In a new interview with ADK Metal News, Reviews, Reactions & Interviews, FILTER mainman Richard Patrick spoke about how his band has been able to adapt to the access-over-ownership business model of streaming music. He said (as transcribed by BLABBERMOUTH.NET): "I've kind of gotten to the point where I just am, like, I make records because that's what I do. I make records [and] I hope people listen to them. I'm gonna play them at my concerts. But I don't expect anything. I don't expect, like, 'Oh, you're gonna go fucking platinum again.' Those days are just gone."

Asked how the record labels are able to make money from Spotify nowadays and whether they can withhold their releases from streaming platforms, Patrick said: "Well, they sold it out years ago. The record companies were, like, 'Here's our catalog. Pay us a big, huge amount of money first, and then we'll get it to the bands when they ask for it.' So all the music heads made tons of money when they made these deals with Spotify to have the catalogs originally. So, Spotify paid 17 million to Warner Brothers for its catalog and they took it and paid themselves. I'm not saying that's what Warner Brothers did. I'm just using it as a hypothetical. But yeah, it's fuckin gone. It's over."

Pressed about how difficult it is for someone to be a professional musician in this day and age, Patrick said: "I made the last record [2023's 'The Algorithm'] for 20,000 bucks. I made [FILTER's third album, 2002's] 'The Amalgamut' for 350,000 dollars. People bought houses because they worked so hard on a record, and they bought houses. And we'd sell a million records. So you'd pay it back; you'd make it back. So 'The Algorithm' cost me, like, 20 grand. And I don't even know if I've been reimbursed from the label or whatever. I don't even know if I've been reimbursed. I don't even know."

Asked if there is still a benefit for artists to go down the record label route anymore or if they are better off doing things independently, Richard said: "I don't know. The jury's out on where I'm at with my label. The jury's kind of out right now. I've been signed to 10 labels or something — a handful of labels — and I know what it's like when a label wants you to be big and wants to make your life amazing and work your record. And Golden Robot's fighting with everybody else on how to make a living on this. And it's tough. And you don't have sure things. If you get on radio, you'll sell a million records. That's not happening anymore. Radio is not as effective as it used to be. So it's, like, well, what are we? A TikTok account? Do I literally have to like hire a TikTok person and invest 10 grand in doing TikTok videos and starting this whole thing. And I have a TikTok account, and I just don't get it. I don't see what the point is. I release stuff on it, but it's the same as Reels on Instagram or Stories or whatever on Facebook]. But it's all about posting shit; it's all about posting content."

"The Algorithm" arrived on August 25 via Golden Robot Records.

This past June, Patrick told Michael Presti of the 99WNRR radio station that "The Algorithm" reminded him of "The Amalgamut".

Originally conceived in 2018 as a collaboration between Patrick and fellow FILTER founding member Brian Liesegang, the band's new album was given a tentative title, "ReBus", as a nod to FILTER's 1995 debut, "Short Bus", before being changed to "They Got Us Right Where They Want Us, At Each Other's Throats" and later to "Murica" and then back to "They Got Us Right Where They Want Us, At Each Other's Throats". In the end, Patrick went with "The Algorithm".

"The other title was way too long," Richard previously explained. "And I don't wanna be as divisive as I've been in the past. So I decided to just call it 'The Algorithm' 'cause if makes total sense to me."

A new FILTER single, "For The Beaten", arrived in October 2022 and was followed by "Face Down".

FILTER recently completed the "Freaks On Parade" tour with ROB ZOMBIE, ALICE COOPER and MINISTRY.

MEGADETH guitarist Kiko Loureiro has announced his decision to "extend" his absence from the band's touring activities.

Kiko, who revealed in September that he would sit out the next leg of MEGADETH's "Crush The World" tour in order to stay home with his children back in Finland, addressed his future plans in a social media post earlier today (Sunday, November 19). He wrote: "Dear MEGADETH fans,

"I want to share with you a decision that hasn't been easy for me.
In September, I had to step away from the U.S. leg of the tour for family reasons. Looking ahead, during 2024, we anticipate an even heavier touring schedule for MEGADETH. After thorough reflection and discussions with Dave Mustaine and MEGADETH's management, we have collectively agreed that it is the right move to extend my absence. I don't want to hinder any of the band's plans or the hard work of all the incredible people involved in the tour.

"My nine years with MEGADETH have been an unbelievable journey, filled with countless 'pinch-me' moments," he continued. "Unforgettable tours, a Grammy Award for 'Dystopia', a Grammy nomination, and various accolades for 'The Sick, The Dying, And The Dead' are just a few of the highlights. It is hard to put into words the magnitude of these experiences. I am sure any heavy metal fan can appreciate how incredible it is to play and create music in a band you grew up listening to, and to share the stage with a guitar legend like Dave Mustaine, along with phenomenal musicians like James LoMenzo and Dirk Verbeuren, not to mention our incredible crew. However, the most cherished aspect of these nine years has been getting to know the incredible army of devoted MEGADETH fans around the world. Your dedication is inspiring, and I have immense admiration and respect for all of you.

"Much love, see you soon!"

In early September, MEGADETH enlisted new touring guitarist Teemu Mäntysaari (WINTERSUN, SMACKBOUND) to fill in for Kiko.

Last month, MEGADETH leader Dave Mustaine told Ultimate Guitar about Kiko's absence from the band's recent tour: "I love [Kiko] and I want him to get whatever he's going through worked out. And fortunately, he had mentioned the name of a guy, Teemu Mäntysaari. Teemu came out, and he was prepared.

"I don't know when Kiko is coming back," Mustaine continued. "He won't be back for this run [of tour dates]. He's at home, and he's soldiering on — for lack of a better term — and working through whatever it is he needs to get through. Out of respect for him, I didn't pry and ask what exactly it was — because it's really none of my business unless he tells me. But I think for any of the fans that are going to say, 'How's it going to sound? What's it going to be like?' Don't worry. I've picked good guitar players in the past, and I train them well. Teemu is very capable of playing these songs. In fact, we're adding new songs to the set. That is really exciting, too."

Dave added: "I wish Kiko the very best. I love him, and I hope to get some good news from him soon."

In early October, Mustaine told Shaggy of the 94.9 and 104.5 The Pick radio station in Idaho Falls, Idaho about Teemu's addition to MEGADETH: "People are losing their minds over how things are going right now 'cause we have a really good chemistry together.'

According to Mustaine, MEGADETH has been able to change up its setlist a bit as a result of the guitarist switch. "We've got a bunch of songs from our catalog that we're playing, a bunch of new songs too," he said. "We've been able to add a bunch of songs to the set because Teemu was a metal fan. Kiko did not grow up baptized in metal… Like the show we did a couple of nights ago, we opened with 'Hangar [18]' and then we followed it up with 'Mechanix'. We've never done that before, so it's a pretty heavy beginning. And we've added a second track off of the new album with 'Soldier On!', and we're getting ready to add a third."

In September, Mustaine was equally full of praise for Mäntysaari, telling Wes Styles in a separate interview: "He's really great. And I'm super excited with what Teemu has brought. And it's uncanny because he plays a lot like [former MEGADETH guitarist] Marty [Friedman]. And it's really exciting. At certain times I just close my eyes during the set and I just hear these songs played, whether like Kiko in the past or Teemu now, it just sounds really magic because these guys have learned these songs and they're not just going out there and just banging their guitar around; they actually learned the solos from some of the virtuosos that I've played with over my career."

MEGADETH played its first concert with Mäntysaari on September 6 at Revel in Albuquerque, New Mexico.

The 36-year-old Mäntysaari was born in Tampere, Finland and began playing guitar at the age of 12. In 2004, he joined the band WINTERSUN. He has also been a member of SMACKBOUND since 2015.

Loureiro officially joined MEGADETH in April 2015, about five months after Chris Broderick's exit from the group.

Shortly after Loureiro's addition to MEGADETH, Mustaine called him "definitely the best guitarist we've ever had." His comments echoed those he made about Broderick during the latter's tenure in the band. Back in 2013, during the making of MEGADETH's "Super Collider" album, Mustaine wrote in a tweet that Chris was "without a doubt the best guitarist I've ever played with."

Mustaine told Revolver magazine that finding Loureiro "was really a mind-blower. It was the first time since Marty Friedman joined the band that I was really intimidated as a player," he said. "He's such an amazing talent, and he's been coming in with all of these fresh ideas." Mustaine added that Kiko was a good fit personality wise. "Chris [Broderick] and I had a good chemistry, but we weren't really as close as I would have wanted us to be," Mustaine explained. "Kiko, I feel like I've known him for years."

In 2009, Mustaine praised Broderick, saying in an online post: "I am going on record and I am saying unequivocally that Chris is THE BEST GUITARIST MEGADETH has ever had. And the real talented musicians in MEGADETH's alumni will agree, he is an absolute monster. I mean, he plays the catalog better than anyone did. Jeff Young never wanted to do Chris Poland's stuff, and so on, and so on, until the last guitarist we had before we disbanded over my arm injury."

Mustaine added: "It's funny, because just when I think [Broderick] can get no more outrageous, or any more thrilling with the guitar solos, he comes up with something really beautiful like Marty Friedman would do (he has Marty pretty well down pat),and then goes into the GIT styles that Jeff Young did, yet, there is still such a freshness to his playing and he is so raw, it's like having a new prize bull. And even though he ain't a such a young bull, he's definitely an old bull like me."

In addition to Mustaine and Loureiro, MEGADETH's current lineup includes former SOILWORK drummer Dirk Verbeuren and bassist James LoMenzo.

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German heavy metal legends, Grave Digger, are ready to open the next chapter of their more than four decades long band history.


After the lineup change and with their new guitar wizard Tobias Kersting (Chris Boltendahl's Steelhammer, ex-Orden Ogan), Grave Digger are back with the new single "The Grave Is Yours", and to make clear that 80's inspired traditional heavy metal in its purest is more than alive. And that's not all, the completely re-recorded classic track "Back To The Roots" is also part of this release. Straightforward, merciless, right in your face ... this is Grave Digger in 2024.


"The Grave Is Yours" will be released via ROAR! Rock of Angels Records on January 12 worldwide, limited to 500 copies on 7" Red Vinyl, as well as on all popular and well-known download and streaming platforms. Pre-order/save here.







Side A:


"The Grave Is Yours" (Music: Chris Boltendahl & Tobias Kersting · Lyrics: Chris Boltendahl)


Side B:


"Back To The Roots" (Music: Chris Boltendahl & Uwe Lulis · Lyrics: Chris Boltendahl & Thomas Göttlich)


- Produced, mixed & mastered by Chris Boltendahl at Graveyard Studio in Cologne/Germany
- Graphic Conception, Cover Artwork & Layout by Götz Morgenschweis
- Photos by Jens Howorka
- Photo Editing by Uwe Jarling





Grave Digger are:


Chris Boltendahl (Vocals)
Tobias Kersting (Guitar)
Jens Becker (Bass)
Marcus Kniep (Drums)


Tobias “Tobi” Kersting is a great talent and proven heavy metal riffing monster and the band is really happy about this musical enrichment. With excitement and enthusiasm awaiting what lies ahead.. a new Grave Digger era has begun!





Tobi's live baptism of fire with Grave Digger will take place on October 28 in Düsseldorf, Germany at the sold out 40th anniversary show of Metal Queen, Doro.

Jack Osbourne has elaborated on Ozzy Osbourne's recent claim that the quality of Bob Daisley's rehearsal tapes of the original "Blizzard Of Ozz" band with late Ozzy solo band guitarist Randy Rhoads was too "dreadful" to be released to the public.

In a recent episode of of "The Osbournes Podcast", Ozzy and his family discussed Daisley's legendary "Holy Grail" demos, which reportedly contain around eight hours of recording sessions with Rhoads.

When Ozzy and Sharon's son Jack suggested that it should be up to Randy's family to decide whether those recordings should see the light of day, Sharon said: "Exactly." But Ozzy offered a more practical reason for why those tapes have not been made available to the public. "The quality sucks," he said. "The quality is fucking dreadful." Sharon concurred, saying: "[It was recorded] on a little cassette machine — on a tiny little cassette machine. And yeah, it's not for us to do anything with."

During an appearance on Diary Of The Madmen – The Ultimate Ozzy Podcast, Jack attempted to clarify Ozzy's position regarding the unreleased Randy Rhoads recordings, saying (as transcribed by BLABBERMOUTH.NET): "I think that's kind of what [Ozzy] was trying to say. I think where he went with it is, like, if you're gonna release it, there's gotta be a standard to it."

Jack continued: "I think Randy deserves nothing but the best. And you don't wanna release something that's, like, 'Eh.' And that's what he said, he goes, he recorded it on just like a tape recorder. It's not a real studio recording. It's not from the deck or from the mixer or anything like that."

Jack went on to suggest that there were some contractual disagreements that led to the recordings not being made available to the public.

"To my knowledge, the way that — and this is just the way it was kind of presented… Now I could be wrong, but my parents felt that the way that the terms of the deal, it was a big ask, and ultimately, and what they said in the podcast was it should be left to Randy's family," Jack explained. "Because that's what ultimately they're trading on at that point. No one, no one gives a shit that it's Bob Daisley on that. People give a shit that it's Randy Rhoads. I'm not being a dick. The people don't give a shit that it's my dad on that. People wanna hear and see more Randy Rhoads. So my dad's perspective is that should be Randy's family decision for that to exist or not… I think collectively, my parents and the management and everyone was just, like, this is a Randy property at the end of the day, just 'cause there's such a little out there of him. And they just felt it was in bad form [to release it]."

The 73-year-old Daisley, who has sued the Osbournes several times over unpaid royalties, addressed Sharon and Ozzy's latest comments in a new interview with Artists On Record Starring ADIKA Live! Regarding Ozzy's claim that the quality of the unreleased recordings is "dreadful", Bob said: "Well, I don't know if Ozzy's actually heard it. There are snippets of what I have on my web site … And the quality is not bad at all. And it's not a little cassette player. It was done on my boombox that I used to record all our rehearsals on. I used to record the rehearsals really just for us to have a reference of what we were doing as we were writing because the famous last words, 'Oh, we'll remember that tomorrow,' and I'd never, ever wanted to take that chance. So, I used to record everything. That was the only reason I recorded everything, was so I'd have a reference the next day and we wouldn't forget anything. But it's pretty good quality, actually, for [having been] recorded on a cassette player — a big cassette player, one of those boomboxes; in those days, they were called ghetto blasters. [Laughs] People don't call them that anymore. But if anybody wants to hear the quality for themselves, they can judge. It's on my web site. I put snippets there. I put a snippet for the anniversary of Randy's death. I put a snippet there for the when [former Ozzy drummer] Lee [Kerslake] passed away. There's, I think, three or four snippets of about 30 or 40 seconds long. You can play 40 seconds of something legally without having to get permission."

Bob went on to say that his management approached the Osbournes prior to the 2011 release of the 30th-anniversary editions of Ozzy's first two albums, 1980's "Blizzard Of Ozz" and 1981's "Diary Of A Madman", about including the rehearsal demos. "But they wanted to buy it from me and then just let me hand it over, sort of thing, which I wouldn't do," he explained. "But if it was such shitty quality, why would they want to buy it? And they did wanna buy it, so... My manager and I took it to their representative in London. We played [it for him]. I didn't leave it with him; I wouldn't leave it with anyone. I played him some stuff, and he relayed to them, and then they said they wanted to buy it from me. So if it was so shitty, why would they wanna buy it? But I wouldn't sell it anyway, because it would just turn into another Randy-and-Ozzy show sort of thing, and it'd be edited and made to look like, 'Oh, here we are. Randy and Ozzy did everything.' So I wouldn't sell it."

Illustrating the fact that the quality of the unreleased recordings is not as bad as has been suggested, Bob said: "I remember there was a couple of guys that came here, [Andrew] Klein and [Peter M.] Margolis, to do a film on Randy many years ago — it must be 10 or 12 years ago or something. And I played Andrew Klein some of what I had. And as soon as I started playing it, he said, 'Oh.' He said, 'Man, people would just shit.' That's what his words were. I'm just repeating exactly what he said, 'cause I remember it word for word. He said, 'People would just shit if they could hear this.' It's rehearsal studio quality. It's not bad. It's not recording studio quality, mastered like a finished product. Although, having said that, in this day and age, with modern technology, we can clean things up, separate things, do all sorts of things to improve it. I have about eight hours worth of this stuff, of us writing songs. I mean, there's repetitions of songs. There might be six different versions of 'Crazy Train' several different versions of '[Mr.] Crowley' or whatever else. And there's us with ideas that didn't get used and us clowning about and us jamming. It's all good stuff, though."

Circling back to the possibility of making the unreleased Rhoads recordings available to the public, Daisley said: "I get asked that question often: 'When are you going to release it?' People started calling it the 'Holy Grail', because it is the Holy Grail of that music, of us writing that stuff together. It's the original version. Some got changed. There are bits and pieces that didn't get used. And to people that are big fans, that is the Holy Grail of the origination of that music. So people have been terming it the Holy Grail, and it seems a fairly appropriate kind of term for that. And I get asked all the time — often, people coming to the web site, Facebook, whatever — 'When are you gonna release [it]? Isn't there a way around getting that stuff released? I would love to release it. I'd release it tomorrow."

Back in March 2014, coinciding with the 32nd anniversary of Rhoads's death, Daisley first posted some excerpts online of the hours of audio he recorded during the writing, rehearsing and recording sessions for Ozzy's first two classic solo albums, 1980's "Blizzard Of Ozz" and 1981's "Diary Of A Madman".

Daisley told Rock Cellar in a 2012 interview that the 30th-anniversary reissues of both albums could have featured the material as bonus content. He explained, "I offered to supply tapes of our rehearsals and writing sessions, to go as proper bonus material. And I just said that I wanted a royalty out of it, because it's my stuff. But they wouldn't do it because they didn't want to give me a royalty — they just wanted to buy it."

Rhoads and two others were killed on March 19, 1982 when the small plane they were flying in at Flying Baron Estates in Leesburg, Florida struck Ozzy's tour bus then crashed into a mansion. Rhoads was 25 years old.

Daisley said that he had "hours and hours of tapes" from the recording sessions, adding, "You can hear the songs changing, the different parts taking shape, and all this stuff would have been perfect bonus material for the box set. Sadly, the Osbournes are just too greedy and self-absorbed."

In a 2014 interview with Greg Prato of Songfacts, Bob stated about what it was like collaborating with Ozzy: "Good. It was easy. It flowed well. When the band was first together, it really was just Ozzy and Randy and me, because we were writing the stuff and auditioning drummers at the same time — we didn't have Lee [Kerslake]. That went on for a few months and we auditioned about 14 drummers until we found Lee. And we found Lee right before we had to go in to record the first album. Ozzy was fairly easy to work with. He was a bit down at first, because he'd just been fired from BLACK SABBATH and he was depressed and he was unsure of himself. It really damaged his confidence, being fired from BLACK SABBATH. But Randy and I used to encourage him and try to bring him up out of the doldrums. Writing with Ozzy was fairly easy because we had a little songwriting machine going. Randy and I would work on music together just sitting on chairs opposite each other, and then we'd put parts together and then we'd knock it off and Ozzy would sing a melody over it. His melodies were always good. Ozzy's good for melodies. Usually the music came first, Ozzy would sing a melody, and then I would take a tape away into my room and write lyrics by myself to Ozzy's phrasing and melodies that would fit with what he was comfortable with. He wasn't a lyricist and neither was Randy, so I had to wear the lyricist hat. But I enjoyed it. I like writing the lyrics. That's how we wrote together."

Regarding the writing process for "Crazy Train", Bob said: "Well, Randy had the basic riff, the signature riff. Then we worked on music together. He needed something to solo on so I came up with a chord pattern and the section for him to solo over. Before it was called 'Crazy Train', before we even had a title, Randy and I were working on the music. He had his effects pedals, and coming through his amp was a weird kind of chugging sound. It was a phase-y kind of psychedelic effect, this chugging sound that was coming through his amp from his effects pedal. Randy was into trains — he used to collect model trains and so did I. I've always been a train buff and so was Randy. So I said, 'Randy, that sounds like a train. But it sounds nuts.' And I said, 'A crazy train.' Well, that's when the title first was born. And then Ozzy was singing melodies and he was phrasing exactly how it ended up. And I started writing lyrics to it. When we demoed that song in the demo studio in Birmingham, before we'd done the album, before we had Lee Kerslake, we had another drummer with us named Dixie Lee. Dixie Lee was on the demos. We demoed four songs for the record company, Jet Records, so that they could hear what we were doing and what material we were going to be writing. The demo was 'Crazy Train', 'I Don't Know', 'You Looking at Me, Looking at You' and 'Goodbye To Romance'. We didn't have the last verse in 'Crazy Train' written at that stage, so Ozzy just sang whatever it was he sang, so that demo version has a different last verse. But I wrote the last verse for 'Crazy Train' when we were at Ridge Farm recording. So that's how all that came about. I've still got the lyrics sheet that I wrote the lyrics on."

When Prato expressed his surprise at the fact that those demos were never issued as part of a boxed set or something, Bob said: "Well, a couple of years ago when they planned to release the boxed set for the 30th anniversary, I went to Sharon's accountant who handles all her affairs and handles the publishing company and all that. I said, 'Well, I've got these demos and I've got tapes of this recording, outtakes, I've got rehearsal takes, I've got us just chatting, clowning about, songwriting tapes.' I said, 'I've got loads of stuff, I've got hours of it. Why don't you include that on the boxed set?' And I said, 'Well, I'm not just giving it away, I'm the only one that's got this stuff. So I want a royalty on it.' She wouldn't do it. She just wanted to buy it off me for a pittance and I said no. I'm not doing that again. I've been screwed enough."

After Prato told Daisley that he didn't blame him, Bob said: "The fans suffered. Everybody wants to hear that stuff and I was willing to put it out there. But I said, I'm not just giving it to her. Because also what I have to be careful of is if they control it, they can edit it to make it sound like that same old fairytale that they come up with about how Ozzy and Randy wrote everything, which is total bollocks."

Daisley's and Kerslake's parts were removed from earlier reissues of "Blizzard Of Ozz" and "Diary Of A Madman" and replaced by new recordings played by METALLICA's Robert Trujillo and FAITH NO MORE's Mike Bordin after a dispute with Sharon Osbourne over royalties. They were restored for the 30th-anniversary editions.

Ozzy told The Pulse of Radio he was against the idea of replacing the original tracks when he found out about it. "Believe me, it wasn't my doing," he said. "I mean, I didn't know that was being done, 'cause Sharon was fighting all the legal things that were going down at the time. I said, 'What did you do that for?' And she said, 'The only way I could stop everything was if it went to that level.' And I said, 'You know what, whatever the circumstances were, I want the original thing back.' I mean, I wouldn't have done that."

Daisley has previously said that he and Kerslake were fired because of disagreements with Sharon over a number of things, including refusing to do two shows in one day out of worry that Ozzy would blow out his voice.

EXODUS frontman Steve "Zetro" Souza has weighed in on bands who rely heavily 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 the Syncin' Stanley YouTube channel, Zetro was asked for his opinion on singers who use pre-recorded tracks for their lead vocals. He responded (as transcribed by BLABBERMOUTH.NET): "My take on metal singers who do not sing. I mean, I guess it's time to give it up. I practice all the time. I do a five-mile walk every single day, and I'm always singing on the walk, either my own songs or other songs, just to stay in practice, and just so I don't have to rely on that stuff.

"I'll be 60 in a couple of months, so I find that I would feel ripped off," he continued. "If you're going to a concert — hence the word 'concert' — and they're not singing live or using backing tracks… EXODUS isn't like that. We don't rely on things like that. I guess if you're a big arena act and you want to make the sound fuller, I guess it's okay. But at the level that I'm at, I don't think that I would try to fool the fans. You know what I mean? I want them to hear me and go, 'Wow, you're singing just as good as you sang or even better than you did in the '80s on those records.' So I think that that sort of thing you have to do.

"I would never lip sync," Zetro added. "I would never use backing tracks. I hate doing videos 'cause of the lip-sync thing. To me, it's all about being live. Everybody should be able to play their instrument or get out of the game and say, 'Yo, I can't do this anymore. I can't sing this stuff anymore. So instead of me stealing from you fans that are paying such good money to go to these concerts…' I mean, I don't blame you."

KISS frontman Paul Stanley, who has been struggling to hit the high notes in many of the band's classic songs for a number of years, has been accused of singing to a backing tape on KISS's ongoing "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."

This past March, 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."

US heavy metal act, Jag Panzer, performed upon the Headbangers Stage at the 2023 edition of Germany's Wacken Open Air festival.


Professionally-filmed video of the band performing "Black Sunday", "Take To The Sky" and "Generally Hostile" can be viewed below:







Watch the full show here.

ARCH ENEMY's Alissa White-Gluz joined Nita Strauss on stage last night (Tuesday, November 14) at Théâtre Beanfield in Montreal, Quebec, Canada to perform the song "The Wolf You Feed" live for the first time. Video of her appearance can be seen below.

Nita wrote on social media: "The Queen Beast herself Alissa White-Gluz graced the stage with us last night in Montréal. This was long overdue and so much fun to finally get to perform The Wolf You Feed together!!

"Outside of being someone I truly consider a great friend, Alissa has always been one of my absolute favorite vocalists and performers, and to share the stage together for the first time was incredibly inspiring. Grateful for these experiences! Hopefully this is the first time of many!"

Earlier today, Nita's fiancé, drummer and manager Josh Villalta shared a clip of Alissa's performance and he wrote in an accompanying caption: "Last night in Montreal was special… The amazing @alissawhitegluz came out and sang The Wolf Feed with us for the first time! Thank you for coming out and crushing it!"

The studio version of "The Wolf You Feed" featuring White-Gluz appeared on Strauss's sophomore solo album, "The Call of the The Void", which was released in July via Sumerian Records. The LP is a star-studded affair featuring additional guest vocals from DISTURBED's David Draiman, HALESTORM's Lzzy Hale, MOTIONLESS IN WHITE's Chris Motionless, IN FLAMES' Anders Fridén, Hungarian-born vocalist/writer Dorothy Martin, Alice Cooper and Lilith Czar.

When "The Wolf You Feed" was first released as a single in October 2022, Nita said in a statement: "If you look back at old interviews from the last ten years, any time I was asked about collaborating with a vocalist in the future, Alissa White-Gluz was always the first name out of my mouth. She is truly one of my favorite vocalists and performers in the industry and creating this track together was everything I hoped it would be.

"I'm very proud to release this track, especially now with everything else that's going on. This time in history, whether in politics, music, social media, or our personal lives, has been an eye-opening look into the two wolves of a lot of people out there, and maybe this song will be a reminder that we all have the ability to choose how we respond to things."

The lyrics of this song were inspired by "The Story Of The Two Wolves", a legend widely attributed to Native American storytellers. An old grandfather was teaching his grandson about life: "A fight is going on inside me," he said to the boy. "It is a terrible fight and it is between two wolves. One is evil — he is anger, envy, sorrow, regret, greed, arrogance, self-pity, guilt, resentment, inferiority, lies, false pride, superiority, and ego." He continued: "The other is good — he is joy, peace, love, hope, serenity, humility, kindness, empathy, generosity, truth, compassion, and faith. The same fight is going on inside you–and inside every other person, too." The grandson thought about it for a minute and then asked his grandfather: "Which wolf will win?" The grandfather simply replied: "The one you feed."

Alissa added: "Nita and I finally got to collaborate — something we have both wanted to do for years! 'The Wolf You Feed' is a kickass, catchy metal track with a really cool vibe. I kept the 'two wolves' analogy as a foundation throughout the song while playing up the dichotomy of the two sides of the tug of war we all have inside us. I recorded my parts in my home studio and it was an absolute pleasure to build this song with Nita. I am honored to be a part of it! Can't wait to do this again!"

Strauss is currently touring North America as the support act for MAMMOTH WVH, the brainchild of former VAN HALEN bassist Wolfgang Van Halen.

Nita released 2018's "Controlled Chaos" to mass acclaim from fans and media alike, with Metal Injection calling it "a great debut that — as its creator intended — leaves no doubt", and Guitar World stating "'Controlled Chaos' is a panoramic view of Nita Strauss's many strengths".

In March, it was announced that Nita would return to Alice's band for his 2023 tour.

The Alice Cooper North American tour, with an all-new show dubbed "Too Close For Comfort", kicked off in late April in Michigan and continued through late September, including a handful of August stadium shows with DEF LEPPARD and MÖTLEY CRÜE, followed by a co-headlining late summer "Freaks On Parade" tour with Rob Zombie.

Strauss had been playing with Cooper since 2014 when she replaced Australian musician and former Michael Jackson player Orianthi. She joined Alice in time for a mammoth MÖTLEY CRÜE tour. She was recommended to Cooper by the legendary rocker's former bass player and WINGER frontman Kip Winger.

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Rock & Roll Hall Of Fame icons, Foo Fighters, return to rock Austin City Limits in an epic hour featuring classics alongside new highlights from their new album But Here We Are. The new episode premieres November 18 on PBS. Watch on your local PBS station or stream it following the broadcast on the PBS App or at pbs.org/austincitylimits.


Watch Foo Fighters perform their classic "Everlong" from Austin City Limits:







Go behind the scenes with Foo Fighters at Austin City Limits:

Multi-platinum American rock band Skid Row, known for their electrifying performances and timeless hits, is taking their passion for music and fan connection to a whole new level by venturing into the world of spirits. Today, the band proudly announces the launch of Skid Row Spirits, a thrilling and high-octane portfolio featuring Skid Row 18 And Life Single Origin Ultra Premium Rum and Skid Row Midnight Vodka. Skid Row Spirits is a tribute to the band's enduring legacy, providing fans with a taste of the rock 'n' roll lifestyle.


After more than a year in product development, this exciting portfolio comes as a natural extension of the band's creativity, offering fans and spirit enthusiasts alike a chance to experience the same level of intensity and quality they've come to expect from Skid Row's music. For hardcore Skid Row followers, the spirits are an opportunity to connect with the history of the band through every sip of the carefully curated liquid concepts.







Resonating with all Skid Row fans from past to present, Skid Row 18 And Life Single Origin Ultra Premium Rum celebrates the 35th anniversary of the iconic song in 2024 and the nostalgia evoked through its timeless themes and musical craftsmanship. The distinct product is a unique and captivating 18 year expression combining the artistry of Guyanese rum distillation with European aging methods. After being housed in American oak barrels in Guyana, the rum was finished in rare teak wood leggers in Europe. Bold and standing centre stage with 45% ABV, Skid Row 18 And Life Rum blends tradition with innovation, delivering deep tones of nougat with hints of toasted coconut and vanilla bean. The rich and complex flavour profile is complemented by elegant layers of dried fruit with a rounded velvety smooth chocolate finish, resulting in an unparalleled sipping experience for both rum connoisseurs and fans.


Skid Row Midnight Vodka is a smooth yet edgy vodka that captures the essence of the band's exhilarating live performances and uncompromising style. Crafted with the same dedication and passion that Skid Row brings to their music, Skid Row Midnight Vodka is highlighted by a product character as raw and real as the band themselves. Each sip delivers crisp and clear tones of grain and toasted bread, complete with a rounded, dry and bold finish. When the clock strikes midnight, turn to Skid Row Midnight Vodka.


As an extra gift for the launch, collectors and fans can look forward to the Skid Row Spirits Limited Edition Collection – a merch promo pack including both bottles plus exclusively designed playing cards and two guitar picks.


”The idea of having our own brand of liquor has been floating around our collective minds for quite some time. Upon meeting the fine folks at Brands for Fans we realized that the time was now. From their rich history, their association with iconic artists to their attention to detail we knew this idea would finally come to fruition. We’ve been involved with every stage of this process from beginning to end to make sure that the highest quality and character are achieved with every bottle. And we hope that you will enjoy these offerings as much as we do! As always, thank you for your support! Drink responsibly and celebrate life!!” – sNAKE


"Skid Row Spirits are not products that we just put our name on the label then slapped on a bottle, they're products we took pride in creating for our fans to like. We have worked closely with Brands For Fans to develop great tasting spirits that will be enjoyed by both the casual drinker as well as the most discerning palette." - Rachel Bolan


CEO of the drinks partner Brands For Fans, Filip Lundquist, comments: “We’ve loved working with the Skid Row guys – they have had so much energy for the project and passion for delivering the best for their fans. We’ve been able to work with real agility and creativity, which we really appreciate in a partnership. Quality of these liquids are extraordinary”.


Skid Row Spirits will begin a global launch with an initial pre-order rollout in Europe/UK in November* and Australia in December**, followed by Japan, USA and Canada in early 2024.


- Skid Row Midnight Vodka – RRP €35.90 and £35
- Skid Row 18 And Life Ultra Premium Rum – RRP €85.00 and £75.00
- Skid Row Limited Edition Collection - €99.90 and £95


For more information and to buy Skid Row Spirits in Europe/UK, head here. Australian stockist here.


* Bottles available for shipping in EU from first week of December and from UK in second week of December
** Bottles shipping in Australia in January

Prepare to dive into the world of groove metal once again with the latest track from Dirty Audio Machine’s EP Only Fury Remains, which was released in June of this year. The track “Are You Alive” is four minutes of slick riffs, abrasive southern style gutturals, and gritty cleans that will leave an impression. 


The band shares the premise behind the song:


“Like the track before it (“System Of Revolution”), “Are You Alive” is another call to arms, expressing a desire for people to wake up and fight back against their oppressors, and general dismay at how unaware and/or apathetic a lot of people are about what is going on. The people have the power.”




BraveWords is premiering the video for “Are You Alive” – watch below:





Following the success of their previous release, King Of Disappointment in 2022, Dirty Audio Machine returns with Only Fury Remains, a five-song EP that showcases their relentless pursuit of groove, intensity, and energetic lyrical themes. There is no end in sight for these guys either, they have more songs in the pipe and expect to release a new EP in the not-so-distant future.


Main songwriter and band founder Steve Ricardo often finds inspiration striking at 2 AM, prompting him to head to his home studio and record riff ideas using his cell phone. It's a testament to the band's dedication to capturing the essence of their music at any given moment. He also produced and mixed the EP; the artwork, created by LOKI, depicts the end of mankind—a fitting representation of the EP's themes of struggle and anger.





A brick wall of groove metal talking about life’s challenges and making it one day at a time, Only Fury Remains is a heavy, relatable record about how the struggle is real. Purchase the EP on Bandcamp.

In a new interview with Meltdown of Detroit's WRIF radio station, METALLICA bassist Robert Trujillo spoke about his participation in Geddy Lee's new four-part TV documentary series "Geddy Lee Asks: Are Bass Players Human Too?" The Paramount+ series will feature the RUSH legend digging into the lives of Trujillo, former NIRVANA bassist Krist Novoselic, PRIMUS bassist/vocalist Les Claypool, and former HOLE/SMASHING PUMPKINS bassist Melissa Auf Der Maur, making music, and taking part in a range of extracurricular activities, from trading licks with Auf Der Maur, flying in an airplane with Claypool, canning tomatoes with Novoselic to surfing with Trujillo.

Robert said (as transcribed by BLABBERMOUTH.NET): "It was a lot of fun. I got to hang with Geddy for two days solid… I'd met him before, but we were hanging out for 10 to 12 hours through the weekend. And we just kind of threw it all into two days. We had two beautiful days down in SoCal. And it's basically a lifestyle hang. He wants to know, or wanted to know, what's it like in the world, in the life of Robert Trujillo outside of bass? And he came by the house. We went down to Venice Beach. We kind of got a bit of education on the history of my neighborhood and some of the people I grew up with. It was really, really cool. And the stars kind of aligned those two days. The waves weren't huge. They filmed me surfing, and I did the best I could with what we had. And yeah, it was just a lot of fun. It was just one of those weird weekends where everything kind of came together. And my son was actually playing a gig too — I think it was on the Saturday night that [Geddy] was there — and [Lee] came out and checked that out. I think he was only gonna stay for, like, two songs and he ended up staying for, like, 10 songs. So it was pretty cool. And the funniest thing was people that were there to see the show were, like, 'Wait a minute. Is that Geddy Lee?' There was the triple take and the quadruple take, 'cause he had a lot of fans there. But it was just so surreal that he was hanging at a local [gathering] — this is local-style, neighborhood we're talking. We were talking neighborhood kids, neighborhood parents. I mean, it was all very, very localized. And he's coming out there from Toronto."

Trujillo went on to say that it was surreal for him to be spending time with his musical idol whose playing had influenced him from his teenage years.

"I played in backyard party bands at age 16 and we played [RUSH's] 'La Villa Strangiato', we played 'YYZ', we played all those classic songs," Robert said. "The harder, the better back then. And we probably butchered them, but we would play these backyard parties and play RUSH songs in the same way that we also played Ozzy [Osbourne] songs and we played BLACK SABBATH songs and VAN HALEN and all these different bands. So you can imagine hanging out with one of your heroes and just trying to stay grounded. At the end of the day, everybody's a human being and you always wanna treat people with respect and, again, stay grounded. But at the same time, you're going, 'Damn, that's Geddy Lee.'"

In the trailer for "Geddy Lee Asks: Are Bass Players Human Too?", which was released last month, Lee said: "I'm trying to show the world that a bass player can do many things. Join me as I travel to the homes of four bass legends and dive deep into their lives. And their inspirations. Plus some fun making music, as I try to answer one really important question: Are bass players human too?"

He added: "The idea for this show was born out of interviews I did for my first book 'The Big, Beautiful Book Of Bass'. I was struck that these accomplished musicians also lived incredibly interesting, multifaceted lives offstage. Who knew bass players were so effin' human?"

"Geddy Lee Asks: Are Bass Players Human Too?" will premiere on Paramount+ on December 5 in the U.S. and Canada, and December 6 in the U.K., Australia, Latin America, Brazil, Italy, France, Germany, Switzerland and Austria.

The clip below features Trivium performing "Down From The Sky" live in Edinburgh, Scotland with soundboard audio. It was shared online by frontman Matt Heafy.





Bullet For My Valentine wrapped up their North Amnerican tour on November 10th at Hard Rock Live in Orlando, Florida. They were joined by Heafy for "Tears Don't Fall", bringing the house down two songs into their first encore. Check out the fan-filmed video below. 

British guitar sensation, Sophie Lloyd, released her debut album, Imposter Syndrome,via her own Autumn Records on November 10th. She discussed the making of the album with Ultimate Guitar as part of their On The Record series. Check out the interview below.


UG: Is there a riff or a solo, or a song that you're most proud of or that you're most excited about?


Lloyd: "All of them mean so much to me in different ways. This was always an album I said that I wrote for my 15-year-old self. So it's quite like a retrospective album, and it's one that I wrote for that girl who was a bit of an outcast. She just knew she loved music, and she loved all of these artists."




"I had so many posters on my wall of people that are on this album, like Lzzy Hale. I was the biggest Halestorm fan. Me and my mom would sing Halestorm in the car on the way to school. Chris Robertson from Black Stone, Cherry Michael Starr, all of these people — I had their albums on my walls."


"So hearing their voices, that were the voices of my childhood, on the tracks that they're on has just been such a surreal experience. I'd say, especially the Lzzy Hale song. 'Impostor Syndrome', the title song on the album, the lyrics of that song mean a lot to me, and me and Lzzy got together, and we had this really deep, really healing chat for me that kind of validated my feelings about everything."


"And it was just really cool to have one of your heroes talk to you about that. And then she wrote that beautiful song which kind of put everything I thought into words. So that song is very special to my heart."





To coincide with the release of Imposter Syndrome, Lloyd released an official video for "Judge And Jury" featuring Theory Of A Deadman vocalist Tyler Connolly on the same day. It can be viewed below.





Imposter Syndrome is available as a digipack CD, Black Gatefold Vinyl and Limited Edition Gatefold Purple Splatter Vinyl. Orders can be placed here.





Tracklisting:


"Do Or Die" (feat. Nathan James)
"Pressure" (feat. Brandon Saller)
"Imposter Syndrome" (feat. Lzzy Hale)
"Let It Hurt" (feat. Chris Robertson)
"Runaway" (feat. Michael Starr)
"Fall Of Man" (feat. Matthew K. Heafy)
"Lost" (feat. Cole Rolland)
"Hanging On" (feat. Lauren Babic)
"Avalanche" (feat. Trevor McNevan)
"Won't You Come" (feat. Marisa Rodriguez)
"Judge And Jury" (feat. Tyler Connolly)


"Runaway" featuring Michael Starr of Steel Panther:





"Lost" featuring Cole Rolland:





"Hanging On" featuring Lauren Babic:





"Fall Of Man" featuring Matthew K. Heafy of Trivium:

Degenerator is an aggressive musical powerhouse based in Edmonton, Alberta, that combines the genres of post-grunge, stoner rock, and doom into a captivating and relentless fusion. Comprised of two musicians, Barrett Klesko and Jonathan Webster who have already garnered intonation musical acclaim they are demonstrating their musical prowess in their debut album The Abyssal Throne. The second single “Neurotonic” takes heavy music fans deep into a unique and intriguing soundscape full of fresh energy and innovation. 


Klesko comments:


“Loss haunts our hearts. We must cherish our loved ones. Before they are gone. I always strive for stirring emotion, while revealing a glimpse of a mystical hidden depth. This music came from investigations of my connection with both the material and ethereal worlds, and I hope this ignites a similar reflection in others.”




The Abyssal Throne captures the spirit of the '90s and '00s goth and grunge while infusing fresh energy and innovation. The album takes listeners on a rollercoaster of emotions, navigating intricate and progressive time signatures, and balancing thunderous, distorted riffs with intricate melodies that seamlessly intertwine. Each song becomes an adrenaline-fueled journey, inviting listeners to surrender to the primal depths of their own emotions.


The project began as a trial, with Klesko reaching out to his friend Webster, with whom he had previously played in The Order of Chaos. The album started to take shape as Klesko composed to rough drum tracks provided by Webster. What began as an experiment evolved into something entirely unique, distinct from its source material.


The Abyssal Throne is due out November 24, 2023. Preorder on Bandcamp.





Tracklisting:


“Eternalism”
“Finality”
“The Day That Never Comes”
“Darkness Prevails”
“Neurotonic”
“The Children Of The Night”
“Hiraeth”
“The Spiral”
“Heart Like A Hole”
“For Every Truth”
“A Way Out”


"Neurotonic" video:





“Eternalism”:

In an early Christmas surprise for fans, Rock And Roll Hall Of Fame band BON JOVI released a new original holiday song, "Christmas Isn't Christmas", on Island Records today. Recorded recently in Nashville, the song can be streamed below.

BON JOVI frontman Jon Bon Jovi said of the songwriting and recording: "'Christmas Isn't Christmas' is a song that I wrote about family. The sentiment that Christmas really isn't Christmas without YOU which can bring up a lot of memories for people. I also liked to turn it around and know that because of you Christmas IS Christmas."

Over an illustrious career spanning more than three decades since their formation in 1983, BON JOVI has earned their place among global rock royalty and was inducted into the Rock And Roll Hall Of Fame as well as the Songwriters Hall Of Fame. With over 130 million albums sold worldwide, and extensive catalog of hit anthems, thousands of concerts performed in more than 50 countries for more than 35 million fans, and ticket grosses well over $1 billion around the world in the last decade alone, BON JOVI is the consummate rock and roll band.

BON JOVI's latest album, "2020", was released in October 2020 via Island Records. Once again co-produced by John Shanks and Jon Bon Jovi, the record features the entire touring band — keyboardist David Bryan, drummer Tico Torres, bassist Hugh McDonald, guitarist Phil X, percussionist Everett Bradley, and guitarist John Shanks.

Press photo courtesy of Lauren Schneider of Island Records

In a new interview with the "Christian Music Guys" podcast, John Cooper, the frontman and bassist for the Grammy-nominated Christian rock band SKILLET, has weighed in on the argument by some conservative politicians and media pundits that the epidemic of fatherlessness is a greater social problem in America than systemic racism.

The 48-year-old musician, who is promoting his second book, "Wimpy, Weak And Woke", said in part (as transcribed by BLABBERMOUTH.NET): "One of the things the woke are always yelling about is racial disparities. I care deeply about racial disparities. The woke narrative says if there are any disparities between whites and blacks or whites and brown people, or however it goes down, then it has to be oppression; it has to be racism. That's the only reason. And in my [new] book, I say, no, I don't believe that woke narrative. I think a better, more rational approach is to look at the Bible. How does the Bible tell us to thrive? One man and one woman come together in a marital union and covenant for life. They have kids and together they raise their children. And then you see the blessing of God come."

He continued: "If you just look at the statistics, the amount of fatherlessness, if you break it up into racial groups, the amount of fatherlessness coincides with economics and material outcomes. In other words, what I'm trying to say is this, the number one most economically privileged group is Asian Americans. They're the number one most economically privileged group and they have the least fatherlessness. Number two is white people. They're the number two most economically privileged, and they have the second least amount of fatherlessness. Next is brown people and last is black people. So it goes up. I think Asians have something like nine percent fatherlessness. Well, there's no way that white people are ever going to make as much money and have as good of outcomes, educational and whatnot, as Asian people, because we have a 30 percent fatherlessness rate. You can't buck against the kingdom of God. That is a rational argument and it makes so much more sense and it is in line with the scriptures. And that's how I think that we have to handle the world."

In recent years, talk radio host and writer Larry Elder, who has made waves as an outspoken black conservative, has said that the biggest problem facing the black community in America is not systemic racism. "[The number one problem] is the large number of kids entering the world without a father married to a mother," Elder said during a March 2022 talk. "Everything else pales in comparison."

In various interviews over the years, Cooper has said that he "always had faith in God" and that his mother was a "Jesus fanatic." He also claimed that he was willing to put his career on the line to take a stand for Christ.

In 2021, Cooper was asked by the "Undaunted.Life: A Man's Podcast" what he would say to someone who says that Satan works through rock music, and thus Christians shouldn't play rock music. He responded: "I would say Satan can work through just about anything. I would say that music is created not by the Devil; [it is] created by the Lord. All things were created by God. So instead of thinking that the Devil owns a genre of music, I would say capture that music and bring it back into subjection under the lordship of Christ."

As for what he would say to someone who says it is sinful for Christians to have tattoos, Cooper said: "I understand why Christians think that, because of the Old Testament. I would say it probably takes a little bit of a longer explanation of Old Testament law and what it meant. But a short version would be there are some things in the Old Testament that were a picture of something in the New Testament. There are some things that are not pictures, like murder — we don't murder, we don't steal, so and so forth. Dietary restrictions, things like that, were a picture of something.

"Here's what God wanted: God wants to make his people set apart and holy unto his name," he continued. "And I don't think that God does that any longer from the way that we look; he does that now because of Christ's work on the cross, his resurrection, and he sanctifies us, which sets us apart from the sinner and the pagan."

SKILLET's latest album, "Dominion", was released in January 2022 via Atlantic.

"Wimpy, Weak And Woke" will be released on November 14.

John's debut book, "Awake & Alive To Truth", has had over 10 printings and won the Book Impact Award at the 2021 K-Love Fan Awards. His podcast, "Cooper Stuff", continues to grow rapidly as well with over four million downloads and more than two million YouTube views.

John Cooper press photo courtesy of The Media Collective

In a new interview with Gustavo Maiato, SAXON frontman Biff Byford was asked to reflect on "the most challenging" moment in the group's career and how he and his bandmates overcame it. He responded (as transcribed by BLABBERMOUTH.NET): "I think the most challenging period in our career and a lot of British metal bands' career was the sort of early '90s, late '80s when a lot of hair metal came in — your CINDERELLAs and your MÖTLEY CRÜEs and your POISONs, they seemed to take our style and make it their own style and they became very popular. I think when grunge happened over on the West Coast, that made a big hole in a lot of our audience, I think. A lot of rock fans, especially younger rock fans, went to see PEARL JAM and NIRVANA and people like that. So I think that sort of American new wave of grunge thing went round the world like we did. So I don't see any problem with it… We came back later, I think, in the '90s, we came back again strong. I think, really, that was the hardest point, for a lot of bands. I think most bands. I mean, we were very lucky because we had some big hits in the '80s, so we were able to play live. But I think the album sales went down. And maybe we weren't writing such good songs in the '80s, maybe, in the late '80s, you know, like [1988's] 'Destiny'. I think, really, until we got to [1991's] 'Solid Ball Of Rock', I think that's really when we started to turn it around again."

SAXON recently entered the studio to begin recording its new album for a tentative early 2024 release.

Earlier in the year, SAXON guitarist Paul Quinn announced that he was stepping back from touring with the band. As a result of his decision, SAXON canceled its April 2023 South American tour as well as the appearance at the Monsters Of Rock cruise. Quinn has since been replaced on the road by DIAMOND HEAD's Brian Tatler.

Brian has already joined fellow guitarist Doug Scarratt, drummer Nigel Glockler, bassist Tim "Nibbs" Carter and Byford for several European shows but will continue to be a member of DIAMOND HEAD.

SAXON's latest release, "More Inspirations", arrived in March via Silver Lining Music. Following the release of "Inspirations" in 2021, "More Inspirations" is the second "deep dish" serving of the influences which have fed SAXON's immensely successful 40-plus-year career.

Produced by Biff, with Seb Byford helping record the music alongside mixing engineer Jacky Lehmann, "More Inspirations" includes takes on RAINBOW, ZZ TOP and CREAM, as well as "Razamanaz" by NAZARETH, THE WHO's "Substitute", and URIAH HEEP's "Gypsy".

Byford and Quinn are the sole remaining original members in SAXON's current lineup.

Originally from South Yorkshire, England, SAXON has gone on to sell about 23 million albums and has produced such classic songs as "Denim And Leather", "Princess Of The Night", "Wheels Of Steel" and "Power And Glory".

The Mojo Dojo YouTube channel ("I make David Lee Roth things. This channel is dedicated to all things David Lee Roth.") has uploaded the video below, along with the following introduction:


She said "Honey read the small print
If ya want to be with me
When it comes to you and fashion
You're a totally emergency!”


"The famous “Alligator Pants” worn by Diamond Dave throughout the last VH tours and a few times during the solo tours in 2020. Playing with a new concept and idea in combining real imagery with animation alongside DLR. Something incredibly unique about this song- every single part: bass, beat, drum sound, is all DLR singing the sounds. Incredible as always."

Yucatan based melodic death metal outfit Death Scythe have unleashed their latest offering, "Final Ascent", their first new music since the Killing For Pleasure Forever album. 


The band elaborates on the legends that inspired the single: "'Final Ascent' describes the Mayan legend of Chechén and Chacá, a story of two warrior brothers, Tizic and Kinich, who fall in love with the same woman, Nicté Ha. Their rivalry leads to a deadly duel, invoking the wrath of the gods. After their deaths, they are reborn as trees: Tizic as the poisonous and dangerous Chechén, and Kinich as the Chacá, capable of remedying Chechén's poison. The story warns about the existence of the poisonous Chechén tree in the states of Quintana Roo and Yucatán in Mexico, causing painful burns and spreading its poison if the wound is opened. This legend of Chechén and Chacá teaches us that our choices can weave a complex and enduring destiny. It invites us to consider how our actions, even after death, impact the world we leave behind."







For further details, visit Death Scythe on Bandcamp.





 

Crossbone Skully — the exciting new project led by mastermind Tommy Henriksen (guitarist and musical director for Alice Cooper’s band & member of Hollywood Vampires) — shared their explosive single “The Boom Went The Boom” (feat. Phil Collen of Def Leppard) last month and are excited to return with a third new track, the justice-driven, affirmational and anthemic “I’m Unbreakable”, out November 17, digitally via Better Noise Music.


“I’m Unbreakable” was recorded by Henriksen on lead vocals, guitar, bass, percussion and sound design, with Glen Sobel (Alice Cooper, Hollywood Vampires) on drums, Jamie Muhoberac (My Chemical Romance, John Mayer, Seal) on keys, Jason Roller (Ganjo), and The Hellhounds on backing vocals. It was executively produced by the legendary Mutt Lange (AC/DC, Def Leppard) who emerged from retirement to work on the upcoming album. Pre-save “I’m Unbreakable” now at this location.







Henriksen reveals Crossbone Skully’s touring lineup in the live performance shot music video for “I’m Unbreakable” which premiered today, November 16, via YouTube, and can be streamed below. The live band lineup includes Henriksen and Wyse along with up-and-coming musicians including guitarists Sam “Bam” Koltun (Dorothy, Faster Pussycat, Budderside) and Anna Cara — who Henriksen found after seeing her viral YouTube guitar cover videos — along with Tuesdai on drums.


“The entire Crossbone Skully universe is built around the age-old concept of good vs evil, right vs wrong and, as a result, that concept is central to the songs of the album,” shares Henriksen. “With ‘I'm Unbreakable’, we wrote it while thinking about having confidence to know that you can win. We're all warriors just dealing with the bullshit of everyday life that we all gotta deal with. I'm telling everyone to be strong and to believe in yourself because you are a warrior, you've made it this far so you must be unbreakable, remember that.”





Crossbone Skully will release a series of limited-edition 7” vinyl singles with the first of the series having been announced with the release of “The Boom Went The Boom” (feat. Phil Collen of Def Leppard) in October. After initially being available only through Spotify, the band have announced it will now be made available through their merch store at CrossboneSkully.com and will feature “I’m Unbreakable” as its B-side track. The 7” will also come with a limited-edition signed copy of Crossbone Skully’s “Thing #1” ashcan comic. Proceeds from the sale of the limited edition 7” vinyl will be donated to the 501(c)(3) charity MusiCares who offer preventive, emergency, and recovery programs for musicians and music industry workers in times of need.





"The Boom Went The Boom" video:





"The Boom Went The Boom" lyric video:





(Photo - Jason Mayer)


 

Slasherwave outfit and recent Metal Blade Records signees, Gost, will release the thundering thirteen-track full-length, Prophecy, on March 8, today revealing the record's first video/single and pre-orders.


Gost exists in the dark crack between black metal and the most shadowy end of electronic music. Since the release of the Radio Macabre EP at the start of 2013, and the remorseless digital nightmare of their Skull debut album six months later, Texas-based multi-instrumentalist, producer, and main-brain James Lollar has become an increasingly singular force in music. Far more aggressive and sinister than the synthwave he's often grouped with, Gost is a harsh and unique digital nightmare that takes the listener right into the heart of the abyss.


Now Gost returns with their sixth album, Prophecy. Unquestionably their most exhilarating and dangerous sounding work to date, Prophecy is a record that perfectly reflects the horror and grim anxieties of a world beset with religious and political overreach, and progress, "being rolled back to the fucking 1950s."




"It's about an imaginative fall of the Western civilization, the biblical end of the world - the rise of Satan and Armageddon," says Lollar. "In America, there's been a big rise of scared, reactive Christianity again, and almost like a re-emergence of the Satanic Panic. So it felt like an appropriate time to bring Satan back into things."


Recorded alone in Texas during a burst of creativity at the end of 2022, Prophecy is the perfect vessel for such things. Following the experimentation and more melodic touches of 2019's Valediction, Lollar says it also acts as something of a return to older roots, to recapture the spirit of Gost.


"When Valediction came out, COVID hit, and I guess people weren't so into art while the world was on its knees," he says. "I also wanted to reconnect with some of my older fans who maybe didn't feel that album so much. I wanted to go back in time and bring some of the older shit back, some of the older sounds."


In advance of the release of Prophecy, Gost has unveiled the first single, the record's title track, and its accompanying video (which includes intro track, "Judgement").


Elaborates Lollar, "With 'Prophecy,' I wanted to revisit some of the sounds of 'Possessor.' Rather than simply replicate those sounds I expanded upon them. I pushed the saturation and compression to their literal limits, resulting in some of the heaviest sounds I have yet to produce. I wanted to combine some classic EBM elements with my digital metal sound as well. This EBM influence can be heard throughout 'Prophecy.' Horror has been a huge aspect of my sound since day one and that theme is ever present on 'Prophecy,' through ratcheting strings and dreadful choir lines. 'Prophecy' expounds on the slasherwave genre I originally created with 'Behemoth.'"


Watch Gost's "Judgement / Prophecy" video below.





Prophecy will be available on CD, LP, and digital formats. Find pre-ordering options here.





Prophecy tracklisting:


"Judgment"
"Prophecy"
"Death In Bloom"
"Deceiver"
"Obituary"
"Temple Of Tears"
"Decadent Decay"
"Widow Song"
"Golgotha"
"Digital Death"
"Shelter"
"Through The Water"
"Leviathan"


"Judgement / Prophecy" video:





Gost is currently traversing North America supporting Katatonia on their Sky Void Of Stars tour. Additional support is being provided by SOM on select dates.





(Photo - Tracy Lollar)

German-based melodic death metal formation Hiraes - featuring former members of Dawn Of Disease and Critical Mess - will furiously kick off the new year with the release of their sophomore studio album, entitled Dormant, due out January 26 via Napalm Records.


Wasting no time, Hiraes have just unveiled the first single from Dormant - thunderous album opener “Through The Storm”. The track offers a glimpse into the variety of elements on the album, including powerful and varied drumming, poignant and melancholic melodies, infectious choruses, and breathtaking soundscapes – all complimented by Britta's versatile vocals.


The band comments about the track and video: “In a way, the video is a continuation of our first single, ‘Under Fire’, from the last album. It’s dedicated to a storm and its indomitable energy. Experience this debut single and join us as we navigate ‘Through The Storm’ together!“




The band adds: “We are far beyond proud to present our second album Dormant to you! The album will grab you with its intensity from the first second on and won't let you go. We invested a lot of energy, dedication and passion to create this monumental and melancholic piece of melodic death metal. Having played countless shows over the last two years, Dormant captures the energy of Hiraes’ live performances and places the songs right between heart and gut. Once again, none other than the talented staff of Fascination Street Studios under the direction of Jens Bogren are responsible for the refinement of our sound. We are so much looking forward to unleashing Dormant upon all those metalheads out there!“


Watch the official video for “Through The Storm” below.


Compared to their lauded 2021 debut, Solitary, it's immediately evident that Hiraes did not only grow within their sound due to countless live appearances, but have invested more time and energy into developing their sophisticated songwriting and production, leaning further into their own unique sound profile. Due to the use of varying keys and sonic elements, Dormant is undoubtedly fresh without sacrificing the nuances that caused their first album to connect so successfully with fans.


With their very first offering, Hiraes already created an exciting new melodic death metal emergence, built upon a brutalized vocal attack, intense melodies and aggressive guitars. On Dormant, Hiraes  flexes their own trademarks in an intensified way, ranging from versatile drumming, catchy riffs and hymn-like melodies to enthralling soundscapes and the impressive vocal onslaught of singer Britta Görtz. Dormant is a stirring, intense and dynamic death metal affair that is both heavily brutal and dark, yet full of melodic melancholy.





Set to be released on January 26, Dormant will be available in the following formats:


- 1 CD Digisleeve (6page)
- 1 LP Gatefold solid royal blue
- Digital Album


Pre-order here.





Dormant tracklisting:


"Through The Storm"
"We Owe No One"
"Undercurrent"
"Chance To Fail"
"About Lies"
"Come Alive"
"Ocean Child"
"Nightflight"
"Red Soil"
"Dormant"


"Through The Storm" video:





Hiraes are:


Britta Görtz - vocals
Lukas Kerk - guitars
Oliver Kirchner - guitars
Christian Wösten - bass
Mathias Blässe - drums


(Photo - Lisa Ulferts)