"Get Off Your Ass", the title track of the new album from veteran Los Angeles hard rockers AUTOGRAPH, can be streamed below. The disc will be released on October 6 via EMP Label Group, the U.S.-based label of MEGADETH bassist David Ellefson. It will be issued on CD and digital, with a limited-edition vinyl LP version available in November.

"Get Off Your Ass" is the first official studio LP from the revamped quartet, featuring original/founding members guitarist Steve Lynch and bassist Randy Rand, alongside new vocalist/rhythm guitarist Simon Daniels and drummer Marc Wieland.

Lynch, an iconic guitarist, revered worldwide as a bona fide guitar hero (known for his signature eight-finger hammer-on technique), reactivated the band in 2013 with bassist Randy Rand after reconnecting at the NAMM show. After approaching original vocalist Steve Plunkett, who was unavailable for the reunion due to other business interests, with his blessing, the newly resurrected AUTOGRAPH recruited former JAILHOUSE vocalist Simon Daniels, the rest, as they say, is history.

"Get Off Your Ass" features an updated, hard-edged (and keyboard free) sound for the band, featuring down-tuned guitars, and the fiery, blues-soaked delivery of Daniels, as evidenced on tracks like "Every Generation", "I Lost My Mind In America", and the first single, edgy title track "Get Off Your Ass". The album also features an updated live version of the band's classic rock staple "Turn Up The Radio", performed by the current lineup.

Says Lynch: "'Get Off Your Ass' definitely sets a new direction for the band, with an updated, heavier sound, while still retaining the signature melodic hooks people have come to expect from AUTOGRAPH. This record is bound to get the attention of old AUTOGRAPH fans as well as the new. So put your ears on and turn this one up!!"

Adds Daniels: "We are so excited about this record! This is a lineup of brothers with a vision and the perfect chemistry. We wanted the record to be musically timeless, and translate a heavier sound featuring the melodies and harmonies, but with heavier guitars and a more 'in-your-face' attitude. The lyrics come from the heart and are directed to people of our current era, with uplifting messages and positive energy. It's AUTOGRAPH on steroids."

On their partnership with EMP, Daniels adds: "EMP is the perfect match for us. They understand what we're doing, they have the same vision and we are grateful to work with such great experienced humble focused achieving people!" Drummer Marc Wieland concurs: "EMP shares and supports the same vision we had for our new album, 'Get Off Your Ass'. We are stoked to be part of their family!"

Ellefson expresses a mutual admiration. "When I first moved to L.A. to go to MI (then known as GIT), Steve Lynch was the guy everybody went there to learn from. As far as guitar players in L.A. went, he was the guy. I never did end up at GIT, we formed MEGADETH and obviously went down an extremely different path, but Steve truly is an iconic guitar hero of the highest caliber, and I am so proud for EMP to be able to partner with him and the re-imagined AUTOGRAPH to release this killer album."

Forming in 1983, AUTOGRAPH gave the world the perpetual rock anthem "Turn Up the Radio", which still commands nearly constant airplay on classic rock stations around the world, and has become an iconic piece of pop culture, making appearances in mass media classics like "Grand Theft Auto: Vice City" and more recently in the film "Hot Tub Time Machine".

With seminal albums "Sign In Please" (1984), "That's The Stuff" (1985) and "Loud And Clear" (1987), as well as years of touring alongside legendary artists, including MÖTLEY CRÜE, DIO, VAN HALEN and AEROSMITH, AUTOGRAPH left an everlasting imprint on rock 'n' roll. Now this undeniable rock legacy is reclaimed with "Get Off Your Ass".

Gene Simmons says that he has no regrests about attempting to trademark the so-called "devil's horns" hand gesture.

The KISS bassist/vocalist withdrew his application to trademark the symbol in late June — less than two weeks after filing with the federal copyright office.

Most music fans slammed Simmons for the trademark request, saying the symbol has become ubiquitous and means different things to different people.

Asked by Windsor Star if he regrets trying to trademark the "metal horns" or "rock on" hand sign, Simmons replied: "I regret nothing. Wake up every morning and let your conscience be your guide.

"Did you know I own the money bag logo?" he continued. "The dollar sign with the bag of money. I own all kinds of things. I own 'motion pictures' as a trademark. Anyone who thinks that's silly — the silliest thing I've ever done is wear more makeup and higher heels than your mommy. People said, 'You can't do that.' Actually, bitch — I can. I can do anything I want to do."

Gene's KISS bandmate Paul Stanley recently said that he had no idea why Simmons attempted to trademark the "devil's horns" hand gesture. Stanley told the Loudwire Podcast: "Well, you know, Gene elicits some very strong reactions from people. And what he does he does for the reasons that only he knows. So I can't really say that I have really any thought about it. It was really something that he wanted to pursue, and the reaction was how people felt about it. So I don't know why he pulled it, and I don't know why he started it. I really have no… I haven't asked him."

In his original request, which was filed on June 9, Simmons described the sign as consisting "of a hand gesture with the index and small fingers extended upward and the thumb extended perpendicular." He paid $275, seeking to use the hand signal symbol for "Entertainment, namely, live performances by a musical artist; personal appearances by a musical artist."

Gene claimed the gesture was first used in commerce on November 14, 1974, which corresponded to KISS's "Hotter Than Hell" tour. He wrote in his signed declaration that he believed "no other person, firm, corporation or association has the right to use said mark in commerce, either in the identical form or in such near resemblance."

During a recent edition of her show "The Talk", Sharon Osbourne slammed Simmons for the trademark request, accusing the rocker of "trying to make money from posters and t-shirts." She said: "He's crazy. He's trying to get money from the merch where you see this [gesture] on merch, but actually this [symbol], in Italian, which has been going for hundreds of years, means 'the devil.' That's what it means. And so kids at concerts have been doing it for years and years and years. And in '74? Where were you in the '60s when they were doing it, kid, because they've been doing it forever."

It's unclear why Simmons suddenly withdrew his application to trademark the gesture but it's unlikely he would have succeeded anyway.

Copyright lawyer Ronald Abrams told Forbes that such hand gestures can't be trademarked unless they are part of a logo. Trademark attorney Michael Cohen with Cohen IP Law Group in Beverly Hills, who deals with trademark, patent and copyright infringement cases, concurred, telling the Los Angeles Times that it would have been very difficult for Simmons's application to be approved because the gesture has become "genericized."

Simmons's version of the gesture is actually "I love you" in American Sign Language, with the thumb extended, rather than the thumb holding two middle fingers close to the palm.

Ronnie James Dio's widow Wendy also criticized Simmons for attempting to trademark the hand sign. She told TheWrap: "To try to make money off of something like this is disgusting. It belongs to everyone — it doesn't belong to anyone. It's a public domain, it shouldn't be trademarked."

Bill Ward has once again fired back at his former bandmates in BLACK SABBATH, insisting that it is "inaccurate" of Tony Iommi and Ozzy Osbourne to suggest he was physically unable to play full shows with the group.

All four original members of SABBATH were present when the band announced its reunion in late 2011. But Ward split from the group in 2012, citing an "unsignable" contract, and Ozzy, Tony and bassist Geezer Butler carried on with their Rick Rubin–produced "13" LP and extensive international touring without him. The final BLACK SABBATH tour, which concluded in February in Birmingham, saw the founding member replaced by session drummer Tommy Clufetos.

It was rumored that SABBATH wanted to bring a second drummer on the road to share duties with Ward, something that Iommi confirmed late last month during a question-and-answer session about SABBATH's forthcoming "Ten Year War" box set.

"It would have been nice to do these last shows with Bill, but it just didn't happen," Iommi said. "And it's silly, really, because it was over nothing. Even if he'd have played a couple of shows, it would've been great."

Iommi continued: "I don't think he quite realizes how hard it would have been on him. So we wanted to bring another drummer just in case Bill ended up saying 'I can't do it' for a couple of days or whatever. It's too risky to go out and then have Bill say 'I can't do it,' and you have to cancel [a show] on seventy thousand people, or whatever it might be. It's very hard, and it's not fair on the fans and it's not fair on him."

Ozzy told The Pulse Of Radio during SABBATH's last tour that Ward was not in shape to participate. "Bill Ward has got the most physically demanding job of the lot of us, 'cause he's the timekeeper," he said. "I don't think personally he had the chops to pull it off, you know. The saddest thing is that he needed to own up to that, and we could have worked around it, whether we had a drummer on the side with him or something."

Earlier tonight (Friday, August 18), Ward released a statement via his Facebook page in which he disputed his former bandmates' suggestion that he was not physically capable of touring and performing.

Bill wrote: "Again I feel in a position where I'm compelled to defend my actions in the period of 2011 up to, I suppose, today.

"Tony Iommi's comments and some of Ozzy's, remain in a place of disparaging remarks, which bring fault to my character as a person and a musician.

"I completely disagree with their comments. What they believe is quite opposite from my experience, especially in 2011 when no one spoke to me of being alarmed by my playing or my health. If they kept the info, which they so readily share now, to themselves in 2011, then let that be their shortcoming.

"How can I be judged that I could not do a tour when we were working on an album? How can I be judged in 2011 on health issues when none existed that would endanger a long-term tour? They all know very clearly how well I prepare to tour. I did not know I was being judged in 2011, if that is indeed their truth.

"Tony's comment (and I'm assuming it was in reference to me touring) was, 'I don't think he quite realizes how hard it would have been on him.'

"How can Tony say that? I know what it takes to tour. I've helped to set the physical and playing bar that was metal then and today. What an undermining, self-centered thing for Tony to say. What an inaccurate thing for Tony to say.

"I had played all the Ozzfests and SABBATH tours after the reunion. Keep in mind, they did one tour without me first, I think just to see if it could work without me.

"I'm sorry and mean no malice in saying this, but it was their fear, their mistrust, and their rationale that put back-up drummers on the stage at the reunion and other tours. I disliked that they did that, but understood they wanted to. I got on with my work, playing drums in SABBATH. Never once was a back-up drummer required, and no, I did not validate the fears of those who had fears.

"I missed a European tour after my one and only heart attack in 1998. I can appreciate that BLACK SABBATH's interests needed to be protected for the sake of future commitments to the fans, promoters, and all involved.

"Ozzy said 'the saddest thing is that he [Bill] needed to own up to that.' Own up to what in 2011? What was I supposed to own up to, when I felt exhilarated, confident, and strong? Own up to, I'm not up to this, I'm sick and can't play; those failings didn't exist in me, they still don't exist today. I had nothing to own up to, nothing to confess. The fact that Oz had reacted with sadness tells me he was already sold on his own judgement of me. And that is very sad to know.

"Tony commented, 'and it's silly, really, because it was over nothing.' I have to confront that statement. I can't let that wash into my life and my family's life, and the lives of all those affected by an original band failure.

"It was something. It meant everything to thousands of people, including me. It will always be something and it will always ring with truth, and actual correct accountability. By saying it was nothing dishonours the credibility of our fans, and insults the very heart of what we all clung to, BLACK SABBATH.

"I will have my experience in the time period of 2011 and Tony and Ozzy will have theirs. And, it's plain to me we're as opposite and opposing as ever.

"I won't forget Ozzy's last phone call of January 23rd or so, 2012 asking when I would arrive in England to commence rehearsals. Why would he say that if my performance level of 2011 had already been judged?

"I regret the loss of Ozzy's friendship.

"I regret the loss of Tony's friendship.

"Finally, and I've defended this many times, I couldn't play one gig or a couple of gigs here or there with a back-up drummer or no back-up drummer. To do that one gig would put me in an elitist position, and I can't do that for all the other fans who couldn't see that one gig.

"I'm honoured to have been a part of BLACK SABBATH, and to have played with Tony Iommi, Ozzy Osbourne and Geezer Butler.

"Long live BLACK SABBATH."

Back in June, Ward told Rolling Stone magazine that he had "gone through a lot of tears" over his split with SABBATH. "I've grieved the loss of three of my best friends," he said. "I've grieved the loss of their company, their words, their laughter, their joy, and above all, their music... I've grieved the loss of the fans, and I've grieved the pain of what all this has created."

But he claimed at the time to have come out the other side. "I can't afford to have resentment," he explained. "I can't afford to be angry. I can't afford these things spiritually or physically. So I knew I had to be rid of them."




STATEMENT ABOUT BLACK SABBATH - RESPONSE TO TONY IOMMI

Hi Everyone,

I hope this day finds you all in good spirits and...

Posted by Bill Ward on Friday, August 18, 2017

P.O.D. has released a brand new song called "Soundboy Killa". The track, which can be streamed below, is the first fresh music from the Southern California outfit since the arrival of its ninth studio album, "The Awakening". That disc came out in August 2015 via T-Boy/UMC and was produced by the band's longtime collaborator and friend Howard Benson, who has previously worked with IN FLAMES and ALL THAT REMAINS, among others.

P.O.D. frontman Sonny Sandoval stated about "Soundboy Killa": "Rock and roll has become entertainment that just says what the consumer wants to hear. There's no more edge or rebellion that sets it apart from the norm. 'Soundboy Killa' is classic P.O.D. guitar-riff power, headbanging groove with the lyrical attitude and edge missing in today's rock and roll."

In early September, P.O.D. will embark on the "Soundboy Killaz" fall tour with special guests ALIEN ANT FARM, POWERFLO and FIRE FROM THE GODS.

With three more weeks to go until ALTER BRIDGE's long-awaited album "Live At The O2 Arena + Rarities" (out on September 8 worldwide via Napalm Records) will finally be released, the band has released another live track from the upcoming three-disc collection. The live version of one of the band's most popular tracks, "Metalingus", can be streamed below. Fans who pre-order the digital version of the album will receive an instant download of the track as well.

The studio version of "Metalingus" was originally recorded for ALTER BRIDGE's debut album, "One Day Remains". The song reached a whole new audience when it was selected as the official entrance theme of WWE superstar Edge back in 2004. Edge used the track until the day he retired in 2011.

"Live At The O2 Arena + Rarities" is available for pre-order worldwide now. The new release is being offered in different formats from a regular three-CD digipak up to an incredible deluxe cardboard box limited to a thousand units, including a three-CD digipak, DVD in slipcase, O2 laminate + lanyard, guitar strings from Mark Tremonti and Myles Kennedy, guitar picks, a patch and buttons. Any of these configurations can be ordered here.

"Live At The O2 Arena + Rarities" was recorded at London's famous O2 Arena on November 26, 2016. That landmark performance was captured in its entirety. The two-CD, nineteen-track recording documents what an enormous presence ALTER BRIDGE have become on concert stages around the world. In addition, this latest release includes an exclusive full-length rarities CD sure to excite fans everywhere. The disc features the never-before-released tracks "Cruel Sun" and "Solace" that were recorded during the "One Day Remains" sessions, as well as the song "Breathe" from the same time which has only ever been available as a U.S. retail exclusive via Best Buy. These tracks join seven other songs that have only been released in Japan until this collection.

"Live At The O2 Arena + Rarities" track listing:

CD1

01. The Writing On The Wall02. Come To Life03. Addicted To Pain04. Ghost Of Days Gone By05. Cry Of Achilles06. The Other Side07. Farther Than The Sun08. Ties That Blind09. Water Rising10. Crows On A Wire11. Watch Over You (solo acoustic)

CD2

12. Isolation13. Blackbird14. Metalingus15. Open Your Eyes16. Show Me A Leader17. Rise Today18. Poison In Your Veins19. My Champion

CD3

01. Breathe02. Cruel Sun03. Solace04. New Way To Live05. The Damage Done06. We Don't Care at All07. Zero08. Home09. Never Borne To Follow10. Never Say Die (Outright)11. Symphony Of Agony (The Last of Our Kind)

"Puppet Master", the new video from Australian extreme metallers THY ART IS MURDER, can be seen below. The song is taken from the band's latest album, "Dear Desolation", which is being released today (Friday, August 18) via Nuclear Blast Entertainment.

"Dear Desolation" was produced, engineered, mixed and mastered by Will Putney at Graphic Nature Audio in Belleville, New Jersey. Artwork was created by Eliran Kantor (HATEBREED, TESTAMENT, ICED EARTH, SODOM).

"Dear Desolation" marks THY ART IS MURDER's first full-length release since vocalist C.J. McMahon rejoined the band this past January.

McMahon blamed his drug addiction for his departure from the group and has vowed to move forward as "a new man."

Asked what has changed for him since he rejoined THY ART IS MURDER, McMahon told Decibel magazine: "Basically, I'm trying to support myself and my wife as best as I can. I work with my father-in-law as a stone mason… I have my clothing line, and the band's making a little bit of money as well. Financially, I'm working my ass off and I'm literally busting my ass and hustling as much as I can to be able to have somewhat of a normal life. Sydney is extremely expensive to live in and, unfortunately, it wasn't my choice to live here. [I was] born and raised here, I fucking hate it. My family and my life is here. Also, not really big on drugs anymore. I was smoking copious amounts of marijuana every day and I was using a lot of cocaine most days. There was a couple of close calls in the U.S. on tour when I thought I was going to die and I possibly did a couple times. Now I've cleaned my life up and I have a different outlook on things. Trying to manage my anger management a bit better and try to be a little bit more calm in life because it negatively impacts my family and my band."

McMahon also spoke about what fans can expect from "Dear Desolation". He said: "I think you can expect it to be slightly different to a lot of our releases. It's a record that I feel is like a breakthrough record for us where we've really found our sound. It's something that we feel will be able to push us further in our musical careers in the future rather than just having to stem out of being in this genre of deathcore. I really don't care what people pigeonhole us as, but, for some reason, the name 'deathcore' kind of leaves a sour taste in my mouth after saying it. We're showing our strengths and variety. We can kind of move into a more modern metal phase of our lives now where we're not going to be — not that we ever were — this generic deathcore-sounding band. This record will be more appealing to people that are into more of a modern metal, modern death metal sort of element and style of music. I think we've broken down the actual content of the music and instead of having ten or twelve riffs in a song, having the listener try to pick up on a few different riffs, we've broken the structures down so there's less riffs but the riffs are better. The structures are not as complex as older material. It's like taking out all the great things we've always liked about our band and trying to figure out what works for us in the best way and not having to add filler to everything else to make it more technical or more crazy or more interesting. We've kind of broken down the way that our band writes and try to write the best of the best, rather than just writing the craziest, the heaviest, the craziest breakdown, the techiest riff. Instead of doing those things, we just try to take out what works and what we like and incorporate that into having a more modern sound that’s not so deathcore. We're evolving on this record and it'll be interesting to see what the listeners think of it, that's for sure."

"Mr. Jekyll And Hyde", the new video from LYNCH MOB, can be seen below. The song is taken from the band's new album, "The Brotherhood", which will be released on Friday, September 8 via Rat Pak Records. The disc was produced by Chris "The Wizard" Collier (FLOTSAM AND JETSAM, PRONG, KXM) and features eleven brand new hard rock tracks.

"The Brotherhood" highlights the unique pairing of Oni Logan and George Lynch, and, along with Sean McNabb (bass) and Jimmy D'Anda (drums), the band has created a solid offering from start to finish. From the heavy guitar riffs of the opening track, "Main Offender", to the melodic album finale, "Miles Away", LYNCH MOB has once again proven it remains on top of its game.

Logan comments: "After doing quite a few miles together with this latest lineup of Sean McNabb and Jimmy D'Anda, we consider ourselves a pack of wolves, and we came up with the name 'The Brotherhood' for the title of the next LYNCH MOB album. It's got more of an adventurous sound in part and maybe a darker, colder sound to it.

"We are always willing to go farther. We come from the early '90s and it's when we released the first LYNCH MOB album which set a sound and course for us. Here we are 27 years later [and] George and I are still able to keep on stretching. As a player, as a writer, that is very important to us. Otherwise, we would be fooling ourselves and fooling you."

Lynch adds: "We wrote this album as a band and the name of the record reflects what the band is about and what all my bands have been about since I've been a kid. This is my second family. These are my brothers. You go through a lot together and have a lot of experiences together. And that then becomes a part of the music."

"The Brotherhood" track listing:

01. Main Offender02. Mr. Jekyll And Hyde03. I'll Take Miami04. Last Call Lady05. Where We Started06. The Forgotten Maiden's Pearl07. Until the Sky Comes Down08. Black Heart Days09. Black Mountain10. Dog Town Mystics11. Miles Away12. Until I Get My Gold (bonus track)

In a new post on his official Facebook page, veteran bassist Bob Daisley (The Blizzard Of Ozz/Rainbow/Uriah Heep) responds to the many comments he received following a recent article by music writer Joel Gausten (found here) in which he disputed Quiet Riot drummer Frankie Banali's claims that he came up with the drum intro to Ozzy Osbourne's 1981 track, "Over The Mountain." He also commented on the  issues that he and former Ozzy drummer Lee Kerslake have faced in receiving proper performance royalties for their work on the Ozzy albums Blizzard of Ozz and Diary Of A Madman. The complete text of Daisley's message appears below.

Daisley: "A sincere thank you to everyone who wrote in with comments and acknowledgement regarding the recent interview with Joel Gausten. The important thing is that all members of The Blizzard of Ozz rightfully received correct songwriting credits on both Blizzard and Diary and publishing (songwriting) royalties from both albums as well. Songwriting credits for those albums were never an issue.The only issue was that Lee and I weren't credited for playing on Diary and we received no performance royalty payments from either album."

Last month, more than a few eyebrows were raised when famed Quiet Riot drummer Frankie Banali told Songfacts writer Greg Prato that he was the one who came up with the explosive drum fill that opens Ozzy Osbourne’s 1981 classic “Over The Mountain.” Both Bob Daisley, who co-wrote the track, and Lee Kerslake, who co-wrote the track and drummed on the original recording, dispute Banali's claims. In an exclusive feature by music writer Joel Gausten, all three musicians defend their positions while offering their individual versions of the events that led to the writing and recording of the song. Excerpts from the lengthy discussion appear below:

Bob Daisley: “The writing started when Ozzy, Randy and I got together at the end of ’79. We had a roadie with us called Spencer, and he was filling in on drums. He played drums when we were writing this stuff, and I was taping it all on my tape machine just for reference so we wouldn’t forget anything. We were all trying to put songs together. If Randy had that riff, we would have heard it, and I would have a recording of it without a drum intro before Lee had joined the band.

When we first started playing ‘Over The Mountain’ during the writing session for Diary in January 1981, Randy had the basic riff. The writing sessions for Diary had begun in late 1980, but we hadn't heard Randy's ‘Over The Mountain’ riff until early 1981. I co-wrote the music with Randy for the rest of it. Ozzy wasn't even there. Also, Randy was playing the riff in eights, and I said, ‘Do it in 16ths.’ So that was new, and we’d been doing that for a little while before Lee did a drum intro thing to it. We felt, ‘Yeah, that’s great!’ But that drum intro wasn’t anything that any of us had heard before; it was Lee's – no one else's.

How would Randy, without a tape or a recording, relay a drum fill? What would he do, sing it to us? Even if he had, there’s no way that Lee would want to play or copy something that someone else had done, and there’s no way – out of principal – that I would use something that was stolen.

Lee was a name drummer from a big-name band; he would not be interested in using something from an unknown drummer from an unknown band, and even Randy was unknown at that stage. None of us had heard of Quiet Riot or Frankie Banali, and we'd never heard anything that any of them had played until Randy came on the scene in forming The Blizzard of Ozz with me and Ozzy.

Maybe Frankie did play a drum fill intro thing to something that Randy had been playing at that time in LA when they first met Ozzy, and that happened with Dana Strum. It’s possible that Randy had a riff that Frankie did a drum intro to, but it wasn’t the ‘Over The Mountain’ riff, or at least Randy never played it to us when we were looking for material for the first album. He didn't play it to any of us until we began writing for that second album, Diary, a year after the writing sessions for Blizzard.  

If Frankie Banali played a drum intro to a riff that Randy had played, it wasn’t what Lee played on ‘Over the Mountain,’ and I very much doubt that the riff was the ‘Over The Mountain’ one, either. I’m not calling Frankie Banali a liar; he may be mistaken or it could be a coincidence, but Lee came up with the drum intro for our song.”

Lee Kerslake: “I don’t understand why he wants to take credit for something that he didn’t do; I feel strongly about this. Frankie didn’t know us; he didn’t know the music. We did Blizzard Of Ozz, which I played drums on and co-wrote a couple of tracks, and then I did Diary Of A Madman and co-wrote six tracks. We had all new riffs coming out. Randy started playing the ‘Over The Mountain’ riff, and I said, ‘Yeah, hang on a minute. I have an idea for a great opener to get this to make people listen.’ The first 15 seconds are the most important in any song; that’s what gets a DJ to play it. It’s been that way for years. So I said, ‘I’m going to put this in.’ I played it, and Randy jumped through the roof, like, ‘Wow, man! That’s great!’ Bob said, "Yeah, mate. Fuckin’ great.’ I said, ‘Yeah! Let’s start there.’ That’s how we did it, and I was very proud of myself. In an interview, Tommy Aldridge was asked, ‘Did you do that track?’ He went, ‘No, no, no. I didn’t touch that; all that work was done by Lee.’”

Frankie Banali: “[With] a lot of the riffs that Randy was coming up with, some of them were new riffs and some of the things were from previous Quiet Riot songs that were recorded or Quiet Riot songs that never were recorded. That triplet thing just happened in the studio. I think Dana Strum, who was the bass player when we did about a week’s worth of rehearsals, will probably verify that. I’ve never claimed that he took the riff that I did, because there are similarities but they’re different…So, [was it a] coincidence? Probably. But did I play it? Absolutely. Did Lee play triplets on the front of that? Absolutely. Did he get it from me? I don’t know that he got it from me; I don’t know that he ever heard any recordings or if it’s just a plain coincidence. But there’s no back-biting here. Whether a person believes it or not, it’s not like I’m going after Ozzy because I came up with a drum fill or I’m trying to make some money or trying to claim some success vis-a-vis Ozzy. I’m not; I’ve had plenty of my own success with Quiet Riot and many of the other artists [I’ve played with]. There is no controversy, but I’m not going to sit here and deny what I know to be the truth. I played the riff; it’s as simple as that. At the end of the day, does it really matter? I’m not more famous for it, and I didn’t make money off of it; Lee Kerslake is not more famous for it, and I’m sure he didn’t make any money for it, either…I’m more well-known for the intro to ‘Bang Your Head,’ ‘The Wild & the Young’ and ‘Cum On Feel The Noize’ that I am for anything else, so it’s not like I need any extra pats on the back. It’s a triplet that John Bonham used that he actually got from famous jazz drummer Max Roach. At the end of the day, it’s so derivative that does it really matter?"

The complete feature is available at this location.

In a new interview with Eddie Trunk, producer Max Norman discussed working on the first two Ozzy Osbourne solo records (Blizzard Of Ozz and Diary Of A Madman) and the controversy surrounding them, guitarist Randy Rhoads, Loudness, Bad Company, and more.

Max Norman: "It's well-known that in Black Sabbath, Geezer Butler wrote the lyrics; and for Ozzy solo records, Bob told me from album one all the way through No More Tears (1991) he was actually not only playing bass, but writing lyrics. That's a very weird situation and they (Bob Daisley and Lee Kerslake) both got shafted pretty badly. They would be like, 'What's going on with the publishing?' So there was a little bit of it going on and I tried not to get involved in that stuff. But once Sharon got involved, that started to escalate. There was some tension towards the end of the second record they were still not getting what they wanted.

Once that record was finished I got a call from Sharon (Osbourne): 'We want to replace the bass and drums.' I refused to do it. I said, 'No, I'm not doing it. First of all, you are fucking the record up, and secondly these two guys deserve it.'"

Check out the complete interview here.

According to the Courthouse News Service, a federal judge dismissed a lawsuit back in May 2017 claiming that Ozzy Osbourne swindled a former band member out of at least $2 million in royalties for songwriting on two of Osbourne’s hard-rock albums in the early 1980s, ruling that the dispute must be decided through arbitration.

U.S. District Judge Christina Snyder concluded that plaintiff Bob Daisley’s claims that Osbourne used a sham company, Blizzard Music Limited (US), to withhold royalty income from him stem from songwriter agreements that require arbitration.

Daisley argued that arbitration does not apply to Blizzard US and Osbourne, the suit’s defendants, because they are not parties to the agreements.

In her ruling, however, Snyder found that Daisley’s claims “touch and arise from the songwriter agreements,” keeping in mind that any doubts about whether issues are subject to attribution should be resolved in favor of arbitration.

Daisley alleges that Blizzard US and an affiliated company in England, Blizzard UK, which was not named in the suit but is covered by the songwriter agreements, are alter egos of Osbourne.  Furthermore, he wants an accounting from both companies and Osbourne.

The “alter-ego allegations are sufficient to allow defendants to invoke the arbitration provision,” the judge ruled, adding that the request for an accounting from nonparty Blizzard UK underscores that Daisley’s claims arise out of the songwriter agreements.

Daisley played bass and co-wrote some of the songs on Ozzy’s classic Blizzard Of Ozz and Diary Of A Madman albums.

Read more at the Courthouse News Service.

Texan one-man slam, Slamophiliac, are back with a brand new sampler platter of gore, torture, violence, anti-religious, and cosmological slams, entitled Slam Rehab out today on CDN Records. Order here. The new album is streaming in full via the Bandcamp player below:

Slam Rehab by Slamophiliac

A press release states: "This stuff is deep - think Alien meets Dostoyevsky meets Texas Chain Saw Massacre meets Extermination Dismemberment meets Nietzsche. Yep. This is a thing. One must immerse themselves to believe. Even then, it will require a PHD level thesis in slam to truly comprehend."

Tracklisting:

“Punched with a Forklift” (ft. I Am Destruction)
“Anally Invaded” (ft. Gape)
“Fecal Infection”
“Gross Mass of Genital Malformity”
“Intermediate Manual Uncoiling” (ft. Decimated Humans)
“Crushed”
“Feasting on Decomposing Cadavers”
“Resonation of a Crackling Ribcage”
“Special Leather” (feat. Necroexophilia)
“Creepy Crawly Booty Party” (feat. Goremonger)

“Intermediate Manual Uncoiling”:

Credits:

All songs written, arranged and performed by Slamophiliac
Recorded, mixed and mastered by Dazz
Cover artwork by Mark Cooper
Logo by Brutal Disorder Designs
Layout by Dazz

Guest vocals by:

Stephen Mashburn
Rick Ring
Lennon O'Donnell
Tommy Rouse
Joey Cashman

How often has primeval black metal been announced dead in the last 20 years? With their debut album, Ett Fjärran Kall (“A Call From Afar”), Sweden's Fornhem prove those predictions pointless. A hypnotizing journey in four chapters, Ett Fjärran Kall reflects the mysteries of life and death, of sacrifice, and wisdom, and of nature, all from a genuine Nordic perspective. The album will see an August 25th release via Trollmusic. New track “Úrdjupets Svärta” is streaming below.

Fornhem was established in 2013 with a desire to conjure up the mysteries of nature. While Fornhem members Vafthrudner (drums, vocals) and Solbane (guitars, bass, stringed instruments) undoubtedly owe a lot to the aesthetics originally crafted by the pioneers of Scandinavian black metal, they nevertheless create their own approach and style by interpreting influences from a broad spectrum of folk and rock music in a consciously minimal and almost hypnotizing way. The band's lyrics are in Swedish and inspired by history, Norse mythology, nature and Swedish poetry.

“Our aim is to make music that moves forward, even if it’s minimal and repetitive, and we think that adding something or making slight alterations in a riff or chord progression makes it come alive and breathe, so to speak, which would be the whole meaning of music-making", explains Vafthrudner. “Black metal in general is quite beautiful music behind all the layers of noise and we want to enhance that by using minimalism. Quieter moments or acoustic instruments create interesting dynamics that oppose the ‘wall of noise’.” 
 
Reflecting the folk aspect of Fornhem, Solbane adds: “I think folk music -- as well as metal -- has an inherent catchiness to it. It’s simple and direct music that comes from the heart. We are certainly influenced by a wide variety of Nordic folk and 70's and 80's classic hard rock and metal, but our main influence is old school black metal. Most notably Burzum, Darkthrone and Bathory."

Tracklisting:

“Ett Fjärran Kall”
“Kosmisk Dvala”
“Úrdjupets Svärta”
“Fornhem”

“Úrdjupets Svärta”:

Forsaken (Malta) has released the first single and lyric video "Primal Wound" from the long comeback album Pentateuch along with album cover and tracklist. This is the first album in six years from one of the true survivors of the epic doom metal genre. 

Pentateuch will be released on the 13th of October on LP, CD and digital. A release concert is held in Malta on October 14th in a new venue called The Garage in Zebbug and afterwards the band will be heading on European tour.

Tracklisting:

“Phaneros (Coming To Light)”
“Serpent Bride”
“The Banishment”
“Primal Wound”
“The Dove And The Raven”
“Decalogue”
“Sabaoth (The Law Giver)”
“Apocryphal Winds”

“Primal Wound” lyric video:

U.S. heavy metal trio Midnite Hellion will release new album Condemned to Hell September 15th on Germany's Witches Brew. The album will be available on CD format with a vinyl LP version to follow in the new future. New single "Enter The Nightmare" is available for streaming at this location.

Blending a healthy mixture of heavy metal and thrash metal, Midnite Hellion creates an addictive, crushing sound, a combination as evident as ever on Condemned To Hell. Among the pure metal bliss is a tune called "Teenage Bloodsuckin Bimbos,' which will be the theme song for an upcoming B-movie of the same name. 

Midnite Hellion will play a Record Release show on September 17th at Sayreville, NJ's Starland Ballroom along with Exodus, Obituary, Power Trip, and Dust Bolt. As it turns out, the gig comes five years and 10 months to the day of the band's first demo release show opening for Obituary.

Tracklisting:

“Black And White”
“Death Dealer”
“Cross The Line”
“Enter The Nightmare”
“Soldiers Of Hades”
“The Fever”
“Rip It Up”
“The Morrigan”
“Teenage Bloodsuckin’ Bimbos”

“Enter The Nightmare”:

Quality fan-filmed video footage of GUNS N' ROSES' August 16 concert at New Era Field in Orchard Park, New York can be seen below.

The 2017 North American leg of GUNS N' ROSES' "Not In This Lifetime" tour kicked off July 27 in St. Louis, Missouri and includes eleven newly announced dates in cities across the U.S., including Newark, D.C., Hartford, Louisville, Milwaukee, Nashville, Sacramento, and San Diego. They have also added a second stop in Toronto, and third dates in both New York and Los Angeles.

GUNS N' ROSES recently made Forbes magazine's "Celebrity 100" list of the world's top-earning entertainers for the first time. The band landed at No. 12 with earnings of $84 million in the past twelve months, before taxes and fees for managers.

Last summer's North American leg, which featured 25 stadium shows in 21 cities, grossed a whopping $116.8 million with over one million tickets sold.

The "Not In This Lifetime" tour features classic GUNS members Slash on guitar, Duff McKagan on bass and Axl Rose on vocals, backed by drummer Frank Ferrer, guitarist Richard Fortus, keyboardist Dizzy Reed and second keyboardist Melissa Reese.

GUNS kicked off its long-rumored and long-awaited reunion trek in April 2016 with a club show in Hollywood and appearances in Las Vegas and at California's Coachella festival.

THROUGH THE EYES OF THE DEAD has released new single titled "Hate The Living". The track is taken from the band's new album, "Disomus", which will be released on October 13 via Entertainment One Music (eOne) / Good Fight Music.

"We really poured our souls into this one," says THROUGH THE EYES OF THE DEAD guitarist Justin Longshore. "The wait is over. All hail the 'Disomus'."

"We are extremely excited to get this record out to everyone," adds bassist Jake Ososkie. "It was a lot of work getting this together and the final product is something that we think old fans and new fans will love."

"Disomus" is the long-anticipated follow-up to THROUGH THE EYES OF THE DEAD's last LP, "Skepsis", which came out in 2010. The new disc marks the second consecutive album with vocalist Danny Rodriguez and drummer Michael Ranne (a first in the group's impressive history) together with longtime bassist Jake Ososkie and founding guitarist and songwriting engine Justin Longshore. "Disomus" doubles as the studio introduction of new guitarist Steven Funderburk (also of WRETCHED, LILLAKE) and the return of original vocalist Anthony Gunnells and his successor, Nate Johnson, via strong guest appearances, bringing THROUGH THE EYES OF THE DEAD full circle.

The cover art for "Disomus" was created by THROUGH THE EYES OF THE DEAD's longtime visual collaborator Paul Romano and can be seen below.

"Disomus" is the medical term describing an abnormal fetus with two bodies but one head. The album's subject matter includes the tale of a man buried alive by a cult ("Obitual"), a dark magician's creation of a malignant entity via sacrificial killing ("Haruspex"), underworld spirits doomed to roam the earth ("Dismal"), the Styx River of Greek myth ("Vortices In The Stygian Maelstrom"), the themes of the "Alien"/"Prometheus" film franchise ("Teras", alternately named for an abnormal fetus with two heads and one body), and the real-life tragedy and horror discovered by Rodriguez, a Chicago police officer, when called upon to check on the well being of an elderly person who lived alone ("Till Solace, She'll Haunt").

"Hate The Living" is not only the name of the first track on THROUGH THE EYES OF THE DEAD's first album in seven years, but part of a battle cry of sorts that has adorned the band's t-shirts for years. The second half of the phrase is "Love The Dead." Like the best of death metal's past, present, and future, THROUGH THE EYES OF THE DEAD is the kind of band that makes living with death worth loving.

"Disomus" track listing:

01. Hate The Living02. Obitual03. Haruspex04. Of Mortals, We Once Were05. The Binding Nightmare Hex06. Vortices In The Stygian Maelstrom07. Ignis08. Teras09. Till Solace, She'll Haunt10. Dismal

Finnish folk metallers ENSIFERUM will release their seventh album, "Two Paths", on September 15 via Metal Blade Records. Produced by Anssi Kippo, the disc was recorded on tape, for a true analog experience.

The official video for the latest single from the album, "Way Of The Warrior", can be seen below.

ENSIFERUM comments: "So here it is, our brand new video of the song 'Way Of The Warrior'.

"Like our music combines metal and folk elements, so does this video.

"It was really great to be involved in the process more than we ever have been before and the result turned out to be fantastic! We hope you enjoy it as much as we enjoyed recording the song and shooting the video. So turn the volume up to eleven, move your furniture a bit so that you have room for moshing and press play!"

You can't talk about the true greats of folk-inspired melodic death metal without reverent mention of ENSIFERUM, and with "Two Paths", they once more affirm their place in the pantheons of the genre. Further building upon the thrilling metallic hybrid honed across six full-lengths, "Two Paths" is simultaneously the Finnish quintet's most epic and far-reaching collection and their most organic, which definitely sets it apart from the pack. Additionally, the album literally takes the concept of "Two Paths" to heart, with two different versions of standout tracks "Don't You Say" and "God Is Dead".

"Even though ENSIFERUM has always had clean vocals and choirs, harsh vocals have been the main style, and those songs worked so well with both styles that we decided to include both versions," explains bassist/vocalist Sami Hinkka. With Mikko P. Mustonen again handling orchestral arrangements and Lassi Logren returning to play nyckelharpa and violin on a few songs, Hinkka is also more than happy that they brought "more bombastic orchestral and down to earth folk aspects" to the record, further fleshing out their vision. This also applies to the contribution of Gyula Havancsak, who provided the artwork for both "Two Paths" and its predecessor, "One Man Army". "It was really nice to work with him again because he always wants to hear our ideas and then he adds his own magic and improvements to them, and the result is always astonishing," says Hinkka.

"Two Paths" track listing

01. Ajattomasta Unesta02. For Those About To Fight For Metal03. Way Of The Warrior04. Two Paths05. King Of Storms06. Feast With Valkyries07. Don't You Say08. I Will Never Kneel09. God Is Dead10. Hail To The Victor11. Unettomaan Aikaan12. God Is Dead (Alternative Version) 13. Don't You Say (Alternative Version)

From September 27 onward, ENSIFERUM will present "Two Paths" live on stage, splitting their European tour into two parts. The first part will be in September with six dates in three countries, and then in April 2018 there will be an extended tour through many more European countries. In between that time, ENSIFERUM will visit all other continents.

ENSIFERUM is:

Petri Lindroos - Vocals/GuitarMarkus Toivonen - Guitar/VocalsSami Hinkka - Bass/VocalsJanne Parviainen - DrumsNetta Skog - Digital Accordion/Backing vocals

The first audio insight into the new Sterilize album from legendary noise rock group Unsane arrives today with the premiere of "Aberration."

According to the band, "'Aberration' is classic Unsane, raw and direct, it only took a couple of takes to lock it down. It's essentially a ditty about the swirling thoughts that go through your head after being screwed over. I'm sure anyone can appropriate or relate it to their personal experiences."

The track is taken from Unsane's eighth studio album, and first for Southern Lord, Sterilize, set for release September 29th. Unsane recently announced European tour dates in support of the album, taking place this October, and has just added a second hometown show at Brooklyn's Saint Vitus Bar in November.

Find physical preorders and merch at Southern Lord's web shop.

Sterilize tracklisting:

“Factory”
“The Grind”
“Aberration”
“No Reprieve”
“Lung”
“Inclusion”
“Distance”
“A Slow Reaction”
“We’re Fucked”
“Avail”

(Photo by: James Rexroad)

2017 marks the twentieth anniversary of BLACKMORE'S NIGHT — the internationally heralded Renaissance rock band helmed by six-string extraordinaire Ritchie Blackmore and his wife, vocalist/multi-instrumentalist Candice Night. To celebrate, the band will release "To The Moon And Back: 20 Years And Beyond…", a two-disc collection of favorites and new material, on August 18.

"To The Moon And Back" boasts three brand new songs: "Ghost Of John" — available for streaming using the SoundCloud widget below — which proudly introduces the vocals of Autumn Blackmore (the 6-year daughter of Blackmore and Night) at the close of the song, Blackmore's "Land Of Hope and Glory" (a reworking of British patriotic anthem "Pomp And Circumstance March No. 1", written in 1902), and a cover of favored RAINBOW tune "I Surrender", with Night providing the vocals.

Additionally, the set includes re-recorded versions of catalog favorites "Moonlight Shadow", "Somewhere Over The Sea", "Coming Home", and "Writing On The Wall". This new material is buoyed with BLACKMORE'S NIGHT classics, such as "Shadow Of The Moon", "Ghost Of A Rose", and "Under A Violet Moon", and a live version of "Home Again", fully rounding out this best-of compilation. The included booklet displays a collage of memorabilia, showcasing live band photos, backstage passes, and tour flyers. Completing "To The Moon And Back" is a behind-the-scenes bonus video of Blackmore and Night rehearsing at a soundcheck, allowing fans an intimate glimpse of the band before a show.

"We hope you enjoy this musical journey down memory lane from 'Shadow Of The Moon'… our first release… through our brand new 2017 versions of old favorites and a new surprise song. 20 years of memorable music and beyond..." enthuse Blackmore and Night.

The magic of BLACKMORE'S NIGHT is their ability to transport the listener to a bygone era, gathered around a fire or in an old renaissance tavern. Their sold-out concerts resemble that era, with band and fans alike decked out in Renaissance garb, losing themselves in the mirth of the music. This ambiance is created via Blackmore's dexterous movement between acoustic and electric guitar, mandolin, mandola, cello, and hurdy gurdy, Night's ethereal vocals and command of seven medieval woodwind instruments (bagpipe, chanters, shawms, and pennywhistles, to name a few), and the consummate musicianship of keyboardist/back-up vocalist Bard David, violinist Scarlett Fiddler, back-up vocalist/shawm player Lady Lynn, bassist/rhythmic guitarist Earl Grey, and percussionist Troubadour of Aberdeen.

"To The Moon And Back: 20 Years And Beyond…" track listing:

CD 1:

01. Shadow Of The Moon 02. Spirit Of The Sea 03. Renaissance Faire 04. Play Minstrel Play 05. Under A Violet Moon 06. Spanish Nights 07. Fires At Midnight 08. Ghost Of A Rose 09. Cartouche 10. Village Lanterne 11. The Circle12. 25 Years13. Dandelion Wine14. Home Again (live)

CD 2:

01. I Surrender (bonus track) 02. Moonlight Shadow (2017 version) 03. Somewhere Over The Sea (2017 version) 04. Writing On The Wall (2017 version) 05. Coming Home (2017 version) 06. Ghost Of John (bonus track) 07. Minstrel Hall 08. Possum Goes To Prague 09. Durch den Wald zum Bach Haus 10. Nur eine Minute 11. Village Dance 12. Land Of Hope And Glory (2017 single version) 13. Bonus Video

Brad Whitford has revealed to Billboard Argentina that AEROSMITH recently entered a London, England studio to lay down the first new material since 2012's "Music From Another Dimension!" album. "We actually did some recording while we were touring Europe, and we started recording a new song," the guitarist said.

Whitford added that the track AEROSMITH is working on "is a musical idea of [fellow AEROSMITH guitarist] Joe Perry's. We're doing it very much like we did songs back when we started out," he said. "It's very rock 'n' roll."

Explaining that "you don't have to record a whole CD anymore," Whitford expressed his hope that AEROSMITH "can put out this one song or two or three."

He said: "The music business has changed so much since we started. You have to do things really differently. We could just release one song and make it available for download. It is a different world in the music business."

Whitford also confirmed that fans can expect AEROSMITH's "farewell" tour to last for a very long time. "Hopefully there's five more years," he said. "We're going to keep playing until we can't play anymore."

"Music From Another Dimension!" was released when AEROSMITH's label, Columbia Records, was reportedly going through a leadership change, and it ended up becoming a commercial disappointment.

The lackluster response to the disc later caused two bandmembers — Perry and drummer Joey Kramer — to question whether there's any point in AEROSMITH making future albums.

Maryland-based rockers LIONIZE have released a new single, "Fire In Athena", from their forthcoming full-length studio album titled "Nuclear Soul". "Fire In Athena" follows "Blindness To Danger", and both tracks are available now for instant download and streaming.

About the song, LIONIZE's Nate Bergman explains: "'Fire In Athena' is very important to us right now because of the socio-political climate in the U.S. at the moment. The song was inspired by a neighborhood in Greece called Exarcheia.

"In 1973, a violent clash between a brutal dictatorship came to ahead when tanks crashed through the walls of the Polytechnic Art College in the neighborhood — killing students who were peacefully protesting and existing as artists. There were massive riots and the neighborhood became a symbol of art, freedom and unity. To this day, the police, army and major corporations including banks are not welcome in this place. Everywhere you go in the blocks of Exarcheia is music, art, dancing, drinking and people living freely. We learned about the history of this place that dates back to the 1860s when the first uprising happened within the city limits."

He continues: "The song was written around the time of the U.S. presidential election and we started to see the danger in the rhetoric that was being spewed about causing high tensions across our country.

"In light of the recent events in Charlottesville, the band feels the song sends a message of hope and strength and ultimately tells the story of an uprising and a call to arms for those that believe in peace, love and music.

"Spending time in Greece really inspired the band to examine what our version of democracy really is and how is compares to several other countries we've been to on tour."

Due on September 8 via The End Records in digital, CD and LP formats, "Nuclear Soul" follows the band's widely praised 2014 album "Jetpack Soundtrack" and continues their ever-maturing sound. It's emotionally-driven and steeped in introspection, with subjects ranging from the end of times to heartbreak within the industry. Recorded locally in Maryland, production has been handled by CLUTCH's Jean-Paul Gaster with J. Robbins and LIONIZE.

"Nuclear Soul" track listing

01. Darkest Timeline02. Face Of Mars03. Fire in Athena04. Power Grid05. Ain't It A Shame06. Election Year07. March Of The Clones08. Let You Down09. The Mad Scientist of Sunshine10. Nuclear Soul11. Blindness To Danger

BEHEMOTH frontman Adam "Nergal" Darski joined SLAYER on stage during the latter band's soundcheck prior to their August 17 concert at Kettlehouse Amphitheater in Bonner, Montana to sing the SLAYER classic "Evil Has No Boundaries". Video footage of the performance can be seen below.

Nergal stated about the experience: "'Evil Has No Boundaries': that's the song my affair with SLAYER has begun ages ago. I must have been eight or nine years old, I guess, when I heard it on a pirate cassette. Didn't know much of an English language so we would sing whatever we hear. And the word EVIL reminded us how PIWO (beer) sounded phonetically! We would fuck around and sing 'PIWO!!! PIWO!!! PIWO!!!' instead until years later when we realized its meaning. The word EVIL would eventually be the key word to define my whole career with the band on so many levels and beyond. When I told that story to [SLAYER guitarists] Kerry [King] and Gary [Holt], they were, like, 'Let's do it! We are in!!' I already knew the lyrics by heart and here I am... sharing the stage with one of the best bands on the planet in one of my favorite songs! Dunno how I'm gonna top it, but that's not the case now. Living the fuckin' dream and enjoying the fuck out of it."

SLAYER's six-week expedition with LAMB OF GOD and BEHEMOTH kicked off on July 12 in Bemidji, Minnesota, and will conclude on August 20 in Phoenix, Arizona.

Asked what it has been like for BEHEMOTH to open for bands like SLAYER and LAMB OF GOD on the current tour, Nergal said in a recent interview: "It's good to be back in that position where you have nothing to lose. You are exposed in front of people who probably maybe heard about you, and there are some of the BEHEMOTH fans, but the majority is SLAYER and LAMB OF GOD fans. And you are there to fuck… You enter the stage like a hungry wolf and you have nothing to lose and you just fight for it — you know what I mean?"

He continued: "We are very violent and aggressive — I'd say more than at the regular headlining shows, where we are more in the safety zone: 'Okay, this is our headlining show. We are comfortable.' You know what I mean? We are, like, 'This is our people. Of course they're gonna scream for us. Of course they're gonna buy merchandise.' So it's good to go to the position where you must fight for it or you're gonna be missed out. And it's a very redefining position; you've gotta go back and see how it is, where you started, and you always start from scratch. It's a pretty exciting start."

Antihero Magazine's Matt Mills conducted an interview with frontman Jeff Becerra of legendary extreme metal innovators POSSESSED after the band's performance at this year's Bloodstock Open Air festival, which was held August 9-12 at Catton Hall, Walton-On-Trent, West Midlands, United Kingdom. You can listen to the full interview below. A few excerpts follow (transcribed by BLABBERMOUTH.NET).

On the never-ending debate on who can lay claim to being the first "true" death metal band: DEATH or POSSESSED:

Jeff: "Here's the story: Between [pre-DEATH outfit] MANTAS and the first DEATH album [1987's 'Scream Bloody Gore'], [DEATH leader] Chuck [Schuldiner] moved out to our fan club president's house to be around us. He's quoted in countless magazines that POSSESSED is his primary influence. His album came out two years after 'Seven Churches', which was written in '82/'83. Chuck was a very dear friend of mine. We used to sit and talk, we were the best of friends. And, so he was heavily influenced by POSSESSED. He was proud of that. He's quoted on that many times. In fact, people started calling DEATH 'POSSESSED clones' so much that he distanced himself a little bit and started saying 'I don't even play death metal. I play progressive metal.' The funny thing is, ironically enough, if Chuck were alive today, he wouldn't want to be called 'death metal,' he'd want to be called 'progressive metal.' I remember Chuck coming up to me after 'Scream Bloody Gore' saying 'This just might sound like you.' He was proud of that and I was proud of him and we were friends. I loved him. I'm not trying to take anything away from DEATH, because they're fucking awesome. I think that they were influenced by POSSESSED, but they ran with it and went in their own direction and created their own vibe. They don't need to claim anything, but DEATH is DEATH. They're a fantastic band and fantastic musicians and fantastic friends. I just wish he was alive today so we could collaborate. To go a step further: Chuck used ['80s death/thrash producer] Randy Burns, who did 'Seven Churches' to do 'Scream Bloody Gore', his first album. He also did a cover of [POSSESSED's] 'The Exorcist'."

On whether the 1980s Bay Area metal scene felt like a "movement":

Jeff: "It very much did. Yes. There was a magic happening in the air back then. I'm seeing the same kind of flow happening again. I mean, with grunge, it seemed like death metal almost became a joke. It almost died. Now to see it back and flourishing and it's so alive and well. It's just fucking great. I was actually worried in the '90s that death metal would just disappear. Now that it's alive and well, it's fucking awesome."

On whether nu metal bands such as KORN and LIMP BIZKIT got under his skin:

Jeff: "I appreciate all art, all music. I think that everyone's entitled to play whatever they want. You know, that's their thing and they were good at it. I play my genre, they play their genre. The world would be a pretty fucking boring place if there was only one genre. I love all art."

On why death metal continues to survive:

Jeff: "I think death metal is a lifestyle. I think people take pride in being death metalheads. I think there's something core and primal about it that people really relate to. I think that exists in every art. But, I couldn't tell you any more than that we love it and that's our thing."

On the status of the band's new studio album, which will be their first full-length album since 1986's "Beyond The Gates":

Jeff: "I think you're going to hear some really fucking good death metal, man. I'm really happy with a lot of the tracks. I'm still writing in the process; I'm writing a lot of music, writing all of the lyrics, of course. I'm also collaborating with [new POSSESSED members] Daniel [Gonzalez, guitar] and Claudeous [Creamer, guitar]. We're working together hard to create something that we really like. We're hoping that translates well to other people and beyond. We're hoping people like it. If they don't, then fuck them."

On the musical direction of POSSESSED's forthcoming new album:

Jeff: "Well, it's me. I'm still me. I would say…it's very POSSESSED-y, but it's not so dated. I think as much as I love the first three albums, they're a little dated, so we're trying to bring it back into this century. We're not going to over-produce it or do anything but straight death metal. It's just what I want to play and what the band wants to play. We're really enjoying ourselves. So far, the demos went over really well."

POSSESSED recently inked a worldwide deal with Nuclear Blast. Watch a short teaser video announcing the signing that includes a short snippet of a new song demo below. Fans can expect POSSESSED's first full-length release in over three decades sometime in 2018.

Beccera remains the only member from POSSESSED's classic lineup, which dissolved entirely in 1987 after the "Eyes Of Horror" EP.

THE HAXANS, the goth-pop-infused power duo featuring Ash Costello (NEW YEARS DAY) on vocals and Matt Montgomery (ROB ZOMBIE) on vocals and guitar, will release its debut album, "Party Monsters", on Friday, October 13 via Another Century Records.

The music video for the track "Lights Out", taken from "Party Monsters", can be seen below.

Costello states: "For years we have felt like mad scientists, secretly working on our music hidden away from everyone else... and we are so excited to finally share our creation with the world!

"I genuinely love what we have made and cannot wait for you to hear it!

"We are two weirdos that hope we can call upon all the rest of the weirdos in the world to join in on our fun."

Montgomery adds: "Finally it's party time! We figure after a few years of building this Frankenstein in the garage, we should let it get out and walk around a little. Maybe someone will try to beat it up, maybe someone else will fall in love with it. Who knows? But it's out there and it's loose, and you never know where it will turn up!

"This record is a party for everyone else like us. The cover, the songtitles, the energy and the colors of this record are going to pull together an amazing cross section of people. It's just everything we like and celebrate every day, but amped up to eleven! It's got a kids-jumping-on-the-bed-while-the-parents-are-out-of-the-room feeling to it to me, which is kind of what this record was for us."

Montgomery previously said that the "secret ingredient" behind THE HAXANS was "having two people that are on the same wavelength. You're painting with the same colors. We've got the same color palette. We're, like, 'Purple?' 'You mean this purple?' And we go, 'Yeah, that's exactly the purple [we were looking for].'"

Fan-filmed video footage of MEGADETH's August 15 performance at 013 Poppodium in Tilburg, Netherlands can be seen below.

MEGADETH recently completed a North American tour with MESHUGGAH and will play arenas later in the year as the support act for German hard rock veterans SCORPIONS.

MEGADETH is planning on returning to the studio at the end of the year to begin work on the follow-up to 2016's "Dystopia" album.

The band's upcoming effort will mark MEGADETH's first release to feature new drummer Dirk Verbeuren, who officially joined the group a year ago.

MEGADETH was honored with in the "Best Metal Performance" category in the pre-telecast ceremony at the 59th annual Grammy Awards, which was held on February 12 at the Staples Center in Los Angeles. MEGADETH was nominated for "Dystopia", the title track of its 2016 album.

"Dystopia" was the first album to feature Brazilian guitarist Kiko Loureiro, best known for his work with ANGRA.

Fan-filmed video footage of former MEGADETH guitarist Marty Friedman's entire August 16 performance at Scout Bar in Houston, Texas can be seen below.

Friedman's new solo album, "Wall Of Sound", was released on August 4 via Prosthetic Records. Produced by Friedman, engineered by Paul Fig (GHOST, RUSH, ALICE IN CHAINS) and mixed by Jens Bogren (KREATOR, OPETH, SEPULTURA), the isc "expands and destroys any conventional notions of instrumental music," according to a press release. Legendary QUEEN producer Mack came on board to handle the mixing on two tracks, "Streetlight" and "For A Friend", which Friedman proclaimed was "an honor for me, for sure."

Friedman said last year about the musical direction of the follow-up to his 2014 album "Inferno": "This time it's even more ambitious than that album was, a bit more dense, and, with any luck, more exciting for those of you who will hear it."

He added: "There will be elevent or twelve songs in total. Sometimes a song you really love doesn't make it to the album because it doesn't fit nicely in the sequencing. Either way, we're pushing sixty minutes, so it won't be a short album."

Marty's new CD was recorded in part at Dave Grohl's Studio 606 in California with engineer Paul Fig (ALICE IN CHAINS, RUSH, DEFTONES) and was previously described by Friedman as "a way more intense version" of its predecessor: "deeper, sadder, happier and more aggressive."

Like "Inferno", Friedman's new album features several guests, including prog-thrashers MUTOID MAN, Jørgen Munkeby of the Norwegian avant-garde jazz-metal outfit SHINING and Jinxx of Los Angeles theatrical rockers BLACK VEIL BRIDES.

Regarding how the collaboration with Jinxx came about, Friedman told Guitar World: "I'm a big fan of Jinxx and BLACK VEIL BRIDES. He came to my show in L.A. in 2015. Right after that, I was told that he plays violin. I didn't even know that! Then light bulbs went off. I thought now's the chance to really turn some heads by doing something that's a little bit, well, a lot, unexpected to my fans and his fans."

GHOST lead singer and founder Tobias Forge — who performs as Papa Emeritus — unmasked himself publicly for the first time since the band's formation for an appearance on "Sommar i P1", Swedish radio channel P1's daily one-man show which has aired every summer since 1959.

Each ninety-minute episode of "Sommar i P1" features a well-known Swede talking without interruption about whatever he or she likes, as well as choosing all the music for the program.

During his appearance on the show — which aired for the first time on Thursday, August 17 and can now be streamed at this location — Forge talked about his family life and particularly his older brother, Sebastian, who died of heart failure in 2009 the day after GHOST posted its first song on MySpace. At one point, Forge spoke directly to his late brother and was sobbing and crying while lamenting the fact that "we didn't get to experience this thing together." Forge also said that his mother was so proud of him that she was telling everyone about his involvement with GHOST even though the bandmembers' true identities were supposed to be kept secret. "[But] I guess it doesn't matter anymore," he added.

Tobias ended the program by telling the listeners: "My name is Tobias Forge and I'm the man behind the mask in GHOST. Thanks for listening."

You can read a rough English-language translation of Forge's entire "Sommar i P1" appearance on Reddit.

Forge previously revealed his identity while responding to a lawsuit filed by four former members of GHOST, who accused him of cheating them out of their rightful share of the profits from the group's album releases and world tours.

In his court documents, Forge — who had previously played in several other rock bands, including REPUGNANT, CRASHDIET, SUBVISION, MAGNA CARTA CARTEL and SUPERIOR — took credit for developing GHOST's image and stage show and blamed his ex-bandmates for "destroying the mystery" surrounding the group by lifting the lid on GHOST's business dealings. GHOST is known for its eccentric performances and is composed of six members easily recognized for their satanic attires. Five men who call themselves as Nameless Ghouls play the instruments while the lead vocalist is known as Papa Emeritus. The Nameless Ghouls who are wearing identical devil masks and costumes represent the five instrumentalities or elements (fire, water, air, earth and aether or quintessence) while their leader Papa Emeritus represents the group's anti-pope symbol.

Forge admitted in a 2016 interview with "Big Smash Radio" that the mystery surrounding GHOST has helped make the band more successful. "I think it definitely plays a part," he said. "The thing everybody keeps ranting about is the anonymity, which I have a comment on on the side, but I also think that you don't have to be anonymous or masked in order to have somewhat of a clandestine image. I mean, there are many artists that I know exactly where they are born and what their names are and where they live, which are still very, sort of, hidden. Even Nick Cave, who has a film about himself nowadays, is still someone who I would claim to be utterly enigmatic."

He continued: "Even if people would know who we are, or you could click on a Wikipedia page saying my date of birth, it does not necessarily mean that I have to go out on social media and tell you where I'm eating. So, yeah, I think even in the future, when it might not be as hidden, or as secret, I think that you can still uphold some sort of… level of fog around you."

Peaceville Records will release Mork’s third album, Ermitten Dal, on October 13th on vinyl and CD. New video for “I Hornenes Blide” is streaming below. Find preorder information at this location.

Primarily inspired by the works of Darkthrone and Burzum, Mork’s third album Eremittens Dal stands as a tribute to the spirit of old-school Norwegian black metal. Raw production and ice-cold riffs combine with the band's dynamic and atmospheric twists and the album effortlessly alternates between the ferocious and the melancholy, with themes of hate, death, seclusion and misanthropy.

The suitably grim pencil cover art comes courtesy of Jannicke Wiese-Hansen, who famously made artwork for early Burzum and Satyricon releases. Having featured guest vocals from Darkthrone’s Nocturno Culto on its previous album, Eremittens Dal includes special guest appearances from Dimmu Borgir's Silenoz who contributes vocals on two tracks, plus additional bass parts from 1349's Seidemann.  The album was mixed by Freddy Holm at Kleiva Studio and mastered at Enormous Door in the US.  

"Mork caught my attention a couple of years ago and I was immediately drawn to the atmospheric and reclusive soundscapes, enticed by the desolate and solitary approach - true to the old Norwegian black metal ways. It was as if I was thrown back in time. So when I got asked to add vocals on two tracks I didn't hesitate to comply, I just instantly knew I was meant to have a part in it!" - Silenoz (Dimmu Borgir) 

"I have seen the future of black metal, and its name is Mork. Halden Hellfire!” - Seidemann (1349)

Tracklisting:

“Hedningens Spisse Brodder”
“Holdere Av Fortet”
“Forsteinet I Hat”
“Eremittens Dal”
“I Hornenes Blide”
“Likfølget” 
“Et Rike I Nord” 
“I Enden Av Tauet” 
“Mørkets Alter” 
“Gravøl”

“I Hornenes Blide” video:

Peaceville Records will release a compilation of demos from Darkthrone entitled The Wind Of 666 Black Hearts on CD on October 6th. The CD is available for preorder at this location. The 2LP vinyl edition was released in November 2016 and is still available here.

The album holds pre-album recordings from 1991 and 1992, created during Darkthrone's highly regarded transitional period as the band marched towards black metal infamy. 

The Wind Of 666 Black Hearts contains tracks which would go on to feature on the classic A Blaze In The Northern Sky and Under A Funeral Moon albums. The A Blaze... rehearsal tracks feature the line-up of Nocturno Culto, Fenriz, Zephyrous and Dag Nilsen, while the Under a Funeral Moon rehearsal tracks saw Darkthrone narrowed to a 3-piece act, with Nocturno moving to bass and Zephyrous handling all guitars, with the recordings taken from the band's rehearsal venue in Vinterbro.

The Wind Of 666 Black Hearts also includes rare photos, lyrics, and liner notes from Fenriz.

Tracklisting:

“A Blaze In The Northern Sky”
“Kathaarian Life Code”
“The Pagan Winter”
“Where Cold Winds Blow”
“In The Shadow Of The Horns”
“Summer Of The Diabolical Holocaust”
“Crossing The Triangle Of Flames”
“Under A Funeral Moon”
“The Dance Of Eternal Shadows”
“Unholy Black Metal”

A true visionary is a rare thing; but such a man is Josh Dummer. Providing all instruments and vocals on his creation Buried Realm's debut, The Ichor Carcinoma, with the exception of some very exciting guests such as Bob Katsionis (Firewind, Septicflesh), Brandon Ellis (Arsis, The Black Dahlia Murder, Cannabis Corpse), Christopher Amott (Arch Enemy, Armageddon), Dean Paul Arnold (Vital Remains), Marios Iliopoulos (Nightrage), Peter Wichers (Soilwork), Ryan Strain (Recode The Subliminal), Teemu Mäntysaari (Wintersun) and Travis Montgomery (Threat Signal, Jeff Loomis band). Dummer is a man who is not afraid to gaze into the abyss for music and lyrical inspiration.

Inspired by Opeth, Kreator, Old Man’s Child, Symphony X (and tons of old hair metal); Dummer describes Buried Realm's music as ‘fierce, cutting, technical, melodic, and memorable’. The studio project represents a hidden dimension within himself where the ‘buried disputes’ of his life are confronted only through music; where he can express musical ideas without compromising.

Eager for the fans to hear his debut album, Dummer reflects: “I feel that listeners can appreciate it, not only on a musical level but hopefully enjoy the listening experience too. This album was a long time in the making and hopefully that translates. 'The Ichor Carcinoma’ was originally supposed to be an EP. However, I had too many pre-production demos and didn’t want to scrap them, so I decided on a full-length, which fans can expect many guests across the entire album!”

Not afraid to draw deep from a painful wellspring of inspiration, Dummer adds: “Many people close to me, myself included, have been though unfortunate life-threatening situations recently.  No one is invincible and everyone walks though life like they are…I couldn’t ignore those events when it came to writing lyrics for this release. Some of the songs go into further detail about the terror I’ve experienced and personal demons I’ve faced. The lyrics are about the mental and physical battles of terminal illness/diseases and the attempt to rebuild.”

A guitar playthrough video for the album's title track "The Ichor Carcinoma" can be seen below. The track features guests Bob Katsionis (Firewind, ex-Septicflesh) and Peter Wichers (ex-Soilwork).

"'The Ichor Carcinoma' - the title track of the album… This was the second song I wrote for the record. The riffs are racing and melodies/ solos are flying all over the place. The lyrics are about the mental and physical battles of terminal illness, personal demons and the attempt to rebuild,” says Dummer.

The Ichor Carcinoma is set for release on September 29th with pre-order available on Bandcamp, Amazon and iTunes.

Tracklisting:

“Portal”
“The Ichor Carcinoma”
“Asphyxiation’s Lullaby”
“Through These Darkened Halls”
“Apeiron I - The Legacy”
“On Serpent Soil”
“Apeiron II - Global Dreamer”
“Unscrupulous”
“Hidden Chapter”
“SuperSpell”

“The Ichor Carcinoma” guitar playthrough:

“Asphyxiation’s Lullaby”:

“The Ichor Carcinoma” lyric video:

(Photo - Tamara Clarke)

The 2LP edition of the new Pyramaze album, Contingent, will be released on September 29th in Europe and on October 13th in North America through Inner Wound Recordings. The 2LP edition is strictly limited to 300 copies worldwide.

With their milestone fifth album, Contingent, Pyramaze have grown and matured into a band that is capable of satisfying their fans while simultaneously continuing to break new ground. The incorporation of modern cinematic film score elements mixed with progressive metal riffs and melodies will leave the listener breathless! Huge, sweeping, hard-hitting, and poignant, Contingent is an epic post-apocalyptic conceptual piece inspired by current events, the human spirit to overcome struggle and diversity, and the brotherhood that lies there in. Produced, mixed and mastered by Jacob Hansen (Volbeat, Amaranthe, Epica, Evergrey).

"Divided by oceans, bound together by brotherhood, we must become that which divides us.... we are Pyramaze, and we are the Ocean!"

Contingent 2LP tracklisting:

Side A:
“Land Of Information”
“Kingdom Of Solace”
“Star Men”

Side B:
“A World Divided”
“Nemesis”
“Contingent - Part I: The Campaign”

Side C:
“20 Second Century”
“Obsession”
“Heir Apparent”

Side D:
“Contingent - Part II: The Hammer Of Remnant”
“Under Restraint”
“The Tides That Won't Change”
“Symphony Of Tears”

“Obsession” lyric video:

“The Tides That Won’t Change” lyric video:

“Star Men” lyric video:

“A World Divided” video:

“Kingdom Of Solace” lyric video:

“20 Second Century” lyric video:

Pyramaze lineup:

Terje Harøy - Vocals
Jacob Hansen - Guitars, Bass
Jonah W. - Keyboards
Toke Skjønnemand - Guitars
Morten Gade Sørensen - Drums