll that I loved came from the blues," Chris adds. As a lead vocalist, Chris honed his burly pipes studying the power of the Texas Tornado himself, Freddie King, whom they cover on "Black To Blues" and, throughout their career, the group has always sprinkled in a few blues evergreens in their live set. "The blues is such honest music. When you hear it, it's, like, 'I'm down on my luck, and, damn, that guy gets just how I feel.'" Chris shares. "I hope by sharing this music we have the beautiful opportunity to expose a new generation to the blues." "Black To Blues" pays homage to the fertile 1960s era of electric blues where the masters pushed boundaries with experimentation and volume. The EP includes covers by Howlin' Wolf, Muddy Waters, Freddie King and Albert King. The album was recorded in a burst of fevered inspiration this past spring at David Barrick's Barrick Recording, the same studio where the band recorded their recent album, "Kentucky". It was produced by the band, which tracked the music in two days and favored a raw, in-the-moment production aesthetic to capture the inspired sessions. Chris adds: "Our approach was to do these songs as we've written them, with attitude and heavy guitar." "Black To Blues" opens with the Howlin' Wolf classic "Built For Comfort". Here, they harnesses the song's dark energy with foot-stomping burly riffage, impassioned whiskey and honey vocals, and a peaks and valleys arrangement that features virtuosic bursts of bluesy guitar brilliance, smoky quiet passages, and mountains crashing down climaxes. Throughout the EP, the imaginative arrangements, soulful vocals, and subtle band interplay evoke the halcyon days of heavy blues acts such as FREE and Peter Green's FLEETWOOD MAC. On "Champagne & Reefer" they mesmerize with deft slide guitar playing and powerful contrasting haunting and hefty dynamics. Other standouts include a raucous version of Muddy Waters's "I Want To Be Loved", complete with jaw-dropping blues-rock guitar solos, and a clever rendition of Freddie King's "Palace Of King", there they "moved one note to make it more dark," Chris reveals. The blues is always a sage teacher, and making the "Black To Blues" EP was a transformative experience for BLACK STONE CHERRY. Chris says: "It was humbling and freeing at the same time. It reignited our passion for this music, and it will definitely have an effect on our next album." "Black To Blues" track listing: 01. Built For Comfort 02. Champagne & Reefer 03. Palace Of The King 04. Hoochie Coochie Man 05. Born Under A Bad Sign 06. I Want To Be Loved
STONE TEMPLE PILOTS On New Singer Search: 'It's Looking Good'
Dean and Robert DeLeo say that things are "looking good" for STONE TEMPLE PILOTS, nearly two years after the passing of the band's original singer, Scott Weiland, and two months following the death of Weiland's replacement, Chester Bennington. STP has been without a vocalist since November 2015, when Bennington — who joined the group in early 2013 — departed so he could spend more time with his main band LINKIN PARK. Weiland, who reunited with the group in 2010 after an eight-year hiatus, died in December 2015 of a drug overdose while on tour with his solo outfit. STP last performed live, with Bennington on vocals, for a one-off reunion performance in California in March 2016. The band held an open call for singers last year, reportedly receiving thousands of submissions and narrowing that down to a handful of prospects with whom the group members got together to jam. During an appearance earlier today (Friday, September 22) on the "Jonesy's Jukebox" radio show, the DeLeo brothers were asked by host Steve Jones (of SEX PISTOLS fame) if STP has found a new singer or if it's still "top secret." "It's top secret right now, but we're working on it," Robert said (see video below). Dean added: "It's looking good, man. Looking good. New music. And it won't be too long before we shave the cat, as Robert says." The new STONE TEMPLE PILOTS singer is rumored to be Jeff Gutt, a one-time "X Factor" contestant. A report from NBC 9 News/ET in Denver last November claimed that STP had chosen Gutt and was writing and recording new material with him. STP denied the report at the time, saying through a representative that no decision on a vocalist had been made yet. Robert told Billboard earlier in the month that he and Dean were hopeful that they would "find a singer who will be that guy, and represent what we want to do moving forward. I think there's a lot of music to be made, still, and I think we all feel we want to continue — not only that, but also playing songs that we wrote twenty-five, thirty years ago that mean a lot to me, and I think there's people out there who want to hear those songs, too," he said. Asked when he thinks STP will be back up and running again, Robert said: "When it all comes together, it'll come together. It'll feel right and we'll proceed forward. This is not an overnight decision. This is a series of getting together with someone and really figuring out what they are all about and if that's right for us." Regarding what the process of auditioning new vocalists has been like, Robert told Billboard: "It's been very interesting. You get some interesting scenarios with people. There's been some colorful people, I should say. [Laughs] ... Some of these people, they sing in their bedroom and their mom and dad tell 'em they're great. Then they get into a room with a band that's turned up to ten and expect to lead the band. You can pretty much tell right off the bat that's not happening with certain people. There are a lot of things to look at to really, really choose someone to move forward with." Chester recorded one EP with the band, "High Rise", and did a handful of tours during his tenure. Bennington died by suicide on July 20. He was 41. The DeLeo brothers are currently promoting the twenty-fifth-anniversary expanded reissue of STONE TEMPLE PILOTS' debut album, "Core", which will be made available on September 29 — twenty-five years to the day of the LP's original release.
Eric Eycke, who sang on CORROSION OF CONFORMITY's 1984 debut album, "Eye For An Eye", has passed away. Just prior to his death, Eycke had reportedly been in hospice with various maladies. C.O.C. said in a statement that Eric's "broad musical knowledge shaped the band's early identity," adding that "[his] energy is evident on our first hardcore-era album, 'Eye For An Eye'." "This simply does not seem real," the group continued. "We traveled far and wide in a shitty van, blowing up stages together, trying to live up to the likes of the BAD BRAINS and BLACK FLAG." CORROSION OF CONFORMITY bassist Mike Dean told IndyWeek in a 2012 interview that Eric Eycke "was the kind of singer that people would be into hearing at that point. He was a hardcore kind of tough dude. Never could hear him; he would usually be running around and miss the microphone." Eycke, who has been described as the most agitated, energetic vocalist C.O.C. ever had, said about his approach to the band's early live performances: "In Richmond, we opened up for HÜSKER DÜ. Then we opened up for DEAD KENNEDYS down at the Pier, and I had already heard about the DEAD KENNEDYS so I was kind of in awe. I was, like, "Damn, Jello's [Biafra] here." I remember we finished our set, and I walked off and he just looked at me and he was, like, 'Goddamn, blown off the stage again.' That always stuck with me. If that's what it takes, then yeah, I can do that." Often characterized as a high-velocity hardcore record, "Eye For An Eye" was notable for including a punkified torching of JUDAS PRIEST's cover of Peter Green's "Green Manalishi". "It didn't really sound like us," CORROSION OF CONFORMITY drummer Reed Mullin later said about the album. "Well, we had done two or three songs at that place before, for the 'Why Are We Here?' compilation, the seven-inch. And that sounded pretty good, it sounded kind of like us because we were actually kind of heavy for that time. The only other hardcore band that was playing that stuff was VOID, I guess." Eric, for his part, told IndyWeek that "Eye For An Eye" "could have been so much better. Reed was like a kid in a candy store. He went back in and he remixed it after-hours. We did our time; we went home at six. He came in at seven and worked until ten. That's how we ended up with that product, and no, I'm not happy about it. But it is what it is. If you like it, you like it." "Eye For An Eye" was re-released in 2012 through Candlelight. This special reissue was remastered/packaged and included the EP "Six Songs With Mike Singing". Both titles has been out of print for years.