Drum-cam footage of SLAYER drummer Paul Bostaph performing the song "Altar Of Sacrifice" during the band's November 19 concert at Verizon Theater in Grand Prairie, Texas can be seen below. SLAYER recently returned to the studio to resume recording its new album for a tentative early 2015 release. Helming the sessions is Terry Date, who previously worked with the band on the song "Implode", which was made available as a free download as a "thank you" to the band's fans for their continued support following SLAYER's surprise performance at this past April's Revolver Golden Gods awards in Los Angeles. Joining guitarist Kerry King and bassist/vocalist Tom Araya during the sessions for SLAYER's new album are returning drummer Paul Bostaph, who replaced Dave Lombardo last year, and guitarist Gary Holt (also of EXODUS), who has been filling in for Jeff Hanneman on tour for the past four and a half years. Bostaph was SLAYER's drummer from 1992 until 2001 and recorded four albums with the band â the gold-certified "Divine Intervention" (1994), the 1996 punk covers album "Undisputed Attitude", "Diabolus In Musica" (1998), "God Hates Us All" (2001) that received a Grammy nomination for "Best Metal Performance", as well as the DVD "War At The Warfield" (2001), also certified gold. In addition to SLAYER, Bostaph has been a member of FORBIDDEN, EXODUS, SYSTEMATIC and TESTAMENT. Original SLAYER drummer Dave 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. Filling in for him was Jon Dette (TESTAMENT, ANTHRAX).
Dominic of the program "Moshpit" on SYN 90.7 in Melbourne, Australia recently conducted an interview with vocalist Derrick Green of Brazilian/American metallers SEPULTURA. You can now listen to the chat in the YouTube clip below. Asked if all the drummer changes in the last ten years have affected SEPULTURA on a personal and creative level, Derrick responded: "[It's] definitely [affected us] creatively. We had to really pull together and stay focused on the music and the fact that there were so many different changes. I think in a lot of ways it's really helped us evolve. We've been fortunate enough to have incredible people that were artists that we played with, and so this helps a lot. So we've been able to create, I think, quality albums and actually have been evolving. But we're at a point now, in a very good phase, we're very strong and very well connected, along with a [recod label] label [Nuclear Blast] that's behind us, which helps tremendously. And I think it's gone in a way where it's helped us to stay focused, like I said, with the music, which is the most important thing, and try to forget all the drama that does happen around in this scene.But [it's really helped us] just stay focused on what's important and what we love to do." Regarding how SEPULTURA keeps a balance and a connection between the music it is creating today and the band's early records, Derrick said: "It's certainly a different band [today] and [these are] extremely different times [to what they were 30 years ago]. The biggest difference is definitely that, with time, the music and everything is changing, the music scene, but people are changing [as well]. I mean, the band has 30 years [of history], so I would think, as an artist, you would be a failure to be exactly the same after 30 years [laughs] and not have any change. I think you wouldn't be an artist. Being an artist is about evolving and having change and expressing that. So I think it's been an incredible road that SEPULTURA has had, and I think it's very unique and very special." SEPULTURA's latest album, "The Mediator Between Head And Hands Must Be The Heart" sold around 1,800 copies in the United States in its first week of release. The CD came out on October 29, 2013 via Nuclear Blast Records.
A new Glenn Danzig song will appear on the next volume of the soundtrack to AMC's zombie apocalypse drama "The Walking Dead". During an October 27 appearance on Eddie Trunk's "Trunk Nation" show on SiriusXM's Hair Nation, Glenn said: "I don't know if it's gonna be in an upcoming episode â they wanna find a place for it there â but it'll definitely be on the soundtrack." He added: "I actually wrote that song kind of just because I became a fan of the show. And I'm, like, 'I should write a song for them and see if they wanna use it.' And then my lawyer, Peter, was telling me about the soundtrack, and I submitted it, and they loved it." Glenn revealed that he was a latecomer to "The Walking Dead" show, but after watching it once, he was hooked. "I was surprised," he said. "I watched one episode. 'Cause someone had said, 'You've gotta watch this.' And I remember the indie comic. 'Cause I still have my comic company. And I remember the indie comic. And I started watching it, and then I watched another episode, and I [was like], 'Oh, I've gotta see all these back episodes.' [Laughs] It's a great show." "The Walking Dead: AMC Original Soundtrack, Vol. 1" was released in March 2013 via Universal Republic Records and featured tracks from and inspired by "The Walking Dead". The CD peaked at number 54 on The Billboard 200 chart. As previously reported, ANTHRAX guitarist Scott Ian will make a cameo in the second half of the fifth season of "The Walking Dead". Another fan of the series, former GUNS N' ROSES guitarist Slash, recently appeared on "The Walking Dead" after-show "Talking Dead".
MR. BIG fans have been rejoicing by the group's steady output of albums since the 2008 one-off reunion featuring Paul Gilbert and his band mates including one-time guitarist Richie Kotzen. MR. BIG is only blowing up the charts in Japan and other ports overseas, but that doesn't stop them from releasing quality albums as if their standing in the American music market depends on it. Pat Torpey was unable to perform on "â¦The Stories We Could Tell" due to a recent diagnosis of Parkinson's, though he reportedly worked with a programmer for the album. Meanwhile, Ace Frehley's former drummer Matt Starr has been recruited to take over for Torpey on tour. MR. BIG works here with producer Pat Regan who last helmed their 1999 album, "Get Over It". Like most hang-about hard rock bands of their generation, MR. BIG's latest album, "â¦The Stories We Could Tell", is unapologetically rooted in the Eighties, but its conveyance into the now is undeniably appealing. Eric Martin gently vexes "Every song playing on the radio never did tell me something I should know" on "It's Always About That Girl", and it's a shared Gen X sentiment to be coddled and nurtured by the feel good vibe of "â¦The Stories We Could Tell". "Gotta Love the Ride" is a poke-along anthem that stands tall with Paul Gilbert's blaring guitar pulls and Billy Sheehan's trotting bass lines. The intro is pushed big and loud like the clock has been turned back, while there's a sage caution to the song that gives Eric Martin the room to vocally elbow his way in. There's a slight shaking off of some rust to his delivery on this track, but there's no questioning the desire behind it. His screech out of Paul Gilbert's guitar solo is on-the-dime and ardent. For that matter, Gilbert's solo hits an apex where it's safe to assume MR. BIG's recording studio suffered at least a hairline crack in the plaster. The energetic and funky "I Forget to Breathe" is a killer cut where everyone pumps from their stations behind the slamming rhythm. Eric Martin huffs with glee while Sheehan and Gilbert hit superb riffs to punctuate the pounding groove of the song. "Fragile" then slinks along as a moderated pop rock number on the verses, leading up to sentimental choruses which Eric Martin fields with sensitivity. Opting for a shucking blues groove on "Satisfied", Sheehan and Gilbert bellow a stout intro as the song slips into a mid-tempo bang, giving Eric Martin a hefty playground to frolic his pipes over. He sounds like he's having a blast on this cut (along with the countrified rawk blaster "What If We Were New"), letting himself hang loose in spots while tightening up in others. The acoustic ballad "The Man Who Has Everything" is a sweet bit of ear candy as Eric Martin and Paul Gilbert seem to be singing to each other amidst the synths and Billy Sheehan's laidback gullies digging behind them. Another acoustic-led ditty, "Eastwest", carries a nod back to hard rock heaven of yesteryear, coming off like a roundup of everything from Eighties HEART to TESLA. Some dreamy backing vocals fortifies Eric Martin's wayback wanderlust. Another ballad, "Just Let Your Heart Decide", is self-explanatory in title. If you're coming to "â¦The Stories We Could Tell" with the hopes of hearing some Billy Sheehan outbursts, you finally get one on the pimp striding "The Monster in Me" as Sheehan and Gilbertdance together, note-for-note amidst a tough beat. Gilbert's wah-kissed solo is as groovy as the hammered-down riffs he and Sheehan dump into the cut, as are their condensed volume jacked into the title track. You'll also hear Sheehan panting like horny lion behind Gilbert on "The Light of Day" and, of course, he drops a few rumbling bass scales during transitions on a few tracks. Otherwise, you might as well veer back to the first couple MR. BIG albums if you're in dire need of a Sheehan fix, "Addicted to that Rush" specifically. Or you can trip on TALAS, NIACIN, Sheehan's fantastic solo records or the David Lee Roth days. On this album, Eric Martin and Paul Gilbert are the showcases while Sheehan modestly plugs his fills and keeps the album humming. At the end of the day in 2014, that's all anybody should expect from MR. BIG.
MICHAEL SCHENKER'S TEMPLE OF ROCK, the band led by legendary German guitarist Michael Schenker (SCORPIONS, UFO), performed the song "Lord Of The Lost And Lonely" at the studios of the UK digital radio station Planet Rock. Check out video footage below. MICHAEL SCHENKER'S TEMPLE OF ROCK's next studio album, titled "Spirit On A Mission", is tentatively due in early 2015. MICHAEL SCHENKER'S TEMPLE OF ROCK features Schenker alongside vocalist Doogie White, guitarist/keyboardist Wayne Findlay, bassist Francis Buchholz and drummer Herman Rarebell. MICHAEL SCHENKER'S TEMPLE OF ROCK's last CD, "Bridge The Gap", marked the first time Schenker and fellow ex-SCORPIONS members Buchholz and Rarebell appeared on the same album since the classic 1979 SCORPIONS LP "Lovedrive". Asked if he is more comfortable as a solo artist or playing in an established group, Schenker told Guitar World magazine: "Definitely as a solo artist. "It was very important for me to create MSG, which I did for creative freedom. It let me express myself in so many ways and not be held down by any one particular type of monster machine. "I hate being a box, and I'm glad I didn't get stuck in one for my entire career. "I love the fact that I don't know what's going to happen next for me. And that's the difference between me and my brother [SCORPIONS guitarist Rudolf Schenker]: he looks at the big picture, I look at the details. We're opposites, even though we have the same genes and share a lot of the same emotions when it comes to music." Regarding how he came to join the SCORPIONS, Michael said: "My brother always got me my gigs in the early days. I had been in bands since I was 11, and one day my brother told me that he wanted me to hook up with this great singer he knew, and that was Klaus Meine. Rudolf introduced us, and we started a band together called THE COPERNICUS. Our rehearsal space was right next to the SCORPIONS, and one day we were rehearsing and they were listening to us â their singer was late for rehearsal â and they approached Klaus and me about joining the band, and we did."
AC/DC singer Brian Johnson was in Chattanooga, Tennessee Friday night (November 21) for an event at the Embassy Suites for the Alzheimer's Federation Of Chattanooga. The disease hits close to home for Johnson, whose bandmate, AC/DC's 61-year-old guitarist Malcom Young, was diagnosed with dementia, a brain disorder that interferes with a person's ability to carry out everyday tasks. "He was the man that started the band, he was the one that was behind AC/DC. He was our spiritual leader. He was our spitfire," Johnson told NewsChannel.com. Dementia can be reversed when it's caused by dehydration or other treatable conditions. But most forms of dementia worsen gradually over time and can't be corrected. According to WebMD, the average survival time for people diagnosed with dementia is about four and a half years. However, those diagnosed before age 70 typically live for a decade or longer. "You just expect that they are going to get better," Johnson said. "You think there's going to be a pill that's going to fix them. I don't know, you think there's going to be a miracle and of course, one day you wake up and realize there isn't and it hurts." A video report on Johnson's visit to Chattanooga can be found below (courtesy of WRCBTV.com). The Sydney Morning Herald reported in September that Malcolm was being treated in a nursing home in Sydney, Australia. The facility is believed to be Lulworth House in Elizabeth Bay. A Young family connection told the newspaper, "If you were in the room with [Malcolm] and walked out, then came back in one minute later, he wouldn't remember who you are. He has a complete loss of short-term memory. His wife, Linda, has put him in full-time care." Malcolm did not participate in the recording sessions for AC/DC's new studio album, "Rock Or Bust", which is set to arrive on December 2. His replacement on the album and the band's upcoming world tour will be Stevie Young, nephew of Malcolm and AC/DC guitarist Angus Young. The band officially announced in September that Malcolm would not be returning to the lineup. Stevie Young played with AC/DC once before during a 1988 tour, while Malcolm stepped out to deal with his dependency on alcohol.
METALLICA performed the song "Sad But True" on the fifth and final night of the band's week-long residency as the musical guests on CBS-TV's "The Late Late Show With Craig Ferguson". Check out video footage of the band's appearance below. On Monday, METALLICA kicked off its "Ferguson" residency with a performance of "Hit The Lights", the opening track to its 1983 debut album, "Kill 'Em All". Lars Ulrich and James Hetfield also sat down with Ferguson for an interview. Tuesday saw the band performing "Fuel" and Wednesday featured a performance of "For Whom The Bell Tolls". On Thursday, the group played "Enter Sandman". Ulrich told Ferguson he was a big fan of the legendary British rock band MOTÃRHEAD and recalled how a picture of him taken after he vomited on himself ended up on the inner sleeve of a MOTÃRHEAD album. "[MOTÃRHEAD frontman] Lemmy [Kilmister] came to town," Ulrich remembered, "and I was pretty nervous, so [I drank] a couple of shots of straight vodka....So I tried that outside of Lemmy's hotel, walked in and a couple of hours later I woke up and I'd been photographed and it ended up on the inner sleeve of the next MOTÃRHEAD album." Ulrich also spoke about the upcoming 10th-anniversary release of the two-disc Blu-ray edition of the band's 2004 documentary, "Metallica: Some Kind Of Monster", which followed the band through the three most turbulent years of their long career, during which they battled through addiction, lineup changes, fan backlash, personal turmoil and the near-disintegration of the group during the making of their "St. Anger" album. "['Some Kind Of Monster' co-directors Joe Berlinger and Bruce Sinofsky] came up to San Francisco to film the process of us making a new record," Ulrich recalled. "And then over the course of the next few months, one breakdown after another breakdown occurred." "The Late Late Show With Craig Ferguson" airs weeknights at 12:35 a.m. EST. Ferguson announced his exit from the program in April, shortly after he was passed over to replace David Letterman, who also revealed that he would retire next year. METALLICA is reportedly getting back to work this fall on its 10th studio album, due out sometime in 2015. METALLICA will release a limited 12-inch vinyl single of the new song "The Lords Of Summer" on Record Store Day Black Friday, November 28. The single will feature the "first pass" studio version of the song as well as a live take recorded in Rome in July. This collectable vinyl will only be available through independent record stores and Metallica.com.
Fan-filmed video footage of original KISS guitarist Ace Frehley's November 20 performance at the Paramount in Huntington, New York can be seen below. Frehley's touring lineup includes none other than Richie Scarlet, who rode shotgun performing rhythm guitar and vocal duties on Ace's "Trouble Walking" platter in 1989, and is doing so again on stage. Richie toured with Ace in 1984 and 1985 and periodically from 1989 through 1995 and was also known for touring with Sebastian Bach. On bass and vocals is Chris Wyse from Queens, New York. Previously recording with Ozzy Osbourne and playing on Mick Jagger's 2001 solo album, Chris is well known as the bass player from THE CULT since 2006. Chris can also be heard on Frehley's new album, "Space Invader", on select tracks. He also covers bass duties in his current band OWL. Finally, Scot Coogan is behind the drum kit for Frehley's tour. Coogan played with Frehley for five years until 2012 when he left Ace's band to focus on other projects. He has since toured and recorded with LYNCH MOB and sat behind the kit for Lita Ford on the 2012 "Rock Of Ages" tour with DEF LEPPARD and POISON. "I consider Ace a friend, and I will always be his drummer," Scot said. "When he called me about doing shows, I was honored. We are both excited to have the chance to play together once again." Coogan recently completed work on the debut album from RED ZONE RIDER, a three-piece band also featuring world-class guitar hero Vinnie Moore (UFO) and vocalist and multi-instrumentalist Kelly Keeling. RED ZONE RIDER's self-titled CD was made available on September 16 via Magna Carta. Says Frehley: "I can't wait to hit the road again with this new lineup. I'll be performing Ace classics as well as songs off my new CD, 'Space Invader', for the enjoyment of the fans. Let there be rock!" Matt Starr, the featured drummer on "Space Invader", will spend the next few months touring with MR. BIG as the replacement for Pat Torpey, who has been diagnosed with Parkinson's disease. "Space Invader", the first new solo album from Frehley in five years, sold around 19,000 copies in the United States in its first week of release to land at position No. 9 on The Billboard 200 chart. The CD arrived in stores on August 19 via Entertainment One Music (eOne Music). Ace's previous CD, "Anomaly", opened with around 17,000 units back in September 2009 to debut at No. 27. "Space Invader", which was made available in Europe on August 18 (three days earlier in Germany and Scandinavia) through SPV/Steamhammer, includes 11 brand new original songs as well as a cover of Steve Miller's "The Joker".
Finnish / Dutch / British symphonic metallers NIGHTWISH have filmed a video for an as-yet-undisclosed track off their upcoming studio album, due in the spring of 2015 via Nuclear Blast. A photo from the video shoot, courtesy of the band's Dutch lead singer Floor Jansen can be seen below. As previously reported, longtime NIGHTWISH drummer Jukka Nevalainen sat out the recording sessions for the group's new CD due to health issues. He was replaced in the studio by Kai Hahto (WINTERSUN, SWALLOW THE SUN, TREES OF ETERNITY). NIGHTWISH recently revealed the famed evolutionary biologist and atheist writer/leader Richard Dawkins will appear as a guest on the band's eighth studio album. Jansen, who officially joined the band last year, made her live debut as the frontwoman of NIGHTWISH on October 1, 2012 at Showbox Sodo in Seattle, Washington.
"And now listen to my unmistakable demand upon this world: turn back on your sacred warpath and find the path of peace before it's too late. Our music will help you!" So decreed by Tom Angelripper of SODOM. While some may seek to dissect and even scrutinize this statement as farce, those who have been following this act throughout their decades-long history will agree Angelripper's in earnest. For a band making its name off of death metal and once churning out songs called "Volcanic Slut" and "Witching Metal" plus having its cover art banned for a gratuitous orgy scene (including bestiality), SODOM is at-heart, a protest band. By now it's hardly a secret. Targeting their venom against war, politics and hate mongers, the trio issues "Sacred Warpath", a four-track EP including one new cut and three live tracks. "Sacred Warpath" was intended for SODOM's upcoming full-length, but Tom Angelripper and the band decided to issue it alone with cover art Angelripper did back in the Eighties for a demo, now given an oil paint upgrade by Christian Emmel. Thus the intent of "Sacred Warpath" is to go old school, much as SODOM did with the rebranded overhaul "The Final Sign of Evil" album and its successor, "In War and Pieces". The good news for SODOM fans is that "Sacred Warpath" is a hell of a song and well-worth the grab. The 5:47 track sounds like KREATOR and SLAYER and, of course, SODOM themselves. "Sacred Warpath" seldom hits thrash speed, but from the scorching intro yell of Tom Angelripper to the steady, banging clout from Markus "Makka" Freiwald, the dirty choke of the song feels cooked upon the same embers as "Persecution Mania", but with more of the explorative progressions of "Agent Orange". All while keeping an intentionally raw feel and sicko screeches from Angelripper tapped out of the "Obsessed by Cruelty" days. When SODOM accelerates the tempo on the choruses, Angelripper hits an undeniable impression of Tom Araya. Bernd "Bernemann" Kost, who has been doing this band honor since the mid-Nineties, is a one-man clean-up crew as his tight riffs and superb guitar solo keep the song's ire from exploding. There's so much going on in this song you'll want to back it up a few times before letting the live tracks "The Saw is the Law", "City of God" and "Stigmatized" roll out. This is no longer a Tom Angelripper who wants to masturbate so hard as to kill himself, but that vicious, sinewy slaver from long ago makes its return here and "Sacred Warpath" is a monster cut. Lick your chops, fans. If this is any indication of what's coming next from SODOM, it could get deadly. The vinyl edition is limited to a thousand copies. Snag it while you can.
Long one of the inarguable best of the doom-stoner sect is ORANGE GOBLIN. You either know them or you don't, and you if you do know them, dissatisfaction is not a part of the intake. Their latest project, "Back from the Abyss", is everything ORANGE GOBLIN fans are craving: a bit of BLACK SABBATH, a bit of MOTÃRHEAD and a whole lotta cool. "Sabbath Hex" is merely a warm-up for how good "Back from the Abyss" is and by itself, the title is explanatory enough. Perhaps one reason why ORANGE GOBLIN, like CATHEDRAL and WITCHFINDER GENERAL before them, is so stellar at this game is having been raised in the same turf as the originators of the whole doom enchilada. Not that doom practitioners around the world haven't gotten it right, since CANDLEMASS are doom sovereigns by their own Gothic design. Yet ORANGE GOBLIN carries a sense of authenticity that seldom gets praised outside their own circle. "Sabbath Hex" is 4:48 tribute to all that BLACK SABBATH is and has been to the metal scene, one that continues to churn acolyte after acolyte over the years. Accordingly, ORANGE GOBLIN rolls out this cut with every lick of passion they have inside them, flexing a BLACK SABBATH-spirited shit-kicker with a little American mud boogie flung from their treads. Ben Ward's gravelly pipes and his shared riff procession alongside Joe Hoare are set at amp's strain and filled out beauteously by Martyn Millard's unstinting bass. "The Devil's Whip" is as MOTÃRHEAD as MOTÃRHEAD gets themselves, with a hair of VENOM lurking beneath the fast-riding 2:22 blues mosher. Like VENOM, there's a hilarious in-joke as ORANGE GOBLIN plays Beelzebub to snarky effects. When the mid-tempo rock jive of "Demon Blues" shakes out behind it, there's a carryover lyrical hilarity to the whole thing, but ORANGE GOBLIN pounds it out with a MOTÃRHEAD grit and if you're listening hard, you'll pick up a fleeting trace of BAD COMPANY. The choruses on "Demon Blues" are bipolar to the main melody, but they're nonetheless terrific and infectious. The 6:20 "Heavy Lies the Crown" is a great blues rock number with a Jimi Hendrix nod twinkling through the first half of the intro and later along the ride. Even when Ben Ward drills his throaty vocals, there's a murky nod to Hendrix as ORANGE GOBLIN takes a sonic ride into Valhalla, mincing the blues into their metallic Viking romp. Historically a subject for power and folk metal, "Heavy Lies the Crown" turns the lore upon its proverbial horned helmet. Afterwards, the 7:07 "Into the Arms of Morpheus" takes a slower SABBATH-licked doom nod on the heels of Martyn Millard's chunky bass lead, then follows a long, blaring jam guided by Chris Turner's shuffle-step groove. On the song plods with a slightly faster click than your typical doom bomb, as Ben Ward rejoices about a valium-assisted exodus into the next life. The frolicking instrumental outro hints at ORANGE GOBLIN's purported bliss in death that you have to be a metalhead to fully appreciate. Afterwards, the band takes another SABBATH glory ride across the high seas, keelhauling their way through the rousing "Mythical Knives". With a song called "Bloodzilla", you can expect to take it as seriously as werewolf sex, but ORANGE GOBLIN kicks the crap out of this cut with some MOTÃRHEAD nudges and it's a burner, pun intended. The only surprise is how long "Bloodzilla" goes at 4:10, which is largely due to a prolonged bridge that also serves as the song's escape chute. Cheers to ORANGE GOBLIN for this impulsive unpredictability. A pair of instrumentals thrown toward the end of "Back from the Abyss" ("Titan" and "The Shadow Over Innsmouth") bookend the blaring "Blood of Them", the latter sounding as much of a leadoff track as the setup to close. All-told, ORANGE GOBLIN delivers that rare album where even 54 minutes doesn't seem like enough. "Back from the Abyss" gives and gives some more, but when it's this fun, an encore seems trite.
A decade ago, QUEENSRÅ¸CHE guitarist Michael Wilton started a little project called SOULBENDER. SOULBENDER originally featured Wilton with MY SISTER'S MACHINE vocalist Nick Pollock, second guitarist Dave Groves, drummer Wes Hallam and bassist Marten Van Keith. Along the way, SECOND COMING vocalist Travis Bracht and none other than Tim "Ripper" Owens have fronted SOULBENDER. Even one-time NEVERMORE drummer Van Williams had a brief stint in this camp. Wilton, Groves, Hallam and Pollock have since kicked SOULBENDER back into action, at least part-time, to lay down four new tracks for inclusion on this year's re-master of the original "Soulbender" album from 2004. Three of these bonus cuts aren't quite up to par with the main selections from "Soulbender", which is a bit heavier and far grungier than QUEENSRÅ¸CHE and MY SISTER'S MACHINE. In other words, postulant of ALICE IN CHAINS and MAD SEASON. When in Rome, or in this case, Seattle. Of the new songs, "Turn Anger Up" starts "Soulbender II" on an agro pump barely within reach of the original album's material. The band rides upon a steady crash and hits stride on the seething choruses where the singular verse riffs pick up steam. On the flipside, the next new cut "Shoal" lulls with a faint breeze. The guitars frolic over the slow pace of the song and become more the story than the song itself. The choruses are catchy enough, but the emphasis on jacking up the guitar tiers are the real reason to hang with the overdrawn cut, which rolls past six minutes. "Slave to Reality" is a bit meatier than its predecessors with some chiseled out verses, while the so-so but catchy choruses seem to merely pass the time. "Seraphim", the best of the new tracks (and minute cousin to "Three Towers" from the original album), rolls through trance grooves and two sets of guitar lines, one willowy and one dirty. Inevitably, the 6:26 "Seraphim" comes off like ALICE IN CHAINS, but there's undeniable focus (even with its drowsy jams) and sparkling guitar solos that should please the band's followers, particularly when the tempo picks up and rocks out. The original cut of "Soulbender" was recorded at three different studios, yet culminating a sound derived from the surrounding vibes Seattle had to offer outside of QUEENSRYCHE and MUDHONEY. That being said, there's a solid polish and energy to songs like "Fix", "Clockwork and Compass", "Samsara", "Shoot Poem" and "Hunger" giving the album a basic entertainment value. On the other hand, there's a feeling this record's going nowhere past its grunge origins, which was probably all SOULBENDER ever sought to accomplish. In 2004, ALICE IN CHAINS had seen its heyday and was still reeling from the demise of Layne Staley two years prior. Whether or not Michael Wilton and his SOULBENDER posse took it upon themselves to honor Staley in their modest way, modest is the operative word. The grunge-driven riffs of the songs are appropriately bare bones and Nick Pollock's vocals are fittingly maudlin. Michael Wilton's guitar solos are sometimes apposite spectacles, especially on "Rabbit Hole", "This Ocean", "Three Towers" and the scratchy intro and transitions for "The American Dream". Grunge as interpreted by a heavy metal migrant. For devoted QUEENSRÅ¸CHE and MY SISTER'S MACHINE fans, "Soulbender II" will be an oddity album to pick up for completion sake if they haven't already. "Hunger" is the closest SOULBENDER gets to QUEENSRÅ¸CHE (barely, at that), so take it into consideration if you're a newcomer. The brisk-paced bitch-out of "Samsara" is worth dialing into, but otherwise, William DuVall's holding it down better than anyone could've expected in ALICE IN CHAINS.
POWERMAN 5000 guitarist Nick Quijano has released the following statement to BLABBERMOUTH.NET: "I just wanted to let you know that we were all involved in a 10th-floor fire at the Radisson [hotel] in [Marietta], Georgia this evening around 6 p.m. "We checked into our rooms to relax before our show at 120 Tavern and [POWERMAN 5000 frontman] Spider One went to turn off his air conditioner unit in his room when an electrical fire broke out within the unit, shooting large flames across the room and filling the entire 10th floor with smoke. To make matters worse, the alarm and sprinkler system in the hotel was defective and didn't go off to warn anyone in the hotel of the fire. We had to run down the hall and yell to all the other inhabitants to get them to clear the floor and get to safety. "Other than some smoke inhalation, we are all okay and will still be playing the show tonight at 120 Tavern and continuing our tour through the USA with AMERICAN HEAD CHARGE. "We are left wondering what will happen next on this run, but we want to let everyone know that the tour is STILL RUNNING as planned and expect to see everyone out at the remaining shows through North Carolina, Tennessee and Texas." A photo of Spider One in front of the emergency vehicles earlier tonight can be seen above. Also available (below) is a video report from WSB-TV. For a list of remaining POWERMAN 5000 shows, visit www.powerman5000.com. POWERMAN 5000 is touring in support of its latest album, "Builders Of The Future", which sold around 4,200 copies in the United States in its first week of release to debut at position No. 63 on The Billboard 200 chart. Issued on May 27, the CD is the first release through POWERMAN 5000's partnership with T-Boy Records, a co-venture with Universal Music Enterprises founded by veteran rock manager Andy Gould.
TWISTED SISTED frontman Dee Snider was recently interviewed on the 89 WLS radio station in Chicago, Illinois. You can now watch a clip from the chat below. A couple of excerpts follow (transcribed by BLABBERMOUTH.NET). On TWISTED SISTER's rise to fame in the mid-1980s: Dee: "It was a shock. I mean, I never expected to be a band that became a household word and had hit records. I thought we'd be one of those bands that went from town to town and sold records at every show. [A band] like [Southern rock veterans] BLACK OAK ARKANSAS, a band nobody ever heard of on the radio, but still was popular. But we just suddenlyâ¦ MTV came out and they were looking for visual bands and we fit the bill." On how his life philosophy has changed in the last 30 years: Dee: "It hasn't changed one iota. Yeah, man! But my philosophy on life has always been pretty against the norm. I mean, I never did drugs, I never drank, I was always into fitness, I've been with the same woman 38 years. I was an alien in the rock and roll community; they were looking at me, going, 'What is this guy's deal?' And I'm looking at them, going, 'You don't get it. This is a long game, man. You're looking to exit at 30, I'm looking to exit in my 90s. I wanna be like [American television writer and producer] Norman Lear [who is 92].'" On his new musical, "Dee Snider's Rock & Roll Christmas Tale", which is playing the Broadway Playhouse at Water Tower Place in Chicago through January 4: Dee: "I'm a dad of four with three grandkids, and a big Christmas guy, and I wanted a show I could bring the family to. So that was rule No. 1: it had to be something [where we could have] a shared experience. But I wanted it to be cool. I said, 'I think itâs time for a show that rocks.' So the 'Rock & Roll Christmas Tale' was born â the story of a struggling heavy metal band who sell their souls to the devil, but find the magic of Christmas instead. A story as old as time itself. I wanna show that you can be warm and fuzzy and hard and heavy at the same time. You can be a dad, you can be a granddad and still be cool."
SLIPKNOT and STONE SOUR frontman Corey Taylor took part in a question-and-answer session with music students at the Brennan Rock & Roll Academy in Sioux Falls, South Dakota on November 9. Check out video footage of the session, as well as an interview with the B102.7 radio station, below. A couple of excerpts follow (transcribed by BLABBERMOUTH.NET). On KISS bassist/vocalist Gene Simmons' recent statement that "rock is dead": Corey: "This is the problem with technology, [which] is that there was a whole explanation behind what Gene was trying to say that has been filtered out, because people take that one-liner and they turn it into a microcosm, and that just kind of becomes whatever. With all due respect to Gene, I think the old way is dead, but the new way seems to have a foothold and it's allowing bands like ourselves and other bands around the world to use that technology as a new way to promote rock and to promote heavy metal. So I don't think rock is dead, I think the old guard is dead. And a lot of it is because the record label system couldn't figure out a way to live in a system with the technology the way it is. But in a lot of way it's good for the artist, because it puts the power back on them. And now you're seeing more and more independent artists really be able to use the Internet as a tool to get their music out everywhere, whereas before you had to wait for the record label to give you the money to do it, to put the money up for distribution and everything like that. So I don't think rock is dead. I think the old way is dead. We just had a No. 1 album, so if it's dead, then this zombie's swinging for people." On how he manages being in two very popular bands: Corey: "It's all about priorities, to be honest. For me, it's always been very simple. I'm in two great bands who are very understanding and they let me kind of get away with it, in a way. But when I'm working on SLIPKNOT, that's my focus. We're working on an album, [then] we're gonna tour. When I do STONE SOUR, it's the same thing: working on the album, then tour. So with the exception of getting together and working out things to tide the fans over between [album-tour cycles], it's all about your focus, it's all about your time, it's all about the amount of attention that you give to it. When I'm working on something, that's all I'm doing. So I've been able to â hopefully successfully â manage that time correctly and make sure that everybody is getting the kind of attention and focus that they need while not selling out the music, or watering it down, really. Because music is honestly the only thing I'm good at â besides making people laugh, for the most part. And even that, I don't even knowâ¦ You might just be nice to me. Which, please, be nice all you want. But, you know, it's the one thing that I just know instinctively I do differently than other people, so when I'm making music and performing music, that's all I care about." On now he knows he is writing music for SLIPKNOT and when he is writing for STONE SOUR: Corey: "I just instinctively know. The thing that I get asked a lot if, 'How is 'Snuff' a SLIPKNOT song?' Especially when it was first released, people were, like, 'What? What?' And I'm, like, 'You have to listen to it,' because the honest truth is I wrote that song specifically for SLIPKNOT, because of how heavy the subject matter was, how dark that sadness and melancholy can go, I knew just instinctively that SLIPKNOT would be able to put the edge in that music. And now, as time's gone on, people look at it in context and go, 'Oh, right. I get it.' But the problem is that anytime I sing melodic with SLIPKNOT, people call those STONE SOUR songs, and then on the other side of that, anytime I bark out and get crazy with STONE SOUR, people are, like, 'Oh, it's a SLIPKNOT song.' And I'm, like, 'No, not really. Not if you listen to the music.' Both bands are made up of very distinct and very awesome players. So [people] just kind of have to listen to it with different ears." The Brennan Rock & Roll Academy gives children the opportunity to grow by offering free music lessons to those that may not be able to get them. They help keep children off the streets, away from drugs, and offer a positive environment that will benefit them for the rest of their lives. Brennan Rock & Roll Academy founder Chuck Brennan has a lifelong love for rock and roll. Before founding Dollar Loan Center in Sioux Falls, Brennan opened and operated one of the largest rock concert halls in the Midwest, The Blitz Ballroom. In order to rock at the Brennan Rock & Roll Academy, a youth must be a member of the Boys & Girls Club. By participating in the Brennan Rock & Roll Academy, students will go through their own unique musical journey. In addition to learning to play instruments or sing, youth will learn how to work in groups and gain confidence that will serve them throughout their lives.
Fan-filmed video footage of ARCH ENEMY's November 19 performance at Mojoes in Joliet, Illinois can be seen below. ARCH ENEMY earlier in the month parted ways with guitarist Nick Cordle and replaced him with Jeff Loomis (pictured; ex-NEVERMORE). Loomis will make his live debut with ARCH ENEMY on the band's upcoming European tour, which kicks off November 26. Said Loomis: "I'm very excited to be playing with ARCH ENEMY. "[ARCH ENEMY guitarist] Michael Amott and I have stayed in contact over the years since we toured together when I was playing in NEVERMORE. Not only do I admire his guitar playing and songwriting, but I also consider him a close friend. To be able to share the stage with Michael, Sharlee, Daniel and Alissa is something I'm really looking forward to. "2015 is going to be a great year... See you all on tour!" Said Cordle: "With [the latest ARCH ENEMY album] 'War Eternal' I believe we wrote an album together which will stand the test of time, and I wish them well for the future." U.S. fans are able to catch a special reunion as Christopher Amott (the brother of ARCH ENEMY founder/bandleader Michael Amott) has joined the band for the remainder of their American headlining tour. Said Michael Amott: "We all wish Nick the very best in his new endeavors and we are sure that you will hear much more from him. We're also super grateful to my brother Christopher for stepping in to finish the current American tour! "The prospect of working with Jeff Loomis moving forward is truly awesome! "Jeff Loomis is one of the best guitar players in the metal world, in my opinion, as well as being a longtime friend. I look forward to tearing it up on stages around the world together as we continue on the 'War Eternal' touring cycle throughout all next year and beyond!" ARCH ENEMY played its first show with new singer Alissa White-Gluz on May 23 at Turbohalle in Bucharest, Romania. Angela Gossow, who joined ARCH ENEMY in 2000 and made her debut on the now-classic "Wages Of Sin" (2001), has stepped down as frontwoman and will focus on management, while Alissa takes her place. ARCH ENEMY's new album, "War Eternal", sold around 8,000 copies in the United States in its first week of release to enter The Billboard 200 chart at position No. 44. The CD was released on June 10 in North America via Century Media Records. The cover artwork was created by Costin Chioreanu.
Canadian hardcore-punk-metal band CANCER BATS will release its fifth studio album, "Searching For Zero", in the U.S. on March 10, 2015 via Metal Blade Records. The CD features 10 tracks, includign the first single, "Arsenic In The Year Of The Snake", for which the lyric video can be seen below. The iTunes version of the album will include two exclusive tracks titled "Kill Me Pleaseâ¦" and "Rust and Bone". Produced by Ross Robinson (AT THE DRIVE-IN, SLIPKNOT, THE CURE, SEPULTURA, GLASSJAW), "Searching For Zero" is simultaneously the most melodic, yet menacing CANCER BATS release. The record incorporates the crude hardcore punk of their 2006 debut, "Birthing The Giant", and more metal leanings of 2008's "Hail Destroyer", while pushing the heavy hybrid sounds of 2010's "Mayors Bears Scraps And Bones" and 2012's darker "Dead Set On Living" to a new plateau. The choruses are hookier, the screams more savage, the riffs more vicious, the songs more powerful. Inspired by both Robinson and their metal idols BLACK SABBATH, whom they cover extensively under their alter ego, BAT SABBATH, CANCER BATS' 10 songs that make up "Searching For Zero" boast a more raw and organic tonal signature than any previous BATS release. Robinson brought a bare-bones aural aesthetic to the material, capturing a sound that unites the thrashy metal-tinged hardcore of the bands previous releases with a meaty lo-fi intensity, found only in their live shows amongst the sweaty masses. The melodic elements both musically and vocally were inspired by the bands love and admiration of BLACK SABBATH. "In learning all those SABBATH songs, I ended up having to figure out how to really sing," laughs lead vocalist Liam Cormier. "In the studio Ross was the one really pushing me to use that new voice I had discovered." Thematically, "Searching For Zero" comes from a place of heavy contemplation for its creators, and at times, that contemplation grew grim and dark. In the end, the result is an acceptance of the realities that come with pursuing a passion, leaving CANCER BATS with a reinvigorated drive to do right by themselves and the people that have followed them this far. "We were coming out of what was a really heavy year for all of us, with a lot of challenges, non-stop touring and the deaths of people really close to the band. With all of these things we've had to deal with this past year, we were all at the point of saying 'no more bullshit,' we've dealt with everything, nothing is standing in our way," Cormier explains about the headspace he shared with his bandmates. "We've found our absolute zero, where there can no longer be a negative, and from that point, everything moving forward can only be positive" And that positivity â that willingness to change what you can and let go of the rest â is the source of resolution. "There are real reasons we do this," Cormier says assuredly. "We love being in this band, and we love the people that we're lucky enough to share this with." Since first turning heads in 2006 with the release of their critically acclaimed debut, CANCER BATS â made up of Cormier, guitarist Scott Middleton, drummer Mike Peters and bassist Jaye Schwarzer â have arduously and unrelentingly toured across the globe, averaging 300 shows a year in both 2011 and 2012 alone. Truly one of the hardest working bands in rock, CANCER BATS have graced the covers and pages of countless tastemaking publications, including Kerrang!, Exclaim!, Revolver, and Rock Sound and have been nominated for numerous awards from the Canadian Junos to Metal Hammer's Golden God Awards. "Searching For Zero" track listing: 01. Satellites 02. True Zero 03. Arsenic In The Year Of The Snake 04. Beelzebub 05. Devil's Blood 06. Cursed With A Conscience 07. All Hail 08. Buds 09. Dusted 10. No More Bullshit 11. Kill Me Pleaseâ¦ (iTunes exclusive track) 12. Rust And Bone (iTunes exclusive track)
"Surgical Remission / Surplus Steel", a collection of previously unreleased and hard-to-find tracks from British extreme metal icons CARCASS, sold around 1,840 copies in the U.S. in its first week of release to land at position No. 27 on the Billboard Hard Rock chart. All the songs on the EP were recorded during the "Surgical Steel" sessions, which was produced by Colin Richardson (NAPALM DEATH, BOLT THROWER, GOREFEST, CANNIBAL CORPSE, SINISTER, RODRIGO Y GABRIELA) and mixed/mastered by Andy Sneap (MEGADETH, ACCEPT, EXODUS, TESTAMENT). "Surgical Remission / Surplus Steel" was made available on physical and digital formats via Nuclear Blast. "Well, let's call this tying up loose ends," commented CARCASS frontman Jeff Walker. "We thought we'd make all the tracks available from the 'Surgical Steel' album session on an EPâ¦ just in case you bought the jewel case version, didn't buy the digipak, didn't buy the Japanese import, or maybe you never bought the Decibel magazine issue with the flexi disc? Well, here you go; ALL the songs on one disc along with an previously unreleased track. Even Trevor Strnad's arm makes a guest appearance! Enjoy." "Surgical Remission / Surplus Steel" EP (digipak CD) track listing: 01. A Wraith In The Apparatus 02. Intensive Battery Brooding 03. Zochrot 04. Livestock Marketplace 05. 1985 (reprise) "Surgical Remission / Surplus Steel" EP (10-inch black 140-gram gatefold vinyl) Side A: 01. A Wraith In The Apparatus 02. Intensive Battery Brooding Side B: 01. Zochrot 02. Livestock Marketplace 03. 1985 (reprise) "Surgical Remission / Surplus Steel" EP (10-inch silver 140-gram gatefold vinyl) Side A: 01. A Wraith In The Apparatus 02. Intensive Battery Brooding Side B: 01. Zochrot 02. Livestock Marketplace 03. 1985 (reprise) Joining Walker and guitarist Bill Steer in CARCASS' current incarnation are drummer Daniel Wilding (ABORTED, TRIGGER THE BLOODSHED) and guitarist Ben Ash (PIG IRON, DESOLATION, LIQUEFIED SKELETON). In a recent interview with AndrewHaug.com, Steer stated about whether he has begun thinking ahead to CARCASS' follow-up to "Surgical Steel": "There's plenty of incentive there. Speaking for myself, I would love to do another record. I've heard Jeff [Walker, bass/vocals] say similar things, and I know Dan [Wilding, drums] would love to. We're just gonna take it as it comes, really, 'cause, obviously, we're still some way into our touring schedule. We're not really gonna be done with that untilâ¦ I don't knowâ¦ towards the end of November, I think. So we can't realistically even look at new material until December. We'll take it from there. All I know is we would the next record to be very strong indeed, so as long as it takes, that's all I can say. Not that I am anticipating a long time in the studio, but we'll spend as long writing as we need to. You get very conscious of the passing of time, especially when you're at the age that Jeff and myself are at, so you don't wanna waste your time, or the audience's, with something that is mediocre." "Surgical Steel" sold around 8,500 copies in the United States in its first week of release to debut at position No. 41 on The Billboard 200 chart. The CD was released on September 16, 2013 in the U.K., September 13, 2013 in the rest of Europe and September 17, 2013 in North America via Nuclear Blast Records.
A three-minute video wrap-up of this year's edition of SLIPKNOT's Knotfest festival, which was held on October 25-26 in Devore, California, can be seen below. The Vixlet-sponsored GTV Knotfest simulcast included SLIPKNOT's two full performances, as well as select songs from most of the bands performing at the festival. Saturday and Sunday were each highlighted by SLIPKNOT's unique closing sets on Stage 001, featuring brand new music from their latest album, ".5: The Gray Chapter" and an entirely new stage set and experience. More than 20,000 people reportedly packed the San Manuel Amphitheater for Knotfest U.S. â powered by Rockstar Energy Drink â which featured a massive lineup of over 50 bands playing on five stages on Saturday and Sunday. SLIPKNOT was joined by some of the biggest names in metal, including DANZIG, FIVE FINGER DEATH PUNCH, VOLBEAT, ANTHRAX, BLACK LABEL SOCIETY, IN THIS MOMENT, KILLSWITCH ENGAGE, OF MICE & MEN, TESTAMENT, FEAR FACTORY, HATEBREED, NAPALM DEATH, ATREYU, HELLYEAH, and dozens more. The festival was an epic experience for Maggots and metalheads even apart from the five stages of earsplitting music, with the SLIPKNOT-curated Slipknot Museum, the Fire Zone, Ring Of Fire carnival ride, Thunderdome, Fitz Army Freestyle Motocross Show, Junk Car Drum Circle, and more. In addition, Friday night's VIP Pre-Party Bash featured exclusive performances from SUICIDE SILENCE, THE BLACK DAHLIA MURDER, BUTCHER BABIES and more for those that purchased VIP or Camping Packages. Based on the overwhelming success of Knotfest U.S. 2014, discussions are underway for a possible return to Southern California in 2015.
Nobel Peace Prize Concert organizers have announced that iconic songwriter and prolific singer Steven Tyler, hip-hop star Queen Latifah, Bollywood sensation Ustad Rahat Fateh Ali Khan, British soul singer Laura Mvula, Norway's Gabrielle, the inspirational Girls Of The World, and a sparkling Bollywood number will entertain audiences at the Nobel Peace Prize Concert on December 11 in the Oslo Spektrum arena. It was announced earlier that the Concert will be hosted by Queen Latifah. "We are thrilled to have these great artists at this year's Nobel Peace Prize Concert," said Geir Lundestad, Director of the Norwegian Nobel Institute. "This year we will focus more than ever before on the Prize winners. The reason for the Concert is to honor them and we have two such eloquent winners with such dramatic stories to tell! We will showcase music from their home countries with a Bollywood celebration in addition to our major international stars Queen Latifah and Steven Tyler." This year's Nobel Peace Prize Concert will honor Kailash Satyarthi and Malala Yousafzai, chosen by the Norwegian Nobel Committee for "their struggle against the oppression of children and young people, and for the right of all children to education." Executive producer Odd Arvid StrÃ¸mstad noted that there is tremendous interest in this year's Prize winners which provides the opportunity to showcase some of the best artists from Pakistan and India, in addition to a multi-talented host and artists. "I am excited to bring rock 'n' roll to this incredible night, honoring some of the world's most courageous activists," said Steven Tyler. This is the twenty-first Nobel Peace Prize Concert, which is a musical celebration honoring the year's Nobel Peace Prize laureates. The Concert is broadcast to a global audience and reaches up to 350 million households and 100 countries. Over the years, the Concert has featured top global artists, including Paul McCartney, Rihanna, Sting, Santana, Alicia Keys, Willie Nelson, Annie Lennox, Wyclef Jean, Andrea Bocelli, Josh Groban, BON JOVI, A-HA, Bernhoft and Youssou N'Dour. The Nobel Peace Prize is the most prestigious award in the world, honoring icons such as Mother Teresa, Nelson Mandela, Mikhail Gorbachev, Archbishop Desmond Tutu, Barack Obama, Kofi Annan, Al Gore and other prominent individuals and organizations.