|
| |
 |
  |
14 ñåí 2024
 | 0 |  |
|  |
14 ñåí 2024
AEROSMITH Celebrates 35th Anniversary Of Pump With Limited Edition Colored Vinyl
 Aerosmith is celebrating 35 years of Pump with a limited-edition, numbered 1-1989 custom color andromeda vinyl. It features an embossed logo jacket and a bonus 7" single with fan favorites "Ain't Enough" and "Deuces Are Wild” in grape color vinyl. Available only through Aerosmith.com, shipping date is October 4, 2024.
Tracklisting:
"Young Lust"
"F.I.N.E."
"Going Down/Love In An Elevator"
"Monkey On My Back"
"Water Song/Janie’s Got A Gun"
"Dulcimer Stomp/The Other Side"
"My Girl"
"Don’t Get Mad, Get Even"
"Hoodoo/Voodoo Medicine Man"
"What It Takes"
Bonus 7":
"Deuces Are Wild"
"Ain’t Enough"
Furthermore, explore the 35th Anniversary Pump Collection, which includes shirts, hoodies, car dice, air fresheners, enamel pins, and more.
Pump was Aerosmith’s tenth studio album, released on September 12, 1989, via Geffen Records. The album peaked at #1 in Australia, #2 in Canada, #3 in The UK, and #5 in The United States. It's since been certified seven times platinum in both Canada and The United States, in addition to being certified two times platinum in Australia. | +1 | |
| |
14 ñåí 2024
TERAMAZE Release "Chaos In The Way" (Acoustic Version); Visualizer
 One of Melbourne's most intriguing progressive metal bands, Teramaze, have released a visualizer for "Chaos In The Way" (Acoustic Version), featured on their upcoming release, Teracoustic Sessions / Volume 1. Watch the clip below.
Announcing Teracoustic Sessions / Volume 1, the band stated: "Introducing Teracoustic Sessions Volume 1, the brand-new acoustic album from Teramaze that promises a fresh and intimate listening experience. In this special release, Dean and Nathan have carefully selected nine standout tracks from our extensive catalogue and reimagined them in their purest form. Stripped down to just acoustic guitar and vocals, this collection offers a raw and unembellished take on our music—no frills, no effects, just the essence of Teramaze.
"The result is a collection that’s not only a testament to the strength of our songwriting but also something you can enjoy with family and friends who may not be familiar with our usual sound. We're thrilled with how these tracks have come together, and we believe you will be too. Teracoustic Sessions Volume 1 invites you to experience Teramaze like never before, in an intimate and personal way that highlights the beauty and emotion of our music."
Due for release on September 27, you can pre-order Teracoustic Sessions / Volume 1 here. | 0 | |
| |
![=]](/img/news-bord-shr.gif) |
|
  |
|
|
|
|
|
|
|
|
|
14 ñåí 2024
| 0 | |
| |
14 ñåí 2024
| 0 | |
| |
14 ñåí 2024
| +2 | |
| |
|
|
|
|
|
|
|
|
|
|
|
|
14 ñåí 2024
MARK TREMONTI Has 'Thousands' Of Riffs And Ideas For CREED's Next Album
 In a new interview with Michael Christopher of Vanyaland, CREED guitarist Mark Tremonti was asked how many riffs and other ideas he has stockpiled for the band's next album. He responded: "Oh, I've got thousands. Literally thousands. I hoarded my ideas since I was, gosh, since I bought my first little handheld tape recorder — the little micro cassettes — saved my ideas since I was maybe in junior high school, high school."
Regarding the fact that a whole new generation of fans is discovering CREED for the first time and coming out to see the band on the current reunion tour, Mark said: "I think slowly but surely the world's come around and I think people have just kind of aged out of that mind frame with the band. A lot of people went after the personal behind-the-scenes stuff with CREED as well, instead of just listening to the music. I think people just grew up with this music now. They don't care about all that stuff. They don't care about the drama; they just appreciate the music.
"A lot of our fans, the largest base that we have now is under 30, 40 years old, which is very surprising to us," he continued. "When you sell a ticket nowadays, you find out the gender of the person buying the ticket and where they're from, and how old they are. So, when we saw those statistics, we were blown away with the age groups that were buying these tickets. When we play a live show now and Scott [Stapp, CREED singer] asks the crowd, 'How many of you are seeing your very first CREED show tonight?', it seems like almost every hand is up in the air, which blows us away."
CREED kicked off its first tour in 12 years, "Summer Of '99", on July 17 at Resch Center in Green Bay, Wisconsin.
Earlier in the month, Tremonti told Guitar Interactive magazine that he would like to work on some fresh music with his CREED bandmates. He said: "Yeah, I love writing music and I love doing it in many different ways. I love challenging ourselves, I love to be challenged, and writing for all these different acts, when you get into it, you're, like, how am I gonna differentiate this from my other projects? How are we gonna make this its own thing and not sound like this other band with just a different vocalist on it?"
Elaborating on CREED's possible mindset while working on new music, Tremonti said: "I think putting a fresh look, but also um realizing what people loved about the band and trying to trying to keep that intact and not get too progressive in any way with CREED. We keep that to [my other bands] ALTER BRIDGE and TREMONTI and we keep CREED a little more the way it was back in the day — the big melodies, just the stuff that worked back in the day. I think on [CREED's last album, 2009's] 'Full Circle' record, we got somewhat a little more — I think we strayed a little bit from our original sound with that album. So I think it'd be good to try to get back to that original sound a little more."
With more than 53 million albums sold worldwide, CREED remains one of modern rock's most successful acts. Now, 30 years into their incredible journey, CREED is bigger than ever. In late 2023, the Texas Rangers made "Higher" their unofficial anthem, as it spurred them to their first World Series win. Earlier this year, the song appeared in a high-profile Paramount+ Super Bowl commercial, while a NASCAR Daytona 500 campaign also incorporated the hit single. Along the way, CREED has gained a new generation of fans, thanks to countless TikTok videos that feature their songs.
Last summer, after an 11-year hiatus, CREED announced their long-awaited reunion — returning to the stage for the first time in April 2024 at the sold-out Summer Of '99 cruise and Summer Of '99 And Beyond cruise. In May, meanwhile, the band's multiplatinum-selling "Greatest Hits" collection made its wide debut on vinyl (via Craft),this month landing the collection back into the Billboard Top 200, as well as hitting Top Hard Rock & Alternative Albums, Top Alternative Albums, and moving up the Top Hard Rock Albums rankings. Originally issued in 2004, the 14-track compilation spans the band's first three albums (1997's "My Own Prison", 1999's "Human Clay" and 2001's "Weathered"). In the months ahead, fans can catch the band on their "Summer Of '99" tour, running through September, where they are joined by the likes of 3 DOORS DOWN, FINGER ELEVEN, SWITCHFOOT, FUEL, BIG WRECK and DAUGHTRY. The band will be heading into arenas this November and December on the "Are You Ready?" tour with 3 DOORS DOWN and MAMMOTH WVH in the U.S. and MAMMOTH WVH and FINGER ELEVEN in Canada.
| +2 | |
| |
14 ñåí 2024
| +2 | |
| |
14 ñåí 2024
TRIUMPHER - "Spirit Invictus" Lyric Video Streaming
 Triumpher will release Spirit Invictus on October 25 via No Remorse Records. A lyric video for the title track is streaming below.
Striking while the iron is still hot, Triumpher already started planning their sophomore album by the time their debut Storming The Walls was released in March 2023. Bringing their power on stages, Triumpher also performed at Up The Hammers and Keep It True Rising festivals, while they also supported Tom Gabriel Warrior's Triumph of Death and Primordial.
Spirit Invictus consists of eight songs of unbound, furious and dramatic epic metal that will lay its mark on the scene of today and will lead the future.
Spirit Invictus was recorded, mixed and mastered by George Emmanuel at Pentagram Studio. Produced by George Emmanuel and Triumpher. Cover and inlay art by Mars Triumph. Graphic and layout design by Anastasia Ziazopoulou.
Available formats:
- 180gr LP gold, limited 100
- 180gr LP silver marbled, limited 200
- 180gr LP black
- CD
Tracklisting:
“Overture To Elysian”
“Arrival Of The Avenger”
“Athena (1st Chapter)”
“Spirit Invictus”
“Alexander”
“Shores Of Marathon”
“Triumpher”
“Hall Of A Thousand Storms”
"Spirit Invictus" lyric video: | +2 | |
| |
|
|
|
|
|
|
|
|
|
|
|
|
14 ñåí 2024
| 0 | |
| |
14 ñåí 2024
| 0 | |
| |
14 ñåí 2024
| 0 | |
| |
|
|
|
|
|
|
|
|
|
|
|
|
14 ñåí 2024
| +1 | |
| |
14 ñåí 2024
LINKIN PARK's EMILY ARMSTRONG Responds To DANNY MASTERSON Support Claims: 'I Misjudged Him'
 New LINKIN PARK singer Emily Armstrong has addressed criticism over her past support of convicted rapist and actor Danny Masterson.
Shortly after Armstrong was announced as LINKIN PARK's new vocalist on Thursday (September 5),THE MARS VOLTA's Cedric Bixler-Zavala, whose wife, Chrissie Carnell-Bixler, was one of several women who accused Masterson of sexual assault, took to social media to resurface claims that Armstrong "showed up to support [Masterson] in the prelims" ahead of the actor's trial in 2020.
Bixler-Zavala and Carnell-Bixler, both former Scientologists, have said the Church Of Scientology harassed them over their allegations against Masterson, who is also a Scientologist.
In 2023, Bixler-Zavala wrote on the Instagram page of Armstrong's longtime band DEAD SARA, according to screenshots available online: "Do your fans know about your friend Danny Masterson? Your rapist friend. I'm surprised none of you wrote a letter on Danny Mastersons behalf since your corny ass singer showed up to support him in the prelims. Remember Emily? Remember how your fellow Scientologist goon squad surrounded one of the Jane Doe's when she was trying to leave the elevators? The court sheriffs had to escort her away from your awful cult… How do you reconcile the homophobia found in the teachings of [church founder L. Ron Hubbard's] book Dianetics?"
In a separate social media post Friday, Carnell-Bixler called Armstrong a "hardcore Scientologist who supported convicted serial rapist both in and out of court." "Emily Armstrong is a true believer of the Scientology cult/criminal organization that engages in human and child trafficking, child and elder abuse, the coverups of countless [sexual assaults] on children and adults."
The Church Of Scientology has denied these accusations, saying in a previous statement that "Church policy explicitly demands Scientologists abide by all laws of the land. All allegations to the contrary are totally FALSE."
Hours after Bixler-Zavala's resurfaced post, Armstrong addressed the situation in her Instagram Stories without naming Masterson, writing: "I'm new to so many of you, and I wanted to clear the air about something that happened a while back.
"Several years ago, I was asked to support someone I considered a friend at a court appearance, and went to one early hearing as an observer. Soon after, I realized I shouldn't have. I always try to see the good in people, and I misjudged him. I have never spoken with him since. Unimaginable details emerged and he was later found guilty."
Armstrong did not address her ties to Scientology or the allegations against the Church in her statement, but added, "To say it as clearly as possible: I do not condone abuse or violence against women, and I empathize with the victims of these crimes."
Although Masterson — a former star on the hit Fox sitcom "That 70's Show" and in Netflix's "The Ranch" — was not found guilty of Carnell-Bixler's allegations, he was sentenced last September to 30 years to life in prison after a jury found him guilty of two counts of forcible rape during a retrial of a case involving three women. The women accused him of raping them between 2001 and 2003.
Bixler-Zavala and Armstrong were previously photographed together at the Church Of Scientology's Celebrity Centre 44th Anniversary gala in August 2013.
| +3 | |
| |
14 ñåí 2024
CHRIS ADLER's New Band SHALLOW RISING Releases Music Video For 'Remorse Code'
 SHALLOW RISING, the new American rock band featuring former LAMB OF GOD drummer Chris Adler along with vocalist Alex Villarreal, guitarist Tim Ossenfort, bassist Taylor Brandt and keyboardist Tim King, has released the official music video for the song "Remorse Code". You can check it out below, along with the previously released lyric video for the track "Further".
SHALLOW RISING came to life one winter in a cold basement in Sault Ste. Marie, Michigan, where Ossenfort started writing demos and sharing them with his friend Adler. The duo initially met at a recording session in Nashville, becoming good friends and later working together on a hardcore project.
Ultimately, they decided to take these new demos to a studio in Los Angeles, accompanied by Taylor Brandt. After some work it became obvious what was missing, and they added Tim King onto the team. King, Brandt and Ossenfort had all previously toured the country together extensively. Finally, Ossenfort reached out to Alex, another longtime friend, and the new group spent the next year rewriting their songs.
In a recent interview with "The Liquid Conversations" host Shawn SixX, Adler stated about how SHALLOW RISING came together: "Well, it's been an interesting process to not only remove myself from those bands that I felt were amazing and I loved everything about doing them, but it was, in the end, pretty unhealthy. So getting myself out of that, and I had this really strange random opportunity to do a project in Nashville, just like as a session player. And so I go there, as most guys do as session players, you just show up and do what you're supposed to do. And I met Tim Ossenfort, and he and I just got along, like, we just vibed correct. There was something about the wavelengths of friendship that made sense, and we've kept in touch since. He reached out to me and said, 'Hey, I got this thing going on with a bunch of dudes, and I'd love to have you involved. Let's go to L.A. and record some drums.' So I go to L.A., and in my mind, it's like, 'Well, clearly they want death metal drums. I guess that's what I'm supposed to be doing.' So I go there and he's playing me the tracks and I go in and record 'em, and then we get to, like, song three, and I'm, like, 'This is not really death metal.' This is like — I don't want to call it 'friendly,' but it's a different animal than what I thought I was hired to do. So we kind of changed, or at least in my mind, changed the perspective and just talked about it for a good while and kind of made it into something that I think is wildly different than what I've ever done and really special. It is something that has a lot of heart… It has all the elements of all that we love about metal, but it also really carries like a positive message and a lot of love, which is something clearly I've been missing for a long time. So it's been a real pleasure to not only find the friendship with Tim, but to do something a little bit outside of what is expected."
In June 2020, Adler addressed his exit from LAMB OF GOD, saying that "everybody parted on good terms. I left my drum throne in good hands with Art [Cruz, current LAMB OF GOD drummer], who has been a friend. I think I met Art when he was 17 years old — I've got a picture of me and him standing outside the bus when he stood there waiting for an autograph. So he and I have been friends for a long time. And, obviously, the guys in the band are not only family," referring to the fact that his brother Willie plays guitar for LAMB OF GOD, "but became great friends over 25 years. And it was quite a career that we had. It didn't end — I don't think anybody from either side would say it ended really particularly well in that I think we all hoped and dreamed and wanted all the same thing but just couldn't seem to get ourselves on the same page, for whatever reason.
"As much as I loved doing what I was doing, it certainly seems like it was kind of a good time to maybe step away," he added. "And I think everybody wins in that regard. And I wish the best for them, and I'm sure they do… You have to speak to them — I'm not sure — but I hope they do for me.
"I didn't leave because I didn't want to be involved with music or play the drums. [And] I didn't leave the band because I was wanting to do something too heavy or too light or anything like that. It was just kind of a mutual crossroads… The shoe didn't fit anymore on either side.
"I'm happy to have had been a part of it. I think if I was [still] in that band, I would be pushing even further than what we've ever done before." | 0 | |
| |
|
|
|
|
|
|
|
|
|
|
|
|
14 ñåí 2024
POWERWOLF - Fan-Filmed Video Of Entire Silver Spring, MD Show Streaming
 Germany's Powerwolf are currently on the road in North American in support of their new album, Wake Up The Wicked. Fan-filmed video of their full show at The Fillmore in Silver Spring, MD on September 5 can be viewed below.
Setlist:
"Bless 'Em With The Blade"
"Incense & Iron"
"Army of the Night"
"Sinners of the Seven Seas"
"Amen & Attack"
"Dancing With the Dead"
"Armata Strigoi"
"1589"
"Demons Are a Girl's Best Friend"
"Stossgebet"
"Fire and Forgive"
"We Don’t Wanna Be No Saints"
"Alive or Undead"
"Heretic Hunters"
"Sainted by the Storm"
"Blood for Blood (Faoladh)"
Encore:
"Sanctified With Dynamite"
"We Drink Your Blood"
"Werewolves of Armenia" | +1 | |
| |
14 ñåí 2024
VOLBEAT Unveils Signature Outlaw Gentlemen Irish Whiskey
 Danish rockers Volbeat have unveiled their very own Outlaw Gentlemen Irish whiskey. Details are available below.
The band comments:
"Born from the same relentless passion and raw authenticity that fuels our music, this whiskey is more than just a drink; it’s a celebration of the rock 'n' roll spirit and the rich heritage of Irish craftsmanship. Volbeat Outlaw Gentlemen isn’t just whiskey; it’s a piece of the Volbeat legacy, crafted with the same heart, intention, and unapologetic spirit that defines everything we do."
Straight from Ireland’s legendary Great Northern Distillery, Volbeat Outlaw Gentlemen comes in two editions:
Triple-distilled Irish Whiskey (Standard Edition):
This one’s got a pale, straw-like color that’s as bold as its flavor. With fresh aromas of vanilla and toffee, this whiskey hits your palate with a perfect blend of sweetness and spice. Notes of caramel and vanilla dance with hints of crisp apples and citrus zest, leaving a clean, warming finish that’s as smooth as a killer riff.
Double-distilled Irish Whiskey (Aged 12 Years):
Aged to perfection, this rich amber beauty boasts subtle crimson undertones and a nose that’s a rock opera of dried fruits and oak. The sherry casks bring dark raisins, sultanas, and a kick of fig to the stage, followed by juicy plums, dates, and a hint of candied orange peel. The finish? Long, lingering,
| +3 | |
| |
14 ñåí 2024
ERIK GRÖNWALL Spins The Wheel Of ForTunes, Writes Original Reggaeton Song (Video)
 Former Skid Row frontman has shared a new Wheel Of ForTunes video. Check it out below.
Grönwall: "I spin a prize wheel to randomly select a music genre and a theme. I then write and record a new song in that genre on the spot."
Grönwall recorded the song with the help of Venezuelan singer, sonwriter and music composer, Joaquin Marquez.
Grönwall previously challenged himself to write a power metal song on the spot. The end result is "Dragon Knights", which you can check out below. | 0 | |
| |
|
|
|
|
|
|
|
|
|
|
|
|
14 ñåí 2024
STRANGER VISION Unveil First Single + Video ‘Strive’ from Upcoming Album
 STRANGER VISION, the Italian prog power metal band, is thrilled to announce the release of Strive, the first single from their highly anticipated new album FAUST Act I: Prelude To Darkness, set to drop on November 8th, 2024. Inspired by the timeless story of Faust, the album delves into the profound themes of human ambition, the pursuit of knowledge, and the eternal struggle between good and evil.
Strive is a powerful opening to this conceptual journey, capturing the intense dialogue between God and Mephistopheles about the human condition and the relentless quest for understanding that defines Faust’s character. With its intricate melodies and evocative lyrics, Strive sets the tone for an album that promises to explore the depths of human emotion and existential conflict.
The band shares: “Faust has always fascinated us as a work of literature. It’s a profound reflection on the duality of human nature, and with this album, we wanted to bring that story to life through our music. Strive is a key moment in the album, where the battle for Faust’s soul begins, and it reflects the struggle that is central to his journey. This song is particularly special because it encapsulates the essence of what we want to convey with Faust. The push and pull between light and darkness, the choices we make, and the consequences they bring — these are themes that resonate deeply with us, and we believe our listeners will feel that as well.”
Strive for your personal playlist: https://nfan.link/stranger-vision
About the new album Faust Act 1: Prelude To Darkness
Faust is an ambitious concept album that takes listeners through the epic narrative of Faust’s journey, inspired by Johann Wolfgang von Goethe’s literary masterpiece. Each track explores a different facet of Faust’s character and his quest for knowledge, wisdom, and ultimately, redemption. The album blends STRANGER VISION’s signature prog power metal sound with lyrical depth and complex orchestrations, offering a unique musical experience that challenges and captivates.
Tracklist for Faust:
PROLOGUE IN HEAVEN (1:39)
STRIVE (5:21)
NOTHING REALLY MATTERS (5:14) featuring James Labrie
LOOK INTO YOUR EYES (4:45)
TWO SOULS (4:53) featuring Angelica Patti
PROLOGUE OF JOHN (0:51)
IN PRINCIPIUM (5:16)
DANCE OF DARKNESS (4:32)
THE COVENANT (2:06)
CARPE DIEM (5:37)
FLY (3:41)
NEW LIFE (1:57) | 0 | |
| |
14 ñåí 2024
1349 Premieres Blistering New Single "Inferior Pathways"; Official Audio Streaming
 True Norwegian black metal horde, 1349, will be releasing their eighth full-length, The Wolf And The King, on October 4 via Season of Mist. The Norwegian horde is now unleashing the latest offering from the record, "Inferior Pathways", which can be heard below.
Frontman Ravn comments, "With this single, some might say we have saved the best for last. I say that 'Inferior Pathways' is the perfection of quintessential 1349 executed in the darkest and most sinister way.”
The forthcoming offering was mastered by Jarrett Prichard and produced and mixed by Prichard & 1349 frontman Ravn at New Constellation R.M.P.
Pre-order The Wolf And The King here. The cover artwork was created by Jordan Barlow and can be found below, along with the tracklisting.
The Wolf And The King tracklisting:
"The God Devourer"
"Ash Of Ages"
"Shadow Point"
"Inferior Pathways"
"Inner Portal"
"The Vessel And The Storm"
"Obscura"
"Fatalist"
"The God Devourer" video:
"Shadow Point" video:
"Ash Of Ages":
1349 is not like other bands. It’s not a group of friends who decided to make music together. 1349 is a band formed with a unified vision and specific purpose: To maintain the legacy of black metal.
“I didn’t like the direction that black metal took in the mid part of the ’90s,” 1349 vocalist and mastermind Ravn recalls. “It started losing everything that I liked about black metal—the grimness, the eeriness, the primal emotions that captivated me and brought me into that sphere. You had all these synthesizer-based bands dressing up in pirate shirts and looking like goths. It ruined something that I truly hold close to my heart.”
In 1997, Ravn formed 1349 and recruited bassist Seidemann and, now former, guitarist Tjalve to help him pursue the vision of recapturing the original spirit of black metal. The longstanding lineup of Ravn, Seidemann, guitarist Archaon, and drummer Frost (also of Satyricon) has been in place since 2001. “I found people that felt the same way as me,” Ravn says of his bandmates. “We wanted to bring back the trademark of Norwegian black metal, as it was presented in the early 90s. Every time we release an album, that’s the inspiration and the backdrop.”
The Wolf And The King is the latest sortie in that crusade.1349’s eighth album sees the Oslo-based band harnessing the primordial energy of black metal’s decade-defining second wave and channeling it through ancient mysteries and the relentless global chaos of the 2020s.
The album title comes from a classic alchemical allegory: A wolf devours a king. Then the wolf is devoured by flames, and a new king rises from the ashes. “When I first heard about alchemy when I was young, it was people turning metal into gold,” Ravn says. “Further down the road, through various literatures and magical practices, I realized that what you’re turning into gold is metaphorical. It’s about personal development, basically. You want to be the best you can be, and that’s what we try to do as well. We try to top ourselves, to kill our egos in order to grow as persons. If you don’t do that, you will die. You will not rise from the ashes.”
Lead single “Ash of Ages” combines thrash with extreme metal flourishes and a proper doomsday theme. “The song is based on a story I read about a layer of ash that covered the Earth 12,000 years ago,” Ravn explains. “This layer of ash comes from a meteorite that struck the Earth during the Ice Age. It melted a lot of the ice, which is where the Great Flood came from. The Great Flood is in the Bible, but it was written about in every ancient culture. The theory is that it washed away a lot of other ancient cultures that held a higher intelligence level than those that were found after the flood. So, it possibly set human civilization back many thousands of years.”
Released as a one-sided maxi-12” with a flipside etching by Jordan Barlow—who did all the artwork for The Wolf And The King (as well as the band’s 2019 album, The Infernal Pathway)—“Ash of Ages” is also a warning to check your ego. “To think that you’re important, that you’re anything but an ant down there, is futile,” Ravn points out. “In the end, everything will be washed away, and nothing will be left.”
“Shadow Point” comes complete with a video and revisits the sonic domain of The Infernal Pathway with a classic headbanger groove. “This one references the Star of Algol, or ‘the Demon Star,’” Ravn offers. “It’s actually two stars that revolve around each other, and the small one is devouring the big one. Human beings have seen this star from early ages, and it has had many names over the years. It’s a known part of the magical world, so I wanted to include it in a song.”
Shot through with menace and a snaky groove, album opener “The God Devourer” will also have a video. “The lyrics are based on the alchemical principle of devouring all that you feel is in your way of becoming a better human,” Ravn says. “It sets the ominous tone for the whole album.”
Recorded at Amper Tone in Oslo, Norway, and New Constellation R.M.P. in Orlando, Florida, The Wolf And The King was produced and mixed by Ravn and Jarrett Pritchard (Eulogy, Pulchra Morte), the band’s long-standing sonic wizard who also worked on their previous two albums. The lyrics were written by the band’s longtime wordsmith, Svartalv, who has been working with 1349 for twenty years.
Jordan Barlow’s elaborate artwork for The Wolf And The King reflects the album’s chronological position in 1349’s discography. “This is our eighth album, and the artwork and lyrics are filled with references to this nu
| +3 | |
| |
14 ñåí 2024
| +2 | |
| |
|
|
|
|
|
|
|
|
|
|
|
|
14 ñåí 2024
TESTAMENT Unleashes 'Brazen' Coffee
 Are you brazen enough to slurp the sacrifice and be illuminated in the enlightenment?! TESTAMENT's official Brazen coffee explores the true origins of coffee from ancient temple rituals to the fabled lore of venomous miracle elixirs. Brazen is a divine dark roast, sinisterly smooth and brazenly bodied, the purest form of specialty coffee, tediously roasted to perfection. Brazen makes a diabolical drip, an evil espresso and callous cold brew.
TESTAMENT shares: "These custom signature collectible (12oz) tins will ONLY be available on tour as we raise Cain and reign supreme in the coffee game with Brazen. We want the fans to also help us choose the path, so we are bringing two different versions of Brazen on tour so you can tell us on the socials which one is the chosen sacrificial lamb, so share on the socials and give us your feedback."
Concept Cafes states: "TESTAMENT has had such a massive impact on metal, that in working with the guys, we really wanted to humbly pay tribute to that legacy through a monumental coffee concept for the metal community. We've always wanted to explore the origins of coffee and bring these legends to life through a TESTAMENT telling of the tale. Brazen incorporates elements and existential ideologies spanning the course of TESTAMENT's legendary career and blends it all into one strike of the fang. All we know is this coffee is only for the most Brazen of souls!"
TESTAMENT's official Brazen coffee was roasted especially fresh right before the kick-off of the "Klash Of The Titans" North American 2024 tour with KREATOR and POSSESSED.
For more information, visit www.conceptcafes.com.
| +5 | |
| |
14 ñåí 2024
QUEEN's Groundbreaking 1973 Debut Album Remixed, Remastered And Expanded
 Over half a century since its release and a vital chapter in the band's story, QUEEN's self-titled 1973 debut album has been remixed and restored by Justin Shirley-Smith, Joshua J Macrae and Kris Fredriksson to sound the way the band always wanted it to. A new track listing, alternative takes, demos and live tracks have now been added to create the most complete version of this pivotal work. This is the very first time that a QUEEN album has ever received a new stereo mix.
The 6CD + 1 LP "Queen I" box set contains 63 tracks with 43 brand new mixes, comprising the original album with its intended running order restored, intimate fly-on-the-wall audio of QUEEN in the studio, demos, rare live tracks, and previously unheard recordings from QUEEN's first-ever live performance in London, August 1970. Absent from the 1973 release, the song "Mad The Swine" has been reinstated to its original place in the running order. A 108-page book containing handwritten lyrics and memorabilia accompanies the release.
"This is not just a remaster," writes Brian May in the CD sleeve insert notes, "this is a brand new 2024 rebuild of the entire QUEEN debut album, which, with the benefit of hindsight, we have re-titled 'Queen I'."
May continues, "All the performances are exactly as they originally appeared in 1973, but every instrument has been revisited to produce the 'live' ambient sounds we would have liked to use originally. The result is 'Queen' as it would have sounded with today's knowledge and technology — a first.
"'Queen I' is the debut album we always dreamed of bringing to you."
QUEEN began life in early summer 1970, but took their first steps in the studio after vocalist Freddie Mercury, guitarist Brian May and drummer Roger Taylor recruited bass guitarist John Deacon in July 1971.
"The first three years were really faith and fumes," says Roger Taylor. "We were penniless but we had a lot of belief in ourselves and a lot of energy."
While QUEEN struggled for recognition, their music and stage act were developing. If their previous band SMILE were a band for the late 1960s, then QUEEN's sound and image was about the here and now and tomorrow. Their songs were already filled with huge riffs, choral harmonies and classical flourishes.
After John Deacon's arrival, QUEEN secured a production, song publishing and management deal with Trident Audio Productions. Having heard the band's demos, the company's owners, brothers Norman and Barry Sheffield, agreed to fund the recording of QUEEN's first album, which they would then shop to potential record companies.
The Sheffields also owned Trident Studios, a state-of-the-art facility in London's Soho, which had been used by Elton John and THE BEATLES and was rarely available to young, unsigned bands. Trident's popularity was such that the studio was usually fully booked during the day, meaning QUEEN could only record during what was known as "downtime", those rare moments when the studio was empty, usually at night.
QUEEN began work on the album in May 1972 and spent the next four months living a fractured, nocturnal existence. Evenings would be spent waiting around Soho until the studio was ready. An exhausted QUEEN would emerge from Trident several hours later.
"We'd work through the night and usually until 7 a.m. when the cleaners came in," recalls Brian. "It was us just grabbing little bits of time."
Says Roger: "You know, we just came in there right after Bowie had done 'Hunky Dory' and 'Rise And Fall Of Ziggy Stardust' and he did both of those albums back to back, two great albums. So, we were very pleased to be there, but when we were there, we'd arrive at three in the morning and then go on, for all the hours that we could grab. It was just a grind. I wouldn't say it was soul destroying because we were quite confident. We had a sort of innate, gentle arrogance, you know, we thought we were good and quite different."
QUEEN recorded the album with Trident's in-house co-producers John Anthony and Roy Thomas Baker. Both were staunch advocates of QUEEN and had been instrumental in the band signing with Trident. However, the group quickly ran up against the studio's rules and regulations.
Says Brian: "Although we had great technology around us, we really didn't have much freedom to use it. We were regarded as the new boys who didn't know anything, and nobody really wanted to listen to the way we wanted to do things."
While relatively inexperienced, QUEEN already had a clear musical vision. However, the huge guitar and drum sounds they heard in their heads proved difficult to recreate at two o'clock in the morning and on the studio's in-house perspex drum kit rather than their own.
Says Roger: "They had this very dead drum sound, and it was never the sound we wanted. They had a drum booth, and it was a well-known sound. It was kind of American. Very dry, quite fat, dead sound, which is not what I wanted. I wanted to hear the drums resonate, to hear the sound of the drum. I didn't even have my proper kit in there. It was a bit rough really. So the album never sounded as we wanted it to."
"We wanted everything to sound like it was in-your face," says Brian. "We had this incredible fight to get the drums out of the booth and into the middle of the studio and put the mics all around the room."
But that wasn't Trident's way. "I remember saying to Roy Thomas Baker, 'This isn't really the sound we want,'" continues Brian. "And he said, 'Don't worry, we can fix it all in the mix.' And I think we all knew it ain't going to happen." Now in 2024, it has been 'fixed in the mix'."
QUEEN's frustration was compounded by the fact that the songs themselves already displayed the breadth of QUEEN's ideas and vaulting ambition. "Keep Yourself Alive" was like a rallying cry, cueing up the likes of "Doing All Right", "Great King Rat", "Liar", "Modern Times Rock'n'Roll" and "Son And Daughter".
Meanwhile, Freddie's imagination had free rein on the biblically inspired "Jesus" and on "My Fairy King", where the singer (who was soon to assume the stage name "Freddie Mercury") sang about "horses born with eagles' wings" and implored "Mother Mercury, look what they've done to me."
"I never knew where some of those lyrics came from," says Roger. "But Fred was like a magpie. He had a very sharp brain."
Crucially, this new 2024 Mix version of "Queen I" now includes "Mad The Swine", a song absent from the original LP after a difference of opinion between the band and one of its producers. It is now reinstated to its rightful place as the album's fourth song, in between "Great King Rat" and "My Fairy King", just as QUEEN wanted it to be in 1972.
Despite the restrictions imposed upon them at Trident, the band still managed to break the rules. Brian's composition (and the box set's first single),"The Night Comes Down", blueprinted that layered acoustic and electric guitar sound that was soon to become part of QUEEN's signature. But the band insisted on using a recording from De Lane Lea Studios rather than attempt a new version at Trident. They smuggled in their demo multi-track tape in a newly labelled "Trident" box in order to mix the song for the album.
CD2: "De Lane Lea Demos - 2024 Mix" explores "Queen I"'s fascinating pre-history, with brand new 2024 mixes of the demos the band recorded preceding their album. In summer 1969, Brian and Roger's pre-QUEEN group SMILE had recorded at De Lane Lea Studios in London's Kingsway. Two years later, the company opened a new complex in Wembley, and needed a band to help them test the mixing desks and the sound quality of the different rooms.
Brian and Roger volunteered QUEEN, and the band spent time at the studio between November 1971 and January 1972 — "a massive thrill," Brian recalls. They were repaid with a five-song demo, overseen by De Lane Lea's chief engineer Louie Austin, and containing "Keep Yourself Alive", "The Night Comes Down", "Jesus", "Liar" and "Great King Rat".
"The demos we made at De Lane Lea Studios were closer to what we dreamed of," explains Brian. "Nice open drum sounds and ambience on the guitar. That was much more the way we wanted it to go."
"We were young and had total blind faith in what we were doing," says Roger.
Although these demos were intended to be hawked around to procure a recording contract, the band, says Brian, always felt the performances had more spontaneity and sparkle, as well as the benefit of more natural sounds compared with the final album versions. As, the only surviving copies of the mixes of the demos are on scratched acetates, here for the first time, these self-produced recordings have been restored and remixed from the original multitracks.
CD3: "Queen I Sessions" and CD4: "Queen I Backing Tracks" take the listener behind the scenes at both Trident and De Lane Lea studios.
CD3: "Sessions" collates completely different and 100% previously unreleased versions of the songs on the album. Newly created using out-takes from De Lane Lea and Trident. They feature some false starts, guide vocals, backing tracks and alternative takes, including spoken-word segments in which the members of QUEEN can be heard chatting and joking ("It was you, Bulsara!") and occasionally expressing their frustration. Many of the takes are built around acoustic guitar, the electric would have been added later, which gives a different feel to these versions.
CD4: "Queen I Backing Tracks" offers mixes of the songs from the original QUEEN album without lead vocals.
QUEEN pitched the De Lane Lea demos to several record companies, but didn't sign with any, hence their deal with Trident. The album was pretty much completed in 1972. But QUEEN and their producers were still arguing about the mix right up until the last day, so much so that the band chose a mix of "Keep Yourself Alive", created with Trident's assistant engineer Mike Stone, rather than one of the earlier versions. Mike would go on to engineer the next five QUEEN albums.
Trident pitched QUEEN's debut to labels, and eventually signed the band to EMI in the U.K. and Elektra in the U.S. Elektra's founder Jac Holzman attended QUEEN's date at London's Marquee club on April 9, 1973. The box set's book includes an entry from Roger's diary about the gig: "Went down a storm… Jac Holzman liked it!" Holzman circulated a memo to his staff declaring, "I have seen the future of pop music, and it's a band called QUEEN."
QUEEN's debut wasn't released until July 13, 1973 in the U.K. and September 4 in the U.S., increasing their frustration. QUEEN were "hugely ambitious and unashamedly so," said Roger Taylor, and had progressed rapidly over the previous twelve months. The LP's sleevenotes implied as much with the curt note: "Representing at least something of what QUEEN's music has been over the last three years."
EMI issued "Keep Yourself Alive" as a single a week before the album's U.K. release, but radio play proved hard to come by. Someone was listening, though.
CD5: "Queen I At The BBC" begins with "My Fairy King", in a slightly different version recorded for DJ and early QUEEN champion John Peel's BBC Radio 1 show "Sounds Of The Seventies" in February 1973, five months before the LP's release. As no-one had heard their album yet, the band took in backing tracks and added new vocals and other overdubs for this first session. This was the first time QUEEN's music had been broadcast anywhere in the world. Three further BBC sessions are preserved here, with new versions of all of "Queen I"'s songs broadcast by the BBC between February 1973 and April 1974.
What CD5 "Queen I At The BBC" and CD6, "Queen I Live", demonstrate is how these songs grew and developed away from Trident Studios.
CD6: "Queen I Live" distils the best performances of the first album's songs from QUEEN's triumphant March 1974 headline date at London's Rainbow Theatre, plus several previously unreleased tracks added. These include the first official release of "Hangman", a FREE-inspired Mercury/May/Taylor/Deacon composition which was a mainstay of QUEEN's early live shows, but was never recorded in the studio. This performance of "Hangman" comes from a show at the San Diego Sports Arena on the last night of the band's U.S. tour in March 1976.
The final songs on "Queen I Live" revisit the historic moment QUEEN became QUEEN. Among the 108-page enclosed book's many never-before-seen artefacts is Roger's handwritten invitation to QUEEN's first-ever performance in London: "A private showing on Sunday August 23 [1970] at 7:30pm at Imperial College… lecture theatre A, level 5," he writes.
Two songs from this historic show, "Jesus" and a cover of the SPENCER DAVIS GROUP's 1967 hit "I'm A Man", have been retrieved from cassettes in the archive, and are the earliest QUEEN recordings in existence, even pre-dating John Deacon's arrival in the band.
The final track on the original QUEEN album is the urgent-sounding one and a quarter minute instrumental snippet of "Seven Seas Of Rhye". The finished song wouldn't appear until "Queen II", and became a UK Top 10 hit. In a sense though, this abbreviated version's frantic rhythms, hammering piano and orchestral-sounding guitar captures the spirit of QUEEN's debut: it's the sound of a restless, determined young band eager to take the next step.
As Freddie once said: "All of us were aiming for the top, and we weren't going to be content or satisfied with anything less."
Says Brian: "Freddie was so convinced that he would be successful, he never doubted it. We were all precocious boys but he was another level. But we all shared this passion. And the energy grew and coalesced into something very powerful."
And a final thought from Roger Taylor: "Essentially with the 'Queen I' box set we've made the actual album sound the way we wanted it to sound using the techniques that we have now. We've made the drums sound like they should sound and, the overall sound of it is better, the mixes are better. So it's been a delight to improve it, to bring it up to where we wanted it to be. I have found one thing though that has amazed me listening to this album again and again is how bloody religious some of the lyrics are, you know, it's really quite religious."
| +7 | |
| |
14 ñåí 2024
DIAMOND HEAD's BRIAN TATLER: It Was 'Fantastic' To Perform 'Am I Evil?' With METALLICA Again
 In a new interview with Neil Jones of TotalRock, DIAMOND HEAD and SAXON guitarist Brian Tatler spoke about how he was able to join METALLICA on stage on June 26 at the Tons Of Rock festival in Oslo, Norway to perform the DIAMOND HEAD classic "Am I Evil?" He said (as transcribed by BLABBERMOUTH.NET): "Yeah, very flattered to be asked. 'Cause SAXON are on in the afternoon. SAXON go on — I don't know — four o'clock, something like that, for an hour or so. So I get a message before we go on from Lars [Ulrich, METALLICA drummer], saying, 'Would you like to play 'Am I Evil?' tonight with us? The full version.' 'Cause in the past we've played the short version, where we get up to the end of the [song] and then they go into 'Damage, Inc.' or something else. And so I'd only played the full version with them once before, I think — definitely at [their] 30th[-anniversary celebration shows]. Other times we'd done the shorter version. So I said 'yes, of course. That'd be fantastic.' So then, of course, their crew come along and, 'Have you got your own in-ears? Have you got your wireless?' and blah, blah, blah. And there's a tuning room. And so I got to go in, and first of all, I ran through 'Am I Evil?' with Kirk [Hammett, METALLICA guitarist] and Rob [Robert Trujillo, METALLICA bassist]. 'Cause Kirk said, 'Do you wanna do the solo or shall I do it?' And I said, 'I'll do it.' But I think the reason he asked was 'cause he knows the solo, but he doesn't necessarily know the backing. So we have to go over the backing — B to E to F to F sharp, et cetera. And so we did that. And then, a bit later, James [Hetfield, METALLICA guitarist/vocalist] and Lars came in and we did the whole song together. And that was great. And then, of course, we do the big gig — thousands of people. I don't know how many people were there — Tons Of Rock in Norway, sold out. It's gotta be 60, 70 thousand. And it was about halfway through the set as well. I thought it'd be the encore. But it was about halfway through the set, so maybe an hour in. And it's fantastic — fantastic to play with them again. It's such a great band. And we were all in our in-ears, so I've got a perfect sound. I can hear the bass, and Lars's kit. And yeah, it was brilliant."
In a separate interview with XS Rock, Tatler, who joined SAXON in 2023, was asked to name the thing he is "most proud of" in his career so far. He responded: "I suppose musically 'Am I Evil?', 'cause it's such a big song and it's just got a life of its own. So a song that was written in my bedroom in 1979 that's gone around the world and is on millions of records and things like that. So the songs, really, the fact that they're out there and people still wanna hear them and still get played on radio and stuff like that. And the fact that it brings in money, so it's royalties. It means I've got a standard of living to become a musician, really. It's kind of a dream when you're a teenager, but I've actually done it. And yeah, I'm not the biggest star in the world or anything, but it's brilliant that you can have a career in music for 40-odd years and not necessarily be a household name."
DIAMOND HEAD influenced a slew of early '80s thrash metal bands, in particular METALLICA, which recorded "Am I Evil?" as a B-side to their 1984 "Creeping Death" single and again included on the band's multi-platinum 1998 covers album "Garage Inc." METALLICA would record three additional DIAMOND HEAD songs: "Helpless" ("Garage Days", 1987),"The Prince" ("One" single B-side, 1989) and "It's Electric" ("Garage Inc.", 1998).
In a 2022 interview with Metal Pilgrim, Tatler was asked if he thinks DIAMOND HEAD would not have been able to continue as a viable business entity had METALLICA covered any of his songs. He responded: "I think if METALLICA hadn't covered DIAMOND HEAD — the first cover was '84 when they did 'Am I Evil?' on the B-side of 'Creeping Death' — so I think if they hadn't, I may have looked elsewhere for employment. I think it would have been harder to keep DIAMOND HEAD going without that introduction to their fanbase. 'Cause that record sold millions of copies — versions of 'Am I Evil?' have sold millions of copies through METALLICA — and so so many more people know DIAMOND HEAD thanks to Lars and Co. And it may be that a lot of the opportunities that we get now would not be there without that METALLICA connection. So I'm eternally grateful. Obviously, myself and Sean [Harris, original DIAMOND HEAD singer] still get writers' royalties, but even so, I just think it's helped DIAMOND HEAD as a name and a brand to get on more and more opportunities — get festivals and supports. Because they link it with METALLICA; they think, 'Okay, well, you're potentially tapping into a huge market.'"
Nearly four years ago, Tatler said during an episode of "Tatler's Tales" about METALLICA's cover versions of his band's classic songs: "They're great. They're always more powerful and a little faster than the DIAMOND HEAD versions. I mean, they're a great band. They [have] their own sound. Of course, it was very flattering. The first song they covered was 'Am I Evil' They were the first band that ever covered a DIAMOND HEAD song. And it came out in 1984; it was on the 'Creeping Death' 12-inch single, which was on Music For Nations. And I was just really flattered that 'Lars's band' had covered one of our songs and done such a respectful job and worked out the guitar solo. Everything was really good — really close to our version, but a bit more modern, a bit tougher, [with] more attitude."
He added: "More power to them. Fantastic. It's done the band a huge favor."
According to Brian, the royalties that he receives from the DIAMOND HEAD back catalog, including the METALLICA recordings of his songs, are enough for him to live on. "It's my biggest source of income," he revealed in a 2019 interview. "It's great and I don't know what I would do without it. It gives me the freedom to do what I like. I'm very grateful."
A reimagined and re-recorded version of DIAMOND HEAD's "Lightning To The Nations" album was released in 2020 via Silver Lining Music. "Lightning To The Nations 2020" included four cover tracks, including METALLICA's "No Remorse".
"I wanted to cover a song from METALLICA's debut album, 'Kill 'Em All'," Tatler explained, "partly because METALLICA covered songs from DIAMOND HEAD's debut album 'Lightning To The Nations' and it felt like things have come full circle to me. None of the band members knew how to play any of the songs from 'Kill 'Em All', and I eventually decided we should all learn 'No Remorse'. Then when we got into the rehearsal room, we played 'No Remorse' and immediately it just sounded great; it was very 'DIAMOND HEAD' and it really suited us as a band. Of the four covers we ended up doing, 'No Remorse' sounded the best straight away. I've seen METALLICA live over twenty times and they don't play 'No Remorse' very often, but it's always great when they do!"
DIAMOND HEAD's latest collection of all-new material, "The Coffin Train", was released in May 2019 via Silver Lining Music. The album was recorded at Vigo Studios in Walsall, Circle Studios in Birmingham and Raw Sound Studio in London.
| +6 | |
| |
|
|
|
|
|
|
|
|
|
|
|
|
14 ñåí 2024
Watch METALLICA Perform "Master Of Puppets" In Seattle; Official Live Video Posted
 Metallica have released more footage from their August 30 concert at Lumen Field in Seattle, Washington. The official live video for "Master Of Puppets" joins the previously posted "Leper Messiah". See both clips below:
Metallica have launched the pre-order for the recordings from their August 16 & 18 concerts in Minneapolis, Minnesota. Expected release date is October 18.
Says Metallica: "From full concert audio and select live video clips to dozens of photos and both setlists, we’ve got everything you need to relive our stop in Minneapolis."
Enjoy both gigs from Minneapolis mixed by The Metallica Audio Team, now available to stream through nugs.net, download at LiveMetallica.com, or go old-school and pick up the CDs at Metallica.com.
Get the live CDs here, stream the shows here, download the shows here.
Metallica adds: "Relive a few moments from U.S. Bank Stadium right along with the crowd, and make sure you’re subscribed to our YouTube channel to enjoy more videos from the road!" | +2 | |
| |
13 ñåí 2024
| +1 | |
| |
13 ñåí 2024
Watch: KORN Kicks Off Summer/Fall 2024 North American Tour In Tampa
 KORN kicked off its summer/fall 2024 North American tour Thursday night (September 12) at MidFlorida Credit Union Amphitheatre in Tampa, Florida.
The band's 18-song setlist, which is celebrating the 30th anniversary of the release of KORN's debut album, included "Oildale" mostly the band's 2010 LP "Korn III: Remember Who You Are" and "Hey Daddy", a track from KORN's 1999 album "Issues" which had only ever previously been performed almost 25 years ago.
Fan-filmed video of the Tampa concert can be seen below (courtesy of Up Close Joe).
The setlist was as follows, according to Setlist.fm:
01. Here To Stay
02. Dead Bodies Everywhere (first time since 2019)
03. Got The Life
04. Hey Daddy (first time since 1999)
05. A.D.I.D.A.S.
06. Start The Healing
07. Blind
08. Ball Tongue
09. Clown
10. Shoots And Ladders
11. Twist
12. Make Me Bad
13. Insane
14. Oildale (Leave Me Alone) (first time since 2012, first time with Head on guitars)
15. Y'All Want A Single
Encore:
16. Falling Away From Me
17. Good God
18. Freak On A Leash
The rock cultural icons' 25-date Live Nation-produced trek featuring special guests, Grammy-nominated band GOJIRA and Canadian heavy metal group SPIRITBOX, will make additional stops in Toronto, Ontario; Chicago, Illinois; Phoenix, Arizona; Houston, Texas and more before wrapping up in St. Paul, Minnesota at Xcel Energy Center on October 27.
KORN changed the world with the release of their self-titled debut album in 1994. It was a record that would pioneer a genre, and blur others-leading into a larger cultural movement. Since forming, KORN has sold more than 40 million albums worldwide, collected two Grammys, toured the world countless times, and set many records in the process that will likely never be surpassed. KORN has continued to push the limits of the rock, alternative and metal genres, while remaining a pillar of influence for legions of fans, and generations of artists around the globe.
The level of KORN's reach transcends accolades and platinum certifications. They are "a genuine movement in a way bands cannot be now," attests The Ringer. They represent a new archetype and radical innovation, their ability to transcend genre makes barriers seem irrelevant.
In a March 2024 interview with the WSOU 89.5 FM radio station, KORN guitarist Brian "Head" Welch spoke about the progress of the songwriting sessions for the follow-up to the band's 2022 album "Requiem". He said: "Well, I'll just say, yes, we are passionately and intensely working on new music. We're a little bit behind. We've been really digging deep into sounds and tones and miking techniques and just really focusing on every aspect of just the miking and the sonic levels of everything because… I love the last few records we've done in the last 10 years, but I think — I just have something in me that thinks we could beat the tones. I love the songs that we've done, but tone-wise I feel like we can beat it. So we're spending a lot more time on this new music, we're spending a lot more money [chuckles], and we don't have any record label involved, so it's all coming from us. And we really want to dissect our sound and remember where we came from and how we did it back then. And having a vintage KORN feel with a modern twist — sonically, I'm talking about. So it's very intense. The songs are amazing. I'm very proud of it. I feel like we are closer than we've ever been in the studio. And Jonathan [Davis, KORN singer] has been there every day."
According to Welch, he and his KORN bandmates are working on new music "off and on. We'll work for — I don't know — a couple of weeks. Then I won't see [Jonathan] for a month or two," he explained. "But it's starting to pick up now because we wanna put new music out. We're a little bit behind, but we're very proud of what we're doing. And we can't wait for people to hear it."
Regarding the musical direction of the new KORN material, Brian said: "I think it's the best and heaviest KORN stuff in years. And I think it's gonna be raw and just kind of more basic, as far as sound and recording and everything. I don't wanna give it all away, but we're just very, very pleased with where we're at right now."
Welch — who rejoined KORN more than a decade ago, eight years after leaving the band and at the same time announcing that he kicked his addictions to drugs and alcohol by becoming a born-again Christian — also clarified that he and the rest of KORN "haven't started recording" the band's next album "yet, but we're very passionately heading toward that direction. And we can't wait for everybody to hear it."
KORN bassist Reginald "Fieldy" Arvizu announced in June 2021 that he would sit out the band's tour in order to "heal" after "falling back" on some of his "bad habits." He has since been replaced on the road by SUICIDAL TENDENCIES bassist Roberto "Ra" Díaz.
Released in February 2022, "Requiem", which was produced by Chris Collier and KORN, entered Billboard's Hard Rock Albums chart at No. 1. The band sold 23,000 equivalent album units in the February 4-10, 2022 tracking week, according to Billboard. Of that sum, 20,000 units were from album sales. "Requiem" also landed at No. 2 on the Top Rock Albums and Top Alternative Albums charts. On the all-format Billboard 200, it arrived at No. 14.
Despite the fact that he hasn't performed with his KORN bandmates for more than three years, Fieldy did play on "Requiem".
| +2 | |
| |
|
|
|
|
|
|
|
|
|
|
|
|
13 ñåí 2024
OVERKILL Recruits Ex-KREATOR Bassist CHRISTIAN 'SPEESY' GIESLER For European Shows
 New Jersey thrashers OVERKILL have recruited KREATOR bassist Christian "Speesy" Giesler as a temporary replacement for D.D. Verni, who is dealing with an ongoing "shoulder issue".
Fan-filmed video of OVERKILL's September 9 concert at Collosseum Club in Košice, Slovakia, featuring Giesler on bass, can be seen below.
In a recent interview with Portugal's Caminhos Metálicos, OVERKILL frontman Bobby "Blitz" Ellsworth addressed Verni's physical ailment, saying: "D.D.'s got a shoulder issue that's been going on for this entire time, even back to the last record, [2019's] 'The Wings Of War', it was beginning back then. So I think that the amount of shows that we did was actually a light amount. We would normally do more shows, if he was healthy enough to do them. And he's gotta rehab that shoulder, so he can only do so much, put so much stress on it… Then we do another tour coming up in September, and he's only gonna do — I think he's gonna do maybe 10 shows and then he's gonna go home and we're gonna have a replacement for him."
Verni previously sat out OVERKILL's April 2024 Latin American tour as he was recovering from shoulder surgery. Filling in for him on the trek was former MEGADETH bassist David Ellefson. Verni returned to the live stage on May 17 at the Milwaukee Metal Fest at The Rave/Eagles Club in Milwaukee, Wisconsin.
OVERKILL's 10-date "Scorching Latin America 2024" tour kicked off on April 11 in Guadalajara, Mexico and included stops in Costa Rica, Chile and Peru before closing on April 28 in Sao Paulo, Brazil.
OVERKILL will support KING DIAMOND on a North American tour this fall. The "Saint Lucifer's Hospital 1920" trek will commence on October 15 in San Antonio, Texas and run through December 6 in Dallas, Texas. Additional support on the tour will come from NIGHT DEMON.
OVERKILL's latest album, "Scorched", was released in April 2023 via Nuclear Blast Records.
OVERKILL played its first concert with the band's new drummer Jeramie Kling (VENOM INC.) on August 30 at the Posada Rock festival in Câmpulung Muscel, Romania. Kling joined the veteran outfit as the replacement for Jason Bittner, who announced his exit from OVERKILL earlier last month.
A founding member of THE ABSENCE, Kling appeared on VENOM INC.'s second album, 2022's "There's Only Black", and has played with such acts as FORE, RIBSPREADER, GOREGÄNG and NECROMANCING THE STONE. He was also briefly affiliated with the reunited Florida death metal band MASSACRE, which led to the formation of INHUMAN CONDITION, alongside Terry Butler (OBITUARY, ex-DEATH) and Taylor Nordberg (DEICIDE). In addition to being a drummer, Kling is a recording engineer, producer and live sound engineer.
Bittner joined OVERKILL in 2017 and played drums on the band's last two studio albums, 2019's "The Wings Of War" and "Scorched"
| +7 | |
| |
13 ñåí 2024
Report: KISS's Official Biopic 'Shout It Out Loud' Gets New Director
 According to Deadline, director Joseph McGinty Nichol, better known as McG, is in final negotiations to helm the upcoming KISS biopic "Shout It Out Loud", which will be produced by STX Entertainment. Lionsgate is in discussions to distribute the film worldwide and co-finance. Casting is said to be underway, with production set to start in the second quarter of 2025. The most recent draft of the script was written by Darren Lemke ("Shazam!", "Gemini Man").
"Shout It Out Loud" was previously set up at Netflix and was supposed to be directed by Joachim Rønning, the Norwegian filmmaker whose credits include "Kon-Tiki", "Maleficent: Mistress Of Evil" and "Pirates Of The Caribbean: Dead Men Tell No Tales".
Back in 2021, KISS's longtime manager Doc McGhee told Talking Metal that the script for "Shout It Out Loud" was "completely done… And the script is about the first four years of KISS," he said. "Basically, it's before they were famous — it was up to Cadillac High, that kind of thing," referring to the October 1975 concert KISS played in a high school gym in Cadillac, Michigan. "And I think it's a very interesting look at the formation of KISS, the mindset of how that came about, the social pressure that everybody was in in the '60s and '70s that brought something like KISS to the forefront, that it could actually happen. So it's a very interesting, and I think it's a well-written movie."
Earlier in 2021, KISS frontman Paul Stanley told Download host Kylie Olsson that the KISS biopic was "definitely happening. And that's gonna be really interesting," he said. "The script was really good. And we really waited until we felt comfortable.
Asked which actor he would like to play him in the movie, Stanley said: "And I will tell you this: for casting to be accurate in terms of age, we are looking at actors in their early 20s. Honestly, I don't know a whole lot of actors in their early 20s. When people get asked these kinds of questions, they'll say, 'Oh, Brad Pitt,' or this one or that one. Well, those guys are in their 50s or 60s, so you're talking about another generation of actors. And I'm the first to say I'm not up on a lot of them. But as the casting process goes on, I'll certainly be there and watching. It'll be interesting to see how someone else — be it the casting people or the director — how they view who I am and who they see doing that. I think I'll learn a lot about their perception of me by who they cast."
Stanley and Gene Simmons formed KISS in New York City in 1973 with fellow original members Ace Frehley and Peter Criss. Tommy Thayer and Eric Singer replaced Frehley and Criss on lead guitar and drums, respectively, for the last two decades of the band's touring career.
Although the original lineup off KISS wrapped its "Farewell Tour" in the spring of 2001, the most recent version of KISS kicked off the "End Of The Road" world tour nearly two decades later, which concluded last December with back-to-back concerts at Madison Square Garden in New York City. | +3 | |
| |
13 ñåí 2024
| 0 | |
| |
|
|
  |
|
|
|
|
 |
|
|
|
|
|
|
DÖ
