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DEAD ICARUS, the new project of former ATREYU lead vocalist Alex Varkatzas, has shared a fourth single in the form of "Ad Infernum". The song's accompanying official music video, directed by Monte Legaspi, can be seen below.

"Everyone loves the romanticized cliche of 'dying for what they believe in," says Varkatzas. "But death is the end of all things. Sometimes living with the consequences of one's actions can be more severe than death itself. Sometimes, simply persevering in the face of constant adversity is the victory. 'Ad Infernum' asks, 'Are you ready to live through what you believe in?'"

DEAD ICARUS has also digitally released the "Ad Infernum" EP consisting of the four previously issued tracks and a cover of PANTERA's "Yesterday Don't Mean Shit".

"Ad Infernum" EP track listing:

01. Sellout
02. The Vultures Circle
03. So I Set Myself on Fire
04. Ad Infernum
05. Yesterday Don't Mean Shit (PANTERA cover)

Varkatzas was the founding vocalist of metalcore giants ATREYU, who have sold over one million records across two decades of his tenure. An uncompromising, brutal, impassioned, confessional assault, Alex's new musical vehicle DEAD ICARUS introduces itself to the world with the "Ad Infernum" EP via MNRK Heavy. Produced and co-written by Gabe Manfold of ENTERPRISE EARTH, "Ad Infernum" sounds both fresh and familiar for the legions of metalheads who revere the unapologetic aggression of PANTERA or the dynamic metalcore of KILLSWITCH ENGAGE.

A staple of Ozzfest in the mid-2000s with two gold albums, ATREYU is one of the defining bands of the New Wave Of American Heavy Metal, alongside groups like AVENGED SEVENFOLD and LAMB OF GOD. Metalcore classics like "The Curse" and "A Death-Grip On Yesterday" were powered by Alex's distinctive scream.

In October 2020, ATREYU surprise-released a new song called "Save Us". It was the first taste of the band's music since the departure of Varkatzas a month earlier. A couple of days before "Save Us"'s release, Varkatzas updated his Instagram stories with hashtags that seemed to throw shade at his former bandmates and their new material: #fakeheavy, #conartists and #justwaitandsee.

ATREYU's former drummer Brandon Saller, who is now focusing completely on singing after previously sharing lead vocals with Varkatzas for most of the band's two-decade-plus existence, discussed Alex's departure from ATREYU in an interview with Terry "Beez" Bezer of Knotfest.com's "Mosh Talks With Beez". Asked what he thought of Varkatzas implying in a social media post that "Save Us" was "fake heavy," Saller said: "I thought it was hilarious, because I think everyone heard it and then was, like, 'Hmm. Okay.'

"The four of us were very, very adamant on this whole thing" — referring to the split with Alex — "being very, very positive. There's no shitting on people that we wanna do. There's not a part of us that wanted anyone to shit-talk us or him. And our whole stance was, like, this is what it is, but we can still lift each other up and make our fans feel good about the fact that there's no beef; there's no whatever.

"He did his own thing, and it wasn't exactly the kind of idea of a narrative that we would have liked to put forward," Brandon continued. "We've always, still to this day, been fully positive. When people say stuff about Alex, I'm still, like, 'The dude's awesome. You should support whatever he does next.' He's learning guitar, he's taking interest in different things, and I will still, till I'm blue in the face, say, yeah, support him. If you like his voice, if you like what he did in ATREYU, he's probably gonna make more music. Now you have two bands you can listen to.

"The 'fake heavy' thing was — we don't know where that came from," Saller added. "Alex wrote 'Save Us' with us. He wrote probably seven, eight songs that are on the next record. He was a part of the beginning of the album, so for him to say it's fake heavy, then he wrote a fake-heavy song.

"I think 'Save Us' is one of the heavier songs we've ever written. It is two and a half minutes of facepunch. Another view we've had is no matter who says what, let's do what we've always done and just let the music talk. We're just gonna continue doing that and let the tunes do all the talking. And people will know what we're all about. They'll know everything they need to know from [listening to] the songs."

According to Brandon, he and his ATREYU bandmates wanted to avoid making the split with Alex more dramatic than it needed to be in the eyes of the public, preferring instead to give everyone a taste of the new music they were working on.

"A lot of people got really butthurt because of the lack of detail that we gave [in our statement announcing Alex's departure]," Saller said. "And I feel like we just felt so strongly that in this day and age, click culture and clickbait, every headline's looking for, 'Guitar player of ATREYU slept with the singer's wife' — some weird drama. But we had no interest in that. We just wanted to keep it about the music and keep it positive and let our fans know that this is what's happening, we're separating, it is what it is, and let's just think about the future."

"I think people think a lot of it is a lot more quick than the reality," Brandon theorized. "I think that people think that we just made this decision and posted it on the Internet, and that was it. But we've been going through this for months and months and months. When you're in a business and a relationship — a marriage, essentially — with someone for 20 years, there's a lot of steps to go through before you can say anything. We were very much wanting to say really nothing — just be positive and let's be adults. And luckily, we have so many people that really, really are showing us a lot of love."

In December 2020, Brandon implied in an interview with "Sappenin' Podcast With Sean Smith" that ATREYU was no longer on speaking terms with Varkatzas: "We'll call it a breakup," he said. "There's obviously a separation, so I think that's something that, in our hopes, the future will heal. But the five of us in the current situation are tighter than ever."

Extreme power metal unit, DragonForce, recently released their new album, Warp Speed Warriors. Ultimate Guitar caught up with guitarist Herman Li to discuss the album. Following is an excerpt from the interview.

UG: How is it similar or different to previous Dragonforce albums?

Li: "I would say it's a continuation of the DragonForce chapter. We get older, we get wiser, we get dumber. It's hard to say. But we get better at something and worse at another thing. I would say a DragonForce album always gets good, one thing I don't get worse at is making DragonForce (albums). So, I'd say it's got more elements, more dynamics. And one thing that is for sure, this is the biggest album release of our career, actually. It's got more videos, more production. More everything."

UG: What led to covering a Taylor Swift song, "Wildest Dreams," as a CD bonus track?

Li: "Funny enough, that is not a bonus track. I just wrote an e-mail to the record label, telling them that is not a bonus track. It's just not on the vinyl. So, a few years ago, my first child got born, my daughter. And as first-time parents, you just don't know how to calm a baby that doesn't stop crying, because she was born with teeth. And you try everything, listened to music. And Taylor Swift was one of the one of the things that calmed her down and stopped her crying. So, I heard a lot of Taylor Swift the last few years, and I got converted into it. I think that's a great song. I told Sam, 'We should cover this song, because we can really put our 'DragonForce touch' on it, to make it glorious and epic in a different way."

Read more here.

Founded in 1999 by virtuoso guitarists Herman Li (also known for his Twitch channel with 270k followers) and Sam Totman, the new masterpiece Warp Speed Warriors sees DragonForce experimenting with different genres more than ever before, while staying true to their power metal roots.

Warp Speed Warriors was produced, mixed and mastered by Damien Rainaud at Mix Unlimited in Los Angeles, California with Sam Totman and Herman Li. This album is a matchless, innovative listening experience that continues the band's legacy with songs that will, without a shadow of a doubt, become instant classics in and beyond the DragonForce canon.

Warp Speed Warriors is available in the following formats:

- 2CD Deluxe Box incl. Bonus Jewel Case CD with 5 bonus tracks, wristband (embroided), poster flag (100x70cm), gaming coin keyring/pendant (with leathercord), packed in a gym bag (Napalm Records Mailorder exclusive) - strictly limited to 300 copies worldwide
- 1LP Gatefold Turquoise marbled Vinyl incl. slipmat, record butler (Napalm Records Mailorder exclusive) - strictly limited to 200 copies worldwide
- 1LP Gatefold Purple Vinyl (Napalm Records Mailorder exclusive) - strictly limited to 400 copies worldwide
- 1LP Gatefold Orange Vinyl (Retail UK exclusive) - strictly limited to 300 copies
- 1LP Gatefold Black Vinyl
- 1CD Digisleeve incl. 1 Bonus Track
- Digital Album incl. 3 Bonus Tracks

Order your copy of Warp Speed Warriors here.

Warp Speed Warriors tracklisting:

"Astro Warrior Anthem"
"Power Of The Triforce"
"Kingdom of Steel"
"Burning Heart"
"Space Marine Corp"
"Doomsday Party"
"Prelude to Darkness"
"The Killer Queen"
"Pixel Prison"

"Astro Warrior Anthem" video:

"Power Of The Triforce" video:

“Doomsday Party” feat. Elize Ryd video:

DragonForce is:

Herman Li - Guitar, Backing Vocals
Sam Totman - Guitar, Backing Vocals
Marc Hudson - Vocals
Alicia Vigil - Bass, Backing Vocals
Gee Anzalone - Drums, Backing Vocals

(Photo - Travis Shinn)

The Recording Academy has announced 10 recordings to be newly inducted to the distinguished Grammy Hall Of Fame as part of its 2024 inductee class and in celebration of its 50th anniversary this year.

This year's Grammy Hall of Fame additions, the first inductions since 2021, include four albums and six singles that exhibit qualitative or historical significance and are at least 25 years old. The inducted recordings, which will be added to the iconic catalog residing at the Grammy Museum, will be honored at Grammy Museum's inaugural Grammy Hall Of Fame Gala and concert, presented by City National Bank, taking place Tuesday, May 21, at the NOVO Theater in Los Angeles. Tickets for and performers at the Gala will be announced at a later date.

The 2024 Grammy Hall Of Fame inducted recordings range from Lauryn Hill's The Miseducation Of Lauryn Hill to Guns N' Roses' Appetite For Destruction. Others include recordings by De La Soul, Buena Vista Social Club, Donna Summer, Charley Pride, Wanda Jackson, Kid Ory's Creole Orchestra, the Doobie Brothers, and William Bell. Eligible recipients will receive an official certificate from the Recording Academy. With these 10 newly inducted titles, the Grammy Hall Of Fame currently totals 1,152 inducted recordings.

"We're proud to unveil the diverse mix of recordings entering the Grammy Hall Of Fame in its 50th year," Recording Academy CEO Harvey Mason jr. said in a statement. "The music showcased here has played a pivotal role in shaping our cultural landscape, and it's a true honor to recognize these albums and recordings, along with the profound influence each has had on music and beyond."

"The artists, songwriters, producers, and engineers who composed this year's inducted recordings are a reflection of the sheer talent and hard work that goes into creating such seminal music," Grammy Museum President/CEO Michael Sticka said in a statement. "It's a privilege to be able to welcome these new additions into our distinguished catalog and celebrate the recordings at our inaugural gala on May 21."

The Grammy Hall Of Fame was established by the Recording Academy's National Trustees in 1973. The inducted recordings are selected annually by a special member committee of eminent and knowledgeable professionals from all branches of the recording arts with final ratification by the Recording Academy's National Board of Trustees.

This year, the Grammy Hall Of Fame Gala will be the first of what will become an annual event and includes a red carpet and VIP reception on the newly opened Ray Charles Terrace at the Grammy Museum, followed by a one-of-a-kind concert at the NOVO Theater in downtown Los Angeles.

The inaugural gala and concert is produced by longtime executive producer of the Grammy Awards, Ken Ehrlich, along with Chantel Sausedo and Ron Basile and will feature musical direction by globally renowned producer and keyboardist Greg Phillinganes.

See below for a full list of the 2024 recordings inducted into the Grammy Hall Of Fame, and see the full list of all past Grammy Hall Of Fame inducted recordings, here.

Full list of 2024 Grammy Hall Of Fame Inducted Recordings:

De La Soul - 3 Feet High And Rising
Tommy Boy (1989) (Album)

Guns N' Roses - Appetite For Destruction
Geffen (1987) (Album)

Buena Vista Social Club - Buena Vista Social Club
World Circuit/Nonesuch (1997) (Album)

Donna Summer - "I Feel Love"
Casablanca (1977) (Single)

Charley Pride - "Kiss An Angel Good Mornin'"
RCA Victor (1971) (Single)

Wanda Jackson - "Let's Have A Party"
Capitol (1960) (Single)

Lauryn Hill - The Miseducation Of Lauryn Hill
Ruffhouse/Columbia (1998) (Album)

Kid Ory's Creole Orchestra (As Spike's Seven Pods of Pepper Orchestra) - "Ory's Creole Trombone"
Nordskog (1922) (Single)

The Doobie Brothers - "What A Fool Believes"
Warner Bros. (1978) (Single)

William Bell - "You Don't Miss Your Water"
Stax (1961) (Single)

The Prog Collective, founded and helmed by producer/multi-instrumentalist and famed bassist for Yes Billy Sherwood, has united some of the finest musicians of rock, jazz, metal, pop and everything in between since its founding in 2012. The group’s newest studio effort, entitled Dark Encounters, takes a deliberate turn toward a more brooding and melancholic musical path, filled with haunting ambience and eerie melodic passages. All of this makes Stevens the perfect partner for an exploration into the darker side of prog rock.

New song and lyric video for “The Long Night” featuring Frank DiMino and Marco Minnemann is streaming below.

Dark Encounters is set for release on March 29 and includes contributions from a number of notable musicians and creative geniuses from the legendary Steve Morse, violinist David Cross, and guitar wizard Bumblefoot to keyboardist Patrick Moraz, Utopia’s Kasim Sulton, Gong’s Steve Hillage, and more!

Order CD/vinyl here; pre-order/pre-save the digital here.

Tracklisting:

"Darkest Hour" with Steve Stevens
"Ominous Signs" with Steve Morse
"At The Gates" with David Cross
"Dark Days" with Ron "Bumblefoot" Thal, Patrick Moraz & Omar Hakim
"Lonely Landscape" with Kasim Sulton
"The Long Night" with Frank Dimino & Marco Minnemann
"The Quasi Effect" with Billy Sherwood
"The 11th Hour" with John Etheridge
"Between Two Worlds" with Steve Hillage & Gregg Bissonette
"Distant Thunder" with Todd Sucherman
"Dark Money" with Joe Bouchard
"For All To See" with Pat Mastelotto
"Beyond Reason" with Chad Wackerman

Bonus tracks (CD only):
"I Saw The Light" - Todd Rundgren with Rick Wakeman
"I'm Not In Love" - Nektar with Rick Wakeman

"The Long Night":

"Darkest Hour":

Reigning Phoenix Music (RPM) is proud to announce the signing of Finnish melodic death metal pack, Wolfheart.

Much admired for their powerful combination of brutal riffs and complex melodies, the band are another varied addition to the RPM roster. Wolfheart have continuously developed their sound after their foundation by skillful mastermind Tuomas Saukkonen in 2013, and being one of the most captivating acts of the Finnish metal scene made them gather a huge global following over the years.

Guitarist/vocalist and founder Saukkonen comments on the deal: "I am confident that signing to Reigning Phoenix Music is an exciting game changer for us and RPM is nothing but the right place to continue conquering the world with our art. The future looks brighter than ever and excitement is an understatement for what we feel about the forthcoming co-operation and adventures."

RPM managing director Jochen Richert adds on the promising union: "It's exciting times for us at RPM as we welcome this death metal groove bulldozer to our family. There's not many bands out there who are nearly as good as Wolfheart at fusing brutality and melody."

The group completed by Vageliss Karzis (guitars, vocals), Lauri Silvonen (bass, vocals; Bloodred Hourglass) and drummer Joonas Kauppinen are experiencing a high of their creative work period and are working with high pressure on new material, which fans can already look forward to. Originally starting as Saukkonen's solo project and immediately receiving overwhelming feedback for their debut album Winterborn (2015), Wolfheart have reached a good status and are recognized internationally. Their powerful appearances at renown festivals as well as many tours around the globe brought them many following metalheads, and their signing to RPM now cements their worth in the music world.

Before Wolfheart continuing their journey with a new album under the aegis of Reigning Phoenix Music, the quartet will embark on an Australian tour with Italian symphonic death metallers Fleshgod Apocalypse in March but also visit Eastern European countries in support of their latest album King Of The North in May, followed by select summer festival appearances. As if this wasn't enough, the band will join Sweden's melodic death metal pioneers Dark Tranquillity and Portuguese dark/gothic metal icons Moonspell on a recently announced 24-date European run in October/November. Opening support will come from German melodic death metallers Hiraes.

Find the band's live itinerary here.

Wolfheart are:

Tuomas Saukkonen - vocals, guitars
Vageliss Karzis - guitars, vocals
Lauri Silvonen - bass, vocals
Joonas Kauppinen - drums

(Photo - Valtteri Hirvonen)

Former JOURNEY singer Steve Perry has reacted to the news that the band's timeless rock anthem "Don't Stop Believin'" has officially been declared the "Biggest Song Of All Time" by Forbes. According to the RIAA (Recording Industry Association of America),the hit rock song likely heard by everyone around the world is now an 18-times-platinum-certified single.

Earlier today (Wednesday, March 20),Perry shared a link to the Forbes article and he included the following message: "When this 'Don't Stop Believin'', 'The Biggest Song of ALL Time' article came out yesterday {3/19/24}I was so emotionally stunned. To be part of such a moment as this made me reflect on my parents. By that I mean, though I lost them both years ago, I was so happy for them because they are truly the reason this is happening. My dad was a singer and both of them were very musical. So on behalf of my Mom and Dad, I thank every one of you for so many years of support."

JOURNEY co-founder and lead guitarist Neal Schon was one of the musicians who commented below Perry's post on Instagram, writing: "That's great Steve. God Bless. I myself reflect on the great time we had writing this song. Respectfully Neal Schon".

You've heard "Don't Stop Believin'" literally everywhere since the 1980s: on the radio of every car you've ever owned, at every major sporting event you've attended in the last 20 years (including a live performance by the band at this year's NFC Championship Game between the Detroit Lions and San Francisco 49ers),sung by Tom Cruise, Alec Baldwin and Mary J. Blige in the film "Rock Of Ages", and covered by the cast of the TV show "Glee". You heard it and then stared at a black screen in horror for a full 10 seconds wondering whether your DVR wasn't set to record the full episode, and then had it running through your head while you argued with friends over whether Tony Soprano got whacked in the diner or not.

Released in October 1981 for JOURNEY's seventh studio album "Escape" through Columbia Records, "Don't Stop Believin'" quickly became the band's signature song. Critical acclaim was instant, with Billboard praising the "fluid guitar and vocal." AllMusic declared "Don't Stop Believin'" a "perfect rock song" and an "anthem", featuring "one of the best opening keyboard riffs in rock." Schon wrote the instantly recognizable bass line, and keyboardist and rhythm guitar Jonathan Cain had kept the song title from encouragement his father gave him as a struggling musician living on Sunset Boulevard. Decades after its release, the song became the best-selling digital track from the twentieth century, with over seven million downloads.

In a 2009 interview with CBC's "Q" cultural affairs show, Perry said he always thought "Don't Stop Believin'" had potential as a single. It was always a hit with live audiences, though it didn't get great radio play at the time it was issued, he said.

"When we were doing the song in 1981, I knew something was happening, but honestly, when I saw it in the film 'Monster' with Patty Jenkins, I started think, 'Oh my goodness there's really something.'"

He added: "The lyric is a strong lyric about not giving up, but it's also about being young, it's also about hanging out, not giving up and looking for that emotion hiding somewhere in the dark that we're all looking for. It's about having hope and not quitting when things get tough, because I'm telling you things get tough for everybody."

Current JOURNEY singer Arnel Pineda, who has been fronting the band for 17 years, told CBS News in 2012, "Even before I discovered 'Don't Stop Believin'', it has been my motto — you know, to never stop believing in myself. The life that I've gone through, all those hardships, I never stopped believing that someday there is something magical that will happen in my life."

In 2020, at the beginning of the coronavirus pandemic, "Don't Stop Believin'" became a rallying call for patients recovering from COVID-19 at two hospitals in New York and Michigan. The 1981 hit was being played at Henry Ford Hospital in Detroit, Michigan and the New York-Presbyterian Queens Hospital during celebrations for patients prevailing over the coronavirus.

Perry reunited with JOURNEY for the first time in years as they were inducted into the Rock And Roll Hall Of Fame in April 2017. The iconic singer appeared onstage with his former bandmates as they each gave speeches, but did not perform with the group later in the event.

Perry's final full concert with JOURNEY took place in early 1987. He later rejoined his bandmates for a brief performance in 1991 to honor late concert promoter Bill Graham. He also appeared with JOURNEY when they received a star on the Hollywood Walk Of Fame in 2005.

JOURNEY will team up with DEF LEPPARD for a 2024 stadium concert tour of North America. The 23-city tour opens July 6 at Busch Stadium in St. Louis and concludes September 8 at Coors Field in Denver. The opening act for most of the tour dates will be fellow Rock And Roll Hall Of Famer Steve Miller and his band. Two other Rock Hall inductees will alternate as opening acts for the seven shows Miller is not playing — CHEAP TRICK and HEART.

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A post shared by Steve Perry (@steveperrymusic)

In a new interview with The Break Down With Nath & Johnny, HALESTORM frontwoman Lzzy Hale was asked if she ever meets fans in the street who don't really know what to do or say to her because they are outside of the world they know her in. She responded (as transcribed by BLABBERMOUTH.NET): "Sometimes, yeah. I always tell people and I'll just say this on the record here as well, always come up and say hi. The last time we were in Australia, I did that, and there were pictures that showed up of — somebody was taking pictures of me eating a burger, which was totally fine. There are way worse pictures of me out there. But I'm, like, 'Oh, you could have just totally said hello.' And I usually have some pics on me and stuff. I'll give you some party favors. But, yeah, sometimes it gets a little awkward, because it's, like, 'Well, we're just going to lunch. Do you want to come with? No? Okay.' What do we do now? [Laughs] But sometimes it's really great because you meet some random people and then you end up having a few beers or something and then talking about stuff and then, like, 'Oh, by the way, there's this museum down here.' I'm, like, 'Oh, let's go and do that.' So, just depending on everyone's comfort level. Go for it. We're all in this together."

Lzzy went on to say that she is generally very welcoming and open with her fans. "I'd rather live my life that way," she explained. "I mean, there's a darker side to that where I've gotten death threats and weird people showing up at [our] house [in Nashville], even though we bought our house in a trust name, so somebody found something and things like that. But that's the grand minority, and I like to believe that people are inherently good, mostly, especially if you like rock music, I feel like there's no real reason to be [laughs], to be weird. But at the same time, that does exist. But, yeah, I'd rather err on the side of, like, 'Let's hang out.' If you get weird, we won't hang out. [Laughs] Just don't be creepy. It's fine. [Laughs]"

HALESTORM recently took part in at least one writing and recording session for the band's follow-up to 2022's "Back From The Dead" album with acclaimed Grammy-winning producer Dave Cobb, known for his previous collaborations with the likes of Sammy Hagar, Slash, GRETA VAN FLEET and RIVAL SONS.

Cobb has shared in nine Grammy wins, including four for "Best Americana Album" and three for "Best Country Album". He's also been named "Producer Of The Year" by the Country Music Awards, the Americana Music Association (twice) and the Music Row Awards, and has been a Grammy nominee in the category.

Lzzy and her brother Arejay (drums) formed HALESTORM in 1998 while in middle school. Guitarist Joe Hottinger joined the group in 2003, followed by bassist Josh Smith in 2004.

Last May, HALESTORM teamed up with country singer Ashley McBryde for a reimagined version of the band's song "Terrible Things", which was originally featured on "Back From The Dead".

In December 2022, HALESTORM released a deluxe edition of "Back From The Dead". "Back From The Dead: Deluxe Edition" includes seven previously unreleased B-sides, including "Mine", a 1980s-inspired rocker. "Back From The Dead: Deluxe Edition" is available digitally, on CD, and cassette tape, marking the first time that the album has been offered in those physical formats.

Legendary UK all-female rock band, Girlschool, have issued the following statement in regards to their final North American tour.

"Hi everyone! Our Final USA tour starts today in Houston at the wonderful Hell's Heroes Festival. We hope to have some West Coast only dates to add later in the year (as a "Part 2 leg"), but other than that, this is 100% it… We have made every effort to reach as many markets in the Eastern half of North America as we can.

"The cost of visas, flights, internal transport costs, the logistics… and the distance between the cities means that this truly is a “once more for the American fans” series of dates… in order to say goodbye. With us to celebrate this tour we have the fantastic Alcatrazz and Lillian Axe.

The hoops to jump through for a UK band to tour the States are multiple and enormous. So even if you have to travel a little to make it to a show, we’d be happy to see you there, one last time!

Dates:

March
21 - Houston, TX - Hell's Heroes Festival*
22 - New Orleans, LA - Southport Music Hall
24 - Atlanta, GA - Terminal West
25 - Raleigh, NC - Lincoln Theatre
27 - Bensalem, PA - Broken Goblet
28 - Washington, DC - Black Cat
29 - Boston, MA - Paradise Rock Club
30 - New York, NY - Gramercy Theatre
31 - Montreal, QC - Foufounes Electriques

April
2 - Chicago, IL - Thalia Hall
3 - Columbus, OH, King Of Clubs
4 - Pittsburgh, PA - Mr Smalls Theatre
5 - London, ON - London Music Hall
6 - Detroit, MI - Token Lounge

* Girlschool only

(Photo - Adam Kennedy)

Talk, the 14th studio album by progressive legends YES, was initially released on March 21, 1994 and is often referred to as the great ‘lost’ YES album. To celebrate its 30th anniversary, Spirit Of Unicorn Music will reissue the album as a 4CD Deluxe Edition featuring bonus studio material and a previously unreleased live show from New York, new interview with the principal players by renowned writer Jerry Ewing, a 2LP limited edition white vinyl set, and a single CD. YES fans will welcome the album’s vinyl version as mint copies of the original, and even the reissue, change hands for hundreds of pounds.

After the stellar success of their album 90125 and the slightly troubled birth of its follow-up Big Generator in 1987, which reached the top 20 on both sides of the Atlantic, YES splintered once more. There was talk of getting a new singer, Supertramp’s Roger Hodgson was one name bandied around, as were Kansas singer Steve Walsh, Billy Sherwood of World Trade and even “C’est La Vie” singer Robbie Nevil.

YES eventually ‘reformed’ for 1991’s Union album and tour, which saw eight members reunite. From those eight, a new YES emerged: Jon Anderson, Trevor Rabin, Chris Squire, Alan White & Rick Wakeman. Due to managerial reasons, Wakeman could not participate, so enter Tony Kaye on keyboards once more and the 90125 lineup was back together. YES also had a new label, Victory Records, headed up by the former Atlantic Records executive Phil Carson, who had personally bankrolled the Cinema/90125 sessions.

The music and lyrics for Talk were written mainly by Rabin and Jon Anderson, and Anderson is adamant that it is his favorite album from the Rabin era of YES, “It was just a beautiful time for me and Trev… it was a very harmonious experience for me.”

Talk was also one of the first albums to be recorded and edited entirely digitally, without using traditional audio tape. It was a groundbreaking move at the time, but the technology, as advanced as it was, was not without its problems. In January 1994, Northridge in the San Fernando Valley in California was hit by an earthquake measuring 6.7 on the Richter Scale, and production had to be halted as the early Apple Mac computers they were working on were being affected by the tremors. To put the technology into context now, in its unedited form, Talk took up 34GB of memory, which today could be transferred via a flash drive in seconds.

Talk was preceded by the release of the opening track, the uplifting “The Calling”, which started to make inroads on US Radio and was followed by “Walls”, which was co-written by Roger Hodgson, from his time working with Rabin in 1990. However, disaster loomed as Victory Music, the original label, went bankrupt shortly after the album’s release, and the album was left to wither and die.

Nevertheless, YES kicked off their US tour for Talk that June and played 77 shows in the US, Canada, South America and Japan. Sadly, the tour never got to Europe or the band’s homeland, which is a source of regret to both Rabin and Anderson. Footage of the show in Santiago, Chile, is available online and shows a band playing at their peak. “My regret is I wish there was a live album,” says Rabin. “I wish we recorded some shows properly, it’s just a board mix….but you can feel the energy from it.”

YES finished the Talk tour at Hiroshima’s Kousei Nenkin Kaikan on October 11, 1994. It would be the last time Trevor Rabin would play with YES as a full-time member.

Talk could be described as the great ‘lost’ YES album and is probably the most cohesive of the Rabin-era YES albums in sound, and the one closest to the classic YES sound of the 70s, exemplified by the stunning fifteen-minute album closer “Endless Dream”. “When I listen to ‘Endless Dream’ it’s such a great piece of music,” Anderson enthuses today. “It’s one of the great YES pieces of music that not many people know. It’s beautiful. And ‘The Calling’. I love it.”

Tracklistings below.

2LP Limited Edition White Vinyl

Side A:
"The Calling"
"I Am Waiting"

Side B:
"Real Love"
"State Of Play"
"Walls"

Side C:
"Where Will You Be"
"Endless Dream"
a) Silent Spring (Instrumental)
b) Talk
c) Endless Dream

Side D:
"The Calling" (Special Version) (Bonus Track)

4CD Deluxe Box Set Edition

CD1 - Original Album
"The Calling"
"I Am Waiting"
"Real Love"
"State Of Play"
"Walls"
"Where Will You Be"
"Endless Dream"
a) Silent Spring (Instrumental)
b) Talk
c) Endless Dream

CD2 - Talk Versions
"The Calling" (Special Version)
"The Calling" (Single Edit)
"The Calling" (Radio Edit)
Untitled – Trevor Rabin Instrumental
"Endless Dream" (Demo)
"Where Will You Be" (Instrumental)
"Walls" (Instrumental)
"Endless Dream" (Excerpt) (Instrumental)

CD3 - Live Canandaigua, New York 19/06/94
"I Am Waiting"*
"The Calling"*
"Rhythm Of Love"*
"Hearts"*
"Real Love"*
"Changes"*
"Heart Of The Sunrise"
"Roundabout"

CD4 - Live Canandaigua, New York 19/06/94
"Cinema"*
"City Of Love"*
"Make It Easy"*
"Owner Of A Lonely Heart"*
Trevor Rabin Piano Solo/"And You And I"*
"I’ve Seen All Good People"*
"Walls"*
"Endless Dream"*

*Previously unreleased

CD - Original Album
"The Calling"
"I Am Waiting"
"Real Love"
"State Of Play"
"Walls"
"Where Will You Be"
"Endless Dream"
a) Silent Spring (Instrumental)
b) Talk
c) Endless Dream

Pre-order:

Cherry Red:
- 4CD
- CD
- Limited Edition White Vinyl

Burning Shed:

Pre-order here

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EXTREME guitarist Nuno Bettencourt has sold his California home for $3.75 million.

The 57-year-old musician purchased the property atop the Beachwood Canyon neighborhood of Los Angeles for $2.1 million back in April 2013. He originally put it on the market for $3.95 million last October but ended up selling it for $3.75 million on February 29.

The five-bedroom, seven-bathroom features 360-degree panoramic views that stretch from the cityscape of downtown Los Angeles to the Pacific Ocean to Griffith Observatory to Lake Hollywood, and the iconic Hollywood sign nearby. According to the listing, which was held by Cindy Lorimer and Peter Lorimer of PLG Estates, the highlight of this property is the upper pool deck oasis with a guest house (previously used as a recording studio),featuring a luxurious pool, inviting spa, and a chic cabana. As you step into this entertainer's dream, you are greeted by expansive open spaces that seamlessly blend with high ceilings, creating an atmosphere of grandeur and opulence. The heart of the home boasts a gourmet kitchen and a formal dining room. The primary suite is a true retreat, complete with its own sitting room and a generously sized walk-in closet, a lavish bathroom with a sauna for unwinding. Throughout the property, meticulous attention to detail and contemporary architectural design are evident with a steam room, elevator and three-car garage.

Bettencourt rose to rock superstardom as lead guitarist of the legendary rock band EXTREME. He has parlayed that success into an acclaimed career as a Grammy-nominated, multi-platinum artist, songwriter, and producer, working alongside industry titans such as Sir Paul McCartney, Steven Tyler, Kanye West, Robert Palmer, Rihanna, Janet Jackson and Perry Farrell, among others. Nuno is also the CEO and co-founder of Atlantis Entertainment, a full-service media and production company which creates and produces content through ventures integrating film and television, music, branded entertainment, commercials and digital content.

One of many career highlights for Nuno occurred when EXTREME performed, along with members of QUEEN, at Wembley Stadium at the Freddie Mercury tribute concert in 1992. Nuno was also invited to perform at the prestigious Nobel Peace Prize concert with Steven Tyler in 2014 as well as the 2015 Grammy Awards, side by side with Sir Paul McCartney, Rihanna and Kanye West, performing the No. 1 Billboard R&B/hip-hop song "FourFiveSeconds". As a producer and songwriter, Nuno has produced and performed on hit songs with such greats as Rihanna, Robert Palmer, Perry Ferrell and Janet Jackson, as well as producing a number of emerging pop artists and albums.

EXTREME's new studio album, "Six", was released in June 2023 via earMUSIC.

In addition to having its music appear in the Netflix juggernaut "Stranger Things", the Boston quartet has sold 10 million records, topped the Billboard Hot 100 at No. 1, packed major venues on multiple continents, and regularly averages over five million monthly listeners on Spotify.
Extreme Guitarist Nuno Bettencourt Strums out of Viewtastic Hollywood Hills Retreat https://t.co/6GRqDsWali via @RobbReport

— Wendy Bowman (@wendyinsanc) November 2, 2023

Chile's Ater have released the second single from their upcoming sophomore full-length, Somber. The new track, “Descending”, is the band’s heaviest and most technical offering to date.

Speaking on the mindset and creative outlook of the song, lead vocalist/bassist Fernando ¨Feroz¨ Bühring says: "'Descending' is one of the more straightforward songs in the album and, to me, the darkest song of the bunch. The lyrics for this song are very personal and I wrote them during a very dark period of my life. It turned out to be one of my favorite songs in the new album. It was chosen as the second single in advance of ’Somber’ because it contrasts with the first single ('Ignis Immortalis'), which is a longer, epic song. 'Descending' is shorter and to the point. It will take you to the dark side of your own self right away."

For the “Descending” video, Ater partnered with independent film producer Wizardhead, whose AI-assisted works have been seen in videos for the likes of Meshuggah.

On the subject of working with the creator on their latest video, Feroz shares: “Back in November of 2022, the video for ‘They Move Below’ by Meshuggah came out and I was blown away. At the time I wasn’t very aware of how AI was making its way into the art and music industries. I approached Wizardhead with the idea (for 'Descending') and he started to work shortly after. During this time I learned more about the creation process and realized that AI is just another tool. The artist is still doing art. Just utilizing a different and new set of tools.”

On working with Ater on the “Descending” music video, Wizardhead shares: “When I listened to 'Descending', with my eyes closed, I witnessed a continuum of souls being pulled down into a place of remoteness and hopeless submission to some kind of unrelenting force manipulating and consuming them. Something beyond hell, more alien and incomprehensible. I explored representing a visitation of this place in many attempts, by assembling structures like tunnels and fractal spaces, then applying diffusion approaches to embed faces and body forms into the walls and shapes of the environment. I also wanted constant motion, swirling and undulating, to imply this is an active and conscious experience for the unfortunate denizens. This final version is one I feel deeply connected to and unsettled by, and I hope it becomes a place for others to visit and contemplate again and again, as I do.”

Conceived in 2013 by Fernando “Feroz” Bühring, the first iteration of the group - rounded out by Matias Acuña (drums) and Yeray Santos (guitar), released their debut full-length Eternal Gray Spiral in 2018. Shortly after the release of EGS, Feroz relocated from Santiago, Chile to Los Angeles - where he quickly formed connections with guitarist Josh “Sol” Seguin and drummer Stephan “Kalani” Seguin, ushering in the current lineup of the band.

Somber was recorded during the Covid pandemic and was mixed by Feroz in a temporary studio in Mexico City where he was bunkered in during restricted times. The album was then mastered by Ted Jensen of Sterling Sound (Mastodon, Gojira, Korn).

Somber will see an April 19 release. Pre-order Somber on Bandcamp.

Tracklisting:

“Striges”
“Descending”
“Somber”
“Through The Portal”
“Ignis Immortalis”
“Shrine”
“Sæculi Fine”
“Solitude”

“Ignis Immortalis” video:

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During an appearance on a recent episode of the "Decibel Geek Podcast", Ace Frehley spoke about his relationship with KISS's most recent drummer Eric Singer. He said (as transcribed by BLABBERMOUTH.NET): "I really love playing with Eric. He's such a great drummer, and he has such a snap in his snare. 'Cause I jammed with him at a convention years ago, and we were doing 'Shock Me', and he just blew away the drummer that was playing previously. I said, 'Yeah, now that's a drummer.' I always tip my hat to Eric."

He continued: "Me and Eric have always been friends. We've kept in touch during all the bullshit that went down with KISS. Eric Singer's a great guy and he respects me. I respect him. I know he would prefer having me play guitar in the band than [KISS's most recent guitarist] Tommy [Thayer]. I don't think he's a huge fan of Tommy, but it is what it is. [KISS founders] Paul [Stanley] and Gene [Simmons] call the shots."

A decade ago, Singer fired back at Frehley after Ace ripped KISS's most recent lineup for being "half a KISS cover band", pointing out that neither Frehley nor original KISS drummer Peter Criss had a problem playing alongside replacement members wearing the group's original makeup while they were still on the KISS payroll.

"This is something that I notice that nobody seems to point out," Singer told Rolling Stone magazine. "When I came in to play with the makeup [in 2001], Ace was in the band, and had no problem with me playing with Peter's makeup while he went onstage and made that KISS money. In fact, he loved it, and he didn't want Peter back in the band. And then go forward the next year, when Ace decided to leave. When we fast forward, all of a sudden they bring Peter back, and you got Tommy Thayer playing guitar wearing the Ace makeup, and all of a sudden, no one minded it was Ace's makeup design. Peter had no problem, did he?"

Last November, prior to KISS's final concert, Frehley told Mark Strigl of SiriusXM's Ozzy's Boneyard that he didn't hold a grudge against KISS, despite all the badmouthing that had gone on between him and some of the other original KISS members in recent years.

"I wish KISS the best, all the best on their final shows for the 'End Of The Road' tour," he said. "There's really no hard feelings. We say things sometimes in the heat of passion or sometimes our memory isn't… [we don't] recall things. But I love those guys. We're all getting old, our memory isn't what it used to be, so I just let it roll off my back."

Ace's new solo album, "10,000 Volts", was released on February 23 via MNRK Music Group (formerly eOne Music). The 11-track LP was produced by Ace and Steve Brown (TRIXTER).

Ace's new all-original album is the follow-up to "Spaceman", which was released in October 2018 via eOne.

Simmons co-wrote two tracks on "Spaceman", "Without You I'm Nothing" and "Your Wish Is My Command", the latter of which also features Gene's bass playing.

Photo credit: Jayme Thornton

In a new interview with Billboard, original FOREIGNER singer Lou Gramm spoke about his decision to retire after his 2024 tour dates. He said: "I've been doing it for years now, and I've thought about [retiring] a few years ago, and a few years before that. I still enjoy playing but I can't stand the travel anymore. I'm sure I'm gonna miss it initially, but I have a lot of memories, fantastic shows performed all over the world. I'm not becoming a reclusive person, but I value my time on my own, and when I'm out there, I don't have that, and I don't like that anymore."

Gramm previously addressed his retirement plans while speaking to Lee Richey. He said: "I've been doing it — Jeez — for almost 50 years, and I would like to turn my attention to my family and my muscle cars and just enjoy myself knowing that when I lay down at night, it'll be in my own bed."

He added: "This is gonna be it. I've been putting it off and putting it off. And I still enjoy performing, but when you've been doing it for as long as I have — the travel is the worst. It really takes its toll. And that's a sign that you're getting old."

Gramm also revealed that he is planning to release a new studio album this year. "It's song ideas and bits and pieces from my recording of my first [solo] album, second [solo] album and SHADOW KING [project]," he explained. "Now, what I mean is when you put an album out and you have 10 songs, you might record 13 and pick the best 10. So then you've got three songs that you don't know what to do with. And the years go by. Or maybe they're not complete songs. Maybe you have 10 songs on your album and there's a couple songs that you started and once the album was released, you just forgot about them. So when I was looking to put out a new album, I had freshly written songs too, but I just started going through the tapes in my tape closet and listening to these things that were 25, 30 years old, and the ideas were awesome. So I started them that long ago and I finished them about two years ago."

Back in December 2018, Gramm announced that he was retiring from performing as a solo artist. But he later clarified that he wasn't completely walking away from performing live.

SHADOW KING was a collaboration between Gramm and current DEF LEPPARD guitarist Vivian Campbell. The group released a self-titled album in 1991 and performed live only once, at the Astoria Theatre in London, England on December 13, 1991.

By the time Gramm left FOREIGNER for the first time in 1990, he had already released two successful solo albums: the aforementioned "Ready Or Not" and "Long Hard Look". He went on to launch LOU GRAMM BAND, which released an all-Christian rock album in 2009. He followed it up with "My Baby" in 2015.

The now-73-year-old Gramm left FOREIGNER for good in 2002 and has battled health issues in recent years, including the removal of a non-cancerous tumor. He told the Democrat & Chronicle in 2018 that he was planning to retire, but still reunited with FOREIGNER for several shows that year to celebrate the band's 40th anniversary.

Gramm was the voice on FOREIGNER's biggest hits, including "Feels Like The First Time" and "Cold as Ice" from the band's eponymous debut in 1977, and later songs like "Hot Blooded" and "I Want to Know What Love Is".

FOREIGNER replaced Gramm with Kelly Hansen in 2005. Guitarist Mick Jones, the only remaining original member, suffered from some health issues beginning in 2011, eventually resulting in heart surgery in 2012. More recently, Jones revealed that he has been battling Parkinson's disease.

In a new interview with Omar Rodriguez of The Metal Mixtape, founding BULLET FOR MY VALENTINE drummer Michael "Moose" Thomas was asked about the recent announcement that his former bandmates will embark on a 2025 world tour celebrating the 20th anniversary of their debut album, 2005's "The Poison". He said (as transcribed by BLABBERMOUTH.NET): "It is what it is. I mean, I'm glad I did 'The Poison'. I guess it's a classic album now and everyone's enjoying it. A lot of people use that album to get into metal, which is awesome. But whatever they wanna do. I don't care. I've signed off. That chapter is closed now, and I'm on to [my current band] KILL THE LIGHTS. So I wish them well."

The year of "The Poison"'s release, BULLET FOR MY VALENTINE graduated from supporting FUNERAL FOR A FRIEND on their U.K. run in the summer, to ending the year headlining the very same venues just months later. Dropping in October 2005, "The Poison" hit number 21 in the U.K. album charts, becoming a late contender in end-of-year polls, placing at number seven on Kerrang!'s "Albums Of The Year" list, and since achieving gold status.

In December 2017, BULLET FOR MY VALENTINE announced that it was officially parting ways with Thomas and replacing him with Jason Bowld (PITCHSHIFTER, AXEWOUND). Bowld had toured with the group since November 2015, filling in for Thomas, who had taken a leave of absence as he and his wife were expecting their first child.

In a February 2020 interview with MACHINE HEAD frontman Robb Flynn's "No Fuckin' Regrets With Robb Flynn" podcast, Thomas spoke about his departure from BULLET FROM MY VALENTINE for the first time, saying that he didn't leave of his own accord.

"We'd done the last album [in 2015], which was 'Venom', which was kind of more back-to-the-heavier-roots type of thing, which I was a lot happier with; I think everyone was," Thomas explained. "And it was on that album we left — Jay [bassist Jason James], and then I left a year later. So we finished 'Venom' and then started touring 'Venom'. It was on the European tour cycle of 'Venom' that I left and didn't return. I would have gone back [on tour], but no one answered my e-mails."

Elaborating on how his dismissal came about, the drummer said: "My wife was pregnant with our first child together, so I went on to be with her. So that was December 2016, when I was supposed to come back, for the American tour in January, the following month. And they said, 'Oh, no. You still mind the baby.' And I said, 'Okay. Cool.' And then I was gonna come back for the Japan tour. And I was, like, 'Okay, guys.' [And I heard] nothing back. Then I started thinking, 'Okay. I know what's going on here.' And then the drummer started doing a drum solo, and I was, like, 'What the fuck?' I was, like, 'This is fucked up. These are my friends for the last fucking 20, 25 years. So I e-mailed them, and no one came back to me. And they came home for a few days. And I meet up with them, and I'm, like, 'What the fuck is going on?' And they're, like, 'Okay. Cool. Come back then.' Then I find out — the manager takes me out to dinner — that they boys are going to record a song. And I'm, like, 'Cool. When am I needed?' They were, like, 'No. The other guy is gonna do it. But they want you to be in the video.' And I was, like, 'No. I'm not doing that.' That's not the way I work. That's when I knew they didn't want me back. And then they called me up to London and said, 'We want you to step down.'"

Thomas is currently involved with the aforementioned KILL THE LIGHTS, which also features another former BULLET FROM MY VALENTINE member, bassist Jason "Jay" James, along with singer James Clark, guitarist Jordan Whelan and guitarist Travis Montgomery.

In a new interview with Thomas S. Orwat, Jr. of Rock Interview Series, legendary guitarist Uli Jon Roth spoke about his upcoming North American tour, which is scheduled to kick off on April 2 in Mesa, Arizona. He said (as transcribed by BLABBERMOUTH.NET): "Well, touring North America has been a thing that I've been doing for many years on a regular basis, because I love doing that and then we've got a lot of audience over there in that neck of the woods. But we haven't been since before COVID. And so we had a 70-date tour booked for North America, including Canada, when COVID hit. And so I did a few shows in Europe. It was also called 'Interstellar Sky Guitar'. It was a solo tour, just with a big screen, an orchestra behind me, and I wrote a lot of music for it, new music. And then, yeah, thanks to COVID, there was no tour. So, forward to 2024, I thought it would be good to pick up that thread. And a lot of people still have tickets from back then, and they're, of course, fully valid, but I thought it might be a nice idea to not only bring the solo show, because after so many years bring the band as well. So we're actually doing a dual kind of show — two shows in one evening. I'm kicking off with one and a half hours of solo, which is called 'An Evening with Uli John Roth', which includes a little TED talk about my new book, 'In Search Of The Alpha Law', which I'm gonna be presenting. And then there's a break and then we're playing a full-on rock show consisting of my earlier material — SCORPIONS, ELECTRIC SUN and then also a little bit of Jimi Hendrix."

Asked when "In Search Of The Alpha Law" will finally be released, Uli said: "The book will be released pretty much during the tour. So we're not gonna have it on the tour. We're a little late. Unfortunately, it was quite complicated to get everything under wraps, but we're gonna have it. So I think what they're gonna do, at the merch, they're gonna sell vouchers, so 10- or 20-dollar vouchers for the book, and then people will be sent the book. Which is a good idea anyways, because you don't want to carry that book around you in the evening… It's quite a tome. It's big and heavy — four kilos. It's got 600 pages with about a thousand pictures and illustrations. I did all the design myself, because I wanted it to also be artistic, and I wanted the text to be one with all the imagery.

"The way this came about was thanks to COVID, actually," he explained. "I'm one of the few people who, actually, I guess, can be thankful to COVID because it was a horrible thing for most people. I was able to spend two years in lockdown writing this book. And this book has quite a history, because I started many years ago writing it. I wrote several versions. I was never quite happy because I wasn't quite sure how to present the book.

"The subject matter is not an easy subject matter. It's quite philosophical. It's about my view of life, and music has a lot to do with it. And I wanted to have a book that also non-musicians can enjoy. And that's not so easy when you're sometimes talking about technical stuff like octaves and fourths, et cetera. How do you explain that to somebody who doesn't know what an octave is?

"So, to cut a long story short, when COVID came and I was at home with all this time, the book just started to pour out and it kind of wrote itself," Roth added. "And the subject matter really goes back 40 years, because I've been always fascinated by these ideas that are described in the book… It's difficult to explain the book in a few words. That's why it's a book and that's why it's big. It's got a lot of facets. And I scripted it a little bit like a movie, so there are many different facets and various storylines, which sometimes drift side by side and then they jell together."

Asked what the most challenging part of writing the book was, Uli said: "The bigness wasn't really the challenge. I could have written a much bigger book. My original intention, back many years when I first started to do 'Sky Academy' in Los Angeles, was to write seven books, because it was a complete kind of philosophical system in itself, kind of. But I went away from that and I thought I'd make it more user friendly. I didn't want a dry something. I wanted something that can touch people that's inspirational rather than academic. And once I figured that out, it kind of started writing itself. And there were really no obstacles. Well, I did have to learn about book design; that's something that I didn't know before, how to do that. I wouldn't say I mastered that craft, but I got by in order to do what I wanted to do. And now I'm very, very happy with it. And it's a good foundation for my 'Sky Academy' also. Whereas before, when we did these 'Sky Academy' seminars, I never really had anything in writing, and now I do. This ties in very much with my musical output, my musical philosophy. Having said that, this book comes with a couple of bonus CDs because I thought it might be nice to bundle it with actual music, not just the visuals. And of all my output, the stuff that I figured was best for this was my 'Metamorphosis' album, which is Vivaldi's Four Seasons with electric guitar and orchestra, and a concerto of my own, 'Metamorphosis Concerto'. So, that's gonna be in here as a newly remastered release. And also half an hour's piano music, which I wrote in the early '90s called 'Aquila Suite', which isn't so well known, but that will also go very well with this book. And they're just other creative angles."

In recent years, Roth has revisited the early music of his period with the SCORPIONS, which resulted in the "Scorpions Revisited" double CD and "Tokyo Tapes Revisited" DVD/Blu-ray releases.

Widely regarded as one of the greatest guitar players ever, Uli pioneered a unique style of guitar playing which — for the first time — combined complete mastery of the instrument with an intensely melodic and emotional appeal.

From his earliest days onwards, Uli has always been a bold and uncompromising musical innovator of the first order. Being the first guitar player in rock to incorporate complex melodic arpeggio sequences, Uli Jon Roth — in the eyes of many of his peers — practically reinvented modern guitar technique almost singlehandedly during his SCORPIONS tenure, but even more so during his ELECTRIC SUN days.

After a 14-year hiatus, Khanate returned in 2023 with the release of To Be Cruel, followed by physical reissues of their first two albums (Khanate and Things Viral), and now, as they prepare for their first live performances in nearly two decades, the band announces the forthcoming vinyl and CD reissues of Capture & Release and Clean Hands Go Foul via Sacred Bones Records on May 24.

Preorders:
Capture & Release
Clean Hands Go Foul

Khanate's live return is as precise and spare as these records and comprises only three perfectly curated performances: Roadburn Festival on April 20, followed by shows in Copenhagen on April 22 at Basement and Berlin on April 23 at Berghain.

As part of their Roadburn appearance, Khanate is also participating in the festival's side program, taking part in a conversation with renowned artist Seldon Hunt on April 19. Tickets for all shows can be purchased here.

Additionally, Khanate has shared live footage of Capture & Release from their 2006 performance at the WIRE Adventure in Music Festival in Chicago. The performance was originally released as a limited-edition DVD with Clean Hands Go Foul.

Khanate is:

Alan Dubin (vocals)
Stephen O’Malley (guitar)
James Plotkin (bass)
Tim Wyskida (drums)

(Photo - Ebru Yildiz)

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Featured Video

Scottish progressive post-metal alchemists Dvne have unveiled their monolithic new single, "Abode Of The Perfect Soul." The track comes off of the band's forthcoming new full-length, Voidkind, set for release on April 19 via Metal Blade Records.

Voidkind succeeds in finding new modes of expression for Dvne. The songs are more pointed, direct, and memorable, but the soundscape still has a radiant, evolving, hypnotic flow, the effect achieved with fewer layers of sonic ornamentation, consciously urging closer to Dvne's incendiary live sound. And despite the addition of a full-time keyboardist, Vicart has no doubt about the album's defining feature, "We wanted very distinct left and right guitars, and punchier drums and bass, which would transcribe better live. And the synths needed to be clearer; it's very easy to put five guitars on each side, loads of different vocals and keys, but then you end up watching a band with an album you really like, and the songs sound nothing like the record. That's what we wanted to avoid. As soon as the song starts, we want people to immediately recognise the riff."

Conceptually, the lyrics continue the band's overarching narrative - "following a religious group through the generation line from the beginning to its end" - while Voidkind's extraordinary sleeve art depicts the main theme of this chapter, namely, "a godlike entity seducing and luring followers through their dreams and these followers' multigenerational journey to reach their god dimension."

One book that has been particularly impactful on the band's thought process: 1989 novel Hyperion by Dan Simmonds. Notes Vicart, "It's a very dark Sci-Fi book with loads of interesting parts, so you can go really prog with it, but you can also go more violent and animalistic." Further inspirational touchstones include FromSoftware video game Dark Souls, and the Japanese manga series that inspired it, Berserk, "It's a very cool, violent, psychedelic, medieval dark fantasy," explains Vicart. "We wanted to have these kinds of visuals and aesthetics on this album, in this mix-up of things. Even without the vocals we wanted to evoke something, different places and spaces, and take the listener on a journey."

Vicart further elaborates on the themes driving "Plerõma," the first single from Voidkind, and its accompanying video, which was directed by Vicart, "Plerõma is a concept that has appeared in Gnosticism, Greek Philosophy, and Judeo-Christian religions. In Gnosticism, it is the spiritual universe as the abode of God and of the totality of the divine powers and emanations. It is also the ultimate source of transformation. Plerõma is a key moment of the album narrative where religious followers are consuming the essence of their deity and reach a new sense of awakened existence. It is the first step in their transformation. Musically it also represents something similar to us, as it is a song that is bringing new elements that we didn't explore musically until that point."

Watch the "Plerõma" video below.

Voidkind was recorded between September and November 2023 in Edinburgh at Craigiehall Temple and Byres Farm in Scotland and features the stunning artwork of Felix Abel Klae.

The record will be released on CD and digital formats as well as 2xLP in the following color variants:

- Burnt Skin Marble (US)
- White Black Marble (US)
- Dark Crimson Marbled (EU)
- 180g Black (EU)
- Grey Brown w/ Black Smoke (EU - ltd. 500)
- Crystal Clear (EU - ltd. 300)
- White/Black Dust (EU - ltd. 300)
- Clear w/ Black Smoke (Band Exclusive - ltd. 666 available here)
- Clear w/ Black, Red + Gold Splatter (Band Exclusive - ltd. 200 available here)

Find pre-orders here.

Voidkind tracklisting:

"Summa Blasphemia"
"Eleonora"
"Reaching For Telos"
"Reliquary"
"Path Of Dust"
"Sarmatæ"
"Path Of Ether"
"Abode Of The Perfect Soul"
"Plērōma"
"Cobalt Sun Necropolis"

"Abode Of The Perfect Soul":

"Plērōma" video:

Following the release of Voidkind, Dvne will embark on a European Spring tour which includes shows with Sleemo, Conjurer, and My Diligence on select dates.

Dvne album lineup:

Allan Paterson - guitars, bass
Daniel Barter - vocals
Dudley Tait - drums
Maxime Keller - keys, vocals
Victor Vicart - guitars, keys, vocals

Dvne live lineup:

Allan Paterson - bass
Daniel Barter - guitar, vocals
Dudley Tait - drums
Maxime Keller - keys, vocals
Victor Vicart - guitar, vocals
Occasional Live Member:
Alexandros Keros - bass

(Photo - Alan Swan)

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Featured Video

Gothic metal veterans, Crematory, performed at Germany's Wacken Open Air festival for the eighth time when they hit the W:E:T Stage in 2023. Professionally-filmed footage of the band performing "Break Down The Walls", "Rise And Fall", and "Tears Of Time" can be viewed below:

Crematory's latest album, Inglorious Darkness, is available via Napalm Records. Order here.

Tracklisting:

"Inglorious Darkness"
"Break Down The Walls"
"Trümmerwelten"
"Rest In Peace"
"The Sound Of My Life"
"Tränen der Zeit"
"Until We Meet Again"
"Zur Hölle"
"Not For The Innocent"
"Forsaken"
"Das Ende"

"Rest In Peace" visualizer:

"Trümmerwelten" video:

“Tränen der Zeit” visualizer:

“Break Down The Walls” video:

"Inglorious Darkness" video:

Lineup:

Felix Stass – Vocals
Katrin Jüllich – Keyboards
Markus Jüllich – Drums
Rolf Munkes – Guitar
Patrick Schmid – Bass

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Featured Video

Dan Lorenzo has shared the video below, filmed at the 2024 Rock Against Dystrophy event, held on March 23 in Port Monmouth, NJ.

In the clip - filmed by Mark Sunshine from RAD (Rock Against Dystrophy) - Lorenzo (guitar), Bobby Blitz (vocals), Chris Caffery (guitar) Danny Watts (guitar), Pete Perrina (drums), and Tattoo Tony (bass) perform AC/DC's 1976 classic, "Dirty Deeds Done Dirt Cheap".

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Sci-Fi alt-metallers, Sick N' Beautiful, have released their new single, "My Wounds", out today via Frontiers Records. A video for the song can be found below.

Says the band: "Here we go Terror Terrans! We're thrilled to announce our second single 'Death Police', released through Frontiers Music srl and now available on all streaming platforms. As promised, our descent into darkness continues, and we're stoked to have you with us on this journey into utter madness!"

Get the single here.

Check out a video for the band's previous single, "My Wounds", below:

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Featured Video

Following their successful debut Colossal Gods, Cobra The Impaler returns with their second full length Karma Collision an album forged in the crucible of modern turmoil and bound by the chains of classic metal fury. This - their sophomore offering - stands as a towering monument amidst the ruins of lesser gods, a beacon of defiance shining in the shadow of a society on the brink.

After storming the festival stages of Hellfest, Brutal Assault, Dynamo Metalfest, Alcatraz, Bloodstock, Metaldays and more, Cobra The Impaler has refined and distilled their furious energy into ten tracks that stand as a testament to their unyielding spirit. Karma Collision is not merely a follow-up to "Colossal Gods" but a doubling down, a masterful evolution that takes their established sound to cataclysmic new heights.

When Cobra The Impaler rises, it's not just an album drop—it's an earth-shaking event, a moment that refuses to be ignored. With Karma Collision, they don't just beckon the listener—they command the attention of all, delivering an album destined to resonate through the ages and across the annals of metal lore.

Where Colossal Gods delved into the relationship between humanity and nature, Karma Collision sets sail from the shores of human interaction, navigating the complexities of society, the inequalities that have arisen, the lessons we may or may not learn, and the challenges where we find ourselves standing alone or together. It serves as a mirror reflecting the gravitas of life.

This band's relentless march forward is ready to set the world ablaze on May 31, 2024, under the banner of Listenable Records.

First single “The Message” - a reflection on humanity's plight and a battle cry for change, echoing the band's relentless drive to challenge and inspire - is scheduled for release on April 3, 2024

Karma Collision was recorded at Studio Scampi 2024, produced and mixed by Ace Zec, and mastered by Jens Bogren at Fascination Street Studios.

Karma Collision will be available as a digipack, double gatefold vinyl, and digital.

Artwork by Thijs De Cloedt:

Tracklisting:

“Magnetic Hex”
“Godless Beyonder”
“Season Of The Savage”
“Eye Of The Storm”
“Karma Collision”
“My Inferno”
“The Fountain”
“The Message”
“Assassins Of The Vision”
“Shifting Sands”

Cobra The Impaler is:
Thijs De Cloedt (Guitars)
Ace Zec (Drums)
Manuel Remmerie (Vocals)
James Falck (Guitars)
Michele De Feudis (Bass & Vocals)

NEW YEARS DAY singer Ash Costello has weighed in on bands who rely on pre-recorded tracks during their live performances.

In recent years, more and more artists have been given a pass for relying on pre-recorded tracks, drum triggers and other assorted technology that makes concerts more synthetic but also more consistent. For better or worse, pre-recorded tracks are becoming increasingly common for touring artists of all levels and genres and they're not just used in pop music — many rock artists utilize playback tracks to varying degrees.

Speaking to Scott Penfold of Loaded Radio, Ash was asked for her opinion on bands who use pre-recorded tracks during live performances. She responded (as transcribed by BLABBERMOUTH.NET): "Every band does it. We do it. Every band does it. Maybe not METALLICA. Anyone that's watching this, every band you love, 'cause I've pretty much toured with every band at this point, whether it's a festival or a tour, has three or four or five laptops on the side of the stage."

She went on to defend the practice of using backing tracks, saying: "It is not cheating. It's just some music is impossible [to reproduce live], unless you have a 20-piece orchestra or a synthesizer — it's just not realistic. So I think there is absolutely nothing wrong with that."

KISS frontman Paul Stanley, who had been struggling to hit the high notes in many of the band's classic songs for a number of years, was accused of singing to a backing tape on KISS's recently completed "End Of The Road" tour.

Back in 2015, KISS bassist/vocalist Gene Simmons slammed bands who used backing tapes for not being honest enough to include that fact on their concert tickets.

"I have a problem when you charge $100 to see a live show and the artist uses backing tracks," Simmons said. "It's like the ingredients in food. If the first ingredient on the label is sugar, that's at least honest. It should be on every ticket — you're paying $100, 30 to 50 percent of the show is [on] backing tracks and they'll sing sometimes, sometimes they'll lip sync. At least be honest. It's not about backing tracks, it's about dishonesty.

"There's nobody with a synthesizer on our stage, there's no samples on the drums, there's nothing," Gene continued. "There's very few bands who do that now — AC/DC, METALLICA, us. I can't even say that about U2 or THE [ROLLING] STONES. There's very few bands who don't use [backing] tracks."

In March 2023, KISS's longtime manager Doc McGhee defended Stanley's vocal performance on "End Of The Road", explaining that the "Star Child" "fully sings to every song" at every concert. He explained: It's enhanced. It's just part of the process to make sure that everybody hears the songs the way they should be sang to begin with. Nobody wants to hear people do stuff that's not real, that's not what they came to hear."

When McGhee was asked to clarify if he was "actually saying there are backing tracks that [Paul is] singing to," Doc said: "He'll sing to tracks. It's all part of a process. Because everybody wants to hear everybody sing. But he fully sings to every song."

In March 2020, SHINEDOWN guitarist Zach Myers said that "90 percent" of rock artists use at least some pre-recorded tracks during their live performances. He told Rock Feed: "It bothers me that it bothers people. I'm, like, 'Why does this bother you?' It's the way it is. People have been doing this since the '80s. And we want the sound to be the best it can be. Could we go up there, just the four of us, and put on the best rock show ever? Of course. But that's not how we wanna do it."

Former SKID ROW singer Sebastian Bach has previously said that he is "one of the last people" who are still not using pre-recorded tracks at their live shows. "I don't know how much longer I can say to you that I don't use tapes onstage, because I don't, and I never have," he told Consequence Of Sound. "And I still don't. When I have opening bands, and they're using tapes, and then I come out and I don't use tapes… sometimes, it makes me feel stupid, because I'm like, 'What am I doing, when all these kids half my age can come onstage and do all of my moves, but they don't have to warm up for an hour before the show, or weeks, before the first show?' Sometimes, I'm like, 'Why do I even bother, if the public is so used to this other way?' It's becoming very rare to come see a good band that's actually a real band — that's not miming or doing silly moves while a tape is running. It just becomes more rare as the years go on."

In 2019, IRON MAIDEN guitarist Adrian Smith said that he doesn't "agree" with certain rock artists relying on pre-recorded tracks during their live performances. "I tell you what, I see it with a lot of younger bands, and I don't think it's a good thing at all," he told the New York Post. "I mean, the music is getting too technical now. You have computerized recording systems, which we use, but I think we use them more for convenience than because we need to. We've toured with a couple bands that use tapes — it's not real. You're supposed to play live; it should be live. I don't agree with using tapes … I think it's a real shame."

One musician who has been open about his band's use of taped vocals during live performances is MÖTLEY CRÜE bassist Nikki Sixx, who said: "We've used technology since '87." He added the group employed "sequencers, sub tones, background vox tracks, plus background singers and us. [MÖTLEY CRÜE also taped] stuff we can't tour with, like cello parts in ballads, etc.... We love it and don't hide it. It's a great tool to fill out the sound."

In a 2014 interview, MÖTLEY CRÜE guitarist Mick Mars admitted that he wasn't comfortable with the fact that his band used pre-recorded backing vocals in its live shows, claiming that he preferred to watch groups whose performances are delivered entirely live. "I don't like it," he said. "I think a band like ours… I have to say '60s bands were my favorite — '60s and '70s bands — because they were real, like, three-piece bands or four-piece bands, and they just got up there and kicked it up. Made a mistake? So what? Sounded a little bit empty here or there? So what? It's the bigness and the rawness and the people that developed and wrote the songs and made them and presented them. To me, that's what I really like. I mean, I could put on a MÖTLEY CD and play with it all day long. I don't wanna do that."

Photo credit: Matt Akana

Former SKID ROW singer Sebastian Bach has once again defended KISS against claims that the band was using pre-recorded tracks during its recently completed farewell tour.

Ever since KISS's "End Of The Road" trek launched in early 2019, there had been persistent online chatter about frontman Paul Stanley allegedly singing to a backing tape. The speculation stemmed from the fact that Stanley had been struggling to hit the high notes in many of the band's classic songs for a number of years.

Bach, a self-proclaimed KISS über fan, weighed in on the rumors of playback tracks being using at KISS concerts during an appearance on the Rocktails With Ahmet Zappa podcast. He said (as transcribed by BLABBERMOUTH.NET): "We live in a world now where technology is taking over, and so many bands rely on backing tracks. It's well known. That's the way it is now. My position on that… I always hear people, Paul Stanley of KISS is using a backing track. And my thing is Paul Stanley has given us all fucking 50 years of entertainment. All he's trying to do is keep doing it one more time. The dude is in his 70s. He has to put on foot-high platform boots, makeup, make his body fucking skinny and rock. He has to strap himself on to wires and fly across the arena. My mom is 82 — I love my mom. I can't see her strapping on boots and spitting blood and breathing fire."

He continued: "My point is if Paul Stanley or somebody in their 70s, if somebody that is older is trying to put on a entertainment show and they need some technology to help them get through it, and they're that old, I don't mind that. What I do mind is having a band that's 23 open for me that doesn't even try to fucking do the singing or the backgrounds; they're just gonna run that shit. That's ridiculous to me. But if you've got, like, Phil Collins in a fucking wheelchair, give him a break. My point is have some respect for all that these guys have done. That's the way I look at it."

Bach previously talked about KISS's alleged use of backing tapes last September while responding to a question from the Syncin' Stanley YouTube channel at the Fanboy Expo in Orlando, Florida. He said: "My position on that is that if you are in your 70s, if you're 72 and you gotta put on foot-high monster boots and a Godzilla costume and hook yourself up to wires and fly to the top of the roof and sing, a guy in that age, I don't really have a problem with a guy that's in his 70s or 80s that might use the technology to give us a show. I can't imagine my mom, who's 81, I can't imagine her breathing fire and spitting blood. Well, I can imagine the spitting blood part. But I don't mind the technology being used for its proper thing, like an old dude giving a show, trying his best. But he's old, right? What I do have a fucking problem with — excuse my language there, but you know who you're talking to here — I don't like when I have an opening band who's 23 and they have the whole show on a click track and the background vocals are going. You can tell so easily — it's so easy.

"I'm not saying I'm the greatest singer, and you can hear it on my YouTube [videos]," he continued. "I don't always sing great. Nobody does. Newsflash — not everybody sings perfect every single show. That's not what rock and roll is. You have good nights; you have bad nights.

"You can't tell me about using tapes in a video. I know who's doing it, I know who's not, and if you wanna sit down and watch the video with me and tell me that you're not using the tapes, I will tell you that you're full of shit because I don't use tapes. And if you do, I'm not gonna pretend that you are on the same level."

Bach added: "I have seen KISS about four or five times [in the last three or four years], and it's still the greatest rock show in the world because KISS… There's no show that has the excitement of KISS. When the lights go down and that bass goes [imitates a low-frequency hum], and then they fucking hit the stage.

"If KISS were in their 20s, I would not like them to use tapes. Or if they were like an athlete one day and said, 'Oh, I think I wanna be a rock star.' And then they just get up there and do jumping jacks and have a tape going, I've got a problem with that. I don't have a problem with a 75-year-old man giving me the show that he's always given, but also… We're not, as fans, dicks. We should pay respect to a guy like Paul Stanley for everything that he's done in his whole life. Being of that age and still giving us the KISS show… I feel sorry for people that don't go to a KISS show… It's your loss."

Back in February 2019, Bach praised KISS after witnessing the band's concert at the Honda Center in Anaheim, California. At the time, he wrote in a series of tweets: "KISS hit the exact same notes in Anaheim that they did in their 30s.

"I listened to Paul Stanley sing his ass off LIVE. I paid tribute to the band that has given us more than any other band that any of us can name. I have seen way more obvious use of backing tracks than with KISS.

"KISS is not lip syncing," he added. "There are too busy putting on the greatest rock show you will ever see."

Bach's comments came just hours after MÖTLEY CRÜE bassist Nikki Sixx called out another band for using taped vocals during its live performances after it previously derided other groups for doing the same thing.

Sixx wrote on Twitter: "Certain band out on the road right now putting other bands DOWN and saying that they are a REAL rock band, no background singers,and other old people cranky comments except his lead vocals are on tape.People in glass houses shouldn't throw rocks. #GetOffMyLawn #WizardOfOz"

Most fans assumed that Sixx was referring to KISS, especially since KISS bassist/vocalist Gene Simmons has previously slammed bands who used backing tapes for not being honest enough to include that fact on their concert tickets.

After KISS played on NBC's "America's Got Talent" in September 2018, Stanley was asked by Rolling Stone if that was actually a live performance or if he and his bandmates tracked it earlier. "What you tend to do is record it live and that way you know that everything is as it should be," he responded. "It's not like going into the studio or anything like that. It's…with all its imperfections, it's live."

In recent years, more and more artists have been given a pass for relying on pre-recorded tracks, drum triggers and other assorted technology that makes concerts more synthetic but also more consistent. For better or worse, pre-recorded tracks are becoming increasingly common for touring artists of all levels and genres and they're not just used in pop music — many rock artists utilize playback tracks to varying degrees.

In March 2023, KISS's longtime manager Doc McGhee defended Stanley's vocal performance on "End Of The Road", explaining that the "Star Child" "fully sings to every song" at every concert. He explained: It's enhanced. It's just part of the process to make sure that everybody hears the songs the way they should be sang to begin with. Nobody wants to hear people do stuff that's not real, that's not what they came to hear."

When McGhee was asked to clarify if he was "actually saying there are backing tracks that [Paul is] singing to," Doc said: "He'll sing to tracks. It's all part of a process. Because everybody wants to hear everybody sing. But he fully sings to every song."

On March 8th, Jesse James Dupree of Jackyl performed a free solo show in Daytona Beach, Florida.

Dupree's set included a tremendous cover of "Stay With Me", originally released in 1971 by English rock band Faces, which featured vocalist Rod Stewart and guitarist Ronnie Wood; who would go on to join The Rolling Stones. High quality video footage can be enjoyed below.

Joining Jesse on stage was his son Nigel T. Dupree on guitar, Roman Glick on bass, and Rodney Hammer on drums.

Catch Jesse James Dupree on tour with Jackyl at the following shows:

During an appearance on the March 25 episode of "Whiplash", the KLOS radio show hosted by Full Metal Jackie, PAPA ROACH frontman Jacoby Shaddix spoke about the band's touring and recording plans for the rest of 2024. He said (as transcribed by BLABBERMOUTH.NET): "2024 is just pulling the slingshot back for 2025. We're writing new music. We've gone into the studio three times now so far, and we've got about seven pieces of music. Four of 'em are finished up. One of the sessions we went in, and we were, like, 'Let's just go write the heaviest, most savage, insane, brutally just out-there PAPA ROACH. And we went and wrote this track. It's so savage, and it's fun."

He continued: "I love this creative process that we go through and digging and finding what we can do creatively. And so this year is just about, where can we go creatively and experiment and find what direction we're pushing this thing. And I love that process.

"2025 is gonna be a big year for us," Jacoby added. "And so we're not doing any touring during '24. And so just gearing up for 2025. [It'll be the] 25th anniversary of our first album 'Infest'. We'll be dropping a bunch of new music. And we've got a book as well that we're gonna be dropping in 2025. It tells the story of the early years of 'Infest', from 1994 to, let's say, 2002, it tells that story. And it's told from many standpoints — all the bandmembers, A&Rs, other musicians. And so really cool.

"We've got a lot of things in the store. And it's fun being creative when we're away from the road.

"I definitely am starting to miss the road, but I look forward to it. 2025 is gonna be a big one."

This past January, PAPA ROACH shared a brand new live version of their hit single "Scars" featuring a guest appearance by Chris Daughtry.

"Scars Featuring Chris Daughtry (Live)" is not only a fresh take on one of the band's biggest hits, but it also serves as the latest release on the band's latest EP, "Leave A Light (Talk Away The Dark)". The track saw its debut performed live preceded by an emotional PSA delivered by Shaddix, who pledged a donation to the American Foundation For Suicide Prevention (AFSP) on behalf of each city's attendees, culminating in a $155,000 donation presented in Denver, Colorado. Three months later the song sat in the top 10 at Rock radio, becoming the band's 26th song to reach that plateau.

Last year, PAPA ROACH was so impacted by the emotive response each night of the "Revolutions Live" tour and the work done by the AFSP that they have since officially re-named the song "Leave A Light On (Talk Away The Dark)" after the organization's "Talk Away The Dark" campaign, and pledged a perpetual royalty from the song's use, to be donated directly to the AFSP to continue their mission to save lives and bring hope to those affected by suicide long after the "Revolutions Live" tour concluded.

"Scars Featuring Chris Daughtry (Live)" royalties will also be donated to the AFSP in support of their "Talk Away The Dark" campaign. This impactful initiative teaches you the warning signs for suicide, and how to have a conversation that could save a life — whether it's someone else's or your own. Help is available — talking is the first step to preventing suicide.

PAPA ROACH are two-time Grammy-nominated, platinum-selling leaders in alternative hard rock music who in 2020 celebrated the 20th anniversary of their iconic album "Infest". PAPA ROACH are not unfamiliar with calling attention to mental health, and have been doing so since day 1 with the iconic release of "Last Resort". Since then, the band has gone on to create 10 studio albums, along their most recent "Ego Trip" on their own label New Noize Records. "Ego Trip" has garnered over 260 million global streams to date, and has produced three No. 1 singles, bringing the band's total to 26 career Top 10 hits and 11 career No. 1s. 23 years into their career, the band continues to have global success.

When legendary rock band, Angel, released their new album last year, a great cry of “Hallelujah!” could be heard from far and wide across the music world.

Reuniting the holy trinity of Angel, vocalist Frank DiMino, guitarist Punky Meadows and guitarist Danny Farrow, alongside keyboardist Charlie Calv, drummer Billy Orrico and bassist Tommy Caradonna, Once Upon A Time brought some of the most melodic and supremely powerful songs the band has ever released, and fans and critics responded with a hearty “Amen!”

Now the band has returned bearing a divine gift for their many devotees, a captivating and stunning new video for the album’s title track. Sporting a title as enormous as its subject matter, “Once Upon A Time An Angel And A Devil Fell In Love” this melodic epic offers the story of a supernatural love that dared to defy the natural order of the Heavens, told with bold lyrics and even bolder, earth-quaking power chords. Combining performance footage with dramatic, cinematic scenes, this video captures the magic and magnificence that Angel have embodied throughout their multi-decade career.

Says Punky Meadows, "'Once Upon A Time An Angel And A Devil Fell In Love' is a cautionary tale... an age old tale... it's Biblical... and it did not end well! Beautifully dark!... visually stunning! It has everything that makes a story wondrous! Love, sex, lust, desire, betrayal, murder."

Once Upon A Time, the album, is available now on CD, vinyl, cassette and digital. Order the CD/Vinyl/Cassette here; get the digital edition here.

Tracklist:

"The Torch"
"Black Moon Rising"
"It’s Alright"
"Once Upon A Time An Angel And A Devil Fell In Love (And It Did Not End Well)"
"Let It Rain"
"Psyclone"
"Blood Of My Blood, Bone Of My Bone"
"Turn The Record Over"
"Rock Star"
"Without You"
"Liar Liar"

Bonus tracks:

"Daddy's Girl"
"C'mon"
"Let The Kid Out"

The Melvins latest opus, Tarantula Heart - out April 19 via Ipecac Recordings - is quite possibly the band’s most unconventional, catchiest and imaginative work yet, continuing a legacy celebrated for its eccentric and extraordinary output.

A new preview of the five-song, 39-minute collection arrives with the release of "Allergic To Food", and the accompanying visualizer. Watch below:

“The way we approached Tarantula Heart was different than any other Melvins’ album,” explains Buzz Osborne. “I had Dale and Roy Mayorga come in and play along with Steven and I to some riffs, then I took those sessions and figured out what parts would work and wrote new music to fit. This isn’t a studio approach we’ve ever taken. Usually we have the songs written BEFORE we start recording!”

“The majority of Tarantula Heart has dual drum parts,” adds long-time Melvins drummer Dale Crover. “Roy is an amazing drummer. We would discuss what we would do pattern wise, then we’d just go for it. Improvising riffs and trading off on drum fills.”

In actuality nothing appeared out of thin air. Buzz spent hours and hours with the drum tracks by himself writing songs to what he was hearing drum wise. “When the rest of the band heard these songs I’d created from the sessions, they were blown away,” Buzz shares. “These were fully developed new songs that they’d never heard before that had seemingly appeared out of thin air. Presto!”

Recorded, mixed and co-produced by longtime Melvins’ collaborator Toshi Kasai, the album also features We Are The Asteroid guitar player Gary Chester. Gary and the Melvins’ history goes back to their days on Boner Records, with the guitar player formerly having been a part of the legendary band, Ed Hall.

Tarantula Heart pre-orders are available here, with the album available on a trio of vinyl variants (black, indie exclusive Silver Streak and Ipecac Recordings’ 25th Anniversary Puke Green), featuring a 12-page booklet, as well as on CD and digitally.

Tarantula Heart cover artwork by Mackie Osborne.

Tarantula Heart tracklisting:

"Pain Equals Funny"
"Working The Ditch"
"She’s Got Weird Arms"
"Allergic To Food"
"Smiler"

"Working The Ditch" video:

The Melvins are one of modern music’s most influential bands. Having formed in 1983 Montesano, Washington, the group founded by singer/guitar player Buzz Osborne (with stalwart drummer Dale Crover joining the following year), has been credited with merging the worlds of punk rock and heavy music, forming a new subgenre all its own.

Over the band’s 40-plus-year history, they’ve released over 30 original albums, numerous live full-lengths and far too many to count singles and rarities. Recent releases include 2022’s Bad Mood Rising, a really good collection of what the Melvins do, what they can do and what they want to do, and 2021’s 36-track acoustic collection Five Legged Dog, featuring reinterpretations of some of the band’s heaviest songs as well as covers from their favorite artists.

In the course of their discography, they've partnered with Jello Biafra, Mudhoney, and Fantômas for individual releases and toured the world many times over. In fact, the band had the misfortune to be in both Christchurch and Tokyo for their 2011 earthquakes. In 2012, the Melvins completed the “51 States in 51 Days” (50 states +DC) tour, which was chronicled in the film “Across The USA in 51 Days.”

The current incarnation of the band is Osborne, Crover, and Steven McDonald (Redd Kross). Previous lineups include a pairing of Osborne and Crover with Big Business band members Jared Warren and Coady Willis, a four-piece featuring the current trio plus Butthole Surfers’ Jeff Pinkus, as well as Melvins Lite, which partners Osborne and Crover with Mr. Bungle’s Trevor Dunn. Sometimes, if you’re extra lucky, one version of the Melvins will open for the Melvins.

(Photo courtesy of the Melvins)

Swedish metal sensations Avatar are streaming previously unreleased track "On The Other Side Of Tonight". Stream the previously unreleased tracks "Make It Rain" and "On The Other Side Of Tonight" here.

The heavy metal 'n' roll, dark, madcap visionaries collectively known as Avatar - vocalist Johannes Eckerström, guitarists Jonas Jarlsby and Tim Öhrström, bassist Henrik Sandelin, and drummer John Alfredsson - will return to the US for a headline tour this May. The trek kicks off on May 8 in Indianapolis and includes appearances at key festivals such as Sonic Temple.

Oxymorrons and Conquer Divide will serve as support. All dates are below. Get tickets here.

2024 will be quite a year for Avatar. With headline tours in Europe and Latin America announced, and festival dates in the US, the band is set to have a monumental start to their year. Europe already has nine sold-out shows, with many others on their way to selling out. Avatar's first headline tour in Latin America is a milestone in and of itself. The band will headline a Sonic Temple stage this May - their first headline set at a DWP Festival. The band's latest album Dance Devil Dance is out now.

Tour dates:

May
8 - Indianapolis, IN - Egyptian Room
9 - Huntsville, AL - VBC Mars Music Hall
10 - Greensboro, NC - Piedmont Music Hall
11 - Norfolk, VA - The Norva
12 - Sayreville, NJ - Starland Ballroom
14 - Portland, ME - State Theater
15 - Wallingford, CT - The Dome
16 - Reading, PA - Reverb
17 - Columbus, OH - Sonic Temple*
18 - St. Louis, MO - Pointfest*
19 - Milwaukee, WI - Milwaukee Metal Fest *

* Festivals

(Photo - Johan Carlén)

In a March 12, 2024 interview with Metal & Rock Zone, David Ellefson spoke about the recent announcement that New Jersey thrash metal veterans OVERKILL have recruited him to play bass for the band on their "Scorching Latin America 2024" tour. The former MEGADETH member will be filling in for original OVERKILL bassist D.D. Verni, who will be unable to make the shows as he is recovering from shoulder surgery.

Regarding how he ended up being asked to fill in for Verni, Ellefson said (as transcribed by BLABBERMOUTH.NET): "I got approached before the end of the year. It was just brought to my attention that D.D. was going to go through this surgery. They didn't know if he was gonna be better or not. So I was kind of put on alert that, 'Hey, we may need some help.' And we grew up together, OVERKILL and MEGADETH. I remember the 'Peace Sells' tour, OVERKILL was our direct support. So we've been good friends, all of us. And I always said, look, if there were gonna be two more added to the 'Big Four' [of 1980s thrash metal], it would be EXODUS in California and OVERKILL on the East Coast. So, to me, these are brothers in arms. So, when they hit me a few weeks ago about it, I said, 'Sure. Count me in if you need me to do it.'"

OVERKILL's 10-date "Scorching Latin America 2024" tour will kick off on April 11 in Guadalajara, Mexico and will include stops in Costa Rica, Chile and Peru before closing on April 28 in Sao Paulo, Brazil.

When Ellefson's addition to OVERKILL's touring lineup was first announced, OVERKILL singer Bobby "Blitz" Ellsworth said in a statement: "South, Central America and Mexico, with D.D. on the mend from surgery and the opportunity in front of us, where to go but back to the roots of THRASH! Please welcome Mr. David Ellefson to the OVERKILL, touring ranks this April 2024! 'David, can you help?' The answer: 'Yes, let's go!' We can't wait to see you guys! Horns up!"

Verni commented: "Bummed to not be able to thrash it up with our Latin America fans, but gotta get this wing workin!!....but who better than one of the great original thrash bass players, and old friend, David Ellefson to fill in."

Ellefson said: "It's an honor to fill in for my friend, the mighty D.D. Verni, as he takes time to heal up right now. OVERKILL always brings the fury and I'm looking forward to scorching Latin America with them!"

Ellefson was fired from MEGADETH nearly three years ago, just days after sexually tinged messages and explicit video footage involving the bassist were posted on Twitter.

MEGADETH leader Dave Mustaine ended up hiring TESTAMENT's Steve DiGiorgio to re-record Ellefson's bass parts on MEGADETH's latest album, "The Sick, The Dying… And The Dead!"

In May 2022, MEGADETH announced bass player James LoMenzo as a permanent member of the band. LoMenzo was MEGADETH's bass player in the mid-2000s and initially stepped back in as a touring member for "The Metal Tour Of The Year".

In 2004, Ellefson filed an $18.5-million lawsuit against Mustaine, alleging the frontman shortchanged him on profits and backed out of a deal to turn Megadeth Inc. over to him when the band broke up in 2002. The lawsuit was eventually dismissed and Ellefson rejoined MEGADETH in 2010.

Ellefson was in MEGADETH from the band's inception in 1983 to 2002, and again from 2010 until his latest exit.

Posted by Nick Menza on Monday, March 11, 2024

Overkill ANNOUNCE THEIR 'SCORCHING LATIN AMERICA 2024' TOUR

DAVID ELLEFSON TO HANDLE BASS DUTIES

For four decades,…

Posted by David Ellefson on Monday, March 11, 2024

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