Former GUNS N' ROSES drummer Steven Adler was interviewed on the latest installment of HATEBREED frontman Jamey Jasta's official podcast, "The Jasta Show". You can now listen to the chat using the SoundCloud widget below. A few excerpts follow (transcribed by BLABBERMOUTH.NET). On his time with GUNS N' ROSES: "What I accomplished with those guys is everything in the world to me. My dreams came true. I didn't plan on it ending in five years. You know, I thought we were gonna be like THE [ROLLING] STONES or AEROSMITH and be together for forty, fifty years. I had no idea. But you know what? All that time is in the past." On the recent news about GUNS N' ROSES singer Axl Rose and former guitarist Slash reconciling after 19 years: "I think that's great, 'cause it's been too long. The world has missed out on 25 years of great music, because those two weren't together. I mean, Slash and Axl, it's like Mick Jagger and Keith Richards, Steven Tyler and Joe Perry, Robert Plant and Jimmy Page. Imagine if those guys weren't together. It's a shame, and I'm just so glad that they're talking and everything is in the past like it should be. 'Cause I love those guys. Axl doesn't realize that I'm the one who loves him more than anybody. [Laughs]" On whether Slash and Axl reconciling means that the long-awaited reunion of the classic GUNS N' ROSES lineup will finally happen: "I don't know if it's gonna happen. I'm just glad that they are talking. "It's a shame that we haven't played together. Just like when Kennedy got shot, when John Lennon got shot; that was a shame. Us not playing together, Axl and Slash by themselves not playing together is that kind of shameâ¦ And if it does happen, I guarantee I will be the last to know about it. "If we played together, the whole arena would cry with joy. I go all around the world, I travel, and people always ask me, 'When are you gonna do a reunion? When are you gonna do a reunion?' And I want more than anything to be able to say, 'Oh, we're gonna do it on this day. Or this day.' But I have nothing to do with it. I wish I did. If I did, it would happened a long time ago. God wasn't ready for it." On whether he would have any problems with another former GUNS N' ROSES drummer, Matt Sorum, being involved in the reunion alongside Adler: "That's fine. I don't care. I love Matt. He's great. It would be cool." On Matt Sorum's drumming style: "See, with Matt and me, the difference isâ¦ He is the perfect drummer. It's just so amazing. If he went in the studio to record a song, he's gonna do it on the first take, but it's gonna sound like a machine. Me, I might not do it on the first take, but it's gonna have feeling to it and soul to it. It's gonna swing." On being fired from GUNS N' ROSES in 1990 due to his drug addiction, which caused him to spiral down into depression and more drug use: "I was no different than the other guys [when it comes to using drugs]. Whatever happened, it took me years to stop the resentment. That's what kept me from getting sober â I resented them. And once I was able to work through it and get it out of my system and realize that today is the only thing that mattersâ¦ Live for today, prepare for tomorrow, and whatever happened in the past is over. And that's why I love that Slash and Axl are talking. Because whatever happened between those two â I don't know â but whatever it was, I'm just glad it's finally in the freaking past." On GUNS N' ROSES being inducted into the Rock And Roll Hall Of Fame in 2012: "That was awesome. I was so surprised Axl and Izzy [Stradlin, guitar] didn't show up. But Axl and Izzy are like brothers; they're like a team. So if Axl wasn't gonna show up, Izzy wasn't gonna show up. But it was such an honor doing that. I thought for sure that was gonna be our first time playing together [again]. I mean, I neverâ¦ When they mentioned Axl's name, I never heard an arena boo like that. It was scary. I was, like, 'Wow! These people are really pissed off at Axl." On the reason for wanting the classic lineup of GUNS N' ROSES to reunite: "That's why I think it's so important for us to play together â not because I wanna finish what I started with those guysâ¦ You know, 'cause we started something great, [and] I wanna end it on a good note. I wanna end it great and be a part of that. But we owe to the fans to do it. It's, like, we owe it to 'em. I mean, we all â the five of us â have accomplished our dreams, [we lead] wonderful, comfortable lives, because people love our music. And I've never heard a band, ever â and like I said, I've been around the world â where people wanted to have that band back together as much as GN'R, the original guys. I never heard it in my life. Maybe THE BEATLES. I mean, not even AEROSMITH, when they broke up; people weren't, 'Oh, we've gotta see it.'"
Next week, METALLICA will release an "incredible" illustration of the almighty monster Cthulhu, who was the subject of the band's classic instrumental "The Call Of Ktulu". Richey Beckett's epically detailed artwork will go on sale in the Met Store at Metallica.com on September 10 at 1 p.m. Pacific Time. In addition to being available on a black t-shirt, the art will be featured as two screen printed, fine art prints on black paper. The limited-edition prints will be available in two different colored versions. Met Club members will have exclusive access to "The Call Of Ktulu" for one week. After that, the t-shirt will be released to the public and any remaining prints will be made available. Written by James Hetfield, Lars Ulrich, Cliff Burton and former METALLICA lead guitarist Dave Mustaine, "The Call Of Ktulu" (original title: "When Hell Freezes Over") was inspired by the story "The Call Of Cthulhu" by H.P. Lovecraft. Speaking with Guitar World magazine in a 2002 interview, METALLICA guitarist Kirk Hammett explained how he came up with the guitar melody in this track. "I tracked the whole album with Marshall amps and my Gibson Flying V," he said. "For that song, I knew that I wanted to come up with something really melodic at the beginning of the solo. At that point in the song, there's just a lot of riffing, a lot of heavy dynamics. I was thinking, 'Wouldn't it be nice if we had something somewhat melodic to lead into it?' Hence that little melody I playedâ¦ It was our first instrumental, and it was an incredibly long guitar solo. It was like, 'How can I keep this solo going without making it sound like I'm just playing a bunch of notes?' So I thought that I would break it up into sections rather than play one long spew of notes." He continued: "I used a modal approach, and there's also arpeggios that I play in the solo â they're actually 'broken arpeggios,' a term that I got from Yngwie Malmsteen. At that time, 1984, Yngwie was big in the guitar world; he influenced me in that he was using all these different scales and different arpeggios, and really got me thinking about that kind of sound. I was also thinking chromatically: there's that one part at the top of the next cycle where I play a chromatic lick that goes all the way down the high E string with the wah pedal." Hammett added: "I actually wrote out the entire solo on pieces of paper, using my own notes and my own pet names for the individual licks. I would say that 80 percent of it was composed beforehand and 20 percent of it was improvised. When we revisited that song with the symphony on 'S&M', it was a lot of fun; it felt like I was visiting my guitar technique from, like, 15 years ago or something. I just don't play like that now â I'm a lot bluesier â so it was pretty trippy."
On July 29, Gitarre & Bass magazine conducted an interview with several members of TRANS-SIBERIAN ORCHESTRA (TSO) and SAVATAGE at this year's edition of the Wacken Open Air (W:O:A) music festival in northern Germany. You can now watch the chat below. A couple of excerpts follow (transcribed by BLABBERMOUTH.NET). On how SAVATAGE mastermind Jon Oliva prepared himself for the Wacken Open Air performance: Oliva: "I stopped drinking. And I stopped eating. I stopped doing all the things I love to do. But it was worth it. 'Cause I feel a lot better than I have in twenty years. And my voiceâ¦ Actually, it's my voice that's freaking me out, because, even when I was in my late 20s, early 30s, doing songs like '24 Hours Ago' were always really hard to do. And, of course, I didn't realize that it was all the drugs and alcohol I was doing. But, after doing that, getting my act together and stuff, singing '24 Hours Ago', it's actually easy now. [Laughs]" On how they put together the setlist for the Wacken Open Air performance: Oliva: "[Laughs] This is my favorite question of all time. The three of us [Oliva, TRANS-SIBERIAN ORCHESTRA creator and producer Paul O'Neill and TRANS-SIBERIAN ORCHESTRA music director and lead guitarist Al Pitrelli] wrote more setlists for this show than I think I have in my entire career. I think we spent what, guysâ¦ three months putting the setlist together? Meticulously, picking outâ¦ 'Okay, this is gonna work and thisâ¦' Because utilizing so many musiciansâ¦ And that's why I think the SAVATAGE songs that we chose to do were â especially in the second half of the show â were songs that, as SAVATAGE, we couldn't do. We couldn't do them. We couldn't do 'Morphine Child' with five guys. 'Cause 'Morphine Child' was how many tracks? Like forty tracks of vocals alone. So it was tought putting the setlist together." On the future of SAVATAGE: Oliva: "We don't know. We don't know what we're gonna do, to be honest with you. You know, it's hard to say, because I've learned something from these guys sitting next to me, that you've gotta leave doors open. Once you say something, that something will happen, [then] you've got your foot in your mouth. So what I'm gonna say about that is, I wish the best for everybody in SAVATAGE. If we end up doing something after this, we do; if we don't, we don't. I don't know. I'm just not gonna say. 'Cause if I say we're gonna do something, that something will happen, and it won't happen, then I'll look like an asshole again. And if I say we're not gonna do something, and Paul comes up with another brilliant idea and we do do something, I'm gonna look like a liar again. So I'm just gonna say, I don't know. And that's the god's honest truth. I love SAVATAGE. I've spentâ¦ You know, since I was 18 years old, with those guys â well, most of 'em. So I don't know. I just wish that everything works out good [at the Wacken Open Air show] and then we'll see what happens down the road. I'll never say no to anything anymore, because every time I do, I get rained on." At Wacken Open Air, TRANS-SIBERIAN ORCHESTRA and SAVATAGE wowed 80,000-plus attendees with a never-before-attempted music festival performance. Following a 40-minute SAVATAGE set and a 40-minute TSO set, TSO and SAVATAGE band members, across two of the festival's main stages, performed a perfectly coordinated set of fan favorites. This ambitious feat, both musically and logistically, was helmed by Paul O'Neill. Al Pitrelli led TSO on the "True Metal Stage" and Jon Oliva headed SAVATAGE on the "Black Stage." Beyond the unprecedented act of two bands hitting the stage at the same time, this show was also memorable as it marked progressive metal originators SAVATAGE's first show in over a decade, TSO's first European festival show, as well as the only live appearances of both bands in Europe in 2015. The closeness of these two bands is well-known to those versed in rock/metal lore. TSO was founded in 1993 by producer/composer/lyricist Paul O'Neill, who brought together SAVATAGE's Jon Oliva and Al Pitrelli to fulfill a vision for a group that could meld the sound of classical and fury of rock music with Broadway's storytelling to create a unique amalgamation O'Neillcalls "rock theater." Since gaining massive popularity after beginning touring in 1999, TSO has grown to include additional members of SAVATAGE within its ranks. At 9:45 p.m., SAVATAGE, including members Oliva, Pitrelli, Johnny Lee Middleton, Chris Caffery, Jeff Plate, Zak Stevens, Bill Hudson, plus several backing musicians (including TSO's Vitalij Kuprij), ripped through such SAVATAGE songs as "Gutter Ballet", "Hall of the Mountain King", "Edge of Thorns", "Jesus Saves" and more. As the SAVATAGE set came to a close, guitarist Pitrelli raced to the other stage to join TSO for a fierce performance including songs from their upcoming release "Letters From The Labyrinth" â "Prometheus", "Toccata/Carpimus Noctem" from the platinum-certified "Night Castle" and more. For TSO's first set, the band consisted of John O.Reilly and Jeff Plate (drums), David Z and Middleton (bass), Angus Clark and Caffery (guitars), Mee Eun Kim and Derek Wieland (keyboards), Asha Melvana and Roddy Chong (strings). Vocal duties were handled by Jeff Scott Soto, Kayla Reeves and Andrew Ross, with the group bolstered at times with dancers, background vocalists and more. At 11 p.m. came the portion of the performance that left the crowd astonished: all band members took to their respective stages and began an hour-long simultaneous performance playing the same songs concurrently. They stormed through the set containing such songs as SAVATAGE's "Turns To Me", a rousing version of "Believe" with a duet featuring Oliva and Robin Borneman along with TSO favorites including "A Last Illusion", "Requiem", "Beethoven" and "King Rurick" from TSO's forthcoming release. A united TRANS-SIBERIAN ORCHESTRA featured four guitarists, four keyboard players, two drummers, two bassists, a string section, and multiple vocalists (including the addition of TSO's Russell Allen and SAVATAGE's Stevens to the above). It was a sight to behold, with several generations on stage: from teenagers taking their first steps on an international rock stage to seasoned veterans who have toured the world. Throughout the two-plus hours, along with an unprecedented sonic storm, fans were treated to an incredible pyrotechnic display estimated to have cost in the hundreds of thousands of dollars. As anyone on site could attest, it was an unparalleled auditory and visual experience.
The official video for QUEENSRÅ¸CHE's new song "Guardian" can be seen below. The track is taken from the band's new album, "Condition HÃ¼man", which will be released on October 2 via Century Media. The CD was recorded in part at at Uberbeatz Studio in Washington with producer Chris "Zeuss" Harris, who has previously worked with ROB ZOMBIE, HATEBREED, SOULFLY and SHADOWS FALL. Pre-Orders are available now at PledgeMusic.com. "Guardian" "touches on the empowering qualities of strength in numbers, and how people can rise up to create real change," QUEENSRÅ¸CHE singer Todd La Torre tells Billboard.com. "Movements are evident across the globe in varying degrees, ranging from ideological perspectives and how they relate to cultures, socioeconomic differences and its effects, human rights, etc. It is an anthem that supports people standing up for rights and values that may be infringed upon on the micro and macro level. It's a single thread that surrounds a multifaceted topic of being human, human relationships relating to others and the world that surrounds us. Good, bad or indifferent, change is possible, but is only as strong as its relativity to perception, which perhaps is the very foundation and basis for the initiation of change." "Condition HÃ¼man" track listing: 01. Arrow Of Time 02. Guardian 03. Hellfire 04. Toxic Remedy 05. Selfish Lives 06. Eye9 07. Bulletproof 08. Hourglass 09. Just Us 10. All There Was 11. The Aftermath 12. Condition HÃ¼man The "Condition HÃ¼man" cover artwork can be seen below. Todd La Torre states: "The artwork depicts a beautiful innocence surrounded by the darkness of a jaded unpredictable world." The "Condition HÃ¼man" opening track, "Arrow Of Time", can be streamed using the SoundCloud widget below. In a recent interview with "Hard Time Radio" on KNON 89.3 FM in Dallas, Texas, La Torre stated about QUEENSRÅ¸CHE's follow-up to 2013's "QueensrÃ¿che": "We're really excited about the songs. We put a lot of into it, and hopefully the fans really dig it. You never know. It's so subjective, but there's such a diversity, I think, of material that, surely, there's something for everyone â kind of like on the last recordâ¦ There's some stuff that sounds like it would be from the 'Mindcrime' era, there is a couple of songs that sound like they could have been from 'Empire'. There's also some tunes that could have been from the 'Rage' and 'Warning'â¦" He continued: "Honestly, I know it sounds typical or clichÃ© to say, but I really feel that there's material on this record that spans from the first record that the band did up to 'Empire' and maybe even 'Promised Land'. There's a lot of diversity, but there's a complexity to these songsâ¦ It's a different animal to the last record. The last record was awesome and we're very proud of it. This one is a lot more involved, [with] a lot more layers. And I think, vocally speaking, I was able to do some things on this record that I didn't get to do on the last one, just because the material maybe didn't call for it, but this stuff does. There's some really dark and slow and haunting, creepy stuff on here. There's just a lot ofâ¦ I don't knowâ¦ It's hard to compare it to anything. So that's why I think that the best thing I can say is I think that there's something for everyone on this album; I really believe thatâ¦ The drumming on this is so good, the bassâ¦ the rhythm section, the bass playing of Eddie [Jackson] locks in with Scottie's [Rockenfield] kick drum. I mean, the guitar work that Parker [Lundgren] and Michael [Wilton] did really shines. And a lot of great harmony guitar work that was so evident in the QUEENSRÅ¸CHE sound is very vibrant on this record in certain places. Everything was microscoped to every single, tiny little detail thatâ¦ no expense was spared. We didn't wanna overdo everything." Todd added: "Sometimes you can go a little crazy, and you have to learn when to say 'enough is enough.' And Chris 'Zeuss', our producer, who also engineered the record, he was very mindful of the QUEENSRÅ¸CHE style and sound, and he was a huge fan of the band, so he definitely wanted to capture those pure QUEENSRÅ¸CHE elements, but also make the band sound like it should sound in 2015. It doesn't sound dated, but there's still that QUEENSRÅ¸CHE sound. It is a different lineup, and there's a new energy, and there's a drive that this record has that, I think, is really refreshing. And sonically speaking, it just soundsâ¦ it sound killer. It sounds killer. I'm super excited for this record to come out. I think it's definitely a great step." Regarding QUEENSRÅ¸CHE's collaboration with Chris "Zeuss" Harris, La Torre said: "He was right at the forefront of the metal scene that was happening up in the New England area, with the style of SHADOWS FALL and KILLSWITCH ENGAGE, and that kind of stuff. So he was immersed into that genre of metal for a long, long time. And he did the new SANCTUARY record, which sounds really great. And so he was super excited to get it to the territory of music that QUEENSRÅ¸CHE does, and he handled it with extreme respect and care, but he wasn't afraid to say 'no.' If he didn't think it was the best, he had no problem respectfully saying, 'No. That's too happy.' Or, 'That sounds kind of corny.' Or, 'You can do better'â¦ to all of us. And he really pushed us to do the best that we could respective to each song. So, yeah, he was very eager and enthusiastic and honored to work with QUEENSRÅ¸CHE, and we were equallyâ¦ felt the same way to have him do this record." "QueensrÃ¿che" sold around 13,500 copies in the United States in its first week of release to land at position No. 23 on The Billboard 200 chart.
BUCKCHERRY guitarist Keith Nelson was interviewed on the August 24 edition of Eddie Trunk's SiriusXM satellite radio show, "Eddie Trunk Live". A couple of excerpts from the chat follow (transcribed by BLABBERMOUTH.NET. On the writing process for BUCKCHERRY's seventh studio album, "Rock 'N' Roll", which was released on August 21 via F-Bomb Records/Caroline: "We did the 'Confessions' record [in 2013], we had a theme. And then we did the 'Fuck' EP [in 2014], and that had a theme. And we just kind of wanted toâ¦ 'Let's just drop all of that stuff.' 'Cause we had written two bodies of work where it was kind of predetermined. 'Let's just write songs like we used to.' So we started writing songs, and the process was, really, the same. It only took us three weeks to record the record. We just wrote songs, made demos, got the band together, played them live, worked them up, and then hit 'record.' It's really kind of simple thing. We didn't come up with a title until after the fact. And I think it kind of speaks for itself." On the "Rock 'N' Roll" album title: "There's been a lot of people that have been going around lately saying 'rock and roll is dead.' I mean, if you look at the way records sell, unless you're a pop artist, or a hip-hop artist, rock is dead. But we just don't believe that, man. We go out every night, we play to a nice full house full of rock fans. And I think it's alive and well." On rock albums having a shorter shelf life than ever before: "The attention span [of music fans] is so short â it's so short. That's one of the reasons why we've been trying to turn around new records more frequently â just because the attention span is short. You used to work three singles, and if you were really having some success, you'd work four. Now it's, like, you might work the second one, but that's kind of it. I don't knowâ¦ I'm not gonna complain about the changing of the guard or the way music consumers are getting their music, but I do wish that records would stick around a little bit longer." On the platinum success of BUCKCHERRY's 2005 album "15": "We definitely feel, and are very well aware of the fact, that the timing couldn't have been better, even though we didn't even know it at the time. Because looking at what happened after the fact, it's just insane the way it kind of dropped offâ¦ just the business changed in the next two years in such a ridiculous way. So we're really aware of the fact that if we had released that record two years later, it would not have had the shelf life or the success that it had." On whether we will ever see another rock band have a platinum album again: "I don't know if we are. Now they have to come up with a new way by arriving at that award status by factoring in streams and other ways of getting the music. But just out and out selling a whole record, you knowâ¦ That's why we keep making records, even though everyone's talking about going to singles and stuff like that. I mean, I just love the ideaâ¦ And it's because all my favorite artists, all the music I grew up on, were complete records. And maybe there was a couple of songs there that you didn't like. But, you know, the whole body of work together, I just love that. And it feels like we have been able to just eke out the last of that."
On August 20, Joiz conducted an interview with HALESTORM at the 2015 edition of the Open Air Gampel festival in Gampel, Switzerland. You can now watch the chat below. Speaking about the more spontaneous approach HALESTORM took during the making of its third album, "Into The Wild Life", singer Lzzy Hale said: "This album is very reflective, I think, of where we're at in our lives. And I think it just comes with growing up. We have three albums on a major label now, we've done a bunch of EPs, we've toured the world, and I think we're getting super comfortable in our own skin." She continued: "We went into doing this record just basically saying, 'Okay, let's just go in there and chase whatever gets us excited and make the record that we would wanna listen to.' "We did the first two records [by planning everything out], actually: we had all the songs written, all of our parts down, we knew how many songs, what was going on. We literally had it mapped out in the studio â everything that everyone was gonna do â right down to the last day, like, 'Okay, we're gonna be done here.' And I think we just wanted to throw all that away for this record â just be, like, 'Let's not do that.' So we basically went into the studio with a few songs that we knew we wanted to put on the record, wrote the rest of it while we were doing it, and came out with whatever the hell this record is. So, yeah, we're proud of that." HALESTORM recently tied THE PRETTY RECKLESS's record for the most No. 1 songs on by an act with a female vocalist on Billboard's Mainstream Rock Songs chart. HALESTORM's "Amen" in July tied the mark established by THE PRETTY RECKLESS when "Follow Me Down" became its third No. 1 on the chart dated May 2. Previous HALESTORM chart-toppers were "Apocalyptic" (March 28) and the 2013 single "Freak Like Me". HALESTORM and THE PRETTY RECKLESS are the only two female-fronted bands to lead Mainstream Rock Songs since Alannah Myles's "Black Velvet" topped the chart in 1990, according to Billboard.com.
Swedish metallers STEELWING will release their new album, "Reset, Reboot, Redeem", on November 20 via NoiseArt Records. The artwork for the CD was created by Swedish artist Sandra Ãsterberg Brolin. The band states: "For this album, we wanted a cover with a genuine artistic feel. We chose to work with Sandra Ãsterberg Brolin, a talent we know, because of her distinctive eerie style. The cover art is an oil painting depicting a human skull in the burning ruins of a city â the symbolism should be obvious." Almost four years since their sophomore album, "Zone Of Alienation", was released, STEELWING is ready to return to the scene. Though still rooted in the traditional heavy metal their fans have come to expect, the new CD has more than a few surprises in store. "With two well-received albums behind us we could have gone the easy way and kept doing the same thing," says vocalist Riley. "However, after the hit-oriented 'Zone Of Alienation', we felt that we wanted to challenge ourselves to create something darker and much more ambitious. So instead we worked really hard for more than three years to redefine our sound and really perfect the new material. We have introduced a wide range of influences to the sound, anything from death metal and technical thrash to punk and hardcore, where previously we wouldn't allow ourselves to stray too far from the classic heavy metal matrix." "Reset, Reboot, Redeem", was recorded, mixed and co-produced by Swedish death metal legend Fred Estby (NECRONAUT, THE DAGGER, ex-DISMEMBER) at Gutterview Recorders, with additional parts recorded by Nicko DiMarino in Deep Blue Studios where the band's early sound was once formed. "We envisioned a gritty attitude and more organic drum sound for these songs, so naturally we turned to Fred, who is known for delivering just that," says Riley. "Since we have grown up listening to DISMEMBER, it was truly an honor to work with him. I knew the new material would be very demanding to sing, so we decided to record the vocals with Nicko, an old friend of the band who has been with us from day one. We know we can always trust his ears and skill when the going gets tough." Conceptually, STEELWING continue to develop on the post-apocalyptic themes of the previous two albums. Where "Lord Of The Wasteland" focused on "Mad Max"-esque highway marauders and "Zone Of Alienation" described mutant-infested havens in outer space, "Reset, Reboot, Redeem" take on a more serious misanthropic note: the current flawed state of mankind must be sacrificed to pave way for a trans-humanistic new breed â or all life on Earth will face extinction. One of many firsts for this album is a song in the band's native tongue: "Och VÃ¤rlden Gav Vika" (translation: "And the World Collapsed"). The first song from "Reset, Reboot, Redeem" released on YouTube is the title-track â an intense speed metal onslaught that will leave listeners gasping for air in its wake. "This song sums up everything this album is about," says Riley. "Our fans will recognize the trademark STEELWING speed and energy, but we're also introducing the darker vibes, technical breaks and diverse influences â it's an undeniable evolution from anything we've done in the past."
Scion, whose partnership with iconic thrash metal outfit SLAYER birthed the now legendary SLAYER-inspired tC sports coupe, have joined forces to offer fans a free download of the band's new song "You Against You". The track, which is taken from SLAYER's forthcoming eleventh album, "Repentless", is available as a free download to the first 15,000 fans tomorrow, September 4, at 10 a.m. pacific time via ScionAV.com. "You Against You" is also available as an ongoing streaming track using the SoundCloud widget below. A limited run of seven-inch vinyl records of the single will be available in January. Fans of the band can also view a video Scion offered this fall, featuring behind-the-scenes studio footage, a tour of the ESP factory via Tom Araya, and a visit to Kerry King's Psychotic Exotics reptile house and herpetology nursery. Araya also recently spoke with Scion AV "All Purpose Show"'s Prince Paul for an extensive interview ranging from the band's humble beginnings to the work behind "Repentless". "Repentless" will be released on September 11 via Nuclear Blast. The highly anticipated follow-up to 2009's critically acclaimed, Grammy-nominated "World Painted Blood" was produced by Terry Date, who has previously worked with PANTERA, DEFTONES and SOUNDGARDEN.
Fan-filmed video footage of EVERGREY's September 3 performance at Marlin Room at Webster Hall in New York City can be seen below. EVERGREY's latest album, "Hymns For The Broken", was released in September 2014 via AFM Records. The CD was recorded at a few different studios and mixed at Hansen studios in Ribe, Denmark by Jacob Hansen (VOLBEAT, AMARANTHE, EPYSODE, PRETTY MAIDS, DORO). EVERGREY's current lineup includes guitarist Henrik Danhage and drummer Jonas Ekdahl, who have rejoined the band four years after leaving the group in 2010. Not too long ago EVERGREY was almost dead. It wasn't a decision Englund had spent hours or weeks brooding over, but as time passed following the band's "Glorious Collision" album from 2011 he felt less and less inspired to continue. Perhaps it was the splintering of the band lineup in 2010 â which saw Henrik Danhage (guitars), Jonas Ekdahl (drums), and Jari Kainulainen (bass) leave on friendly terms â or maybe it was the business side of the music that had worn him down, but Englund had seriously considered throwing in the towel. Fate had other plans, however, and he found himself working alongside his former bandmates due to circumstances beyond his control. The end result of that unplanned collaboration, which was meant to be temporary, resulted in a re-energized EVERGREY creating "Hymns For The Broken", arguably the strongest album in the band's 20-year career. "We needed a stand-in drummer for a few shows that had already been booked," Englund explains, "because Hannes [Van Dahl] had been offered the chance to join SABATON, so I naturally called Jonas to see if he was available. We also needed a second guitarist, so I asked Henrik and he was fine with it. While we were doing those shows, we realized that we were having a lot of fun with the music again." "I'd say that the guys coming back saved EVERGREY because I wasn't 100% set on doing an album," Englund admits. "And I'm amazed. The band sounds hungry, the album sounds awesome, and I can say there's not a weak song on it. I like it a lot, which is strange because usually I'm so tired of the music after working on an album for such a long time. Honestly, I've never felt I've been as close to the music as I am with 'Hymns For The Broken' because all the bits and pieces are in there. It's exactly what my vision for the album was. Usually you get about 80% of it right, but this is 100% what we wanted." EVERGREY is: Tom S. Englund - Guitar, Vocals Rikard Zander - Keyboards Johan Niemann - Bass Henrik Danhage - Guitar Jonas Ekdahl - Drums
In a brand new interview with Grantland.com, IRON MAIDEN singer Bruce Dickinson revealed that he doesn't pay any attention to social media. "I understand that in this day and age everybody has to have a big social media presence, and you have to look after your social media, and blah blah blah â okay, that's great," he said. "We've got a great team and they just look after the social media. I just completely ignore it. It's as if I live in another world, devoid of Twitter, devoid of Facebook, devoid of all the bullshit that gets talked about by all of these people. I just live in my own little head world. That's what makes the records. So I have no idea what's going on on Twitter, and I couldn't care less." Asked if there is anything in particular about social media that bothers him, he said: "No, because I don't let myself get bothered. I pay no attention to it. I don't even know how to access Twitter. I mean, my mobile phone is a Nokia that I can't even take a picture on. It's held together with tape. That is my mobile phone, and people look at it with horror. People say, 'Well, why don't you have an iPhone?' Because it gets polluted by shit." He continued: "The trendy things that bands do now to maintain their 'pop culture' is sit there obsessing and tweeting away drivel to the unwashed masses. It's just crap. It's self-indulgent, narcissistic bollocks. I have no interest in that whatsoever. If I want to be self-indulgent and narcissistic, I'll put it on a record. Don't sit there tweeting, I don't even know how many words you're not allowed to say in Twitter before you run out of intelligence." Dickinson does, however, see the value in social media in the way it enhances MAIDEN fans' experience by creating a community that encourages them to cumminicate with each other. "I guess [the Internet] is a great way for the metal community to interact and to relate without having to tolerate being servile toward the mainstream media," he said. "From that point of view, our own community and the whole IronMaiden.com thing works brilliantly for us. People can just get involved in the portal and talk amongst themselves. So for us, it means that as a band, we just don't get involved with it because our audience involves themselves. We just put music out there and let them run with it. They can have their own opinions. They're gonna make their own statements. They're gonna create their own communities and their own worlds. We put the music out there and we let people run with it. That's what it should be like, really." IRON MAIDEN's new album, "The Book Of Souls", is being released today (Friday, September 4) through BMG in the U.S.A. (Parlophone Records in the rest of world). The band announced in May that touring plans to support the album wouldn't happen until 2016 to allow Dickinson time to fully recuperate after his successful cancer treatment.
Dave Wyndorf and his MONSTER MAGNET henchmen seemingly had the time of their lives when they completely rearranged and boosted "Last Patrol" in 2014 and christened it "Milking The Stars: A Re-Imagining Of Last Patrol". Now MONSTER MAGNET go back even further to 2010 and their "Mastermind" album. Even if you know the LP inside and out, you won't be prepared in the slightest for the trip that is "Cobras And Fire (The Mastermind Redux)": just think of the beast "Apocalypse Now" turned into in its Redux form. Familiar elements drift by and are swallowed whole by thundering psych orgies â Wyndorf often focuses on a singular song fragment and turns it into his ride to total Nirvana. Go look for your daily dose of average rock elsewhere: this is the mindfuck of the year! The lyric video for the song "Watch Me Fade" from "Cobras and Fire (The Mastermind Redux)" can be seen below. Wyndorf comments: "'Watch Me Fade' features one of my favorite musical combinations: heavy, old-school organ and fuzz guitar. When I hear that sound, I want to sing like some mad preacher. "The lyrics started out as a love song, but wound up being a paranoid rant about living in the 21st century. I'm sure somebody out there can relate, and ... it's only 3 minutes and 6 seconds, which has to be some kind of record for MONSTER MAGNET." "Cobras And Fire (The Mastermind Redux)" will be released on October 9 via Napalm Records. "Cobras and Fire (The Mastermind Redux)" track listing: 01. She Digs That Hole 02. Watch Me Fade 03. Mastermind '69 04. Hallucination Bomb 05. Gods And Punks 06. The Titan 07. When The Planes Fall From The Sky 08. Ball Of Confusion 09. Time Machine 10. I Live Behind The Paradise Machine Evil Joe Barresi's Magnet Mash Vol.1 Wyndorf stated about the new album: "Hey, hey! I'm pleased to announce the release of 'Cobras And Fire: The Mastermind Redux'. It's a re-imagining of material from 2010's 'Mastermind' album as an alternative listening experience that I think stands on its own. "With 'Cobras And Fire', I wanted to present these songs in a much stranger and dirtier atmosphere. Less 'classic rock' and moreâ¦ well, I'd guess I'd call it a deranged fusion of garage-psych, fuzz punk and movie soundtrack music. It's almost completely re-recorded (with the bulk of the guitar and bass playing by co-producer Phil Caivano), and, as in 'Milking The Stars', I've added organ, piano, sitars and more to flesh out a completely new sound for these tunes. There's also a HAWKWIND/PINK FAIRIES-inspired cover version of THE TEMPTATIONS 1969 classic 'Ball Of Confusion' with background vocals by MONSTER MAGNET co-founder and RIB EYE BROS. frontman Tim Cronin. Plus an eight-minute, tripped-out sonic adventure entitled 'I Live Behind The Paradise Machine' specially created by mixer extraordinaire Evil Joe Barresi. Joe is at his best here, seamlessly integrating elements from several MAGNET songs into a new, standalone composition. "All in all, I call this the weirdest MONSTER MAGNET yet, and that's a good thing! I hope you like it!"
Swedish death metal veterans GRAVE will release their new album, "Out Of Respect For The Dead", on October 16 via Century Media. The CD's eerie artwork, which can be seen below, was again created by Costin Chioreanu, who has been responsible for the band's last three albums as well as the "Morbid Ascent" EP. Chioreanu is also known for his collaborations with such acts as AT THE GATES, PARADISE LOST and ARCH ENEMY. "Out Of Respect For The Dead" will be released as a standard CD, deluxe LP, deluxe 2CD box set and digital download/stream. Three years have passed since the release of GRAVE's last opus, "Endless Procession Of Souls", that was followed by a European headlining tour together with SONNE ADAM, the release of the vinyl-only "Morbid Ascent" EP and another tour with labelmates ENTOMBED A.D. Since fall 2014, GRAVE has been working on the follow-up to "Endless Procession Of Souls". And it has turned out to be one of the angriest and most evil albums of the band's career. A track from the new CD, "Redeemed Through Hate", can be streamed using the SoundCloud widget below. GRAVE is: Ola Lindgren - guitar, vocals Mika LagrÃ©n - guitar Tobias Cristiansson - bass, vocals Ronnie BergerstÃ¥l - drums
FEAR FACTORY guitarist Dino Cazares has slammed his former DIVINE HERESY bandmates for allegedly "ripping off" one of his songs with their new group, saying that "it was kind of dumb and hilarious at the same time." DIVINE HERESY, which initially featured Cazares alongside vocalist Tommy "Vext" Cummings and drummer Tim Yeung, released two albums â "Bleed The Fifth" (2007) and "Bringer Of Plagues" (2009) â before Dino returned to FEAR FACTORY and put DIVINE HERESY on hold. Vext and Yeung have since rejoined forces in a new project called WESTFIELD MASSACRE, which also features the contributions of guitarists Bill Hudson and Rick Di Marco. Asked about the musical similarities between WESTFIELD MASSACRE's first single, "Darkness Divides", and the DIVINE HERESY song "Failed Creation", Dino told Shredload.com (hear audio below): "Yeah, why they decided to rip off something that I already did wasâ¦ I have no idea. I thought that was kind of dumb on their part, and hilarious at the same time." He continued: "I don't know what's going on with that band [WESTFIELD MASSACRE]. I'm not even sure if that even still exists. I know that Tim didn't even mention it in hisâ¦ I know he doesn't even mention it, or it's not even on his YouTube page or his Facebook page. It's, like, I don't even know if he even considers that to be his band." Cazares was also asked about the current status of DIVINE HERESY, whose second CD, "Bringer Of Plagues", featured vocalist Travis Neal (THE BLOODLINE) in the place of Vext. He said: "The current status of DIVINE HERESY is, actually, nothing at the moment. I do have songs written, but they're kind of in the backburner. At the moment, it's mainly just about FEAR FACTORY and [the new FEAR FACTORY album] 'Genexus'." Regarding whether Yeung is still a member of DIVINE HERESY, Dino said: "No, Tim Yeung left for financial differences â I think the same reason why he left MORBID ANGEL." He added: "I wish him luck. I hope he is successful [in] whatever he does and whatever band he decides to jam with â as with all those musicians. At the moment, I'm just doing FEAR FACTORY and 'Genexus', and that's pretty much what I'm concentrating on." FEAR FACTORY's new album, "Genexus", was released on August 7 via Nuclear Blast Entertainment. The follow-up to 2012's "The Industrialist" was co-produced by longtime collaborator Rhys Fulber, along with guitarist Dino Cazares and vocalist Burton C. Bell and mixed by Andy Sneap (ARCH ENEMY, TESTAMENT, EXODUS, MACHINE HEAD). Artwork was once again handled by Anthony Clarkson. Drums on "Genexus" were performed by Mike Heller (MALIGNANCY).
Joel Hoekstra will release "Dying To Live", the new melodic hard rock studio album from his electrifying new side project JOEL HOEKSTRA'S 13, on October 16 via Frontiers Srl. The currrent guitarist for WHITESNAKE, Hoekstra is best known for his work with NIGHT RANGER, TRANS-SIBERIAN ORCHESTRA and the show "Rock Of Ages". The official video for the song "Until I Left You", taken from "Dying To Live", can be seen below. The track features a guest appearance by former YNGWIE MALMSTEEN and JOURNEY singer Jeff Scott Soto and ex-BLACK SABBATH/DIO drummer Vinny Appice. Hoekstra took charge of the creative process by handling the production, songwriting and arranging (music and lyrics). The end result could best be described as hard, melodic, classic rock that is DIO-ish at its heaviest and FOREIGNER-ish at its lightest. "Years ago, I released three solo albums that were mainly instrumental guitar music. I wanted to put something out that showcased my production, writing and playing in the genre that I'm known for, which is melodic, hard rock," explains Hoekstra. "That's when I decided to start what I consider to be my rock side project, JOEL HOEKSTRA'S 13." "Dying To Live" focuses on struggles, potential pitfalls and the art of overcoming obstacles in life to finally arrive where we are meant to be. The CD was conceived before Hoekstra joined WHITESNAKE, whose lead singer, David Coverdale, gave the album his full blessing. "David wants his players to spread their wings and fly, and, of course, be ready to rock when WHITESNAKE needs them, which obviously won't be an issue," says Hoekstra. Excited how the new album turned out, Hoekstra is looking forward to the overall reaction from fans and media. "I hope everyone will give it a listen," he says. "I feel it showcases my production, writing and playing in essentially the same genre. The lineup of musicians is stellar! I want to thank everyone for any support in advance. Life is good!" "Dying To Live" track listing: 01. Say Goodbye To The Sun 02. Anymore 03. Until I Left You 04. Long For The Days 05. Scream 06. Never Say Never 07. Changes 08. The Only Way To Go 09. Dying To Live 10. Start Again 11. What We Believe 12. Kill or Be Killed (bonus track digital download) An EPK (Electronic Press Kit) for the album is available below. The musicians: * Joel Hoekstra (WHITESNAKE) - Guitar, Backing Vocals * Jeff Scott Soto (JOURNEY, YNGWIE MALMSTEEN) - Lead Vocals, Backing Vocals * Russell Allen (ADRENALINE MOB, SYMPHONY X) - Lead Vocals, Backing Vocals * Vinny Appice (Black SABBATH, DIO) - Drums * Tony Franklin (THE FIRM, BLUE MURDER) - Bass Special Guest Musicians: * Derek Sherinian (DREAM THEATER, BLACK COUNTRY COMMUNION) - Keyboards * Chloe Lowery (TRANS SIBERIAN ORCHESTRA) - Vocals * Toby Hitchcock (PRIDE OF LIONS) - Additional Backing Vocals * Charlie Zeleny (JOE LYNN TURNER) - Percussion * Dave Eggar (AMY LEE, COLDPLAY) â Cello
Former MEGADETH guitarist Marty Friedman was recently interviewed by Metal Chris of DCHeavyMetal.com. You can now listen to the chat using the SoundCloud widget below. A couple of excerpts follow. DCHeavyMetal.com: Marty, you have eleven solo albums to choose material from and songs from other bands as well that you've been in. So what kind of set list can fans expect to see on [the upcoming U.S.] tour? Marty: It's gonna have a little bit of everything in there. Obviously, it's a lot of stuff to choose from. There's only about two hours to play; I think we're shooting for like a two-hour show, give or take a few minutes either way. But there's gonna be a lot of surprises, a lot of things that people don't expect. The stuff that's worked best live in the past and the stuff that I've been wanting to play from my new album, "Inferno", is gonna get the most airtime during the concerts. DCHeavyMetal.com: In May of 2014 you released "Inferno" and that is your first solo album to be released in the U.S. in, I think, a decade or so here. Is this going to lead to more releases here in the West and more touring? Marty: Definitely. Definitely. This first tour is really just to kind of get my feet wet and introduce my Japanese band to people in America, and I think they're gonna think it's super fresh. It's really exciting, and it's different you know. I really don't know what to expect from the audiences in America as I haven't played there in forever. But that's the whole thing, you know. The album got wonderful attention in America. Fantastic reviews in places like Rolling Stone and Grammy.com and Billboard â places that usually completely ignore anything I do. It seemed to be a good sign to take it to America and go on tour. We're already talking about a second leg of this thing in America, and we haven't even started the first one yet so that's a good sign. It's my home country, and especially Baltimore is my hometown, so I'm really super excited to kick off the tour there. DCHeavyMetal.com: Why exactly did you name the album "Inferno"? Are you a Dante fan or does it have some other meaning to you? Marty: [Laughs] Actually, I wanted to have kind of a clichÃ© heavy metal title. I had the concept for the cover way before I really had finished all the music. I wanted people to know that it was a heavy record, and I wanted a really super-clichÃ© heavy metal word. But I wanted the photo, or the graphics on the cover, to be like really artistic and non-clichÃ©. So I wanted that kind of a opposite contrast. I wanted a super, almost corny title, but you know it's metal. But I wanted to have the front cover, the whole entire cover, look like a gorgeous piece of art â not a terribly typical heavy metal cover at all. That's kind of where the title came from.
Music lesson web site PlayThisRiff.com is now featuring a round of guitar lesson videos with Woody Weatherman of CORROSION OF CONFORMITY. At PlayThisRiff.com, you will find the following new lesson videos: * "Albatross" * "Loss For Words" * "Psychic Vampire" (Main Riff) * "Psychic Vampire" (Bridge Riff) * "Psychic Vampire" (Solo Section) * "Who's Got The Fire" * "Mad World" * "Brand New Sleep" * "Deliverance" (Solo) * "Woody's Gear" "Albatross" can be viewed at this location. PlayThisRiff.com is owned and operated by Bob Balch from FU MANCHU. Guitarist/vocalist Pepper Keenan played his first full show with CORROSION OF CONFORMITY since 2006 on March 7 at Manchester Academy 2 in Manchester, England. CORROSION OF CONFORMITY's first European trek with Keenan back in the fold since 2006 marked the first time the "Deliverance" lineup of the band has played together since 2001. Keenan, who has been focusing on DOWN in recent years, is still considered to be a member of CORROSION OF CONFORMITY but was not involved in the reunion of C.O.C.'s "Animosity" lineup, which was resurrected in 2010 and has been recording and touring ever since. Keenan joined CORROSION OF CONFORMITY in 1990, but he did not become the band's lead singer until the recording of "Deliverance", which came out in 1994. CORROSION OF CONFORMITY's most recent studio album with Keenan, "In The Arms Of God", came out in 2005 on Sanctuary Records. C.O.C.'s reunited "Animosity" lineup released its new album, "IX", on July 1, 2014 via Candlelight Records.
LAMB OF GOD singer Randy Blythe has slammed Republican presidential hopeful Donald Trump, saying that the real estate magnate and former reality TV star "has no clue what the average working person goes through in order to pay their bills." Asked about the recent polls which show Trump having a commanding led over other candidates in the GOP presidential primary field, Blythe told the "Metal Shop" radio show at the August 23 99.9 KISW Pain In The Grass event in Auburn, Washington (hear audio below): "Fuck that dude!" He continued: "All right, look. I've been in LAMB OF GOD twenty years, right? I've had a job since I was 14. For ten of the twenty years when I was in LAMB OF GOD, I was a roofer and a restaurant worker at the same time; I didn't hatch out of a rock-star egg. "Donald Trump does not know what the common man does. He has no clue what the average working person goes through in order to pay their bills. He does not give a fuck about you; he gives a fuck about protecting big business and the lobbies. You know what I mean? So fuck that guy, and fuck his hair. He has no need to be the president of the United States. Just 'cause you're rich doesn't mean you should be president of the United States." Blythe went on to say: "Let's take away the campaign funding, right? Let's take it all out. The Internet is free, okay? Why don't you speak about real issues. Take away the money. You know what I mean? They don't need a bazillion dollars to run a presidential campaign; I'm sorry, it's just not true. Go to YouTube, you know? "Not just the presidency, but our Congress has been a disgrace. Bipartisan politics, fighting over party lines. Why don't they care about the American people instead of whether you're a Democrat or a Republican. You know what I mean? Let's deal with some issues." "Metal Shop", hosted by Kevin and Ian, airs every Saturday night on 99.9 FM KISW in Seattle. It can be heard at www.kisw.com. Blythe's memoir, "Dark Days: A Memoir" was released on July 14 via Da Capo Press. Random House purchased the foreign rights to the book and is acting as publisher in the U.K., Australia, New Zealand, and South Africa. LAMB OF GOD's seventh full-length album, "VII: Sturm Und Drang", was released on July 24 via Epic in the U.S. and Nuclear Blast Entertainment in all territories outside of North America. The CD was once again produced and mixed by Josh Wilbur with engineering by Wilbur, Nick Rowe and Kyle McAulay, and was recorded at NRG Recording Studios in North Hollywood, California and Suburban Soul Studios in Torrance, California.
SLAYER bassist/vocalist Tom Araya's 55-year-old sister Jeanette Araya is working with a Chilean production company, VFI Producciones, to turn her recently released book, "Bloodline", into a movie. The film, which is tentatively due before the end of 2016, will be made available under the story's original title, "The Minister And His Son". Jeanette tells BLABBERMOUTH.NET the movie will contain dalogue in both English and Spanish (with subtitles), with some filming set to take place in the States as well. According to Jeanette, "Bloodline" "isn't based on my brother's fame. It's based on Dad's life and what he gave of himself for us to have a better future. But what makes it interesting is the fact that it was my brother Tom who suggested that I write a book and helped me get started." Official description of the 122-page book: "In 2002, Jeanette Araya unexpectedly lost her father. As her world crumbled and the darkness of grief surrounded her, Jeanette found solace in writing and sharing family stories with her siblings. Years later, Jeanette shares a touching, occasionally edgy, memoir that reflects back on her father, Javier Araya, and her family life growing up. "Through a chronological retelling, Araya returns to her father's origins and early life in Chile and continues through the family's eventual emigration from Chile to a new life in Los Angeles. Araya's anecdotes reveal her father's mid-life challenges as he began an internal struggle that soon led him to a different purpose of serving God. While her father battled to support his family by any means necessary, Araya details how her brother ventured into the heavy-metal music scene, causing new tensions in the family as her father grappled between honoring his faith and feeling proud of his son's success. "'Bloodline' shares a heartwarming, emotionally-charged remembrance of a Chilean man's journey and the family who loved him as his life comes full circle from his upbringing to his final moments on Earth." "Bloodline" was made available on August 28 through Archway Publishing and can be purchased via Amazon.com. Back in 2008, Jeanette sent the following overview of her story to BLABBERMOUTH.NET: "The story begins with the ending of my father's religious life and the climax of my brother's career as the lead singer for the controversial band SLAYER. Then I take you back to the 1930s to central Chile to the beginning of my father's life to understand the struggles that a man faces during a lifetime to overcome poverty. The controversy he faces in his later years with money and Satan as a young boy from a poor family whose struggles for survival were traumatic and inspirational. "Being one of the youngest of seven children of an abusive alcoholic father and a nurturing, soft-spoken mother, religion was the only safe and consoling gift that guided his life and his dreams. He loved school and math was his favorite subject, but had to quit school and go to work to help his family when he was only eight years old. As a child, he loved to play soccer with a team of friends, he loved bright colors, music and he always dreamed of flying; flying made him feel closer to heaven. He married at twenty years of age, and by the time he was thirty, he had five small children and had began reliving his father's drinking pattern and infidelity. He decided to make a major change in his life. In 1965 he headed for the States where money grew on trees and everyone lived trouble-free. "With little money in his pocket, no knowledge of the English language, little education and a dark complexion in the 1960s, he landed at LAX California and within six months he sent for his family. He worked for a dollar an hour. Later he took on another job and began working 16-hour shifts. Within a matter of two years, he purchased his first home in the U.S. and two more children were born; now we were seven. He ran a tight ship â religion, respect and the belt to insure the two. We didn't have much money, so during those long hot summer vacations we entertained ourselves by doing backyard shows for the neighborhood kids, something like 'The Little Rascals'. We would lip-sync to pop songs and played makeshift instruments. As time went on, the shows got more elaborate and my brother's interest in music became a passion and religion became Dad's. "In the late '70s, my brother Tom joined a heavy metal band and disrupted the quiet harmony of our 'normal lives.' Dad was unaware of the aggression and the message in the lyrics of the band and was very supportive and proud of my brother. But when the visual images of the nature of the songs began to surface, he was crushed. He had become a minister at the local church and belonged to many healing and prayer groups. He gave communion on Sundays he assisted in all baptismal [services] and funerals; church had become his life. "One day, after a prayer group meeting, this lady approached my father with tears in her eyes and asked him for help. She began explaining to him about the difficulties she was having with her teenage son, that he had become satanic and pleaded with my father to come to her house and do a healing prayer session, So my father agreed and took my mother along. When they entered the house, the boy was sitting there and was very upset at his mother for doing this. My father thought he would be more comfortable if they prayed with him in private so he asked the boy if it would be better if they prayed in his room. When they walked into the boy's room, my father's face became pale and my mother was very nervous. The first thing the saw was a poster of SLAYER on the wall with my brother's picture dead center. So SLAYER was one of my father's biggest challenges in life because of the love he had for his son and the financial support that he needed from him at the time." Pictured above: Jeanette Araya with SLAYER guitarist Kerry King
Last January, the two surviving members of MAD SEASON, PEARL JAM guitarist Mike McCready and SCREAMING TREES drummer Barrett Martin, performed for the first time in nearly 20 years at Benayora Hall in Seattle. The concert featured the Seattle Symphony plus guests such as SOUNDGARDEN's Chris Cornell, PEARL JAM and SOUNDGARDEN drummer Matt Cameron and ex-GUNS N' ROSES bassist Duff McKagan. Cornell told The Pulse Of Radio how he felt about the experience and whether he might sing with MAD SEASON again in the future. "Once I was onstage and we were doing it, then it kind of hit me that I'm standing up there with these guys, all of which I've known for years and years, and I've been good friends with, but I've never been on a stage with them like that," he said. "And it was pretty great, it was pretty moving. Unfortunately, I always have so many things going on that, you know, it doesn't seem like something that would happen anytime in the near future. But it definitely was an amazing moment." Mike McCready said in a recent interview about Cornell standing in for late singer Layne Staley: "When I heard he wanted to do that, I literally jumped for joy, I couldn't believe it. He brought his take to it, and did it beautifully, and I think Layne would have been proud." In addition to MAD SEASON songs and new compositions by guitarist Mike McCready, the show also featured a two-song reunion of TEMPLE OF THE DOG that brought PEARL JAM bassist Jeff Ament and guitarist Stone Gossard out to perform with McCready, Cornell and Cameron. The event celebrated the 20th anniversary of the release of MAD SEASON's sole album, "Above". In addition to McCready on guitar and Martin on drums, MAD SEASON featured Staley on vocals and John Baker Saunders on bass. McCready, Martin and McKagan were reportedly recording new music over the summer under the MAD SEASON banner, although plans for its release have yet to be revealed.
FAITH NO MORE was the musical guest on last night's (Thursday, September 3) episode of "Jimmy Kimmel Live!" The band played several songs on the show's outdoor stage in front of a standing-room-only crowd. Video footage of the "Sunny Side Up" and "Separation Anxiety" performances can be seen below. "Sol Invictus", FAITH NO MORE's long-awaited follow-up to 1997's "Album Of The Year", sold around 31,000 copies in the United States in its first week of release to land at position No. 14 on The Billboard 200 chart (which includes stream activity). The CD was released on May 19 via the band's newly formed imprint Reclamation Recordings, which is distributed by Ipecac Recordings. Regarding FAITH NO MORE's musical approach on "Sol Invictus", bassist Billy Gould said: "What I can say is that I think through our experience as musicians over the years, I think what we're doing reflects where we've gone since we made our last record as FAITH NO MORE. I think this kicks things up a notch. And I think there's parts that are very powerful and there's parts that have a lot of 'space.' Everything we do, with our chemistry, the way we play; it's always going to sound like us. It's just what we do, that makes us feel good." Gould added: "When we split up, we explored what we could do on our own. During that time, we each developed what was a natural part of ourselves. Now, coming back, we have a wider perspective so we can do things we didn't even think of back in the day. If we were to decide to do country-western music, it would still sound like a FAITH NO MORE album. Together we have a strong collective identity, and when we work together it makes its own animal." Asked if FAITH NO MORE wanted to retain creative control by deciding not to align itself with a major label for the release of the band's comeback album, "Sol Invictus", Gould said: "Well, yes, kind of. We were free. We didn't have to go to a major, and we could kind of call our own shots and do it how we wanted to. And I think it just took all the edge off these other things and these details that we had to do that, when you add other people into the mix, you're getting pressured, you're getting asked to do things you don't wanna do. Also, one of the things it took us so long to think about making a new record is because it's not just making a record; it means you're gonna have to tour, it means you're gonna have to start doing press, it means you've gotta start doing all this. There's a lot of shit that comes with that. And when you do it with a major, there's nobody that you can talk to about accountability as far as... I don't knowâ¦ something simple, like, 'You want us to do a video? Who wants us to do a video?' 'Well, the guy down in that office down there.' I never met him before. In this kind of situation we have here, we know everybody, we can talk to everybody. And it's, like, 'We need this video. We need it for this.' 'Okay. Let's make it happen.' And we know that the content that comes out of is our content, how we want it, and not some guy in an office who thinks they know who we are who's giving this in front of all these people and embarrassing us, for example. Which happened a lot, actually. Even though we had a great label back in the day, but it's an office of people who are not in our band, who [don't] know us as well as we know ourselves."