In a new interview with The Break Down With Nath & Johnny, METALLICA bassist Robert Trujillo was asked which he prefers playing: big stadium shows or smaller intimate gigs. He responded (as transcribed by BLABBERMOUTH.NET): "Well, I don't know. I mean, I love them both. I don't know how long I can hold up doing huge stadium shows. I think when you have them and you're able to do them and celebrate that kind of energy, you take it. But it's not normal. It happens to be something that we're able to do now, but who knows? Maybe in a few years we're playing a club or whatever, and that's okay too.

"I don't have a preference," he continued. "But I think as long as I can, I'll be trying to play anywhere and it probably will end up probably being a club. Sharing my music in a smaller venue, that's rewarding for me, and I'll take that. And a lot of times that's where people like me end up, and that's totally fine.

"I believe in [METALLICA], and I also know that, for me, as a musician, as a creative type, I do the best I can for those type of [stadium] performances, but at the same time I still feel connected to the other side of it and smaller venues, and having that outlet is really, really rewarding as well," Trujillo added. "So, really, ideally, you wanna have both. You don't wanna put one against the other. But, again, playing a stadium is a blessing. It doesn't happen to a lot of great musicians. So for us to still have that is an honor and a blessing. We don't take that for granted, man."

Trujillo, who was born on October 23, 1964 in Santa Monica, California, tasted success as the bassist in punk-funk pioneers SUICIDAL TENDENCIES and Ozzy Osbourne's band. But in 2003, he successfully auditioned to replace Jason Newsted in METALLICA, a process chronicled in the warts-and-all documentary "Some Kind of Monster".

METALLICA's much-loved former bassist Cliff Burton died in 1986 when the band's tour bus crashed travelling through Sweden on the "Damage Inc. Tour" in support of "Master Of Puppets".

Trujillo told Exclaim! in a 2016 interview that he feels no pressure when compared to his low-end predecessors.

"Whether it's Jason or myself or Cliff, we're all different types of players coming from a different place, but delivering what is best for the band," he said. "That's all I ever do, just try and do the best I can and cater to the song, cater to the music."

METALLICA frontman James Hetfield praised Trujillo during a 2017 interview with the 94.5 The Buzz radio station, saying: "Who else could [have come in and done the job]? I mean, there were a few people we auditioned, I know. It might have worked out with other people, but it's hard to find people that are, say, your age; kind of your upbringing, musically, obviously; ability-wise; they've been on the road. It's not like you're bringing some kid out for his first time, and it's, 'Oh my God!' He's going through all the stuff that you did twenty-five years ago. He's got kids. He's married. It just jelled, and it's still jelling. And his personality is probably one of the best contributions, I think, to the band, 'cause he's so chill, he's so up for anything, he's always in there rehearsing. So he does fit in."

New Zealand's rock powerhouse Black Smoke Trigger have released their anthemic new single “K.M.T.L.”, complete with a dynamic music video that perfectly captures the song's raw intensity.


“K.M.T.L.” speaks to the relentless drive and sometimes dizzying pursuit of making dreams a reality. Partly written at Nashville's historic Sienna Studio and recorded by producer Nick Raskulinecz at his Rock Falcon Studio, the band channelled the grit and determination required to achieve success against the odds into their latest offering. The track sprang to life in the jam room, the initial riff playing out almost as if by instinct.


Guitarist and band leader Charlie Wallace recounts, "‘K.M.T.L.’ began in the jam room, I was talking to the band I noticed my hands were playing the beginning motif of the song, I just kept playing it and we started jamming. It felt like it was building to something so we wanted to write a chorus with tons of energy and I think we got just that by the end of the jam session."




The music video for “K.M.T.L.” is an adrenaline-fueled, visual spectacle. "The opening line 'It all keeps spinning' was the inspiration for what was a highly energetic shoot on a circular camera dolly track," explains Wallace. Filmed on a massive theatre stage next to the Auckland SkyTower, the video features continuous rotation, mirroring the song's theme of pushing through the spin of life's challenges to come out victorious on the other side. "It's lit up like a big stage because we just wanted to show what people can expect when they see us play this track live."





Black Smoke Trigger continue to ride the high of their bombastic rock, anchored by the distinctive guitar work of Wallace and the commanding vocals of Baldrick combined with their pummelling rhythm section courtesy of bassist Dan Fulton, and drummer Josh Te Maro. Fast becoming known for not only churning out certified 10/10, arena ready rock bangers, Black Smoke Trigger are also quickly garnering a reputation for creating incendiary and often death defying music videos. 


"K.M.T.L" follows the success of their previous singles "Proof Of Life", "Perfect Torture" and “The Way Down”, the video for which saw the band perform atop the tallest building in the Southern Hemisphere whilst Wallace jumped off the edge, shredding a guitar solo whilst plummeting 630ft, clocking up over 1.3 million views on YouTube. The release sees Black Smoke Trigger continue to deliver on their promise of high-energy rock music that's both entertaining and deeply relatable.


Prior to this new string of singles, the band put out track “Caught In The Undertow”, the video for which was also a feat of extreme conditions. Filmed at Muriwai beach in Auckland, New Zealand and at a helicopter crash testing facility in a 3.6M deep pool, the whole band performed much of the song underwater creating a stunning visual that has clocked up 3.2 million YouTube views and highlighting the band’s dedication to creating unforgettable visual accompaniments for their hard-hitting rock anthems.


Black Smoke Trigger support Filter on the Australia and New Zealand leg of their Algorithm World Tour this April, and hit the road to support Bruce Dickinson in the UK, France, and the Netherlands this May. For full dates and tickets head to blacksmoketrigger.com.








With their debut full-length album set for release this May, the horizon shines bright for these Kiwi rock trailblazers. For additional info, visit Black Smoke Trigger on Facebook.


(Photo - Christine Solomon)

FLAT BLACK, the band formed by ex-FIVE FINGER DEATH PUNCH guitarist Jason Hook, has released a new single, "Nothing To Some". The track, which features a guest appearance by SLIPKNOT vocalist Corey Taylor, will appear on FLAT BLACK's upcoming debut album, due later this year via Fearless Records. The LP, produced by Hook, was recorded at both Jason's home studio and The Hideout Recording Studio in Las Vegas.

"Nothing To Some" is a rager that is destined to land on year-end "best of" lists and in repeat rotation in your preferred music listening service. Bolstered by anthemic riffs, battering ram percussion, and full-on rhythmic thrust, Taylor's vicious vocals sound as though he gargled with razor blades and battery acid before spewing his parts, and it's a beautiful thing. All of that, combined with a classic metallic influence that is threaded through the song, makes "Nothing To Some" a seriously definitive moment for FLAT BLACK.

"'Nothing To Some' features the brutal and unapologetic Corey Taylor," Hook says. "This guy is a bottomless pit of creativity and delivered a vocal that perfectly matched what I wanted for this track. The guitar solo is unique on the album in the way that I let it rip with no rhythm guitars underneath. Now that I'm in a one-guitar band, I could strip it down and let it be as raw as Corey is on the vocal track. I remember hammering out live takes with Rob [Pierce, drums] pounding away next to me. It was inspiring."

Last August, Hook told "Loudwire Nights" about the collaboration with Taylor: "I developed a friendship with Corey Taylor back in 2020. He and I wrote five songs together. When it came time to put the FLAT BLACK record together, I asked Corey, 'Would you be okay if I used one of the songs?' So, Corey is on the record. He's the only guest on the record."

Hook is joined in FLAT BLACK by singer Wes Horton, bassist Nick Diltz and drummer Rob Pierce.

In an interview with Jake Daniels of the Rock 100.5 The KATT radio station, Hook stated about how FLAT BLACK came together: "Well, I was pretty hell-bent on starting a new band. Music's in my blood. It's a part of my DNA, and I just knew that… I didn't really care how long it took. It just had to be potent. And so, one [musician] at a time… I found Rob first, and he's awesome. And then, of course, Nick; he's from Los Angeles. All my guys are just stellar players. And I wanted to have a good pack of songs. And so here we are."

Regarding the importance of getting along with his bandmates on a personal level, Hook said: "Well, it was a bit of a prerequisite to find guys that were mentally stable and free of drama and that we could hang. It's all about the hang. When you're on tour, you're stuck in this submarine, this rolling submarine, for 18 months. It's important that everyone is compatible. The personalities, I wanted to be very specific about that this time around… We're getting along great."

Having left his prior band in February 2020, which was right before COVID-19 put the entire world on pause, Hook wanted to assume creative control and let his musical free spirit soar in a project that was truly his. He opted to gamble on himself. With great risk comes great reward and the decision to form FLAT BLACK clearly worked out in his favor.

"As a musician, I crave freedom and I wasn't ready to stop creating," Hook shared.

"Life is short," he continued. "We all want to feel satisfied and happy with what we are trying to accomplish in life."

The pandemic shutdown allowed him the opportunity to assemble the right musicians and carefully craft their debut album. FLAT BLACK is armed with an arsenal of riffs that'll rattle your teeth loose from your gums, stadium-sized hooks, arena-ready anthems, and choruses that are guaranteed to touch a nerve. All of those factors combined make FLAT BLACK poised for success.

The origin stories of the rest of the players are indicative of a lifelong love of music and plenty of road-worn experience. The desire to play courses through their veins and propels them forward, which is why they all meshed so well with Hook.

Horton was introduced to music at age 13, thanks to his sister and Guitar Hero. He honed his vocal chops by playing in local bands and making online videos. Various music industry friends and acquaintances would become the connective tissue between himself and Hook. Horton knew he wanted to be a frontman, and FLAT BLACK afforded him that opportunity. Wes loves the fact that his bandmates prioritize songcraft — and that allows him to be the singer he has always wanted to be.

Diltz, who was born and raised in Los Angeles, is the son of a legendary rock music photographer who brought him to concerts during his formative years. He recalls being inspired by watching a VHS video of U2 performing at legendary venue Red Rocks. Seeing fans clamoring for a piece of Bono in the footage is a vision that never left his head. This first exposure to the power of a true rock icon solidified Nick's destiny as a live performer.

Pierce hails from Nashville, a.k.a. Music City. His dad was a race car driver and his grandfather was a pastor. He grew up racing go karts and at first, wanted to follow in his dad's footsteps until he joined the fourth-grade band and was bitten by the music bug. He chose the snare drum over the saxophone and from that moment on, music was the only thing that mattered. Rob got his first drum kit at age 11, which he set up in his dad's car shop. He learned to play his instrument next to 1,000 horsepower engines, which influences his highly energetic style to this day.

FLAT BLACK made its live debut on August 24, 2023 at the FivePoint Amphitheatre in Irvine, California as the support act for GODSMACK.

FLAT BLACK is:

Jason Hook - Guitar
Wes Horton - Vocals
Rob Pierce - Drums
Nicholas Diltz - Bass

In October 2020, FIVE FINGER DEATH PUNCH confirmed that it had officially parted ways with Hook eight months earlier during the band's sold-out European arena tour. He has since been replaced by renowned British virtuoso Andy James, who made his recording debut with FIVE FINGER DEATH PUNCH on "Broken World", a song that was included on the second installment of the group's greatest-hits collection, "A Decade Of Destruction - Volume 2".

After his recovery from emergency gallbladder surgery at the end of 2019, Hook had to leave midway from FIVE FINGER DEATH PUNCH's tour of Europe to address further complications.

Jason, who joined FIVE FINGER DEATH PUNCH in 2009, said about his exit from the band: "As for the reason I'm leaving… well, there really isn't just one. I've been in bands my entire life and I feel like I've done all the good that I can here. It's time to pass the baton and move on to new challenges."

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A post shared by Jason Hook (@jasonhook)

MR. BIG has recruited Michele Luppi (WHITESNAKE) to assist with the lead vocals during the band's ongoing U.K. tour while singer Eric Martin is dealing with an unspecified voice issue.

Earlier today (Friday, March 22),Eric took to his social media to write: "Hey fine folks, Eric here .. So after these last couple shows with my voice going in and out and struggling to keep it together (I'm not gonna get into it ..wear and tear, work overload, voodoo doll curses etc.) I had a crazy idea that could work. I'm bringing out my dear friend and singer Michele Luppi (WHITESNAKE) to join me on stage on these next two shows so I can get my strength back. We'll duet on most of the tunes including the album.

"I don't know how this is going to work but it's better than the alternatives and it sure would make me feel a whole hell of a lot better.

"I met Michele when he was the lead singer in a famous MR. BIG tribute band in the 90's (way before he joined WHITESNAKE as their keyboardist and background vocalist). We've shared the stage a few times in Italy. Michele is a great singer and one of the coolest dudes in this business. If you don't know him already, you're gonna love him.

"We pulled all this together yesterday …the band is all on board … Once in awhile my crazy ideas shine....let's get rocked!"

MR. BIG's ongoing last worldwide tour is aptly titled "The BIG Finish". Since the band's original drummer and co-founder Pat Torpey lost his battle with Parkinson's disease in 2018, the band now feels it's time to mark the end of this chapter of their legacy. The first leg kicked off in Japan and Southeast Asia in July and August 2023, where the band performed for hundreds of thousands of loyal fans at 11 sold-out shows including Budokan in Tokyo, Japan. Joining MR. BIG on drums for this special final world tour is longtime friend of the band Nick D'Virgilio (SPOCK'S BEARD, BIG BIG TRAIN),stepping in for Torpey.

MR. BIG's final tour sees the band performing the entirety of its breakthrough platinum-selling 1991 album "Lean Into It" from start to finish as a featured highlight of the live setlist.

MR. BIG recently entered the studio to record a new studio album to coincide with the last shows of the band's farewell tour.

As a session musician and touring artist, Nick has worked with many different kinds of artists and bands, from TEARS FOR FEARS, Sheryl Crow and Kevin Gilbert to Peter Gabriel and Eric Burdon and the ANIMALS. In 1996, Nick took Phil Collins's place in GENESIS and played on their "Calling All Stations" album. He has also carved out a major presence in the progressive rock world with his bands, SPOCK'S BEARD and BIG BIG TRAIN.

Before joining the Sweetwater team, Nick spent almost five years touring with Cirque Du Soleil's "Totem" as drummer, vocalist, and assistant bandleader.

Hey fine folks, Eric here ..so after these last couple shows with my voice going in and out
And struggling to keep it...

Posted by Eric Martin on Friday, March 22, 2024

In a new interview with Rolling Stone, Ozzy Osbourne spoke about his first-ever Rock And Roll Hall Of Fame nomination as a solo artist. The 75-eyar-old singer, who was inducted as a member of BLACK SABBATH back in 2006, said: "It's been driving me mad. It's an honor that I'm nominated, but I'm not expecting to get in. There's Mariah Carey, there's Cher, Lenny Kravitz. I'm up against some serious people. If I get in, I get in. If I don't, I don't."

Ozzy, who released two albums in the last four years — 2020's "Ordinary Man" and 2022's "Patient Number 9", both produced by Andrew Watt — also confirmed that he is planning to make a new record.

"I'm waiting for Andrew Watt to give me a call," he said. "He's been working with Lady Gaga. I'm dying to make more music."

The legendary BLACK SABBATH frontman, who has struggled with a number of health issues in recent years, was also asked when he thinks he might be physically capable of returning to the live stage. He said: "I would love to, but I can't stand up right. Maybe I'll do something one day. I miss it terribly." Pressed about whether he would do a short set if inducted into the Rock Hall, he says, "Maybe. We'll see."

Last November, Ozzy spoke to Rolling Stone UK about the possibility of returning to the live stage. He said: "I'm taking it one day at a time, and if I can perform again, I will. But it's been like saying farewell to the best relationship of my life. At the start of my illness, when I stopped touring, I was really pissed off with myself, the doctors, and the world. But as time has gone on, I've just gone, 'Well, maybe I've just got to accept that fact.

"I'm not going to get up there and do a half-hearted Ozzy looking for sympathy. What's the fucking point in that? I'm not going up there in a fucking wheelchair. I've seen Phil Collins perform recently, and he's got virtually the same problems as me. He gets up there in a wheelchair. But I couldn't do that."

Ozzy went on to pay tribute to his fans who made it possible for him to have a five-plus-decade career, first with SABBATH and then as a solo artist.

"That's one of the things I've been the most fucking pissed off at: I never got the chance to say goodbye or thank you," he said. "Because my fans are what it's all about. If I can just do a few gigs… They've been loyal to me for fucking years. They write to me, they know all about my dogs. It's my extended family really, and they give us the lifestyle we have. For whatever reason, that's my goal to work to. To do those shows. If it's at Ozzfest or somewhere, or even a fucking gig at the Roundhouse [in London]

"If I can't continue doing shows on a regular basis, I just want to be well enough to do one show where I can say, 'Hi guys, thanks so much for my life.' That's what I'm working towards, and if I drop down dead at the end of it, I'll die a happy man."

Four years ago, Osbourne revealed he was diagnosed with Parkinson's disease, a neurodegenerative disorder that progresses slowly in most people, and has no cure. Ozzy also previously suffered a nasty fall and dislodged metal rods placed in his spine following a quad-bike accident in 2003.

Earlier in November, Ozzy and Sharon's son Jack told The Messenger that his father's days of hitting the road are likely behind him. "I don't think he'll tour again," Jack said. "But he's gunning to do one-off shows — like festivals, gigs, things like that."

"He's not done yet," he added.

In September, Ozzy opened up about his series of operations in an interview with Metal Hammer as he shared his hopes of making "one more album" and a return to touring.

"I've had all the surgery now, thank God," the 75-year-old said. "I'm feeling okay. It was just dragging on. I thought I'd be back on my feet months ago. I just couldn't get used to this mode of living, constantly having something wrong. I can't walk properly yet, but I'm not in any pain anymore and the surgery on my spine went great."

Osbourne also discussed his plans for 2024, saying: "I'm getting myself fit. I've done two albums fairly recently, but I want to do one more album and then go back on the road."

Last July, the BLACK SABBATH singer canceled his appearance at the Power Trip festival due to his ongoing physical ailments.

Ozzy's health issues, including catching COVID-19 two years ago, forced him to cancel some of his previously announced tours.

While Osbourne's health issues forced him to scrap most of his live appearances, the musician said he would return if his condition improved.

Osbourne's previously announced European tour with guests JUDAS PRIEST, originally set for 2019 and then rescheduled three times, was officially canceled in early February 2023.

Despite his health problems, Osbourne has performed a couple of times in the last two years, including at the Commonwealth Games in Birmingham in August 2022 and at the NFL halftime show at the season opener Los Angeles Rams and Buffalo Bills game in September 2022.

According to the Danish music store iMusic, BMG has set a May 31 release date for the "Anno Domini 1989-1995" box set of the Tony Martin-era BLACK SABBATH albums.

The set contains newly remastered versions of "Headless Cross" (1989),"Tyr" (1990) and "Cross Purposes" (1994),plus a new version of "Forbidden" (1995) that guitarist Tony Iommi remixed specially for the collection.

Several albums make their vinyl debut in the LP version of "Anno Domini", while the CD version contains three exclusive bonus tracks: the B-side "Cloak & Dagger" and the Japan-only releases "What's The Use" and "Loser Gets It All". A booklet comes with the set featuring photos, artwork, and liner notes by Hugh Gilmour. The collection also contains a "Headless Cross" poster and a replica concert book from the "Headless Cross" tour.

"Anno Domini" picks up BLACK SABBATH's story in 1989, two decades and multiple lineup changes into the band's groundbreaking career as metal originators. At the time, membership had solidified around riffmaster and founding member Tony Iommi, legendary drummer Cozy Powell (JEFF BECK, RAINBOW, WHITESNAKE),singer Tony Martin and longtime BLACK SABBATH collaborator and keyboardist Geoff Nicholls (QUARTZ, BANDY LEGS).

Included in the set:

* "Headless Cross", "Tyr" and "Cross Purposes" newly remastered
* "Forbidden" newly remixed by Tony Iommi
* 1989 "Headless Cross" tour replica concert book
* 40-page book with photos, artwork and new liner notes
* Replica color tour poster

Disc 1 - "Headless Cross"

01. The Gates Of Hell (2024 Remaster)
02. Headless Cross (2024 Remaster)
03. Devil & Daughter (2024 Remaster)
04. When Death Calls (2024 Remaster)
05. Kill In The Spirit World (2024 Remaster)
06. Call Of The Wild (2024 Remaster)
07. Black Moon (2024 Remaster)
08. Nightwing (2024 Remaster)
09. Cloak & Dagger (2024 Remaster)

Disc 2 - "Tyr"

01. Anno Mundi (2024 Remaster)
02. The Law Maker (2024 Remaster)
03. Jerusalem (2024 Remaster)
04. The Sabbath Stones (2024 Remaster)
05. The Battle Of Tyr (2024 Remaster)
06. Odin's Court (2024 Remaster)
07. Valhalla (2024 Remaster)
08. Feels Good To Me (2024 Remaster)
09. Heaven In Black (2024 Remaster)

Disc 3 - "Cross Purposes"

01. I Witness (2024 Remaster)
02. Cross Of Thorns (2024 Remaster)
03. Psychophobia (2024 Remaster)
04. Virtual Death (2024 Remaster)
05. Immaculate Deception (2024 Remaster)
06. Dying For Love (2024 Remaster)
07. Back To Eden (2024 Remaster)
08. The Hand That Rocks The Cradle (2024 Remaster)
09. Cardinal Sin (2024 Remaster)
10. Evil Eye (2024 Remaster)
11. What's The Use (2024 Remaster)

Disc 4 – "Forbidden" remix

01. Illusion Of Power
02. Get A Grip
03. Can't Get Close Enough
04. Shaking Off The Chains
05. I Won't Cry For You
06. Guilty As Hell
07. Sick And Tired
08. Rusty Angels
09. Forbidden
10. Kiss Of Death
11. Loser Gets It All

Vinyl:

LP 1 - Side A

01. The Gates Of Hell (2024 Remaster)
02. Headless Cross (2024 Remaster)
03. Devil & Daughter (2024 Remaster)
04. When Death Calls (2024 Remaster)

LP 1 - Side B

01. Kill In The Spirit World (2024 Remaster)
02. Call Of The Wild (2024 Remaster)
03. Black Moon (2024 Remaster)
04. Nightwing (2024 Remaster)

LP 2 - Side A

01. Anno Mundi (2024 Remaster)
02. The Law Maker (2024 Remaster)
03. Jerusalem (2024 Remaster)
04. The Sabbath Stones (2024 Remaster)

LP 2 - Side B

01. The Battle Of Tyr (2024 Remaster)
02. Odin's Court (2024 Remaster)
03. Valhalla (2024 Remaster)
04. Feels Good To Me (2024 Remaster)
05. Heaven In Black (2024 Remaster)

LP 3 - Side A

01. I Witness (2024 Remaster)
02. Cross Of Thorns (2024 Remaster)
03. Psychophobia (2024 Remaster)
04. Virtual Death (2024 Remaster)
05. Immaculate Deception (2024 Remaster)

LP 3 - Side B

01. Dying For Love (2024 Remaster)
02. Back To Eden (2024 Remaster)
03. The Hand That Rocks The Cradle (2024 Remaster)
04. Cardinal Sin (2024 Remaster)
05. Evil Eye (2024 Remaster)

LP 4 - Side A

01. Illusion Of Power
02. Get A Grip
03. Can't Get Close Enough
04. Shaking Off The Chains
05. I Won't Cry For You

LP 4 - Side B

01. Guilty As Hell
02. Sick And Tired
03. Rusty Angels
04. Forbidden
05. Kiss Of Death

In the summer of 2022, Martin told "The Rock And Metal Profs: The History And Philosophy Of Rock And Metal" podcast that "two record labels" were going to re-release the albums he recorded with SABBATH. "I don't know when, and I don't know what it's gonna look like," he said. "There was some suggestion a while back that we might be able to put extra tracks and stuff on it. I did offer, and I went to see Tony Iommi and offered some things. And then he said we can't use anything new 'cause nothing new can be released under the BLACK SABBATH name. It can only be stuff that's got the original four members on it.

"I'm expecting it to be a remixed version of whatever the original was; that's what I'm expecting," Tony added. "So I await as you do to find out. Let me know if you hear it first."

When the interviewer expressed hope that the box set will include some live recordings from the Martin era of SABBATH, either in audio or video format, Tony said: "I recorded the writing session with… Eddie Van Halen came over and helped us write one of the tracks [for 1994's 'Cross Purposes' album]. And I had an eight-track recorder at the time in the 1980s, and I used to take it everywhere, this thing. I've got all of the writing sessions and rehearsals recorded. So I sent [Iommi] this, and he went, 'Wow! That's fucking great.' And I said, 'Well, you're welcome to use it, if you wanna put that on.' So, I don't know… Maybe you'll get that on there."

Martin added: "It's great to hear Eddie play."

BLACK SABBATH released six albums with Martin on vocals: "The Eternal Idol" (1987),"Headless Cross" (1989),"Tyr" (1990),"Cross Purposes" (1994),"Cross Purposes Live" (1995) and "Forbidden" (1995). Eventually, Martin and his "Forbidden"-era bandmates were ousted when Iommi reunited with SABBATH's fellow original members.

In January 2022, Martin reflected on his time with SABBATH during an appearance on "The Ron Keel Podcast", saying: "It doesn't haunt me. It's not a bad thing. I've got a lot to be grateful for. SABBATH is the reason why you, and the world, knows about my voice. So there are things to be grateful for. It was hard work for me. I'm 12 years younger than the rest of the guys, so even just circle of friends was different — they're hanging out with Ian Gillan and Brian May, and my best friend is Dave down the road. So that was a gap. And also the experience — they were way ahead of me in experience, at least 12 years further up the road from me, and I never could quite catch them up; they will always have that much more experience than me. So that was hard work."

He continued: "When I first got the gig, it was actually 1986 that I was put on standby when they were with Glenn Hughes on the 'Seventh Star' album. And I don't know what the issues were, but something went wrong with Glenn and they put me on standby. That scared me to death, 'cause it's Glenn Hughes. I can't sing like Glenn Hughes; nobody can sing like Glenn Hughes. Only Glenn Hughes can sing like Glenn Hughes. So that was really scary. Then they got Ray Gillen in. Then he left — he left to join BLUE MURDER with John Sykes, so they called me again and said, 'You'd better come down to the studio and try this out.' And they gave me one song, which was 'The Shining' off 'Eternal Idol', and then two days later said, 'Okay. You've got the job. You've got a week to finish the album.' So right from the start it was scary — it was huge; suddenly being the frontman of BLACK SABBATH was just ridiculous. And yeah, the whole association with me and my voice lasted 11 years."

Seven years ago, Iommi told I Heart Guitar that "it's a shame" that "it took a lot for people to accept" Martin as SABBATH's vocalist. "It's taken all these years later for people to say, 'Oh blimey, that was a good band with good singing.' So it took a long time to get people to really realize how good it was."

In 2018, Iommi spent time in the studio remixing "Forbidden" for a future release. The LP, which features Martin, drummer Cozy Powell and bassist Neil Murray, is often regarded as SABBATH's worst studio recording.

In a 2012 interview with Über Röck, Martin said that he was "surprised" to see Iommi criticizing him in the guitarist's "Iron Man: My Journey Through Heaven And Hell With Black Sabbath" book (referring to the Martin period, especially the touring phase following the release of "Cross Purposes" in 1994, Iommi lambasted his former singer as "unprofessional" and having "no stage presence"). Martin said: "I mean, they never said anything to me. Surely, if you've got a problem, the first person you should say something to is the person that's in the band with you... It sounds like a really stupid thing to say, as they didn't say anything to my face — and, if that's the case, then more fool them for not saying anything, because, you know, we could have fixed it. I said to them, endlessly, that if there was anything they wanted changed, done differently, just to say and we could fix it, but clearly, they didn't, they hadn't got the guts to, obviously, and to write about it in a book afterwards seems a bit daft to me. I'm not bitter about it, but it is surprising... It seems a bit stupid to say that after the event."

Photo credit: I.R.S. Metal (promotional photo)

In a new interview with The Jesea Lee Show, DISTURBED singer David Draiman weighed in on a debate about people using an AI (artificial intelligence) music generator as a tool to create melodies, harmonies and rhymes based on artificial intelligence (AI) algorithms and machine learning (ML) models. Draiman said (as transcribed by BLABBERMOUTH.NET): "I think AI is gonna be a lot more successful at coming up with pop- and EDM-style stuff than it will with coming up with even adult contemporary kind of things — I mean, in extension to rock. Because there is some science to song structure, there's some science in terms of what notes resonate within the human mind more than others, but there is no science to determining that mystical combination of notes that, for whatever reason, this melodic pattern hits you here. You can't teach an artificial intelligence that; it can't learn that… You either have it or you don't. And so for that reason, I do believe that I still have a lot of faith in the future. But, yeah, the less organic things become, the more wary I become."

In recent months, a few other high-profile musicians have shared their views on the use of AI in music, including former MEGADETH guitarist Marty Friedman, who told Australian Musician: "There's gotta be something positive in it. And regardless of whether we're fearful of technology or not, it's gonna be a reality — period. So I think we can fight it all the way and there's been guys in the music business fighting analog and digital forever."

He continued: "It's kind of nostalgic to think of the days when everything was analog and you sat down and you listened to a whole album from beginning to end and it's wonderful and people can still enjoy that, but technology has allowed you and I to talk like this, technology has allowed Pro Tools to happen, which has created some of the best ideas for recording in history."

Friedman added: "We just can't fight it all the way because it's like spitting against heaven; it's not gonna mean anything. So AI, I think its best years are yet to come. It hasn't really done anything that's kicked my ass yet. Of what I've seen, it's just been kind of cute little funny little mashups and stuff, nothing I'd want to sit down and listen to an album of, but technology and AI and all that stuff is a reality. It's not going away, for better or for worse. So the sooner we accept it and accept how we can not only live with it, but benefit by it, the healthier we can all enjoy our lives rather than being some old guy just saying, 'I hate this stuff.' It's really easy to fall into that, especially from people of a previous generation, because we know how good it was back then. There's a lot of crap now because of technology, and it's easy to hate on all that stuff, but it's not going away. So what's the benefit in being negative about it?"

Last September, QUEEN's Brian May spoke about the dangers of artificial intelligence as it relates to creating music, telling Guitar Player magazine: "My major concern with it now is in the artistic area. I think by this time next year the landscape will be completely different. We won't know which way is up. We won't know what's been created by AI and what's been created by humans. Everything is going to get very blurred and very confusing, and I think we might look back on 2023 as the last year when humans really dominated the music scene. I really think it could be that serious, and that doesn't fill me with joy. It makes me feel apprehensive, and I'm preparing to feel sad about this.

"I think a lot of great stuff will come from AI, because it is going to increase the powers of humans to solve problems," he continued. "But the potential for AI to cause evil is, obviously, incredibly huge — not just in music, 'cause nobody dies in music, but people can die if AI gets involved in politics and world domination for various nations. I think the whole thing is massively scary. It's much more far-reaching than anybody realized — well, certainly than I realized."

May is not the only rock musician who has expressed his concern and/or excitement about the potential risks, challenges and benefits associated with the widespread adoption of artificial intelligence (AI) technologies. During an appearance on "Piers Morgan Uncensored", KISS bassist/vocalist Gene Simmons was asked if he is "excited or worried about artificial intelligence, particularly [as it relates to] the music business." He responded: "Music business aside, I am concerned about the lack of legislation. When you enter a new, let's say a new planet, you're about to land on a new [planet], well, clearly there's opportunity there, there are minerals and things — all kinds of opportunities. Without rules of the game… It's like playing sports without rules. Who's gonna do what? You need some rules that are kind and beneficial to mankind, womankind, transkind, all kinds of kinds. Okay, does that cover everybody?"

He continued: "The problem with AI is not… AI is here, whether you like it or not. So let's look at it smartly and let's pass legislation. AI creates a song using my voice, or what sounds like my voice, with a new song, and it sounds just like me and it definitely sounds like that kind of a thing. So when you buy it, who owns the copyright and the publishing, if AI did that? So, is it me, because it sounds like me? You could swear it was me. So these are uncharted [territories]."

Asked if he cares if AI uses his voice to create a new song, Gene said: "We can make a deal."

In an interview with Canada's The Metal Voice, VOIVOD drummer Michel "Away" Langevin said: "Technology, I will always try to use it as much as I can, [including] for my visuals and all that. AI videos, I'm jealous because it would take me three thousand years to do it frame by frame. But what I'm most afraid of, really, is AI controlling high-tech weaponry; that's my main fear. And it's funny because in the '70s, as a kid, I saw a movie called 'Colossus[: The Forbin Project]' about that — about a giant super computer in the USA teaming up with a giant super computer in Russia. They take control of the nuclear weapons and enslave humanity."

Last April, Universal Music had a song called "Heart On My Sleeve", which used deep-faked vocals from their artists Drake and The Weeknd, removed from the streaming services, claiming in a statement that "the training of generative AI using our artists' music" was "a violation of copyright law".

Pop singer Grimes, whose real name is Claire Boucher, said she would "split 50% royalties on any successful AI-generated song that uses my voice". "Same deal as I would with any artist I collab[orate] with. Feel free to use my voice without penalty," she wrote on social media.

This past July, AVENGED SEVENFOLD's M. Shadows spoke about artificial intelligence during an appearance on an episode of Doc Coyle's (GOD FORBID, BAD WOLVES) "The Ex Man" podcast. He said in part: "I think when you look back at all the things of the past. If I had to be a 41-year-old singer right now thinking about the things of the past, of music, so many of my favorite artists slapped me in the face and challenged me with records. I had expectations, and then something came out that I was heartbroken; I couldn't believe it. And when I look back, I needed that, and I needed to be taught that. And I have so much respect for these artists that did that to me. There was a lot that gave me the same thing — the names escape me right now — but there was so many things that challenged me that broke my heart at the time. Like going from the first MR. BUNGLE record, and then going to 'Disco Volante', Mike Patton's not even singing; he's murmuring the whole time. And then they do 'California'… I remember Brian [Haner, Jr., a.k.a. AVENGED SEVENFOLD guitarist Synyster Gates] was literally in a depression when that record came out because of how grand that first record was. And then it becomes your favorite thing 'cause you're, like, 'These motherfuckers are crazy. They don't care.'"

The singer, whose real name is Matt Sanders, continued: "But what I think is interesting about AI. 'Cause if you think of what AI is at this point, AI is an accumulation of everything it's known before. So if you were to say, 'Make an AVENGED SEVENFOLD song,' AI doesn't know how to go outside of the box and actually create what [we] would do. But it knows how to take what we've already done and mix and match it in a different way. So what I think is awesome is imagine you're, like, 'This new AVENGED record is trash. I fucking don't get it. I'm so over this crap they're trying to do. Give me a record like…' And then let AI make it. Then there you go — you've got your new AVENGED record. You have a mix and match of everything that we've done, but different choruses, different cool stuff. I think it could be really fucking interesting. And then the real guys like us, we kind of push forward on what we're doing. I think it's a fucking really weird future that we're in for, where people can just be, like, 'Eh, give me more of that.' So, who knows?"

In a May 2023 discussion on Decrypt's "gm" podcast about the music industry's reaction to a spate of AI songs trained on artists' voices, M. Shadows said that he was enthused about the possibilities, saying that "AI can be incredibly useful" for songwriters.

"If you're looking at purely this data brick of taking information and regurgitating it to us in some way, whether it's through music or art or novels, literature — whatever it is — you're basically taking everything humans have ever done or discovered and you're giving it to this thing that can distribute it to you quicker and in a different way, can mix it up and do it in a different way," he explained.

"I think if you actually look at music, most fans aren't mad that all the drums are already being resampled and replaced," he continued. "Pro Tools already will quantize your albums and make it perfect. You can Auto-Tune your voice to do all these other things. But for some reason, they have a problem… And by the way, if you think about it, how you write music, it's like you're going into your own database of 'I've listened to Bach, I've listened to The Weeknd, I've listened to Kanye, I've listened to all these things, and now I'm gonna regurgitate it in this way and spew out my own version of that.' AI can be incredibly useful if you have AI doing some of that work for you. 'Give me 20 versions of this chord change,' or, 'I wanna hear a different top line there,' and you take a little thing that interests you and you go somewhere with it. So now you're using AI to not only spark ideas but you're using it in a much quicker way to kind of get to some of these cool little nuggets of gold that you kind of are, like, 'Oh, that's cool. Let me see where I can take that.' So that's not really AI writing a song for you; it's kind of giving you this kind of jumping-off point of, 'Now where can I be creative with it?' And I think that will be the next step."

M. Shadows went on to say that AI also opens up the possibility of fans using the work of their favorite acts as a machine learning library to create their own songs.

"What I think is cool is that… Listen, there's a lot of fans that don't wanna hear new AVENGED SEVENFOLD," he said. "We're 40 years old now and we're going places that are much more eccentric than they want — some of 'em. They might want another version of 'Waking The Fallen' or 'City Of Evil', which are our old records. Now, what's wrong with someone throwing in a prompt and saying, 'Listen to these two records and send me a new record with 11 songs.' And if I was to give up my voice and say, 'Take my voice,' and AI create an album that kind of sounds like that. I think that's incredibly cool. I think it would be really cool if people can prompt their own versions of what AVENGED SEVENFOLD sounds like. You get the sounds you want, you get all these things, but now you're getting different versions of albums that you like. So I think there's something really cool there and nothing that crazy or wrong about it. I back it. I think it'd be cool. As a human, I'm gonna be going my own way and making my own stuff that I feel is kind of breaking the mold or pushing things forward. I'm giving the AI more data for the future, wherever I'm gonna take it. But I think it's kind of cool. And I would love to give up my voice to where people can create their own versions of our songs or whatever they feel would be cool."

Blackbriar has released their brand new song “Moonflower” featuring Marjana Seminka. After the album release of A Dark Euphony in September last year the band shows once again, that they are always working on new songs and their creativity seems to know no bounds. 


Zora Cock comments: “‘Moonflower’ tells a love story between a female vampire and a mortal girl and transports you to a bygone era where darkness and desire intertwine. It's inspired by the 19th-century gothic novel 'Carmilla', a timeless story that predates even the infamous Dracula. The song features a guest songstress Marjana Semkina, who I think is the most perfect fit for making this Moonflower an ethereal, haunting, and dark duet.”







Order A Dark Euphony here.





“Forever And A Day” lyric video:





“Cicada” video:





"My Soul's Demise" video:





After their successful co-headliner tour together with Ad Infinitum, Blackbriar announced more European tourdates for October/November this year. Blackbriar will join Kamelot´s Awaken The World Tour as a special gusts. Together with Ad Infinitum and Frozen Crown they will share the stage with Kamelot all over Europe and the UK.


The US tour together with Battle Beast starts in May this year.





Tour dates:


May
9 - Worcester, MA - The Palladium
10 - Ottawa, ON - The Brass Monkey
11 - Toronto, ON - Opera House
12 - Cleveland, OH - House of Blues
14 - Chicago, IL - House of Blues
15 - Minneapolis, MN - The Varsity Theater
16 - Lawrence, KS - Grenada Theater
17 - Denver, CO - The Gothic Theatre
18 - Salt Lake City, UT - The Depot
20 - Seattle, WA The Neptune Theater
21 - Vancouver, BC - The Rickshaw
22 - Portland, OR - Revolution Hall
24 - Roseville, CA - Goldfield Trading Post
25 - Santa Ana, CA - The Observatory
26 - Phoenix, AZ - The Nile Theater
28 - Dallas, TX - Echo
30 - Atlanta, GA - The Masquerade
31 - Charlotte, NC - The Underground


June
1 - Baltimore, MD - Baltimore Sound Stage
2 - New York, NY - Irving Plaza





October
12 – Utrecht, Netherlands
13 – Munich, Germany
15 – Berlin, Germany
17 – Bratislava, Slovakia
18 – Zlin, Czech Republic 
19 – Ljubljana, Slovenia
20 – Milan, Italy
22 – Bilbao, Spain
23 – Madrid, Spain
25 – Lyon, France
26 – Pratteln, Switzerland 
27 – Oberhausen, Germany
29 – Hamburg, Germany
30 – Antwerpen, Belgium


November
1 – Wolverhampton, UK 

Super7 has released new figures based on Slayer’s debut album Show No Mercy with the hellish Minotaur beast featured on the album cover. Preorder at super7.com.


A description reads:


“In 1983, Slayer burst onto the LA heavy metal scene like an angry Minotaur hell-bent on destruction! This 7” scale, highly articulated Slayer ULTIMATES! Minotaur is inspired by the Baphomet Minotaur on the Show No Mercy cover art and is rendered in a dark grayscale as an homage to the album’s track ‘Black Magic.’




“Featuring intricate sculpt and premium paint detailing, this figure also comes with an interchangeable head and multiple interchangeable hands, a removable soft goods cape, and sword accessory.”





Founded in 2001, Super7 is the premier pop-culture design house and producer of lifestyle-oriented collectibles, toys and apparel based in San Francisco.


Led by designer Brian Flynn, Super7 has harnessed the graphics, aesthetics and energy of his youthful obsession with science fiction, giant monsters, comic books, punk rock, skateboarding, robots and rebellion to build a unique and innovative business that crosses all categories and is not bound by traditional manufacturing boundaries.

German heavy metal/power metal unit Hammer King, led by ex-Ross The Boss vocalist Titan Fox, strikes with their brand-new hammering anthem, “König und Kaiser”, featuring The Tribune of mighty label mates, Warkings. The vigorous title track comes alongside an adventurous music video and is cut from the band’s upcoming studio album, out this Friday, March 22 via Napalm Records.


With “König und Kaiser", featuring The Tribune, Hammer King unleash their full potential to massively heat up the vibe of worshipping the mighty Hammer King. The fruitful collaboration with Warkings’ The Tribune marks the perfect fit shortly before Hammer King join them on a massive tour, conquering European cities in March and April 2024.


Watch the official music video for “König und Kaiser", featuring the Tribune, below:







On König und Kaiser, Hammer King continue their collaboration with Charles Greywolf (of genre giants Powerwolf), who recorded the new album at Studio Greywolf and produced it together with singer Titan Fox. König und Kaiser was mixed and mastered by Jacob Hansen at Hansen Studios, infamous for his work with bands such as Amaranthe, Arch Enemy and Volbeat, to name a few. Fast lightening double kick drums meet speed riffing on 10 new metal hits, crowned by memorable sing-along choruses that are meant to be sung with a fist raised in the air, which shall be delivered on their grand conquering tour too.


Hammer King on König und Kaiser: "Welcome to the era of König und Kaiser! 2024 will be a busy year for Hammer King as we are blessed to release our new album, König und Kaiser, at the very beginning of our first big tour. We will join the mighty Warkings for 14 shows through central European countries and will make sure we Hail as many new fans as possible with the King's mighty Hammer!"





König und Kaiser will be available in the following formats:


- 1 CD Digipak
- 1 LP Gatefold Vinyl
- Digipak + Shirt
- Digital Album


Pre-order here.





König und Kaiser tracklisting:


"Hailed By The Hammer"
"The Devil Will I Do"
"König und Kaiser" (feat. The Tribune)
"Future King"
"Kingdom Of Hammers And Kings"
"War Hammer"
"Divided We Shall Fall"
"Kings Of Arabia"
"I Want Chaos"
"Gates Of Atlantia"


Bonus tracks:


"The Last Of The 7 Wars"
"König und Kaiser – Titan"
"König und Kaiser – The Tribune" (feat. The Tribune)


"The Devil Will I Do" video:





"Hailed By The Hammer" video:





Studio Report videos:


Part 1:





Part 2:





Part 3:





Part 4:





Hammer King are:


Titan Fox V - vocals/guitar
Gino Wilde - guitar
Günt von Schratenau - bass
Dolph Aidan Macallan - drums


(Photo - Anne Swallow)

METALLICA honored Elton John and his songwriting partner Bernie Taupin by performing at a tribute concert at DAR Constitution Hall in Washington, D.C. on Wednesday (March 20).

Elton and Bernie collected the Library Of Congress Gershwin Prize for their contribution to music at the invitation-only event, which included appearances by John and Taupin, was hosted by Billy Porter.

METALLICA opened the show with a rendition of "Funeral For A Friend/Love Lies Bleeding" from John's 1973 double album "Goodbye Yellow Brick Road".

Also appearing at last night's concert were singer-songwriter Joni Mitchell, country singer Garth Brooks, folk singer Brandi Carlile, and Scottish musician and EURYTHMICS star Annie Lennox.

Ahead of the event, METALLICA said in a statement: "We are beyond excited and proud to have been invited to perform at a very special event honoring the legendary songwriting team of Elton John and Bernie Taupin as they are presented with the Library of Congress Gershwin Prize for Popular Song.

"We are traveling to Washington, DC, next month to join Garth Brooks, Annie Lennox, Brandi Carlile, Maren Morris, and others for the tribute concert and award presentation on March 20. PBS stations nationwide will premiere the concert on Monday, April 8, at 8 PM ET (check local listings),available via broadcast and streaming on PBS.org and the PBS app.

"Elton and Bernie have been collaborating for 56 years and counting, and together, they have penned some of our lifetime's most memorable and influential songs. We are thrilled to celebrate this honor with them, and we look forward to an incredible evening of unique performances from their remarkable collection of songs."

The 90-minute program "Elton John & Bernie Taupin: The Library Of Congress Gershwin Prize For Popular Song" honors the longtime singer-songwriter duo as the two iconic artists receive this year's distinguished recognition from the Library Of Congress.

Recording artist Elton John and lyricist Bernie Taupin joined creative forces in 1967 and went on to pen timeless standards such as "Your Song", "Tiny Dancer", "Rocket Man", "Don't Let The Sun Go Down On Me" and "Goodbye Yellow Brick Road". In addition to ballads, the duo created sensational rock hits, including "Bennie And The Jets" and "Crocodile Rock", which became their first No. 1 single in the U.S. in 1973.

Today, John is among the top-selling solo artists of all time, with over 70 Top 40 hits over six decades, including nine No. 1s and 28 Top 10s on the Billboard Hot 100. He has sold more than 300 million records worldwide. John holds the record for the biggest-selling physical single of all time with Taupin's rewritten lyrics for "Candle In The Wind 1997", which sold more than 33 million copies after the sudden death of Princess Diana. In 2018, he was named the most successful male solo artist in Billboard Hot 100 chart history. In America, John holds the record for the longest span between Billboard Top 40 hits at 50 years.

In 1992, John established the Elton John AIDS Foundation, which continues to lead the global fight against HIV/AIDS. The foundation has raised more than $565 million for HIV/AIDS grants that have funded more than 3,000 projects in more than 90 countries to care for patients and provide education for AIDS prevention. His music and charitable service have been honored with a knighthood from Queen Elizabeth II; the Légion d'honneur, France's highest award; and the National Humanities Medal awarded by President Joe Biden at the White House in 2022.

Since launching his first tour in 1970, John has delivered more than 4,000 performances in more than 80 countries. His work has spanned recording studios, stadiums, stages, and screens — always with music that resonates with new generations of audiences. Disney's "The Lion King", carried by John's tunes, continues to be one of Broadway's longest-running shows.

In January 2024, John won an Emmy Award for Outstanding Variety Special for his show "Elton John Live: Farewell From Dodger Stadium", making him just the 19th performer to achieve rare EGOT status, having also won five Grammy awards, two Oscars for his work on "The Lion King" and with Taupin on the movie "Rocketman", and a Tony Award for the score to the Broadway musical "Aida".
One of those things you thought you’d never see in Washington — Justice Ketanji Brown Jackson head-bopping along to @Metallica at the @librarycongress#GershwinPrize for Elton John and Bernie Taupin.

See it April 8 on @PBS. pic.twitter.com/lCJB27SjFx

— Ed O'Keefe (@edokeefe) March 21, 2024





Metallica Inc. at DAR Daughters of the American Revolution for Elton John award event in Washington DC

Posted by Bobby Dreher on Wednesday, March 20, 2024



Posted by Chaeli Cantwell on Wednesday, March 20, 2024
Metallica doing “Funeral for a Friend/Love Lies Bleeding” got the crowd going, but the biggest surprise so far is Jacob Lusk singing “Bennie” like a gospel Sydney Greenstreet pic.twitter.com/IkwWzwMgFt

— Pat Padua (@PatPadua) March 21, 2024



Had a blast on the red carpet tonight! Celebrating Elton John and his songwriting partner Bernie Taupin! The two were...

Posted by Simone De Alba on Wednesday, March 20, 2024

California-based pop punks THE STORY SO FAR will release their fifth studio album, "I Want To Disappear", on June 21 via Pure Noise Records. Produced by Jon Markson (DRUG CHURCH, KOYO),the LP features previously released single "Big Blind" alongside nine brand new THE STORY SO FAR tracks. "I Want To Disappear" comes nearly six years after the band's previous album "Proper Dose", which debuted at No. 19 on the Billboard 200 chart.

Alongside the announcement, THE STORY SO FAR has unveiled a new single and music video for "Letterman". The track finds the band doing what they do best — unapologetic vulnerability and defiance that draws the listener in. The music video for "Letterman" is available below.

"I Want To Disappear" track listing:

01. All This Time
02. Watch You Go
03. Letterman
04. Jump The Gun
05. Big Blind
06. Nothing To Say
07. Keep You Around
08. You're Still In My Way
09. White Shores
10. I Want To Disappear

THE STORY SO FAR will join A DAY TO REMEMBER on their summer tour with FOUR YEAR STRONG, MILITARIE GUN, PAIN OF TRUTH and SCOWL. The band will be visiting cities throughout the United States and Canada, kicking off on June 6 in Waite Park, Minnesota and making stops in Cleveland, Atlantic City, Raleigh, Dallas, Seattle, Chicago and more before wrapping up in Nashville, Tennessee on July 28. Tickets will go on sale on March 22 at 10 a.m. local time.

"Proper Dose" showed THE STORY SO FAR taking bold creative leaps, finally making the record that they had always wanted to. With praise from outlets like Highsnobiety, Billboard, NME, Kerrang!, New Noise Magazine and more, "Proper Dose" was one of the band's most successful records to date, landing No. 1 spots on both the Billboard's Top Rock Albums and Alternative Albums charts.

THE STORY SO FAR is Parker Cannon (vocals),Kevin Geyer (guitar/vocals),William Levy (guitar) and Ryan Torf (drums).

Photo credit: Eric Soucy

In a new interview with VRP Rocks, former RAINBOW and DEEP PURPLE frontman Joe Lynn Turner spoke about a possible follow-up to his latest solo album, "Belly Of The Beast", which came out in October 2022 via Music Theories Recordings/Mascot Label Group. He said (as transcribed by BLABBERMOUTH.NET): "Now, at this stage in my life and in my career, I probably could do anything I want, really. And I just had a conversation with the president of Mascot, and he said, 'Just make the record you wanna make.' And I said, 'Well, what about this? And what about critics? And what about people slagging me off?' and all. He said, 'Do you really give a shit?' And I said, 'No.' I've never heard this from a record company exec; I love that guy. And I said, 'No, I really don't.' He said, 'Well, make the record you want. Screw everybody.' And I said, 'Well, I'm writing a lot of kind of cool AOR songs again.' I never stopped that AOR stuff. It's one of my first loves. And he said, 'Well, go that direction. Do what you want.' And I said, 'Okay.' So I'm still finding out the direction after the [last] album. Because I have songs written here this way and I have songs written this way. A songwriter writes. So I really don't know where I'm gonna end up. But wherever I end up, I've got people to support me. And that's my fans — they stick with you through thick and thin. They're wonderful. I owe them everything, really."

Asked about a tentative time frame for the release of his next LP, Joe, who turned 72 last August, said: "Well, fingers crossed for '25. Fingers crossed. But we'll see. Because I'm a new father again. So, I'm spending a lot of time with my son. And it's just my number one priority in life right now. I've already got two grandchildren. But this little guy, he is just a blessing. So it's taking up my time and I want it to take up my time, because I intend to make a productive and creative human being, and that is the greatest — it's better than any song I've ever written, better than any band I've ever been in. This is something really special, because before — for example, with my daughter, I was always on the road. I'd come back and she'd look at me, like, 'Are you my daddy?' 'Yeah, that's me.' So this one I can actually put some time into. And it's just thrilling for me to be able to do that. So I'm hoping '25 I'll get the album out, but there's a lot of distance in the world situation between now and then. So we'll see what happens."

Joe was the singer of RAINBOW between 1980 and 1984 and he sang on the album "Difficult To Cure", which featured the band's most successful U.K. single, "I Surrender".

During Turner's time with RAINBOW, the band had its first USA chart success and recorded songs that helped define the melodic rock genre.

1990 saw Turner reunited with RAINBOW leader Ritchie Blackmore in a reformed DEEP PURPLE for the "Slaves And Masters" album.

Joe performed without his trademark wig live for the first time in June 2023 at the Rock Orchestra Fest at Dinamo National Olympic Stadium in Minsk, the capital and the largest city of Belarus.

The singer said in 2022 that now was the right time to finally drop the hairpiece he has worn since the age of 14 after being diagnosed with alopecia at three years old.

Turner went public with his new look in August 2022 in a series publicity images released to promote "Belly Of The Beast". In a press release for the LP, Joe said that he started wearing the wig to deal with "emotional and psychological damage from cruel bullying in school."

Billy Morrison will release "The Morrison Project" — his third solo album and first since 2015 — on April 19 via The Label Group/Virgin Music Group.

The British guitarist, singer, and songwriter — primarily known as Billy Idol's rhythm guitar player for the past 15 years alongside lead guitarist Steve Stevens, and for his previous role as bassist in THE CULT — has assembled an electrifying 12 songs including guest performances by Ozzy Osbourne, Billy Idol, DMC, Al Jourgensen, Steve Vai, Steve Stevens, Linda Perry, Tommy Clufetos, John 5, and more.

The official music video for the album's second single, "Crack Cocaine", featuring Osbourne and Stevens, with Clufetos on drums, can be seen below.

"Crack Cocaine" marks the first new song with Ozzy on vocals since the 2022 release of his worldwide smash album "Patient Number 9" which earned him two Grammy Awards ("Best Rock Album", "Best Metal Performance").

"I was in the same room as Billy and Steve," says Ozzy about co-writing the song. "The lyrics just came out of the blue. It was written in about 20 minutes."

Billy sheds more light on the song's origins: "The music was a direct result of sitting in a room with Steve, both with de-tuned guitars, and writing what we felt was an ultimate Ozzy riff. From there, we brought Ozzy over, and we all sat around working on the lyrics, but 90% of those came from Ozzy himself. He's the one that suddenly stood up and sang 'Like Crack Cocaine'!! We looked at each other and knew we had the title!!"

Importantly, reveals Steve, "First and foremost, Billy and I discussed what an Ozzy fan would really love to hear. We really zeroed in on the '90s-era Ozzy, the truly heavy stuff. We cast aside any rules both musically and lyrically. It was really a great team and Billy is just such a great motivator. Obviously as a guitarist, to contribute to an Ozzy song is like a kid in a candy store. He's played with such an amazing array of guitarists that I tried my best to honor that tradition."

Adds Steve: "I think the fact that Billy and I have spent the better part of 16 years working together in Billy Idol means we are almost telepathic in how we arrange guitars, etc. Billy and Ozzy have such an amazing friendship that it was easy to feel inspired and want to help them achieve any idea I could assist with. As we worked in my home studio, I tried to make the actual recording process almost invisible. Forget any technical aspects and really have some fun. To Ozzy's credit, he was totally focused — and, man, the first time I heard him sing in what was essentially my living room, fucking chills ran down my spine."

"The Morrison Project" was produced by Billy Morrison, mixed by Barry Pointer and mastered by Dave Donnelly. All the songs on the album — recorded in Los Angeles at various studios — were written by Billy Morrison in collaboration with his guests.

"One of the greatest things about writing this album was being able to let my guest singers do their own thing," says Morrison. "I would send them the track with no guidelines and just had them do whatever they felt. I think that gave those songs an energy and a life force that would not be there if I had tried to get involved in their lyrics or their melodies. And I loved everything they all did!"

He adds: "With the songs that I sing on this record, I wanted to write from an observational standpoint about the state of the world, the news outlets, the information flow (or lack of it) and the general sense of dis-ease that seems to be all-pervading right now."

How did "The Morrison Project" come together? "I truly believe that making music without any preconceptions or goals yields the most creative and enjoyable results," Billy says. "And that is exactly how this record came to life. Making music with Erik (Eldenius) and Jeordie (White) during Covid, and mixing different musical styles started my journey towards this collection of songs that ended up featuring a lot of my friends."

"The Morrison Project" features 12 original tracks:

* "Drowning" (written by Billy Morrison/Erik Eldenius/Jeordie White)

* "Crack Cocaine" (featuring Ozzy Osbourne and Steve Stevens with Tommy Clufetos on drums) (written by Billy Morrison/ Ozzy Osbourne/Steve Stevens)

* "It's Come To This" (written by Billy Morrison/Erik Eldenius)

* "The Ayes Have It" (featuring Al Jourgensen and John 5 with Roy Mayorga on drums) (written by Billy Morrison)

* "Dystopia" (written by Billy Morrison/Erik Eldenius/Jeordie White)

* "Incite The Watch" (featuring Corey Taylor and Steve Vai) (written by Billy Morrison, Erik Eldenius, Jeordie White, Corey Taylor)

* "Puppets On A String" (written by Billy Morrison/Erik Eldenius/Jeordie White)

* "Just Like A Movie" (featuring D.M.C. and Persia Numan with Erik Eldenius on drums) (written by Billy Morrison/Erik Eldenius/Jeordie White/ Darryl McDaniels/Persia Numan)

* "The Sound Of Freedom" (written by Billy Morrison, Erik Eldenius, Jeordie White)

* "Mr. Dream" (featuring Billy Idol and Steve Stevens) (written by Billy Morrison, Erik Eldenius, Jeordie White, Steve Stevens, Billy Idol)

* "We Are The Dead" (written by Billy Morrison, Erik Eldenius, Jeordie White)

* "Chasing Shadows" (featuring Linda Perry) (written by Billy Morrison)

WAGE WAR has released a new single, "Magnetic", via Fearless Records. The official music for the track can be seen below.

The band has built its reputation on the back of smart songwriting that expertly pits hooks against heaviness and sprinkles melody amidst the maelstrom. On "Magnetic", the Florida five-piece continues this tried-and-true formula that has been so effective for them. But they take it up 10 notches and throw more than a few sonic curveballs in the space of four minutes. The melodic verses and choruses grab your attention and the hard-charging and unholy roars and thick riffs keep it. "Magnetic" should write you a rent check because it will live in your brain, thanks to its supreme catchiness.

"'Magnetic' is a song about an attraction to someone that you just can't seem to quit," the band explains. "Despite knowing what may be best, we're pulled back to a feeling that inevitably takes control. Fate decides our future."

In other WAGE WAR news, the band will kick off its spring 2024 co-headline tour with NOTHING MORE on Tuesday, April 16 in Charlotte, North Carolina. The trek runs through Friday, May 17 in Indianapolis, IN.

Traveling a constant forward trajectory at lightspeed, WAGE WAR not only push their own sound forward, but they also propel heavy music into new territory. The Florida quintet have always tempered a pummeling metallic onslaught with unshakable melodies. A near-decade grind naturally brought WAGE WAR to this point. They have unleashed a string of fan favorite albums, including "Blueprints" (2015),"Deadweight" (2017),"Pressure" (2019) and "Manic" (2021). Beyond looks from SPIN, Modern Drummer, American Songwriter, Revolver, Guitar World and more, Kerrang! hailed the latter as "their greatest album yet," and Dork raved, "It's an embracing of being metalheads, popheads and just fans of good songs. On more than one occasion, there's an earworm poking its head up through the dirt." They also put up numbers, tallying hundreds of millions of streams boosted by the likes of "Stitch", "Low", "Manic" and "Circle The Drain".