In a new interview with Thomann, KORN guitarist James "Munky" Shaffer discussed the inspiration for the band's new album, "Requiem", which was written and recorded entirely during the COVID-19 pandemic. He said (as transcribed by BLABBERMOUTH.NET): "We're so used to having the world as our playground to go and explore. We've been doing this for 25 or more years [now]. And all of a sudden somebody says, 'You can't do that anymore.' We're, like, 'What? What do you mean? I don't know what to do. I'm fucking going crazy.'

"That's how we started the record," he continued. "We were literally going crazy. And I called up my guys and I was, like, 'Yo, Jonathan [Davis, vocals], Head [guitar], can we get over there? Can we get an engineer in there? Can we get a guitar tech just to start coming up with ideas and write some songs?'

"Originally it was supposed to be an EP," Munky added. "And then we were, like, 'well, we have enough songs now to put out an album.' It was, like, nine [songs]; that's not really an album and it's not really an EP."

"Requiem", was released on February 4 via Loma Vista Recordings. The band celebrated the LP's arrival with a special record-release event on February 3 at the Hollywood United Methodist Church in Los Angeles, California. "Requiem Mass" saw the Southern California heavy music pioneers perform an intimate set in front of a 300 attendees.

"Requiem" was produced by Chris Collier and KORN.

KORN kicked off a short run of shows with SYSTEM OF A DOWN on January 31 in Phoenix, followed by dates in San Diego (February 1) and Los Angeles (February 4 and February 5). KORN's headlining tour with CHEVELLE and CODE ORANGE will launch March 4.

Fan-filmed video footage of Bruce Dickinson belting out an a cappella version of the iconic English hymn "Jerusalem" during his February 8 spoken-word show at Warner Theatre in Washington, D.C. can be seen below.

"Jerusalem" has been a staple of English national culture for more than a century and is one of the most famous hymns around, a sort of alternative national anthem for England.

Dickinson's two-month North American spoken-word tour kicked off on January 17 in Fort Lauderdale, Florida and will run through the end of March.

Bruce's spoken-word show is split into two parts. The first section sees him take a humorous and often satirical look at the world from his own very personal perspective, treating the audience to private insights into his drive and ambition, peppered with plenty of MAIDEN anecdotes, and a myriad of other experiences encompassing not just the giddy heights but also the extreme lows, as told first-hand in his inimitable anarchic style, punctuated with photographs, videos and sometimes even erupting into song a cappella, to illustrate a point. The final section of the evening is devoted entirely to the aforementioned question-and-answer session, with the opportunity to pose questions on any subject whatsoever. As Bruce's answers are all completely improvised — the more left-field and quirky the question, the more interesting and compelling the response is likely to be.

Dickinson is considered one of the world's most storied musicians. Aside from decades spent delivering high-octane performances with his larger-than-life persona in IRON MAIDEN, Bruce has lived an extraordinary off-stage existence too. A true polymath, his accomplishments include: pilot and airline captain, aviation entrepreneur, beer brewer, motivational speaker, film scriptwriter, twice-published novelist and Sunday Times best-selling author, radio presenter, TV actor, sports commentator and international fencer — to name but a few.

Dickinson, who had a golf gall-size tumor on his tongue and another in the lymph node on the right side of his neck, got the all-clear in May 2015 after radiation and nine weeks of chemotherapy.




An Evening with Bruce Dickinson

Photo by Craig Hunter Ross

Posted by Warner Theatre on Wednesday, February 9, 2022



An Evening with Bruce Dickinson

Photo by Craig Hunter Ross

Posted by Warner Theatre on Wednesday, February 9, 2022

U.K. thrashers Solitary will release their gig at Bloodstock Festival in 2019 as a CD/DVD package on April 22 via Metalville Records. XXV: Live at Bloodstock also contains studio bonus tracks and extra video footage.


On Sunday, August 11, 2019, Solitary took to the stage at the Bloodstock Open Air festival in the U.K. and delivered a breathless, battering, glorious set of pure thrash metal. The band were celebrating their 25th anniversary of resolute, neck-snapping thrashing, and the Bloodstock performance was a victorious statement of jubilant defiance. The band gave everything that day, as they always have done on the stages of the UK and Europe for the last quarter of a century, and the crowd responded in kind. There was something special in the air, and it’s all here to be relived on CD and DVD with the stunning XXV: Live at Bloodstock package. From the rampaging riff assaults of "Trigger Point Atrocity" and "The Edge Of Violence" to the anthemic "Architects Of Shame" and crowd-pleasing classics like "Keep Your Enemies Closer" and "Requiem," every moment of that Bloodstock set is here to be relived or discovered. This is the ultimate representation of Solitary onstage, as close as you can get to their live intensity without diving into the pit.


XXV: Live at Bloodstock comes with a deluxe booklet and a host of bonus material on both the CD and DVD. Back in 2019, Solitary released a limited-edition EP called XXV which featured three re-recordings of Solitary fan favorites – those studio tracks have been remixed by Mike Bew (Cancer) and remastered by Martin Buchwalter (Accuser, Destruction, Tankard) and appear on the XXV: Live At Bloodstock CD. The DVD portion of this monster release features, alongside the complete Bloodstock set, a pre-show interview with frontman Rich Sherrington and all eight of Solitary’s promo videos to date.







Tracklisting:


CD
“Blackened Skies”*
“Trigger Point Atrocity”*
“Keep Your Enemies Closer”*
“The Edge Of Violence”*
“Architects Of Shame”*
“The Diseased Heart Of Society”*
“Unidentified”*
“Requiem”*
“Requiem” **
“Within Temptation” **
“Keep Your Enemies Closer” **


*Live At Bloodstock
**XXV (Remixed & Remastered)


DVD
“Blackened Skies”*
“Trigger Point Atrocity”*
“Keep Your Enemies Closer”*
“The Edge Of Violence”*
“Architects Of Shame”*
“The Diseased Heart Of Society”*
“Unidentified”*
“Requiem”*
Pre-show Interview
“Keep Your Enemies Closer” **
“Unidentified” **
“Wait” **
“Abominate” **
“I Will Not Tolerate” **
“Catharsis” **
“Spawn Of Hate” **
“The Dark…The Resilient”**


*Live At Bloodstock
**Promo Videos 

DISTURBED frontman David Draiman says that streaming services like Spotify and Apple Music "saved" the music industry.

The 48-year-old singer shared his opinion after a video compilation surfaced of podcaster Joe Rogan repeatedly using the "n-word" on his "Joe Rogan Experience" podcast, which first launched in 2009 and became exclusive to Spotify in late 2020, prompting renewed criticism against both Rogan and Spotify at large. Just a couple of weeks earlier, Neil Young and other musicians pulled their music from the platform over their belief that Rogan and his guests spread COVID-19 misinformation. Meanwhile, some musicians have taken the opportunity to open up larger conversations about Spotify's payout structures, artist rights, and the streaming economy at large.

Draiman addressed Spotify's payment rate to artists in a series of tweets on Wednesday (February 9). He wrote: "All those attacking @Spotify, young and old, would do well to remember a couple little things called MUSIC PIRACY, and BITTORRENT SITES.

"Before streaming took hold, both artists and the very music industry itself was on the verge of collapse. Why? Because the heads of the major labels at the time refused to see the future when a young Sean Fanning and Sean Parker, the guys behind a little startup called @napster, approached them with a new way to reach their consumers at unprecedented levels, and they shot them down. So instead, Fanning and Parker let Napster do it's thing for free. Piracy and BitTorrent sites soon followed along with the new perception that 'music should be free'. Artists suffered, record labels suffered and the industry itself nearly collapsed. It took STREAMING to bring it back to life. Streaming made the labels profitable again, made catalog artists regain a royalty stream, and made Piracy obsolete. Streaming made legacy artists catalogs, like @Neilyoung and others tremendously valuable. It created the current environment where people stream their music, and where musicians had the opportunity to sell their catalogs, which had regained their value, like Neil did.

"Could or should @Spotify have a better streaming royalty rate?" he continued. "I believe so… …but it doesn't take away the FACT that without streaming, there would no longer BE A MUSIC INDUSTRY, and these artists who are complaining after they already sold their catalogs for gargantuan sums of money, would be liquidating their assets… …and many would be struggling to survive.

"Artists you want to blame someone? Blame the heads of the labels in the days prior to Napster who refused to adopt new technology in favor of an antiquated retail system that had a higher profit margin. Blame your lawyers and your management for not negotiating a better royalty percentage in your respective record deals, and blame YOURSELVES for not paying attention to it.

"The majority of the legacy artists out there have newfound riches from streaming… …and music fans have easier and higher quality access to the widest range of music in existence," Draiman added.

"In summary, stop bitching, educate yourselves and read your damn contracts.

"Streaming saved music. Wether you want to accept it or not…its the TRUTH."

Draiman, who has been a vocal supporter of Spotify for years, previously discussed the paltry payments streaming services pay out to music rightsholders in a 2016 interview with "The Jasta Show" podcast. At the time, he said: "It's a simple thing. It comes down to very, very basic principles. The question is, for your individual recording contracts, with whomever you're signed with, what is your digital royalty rate? If it's treated a license, that's a 50-50 split. If it's treated like however they want to go ahead and put it your fine print, and they're giving you 0.04 percent of what they're taking, well, then you can only blame yourself for not reading the contract, number one. Number two, the biggest problem is that when streaming services make deals with record labels, they make deals based on their entire catalog. So any label will license their entire catalog for, let's say, ten million dollars. And over the course of that year, it only generates five million worth of spins. What happens to the other five million? They keep it. And it doesn't go to the artists and it doesn't go back to the streaming service. The record label pockets that. So all of that additional revenue that is pulled out unnecessarily, because it's unjustified, right? — 'cause it should be spin per spin, right? — instead they say, 'Hey, our catalog is gonna be worth 'X' in the next year, give us this.' They are forced to agree to it, because it's the only way they can legally stream the stuff on their platforms. And that's why, if you just saw, and if you look at every single record label's bottom line, digital has become the bulk of their profit margin, or leading towards profit. Warner Bros. just issued a statement this past quarter where it's the smallest loss they've seen in years, and they're going more and more into the positive, because of what they are generating from digital and streaming services. So it's not that there isn't money to be made. The issue is, take a look at your recording contracts, make sure you know what you're getting, and whether we like it or not, streaming isn't the big demon here; YouTube is the big demon. When you're being paid a sixth of what a streaming rate would be, and they're claiming that they're giving you all the bang for your buck because of exposure when you're the reason why people are going ahead and advertising, that's the criminality."

He continued: "The industry is creeping — and, unfortunately, it's a creep — slowly, slowly towards finally making this whole digital concept a little bit more transparent; they're gonna have to, one way or the other, eventually. When they do, just for accounting purposes, for data collection purposes, because that's what ninety percent of these things end up being — big data plays — they're gonna end up having to be accountable.

"Look, the Irving Azoffs of the world, the big heavy hitters of the world, are pushing us forward in that direction. I applaud Nikki Sixx and the guys from SIXX:A.M. for taking a strong stance on the YouTube issue. There are a number of people out there who are doing it right. But people are very quick to demonize streaming services. Spotify and entities like it were created to directly combat piracy. Piracy is the issue, and that's what people are forgetting. It's almost like the media is putting so much hype on these paltry royalty rates, when, in truth, at least there is a royalty rate. You get nothing from piracy — absolutely nothing — and you have an entire generation of fans that have been raised to think that that's okay, when it still isn't."

Draiman added: "All of these streaming services are still — and Spotify in particular — seventy percent of their proceeds are going back towards license holders. License holders — that's the key. But not only that. You can't look at streaming as something that's supposed to replace physical sales. Physical sales are done; they're done. In two years, you won't see records in stores anymore, period. The CD will be as extinct as the VHS tape just became recently; it's just a matter of time. So the entire environment has shifted. The industry is finally adjusting towards it. It's a painful adjustment period, it's gonna take time, but it'll get there, and whether we like it or not, the revenue stream will never be the same. So we need to then re-approach things, simply deal with the status quo, try and make these royalty percentages better, more in our favor, be smart about the recording contracts you are signing, pay attention to the fine print, and make sure you know what you're doing. Start maximizing your touring, start maximizing your merch. You need to view streaming the same that we've always viewed publishing. Same thing — you are being paid per spin, not per sale. It's not the same thing. So streaming royalties are not a whole lot different than publishing royalties. Physical sales may simply no longer be something we can count on, and that is a very hard pill to swallow."

Spotify's total monthly active users grew 18% year over year to 406 million during the fourth quarter of 2021. Its paid premium subscribers grew 16% to 180 million, while its ad-supported monthly active users increased 19% to 236 million.

Spotify has never turned a full-year profit since being listed in 2018.

A major part of Spotify's expenses are the royalty fees that the streaming platform has to pay to the music artists and license holders.




All those attacking @Spotify, young and old, would do well to remember a couple little things called MUSIC PIRACY, and BITTORRENT SITES.

Before streaming took hold, both artists and the very music industry itself was on the verge of collapse.

Why?

— David Draiman (@davidmdraiman) February 9, 2022








Because the heads of the major labels at the time refused to see the future when a young Sean Fanning and Sean Parker, the guys behind a little startup called @napster, approached them with a new way to reach their consumers at unprecedented levels, and they shot them down.

— David Draiman (@davidmdraiman) February 9, 2022








So instead, Fanning and Parker let Napster do it's thing for free. Piracy and BitTorrent sites soon followed along with the new perception that “music should be free”. Artists suffered, record labels suffered and the industry itself nearly collapsed.

— David Draiman (@davidmdraiman) February 9, 2022








It took STREAMING to bring it back to life. Streaming made the labels profitable again, made catalog artists regain a royalty stream, and made Piracy obsolete. Streaming made legacy artists catalogs, like @Neilyoung and others tremendously valuable.

— David Draiman (@davidmdraiman) February 9, 2022








It created the current environment where people stream their music, and where musicians had the opportunity to sell their catalogs, which had regained their value, like Neil did.

Could or should @Spotify have a better streaming royalty rate? I believe so…

— David Draiman (@davidmdraiman) February 9, 2022








…but it doesn't take away the FACT that without streaming, there would no longer BE A MUSIC INDUSTRY, and these artists who are complaining after they already sold their catalogs for gargantuan sums of money, would be liquidating their assets…

— David Draiman (@davidmdraiman) February 9, 2022








…and many would be struggling to survive.

Artists you want to blame someone? Blame the heads of the labels in the days prior to Napster who refused to adopt new technology in favor of an antiquated retail system that had a higher profit margin.

— David Draiman (@davidmdraiman) February 9, 2022








Blame your lawyers and your management for not negotiating a better royalty percentage in your respective record deals, and blame YOURSELVES for not paying attention to it.

The majority of the legacy artists out there have newfound riches from streaming…

— David Draiman (@davidmdraiman) February 9, 2022








…and music fans have easier and higher quality access to the widest range of music in existence.

In summary, stop bitching, educate yourselves and read your damn contracts.

Streaming saved music. Wether you want to accept it or not…its the TRUTH.

— David Draiman (@davidmdraiman) February 9, 2022

During an appearance earlier today (Thursday, February 10) on SiriusXM's "Trunk Nation With Eddie Trunk", DEF LEPPARD drummer Rick Allen spoke about the band's "The Stadium Tour" with MÖTLEY CRÜE, POISON and JOAN JETT & THE BLACKHEARTS. The trek, which was originally planned for 2020 and later moved to 2021, will now kick off in June 2022.

Asked if "The Stadium Tour" will finally take place this year, Allen said (as transcribed by BLABBERMOUTH.NET): "For sure. I think now we're getting to the point where people can be safe, people can be safe enough. I think the way concerts are being run these days, there's no reason why we can't go forward. But it's a moving target. So let's just hope we're on track."

According to Rick, DEF LEPPARD has not made any substantial changes to the production it is planning on bringing when "The Stadium Tour" finally launches on June 16 in Atlanta.

"We basically just superimposed everything that we'd done — all the hard work that we'd done — to the next year," Rick said. "This is two postponements and third year. So let's hope three's the charm."

When it happens, "The Stadium Tour" will mark the CRÜE's first live dates since wrapping its 2014/2015 farewell tour. CRÜE toured with POISON back in 2011 and DEF LEPPARD teamed up with POISON for a string of road dates in 2017, but the upcoming jaunt marks the first time all four acts have hit the road together for an extended tour.

Last May, Allen told "Trunk Nation With Eddie Trunk" that promoters "made the right decision" by postponing The Stadium Tour" for a second time. "I think the primary focus has gotta be people's health and well-being," he said. "So I understand why they made that decision. I think if we had gone out [in 2021], it may have been a bit more of a patchwork of a tour as opposed to being able to play the whole thing from start to finish. So, it's a bummer, but here we are."

Allen went on to say that he and his DEF LEPPARD bandmates were disappointed that they wouldn't be able to perform live again in the U.S. until 2022. "We're really bummed, 'cause, obviously, we wanted to get out there," he said. "It's been a long time. And I know — our fans are so loyal. It's incredible. The fact that we got the largest vote for the [Rock And Roll] Hall Of Fame — the fan vote. So our fans are just particularly special; I mean, they've always been a rock. So I feel for them. And I feel for us. But I just want people to come out and be safe."

As of January 30, 2020, "The Stadium Tour" had already grossed $130 million from one million tickets sold, plus another $5 million worth of VIP seats, according to Billboard.

Tickets ranged from $150 to $400, not counting some varied pricing that reflected demand as part of "dynamic pricing."

In the face of the coronavirus pandemic, thousands of concerts and festivals have either been postponed or canceled, as social distancing and self-quarantining make performing live music and attending live shows all but impossible.

U.S. officials have repeatedly urged Americans to heed what federal, state and local officials are asking of them in order to curtail the spread and dampen the impact of the virus on the populat

Former TESLA guitarist Tommy Skeoch, who left the band in 2006 to receive treatment for substance-abuse issues, reconnected with TESLA bassist Brian Wheat for the first time in more than a decade and a half aboard this year's Monsters Of Rock cruise. The five-day/five-night full ship charter cruise, which departed out of Miami, Florida on February 9, features performances by Skeoch's new band RESIST & BITE while Wheat is onboard showing his art.

Earlier today (Thursday, February 10), Skeoch and Wheat sat down for a joint interview with SiriusXM's "Trunk Nation With Eddie Trunk" during which they discussed their shared history and the circumstances that led to the breakdown of their relationship. Skeoch said (as transcribed by BLABBERMOUTH.NET): "Everyone thinks we hate each other and all this stuff, and it's just not true. I think when I left, there was maybe some weird stuff going on and maybe things were said, but he's my brother; I've known him forever, and we just did a lot of stuff — a lot of great stuff — together, and there's always that. I don't throw that away."

Added Brian: "Me and him went through a lot of this together — we learned how to play together; we wrote great songs together; we shared girls when we were young and single… I may have called him a bastard, and he may have called me a bastard; that's what brothers do. And I wouldn't let anyone call him a bastard, and he probably wouldn't let [anyone call] me [a bastard]. But this is something that me and him did. But in spite of it all, we have this body of work that we did together, and there's a mutual respect and love that's there. And I'm glad I saw him yesterday [when RESIST & BITE performed]; I was really freaked out about it. 'Cause you just see the things that are said [in the press]."

Tommy said: "There's no doubt that I talked my share of shit about Brian; there was times I was hating him. But again, we had a long history, a lot of great music. And seeing him last night was… My wife even said, 'It's good for your soul.' And I said, 'I think my soul was all right, but I'll admit it was kind of cool.'"

Brian agreed: "It was. And honestly, I saw him and he smiled… It was nice to see you smile."

Skeoch, who was a founding member of TESLA, played on the Sacramento five-piece defining albums, including 1986 debut "Mechanical Resonance" and 1990's "Five Man Acoustical Jam".

In a 2021 interview with Eonmusic, Wheat stated about Skeoch's departure: "Well, I don't really like talking about it, to be honest with you, because, quite frankly, he was given many chances, and he chose his path; no one chose it for him."

He continued: "Because I am the outspoken one, you know, the one who will just go, 'Hey, there's a fuckin' elephant in the room, here,' I caught a lot of his shit. And that's just it. Someone asked me the other day if I ever thought I'd be friends with him again, and I said, 'No.' And then I thought that maybe that was a bit harsh, but really, when I think about it, I don't think I ever was his friend."

The bassist went on to say that he believed that Tommy didn't really had a close relationship with anyone in TESLA, with the possible exception of vocalist Jeff Keith. "I don't know if anyone in that band was his friend — maybe Jeff Keith," he said. "So, it's not like we went on vacation together or anything. We worked together, and at a certain point, it got hard to work together — for everybody, not just myself."

Skeoch, who was fired due to substance abuse issues in 1994, rejoined when TESLA reformed more than two decades ago following a brief hiatus. "The sad thing about it is, ironically, when he was in the band from 2000 on, he stayed with me all the time, and I thought we were good friends," Wheat told Eonmusic. "And then he took some shots at me right after he got out of the band again, and at that point, I was just, like, 'Fuck you, dude. I didn't do this to you, man. I tried to help you. And although I was the one that had to bring it up, you were continuing fucking up."

The bassist went on to say that although others in the band struggled with their own demons, none of them let it affect their gig. "[Tommy] alludes to the fact that Jeff was doing the same things and Jeff didn't get treated like that, and, to a degree, maybe he's right, but Jeff never wasn't able to perform, or Jeff didn't miss gigs because he couldn't get ahold of it, or he wasn't out trying to score, or do whatever. I mean, I'm sorry man, but the same thing would happen if it was me."

Finally, he concluded: "That's just the reality of it, and I keep it real. Don't deflect, you know, 'Everyone else did this and that' — own your shit. To this day, I don't really think he's owned it."

In a May 2020 interview with "The Classic Metal Show", Skeoch was asked if he thinks people are now more aware of the "edge" that he brought to TESLA while he was a member of the Sacramento-based act, on and off, for two decades. "Absolutely. Oh, yeah," he responded. "To me, it's been apparent from the get-go, but even early on, on my Facebook pages, just everyone, all they ever say is, 'We still love TESLA, but it's just a different band. There's no balls there now.' And these are not my words, man. I wasn't gonna say anything, 'cause it's just not appropriate. But, yeah, I think it's a different band, and maybe not for the best. That's my opinion. Everyone has an opinion. If they wanna listen to some more loungey, more kind of pop, lighter music, they're doing that now. And if people like that, then go for it. I like to rock hard."


This happened today on #trunknation. Tommy Skeoch (Official) and Brian Wheat reconnect after 15 years! SiriusXM VOLUME 106 tonight 10P ET or anytime SiriusXM app. Monsters of Rock Cruise

Posted by Eddie Trunk on Thursday, February 10, 2022

Blaze Bayley is featured in a new interview with Metal Pilgrim. Check it out below.


Metal Pilgrim: "Our today's interview guest Blaze Bayley talks about his latest studio album War Within Me and the creative process behind it. Blaze also discusses his time in Iron Maiden, including his favourite songs he co-wrote together with Steve Harris on The X Factor and Virtual XI, as well as his current relationship with Bruce Dickinson and other Iron Maiden members, and the fans' love/hate relationship with his time in Iron Maiden.


In addition, Blaze talks about Wolfsbane's reunion and the upcoming studio album, when it will be out and what to expect from it, as well as discuss the current state of heavy metal, metalheads' obsession with vinyl, riding motorcycles, and... using tin foil to warm up."




Wolfsbane were active from 1984 to 1994, and again since 2010, following two brief reunions. To date, the band has released four studio albums, two live albums, two compilation albums, two EPs and three demos. Wolfsbane's current lineup includes Bayley, guitarist Jason "Jase" Edwards (who is producing the new album), bassist Jeff Hateley, and drummer Steve Danger.


Blaze: "We're hoping to release (the new Wolfsbane album) in June this year. We just managed to get a bit of time together where the four of us could be in a room with the appropriate rules in place, and that's when the magic happens. When you get the four guys of Wolfsbane into a room there are sparks, things happen, and we've got an album that is more Wolfsbane than Wolfsbane (laughs). It's crazy. We're listening to the rough mixes and finishing off a little bit here and there. So far the rough versions sound fantastic."  





War Within Me was recorded during 2020 with work split between Blaze’s studio at home in the West Midlands and Christopher Appleton’s studio in Greater Manchester. The now very consistent line-up, chosen from British metal band Absolva, played on the album - Christopher Appleton (guitar, backing vocals), Martin McNee (drums), Karl Schramm (bass). Blaze and Appleton shared the work mixing and producing, whilst Ade Emsley (Iron Maiden, Tank, British Lion, Voodoo Six) handled the mastering.


The album features art design by Akirant Illustration.





Tracklisting:


"War Within Me"
"303"
"Warrior"
"Pull Yourself Up"
"Witches Night"
"18 Flights"
"The Dream Of Alan Turing"
"The Power Of Nikola Tesla"
"The Unstoppable Stephen Hawking"
"Every Storm Ends"

CANNIBAL CORPSE singer George "Corpsegrinder" Fisher has seemingly taken issue with Chris Barnes's recent comment about the state of the death metal genre, saying the scene is "just as great as it's ever been."

Last month, Barnes — who exited CANNIBAL CORPSE in 1995, one year after the release of the band's "The Bleeding" album — took to his Twitter to say that he saw a January 19 Knotfest "A Death Metal Round Table" hosted by Staypuft Mallow and featuring appearances by Fisher, Trevor Strnad from THE BLACK DAHLIA MURDER, Chase Mason from GATECREEPER and Alex Jones from UNDEATH."I just watched a 'death metal' podcast on YouTube that was done about a week ago with the 'top' death metal vocalists," he wrote. "It made me physically ill. I despise what this genre has become."

In a new interview with Elliott Fullam of Little Punk People, Fisher, who is promoting his upcoming debut solo album, weighed in on the state of the death metal scene, saying: "GATECREEPER is pretty cool. I saw a band, FROZEN SOUL, I saw them. There's a bunch of bands going now. The scene is just as healthy as it's ever been. It's just as great as it's ever been. It's not dead. It's not terrible. I'm proud of the death metal scene today. I'm so proud of it — I think it's amazing. I think there's so many great bands.

"Look, we're going out on tour with REVOCATION and WHITECHAPEL — two awesome, great bands. And the scene couldn't be better," he continued before seemingly taking a swipe at Barnes. "And anyone who thinks otherwise, kiss rocks because… I'm proud of the death metal scene. And I encourage everyone to go out…

"Listen to the old bands, of course, " Fisher added. "The old way paved the way. Go listen to POSSESSED; they're the first death metal band. Go listen to them. Listen to everything in between. Listen to KREATOR who, I think, are kind of the bridge, a death-thrash band. Without KREATOR, there would be no CANNIBAL CORPSE. Listen to those bands, and listen to, obviously, all the old classic bands like CANNIBAL and DEATH, OBITUARY, DEICIDE, MORBID ANGEL — I mean, all those bands. Then you have AEON, you have THE BLACK DAHLIA MURDER and DYING FETUS, and, like I said, newer bands. GATECREEPER has been around for a while. There's so much great death metal going on. The scene has never been better, and anyone who thinks otherwise, you know, just… I don't know what to tell you."

After Barnes left CANNIBAL CORPSE to form SIX FEET UNDER, he was replaced in the former band by Fisher.

Five years ago, Barnes spoke about the possibility of SIX FEET UNDER and CANNIBAL CORPSE one day touring together, telling "The Chainsaw Symphony" radio program: "That would be a tough one to put together, my friend. [Laughs] You wouldn't have any problems from my side of things, but I don't think other people would be agreeable to that."

He continued: "I don't think there's animosity [between us]. I think there's just protecting other people's feelings. I think that everyone knows certain things about everything and they'd like to see things a certain way, and that wouldn't portray things a certain way that they would wanna portray them. So… I'm being very general and trying to be diplomatic about it."

Barnes also talked about the circumstances behind his departure from CANNIBAL CORPSE. He said: "I just didn't like being around them, because I was being ridiculed, and I just didn't feel comfortable being in the same room with people that weren't very nice to me personally. And I was part of that too, so we had all of our own type of differences, personally, and I don't think it was gonna be able to be worked out. You know, mutual respect goes a far way when it comes to being in close quarters with people."

He continued: "I'm sure we'd do things differently [today] — I mean, I know we would. It's just the way things worked out. And I don't have any animosity towards those guys at all, and I don't think they do towards me. It's just that… It would be too confusing for things [if we were to tour together], I think, from their perspective."

Barnes added: "I'd do anything. I just like to see a lot of people out there with smiles on their faces; that's the only thing that's important to me, man. Like, seriously, if I see a big crowd of people that everyone's smiling, like, 'Oh, yeah! This is what we've been waiting for,' I'm ready then, man. If I see a small room of people that are just fired up to go, man, it just gets me going on stage, you know. And that's all I'm there for — that feeling, that sharing of energy, man. And I'll go for it any which way to get that any way I can with any person I can get it with. And if it gets to that means to an end, that's all that's important, man — that transference. And some people just don't see it that way, man, and it's cool.

"I'm not gonna be mean to anybody, and I never wanted to be. I'm my own person, and sometimes I'm put at fault for that, and I think we all are in our own way. And that's just life; those are the things we deal with as people."

SIX FEET UNDER's current lineup also includes another former CANNIBAL CORPSE member, guitarist Jack Owen.

SIX FEET UNDER's latest album, "Nightmares Of The Decomposed", was released in October 2020 via Metal Blade Records.

Fisher's solo album, titled "Corpsegrinder", will be released on February 25. The 10-song effort was co-produced by Nick Bellmore (DEE SNIDER, KINGDOM OF SORROW) and Jamey Jasta (HATEBREED) and will be made available through Jamey's new label, Perseverance Music Group.

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Seven Kingdoms have revealed the cover artwork and tracklisting for their fifth full-length album.


Zenith was recorded at Morrisound Recording in Tampa, FL and 8 Arms Audio in Orlando, FL during the summer and fall 2021. The record was mixed and mastered by Jim Morris at Morrisound Recording in November of 2021. The cover art was done by Jan Yrlund (Battle Beast, Korpiklaani, Windrose).


Commented Guitarist Camden Cruz, “This is a body of work that has been put together over the last 5 years. We chose the name Zenith because of what the word means - we think it’s a good representation of the position we are in with this release. Behind the scenes, things are happening daily that will shape the rest of our year into next year and for that we are very excited! We have released the cover song a few days ago with great reviews! Now, we’re just that much more stoked for everyone to hear this newest material. We are certain you will love it! Please check out our campaign starting February 15th!







Zenith tracklisting:


"Diamond Handed"
"A Silent Remedy"
"Love Dagger"
"Chasing The Mirage"
"Valonqar"
"Empty Eyes"
"Magic In The Mist"
"Universal Terrestrial"
"The Water Dance "
"Life Signs"
"I Hate Myself For Loving You" (Cover)





Seven Kingdoms will launch the crowdfunding campaign for the new record on February 15 on Kickstarter.com. It will end on March 22 at Midnight. Zenith is the fifth studio album from Seven Kingdoms and is scheduled to be released worldwide in June after the crowdfunding has completed. The band will complete crowdfunding before their US tour with Beast In Black and spend the months of April and May promoting the release for June.

Swedish death metal masters, Demonical, premiere a lyric video for the first song to be revealed from the band's looming album, Mass Destroyer, set for release on May 6 via Agonia Records. Watch the clip below.


Struck by a burst of inspiration, Demonical indulged in a creative spree immediately after the release of their antecedent offering,"World Domination; and with expertise worthy of death metal veterans, shaped it into Mass Destroyer. Developed in less than two years, the album reflects the energy that spawned its creation, and keeps to the Swede's HM2-beaten track, promising a few twists along the way. Adorned in an old fashioned attire, Mass Destroyer packs a gruesome punch, embodies organic sounding and delivers a truly fiendish experience from well-seasoned old-school death-dealers.


"A huge inspirational boost hit us so why waste time and wait? Just hammer while the metal is hot," explains the band, as to what seems to be a tried and true process, that already preceded Hellsworn (2009), Death Infernal (2011) and Darkness Unbound (2013). "The outcome is here, our seventh full-length and another vicious Demonical assault of Stockholm-style death metal madness and beyond," the band comments. "Once again and as always, we wanted to crawl back in time and explore the early days of death metal but with traces and hints of various other metallic subgenres."




Mark Riddick (Absu, Arsis) added his gruesome touch to Mass Destroyer in designing the fiendish cover artwork. Glashuset and Sellnoise Studios were used for recording with Johan Hjelm and Jonas Arnberg behind the helm, while Karl Daniel Liden mixed and mastered the album at his Tri-Lamb Studios.


"We worked with the same production team as last time and the result turned out nothing but great," the band continues. "A dynamic and breathing album we all feel very satisfied and proud off. Can’t wait to destroy the masses!"





Album formats:


- Digipak CD
- Box CD
- Tape
- LP (Black, Red and PD)
- Digital


Clothing:


- TS
- Zipped hooide


Pre-order here.





Tracklisting:


"We Conquer The Throne"
"Sun Blackened"
"Fallen Mountain"
"Wrathspawn"
"Dödsmarsch"
"Lifeslave"
"Cemented In Ire"
"By Hatred Bound"


"Fallen Mountain" lyric video:





The May release of Mass Destroyer will see the band head out on a headlining string of six dates in Germany and Czech Republic with Nervochaos and Repuked as support.





Lineup:


Christofer Säterdal - vocals
Eki Kumpulainen - lead guitars
Johan Haglund - rhythm guitars
Martin Schulman - bass
Ronnie Bergerståhl - drums


(Photo - Jens Ryden)

San Francisco Bay Area thrashers VIO-LENCE have returned with "Let The World Burn", their second new song in 29 years. It is the title track of their upcoming EP, "Let The World Burn", their first original release since 1993's "Nothing To Gain". The five-song collection will be available worldwide on March 4 via Metal Blade Records.

Frontman Sean Killian commented: "For 34 years, a creation called 'Eternal Nightmare' has been making memories for people around the world. Now, it is time to create some new memories in 2022. I am very proud of the new music we created, and we are fortunate to have worked with some very creative people. Nothing too polished here, unless fragments of glass and broken razor blades are what you consider polished. I love to create, and we hope your heads explode when you hear the new VIO-LENCE."

Filling out the band's ranks on "Let The World Burn" alongside Killian and guitarist Phil Demmel are original drummer Perry Strickland, former OVERKILL guitarist Bobby Gustafson and former FEAR FACTORY bassist Christian Olde Wolbers.

"Let The World Burn" was recorded with Juan Urteaga at Trident Studios (TESTAMENT, MACHINE HEAD, EXODUS), with mixing handled by Tue Madsen (THE HAUNTED, MESHUGGAH) and Grammy Award-winning engineer Ted Jensen (ALICE IN CHAINS, DEFTONES, PANTERA).

"Let The World Burn" track listing

01. Flesh From Bone

02. Screaming Always

03. Upon Their Cross

04. Gato Negro

05. Let the World Burn

In a recent interview with Mark Kadzielawa of 69 Faces Of Rock, Demmel stated about "Let The World Burn": "We had decided to write [some new material]. I didn't wanna do a full-length record. Ten tunes is just… I've got a baby at home. I've got a five-year-old who's just the highest of energies and exhausting. So my time is very valuable and I just don't have the time to write a full-length record. I just felt, let's take little baby steps with the band and see if we can write a couple of tunes — maybe do three or four. It ended up being a five-song EP."

Regarding the songwriting process for "Let The World Burn", Demmel said: "Man, in the 16 years that I was in [MACHINE HEAD], it had thrash moments, but towards the end, there wasn't. And I had written thrash songs. I always have riffs, but it was exciting to… Fuck, [I'm writing an] all-out thrash song. I wanted to capture some moments of 'Eternal Nightmare' [VIO-LENCE's 1988 debut album], and there are some signature VIO-LENCE sounds that I wanted to perpetuate and continue. But also, since I've been playing thrash for a bit too, my right hand has gotten a lot stronger. I'm playing the best that I've ever played. And so I'm pushing the riffs. These aren't songs that you're picking up at Guitar Center and just playing in Guitar Center; they're pretty hard to play. I wanted to push everybody in that sense."

He continued: "I needed [Perry] to be able to accept this material in a language that I could speak with him. And I had to teach him how to understand my language. And it was hard. And it was grueling. It was me and him in a room… Mostly, this record musically was written… I wrote the music but with Perry for… 99 percent of it was just me and him in a room fucking hammering it out. So I'm super proud of him for what he played on the record. It's some of his best playing. It's definitely my best playing that's ever been recorded. Towards the end of my time in [MACHINE HEAD], I wasn't tracking rhythms, so it'd been a long time since I really tracked a metal record. I did a BPMD record and tracked those, but fuck, this is a thrash record, so tracking the rhythms was something refreshing and super cool to me. We did it with Juan Urteaga in his spot, and he's awesome to work with. I had a great time. It was just a great experience recording with Perry. And I kind of let Sean do his own thing 'cause he had his vocals down. Sean is just destroying it on these songs, man; his voice is so unique. And nobody sounds like him. It's sinister, man. 'Cause he had a real high register that he was singing in back in '88, and there's moments of that, really, now. But it's dark, man — he's singing dark. And I fucking love it. I love his lyrics. He's the favorite lyricist that I've ever worked with. He's smart and he's witty and he's colorful with what he does. I thoroughly enjoy his lyrics."

In August 2020, VIO-LENCE released a new digital single, "California Über Alles", a cover version of the DEAD KENNEDYS classic. The band also filmed a music video for the song with director Scott Kirkeeng.

VIO-LENCE released three studio albums between 1988 and 1993. The group reunited soon after Demmel left MACHINE HEAD in late 2018.

The band performed its first comeback concert in April 2019 at the Oakland Metro in Oakland, California and spent most of the ensuing months playing select shows in the U.S. and Europe.

Although MACHINE HEAD frontman Robb Flynn was part of VIO-LENCE's classic incarnation and played on the band's debut album, "Eternal Nightmare", he wasn't approached about taking part in any of the comeback shows.

Killian underwent a successful liver transplant surgery in March 2018. The year before, Killian was diagnosed with stage four liver cirrhosis, which was caused in part by a genetic condition called hemochromatosis.

VIO-LENCE's last album, "Nothing To Gain", was recorded in August 1990, but wasn't released until 1993.

Photo credit: Gene Ambo

On April 8, the four-time Grammy-winning and diamond-certified rock legends AEROSMITH will release "Aerosmith - 1971: The Road Starts Hear" (UMe), a rare and previously unheard rehearsal from 1971, on CD and digital. The effort was originally only available as a limited-edition cassette and vinyl release for Record Store Day in 2021. The heavily sought-after RSD release quickly sold out and debuted on the Billboard 200, hitting No. 2 on the Top Hard Rock Albums chart, No. 12 on the Top Rock Albums chart, No. 13 on the Vinyl Albums chart, and No. 19 on the Top Album Sales chart.

Recently discovered in the AEROSMITH vaults, the original tape had not been touched in decades. This historic recording features seven extraordinary tracks showcasing the early, unbridled talent of the future Rock And Roll Hall Of Fame members including a nascent version of "Dream On", which they would later record and release on their 1973 eponymous major label debut. AEROSMITH is one of the few bands to chart with the same song five decades later; the song was a hit in 1973, reaching No. 59 on Billboard's Hot 100, and re-entered the charts in 2020 at No. 4 on the Hard Rock Streaming Songs chart.

"The Road Starts Hear", produced by Steven Tyler, Joe Perry and Steve Berkowitz, features previously unseen archived photos, images of the original tape box, and liner notes written by Rolling Stone's David Fricke with new interviews and comments from the band about this long-forgotten recording.

The landmark early recording was made with Perry's Wollensak reel-to-reel tape machine in 1971 by Mark Lehman who owned the infamous van and became AEROSMITH's one-man road crew, either in the band's Boston rehearsal room in front of a few select friends or at a rehearsal the band did during a soundcheck for an early show. All that is certain is that the tape captures a young, hungry rock band one year before being discovered and signing with Columbia Records and two years before their self-titled major label debut was released that helped catapult the band to one of the biggest rock acts of all time.

"The Road Starts Hear" features early recordings of gems such as "Somebody", "Movin' Out", "Walkin' The Dog", "Mama Kin" and an early version of AEROSMITH's classic ballad "Dream On", all of which would later be recorded for their landmark debut. Other tracks include "Reefer Head Woman", which would later be recorded for their 1979 album "Night In The Ruts", and the track "Major Barbara", a song that would be featured on their 1986 release "Classics Live".

Listen to the fiery, early rehearsal version of the song "Somebody" below.

Celebrating their 50th anniversary, Rock And Roll Hall Of Fame inductees AEROSMITH have sold more than 150 million albums around the world, produced genre-defining music videos such as "Amazing", "Crazy", "Janie's Got A Gun", "Livin' On The Edge" and "Love In An Elevator", and launched extravagant record-shattering global tours, most recently with their smash hit Las Vegas residency. The band has broken numerous boundaries, including becoming the first rock band with a massive commercially successful hip-hop collaboration with RUN-D.M.C. on "Walk This Way" and the first hard rock band to appear during a Super Bowl halftime show with their 2001 performance, and in 1999, AEROSMITH became the first band to have their own themed attraction at Disney World in Florida, and later Paris with the launch of the Rock 'N' Roller Coaster Starring Aerosmith.

"Aerosmith - 1971: The Road Starts Hear" track listing:

Side A:

01. Intro - Somebody

02. Reefer Head Woman

03. Walkin' The Dog

Side B:

01. Movin' Out

02. Major Barbara

03. Dream On

04. Mama Kin

Professionally filmed video footage of JUDAS PRIEST performing the song "Breaking The Law" on August 15, 2021 at the Bloodstock Open Air festival, which took place at Catton Park, Walton-on-Trent, United Kingdom, can be seen below.

The British heavy metal legends, who are celebrating their 50th anniversary, were rejoined by guitarist Glenn Tipton during their first concert in more than two years. The band also pulled out a number of surprises in its set, including first-ever performances of "One Shot At Glory" and "Invader", as well as several tracks that hadn't been played in a long time, such as "Rocka Rolla (performed for the first time since 1976), "Exciter" (first time since 2005), "Hell Patrol" (first time since 2009), "A Touch Of Evil" (first time since 2005), "Dissident Aggressor" (first time since 2009) and "Blood Red Skies" (first time since 2012).

Tipton was diagnosed with Parkinson's eight years ago — after being stricken by the condition at least half a decade earlier — but announced in early 2018 he was going to sit out touring activities in support of JUDAS PRIEST's latest studio album, "Firepower". He was replaced by "Firepower" album producer Andy Sneap, who is also known for his work in NWOBHM revivalists HELL and cult thrash outfit SABBAT.

As he has done a number of other times over the course of the last three and a half years, Tipton joined PRIEST onstage on Bloodstock for the encore, performing "Metal Gods", "Breaking The Law" and "Living After Midnight".

PRIEST singer Rob Halford recently told Metal Pilgrim that Glenn is "still actively involved with JUDAS PRIEST, a hundred percent. Andy is still standing in that spot for Glenn with Glenn's blessing… And my gratitude to Andy. It couldn't have happened in a better way, if you wanna try and make something good out of it. It was a really important day when Glenn said, 'I think it's probably best if I step to the side and maybe we should let Andy come in.' That was just a really beautiful act of selflessness. That's Glenn treasuring PRIEST and PRIEST's reputation, particularly in live concert more than anything else. So bless Glenn for that. And as a result, Andy stepped in and did amazing work on the 'Firepower' tour, and we're looking forward to doing the same thing with him on this 50th-anniversary [tour]. And don't discount the fact that Glenn can show up. He plays the guitar differently, but there's no reason why Glenn can't show up and do some work. I mean, I've said to Glenn, 'Just walk out on stage and do that to everybody [flashes devil horns], and the people will just go fucking crazy, 'cause you are loved so much.' But I've got a feeling that Glenn's gonna be making the occasional appearance on this 50th-anniversary [tour]."

Bassist Ian Hill is the sole remaining original member of PRIEST, which formed in 1969. Halford joined the group in 1973 and Tipton signed on in 1974. Rob left PRIEST in the early 1990s to form his own band, then came back to PRIEST in 2003. Founding guitarist K.K. Downing parted ways with the band in 2011, and was replaced by Richie Faulkner.

Last November, JUDAS PRIEST announced the rescheduled "50 Heavy Metal Years" North American tour dates for March-April 2022. Support on the trek will come from QUEENSRŸCHE.

Sometimes, the difference between bravery and insanity is indistinguishable: Over the course of four wars in six decades, Adrian Carton De Wiart proved himself to be the most unkillable soldier of all time. The Belgian-born British army officer survived several plane crashes, lost an eye and a hand, sustained eleven grievous injuries: He fully dedicated his life to military services. Whenever there was a war, Adrian Carton De Wiart was there. "Frankly, I had enjoyed the war", he said, peacefully passing away at the age of 83 in 1963.

With their new single "The Unkillable Soldier", Swedish metallers SABATON pay tribute to this unique character of war history — in form of an epic anthem full of fantastic hooks, breathtaking guitar parts and once again a catchy tune. This tune surely will keep you whistling for some time after listening to this song!

Bassist Pär Sundström states about the song: "The story of Sir Adrian Carton De Wiart represents SABATON in many ways, but especially because he never gave up in spite of what was thrown against him. We were really captured by the life of this interesting character who 'frankly enjoyed the war…'"

"The Unkillable Soldier" is taken from SABATON's tenth studio album, "The War To End All Wars", which will be released on March 4 via Nuclear Blast Records. Written and recorded during the COVID-19 global pandemic, the concept album of 11 brand-new songs once again dives deep into the atrocities, miracles, and events tied to the early 20th century's World War I. The tenth album of the Falun-based five-piece will be available in an impressive variety of exclusive formats, including CD, vinyl, and cassette, with most available in limited editions.

"The War To End All Wars" track listing:

01. Sarajevo

02. Stormtroopers

03. Dreadnought

04. The Unkillable Soldier

05. Soldier Of Heaven

06. Hellfighters

07. Race To The Sea

08. Lady Of The Dark

09. The Valley Of Death

10. Christmas Truce

11. Versailles

In a recent interview with Canada's The Metal Voice, SABATON frontman Joakim Brodén said about the musical direction of the band's new material: "It's very much a SABATON album in that way. We've been an evolutionary band always and not a revolutionary band. There's always surprises on a SABATON album but we're never gonna flip the coin and do something totally different on every song on a new album. There's gonna be surprises on every album.

"It's always subjective," he continued. "I think it's pathetic when an artist goes, 'It's the best album we've ever made,' and they keep promoting the same tired line. I say it's up to the listener to decide that, but I know for a fact that everybody in the band, without even sitting in the same room together, because I sort of shipped out the pre-mixes to everyone, and everybody — this is the only time in our history this has happened — everybody came back with, 'Fuck. That sounds great.' Everybody is super happy with the production. We were always happy before, but it was, like, 'Maybe this, maybe that.' Now it was more like, 'Okay, yeah, I have some suggestions and ideas, but wow.' We're really happy with the sound."

SABATON is considered to be one the most important bands to emerge from the Swedish modern metal scene, having been honored with five Metal Hammer Golden Gods Awards (including "Best Live Band" three different years) and nominated several times for the Swedish equivalent of the Grammy Awards, the Grammis. In 2016, SABATON's "The Last Stand" album debuted at No. 1 in three different European countries and cracked the Top 3 in four others. Joakim Brodén (vocals), Pär Sundström (bass), Chris Rörland (guitar), Hannes Van Dahl (drums) and Tommy Johansson (guitar) curate a festival of their own, Sabaton Open Air, that started back in 2008, as well as their own forward-thinking Sabaton Cruise which has been held since 2009.

Japanese rockers Nemophila featuring Mary’s Blood guitarist Saki have released a cover of Loudness classic “Crazy Doctor”, featured on their 1984 album Disillusion. 





Formed in 2019, Nemophila issued three EPs plus a compilation before releasing their debut full-length, Revive, in December 2021 through Space Shower Music. 







Nemophila will tour Japan in June with their Zepp Tour 2022 – “If you don't enter the tiger hole, you won't get a tiger child!” Purchase tickets at 1-tike.com.