MANOWAR's JOEY DEMAIO To Embark On 'The Blood Of The Kings' Spoken-Word Tour In 2019
MANOWAR bassist Joey DeMaio will embark on "The Blood Of The Kings" spoken-word tour in November 2019. DeMaio announced the event for every true MANOWAR fan only hours prior a sold-out concert in Munich, Germany. For the first time ever, MANOWAR will open their secret archives so that fans can finally hear the official history of MANOWAR, from the very beginning until now. Life on the road and in the studio; the glory and the battles; the secrets, and the triumph of steel — DeMaio unfolds "The Blood Of The Kings" chapter by chapter; live, onstage and in person, in a captivating one-man multimedia show. "The Blood Of The Kings" spoken-word tour is a rare, personal look inside the exceptional career of one of the most iconic, most enduring bands in heavy metal. General admission tickets for "The Blood of the Kings" spoken word tour 2019 Germany are now on exclusive pre-sale on Ultimate Fan Experience (UFE) Upgrades that provide an even more in-depth experience will go on sale at a later point. Ultimate Fan Experience Upgrades will only be valid in connection with a general admission ticket. "The Blood Of The Kings" spoken word tour dates: Nov. 01, 2019 - Munich - Technikum Nov. 02, 2019 - Nuremberg - Kleine Meistersingerhalle Nov. 03, 2019 - Stuttgart - Liederhalle (Silchersaal) Nov. 04, 2019 - Frankfurt - Batschkapp Nov. 05, 2019 - Dusseldorf - Savoy Theater Nov. 07, 2019 - Bochum - Christuskirche Nov. 08, 2019 - Hamburg - Kleine Laeiszhalle Nov. 09, 2019 - Berlin - Tempodrom (Kleine Arena) Nov. 10, 2019 - Leipzig - Haus Leipzig MANOWAR's "The Final Battle" world tour 2017 will continue Saturday night (November 25) with one more performance in Munich. The New York-based veteran metal act announced in May 2016 that it would call it quits after one last tour, explaining that its most recent trek — "Gods And Kings" — was a groundbreaking moment in the band's career and the group aimed to go out on a high. MANOWAR singer Eric Adams, whose real name is Lou Marullo, spoke about the group's's final trek in a recent interview with "Outdoor Adventures With Jayson". He said: "This is it. We've got one last tour coming up. As far as I know, it starts in November in Scandinavia. And then we head down to Germany in December. I fly home for Christmas around December 18, somewhere in there. And then I don't know where we go after that. But it will continue for a little while after that; I just don't know where yet. So I'm looking forward to that." The 63-year-old singer admitted that it was "kind of a Catch-22 thing" knowing that he would never perform with MANOWAR again. "I'm gonna miss the big stage — of course I am — but all good things have to come to an end at some point," he said. As for his future plans, Adams said: "MANOWAR has decided to call it a day, and who knows what's gonna happen after that? I might continue to sing. I might just grab my bow and get out in the woods a little more often than I did before. But we'll see. The future's still yet to be told." Eric, who describes himself as "a big-time bow hunter," has been a hunting-safety instructor for the state of New York where he teaches new hunters about the game laws in New York. He is also the hunting editor for Texas Fish & Game magazine. MANOWAR's most recent studio effort was 2014's re-recording of the band's 1988 album "Kings Of Metal".
New TRIVIUM Album Became 'Much Darker' And 'Heavier' After Addition Of Drummer ALEX BENT
The four members of TRIVIUM were recently interviewed as part of AOL's Build Series. You can now watch the chat below. Speaking about the addition of TRIVIUM's new drummer, Alex Bent, prior to the recording of the band's latest album, "The Sin and The Sentence", guitarist/vocalist Matt Heafy said: "It was quite a daunting task, 'cause when we knew it was time to make a drummer change again — and for those of you who are new with TRIVIUM, we've had quite a few drummers; we've had four studio drummers in the band while the rest of us have always stayed the same. So it was definitely a question. "What's great is when people the drums for the first time, when they hear 'The Sin And The Sentence' come in, there's no question of why. They're, like, 'Oh, I get it. I know why you have Alex, 'cause he can do everything you ever wanted a drummer to do.' "When we first jammed with him, we had a lot of the music together, but it was sort of going one direction for the record. And when we heard him nail everything across the first seven records, and then we started talking about music and vibing into what else we liked… 'Cause the big thing the three of us have always loved is metal, but also extreme metal, like black metal and death metal, melodic death metal, all the different subgenres of music. And we've had some drummers who don't go as extreme as we like to. When we heard what Alex liked to do and how he can play at 10 and can go extreme, it inspired all of us and I think the record started taking a much darker, heavier extreme turn at the same time. So it was definitely motivational to have someone like that." Added guitarist Corey Beaulieu: "For the first time, instead of trying to do 12, 13 songs in one sitting and trying to figure out all the stuff, when he came in to rehearse for the tour that we had — I think it was February/March — we wanted to get a head start on writing to see what that would be like. We did half the record in December, writing and demoing, and then we got to go on tour, play a bunch of shows and get even more acquainted, playing-wise, together. Then, after that, we did the next six songs, or seven songs, and it was cool, because, after doing the first half and seeing how that turned out, and being more familiar with his playing style, we kind of, like… in that time, before we did the next six, there was a lot of us individually going back and reworking some ideas to be, like… 'All right, Well, playing with him now and doing the first six songs gave me… the lightbulb went off where you're, like, 'Ooh, I can do something like…' You can really explore some other stuff where you maybe shut it off before that you knew you weren't gonna be able to pull it off, that you kind of don't think like that. And then when you don't really have any restrictions, so many different ideas come about. And I think the second half, as [Matt] was saying, things got a little darker and heavier. I think it was from the experience from the first six songs, and then when we went into the next half, there was no shackles as far as the creativity. We just kind of went for it, and I think fans really enjoy it when we go off like that." "The Sin And The Sentence" was released in October via Roadrunner. The disc was recorded with producer Josh Wilbur (LAMB OF GOD, GOJIRA) at Santa Ana, California's Hybrid Studios. Bent's predecessor, Paul Wandtke made his live debut with TRIVIUM in December 2015 at Knotfest in Mexico. A short time later, he appeared in an official promotional photo with the three core members of the band. Paul joined the Florida outfit on the recommendation of DREAM THEATER's Mike Mangini and replaced Mat Madiro, who departed due to reasons of "creativity." Madiro was the featured drummer on TRIVIUM's 2015 album, "Silence In The Snow".
DEE SNIDER Says He 'Can't Be Friends' With DONALD TRUMP Anymore, Calls Mexican Border-Wall Idea 'Crazy'
Dee Snider says that he can no longer be friends with Donald Trump because he does not share the 45th U.S. president's views on important issues. The TWISTED SISTER frontman spoke about the billionaire real estate mogul while promoting his appearance at last month's Scream Bolivia event in La Paz. Speaking to Bolivia's ATB, Snider said (see video below): "I was on Donald Trump's 'Celebrity Apprentice' [reality TV show] for three years. I came to know him and his family socially. But it wasn't until he ran for president that I discovered his belief system inside, and I disagree with what he believes — I absolutely disagree with what he believes. So it's very difficult because we were friends before, but now that he speaks his true mind, I can't be friends." Snider singled out the Trump administration's harsh immigration policy as an issue on which he does not see eye to eye with his former friend. "The United States is a country of immigrants — everybody there, except Native Americans, everybody is an immigrant," Snider said. "My family is [a family of] immigrants. We've always welcomed immigrants, and we should continue to welcome immigrants. So, a wall? Crazy. To say no to immigration? Crazy. This has made our country strong. All these people from all over the world have made the United States one of the strongest countries in the world. We can't stop bringing people in now." Trump recently announced that he will rescind Deferred Action for Childhood Arrivals (DACA), which offers protections to undocumented immigrants who arrived in the country as children. The program was started as an executive order by President Obama. Trump has also called for a complete ban on all Muslims entering the United States and has long sought to tighten the borders. Snider found himself in the middle of controversy last year when he asked Trump to stop using the 1984 TWISTED SISTER anthem "We're Not Gonna Take It" in his campaign. The singer said at the time that Trump was very gracious about the request. While many rock artists have been against Trump, musicians like STAIND's Aaron Lewis, Kid Rock, Ted Nugent and FIVE FINGER DEATH PUNCH's Zoltan Bathory have voiced their support the real estate magnate, who had no governing experience prior to being elected president.
GLASSJAW To Release 'Material Control' Album In December
New York influential post-hardcore band GLASSJAW will release its long-awaited third album, "Material Control", on December 1. Speculation grew when a mysterious pre-order of the album was briefly visible online and then, suddenly, it disappeared. Word of the pre-order quickly spread across Reddit, Twitter and various music blogs and web sites. Fans began to cautiously believe that, indeed, a third album would drop soon. GLASSJAW, notoriously tight-lipped, fueled more speculation when fans across the globe began to randomly receive mysterious postal service packages from the band. The packages included thousands of postcards sent to express the band's gratitude to the dedicated fanbase who have waited patiently for new music for over a decade, since GLASSJAW's last critically acclaimed full-length release, "Worship and Tribute". These "thank you" postcards double as playable vinyl of each new track from "Material Control". The first track from the album, "New White Extremity", was released exactly two years prior to the album's December 1 release date and precedes the current single, "Shira". "Shira" is available as a digital single on all download and streaming platforms. You can also pre-order the digital album and get "Shira" as an instant-grat track. "Material Control" track listing: 01. New White Extremity 02. Shira 03. 11 Days 04. Golgotha 05. Pretty Hell 06. Bastille Day 07. Pompeii 08. Bibleland 09. Closer 10. My Conscience Weighs A Ton 11. Material Control 12. Cut And Run
Listen To Title Track Of ATROCITY's 'Masters Of Darkness' EP
Long-running German metallers ATROCITY will release a new EP, "Masters Of Darkness", on December 8 via Massacre Records. The disc is the perfect harbinger of the upcoming album "Okkult II", which will be released in 2018 via Massacre. Fans of harder ATROCITY material like the first "Okkult" album and the death metal classics "Hallucinations", "Todessehnsucht", "Blut" and "Atlantis" will surely be delighted with the new EP. The "Masters Of Darkness" title track can now be streamed below. "Masters Of Darkness" will be available as a limited four-track digipak EP as well as a limited two-track seven-inch vinyl single with a different colored artwork. The EP and seven-inch single are already available for pre-order. "Masters Of Darkness" was produced by Alexander Krull at Mastersound Studio. The artwork was created by Stefan Heilemann of Heilemania (LINDEMANN, EPICA, KAMELOT). "Masters Of Darkness" track listing: 01. Masters Of Darkness 02. Menschenschlachthaus 03. Gates To Oblivion 04. Devil's Covenant Part one of what was said to be ATROCITY's album trilogy, "Okkult", was released in May 2013 via Napalm Records.
LITA FORD Says Her New Album Is Turning Out 'Pretty Badass'
Lita Ford says that the songwriting process for new album is "going great." Helming the project once again is guitarist/producer Gary Hoey, who previously worked with Lita on 2012's "Living Like A Runaway" disc. Speaking to Noise Blitz, Ford stated that the new songs are turning out "pretty badass. It's just been Gary Hoey and I so far," she said. "Him and I get along so well in the studio, it's just ridiculous. I start a sentence and he finishes it. We've really got a feel for music in the studio, so we work well together. And I think he will most likely be the one to finish out the album." Lita went on to reveal that she "did write a couple of songs with some other people, which are real good. And we may use them. They need to be remixed — the demos; they're just demos right now — but they do need to be remixed," she said. "Whereas Gary and I, we do a demo and it sounds like a master. So it's going great. I'm excited. I didn't think I was gonna be able to beat 'Living Like A Runaway', but I think I have." Ford told in January that her next album would be "dark" and "riffy" with "lots of guitar." She added: "I'm gonna really let the guitar flow on this one. So that's exciting." Lita's last release was 2016's "Time Capsule", a collection of songs that were recorded by Ford in the past, but never before made available. "Time Capsule" was tracked after her 1988 "Lita" album — a time when, as Ford put it, "we had a break between recordings and it seemed so many of us were always in the same place, at the same time." Some of the album's featured guests: Billy Sheehan (bass), Rodger Carter (drums), Dave Navarro (mandolin), Jeff Scott Soto (vocals), Rick Nielsen and Robin Zander (backing vocals) and Gene Simmons (bass). Lita's autobiography, "Living Like A Runaway: A Memoir", was released last year via Dey Street Books (formerly It Books), an imprint of HarperCollins Publishers.
THE 69 EYES: 'Christmas In New York City' Video Released
Finnish rockers THE 69 EYES have released a music video for their song "Christmas In New York City". The clip was filmed and directed by Ville Juurikkala, known from his previous work with THE 69 EYES, HIM, NIGHTWISH and AMORPHIS. "This is about the last thing we haven't done yet — so it's our time to release a Christmas song!" says THE 69 EYES singer Jyrki 69. "This is also our tribute to the RAMONES and New York which both have been our main influences." He added: "I wish nobody has to feel alone this Christmas. This song is all about that. The best feedback would be if Jesse Malin wrote and recorded a song called 'Christmas In Helsinki'!" The Finns are currently working on the follow-up to their 2016 album "Universal Monsters".
DISCHARGE Releases Official Music Video For 'The Broken Law'
U.K. hardcore punk legends DISCHARGE have released the official music video for the song "The Broken Law". The clip was shot in the fall of 2017 in London by Stuart Sterling. "The Broken Law" is taken from DISCHARGE's latest album, "End Of Days", which was released in April 2016 via Nuclear Blast. The band states: "So what do we have to say about this video? Nothing. The words and the images in the video speak for themselves... this is the world we are living in." DISCHARGE vocalist Jeff "JJ" Janiak told Metal Forces that "End Of Days" is "more like the [band's] earlier" material, which is "just really short. Yeah, I think it stands up against a lot of the stuff. DISCHARGE did have a run of bad albums in the mid-to-late '80s, and even into the early '90s. It's not the most memorable stuff, and so I definitely think this stands above that period of DISCHARGE." In a separate interview with Distorted Sound, Janiak admitted that there was "a bit" of pressure on him to deliver on "End Of Days", being that it was his first album with DISCHARGE since he joined the band in 2014. "It was a hard decision for me," he said. "Because I know when Rat [former vocalist Tony 'Rat' Martin] was singing, he got a lot of shit off people, basically just because he wasn't Cal [former vocalist Kevin 'Cal' Morris], really. And I really didn't want to put myself in that situation at first. So I was asked to join, they had some gigs lined up already and they asked me to join and that first gig was, like, two weeks later, and it was in front of 20,000 people at this massive festival over in Europe. So I had two weeks to learn the songs and I learned them, and I wasn't really sure whether I was going to make it a permanent thing at that point, I was just kind of doing a favor and filling in. But once all the videos went up and once the word got out there and whatnot and people actually heard it, all the feedback from it was great. I was literally getting messages off DISCHARGE fans from around the world saying, 'Please stay in the band!' so that kind of made the decision for me, really. How can I say no to that for a band that's been going for so long? It is hard to replace, especially being a singer, it is hard to replace original singers, but luckily, I've been accepted, so happy days." Photo credit: Fabiola Santini
PHIL CAMPBELL AND THE BASTARD SONS: Making Of 'The Age Of Absurdity' Album Part Two
The second in a series of video clips featuring footage from the making of "The Age Of Absurdity", the upcoming debut album from PHIL CAMPBELL AND THE BASTARD SONS (formerly PHIL CAMPBELL'S ALL STARR BAND), the band featuring MOTÖRHEAD guitarist Phil Campbell alongside his sons Todd, Dane and Tyla, plus vocalist Neil Starr, can be seen below. The disc was recorded at Rockfield Studios and Longwave Studios in Wales and produced, engineered, and mixed by Romesh Dodangoda. The record was then passed over to the acclaimed Abbey Road Studios in London for mastering. The album will feature eleven songs and one bonus track and will be released on January 26, 2018 via Nuclear Blast. The album will be available in various formats, with pre-orders launching soon. Commented Phil Campbell: "I am really excited for the fans to hear our debut record. Every part of the process was done in Wales, from the writing, to the recording and even the artwork! "The album title, 'The Age Of Absurdity', was inspired by the crazy world we live in today. The world to me seems to be a bit of a theater show, so the album artwork idea just seemed to fit so well with the whole concept and album title." Added Starr: "Writing and recording this album was a lot of fun. We got to record at Rockfield Studios where so many great artists had been over the years — it really was inspirational. Hearing the blistering riffs that the Campbell family seem to churn out effortlessly made me ensure I pushed myself to the limits when writing the melodies and lyrics. It's an album that I, and the rest of the band, are very proud of and can't wait to share it with the world!" "The Age Of Absurdity" track listing: 01. Ringleader 02. Freak Show 03. Skin And Bones 04. Gypsy Kiss 05. Welcome To Hell 06. Dark Days 07. Dropping The Needle 08. Step Into The Fire 09. Get On Your Knees 10. High Rule 11. Into The Dark 12. Silver Machine (HAWKWIND cover feat. Dave Brock of HAWKWIND)* * only to be included in the first pressing of the CD version of the album The cover art was created by Matt Riste and can be seen below. PHIL CAMPBELL AND THE BASTARD SONS' last release was a digital-only live EP, "Live At Solothurn", which came out in June.
POWERWOLF To Enter Studio In January
German metallers POWERWOLF will enter Fascination Street Studios in Örebro, Sweden in January to begin recording their seventh studio album. Due in 2018 on Napalm Records, the follow-up to 2015's "Blessed & Possessed" will be produced by Jens Bogren, who has previously worked with KREATOR, DRAGONFORCE, SEPULTURA and PARADISE LOST, among others. "It feels exciting and spurring to have one of our all-time fave producers working with us on this adventure," says guitarist Matthew Greywolf. "Can't wait to record a truly epic new chapter of the metal mass. Be forewarned!" Greywolf told New Noise in a 2016 interview that the members of POWERWOLF "don't care about labels, such as power metal or whatever. We are a band that plays heavy metal, period. I've grown up listening to bands such as IRON MAIDEN, BLACK SABBATH, MERCYFUL FATE and SAVATAGE; I never wondered how to label those bands, since they were just great heavy metal bands for me, and I still see it that way." Greywolf also talked about POWERWOLF's strong visual presentation in a live environment, which was captured on the "The Metal Mass Live" DVD and Blu-ray, released in July 2016 via Napalm Records. "I love bands who deliver a great visual show on top of the music," he said. "To make that point clear, it's the music that matters most and comes first. We are a metal band, not a theater group. But if you take a look at those great shows, like what IRON MAIDEN delivered in the '80s and still deliver, it's obvious that a great metal shows needs to be supported by great visuals."
JAMES HETFIELD Admits He 'Wasn't 100 Percent' Into 'Load' And 'Reload' Era Of METALLICA
In a brand interview with Clash, METALLICA frontman James Hetfield was asked if the band had to make certain compromises along the way in order to be accepted by the mainstream. He responded: "It is interesting, because we have created our own mainstream, is what I believe. We've been extremely honest with ourselves, including the compromising part. "There always has to be some kind of compromise — especially when you've got four guys in a band," he continued. "You've got two guys that are really driving the thing — Lars [Ulrich, drums] and myself — and when we don't agree, there has to be a compromise. But as far as doing something that doesn't feel right, I'm sure there's been a few times that it's happened — the 'Load' and 'Reload' era, for me, was one of those; the way that was looking, I wasn't 100 percent on with it, but I would say that that was a compromise. I said, 'I'm going with Lars's and Kirk's [Hammett, guitar] vision on this. You guys are extremely passionate about this, so I'll jump on board, because if the four of us are into it, it's going to be better.' So I did my best with it, and it didn't pan out as good as I was hoping, but, again, there's no regrets, because at the time it felt like the right thing to do. So, even thinking that I need to compromise a little bit for the integrity of the band to go forward, I'd do that. But as far as the mainstream goes, I think we've been so honest and open about what we want and what we don't want. You know, this is our fucking party. [Laughs] You're invited! Everyone's invited! Be a part of the acceptance of this and the adventure, and if it starts to get personal and you don't like it, you can jump off at any point, because there's always hopefully going to be someone who enjoys that enthusiasm about creation, and there will always be a seat for that person." During the same chat, Hetfield said that METALLICA has "always hated any kind of rules, or any attempt to categorize or box us in any way. We don't like boundaries and limits," he added. "And I think right away… heavy metal has the impression that it's a bit punk, like 'Fuck the world,' and 'We're us, we're doing things our way,' and that's fine, until you don't fit into their way. You know, cutting your hair or not wearing a leather jacket, or whatever. Doing a ballad: that was one of the things that set us apart right away. I remember almost getting in a fight with a fan in San Francisco. This was about '89, because '[…And] Justice [For All]' had just come out, and we had done a video for the song 'One', and the guy said, 'Fuck you, you sell-out motherfucker. You did a video for MTV, and blah blah blah…' [Laughs] I felt the need to defend us! It's like, 'Why do I need to justify our art to you?' So that, to us, it disappointed us. It disappointed us that fans would get angry at you for being an artist, or doing what you feel you want to do to explain yourself to the world, or to connect with the world." Following the "Load"/"Reload" albums and tour, METALLICA went into a tailspin that resulted in the exit of bassist Jason Newsted, Hetfield spending the better part of a year in rehab and the band nearly splitting up. In a 2016 interview with TeamRock, Hetfield was asked what he thought late METALLICA bassist Cliff Burton might have felt about the drastic changes in METALLICA's look and sound that the band made through the 1990s and early 2000s with albums like "Load", "Reload" and "St. Anger". Hetfield replied: "Well, I certainly would have thought there would have been some resistance, for sure. I think the 'Black Album' was a great album and I appreciate the fact that we did have the balls to do that… I would certainly think that the 'Load' and 'Reload' [era], I would have had an ally that was very against it all — the reinvention or the U2 version of METALLICA." METALLICA returned to a heavier style more reminiscent of its early albums on 2008's "Death Magnetic", while its new disc, "Hardwired... To Self-Destruct", arrived in November 2016.
SAMMY HAGAR: 'I Wanna Be The Oldest Living Rock Star On The Planet One Day'
In a brand new interview with Meltdown of Detroit's WRIF radio station, Sammy Hagar, who celebrated his 70th birthday in October, said that he is planning to slow down his partying in order to prolong his life. "I wanna be the oldest living rock star on the planet one day," he said (hear audio below). "Every day you see somebody else going — Malcolm Young [late AC/DC guitarist] and stuff — so I'm thinking, I'm gonna preserve myself, maybe put the brakes on a little bit, start drinking a little bit later and finish up a little bit earlier [laughs], and all those things — you know, eat right, keep myself healthy, keep exercising. And I'm serious — I would love to be the oldest living rock star on earth someday." Asked if he was friends with Malcolm Young from his years of being on he road, Hagar said: "I met those guys [in AC/DC] a few times. I was more friends with probably Brian [Johnson, AC/DC singer] than anyone [else] in the band. And before that, Bon Scott [late AC/DC frontman] and I used to get along pretty good — we did some shows together, and [it was] two singers getting together, having a couple of drinks. But Angus [Young, AC/DC guitarist and Malcolm's brother] and those guys are pretty private guys. I met Angus a couple of times — same thing — but I can't say I knew 'em; not like I knew Brian." A film documenting Hagar's 70th-birthday bash in Cabo San Lucas, Mexico will be shown in U.S. movie theaters on December 5. "Red Til I'm Dead: Sammy Hagar's Rock-N-Roll Birthday Party" features the best of the performances and party action from the four-day rock spectacular at the singer's Cabo Wabo Cantina, including appearances by Toby Keith, Chad Kroeger (NICKELBACK), Darryl McDaniels (RUN-D.M.C.), Eddie Money, Vinnie Paul (PANTERA), THE CIRCLE's Michael Anthony, Jason Bonham, Vic Johnson and more. Interview (audio):
SCOTT IAN Says It Was His 'Responsibility' As PHILIP ANSELMO's 'Friend' To Call Him Out Over 'White Power' Incident
Scott Ian has defended his decision to publicly criticize Philip Anselmo in the wake of last year's "Dimebash" incident, saying that friends "have the responsibility to call somebody out" when they "think they're doing something wrong." At a January 2016 event at the Lucky Strike Live in Hollywood in honor of late PANTERA guitarist "Dimebag" Darrell Abbott, Anselmo performed the PANTERA classic "Walk". As he left the stage, he was caught on video making a Nazi-style salute and appearing to say "white power." Although the former PANTERA frontman initially commented on the video to claim that he was "joking," he later apologized for what he did, saying that "it was uncalled for" and asking fans to give him "another chance." In the days following the incident, Ian, who is Jewish, released a statement on his official web site saying, "Philip's actions were vile" and invited Anselmo to make a donation to the Simon Wiesenthal Center, a human-rights organization that confronts anti-Semitism and hate speech. During a brand new interview with Pierre Gutiérrez of Peru's Hablas ROCKas, the ANTHRAX guitarist was asked if he thinks it was "fair" of him to have publicly taken Anselmo to task for his behavior at "Dimebash". Scott responded (hear audio below): "I think friends and family have the responsibility to call somebody out when they think… Look, I consider myself somebody's friend if I can call them out when I think they're doing something wrong. And that's really all I have to say about it. I think if you keep your mouth shut, then you really don't care about the person." Scott was then asked if he was aware of Anselmo's claim that he yelled "white power" and threw the Nazi salute because he was reacting to the audience members up front who he says were taunting him. "Honestly, it's something I haven't given much thought to since it all happened," Ian said. "I said what I had to say, and whoever said whatever they had to say, and as far as I'm concerned, it's water under the bridge at this point." Ian also talked about the criticism that has been leveled at him for calling out Anselmo for his allegedly racist actions when Scott himself was involved in STORMTROOPERS OF DEATH, the mid-'80s politically incorrect side project whose debut album, "Speak English Or Die", would likely cause an uproar if it was released today. "There's no way to answer that question because the record came out in 1985," Ian said about the S.O.D. release. "So if you wanna speculate about a fantasy, then you may have time to do that in your day, but I don't. As far as I'm concerned, when that [record came out in] 1985, either people understood that we were making fun of assholes and racists and people that would say 'Speak English or die'… So either people understood where it was coming from or they didn't, and if they didn't understand, it wasn't our responsibility to educate them. We were just having fun." In February 2016, Ian told Sticks For Stones that Anselmo should be forgiven for his actions "if he proves that he deserves to be. Just asking to be forgiven doesn't mean you should be forgiven. And I've had a running dialog with Phil since this happened. It's not like I just posted something online without actually speaking to my friend. I've been having a dialog back and forth with him. 'Cause if I didn't care, I wouldn't have contacted him at all. But I cared. Phil, I've known the dude almost thirty years. He's like a brother; he's family. And when someone in your family has a problem, you discuss it and you try and find a solution." He continued: "My attitude towards the whole thing was, to me, silence is complicity. If you don't say something about something like this, then you're condoning it, and I can't condone that in any way, shape or form. It's not okay in any world, let alone the metal world, to do these kind of things in any type of context, because words are too powerful, especially Phil Anselmo's words, because there's too many impressionable people out there who listen to every fucking thing that he says. So, you know, bottom line is he needs to prove that he should be forgiven, and the only thing that will prove that is his actions. And I am, of course, willing to give him the opportunity to prove that, because, like I said, he's like my brother. So I didn't write him off. I talked to him about it, and I have every hope inside of my heart that he will prove to the world that he is not this person." Ian reiterated that he wanted to see Anselmo learn from the incident and realize the error of his ways. "The fact is he made his mistake in front of the world," Scott said. "You just need to be smarter than that — bottom line, you know. I mean, words have power, and that's what people need to understand. Not everybody understands your context. Not everybody sees everything you're gonna say about it. Some people will only see what you did and think that's okay. And that's the truth, because in the aftermath of the whole thing, and after I posted what I posted, I couldn't believe some of the ignorance coming back my way. Possibly the stupidest thing that I saw was someone saying to me, 'Well, why would you want him to donate money to the Simon Wiesenthal Center? That's a Jewish thing.' Sorry, to quote, 'That's a Jew thing, and 'white power' has nothing to do with Jews.' So that just shows you the ignorance out there. So, you know, people need to be educated. That's the bottom line here. People just really need to fucking learn a little bit, and I hope good will come out of this in some way, shape or form. Because it can't be accepted anywhere — not just the metal community, but anywhere in the world, it's unacceptable." A few months later, Philip revealed to Rolling Stone that "made a donation" to the Simon Wiesenthal Center in January 2016, shortly after video footage of his "Dimebash" antics went viral. "But guess who didn't have the guts to fucking come out and tell the press that? [Scott Ian], who wrote 'Speak English Or Die'. The dude who wrote 'Aren't You Hungry?' [goading people who suffer from world starvation]. If that record came out today, we'd never fucking hear the fucking goddamn end of it. So pardon me. Maybe Scott did at one point or another come out and say that, 'Yeah, Phil did donate, so that's good.' But you hadn't heard of it. "I donated the next fucking day, or maybe the next hour after we spoke on the phone," Anselmo added. "And then I heard nothing about it in the press. Have I grown a little sour of it? Damn right I have. It's clickbait. No one wants to hear the good side of anything."
SEBASTIAN BACH On '18 And Life On Skid Row' Autobiography: 'I Just Knew I Wanted It To Be A Fun Book'
Tony Tone of Vintage Sound 93.1 recently conducted an interview with Sebastian Bach about the newly released paperback version of the former SKID ROW frontman's autobiography, "18 And Life On Skid Row". You can listen to the entire chat below. A few excerpts follow (transcribed by BLABBERMOUTH.NET). On what readers can expect from the paperback version of his autobiography: Sebastian: "This is the expanded edition with more unseen photos from personal archives, so it's pretty exciting. When we did the hardcover [version], I discovered that when it was done, I had put more pictures at the beginning of my childhood than the rest of the book, so I was, like, 'I need more in these other parts of the book.' I like pictures in a book. When I'm reading a book, I don't know why, maybe other people do this, I'll read a passage, then I'll go back and look at this picture and go, 'Oh, that's what's happening.' I think it makes for a better book. It's more visual in your brain of what's happening. I'm reading Bruce Springsteen's book ['Born To Run'] right now. There's a lot of similarities to mine. It's weird. I'm not putting myself in his category, but it's like the same, I don't know, the same kind of feel to it. Him being a teenager in love with rock and roll and then what happens from there. He did a weird thing. He put all of his pictures at the back of the book. I've never seen that." On whether he had been thinking about writing a book for a long time: Sebastian: "I had been asked to do a book years and years ago. The first guy was Larry 'Ratso' Sloman, who wrote Bob Dylan's ['On The Road With Bob Dylan'] or his big book that he had, 'No Direction Home', I can't remember the name of it. That was 15 years ago. He came into my house and said, 'We can do a great book.' But, I'm a bit of a control freak. I've read every rock bio there is to read and I was good in English. [Laughs] In school, that was my best subject by far. I'm horrible at math. In my job, all you have to do is count to four, so that's good. [Laughs] I just knew that I wanted it to be a fun book and I had to really reach back in my memory vault to remember all the stuff that happened, because it was before the Internet. Like, if I was writing a book about last year, it's all online. I could just go look, but if you're writing about 1985, that is hard to do. That's hard to do, to remember when I was a kid at the KISS show. I'm very proud of how I wrote that whole experience because I feel like I'm there when I'm reading it. That's '79, that's a long, long time ago. Accompanied with my dad's photos from the time period, which are black-and-white and really capture that time. I'm just very proud of how it all fits together." On what life as a touring musician is really like: Sebastian: "What people don't get when you're doing something like that is you're doing the show, you're going on at ten at night, you're giving 100 percent to twelve at night or whatever, then wind down, then you do a meet-and-greet after that. You get back to your hotel at maybe three, something like that. Then you have a lobby call to go to the airport at 7:45 in the morning to do a show that night, then do it again that night. That's where it gets crazy because your body wants to go to sleep after you do the show. You don't want to go to the airport, you don't want to deal with security. That's what we do. We travel all day, we get to the hotel at maybe two in the afternoon, grab an hour or two of sleep, and then start getting ready for the show." The hardcover version of "18 And Life On Skid Row" came out last December via Dey Street Books (formerly It Books), an imprint of HarperCollins Publishers.
MR. BIG's BILLY SHEEHAN Says PAT TORPEY Has 'Demonstrated Incredible Courage' During Battle With Parkinson's Disease
Italy's Rock Rebel magazine recently conducted an interview with guitarist Paul Gilbert and bassist Billy Sheehan of MR. BIG. You can watch the entire chat below. A few excerpts follow (transcribed by BLABBERMOUTH.NET). On the difference between touring with MR. BIG versus their solo projects and side bands such as THE WINERY DOGS: Paul: "MR. BIG, there's more people in the audience, which is nice. It's MR. BIG music; we all sing together, which is great. There's a lot of harmony vocals in addition to the bass and guitar wildness. And, for me, it pushes me to be more intense. There's sort of an energy level requirement that MR. BIG has that if I was just on my own getting out of bed in the morning at my house, I might not ever get to that energy during the day on my own. But with MR. BIG, it brings me up to a higher energy level than I ever would on my own. That's nice to be pushed and push myself that much." Billy: "Similarly, it's a pretty intense show. It seems sometimes it's just a regular rock or pop song, but we're doing a lot and singing a lot and all kinds of things are going on. MR. BIG has been, for all of us, our most successful band for all of us, all of us in the band. We've played all over the world as I already mentioned and it's incredible to play. We play in South America and they sing the guitar solos. They sing along with the guitar solos, so the fact that the fans are so familiar with what we do and they sing along, we're really locked together with the audience in a really incredible way, which means a lot to us. We have dear friends and wonderful people all over the world, no matter where we play, somebody's there and they got a record or a MR. BIG shirt, even if they got to make it themselves, they got a MR. BIG shirt. It's quite a wonderful thing. We both do a lot of things outside of MR. BIG, but I would dare to say that not necessarily to speak for Paul, Pat [Torpey, drums], Eric [Martin, vocals] or [fill-in drummer] Matt [Starr], but MR. BIG is a very special thing for all of us." On Torpey, who suffers from Parkinson's disease, joining MR. BIG on their current European tour and whether the band considers themselves "one big family": Billy: "You could say that, yeah, absolutely. Pat, unfortunately, ran into a bad situation and as a band, we wanted to make sure that he knew that we were with him 100 percent. It's a tough thing for everybody, but Pat has demonstrated incredible courage and strength. He's inspiring to so many people all over the world. I get e-mails from people every day who maybe don't have the same affliction, but have something similar and Pat inspires them to get out of bed and get going and push back a little bit more. I think that's a wonderful thing in itself. The American military, the Navy Seals and their motto is 'No Man Left Behind.' So for the beginning of this, we adopted their motto to a rock band and [it was] 'No Man Left Behind'. A lot of bands are out there now and they don't have all the original members. Sad, sometimes you can't. People pass on and situations, but we really want it to be Paul, Eric, myself and Pat. Matt is incredible at helping out. I have to mention how awesome he is and how wonderful a job he's done to do Pat's parts the way they should be done. Really wonderful." On whether MR. BIG ever writes material they know they wouldn't be able to replicate live: Billy: "I think everything we do is designed to be performed live. I think that's where some bands get into trouble. They get into the studio to do all of this fancy stuff, but they can't do it live. So they get live and it's not that good. I've seen that happen with several very famous bands, too. When we designed this band way back when we first began rehearsing at Alleyway Studios and when we were in there rehearsing and we were just playing live and when we put this band together, we kept 'live' in mind completely. When I heard Eric sing, I thought, 'That guy's got a great voice.' I heard some live things of him, he's amazing. Paul, of course, I had seen him for several years before we started MR. BIG and he just killed live. Pat Torpey, I saw him perform live, just great. I really wanted to build the band as a live band so it would be 'real.' A lot of bands, they faked a lot of stuff. They can do it in the studio, they can't really do it quite live. We really wanted to make that connection true and honest. I think it makes a big difference to the fans. Sometimes when we sing, we break in the middle of 'Green-Tinted [Sixties Mind]', we just sing the middle harmony part with no music. 'Is that recorded?' Sometimes we go live, 'There aren't any tracks playing!' It's not fake. We keep that in mind. Then, it's a challenge when we do something that's difficult, we got to perform it live. We have to figure out a way to do it. It's a good challenge." MR. BIG's ninth studio album, "Defying Gravity", was released on July 7 via Frontiers Music Srl. The effort is available at traditional retail and all digital service providers, as is a deluxe-edition version with CD and bonus DVD that features music videos and a behind-the-scenes look at the making of the album.
JAG PANZER Guitarist MARK BRIODY Doesn't Hear A Lot Of Variety In Modern Metal
"Metal Magdalene With Jet" show on Metal Messiah Radio recently conducted an interview with guitarist Mark Briody of veteran Colorado metallers JAG PANZER. You can listen to the entire chat below. A few excerpts follow (transcribed by BLABBERMOUTH.NET). On his memories of JAG PANZER during the early '80s: Mark: "The first show we did, we had to beg to get the gig because clubs here didn't allow original music. We started, we would do cover tunes, then we would play original music, an original song. Harry [Conklin] would say 'This song is a B-side, import of BLACK SABBATH's 'Paranoid' single.' After every gig, we'd always have some drunk guy coming up to us 'I got that single! You guys sound great on it.' Our first all-original gig, we had to beg for it. Clubs here just didn't book original gigs, so we did it and people started dancing during the first song and they quickly quit and then left. For a while, we were playing to an empty room. Eventually people started coming in. It was actually really weird. By the time the set was nearing the end, we had a full house. We were kind of welcomed to all of the clubs here in Colorado then, which was really cool. We sort of blazed a trail for original metal here." On having former MEGADETH lead guitarist Chris Broderick in JAG PANZER from 1997 to 2008: Mark: "He was friends of a mutual friend of ours up in Denver. Chris was living about an hour away. I actually met Chris a few times before. I knew he played guitar, but I had no idea he played guitar like that. The guy is an amazing guitar player and a cool guy. We hit it off right away. I think we did five or six albums with Chris. It was a good time. We were happy for him when he got the MEGADETH gig. That was a huge move for him. There was no animosity or anything. We consider him a friend before a band member. We celebrate the success of a friend." On JAG PANZER's new album, "The Deviant Chord": Mark: "We wanted, of course, a metal record, but we wanted a lot of variety on it. The records we grew up with as really young kids, like the LED ZEPPELIN records and some of the early BLACK SABBATH, had a lot of variety on it. We were talking that we weren't hearing that in a lot of modern metal. We wanted to do some variety on this, so we made sure that the music was in a few different time signatures, key signatures, that every song sort of had its own character. That's what we were going for, whether we succeeded or not, that's up to the individual listener." On the lyrical concepts behind "The Deviant Chord": Mark: "Lots of different things; it's not a concept [album]. Harry likes to write a lot about the brotherhood of heavy metal fans. We'll go to the shows all around the world and everybody is really cool. It's just a really cool environment how you play a huge festival in Europe and you'll have twenty-thousand people just absolutely in synch, just listening to a band, which is really, really cool. People are cool at the clubs afterwards. It's just a cool scene. He finds a lot of inspiration in that." On the cover artwork for "The Deviant Chord": Mark: "The cover art, I've always wanted to do a mad scientist theme for years. We grew up here in Colorado Springs and that's where [inventor] Nikola Tesla had his famous laboratory. His laboratory is probably five miles where I'm at now. They called him 'The Mad Scientist' back then. He was here in the late 1800s, we just gotten a power grid in town and he knocked it out for the whole town, doing these crazy lightning experiments. So they called him 'The Mad Scientist', so we sort of grew up with those stories. I've always wanted to do mad scientist-themed graphics. I wanted pictures of the band's heads in jars, the whole thing. But, finding the right artist to do it is what's taken a while. I spent a good year and-a-half looking at artists. I went to Comic-Con and probably talked to twenty artists. I probably contacted another ten or twenty more that I saw online until we found Dusan [Markovic]. He's a Serbian artist. His work is just great. He and I talked and we were really in synch for what I wanted to see for an album cover. So we hired him and I think what he delivered is fantastic. It's creepy and cool and it's got that classic horror angle to it that I've always loved for metal album covers." "The Deviant Chord" was released on September 29 via SPV/Steamhammer and is available as a CD digipak (including poster) and double LP colored version as well as for download and streaming.
GEOFF TATE Says 'A New Reality' Will Be 'The Last Album' For OPERATION: MINDCRIME
JZ from "The Dark" on Minnesota radio station FM94 recently conducted an interview with former QUEENSRŸCHE and current OPERATION: MINDCRIME frontman Geoff Tate. You can listen to the entire chat below. A few excerpts follow (transcribed by BLABBERMOUTH.NET). On making OPERATION: MINDCRIME a reality: Geoff: "First off, it's not an actual band. OPERATION: MINDCRIME is a group of different musicians all getting together to contribute to these three albums that I put together. I believe, I can't remember exactly how many people played on the albums, but I believe it's something like sixteen to eighteen different musicians on these records. There's three records: 'The Key', 'Resurrection' and the new album is called 'A New Reality'. It's a trilogy of albums that tell one story. It's like telling a story in three acts and each act is an album. This group of musicians was put together specifically for this project. It was great working with everybody. I worked with several different writers contributing to the music and lots of different musicians, guitar players, bass players, drummers, keyboard players, everybody that contributed did fantastic work. We recorded all the basic tracks for all three albums at the same time a couple of years ago and then, as I finished the records, the record company put them out once a year. And this is the last album of the trilogy and the last album for OPERATION: MINDCRIME and it's coming out in December." On the stylistic direction of OPERATION: MINDCRIME: Geoff: "It's really quite different. It's a return to my musical roots which are [in] progressive rock, primarily, is my influence, so there's a lot of that kind of sound in the song arrangements and the instrument choices and things like that. But, it's challenging music. It's definitely musician-oriented music. It's catchy in the melodic sense and lyrical sense, but musically, it's pretty challenging stuff that not everybody is going to be able to pick out everything that's going on with it because it's pretty in-depth and complex. It's not for kids. [Laughs]" On QUEENSRŸCHE's "The Lady Wore Black", which is found on the band's 1983 self-titled EP: Geoff: "Gotta go way back to 1980-81 and at that time, I'm living in the country outside of Seattle in a place called Redmond. It's a beautiful, rural area. The band QUEENSRŸCHE is not QUEENSRŸCHE yet. We're just a bunch of guys that got together and decided to write some songs and record them and see if we could take our demo tape and get a record deal. I was playing in a number of different bands at that time. I started working with the guys in QUEENSRŸCHE on this particular four-song EP. 'The Lady Wore Black' was the first song we wrote together. We had been in the studio and we were working nighttime at the studio because it was less expensive to work at night, so we had been up all night and working on the music. We wrote this beautiful piece of music, but I didn't have any words yet. I had some melodic ideas, but I didn't have the words. I left the studio, I guess, about eight o'clock in the morning. It was one of those late summer days where it was kind of foggy at night and the fog lifts in the morning. So it was kind of sunny with fog everywhere. And I'm walking home because at the time, I couldn't afford to own a car. I'm walking home and I'm walking through this valley, there's this river valley, I'm walking to my house. I walk past this woman who is sitting in the park and she's all dressed in black and boom — it just hit me. The song lyrics came to me and by the time I had gotten to my house, which was probably a half hour later, I had written the lyrics in my head. So I scribbled them down on a piece of paper and came to the studio the next day and we cut the song." On the challenges the music industry presents: Geoff: "When I started, the industry was running strong. It was super-successful and they had a model that they were using. 'This is how it works.' Over time, especially toward the mid-to-late '90s, everything changed in the industry and the Internet changed it where people were able to download music for free and not pay for it. It radically changed the industry because it took all of the money out of the industry. It's like if everybody walked into their local supermarket, loaded up their basket full of food and walked out without paying for it. Pretty soon there wouldn't be any supermarkets. They need the money to make it work, right? Basically, downloading and illegal downloading gutted the music industry and took the money out of it. So everybody pretty much left. For example, when I was with EMI Records in the '80s and the '90s, there were 10 thousand-plus people working for the label. Now there's 21 people working for the label, what label is left. It's pretty much administrating the catalog of what's there of previous artists' work. So it's just gutted it. Nowadays, new bands starting out have a really difficult, I think, an impossible time to try to get themselves noticed and to's Catch-22, for example. You have to play live in order to get an audience, but how can you afford to play live if you can't sell tickets? So, what do you do? You have to go on YouTube, you have to create some sort of sensation about yourself and hopefully enough people will like what you're doing and those likes will translate into people buying tickets to your show if you could possibly get to where their town is. [Laughs] It's really difficult. You basically have to have somebody taking care of you, another band looking out for you and helping you out and giving you a leg up and getting you on their tour and exposing them to your audience. Or, you have to have some investor who's got super-deep pockets who's willing to lay out multiple thousands of dollars to help you get you on the road to help you gain an audience." "A New Reality", the third and final of a concept album trilogy exploring international politics, the world economy and social ethos, will be released on December 1 via Frontiers Music Srl.
DEVILDRIVER Guitarist Thinks It's 'Silly' When Metal Bands Cover Metal Songs
Sergio of Music Existence conducted an interview with DEVILDRIVER guitarist Mike Spreitzer prior to the band's October 18 show at the Culture Room in Fort Lauderdale, Florida as the support act for SUPERJOINT. You can watch the entire chat below. A few excerpts follow (transcribed by BLABBERMOUTH.NET). On the touring cycle for 2016's "Trust No One": Mike: "It's the first time, I think, we've ever put out a record where we actually are playing three songs. Not on this part, but on the first part of the tour when we were headlining, we were playing three new songs, which I don't think we've ever done before when we first had a record out. It could be a good sign of people liking the record. The record, to me, it seems kind of old. We do have another one coming out first quarter next year. It's a covers record. My part of the record, me and Neal [Tiemann, guitar] worked on it together. We did guitars and bass together. We re-wrote all of these outlaw country songs. It took about two months to get that done, then we did drums. It's getting mixed right now by [producer] Steve Evetts. I haven't heard any mixes yet, but it should be coming in pretty soon." On DEVILDRIVER's approach to covering outlaw country songs: Mike: "We don't like being a metal band that covers metal songs. I think that's just silly. We've covered, we did 'Holier Than Thou' by METALLICA and we did 'Wasted Years' by IRON MAIDEN. I'm kind of indifferent about the songs. I'm not much of an IRON MAIDEN fan; I'm a huge METALLICA fan. There's a country band called 16 HORSEPOWER. We did a song called 'Black Soul Choir' by them on our album 'Beast'. That came out really cool. [DEVILDRIVER's rendition of] 'Sail', by AWOLNATION, it's kind of a bittersweet thing, it's become our most popular song. I guess people like things that are familiar. But we had a meeting in the back of the bus a few tours ago, the whole band. We sat down and made a list of twenty or thirty songs that we could possibly put on this next record. Then Neal and I just sat down and separately, just started re-writing them on our own. Then, we got together, did some final touches on them, then did the whole process over again with guitars and bass and finalizing everything. I think we did thirteen and we're going to release twelve. We got a lot of guests on it. Randy [Blythe] from LAMB OF GOD is one of them." On working with the band's newest members Tiemann, drummer Austin D'Amond and bassist Diego "Ashes" Ibarra: Mike: "I was a little reluctant to work with the new members at first. This is no secret, but Neal and Austin came over to my house and auditioned at my studio at the same time. Obviously, Austin couldn't bring a drum kit in there, so he just air-drummed everything, but I had seen enough videos online of him doing drum solos. He came really highly recommended by our producer, Mark Lewis. I trust Mark. If Mark said he could do it and he's an awesome dude, that's good enough for me. Neal came over and played 'Dead To Rights' for me, which is one of our harder songs to play. It took literally one day of us getting together, spending some time in the studio, writing and it was instant chemistry. It was good. And, it was a really fun record to write, 'Trust No One'. I had a lot of fun doing 'Outlaws Till The End' as well. They're just really good dudes. The old guys from DEVILDRIVER, too. I'm still really good friends with all of them. Chris [Towning, bass], 'Bubble' [Aaron Patrick, bass], [Jon] Miller [bass], [John] Boecklin [drums], [Jeff] Kendrick [guitar], all of them. Boecklin really wanted to do his own band and he's doing it right now. They're called BAD WOLVES. They've only played one show at the moment. They're up to something right now. I think they're recording. We should see something from them early next year as well. We all keep in contact. Jeff didn't want to tour anymore. He's since gotten more into the real estate game, but I still love touring, man. Dez [Fafara, vocals] was worried that I was getting ready to do something else. No. [Laughs] I very well might be a lifer. I like being on the road. I like touring. I like being in a different place every day. I kind of like the chaos of everything. It just suits my lifestyle, I guess." On his approach to constructing both the outlaw country covers and recent DEVILDRIVER songs: Mike: "The new record, there was writing, but there wasn't. We basically followed the structures of the songs. Sometimes we added some intros, added some outros, we added some solos in some places. Some songs actually don't sound anything like the original, except for the vocal content. When we started writing or re-writing, I should say, I had a tendency to stick more with the melodies of the actual song and Neal had a tendency to kind of go off to right field a little bit with his writing. We did 'Whiskey River' by Willie Nelson. There's not really a whole lot there. We had to get creative. 'Okay, what are we going to do to make it metal?' It was a cool process for me. Gutting all of these songs and looking at how they're structured made me realize that I had kind of gotten stuck in a rut as far as structuring the songs in some ways. I deliberately went out of my way to try to structure songs differently on 'Trust No One' here and there, especially on the opening track, 'Testimony Of Truth'. Doing this covers record has definitely taken it a little further. On the next record, you're going to see some different structures and things that might seem a little bit unorthodox to DEVILDRIVER. But, maybe people won't even notice. The listeners don't have a tendency to dissect the songs the way the writer does." "Outlaws Till The End" is tentatively due in early 2018 and will feature appearances by nearly two dozen high-caliber guests, among them Glenn Danzig, Burton C. Bell (FEAR FACTORY) and guitarists John 5 (ROB ZOMBIE) and Mark Morton (LAMB OF GOD).
ORPHANED LAND: Teaser For 'Unsung Prophets & Dead Messiahs' Album
Israeli progressive folk metal masters ORPHANED LAND will release their new studio album, "Unsung Prophets & Dead Messiahs", on January 26, 2018 via Century Media. Jens Bogren once again took over mixing and mastering duties of what turned out to be the band's best and biggest production so far. "Unsung Prophets & Dead Messiahs" features a guest appearance of guitar virtuoso Steve Hackett as well as guest vocal appearances by no other than Hansi Kürsch (BLIND GUARDIAN) and Tomas Lindberg (AT THE GATES). The great album artwork was created by Valnoir. A teaser for "Unsung Prophets & Dead Messiahs" is available below. Singer and frontman Kobi Farhi comments: "Our music has always been a combination of anger, tragedy, protest and joy. "We can't wait for you to hear the thirteen brand new tracks of this album. As always, it will be very eclectic — no song sounds like the other and the whole album is a one big musical journey. "We feel that this album takes our feelings to a new level of anger, protest and tragedy. "The cover speaks for itself and it was made as tribute to the way governments design their money." "Unsung Prophets & Dead Messiahs" track listing: 01. The Cave 02. We Do Not Resist 03. In Propaganda 04. All Knowing Eye 05. Yedidi 06. Chains Fall To Gravity 07. Like Orpheus 08. Poets Of Prophetic Messianism 09. Left Behind 10. My Brother's Keeper 11. Take My Hand 12. Only The Dead Have Seen The End Of War 13. The Manifest - Epilogue The release of "Unsung Prophets & Dead Messiahs" will be followed by an extensive European tour in early 2018 with IN VAIN, SUBTERRANEAN MASQUERADE and AEVUM. ORPHANED LAND is: Kobi Farhi - Vocals Chen Balbus - Guitar Idan Amsalem - Guitar Zelcha - Bass Matan Shmuely - Drums
THE ANSWER Frontman To Release 'White Feather' Solo Album
Cormac Neeson of Irish rockers THE ANSWER will release his first solo album, "White Feather", in 2018. The disc will be recorded in Nashville starting in January with producer Blue Miller, who played in the pop group JULIA and performed and recorded with Bob Seger before recording three solo albums and creating Emmy-winning music for various television documentaries. "This is obviously a first for me and means I have to take a short break from THE ANSWER activity," Neeson said. "I have had the great opportunity to write with some of Nashville's finest writers and artists over the last 12 months and these collaborations have added a vibrancy and focus that will give this album its own unique identity." "White Feather" will feature a music style influenced by Americana, country, Irish folk and Delta blues. Through a series of well-crafted, introspective songs, Neeson will deliver a fantastic new sound, drawing heavily on his deeply personal experiences of upheaval and seismic change over the last number of years. A demo version of Neeson's solo song "Whole Again" can be streamed below. The singer stated about the track: "I wrote this song with my good friends Lisbee Stainton and Blue Miller on my very first day in Nashville. With regards to the subject matter, Lisbee and Blue were kind enough to let me take the lead and talk about my son's first days and weeks of his life spent fighting for his life in a Belfast hospital. The session quickly evolved into a very emotional but infinitely rewarding date for all of us. The perfect start of my time in Tennessee." In addition to Miller, "White Feather" is expected to feature Neeson's collaborations with many of the leading Nashville country songwriters, including Corey Lee Barker, Steve O'Brien, James Elliott and Allen McKendree Palmer.