STAIND guitarist Mike Mushok has weighed in on Live Nation's new program called "On The Road Again", which aims to financially support developing artists and their teams facing growing costs of touring expenses.

It was announced in late September that Live Nation-owned and operated clubs would provide $1,500 in gas and travel cash per show to all headliners and support acts, on top of nightly performance compensation. Additionally, these clubs would charge no merchandise selling fees, so artists keep 100% of merchandise profits.

Mushok spoke about Live Nation's announcement in a recent interview with V13. Asked what his thoughts were on the program, as a touring band, Mike said: "I have two thoughts about this because I actually am part owner in a venue. It's a 1300-seat venue in Foxborough [Massachusetts] outside of Gillette Stadium. We do live music on the weekends and national acts and we generally have never taken a merch fee from bands at our venue.

"I got home late last night and I saw this article and I need to go back and really pay attention to it. It sounds like it's going to make venues like mine very difficult because, aren't they paying into a fund for the crew, for the bands, to tour? I can't do that as a venue. They already drive the margins up and, as a promoter, it's just very, very hard to compete with that for the bands."

Mike continued: "Now, me coming a musician, it's great, right? I mean, however, it's Live Nation. They're gonna make the money back somewhere. If you think that they're not going to charge you, well… Surcharges are gonna go up, ticket prices. They're gonna make it up somewhere. They're a multi-billion-dollar business. They're not going to just give away money. They're gonna make it up somewhere and then that is a whole different problem.

"I'll tell you, you know, we just spent a summer out on the road and, now that you don't make any money on record sales, merch is a big thing for bands. It's fantastic there are fans who want to support the bands and wear a shirt or buy a bandana or whatever you're selling. It's great, but the venue takes 25% of it.

"I remember '95, we played some like amusement park out our way and I had never heard of this," Mushok added. "We used to sell shirts at shows for about 20 bucks or whatever, and that was the first time, like, 'You're taking a percentage. What do you mean?' It's surreal, a real eye opener, because a lot of fans don't see that side of it, but it seems like this has really come to everybody's attention, so I think it's nice that it's been addressed. I think it has come up because it's just so expensive to tour. It's just expensive to go out on the road. It's really expensive to tour, so I think, for a band playing clubs, maybe not even in a bus because you can't afford it because it's a fortune, when you're selling 1,000 bucks' [worth of merchandise], 500 has gotta go back to the venue or whatever. It's a lot. Consider that over 30 shows. The next thing you know, [it's like], 'Wait a second, I gave you how much?'"

Many venues require bands to pay them a percentage of their merchandise sales. Commonly that split is 20/80, meaning for every dollar a band makes selling a t-shirt, the venue gets 20 cents. It's an accepted industry standard that understandably riles touring bands, especially those acts for whom merch income is still crucial for ensuring that a tour is profitable.

In larger venues, it is often mandatory for a merchandise staff to be employed directly by the venue, meaning a percentage cut can be standard.

STAIND's latest album, "Confessions Of The Fallen", arrived on September 15 via Alchemy Recordings/BMG. STAIND's first new LP album since 2011 was produced by Erik Ron (GODSMACK, PANIC! AT THE DISCO, BLACK VEIL BRIDES).

STAIND has released eight albums since 1995, including 2011's self-titled effort. The band has had a number of hit songs during its first two decades, including the Top 10 smash "It's Been Awhile" from the No. 1 album "Break The Cycle". Follow-up LPs "14 Shades Of Grey" and "Chapter V" also topped the Billboard chart.

David Lee Roth has shared a new solo version of the VAN HALEN classic "Jump". The new recording, like the previously released "Unchained", "Everybody Wants Some!!", "You Really Got Me", "Dance The Night Away", "Panama" and "Ain't Talkin' 'Bout Love", was laid down on May 3, 2022 during a session at Henson Recording Studio in Hollywood, California. Joining Roth in the studio were Al Estrada on guitar, Ryan Wheeler on bass and Francis Valentino on drums. A total of 14 songs were recorded in two hours. The music and the vocals were tracked live with "no samples" and without the pitch-correction technology Auto-Tune.

In January 2022, Roth canceled the remaining farewell shows he was set to play in Las Vegas after he vowed to retire from performing live.

In a statement, event organizers said the cancelations were made "due to unforeseen circumstances related to COVID and out of an abundance of caution for those working and attending the shows."

When Roth's Vegas residency was first announced, organizers promised "a changing set of 26 instantly recognizable songs, including 'Jump', 'Panama', and 'California Girls...'"

In March 2020, Roth postponed the final six shows of his Las Vegas residency due to the coronavirus pandemic that is spreading across the globe.

Roth's last Vegas residency kicked off on January 8, 2020 with a 15-song set that included 10 VAN HALEN classics and five songs from his solo career. Backing the singer were lead guitarist Al Estrada from the VAN HALEN tribute band ERUPTION, rhythm guitarist Frankie Lindri, bassist Ryan Wheeler, keyboardist Danny Wagner and drummer Mike Mussleman.

Roth explained that he chose Vegas as the place to debut his new band because "this is where you come to celebrate and do the victory dance, whatever that means to you."

In a February 2020 interview with StarTribune, Roth openly wondered whether his first tour since VAN HALEN completed its 2015 run of shows would be the last time he would perform.

"I'm calling it 'The Last Tour'," he said at the time, "and then underneath it in parentheses: 'Unless It Isn't'. ... At my age, everything is a possible farewell tour."

"It's been a long great trip, a long great run," he continued. "But this kind of music requires the kind of energy that people in their 20s bring. You know what NFL stands for: Not For Long. It's similar in rock. I remember the days when we would stand around and say, 'Let's go have a cigarette.' And that's what we did: Four guys having one cigarette. I remember those days. They go by fast, so enjoy them while you're in them."

In February/March 2020, Roth performed as the opening act for the North American leg of KISS's "End Of The Road" farewell tour.

Roth's 2020 Vegas residency wasn't the first time he had set up shop in Sin City. Back in 1995, Roth completed a Las Vegas engagement at Bally's Hotel and Casino and another short run at MGM Grand.

Original KISS drummer Peter Criss has weighed in on the fact that his former band will play its final shows ever this weekend at Madison Square Garden in New York City. He told the Detroit's classic rock radio station 94.7 WCSX in an exclusive statement: "It's hard to believe it's over. I'm truly touched by it.

"There were so many glorious years and the four of us created some really fun tunes and have the most incredible fanbase a band could ever have. We are truly fortunate to have our fans all these years. Thank you KISS Army for the life that you gave me and the life that you gave all of us in KISS."

Peter went on to say that while he is "disappointed" that he and fellow original KISS member Ace Frehley "weren't asked to come out and do a few songs for their fans" in New York to show their appreciation for all their love and support all these years, he added that he is "in a good place in his life and very happy and very proud of what the four founding fathers of KISS created.

"It's truly a blessing," he said. "There's not much more a musician or artist could ask for then what God has blessed us with. And now the end is here. To quote our dear late manager Bill Aucoin, 'onward and upward.'"

This past August, Peter played an impromptu version of the 1930s classic "Sing, Sing, Sing (With A Swing)" at the 15th annual Beauty Ball, presented by The Beauty Foundation For Cancer Care, in Eatontown, New Jersey.

Criss, who will turn 78 at the end of this month, first left KISS in 1980. Since then he's worked with other bands and released solo albums. He teamed up with KISS again for a reunion tour in the 1990s and most recently in 2004. He was replaced by Eric Singer.

In addition to playing drums in KISS, Peter also provided lead vocals for a number the band's most popular and memorable songs, including "Beth", "Black Diamond" and "Hard Luck Woman".

Criss, who was known as "Catman," released his last solo CD, titled "One For All", in 2007. Peter produced the album himself for the first time, and was joined by guest musicians that included keyboardist Paul Shaffer and bassist Will Lee of "Late Night With David Letterman". The album featured a range of styles, from rock and jazz to blues and Broadway, and included covers of "What A Difference A Day Makes" and "Send In The Clowns".

Criss played what was being billed as his final full U.S. concert in June 2017 at the Cutting Room in New York City.

Last month, KISS bassist/vocalist Gene Simmons lamented the absence of Criss and Frehley at KISS's final shows, telling 519 Magazine: "I feel sad. I feel sad and angry that both Ace and Peter aren't here. I mean, they're alive, but they're not here to enjoy this unbelievable journey with us. They were there at the beginning and deserve all the credit. And when they look in the mirror, the only reason they're not here with us is themselves.

"Inviting them was as much for the fans as it was for us. KISS has always been about the whole, not the individual. It would've been fitting to have all of us there, one last time."

This past June, Gene was asked by Barbara Caserta of Linea Rock about the possibility of Peter and Ace making guest appearances at the band's last-ever concerts in New York City. He responded: "For the fans — the older, older fans — the ones who've been around for 50 years, they're old, and some of them wanna see Ace and Peter. The newer fans never saw them and they don't know. But the older fans wonder about Ace and Peter. Well, I asked both Ace and Peter a few times: 'Do you wanna come out for the encores? Do you wanna do some shows?' And they both said 'no.' So, I don't know what to say about that… But it's always welcome. But there are many other big stars, superstars, who wanna jump up onstage and play a song. But we're not sure about that. Maybe the best thing to do is to end the way we started: four guys with guitars. No keyboards, no synthesizers — nothing. Just playing."

KISS launched its farewell trek in January 2019 but was forced to put it on hold in 2020 due to the COVID-19 pandemic.

"End Of The Road" was originally scheduled to conclude on July 17, 2021 in New York City but has since been extended to late 2023. The trek was announced in September 2018 following a KISS performance of the band's classic song "Detroit Rock City" on "America's Got Talent".

In a June 2022 interview with Finland's Chaoszine, Simmons was asked if Frehley and Peter would have any involvement in KISS's final concerts. He responded: "We've tried. I keep trying. Paul and I met with Ace, trying to convince him to come back. He said, 'I want this. I want that.' Well, we can't do that. I asked Ace and Peter to be in the documentary ['Biography: KISStory', which premiered on A&E in June 2021]. They said no. They might do it if they have complete control of the edit. I said, 'We can't do that, because even we don't have that. But I won't control what you say; you can say whatever you want.' The answer is no — both of them. I asked Ace and Peter, 'Come out on tour. We'll get you your own room and everything. Come out on the encores.' Ace said, 'No. The only way I'll come out is if I'm the Spaceman and you ask Tommy [Thayer, KISS's current guitarist] to leave.' I go, 'Well, that's not gonna happen.' First of all, I care about Ace, but he's not in shape — he can't play that way and doesn't have the physical stamina to do that…

"Look, we care about them," Gene added. "We started this thing together and they were equally important to the beginning of the band with Paul and I — no question. But as time went on… Not everybody is designed to run a marathon. Some people are designed to be in a band for a year or two, or a few years, and then that's all they can do. And both of them have been in the band three different times. How many chances in life do you get? All I know is when I put my hand in fire the first time, I got burnt; I didn't get a second or third chance.

"So, the answer is the door's always open," Simmons said. "If they wanna jump on stage at any time and do the encores with us, terrific. But no, we're not gonna get rid of Tommy or Eric [Singer, current KISS drummer]. In fact, Tommy and Eric are the best things that happened to us. They gave us new life [and] new appreciation for what we do because they were fans first. And every once in a while, Eric or Tommy will turn around and say, 'Wow! Isn't this great?' And it makes us realize, 'Yeah! Wow! Isn't this great?'"

Gene was also asked if he saw any of the video footage from the May 2022 Creatures Fest in Nashville where Criss, Frehley and fellow former KISS members Vinnie Vincent and Bruce Kulick all performed. He responded: "Somebody showed me about 30 seconds, yeah. It was very sad. I felt sad for Peter… When I called to invite Peter to be in the documentary, his health isn't what it should be. I don't wanna get too specific because it's part of his private life. But no, physically, he wouldn't be able to do it. Neither would Ace."

ATREYU has released the official music video for "Come Down". The song is taken from the final installment of the band's three-part EP series, "A Torch In The Dark", which was made available on November 3, leading into "The Beautiful Dark Of Life" album, out on December 8 via Spinefarm.

"A Torch In The Dark" EP continues the journey set by "The Hope Of A Spark" EP and "The Moment You Find Your Flame" EP, leading into "The Beautiful Dark Of Life", which is a culmination of all three representing pieces of a puzzle, collectively amounting to something far greater.

This EP is about self-discovery, finding your purpose and confidence, and your future again. A victory through the shadows and conquering the darkness — for now.

"Many people remember these moments and experiences that shaped who they are in very formative years," frontman Brandon Saller says. "But for me, that period of my life is one big void. There are things about me as a person and things I do to this day that I don't like, but I don't understand why."

"We draw strength from each other and give each other the space and support to be the best, most creative person we can be," guitarist Dan Jacobs explains. "And together, right now, that makes us the best band we've ever been."

"Everything that we have put out to this point has built up to this moment," concludes Jacobs. "Something special is happening with ATREYU right now. We can feel the creativity and collaboration when the five of us get in the studio. We can feel the confidence we all give each other when we stand on stage together. And we can see it in the audience when they're losing their minds. They're having as good a time as we are ourselves."

"A Torch In the Dark" track listing:

01. (i)
02. Death Or Glory
03. Evermore
04. Come Down

In an interview with Rock 100.5 The KATT's Cameron Buchholtz conducted at this past September's Rocklahoma festival in Pryor, Oklahoma, Saller spoke about ATREYU's decision to shift their focus away from releasing albums to putting out a series of EPs.Saller said: "The whole project as a whole kind of tells sort of the same story in repeat. And we just wanted a way to kind of just be able to shine a light on the songs a little bit more individually. I feel like a lot of times you put out albums these days and you get three or four songs that get any sort of attention. The rest of them just go by the wayside, which sucks when you're creating art and putting everything you have into art."

He continued: "Each EP goes through the cycles of life, the seasons of life, if you will, to tell one big story at the end. So it's kind of a way that we can get a little bit more in depth with a kind of a story and also a way that we can have our audience really be able to focus on smaller portions of songs at a time."

Asked if he and his bandmates are seeing that sort of engagement and fans following the story, Brandon said: "Absolutely. I feel like, you just see it, just when [you look at] the [streaming] numbers, you see each song kind of getting a little bit more of a limelight and having a little bit more of kind of a day in the sun. So that feels nice for us."

Saller previously talked about ATREYU's decision to release a series of EPs this past July in an interview with the "Brutally Delicious" podcast. At the time, he said: "I care less and less about the traditional kind of methods of things and more about, how do we actually get people to have the opportunity to digest all of the art? … You put out an album, put out 12 songs on an album and four of 'em get a light shined on them and are in the tens of millions of streams and have all this attention and then the other eight are in the hundreds of thousands, if that — maybe they hit a million. They're in the dark and you spent all this time on these songs.

"We're not a band that has historically put out records with a bunch of filler; it's hard to get songs past us," he explained. "So, for us, it's, like, 'Oh, well, man, it just didn't have opportunity to get shown.'

"I'm all about alternative methods of release," Saller added. "I think that physical release really only lies in vinyl and cool, like, collectors' kind of stuff these days. I don't care about CDs. I couldn't play a CD if I wanted to. I don't have a CD [player] in my car. I don't have a CD player in my computer. But as far as just releasing things, I just wanna release things that make it more accessible and easy to actually consume and digest them. And I think that that potentially is in singles and EPs. I don't know everything or anything. So we'll see how it goes."

ATREYU and MEMPHIS MAY FIRE recently joined forces for the "We Want Your Misery" tour, with CATCH YOUR BREATH and ANOTHER DAY DAWNS as support. ATREYU also joined GODSMACK for select dates before embarking on a run of Canadian shows with IRON MAIDEN, starting on September 28.

Photo credit: Micala Austin

During an appearance on yesterday's (Thursday, November 30) episode of SiriusXM's "Trunk Nation With Eddie Trunk", original KISS guitarist Ace Frehley was asked how he feels about the fact that his former bandmates are calling it quits after completing the "End Of The Road" farewell tour this weekend at Madison Square Garden in New York City. He responded (as transcribed by BLABBERMOUTH.NET): "Well, to be honest, I don't really believe they're ending their touring career. How many times have they said they were gonna retire? How many times have half a dozen groups said they were gonna retire and still come back? Personally, I don't know what their plans are."

Asked if he personally has any emotions about KISS coming to an end as a touring entity, Frehley said: "Not at all. I'm so happy I'm not involved. Last night I watched [video of KISS's] Indianapolis show [from the current tour] from front to back on YouTube. They had 10 comments and maybe a couple of thousand views, but compared to what I'm doing right now, you can't hold a candle to it."

He added: "It's probably better they retire, and hopefully I won't have to listen to them put me down anymore."

Ace was also pressed to clarify that he won't be making a special guest appearance at the Madison Square Garden shows. He said: "Look, if Gene [Simmons, KISS bassist/vocalist] calls me up and offers me a million dollars to come up and play a couple of songs, obviously I'll show up. But I really doubt that's gonna happen because pretty much Paul [Stanley, KISS guitarist/vocalist] runs the band and he's already made a statement that if me and Peter [Criss, original KISS drummer] got up on the stage, we would mar their performance — ironically."

Asked what prompted him to watch a full KISS performance online from the band's ongoing tour, Ace said: "I was on YouTube looking to say how well my new single was being received, and it's going through the roof. And then I was just curious, so I clicked on KISS [playing in] Indianapolis. And I think they had 10 comments, 2,000 views or something like that. And it just made me realize how karma works, you know?"

Last month, Frehley told Mark Strigl of SiriusXM's Ozzy's Boneyard that he doesn't hold a grudge against KISS, despite all the badmouthing that has 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."

Also in November, Simmons lamented the absence of Frehley and Criss at KISS's final shows, telling 519 Magazine: "I feel sad. I feel sad and angry that both Ace and Peter aren't here. I mean, they're alive, but they're not here to enjoy this unbelievable journey with us. They were there at the beginning and deserve all the credit. And when they look in the mirror, the only reason they're not here with us is themselves.

"Inviting them was as much for the fans as it was for us. KISS has always been about the whole, not the individual. It would've been fitting to have all of us there, one last time."

This past June, Gene was asked by Barbara Caserta of Linea Rock about the possibility of Ace and Peter making guest appearances at the band's last-ever concerts in early December at Madison Square Garden in New York City. He responded: "For the fans — the older, older fans — the ones who've been around for 50 years, they're old, and some of them wanna see Ace and Peter. The newer fans never saw them and they don't know. But the older fans wonder about Ace and Peter. Well, I asked both Ace and Peter a few times: 'Do you wanna come out for the encores? Do you wanna do some shows?' And they both said 'no.' So, I don't know what to say about that… But it's always welcome. But there are many other big stars, superstars, who wanna jump up onstage and play a song. But we're not sure about that. Maybe the best thing to do is to end the way we started: four guys with guitars. No keyboards, no synthesizers — nothing. Just playing."

Eight months ago, Frehley told SiriusXM's "Trunk Nation With Eddie Trunk" that he was still open to playing with KISS at the band's final shows in New York City. "Money motivates me, just like it motivates them, but I don't put money before God," he explained. "If I got a quarter of a million dollars a night, and I can make half a million dollars for playing three or four songs, five songs, I'd take the money. [I'd] buy a Ferrari… buy a Maserati. [Laughs] I don't really wanna play with those guys ever again after what they've done, but money can change my mind."

Frehley continued: "Look, I'm a capitalist. I grew up in America. But I'd never put money before people's feelings. I like money as much as the next guy does, but money isn't my God, like it is theirs. They're all atheists. Whatever they can do or say, whether it's true or false, as long as it makes them the most amount of money, they're gonna do [it]."

Ace also addressed the issue of whether he would perform with KISS at the band's final concerts while wearing his trademark "Spaceman" makeup — the same makeup his replacement Tommy Thayer has been sporting for more than two decades. "Sure. For a quarter of a million dollars," he said, explaining that "I'm a good-looking guy. I don't need the makeup."

When Trunk pressed Ace about what he thinks the odds are of him playing with KISS at the final concerts in New York, Frehley said: "It all depends on money. If I get a formal invitation with a check, I'll be there. But they've gotta have deep pockets… If they don't wanna pay me, I won't be there, ladies and gentleman."

Ace also once again confirmed that he had never received a formal invitation to join his former bandmates at their last-ever shows. "Absolutely not," he said. "From what I understand, the shows are sold out. The only reason they sold out is they made innuendos that me and Peter were gonna be there, [that] they invited us. I wasn't invited. They lie all the time. Haven't they said, 'We're inviting Ace and Peter to come up and play?' Or at least me? Multiple times. So, people bought the tickets. But I haven't been given a formal invitation or given an offer monetarily. And I'm probably not gonna get one now after this interview. And guess what: I don't give a shit."

Despite everything that has been said between all the parties, Ace claimed that he still looks back fondly on his time with KISS and he doesn't hate his former bandmates.

"Look, the bottom line is this: deep down in my heart, I love those guys, because we created something so special that it will be remembered for years," he said. "When we're all dead and buried, there will still be people listening to KISS music. And I'm overjoyed. But I want my legacy to be cleared of any of this bullshit and lies."

KISS launched its farewell trek in January 2019 but was forced to put it on hold in 2020 due to the COVID-19 pandemic.

"End Of The Road" was originally scheduled to conclude on July 17, 2021 in New York City but has since been extended to late 2023. The trek was announced in September 2018 following a KISS performance of the band's classic song "Detroit Rock City" on "America's Got Talent".

In a June 2022 interview with Finland's Chaoszine, Simmons was asked if Frehley and Peter would have any involvement in KISS's final concerts. He responded: "We've tried. I keep trying. Paul and I met with Ace, trying to convince him to come back. He said, 'I want this. I want that.' Well, we can't do that. I asked Ace and Peter to be in the documentary ['Biography: KISStory', which premiered on A&E in June 2021]. They said no. They might do it if they have complete control of the edit. I said, 'We can't do that, because even we don't have that. But I won't control what you say; you can say whatever you want.' The answer is no — both of them. I asked Ace and Peter, 'Come out on tour. We'll get you your own room and everything. Come out on the encores.' Ace said, 'No. The only way I'll come out is if I'm the Spaceman and you ask Tommy [Thayer, KISS's current guitarist] to leave.' I go, 'Well, that's not gonna happen.' First of all, I care about Ace, but he's not in shape — he can't play that way and doesn't have the physical stamina to do that…

"Look, we care about them," Gene added. "We started this thing together and they were equally important to the beginning of the band with Paul and I — no question. But as time went on… Not everybody is designed to run a marathon. Some people are designed to be in a band for a year or two, or a few years, and then that's all they can do. And both of them have been in the band three different times. How many chances in life do you get? All I know is when I put my hand in fire the first time, I got burnt; I didn't get a second or third chance.

"So, the answer is the door's always open," Simmons said. "If they wanna jump on stage at any time and do the encores with us, terrific. But no, we're not gonna get rid of Tommy or Eric [Singer, current KISS drummer]. In fact, Tommy and Eric are the best things that happened to us. They gave us new life [and] new appreciation for what we do because they were fans first. And every once in a while, Eric or Tommy will turn around and say, 'Wow! Isn't this great?' And it makes us realize, 'Yeah! Wow! Isn't this great?'"

Gene was also asked if he saw any of the video footage from the May 2022 Creatures Fest in Nashville where Criss, Frehley and fellow former KISS members Vinnie Vincent and Bruce Kulick all performed. He responded: "Somebody showed me about 30 seconds, yeah. It was very sad. I felt sad for Peter… When I called to invite Peter to be in the documentary, his health isn't what it should be. I don't wanna get too specific because it's part of his private life. But no, physically, he wouldn't be able to do it. Neither would Ace."

Photo credit: Jayme Thornton

Agonia Records has announced the signing of American brutal death metal mavericks Pathology, spearheaded by drummer Dave Astor (ex-cofounder of Cattle Decapitation). Pathology has finished work on its new album, follow-up to 2021's The Everlasting Plague, and is fresh off signing a booking deal with Continental Touring for the US territory.


Commented by Pathology: "We are excited to announce our collaboration with Agonia Records for the release of our 12th studio album. The label hosts an array of immensely talented and heavy bands, and we're honored to join their esteemed roster. Our latest album is fully complete and we can't wait to unleash this powerful creation to our fans."


Pathology is renowned for their unyielding death metal assault on the ears, fueled by a relentless hunger to produce bludgeoning music with profound themes that set them apart from others in the genre. Formed in 2006 by Dave Astor, ex-cofounder of bands like The Locust and Cattle Decapitation, the band has evolved into its strongest lineup, featuring Dave Astor on drums, Daniel Richardson on guitar, Richard Jackson on bass, and Obie Flett as the vocalist, creating a perfect combination of talent.




Their music is an intense amalgamation of brutal riffs, crushing drums, and dark imagery, making it impossible to divert one's attention from their blood-soaked and twisted world of death metal. With heavy grooves and an unyielding style, Pathology delivers compelling brutality that is not for the faint of heart. Their live performances, filled with guttural growls and rumbling grooves, leave both old and new fans captivated by the sheer force of Pathology's music. Pathology stands as a formidable force in the death metal realm, leaving a trail of triumphant performances across North America, Mexico, Canada, and Europe, sharing the stage with renowned bands like Obituary, Deicide, Nile, Vader, Immolation, and Grave, among others. Their impressive fan base of over 225,000 followers on social media is a testament to the fervor they ignite among their supporters.


The band's authenticity shines through their hard-working and down-to-earth demeanor, as they have earned their place in the music scene through dedication and persistence, rising from the underground. Their commitment to honing their craft knows no bounds, pushing the limits of their sound and captivating both new and younger fans with their relentless and powerful music. Pathology's ability to transcend genres and resonate with diverse audiences solidifies their status as an undeniable force in the world of death metal.


Line-up:
Dave Astor - drums
Daniel Richardson - guitars
Richard Jackson - bass
Obie Flett – vocals





(Photo – Nikki Astor)

Out now is the final track to be revealed from Peter Gabriel’s new album, i/o. This final song, the last to be written for the album, is called "Live And Let Live".


In a break from previous months, all three mixes are released simultaneously, the Bright-Side Mix by Mark ‘Spike’ Stent, the Dark-Side Mix by Tchad Blake and the Atmos In-Side Mix by Hans-Martin Buff. The song is accompanied by the striking ‘Soundsuit’ artwork of Chicago based artist Nick Cave.







Written and produced by Peter Gabriel, "Live And Let Live" is a song about forgiveness, tolerance and optimism. A joyous, rousingly-positive closing note for the album.


"Music can be like a box of mood pills that we can use to treat ourselves and a lot of the work of the Reverberation project is focused on that sort of idea. When someone suggested that forgiveness might be a topic to write about, at first, I thought, ‘that's not interesting to me,’ but then I remembered two things. Archbishop Desmond Tutu, who was the chair of The Elders and a real mentor for me, led the Truth and Reconciliation Committee in South Africa and that really allowed people to expose, report and maybe feel again some of the horrors of the apartheid era. I remember he always said that listening made a huge difference, just making sure people felt heard and recognized. Then, sometimes, it created a space for forgiveness.


"There's also a description that Nelson Mandela gave when he was released from jail after 27 years in prison and found himself about to become president of South Africa, standing next to some of the people who'd been responsible for keeping him in jail all that time. He said he felt some of the old fear and hatred swelling up inside him but when he thought hard about it, he realized that he needed to find a way to work with these people, to build what he called his rainbow coalition. He needed to feel their humanity and ultimately to find a way to forgive them. He was quite sure that if he couldn't forgive them and find a way to work with them, that he would remain their prisoner for the rest of his days.


"Now, I know if we look at what's happening in the Middle East now or in Ukraine, all sorts of places around the world where there's still violence and brutality, to walk around with a bunch of flowers, preaching forgiveness seems trite and pathetic, maybe. But in the long run, I think people have to find a way. ‘Peace only happens when you respect the rights of others’ is a quote from the Peace University in Costa Rica and I think that's a really important message for me and for my life. You either belong to that hurt or you free yourself and forgiveness is clearly a super effective way of freeing yourself."


"Live And Let Live", the last song to have been written for the album, features contributions from many players already heard on other songs, such as Tony Levin, David, Rhodes, Manu Katché, Brian Eno, Melanie Gabriel, John Metcalfe and the New Blood Orchestra. Notable other contributions come from Steve Gadd ‘wonderful grooves created with brushes’ that are looped at the start of the song, some beautiful trumpet by Paolo Fresu "soulful and poetic’ and the return of the singers of Soweto Gospel choir ‘great voices and this deep soulfulness, their additions are always wonderful for me."


"Nick Cave does a lot performance, movement and dance work, but these extraordinary figures, for which he is best known, ‘Soundsuits’, are amazing. They are like armour. Beneath all this exuberant colour you can’t actually sense the race, the class, the wealth or the gender of the person wearing the Soundsuit, so, you have that sense that you are not going to get attacked for pre-conceived ideas about who you are or what people like you are like… it’s a very positive spin on a negative situation. Nick’s work is very interesting and unusual and I am very glad that he was happy to be part of this."


Listen to the Bright-Side and Dark-Side mixes below:








"After a years-worth of full moon releases, I’m very happy to see all these new songs back together on the good ship i/o and ready for their journey out into the world." - Peter Gabriel


At the end of a year in which Peter Gabriel has released a new song on the occasion of every full moon, as well as performed live to rapturous audience throughout the UK, Europe and North America, December 1 sees the release of his much-anticipated new studio album, i/o.


i/o is 12 tracks of grace, gravity and great beauty that provide welcome confirmation of not only Peter’s ongoing ability to write stop-you-in-your-tracks songs but also of that thrilling voice, still perfectly, delightfully intact. Throughout the album the intelligent and thoughtful - often thought-provoking - songs tackle life and the universe. Our connection to the world around us - ‘I’m just a part of everything’ Peter sings on title track i/o - is a recurring motif, but so too the passing of time, mortality and grief, alongside such themes as injustice, surveillance and the roots of terrorism. But this is not a solemn record. While reflective, the mood is never despondent; i/o is musically adventurous, often joyous and ultimately full of hope, topped off as it is, by the rousingly optimistic closing song, Live and Let Live.


Recorded mostly at Real World Studios and Peter’s home studio, the lengthy gestation of i/o means it has a sizeable cast list. Peter has kept his trusty inner circle of musicians close to hand, which means guitarist David Rhodes, bassist Tony Levin and drummer Manu Katché are sterling presences throughout. Several songs bear the fingerprints of long-time associate Brian Eno, whilst there are notable contributions from Richard Russell, pianist Tom Cawley, trumpeters Josh Shpak and Paolo Fresu, cellist Linnea Olsson and keyboard player Don E. Peter’s daughter Melanie contributes warm backing vocals, as does Ríoghnach Connolly of The Breath, while Real World regulars Richard Chappell, Oli Jacobs, Katie May and Richard Evans collectively provide programming and play various instruments. Soweto Gospel Choir and Swedish all-male choir Oprhei Drängar lend their magnificent harmonies to a selection of tracks, and the mass strings of the New Blood Orchestra, led by John Metcalfe, both soothe and soar.


Renowned for being a boundary-pushing artist, i/o is not simply a collection of a dozen songs. All 12 tracks are subject to two stereo mixes: the Bright-Side Mix, handled by Mark ‘Spike’ Stent, and the Dark-Side Mix, as reshaped by Tchad Blake. “We have two of the greatest mixers in the world in Tchad and Spike and they definitely bring different characters to the songs. Tchad is very much a sculptor building a journey with sound and drama, Spike loves sound and assembling these pictures, so he’s more of a painter.” Both versions are included on the double-CD package, and are also available separately as double vinyl albums. And that’s not all. A third version - the In-Side Mix, in Dolby Atmos, comes courtesy of Hans-Martin Buff “doing a wonderful job generating these much more three-dimensional mixes” and is included in three-disc set, including Blu-ray.


Continuing the idea developed for Peter’s US and UP albums, he has again invited a range of visual artists to contribute a piece of art to accompany the music and each of i/o’s 12 songs were handed to a world-renowned artist to create an accompanying work, whether paint, photography, sculpture or even Plasticine. The dozen artists make an exceedingly impressive team of collaborators: Ai Weiwei, Nick Cave, Olafur Eliasson, Henry Hudson, Annette Messager, Antony Micallef, David Moreno, Cornelia Parker, Megan Rooney, Tim Shaw, David Spriggs and Barthélémy Toguo.


Another visual link with Peter’s past work is the cover shot. Taken by photographer Nadav Kander, it echoes with the covers of his earlier albums, always present but, with the exception of So, intriguingly obscured or manipulated.


These echoes of the past might resonate, but i/o is fundamentally an album of - and for - the here and now. Many of its themes may be timeless, but they’re also warnings that we’re living on borrowed time, both as a planet and as individuals. As Peter sings on the divine So Much, “this edition is limited”.


The wait has been worth every minute. i/o is another triumphant Peter Gabriel record.


Pre-order i/o in various formats here.





Tracklisting:


CD / Digital


"Panopticom"
"The Court"
"Playing For Time"
"i/o"
"Four Kinds Of Horses"
"Road To Joy"
"So Much"
"Olive Tree"
"Love Can Heal"
"This Is Home"
"And Still"
"Live And Let Live"


2LP


Side A    
"Panopticom"
"Playing For Time"
"The Court"


Side B    
"Four Kinds Of Horses"
"i/o"
"Love Can Heal"


Side C    
"Road To Joy"
"So Much"
"Olive Tree"


Side D    
"This Is Home"
"And Still"
"Live And Let Live"


(Photo - Nadav Kander)

The Rolling Stones have released a lyric video for "Bite My Head Off", featuring Paul McCartney. The track is featured on the band's new album, Hackney Diamonds. Says McCartney: “I had a blast playing with the Stones on this session. Rockin!


The lyric video, featuring unseen studio footage, can be viewed below:







The 12-track Hackney Diamonds was recorded in various locations around the world, including Henson Recording Studios, Los Angeles; Metropolis Studios, London; Sanctuary Studios, Nassau, Bahamas; Electric Lady Studios, New York; and The Hit Factory/Germano Studios, also in New York. Late drummer Charlie Watts is featured on two tracks, "Mess It Up" and "Live By The Sword". "Live By The Sword" additionally features bass from former Stones bassist Bill Wyman. "Sweet Sounds Of Heaven" featuring vocals from Lady Gaga and keys & piano from Stevie Wonder, "Get Close" and "Live By The Sword" with piano from Elton John, and "Bite My Head Off" with bass from Paul McCartney.


Hackney Diamonds is their first studio set of new material since 2005's A Bigger Bang. Since then, the Stones have continued to smash box office records on a series of global sell-out tours and released 2016's Grammy Award winning Blue & Lonesome, which featured their brilliant versions of many of the blues tracks that helped shape their sound, and topped album charts around the world. Last year, they thrilled European audiences totalling nearly a quarter of a million on the anniversary Sixty tour. The Rolling Stones have sold over 250 million albums worldwide.


Hackney Diamonds marks The Stones' first album produced by producer and musician Andrew Watt.





Tracklisting:


"Angry"
"Get Close"
"Depending On You"
"Bite My Head Off"
"Whole Wide World"
"Dreamy Skies"
"Mess It Up"
"Live By The Sword"
"Driving Me Too Hard"
"Tell Me Straight"
"Sweet Sounds Of Heaven"
"Rolling Stone Blues"


"Mess It Up" (Purple Disco Machine Remix) lyric video:





 "Sweet Sounds of Heaven" lyric video:





"Angry" video:





The Stones recently announced they are going back on the road with a brand-new tour performing in 16 cities across the US and Canada.


Fans can expect to experience Mick Jagger, Keith Richards and Ronnie Wood play their most popular hits ranging from “Start Me Up,” “Gimme Shelter,” “Jumpin’ Jack Flash,” “Satisfaction” and more, as well as fan favourite deep cuts and music from their new album, Hackney Diamonds.


The legendary rockers will be returning to the road following the success of their history-making and chart-topping studio album Hackney Diamonds, which has just received a Grammy nomination for the projects lead single, "Angry". Showcasing a new stage and high energy that only the Stones can bring as one of the worlds most iconic artists ever, this tour will guarantee a show to remember. The United States last hosted the rock n roll giants during their critically acclaimed No Filter tour in 2021, which sold out stadiums across the country while becoming one of the highest-grossing concert tours of all time.


The tour is set to kick off April 28, 2024 at NRG Stadium in Houston, Texas, with stops in Las Vegas, Glendale, East Rutherford, Seattle, Foxboro, Orlando, Atlanta, Philadelphia, Cleveland, Denver, Chicago, Vancouver, Los Angeles and Santa Clara. The Stones will also make a stop at this years New Orleans Jazz and Heritage Festival for a special performance on May 2. Full tour routing is below.





Confirmed dates:


April
28 - NRG Stadium - Houston, TX


May
2 - Jazz Fest - New Orleans, LA
7 - State Farm Stadium - Glendale, AZ
11 - Allegiant Stadium - Las Vegas, NV
15 - Lumen Field - Seattle, WA
23 - Metlife Stadium - East Rutherford, NJ
26 - Metlife Stadium - East Rutherford, NJ
30 - Gillette Stadium - Foxboro, MA


June
3 - Camping World Stadium - Orlando, FL
7 - Mercedes-Benz Stadium - Atlanta, GA
11 - Lincoln Financial Field - Philadelphia, PA
15 - Cleveland Browns Stadium - Cleavland, OH
20 - Empower Field at Mile High - Denver, CO
27 - Soldier Field - Chicago, IL


July
5 - BC Place - Vancouver, BC
10 - SoFi Stadium - Los Angeles, CA
17 - Levi’s ® Stadium - Santa Clara, CA





(Photo - Mark Seliger)

The upcoming release of "The Benefit Concert Volume 20" by Warren Haynes includes a spectacular highlight: the first-ever —and only to date — performance of Dave Grohl's 23-minute instrumental epic "Play", which extends to an extraordinary 36 minutes in its live rendition. This live performance is now available, offering fans the opportunity to witness "Play" being brought to life on that unforgettable evening.

Originally composed and performed entirely by Grohl on every instrument, "Play" is an expansive journey through Grohl's musical prowess and creativity. The video release captures the energy and intensity of "Play" as rendered by Grohl and a veritable murderers row of musical accomplices including Greg Kurstin (keys),guitarists Jason Falkner, Alain Johannes and Barrett Jones, Chris Chaney (bass) and Drew Hester (percussion). The performance's distinctiveness was further elevated by the rhythmic artistry of Abby The Spoon Lady, a prominent Asheville-based busker and advocate for street performance, whose unique spoon-playing skill brought an unexpected and captivating dimension to "Play". Delivering a blend of visual and auditory artistry, this one and only live version of "Play" is a key highlight of "The Benefit Concert Volume 20".

"The Benefit Concert Volume 20" is a collection of standout performances from Warren Haynes's 30th annual Christmas Jam, bringing together a diverse group of artists. The album, as well as the event itself, serve not only as a musical spectacle but also as a philanthropic endeavor, with all proceeds being donated to the Asheville Area Habitat For Humanity. In addition to Haynes and Grohl, other featured artists on the forthcoming set include Eric Church, Joe Bonamassa, GOV'T MULE, Mike Gordon, Marco Benevento, Jamey Johnson, Edwin McCain, Kevn Kinney, Tyler Ramsey, Scott Murawski and Ron Holloway, along with Machan Taylor, Mini Carlsson, Mike Barnes and Ray Sisk sitting in with GOV'T MULE. Recorded on December 7 and December 8, 2018, in Asheville, North Carolina, the concert was not just a musical feat but also a significant charitable event, raising over $2.8 million for the Asheville Area Habitat For Humanity.

"The Benefit Concert Volume 20" will be available physically on four different double vinyl volumes (in different colors: purple, orange, blue, red),2-CD + DVD set, and 3-CD + 2 Blu-ray set, along with a digital-only format. Bundles are also available now to pre-order.

Starting in December of 1988, Warren Haynes launched what would become a cherished tradition in his hometown of Asheville, North Carolina. Despite its name, the Christmas Jam was less about festive tunes and more about gathering local musicians to celebrate the holidays and give back to the community. Over 30 years later, this humble event transformed into a nationally recognized spectacle, raising over $2.8 million for Asheville Area Habitat For Humanity and the construction of over 50 homes in the region. Reflecting on its growth, Haynes notes: "As an Ashevillean, it's heartening to see the progress Asheville has witnessed over these three decades. In many ways, Christmas Jam mirrors this city's vibrant spirit."

"The Benefit Concert Volume 20" stands out not only as a testament to three decades of musical celebrations, but also the enduring spirit of Christmas Jams. Throughout the years, it's the impromptu collaborations (often times between artists and musicians meeting backstage or on stage),the unwavering commitment of all participants, and the unity in music that truly define this legacy.

"Although Christmas Jam, the main event, is traditionally a one-night event, there have been three occasions where we felt the need to make it two nights — the 20th, 25th, and 30th anniversaries, each of which featured extraordinary lineups," Haynes adds. "The performances being represented in this package are culled from the 30th anniversary in 2018, which was in itself a milestone for 'the Jam.' However, its importance is amplified by the fact that the next year we would take a well-deserved break with every intention of resuming business as usual in 2020, not knowing that 2020 would bring about the COVID-19 pandemic which affected not just the music business, but the entire world. Thankfully, we were able to bring it back in 2022 with a stellar lineup and will continue on this year with another memorable event. It feels great to be back."

Haynes is a cornerstone of the American music landscape, lauded as one of the most formidable guitarists and vocalists of our time. His prolific career includes his tenure with the ALLMAN BROTHERS BAND and THE DEAD and as a founding member of GOV'T MULE. Produced by Haynes and executive produced by Stefani Scamardo, "The Benefit Concert Volume 20" shines a light on the enduring appeal of live music and the camaraderie it fosters. With the purchase of "The Benefit Concert Volume 20", music enthusiasts not only acquire a piece of extraordinary musical history but also contribute to the vital work of the Asheville Area Habitat For Humanity, helping to build homes and hope in the Asheville area.

"Christmas Jam" returns for the 32nd annual event on December 9, 2023.

Last night, Bruce Dickinson unveiled the dramatic, action-packed video for "Afterglow Of Ragnarok", the first single to be taken from his upcoming solo album "The Mandrake Project". In front of a packed audience on the opening day of CCXP23, Brazil's huge Comic-Con event in Sao Paulo, the IRON MAIDEN frontman premiered the spectacular film and revealed further details about the album and forthcoming comic series in partnership with Z2, including releasing 2,000 CCXP-exclusive versions of the comic to the delight of the international comic community.

"The Mandrake Project" will be released on March 1 via BMG. Across ten inventive, expansive and absorbing tracks, Bruce Dickinson and his long-term co-writer and producer Roy "Z" Ramirez, have created one of 2024's defining rock albums. Sonically heavy and rich in musical textures, it sees Bruce bring to life a musical vision long-in-the-making, and features some of the finest vocal performances of his career.

Recorded largely at Los Angeles's Doom Room with Roy Z doubling up as both guitarist and bassist, the lineup for "The Mandrake Project" was rounded out by keyboard maestro Mistheria and drummer Dave Moreno, both of whom also featured on Bruce's last solo studio album, "Tyranny Of Souls", in 2005.

"The Mandrake Project" track listing:

01. Afterglow Of Ragnarok (05:45)
02. Many Doors To Hell (04:48)
03. Rain On The Graves (05:05)
04. Resurrection Men (06:24)
05. Fingers In The Wounds (03:39)
06. Eternity Has Failed (06:59)
07. Mistress Of Mercy (05:08)
08. Face In The Mirror (04:08)
09. Shadow Of The Gods (07:02)
10. Sonata (Immortal Beloved) (09:51)

Fans of both Bruce Dickinson and IRON MAIDEN will notice that the album features the curiously named "Eternity Has Failed", which first appeared in a different form titled "If Eternity Should Fail" on IRON MAIDEN's 2015's album "The Book Of Souls", illustrating how long the creative process for "The Mandrake Project" has been in the works.

Bruce has previously described lead single "Afterglow Of Ragnarok" as "a heavy song and there's a great big riff driving it… but there's also a real melody in the chorus that displays the light and shade that the rest of the album brings." And the track is brought vividly to life in the cinematic video which premiered last night.

Directed by award-winning director Ryan Mackfall, written by Dickinson and acclaimed British writer Tony Lee (whose lengthy credits include "2000AD", DC and Marvel ranging from "Dr. Who" and "Star Trek" to "Spider Man" and "X-Men"),the film unveils Dr. Necropolis, the main protagonist at the heart of "The Mandrake Project". It also sets the scene for the story to come, reflecting the dark narrative contained in the eight-page comic book prequel which features in the seven-inch gatefold vinyl release of the single.

Ryan Mackfall comments: "Many years before I was a director, I have fond memories of various music videos that spoke to me and one of those was 'Can I Play With Madness' by IRON MAIDEN. For me it defined what a music video is. Little did I know, many years later I'd be on a call with one of the stars of that video, Mr. Bruce Dickinson, discussing ideas for a music video. Bruce has felt like a kindred spirit from that moment and it was therefore only right that we attempted to bring the story of 'Afterglow Of Ragnarok' to life in a live action form. Naturally the music is a big part of the engine of the music video and this track was a heavy hitter from the first play. But beyond that I firmly believe it's also the passion of the artist that defines the results — Bruce's passion is unmatched. I really hope the fans find themselves taking Necropolis' journey with the mandrake juice time and time again. This is just the start of something very special!"

"The Mandrake Project" is not just an album, but a dark, adult story of power, abuse and a struggle for identity, set against the backdrop of scientific and occult genius. Created by Bruce Dickinson, the comic series is scripted by Tony Lee and stunningly illustrated by Staz Johnson for Z2 Comics, released as 12 quarterly issues that will be collected into three annual graphic novels. The first episode will be released in comic shops on January 17, 2024.

Bruce Dickinson and his phenomenal band will bring the music of "The Mandrake Project" to life with a major headline tour next spring and summer.

2024 tour dates:

April 18 - Diana Theater, Guadalajara, Mexico
April 20 - Pepsi Theatre, Mexico City, Mexico
April 24 - Live Curitiba, Curitiba, Brazil
April 25 - Pepsi On Stage, Porto Alegre, Brazil
April 27 - Opera Hall, Brasilia, Brazil
April 28 - Arena Hall, Belo Horizonte, Brazil
April 30 - Qualistage, Rio De Janeiro, Brazil
May 2 - Quinta Linda, Ribeirao Preto, Brazil
May 4 - Vibra, Sao Paulo, Brazil
May 18 - Barrowland Ballroom, Glasgow, UK
May 19 - O2 Academy, Manchester, UK
May 21st May – Arena, Swansea, UK
May 23rd May – Rock City, Nottingham, UK
May 24 - O2 Forum Kentish Town, London, UK
May 26 - L'Olympia, Paris, France
May 28 - 013, Tilburg, Netherlands
May 29 - De Oosterport, Groningen, Netherlands
June 1 - Barba Negra, Budapest, hungary
June 3 - Arenale Romane, Bucharest, Romania
June 5-8 - Mystic Festival, Gdansk, Poland *
June 5-8 - Sweden Rock Festival, Solvesborg, Sweden *
June 9 - Rockefeller, Oslo, Norway
June 11 - Grona Lund, Stockholm, Sweden
June 13 - House Of Culture, Helsinki, Finland
June 14 - Noblessner Foundry, Tallinn, Estonia
June 16 - Huxleys Neue Welt, Berlin, Germany
June 17 - Grosse Freiheit 36, Hamburg, Germany
June 19 – 22 - Copenhell, Copenhagen, Denmark *
June 21 - Graspop Metal Meeting, Dessel, Belgium *
June 22 - Summerside Festival, Grenchen, Switzerland *
June 24 - Zeltfestival Rhein-Neckar, Mannheim, Germany *
June 25 - Circus Krone, Munich, Germany
June 27-30 - Hellfest, Clisson, France *
June 30 - Rockhal, Esch-Sur-Alzette, Luxembourg
July 3-6 - Rockharz Open Air, Ballenstedt, Germany *
July 5 - Ippodrome Delle Capannelle, Rock In Rome, Rome, Italy *
July 6 - Bassano Del Grappa, Metal Park, Vincenza, Italy *
July 9 - E-Werk, Koln, Germany
July 13 - Hala, Zagreb, Croatia
July 16 - Kolodrum Arena, Sofia, Bulgaria
July 19 - Kucukciftlik Park, Istanbul, Turkey
July 21 - Release, Athens, Greece *

* Festival performance

Bruce Dickinson's touring band features guitarist Roy Z, drummer Dave Moreno, bass player Tanya O'Callaghan and keyboard maestro Mistheria.

"The Mandrake Project" will be Dickinson's seventh solo album and his first since "Tyranny Of Souls" in 2005. It will be released via BMG worldwide on multiple formats.

Back in December 2017, Dickinson said that his next solo LP would likely include a reworked version of "If Eternity Should Fail", the opening track on "The Book Of Souls". At the time, he said that he had about "half" of his seventh record already written and he also confirmed that "If Eternity Should Fail" was originally penned as a Dickinson solo track.

He told Finland's Kaaos TV that the original plan was for his next solo record to be "a whole concept album, which was gonna be called 'If Eternity Should Fail'. And 'If Eternity Should Fail' was the title track to my new solo album," he said. "And a bit like [Dickinson's 1989 solo song] 'Bring Your Daughter To The Slaughter' [laughs], it got commandeered for IRON MAIDEN. So if I did do another solo album, which I think I will, I might just stick to my original plan and have that as the title track. I mean, I did write it — it was the first track that I wrote for it. So, yeah, I'd probably still include that song. But it would be… the feel would be slightly different — not very much, though — from the MAIDEN version."

In 2015, Dickinson told France's Hard Force magazine that "If Eternity Should Fail" ended up being used by IRON MAIDEN after bassist Steve Harris heard the demos that Bruce was working on for what was supposed to be his next solo album. "And [Steve] went, 'That's a really cool song. Can we use that? That's gonna be the opening song on the album,'" he recalled. "And I went, 'Yeah, okay.' And he was already writing, I think… He was already thinking of 'The Book Of Souls' as being the title, so he told me about the Mayan thing. And I'm, like, 'Yeah, that's cool. Okay. Yeah, I see where you're going.' But in my case, that song was written as part of a story. So the spoken word at the end is the beginning of a story that goes through the whole album. And one of the characters is Dr. Necropolis; he's the bad guy. And the good guy is Professor Lazarus; he raises people from the dead. So that introduces Necropolis in the spoken-word thing. And I asked Steve… I said, 'Look. Okay. I get having the song…' 'Cause it opens up with, 'Here is the soul of a man.' 'Yup. Get that. But what about the end?' I said, 'Will people understand what this is about? Because this is nothing to do with the Mayans or anything. This is to do with… I'd come up with a concept album that doesn't happen.' [Laughs] And he [went], 'No, no, no. It's just talking about souls and everything, and it sounds great.' I went, 'Okay.' [Laughs]"

Dickinson made his recording debut with IRON MAIDEN on the "Number Of The Beast" album in 1982. He quit the band in 1993 in order to pursue his solo career and was replaced by Blaze Bayley, who had previously been the lead singer of the metal band WOLFSBANE. After releasing two traditional metal albums with former MAIDEN guitarist Adrian Smith, Dickinson rejoined the band in 1999 along with Smith. Since then, Dickinson has only released one more solo album (the aforementioned "Tyranny Of Souls") but has previously said that his solo career is not over.

Photo credit: John McMurtrie

U.S. doom metal giants THE OBSESSED have premiered the second single taken from their long-anticipated fifth album "Gilded Sorrow", to be released on February 16, 2024 through Ripple Music. Stream "Stoned Back To The Bomb Age" below.

Fronted by legendary guitarist and vocalist Scott "Wino" Weinrich, the iconic doom metal powerhouse THE OBSESSED comes roaring back after seven years with their awaited new studio album and Ripple Music debut "Gilded Sorrow". Expanded to a four-piece with Jason Taylor on rhythm guitar, their music is more aggressive, straightforward and downright mean than ever before: firing on all cylinders, the foursome delivers their most rocking album of all time with "Gilded Sorrow". Described by Wino as "the heaviest thing he's ever done", this new sonic onslaught from the mighty East Coast foursome is about to leave an indelible mark on the 2024 heavy music landscape!

About the song, Weinrich says: "There was a time when I listened to a lot of daytime radio to take the edge off an extremely mundane lifestyle. George W. Bush was president and the USA had started the Afghanistan war. One day, I heard deputy secretary of defense [Richard] Armitage say: 'If Pakistan gets involved in this, we will bomb them back to the stone age.' I was struck by the callous brutality of this statement, and we crafted 'Stoned Back To The Bomb Age' in a straightforward 'fuck you' to these inhuman war pigs and the other unelected swine that run the world and are plotting humanities demise as you read this!"

"Gilded Sorrow" was produced by Frank Marchand, Weinrich and Taylor. It was mixed and engineered by Marchand and mastered by Alan Douches. It will be issued on vinyl, CD and digital.

Wino spoke to TotalRock's "Hobo On The Radio" show about "Gilded Sorrow". He said in part: "I think it's the heaviest thing I've ever done. I mean, heavy in a sense as not just sludge heavy, but I think it's well-rounded. I would say I think it's the best thing I've done. I like to be able to say that it's the best thing I've ever done because I want everything that I do to be as good or better. Every time I do a record, I set the bar. 'The Church Within' set the bar for 'Sacred'. 'Sacred' set the bar for 'Gilded Sorrow'. We did it with Frank Marchand [at Waterford Digital] in Maryland.

"We added two members. We added Chris Angleberger on bass. He started out in Maryland in a band called TRANQUILIZER, eventually ended up in Florida, and he plays in some tribute bands and stuff like that; he did some original stuff along the way. And then Jason Taylor on second guitar. I think the adding the second guitar to THE OBSESSED was one of the best decisions I've made, because he's a virtuoso guitar player, first of all. Second of all, he really understands my music and me. He came to the table pretty much knowing all my songs. He sent me a really nice letter. We did some touring with SIERRA when we first met — his band SIERRA; he's Canadian. And he sent me a really nice letter saying, 'I see my future playing original music with you. Your music would be the vehicle.' And I must say he contributed quite a bit of good stuff to this record 'Gilded Sorrow'. He co-wrote some stuff with me [and] he made a bunch of great suggestions. The record runs together sort of as one piece. There are a few stops here and there where it needs to stop, but as a rule, it runs together as one piece. And that was Frank Marchand's idea. He wanted to do something a little bit different with the production, but it really works. But Jason did all the segue stuff with his guitar, with some equipment that he has. So no synthesizers were used on this record. It doesn't sound all keyboarded out — don't get me wrong. But for lack of a better word, if people were wondering, this is all guitar stuff. I think he rounded it out really, really well."

Asked if "Gilded Sorrow" has a "much more expansive sound" than previous THE OBSESSED efforts, Wino said: "I think it sounds fantastic. Everything I do with Frank gets better and better. Frank Marchand in Maryland, he's an amazing live sound guy, but he also has an amazing command of the recording studio, because he's got an amazing command of his digital realm. But then he is got all kinds of analog stuff. It's like Les Paul orgy. He knows his gear. And he can use it. He cut his teeth doing live sound, so he understands hard rock. He knows what the fuck he's doing."

Weinrich went on to say that he is "not really pulling any punches" on "Gilded Sorrow". "But at the same time, I'm not trying to shoot myself in the foot either," he explained. "The music has gotta talk. The reason I even have an audience at all is from the music. I appreciate the fact that I've been able to have a long and fruitful career. I really do."

"Gilded Sorrow" track listing:

01. Daughter Of An Echo
02. It's Not OK
03. Realize A Dream
04. Gilded Sorrow
05. Stoned Back To The Bomb Age
06. Wellspring - Dark Sunshine
07. Jailine
08. Yen Sleep
09. Lucky Free Nice Machine

THE OBSESSED was formed in the late 1970s in Potomac, Maryland by legendary Weinrich (SAINT VITUS, SPIRIT CARAVAN). The band spawned in the realm of musicians/artists such as BLACK SABBATH, Frank Zappa, THE DICTATORS and THE STOOGES. The earliest lineup consisted of Wino, bassist Mark Laue, guitarist John Reese, and drummer Dave Flood. In 1983, Wino took over vocal duties and the band became a three-piece to record the "Sodden Jackal" EP.

The band broke up in the late '80s after Wino moved to California to join SAINT VITUS. At that time, a German label, Hellhound Records, and the booking agency that had signed SAINT VITUS, released "The Obsessed", originally recorded in 1985, prompting Wino to reform THE OBSESSED. After multiple lineup changes, the band signed to Columbia Records in 1994 and released its third album, "The Church Within". Despite receiving highly acclaimed reviews, THE OBSESSED would break up following the release, after which Wino formed SPIRIT CARAVAN (then SHINE) and other projects.

In September 2011, THE OBSESSED returned to the stage at Roadburn festival with "The Church Within"'s legendary lineup (featuring Wino, Greg Rogers and Guy Pinhas). The band played a few more reunion shows over the next couple years at Hellfest 2012 and Maryland Deathfest XI in May 2013 with bassist Reid Raley.

Wino announced the full-time return of THE OBSESSED in March 2016 and the band's official signing to Relapse Records to record the follow-up to "The Church Within". The new lineup originally consisted of SPIRIT CARAVAN bassist Dave Sherman and Wino's longtime friend and former road crew member Brian Costantino (drums). On October 31, 2016, Wino announced another new lineup change for THE OBSESSED, including Bruce Falkinburg (bass) and Seraphim (guitar),making that the first time the band had been a four-piece in over thirty-five years.

In 2017, THE OBSESSED unleashed "Sacred", the band's first studio album in over twenty years, further pushing the band into the annals of heavy metal history. After a few years on the road, the lineup stabilized around Brian Costantino on drums, Chris Angleberger on bass, Jason Taylor on guitar, and, of course, Wino at the helm.

THE OBSESSED 2023 is:

Chris Angleberger - bass
Jason Taylor - guitar
Brian Costantino - drums
Scott "Wino" Weinrich - guitar and vocals

Extreme power metal unit DRAGONFORCE has released a new version of its single "Doomsday Party", now unveiled as a duet with Elize Ryd (AMARANTHE). This version will be included as a bonus track on some editions of DRAGONFORCE's highly anticipated upcoming album "Warp Speed Warriors", out on March 15, 2024 via Napalm Records. Led by guitarists Sam Totman and Herman Li — the latter also known for his successful Twitch channel — the Grammy-nominated band has gained millions of YouTube views on their music videos and boasts nearly two million monthly listeners on Spotify. On "Doomsday Party", 1980s rock influences meet captivating retro video game soundscapes and epic guitar solos in true DRAGONFORCE manner, and the original version of the track has already reached over half a million Spotify streams. Ryd's stunning vocal performance gives the song a new edge.

DRAGONFORCE recently finished their massively successful North American headline tour, which featured a brand-new setlist and stage production, as well as special guests AMARANTHE, NANOWAR OF STEEL and EDGE OF PARADISE on several sold-out dates. Now, DRAGONFORCE is preparing for their epic European co-headline tour with AMARANTHE and special guests INFECTED RAIN. Kicking off in February 2024 in Hamburg, the tour is selling out fast with shows already sold out months in advance.

Li comments on "Doomsday Party" (feat. Elize Ryd): "I've been a big fan of AMARANTHE since their demo release. After our mini collab on my Twitch livestream to produce the track 'Cyber Sausage Fest', we were thrilled when Elize was able to create this special duet version of the song with DRAGONFORCE. I just love listening to her incredible singing, and Elize's power dynamic performance on 'Doomsday Party' is pure eargasm. I am sure both DRAGONFORCE and AMARANTHE fans will adore this version of the song too. I'm eagerly anticipating sharing the stage together on our upcoming European co-headline tour!"

Ryd comments on the collaboration: "One of the most crazy and fun collaborations since the 'Cyber Sausage Fest' song. What a banger 'Doomsday Party' is! This song makes every cell in my body hyped, that's what I love about DRAGONFORCE's music. I was extremely happy when I received the request to join in on this track. The vocal recording took place in Stockholm with Jona Tee from H.E.A.T.

"Finally, I wanna say that it is a huge honor for me to officially take part in DRAGONFORCE's history. Thank you so much for having me. It was incredibly fun to tour with you in the USA and Canada. Can't wait to see you again on tour in the UK and Europe!"

"Warp Speed Warriors" was produced, mixed and mastered by Damien Rainaud at Mix Unlimited in Los Angeles, California with DRAGONFORCE guitarists Sam Totman and Herman Li.

In November 2022, DRAGONFORCE released a music video for the song "The Last Dragonborn". The track is taken from DRAGONFORCE's latest studio album, "Extreme Power Metal", which came out in September 2019. Produced in Los Angeles, California by Rainaud at Mix Unlimited, the LP was also recorded, in part, on Li's livestream channel on Twitch with participation from the fans.

"The Last Dragonborn" was the first DRAGONFORCE music video to feature bassist Alicia Vigil, who first joined the band as a touring member in January 2020.

DRAGONFORCE's platinum-selling single "Through The Fire And Flames" brought the London-based Grammy-nominated extreme power metal group international acclaim and was featured as the most challenging song on "Guitar Hero III".

In March 2019, the "Through The Fire And Flames" music video reached a new milestone: it surpassed one hundred million views on YouTube — DRAGONFORCE's first music video to do so.

"Through The Fire And Flames" is the leadoff track from 2006's "Inhuman Rampage" album, which was officially certified gold in July 2017 by the RIAA (Recording Industry Association of America) for sales in excess of half a million copies.

In August 2019, DRAGONFORCE parted ways with longtime bassist Frédéric Leclercq. He has since joined German thrashers KREATOR.

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

MVD Entertainment is proud to announce the release of Billy Idol - State Line: Live At The Hoover Dam, out on Blu-ray and DVD on December 15.  


Kicking off his sell-out 2023 North American spring and summer tour, Billy Idol’s once in a lifetime performance, which illuminated the surrounding Black Canyon of the Colorado River and the Mike O'Callaghan-Pat Tillman Memorial Bridge, features a career-spanning run of chart-topping hits, including “Dancing With Myself,” “Eyes Without A Face,” “Rebel Yell” and “White Wedding”.  







Billy Idol – State Line: Live At The Hoover Dam highlights the history and significance of Hoover Dam and includes performances from two unique sets of Billy Idol’s iconic hits: a full band concert at sunset with special guests that electrified and illuminated the surrounding Black Canyon, and an acoustic duo set (with guitarist/collaborator of over 40 years, Steve Stevens) on the roof of the powerhouse at the foot of Hoover Dam straddling the Colorado River, directly on the Nevada/Arizona state line.


One of the most recognizable faces and voices of rock 'n' roll, with over 40 million albums sold and numerous platinum albums worldwide, the hell-raising rock star is joined on stage by his longtime band and special guest stars, including The Kills' Alison Mosshart, former Sex Pistols guitarist Steve Jones, and No Doubt bassist Tony Kanal.


The Blu-ray and DVD are loaded with bonus features, including an exclusive Q&A: Steve Stevens, Acoustic Dam performance: “To Be A Lover,” “Eyes Without A Face,” and “Rebel Yell,” and a 6-panel concert booklet.


Pre-order the Blu-ray here, and the DVD here.





(Photo - Jane Stuart)

With the 2023 Christmas season in full swing, music fans are on the hunt for new versions of the Holiday songs they love and adore. Spirits have been lifted as word about two new Christmas metal compilations have begun to spread, A Very Metal Christmas Vols. 1 & 2. Both compilations offer refreshing and energetic versions of seasonal favorites by the likes of Rainbow's Graham Bonnet, Megadeth's Chris Poland, King's X's Ty Tabor, George Lynch, Great White's Jack Russell, Vixen's Janet Gardner, Angel's Frank DiMino and many more.


Today, a new single from the second volume is made available on all digital music platforms - an absolutely breathtaking version of the Judy Garland beloved ballad “Have Yourself A Merry Little Christmas”. Performed by legendary guitar virtuoso, formerly of metal giants Megadeth, Marty Friedman proves that music doesn’t need to have walls of distortion or endless solos to be powerful. Instead, Friedman’s take on the song mixes acoustic and electric guitars with nary a distortion pedal in sight. His playing is both passionate and effortless, expressing the hope-amidst-sorrow emotion of the song perfectly. With a stellar guest appearance by Friedman’s life partner and frequent collaborator, Japanese cellist Hiyori Okuda, this track is sure to bring the warmth of the Christmas spirit to any home.


Stream/download the single here, listen below:







A Very Metal Christmas and A Very Metal Christmas II can be ordered via the links below:


A Very Metal Christmas:


- CD
- Vinyl
- Digital


A Very Metal Christmas II:


- CD
- Vinyl
- Digital





A Very Metal Christmas tracklisting:


"All I Want For Christmas Is You" - Tim "Ripper" Owens, Ron "Bumblefoot" Thal, David Ellefson
"Rockin' Around The Christmas Tree" - Cherie Currie, Tracii Guns
"Feliz Navidad" - Stephen Pearcy, Vinnie Moore    
"Carol Of The Bells" - Chris Poland
"Last Christmas" - Graham Bonnet, Mick Box        
"Please Come Home For Christmas" - Carmine Appice, Ty Tabor, Paul Shortino, Phil Soussan    
"White Christmas" - Bulletboys       
"Christmas Eve/Sarajevo 12/2"4 - George Lynch    
"Merry Xmas Everybody" - Kim McAuliffe & Cliff Evans
"Santa Claus Is Comin' To Town" - Paul Dianno   
"Happy Holiday" - Enuff Z'nuff     
"Little Saint Nick" - L.A. Guns      
"Donner & Blitzen" (Achim Koehler Mix) - Thor








A Very Metal Christmas II tracklisting:


"O Holy Night" - Glenn Hughes       
"Blue Christmas" - Jack Russell, Chris Holmes       
"Winter Wonderland" - Fast Eddie Clarke, Steve Overland
"All I Want For Christmas Is You" - Janet Gardner  
"Another Rock And Roll Christmas" - Paul Dianno, Paul Samson
"Have Yourself A Merry Little Christmas" - Marty Friedman         
"It's A Wonderful Life" - George Lynch & Jeff Pilson         
"Father Christmas" - Pretty Boy Floyd         
"Santa Claus Is Comin' to Town" - Gilby Clarke     
"Rudolph the Red-Nosed Reindeer" - Helix           
"Run, Rudolph Run" - Faster Pussycat       
"Silent Night" - Frank DiMino, Tracii Guns          
"What Child Is This?" - Glen Drover