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Synaptik "The Mechanisms of Consequence" Reissue Brain Spark edition remix

DeFox Records and Heart Of Steel Records are really excited to announce the Re-release, Remixed and Remastered version of debut album of prog metal band SYNAPTIK from England.
The album titled "The Mechanisms of Consequence" Reissue Brain Spark edition remix, contains 9 songs in vein of technical Progresive Metal, featuring Alan Tecchio ex Hades and Watchtower as special guest..
The digital release will be available on December 30th on every worldwide webstores, iTunes, Amazon, Spotify, Deezer, Google Play, Tidal, Shazam...

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ROBERT PLANT On Possibility Of Recording With JIMMY PAGE Again: 'It's Not Even Within My Countenance To Imagine It'

Monday, January 22, 2018 - 00:00

In a brand new interview with the Louisville, Kentucky radio station 91.9 WFPK, LED ZEPPELIN legend Robert Plant was asked if he could ever see himself recording with Jimmy Page again. "I have no idea," he said (hear audio below). "It's not even within my countenance to imagine it, really." After DJ Kyle Meredith pointed out that LED ZEPPELIN is still "near and dear to the hearts" of the band's fans, Plant replied: "Me too — nobody more than me. But I don't wanna do it a disservice either." LED ZEPPELIN hasn't performed together in almost a decade, having last played London's O2 Arena in December 2007. The concert was part of the Ahmet Ertegun tribute event, which was chronicled on the band's 2012 "Celebration Day" CD and DVD. The set, which featured Jason Bonham subbing for his late father John Bonham on drums, marked Plant, Page and Paul Jones's first full-scale concert together since John Bonham's 1980 death. Last October, Robert shot down the possibility of a LED ZEPPELIN reunion, telling the Daily Telegraph that "you can't ever really go back." He added: "It's tough enough repeating yourself with something that's a year old, never mind forty-nine years old. I've got to keep moving." Plant has arguably been the lone holdout for another LED ZEPPELIN reunion. Despite promoter-led attempts to get the band to reform for a series of concerts, Plant remains committed to his new musical direction in the roots and blues-based "Americana" field. Robert's eleventh solo album, "Carry Fire", was released in October via Nonesuch/Warner.

Ex-KISS Guitarist VINNIE VINCENT: 'I Was In Hell For 20 Years'

Monday, January 22, 2018 - 00:00

Former KISS guitarist Vinnie Vincent took part in another question-and-answer session on Saturday (January 20) at the Atlanta Kiss Expo. You can now watch video footage of the discussion in two parts below (courtesy of Mike Brunn). Asked what led to his departure from KISS after the "Lick It Up" touring cycle came to an end, Vincent said: "The problem was really simple. I was writing a lot of songs, and I felt us growing so much as a band, and I wanted them to want me. I know they wanted Eric [Carr, drums] — they loved Eric — but I didn't feel that they wanted me. Even after 'Lick It Up', the perception of it was that it was a big album, and I still felt, 'No matter what I do, they're just not gonna want me in this band.' And there was a contract they wanted me to sign. But I was bringing… My take-home pay was 550 dollars a week, so I never made any money being in the band. From the beginning to the end, it was 550 dollars a week; that's what they paid me. That was my take-home after taxes." According to Vinnie, he was only asking for a bare minimum so that he could support himself and his family. "This was my dream to be in this band," he said. "I didn't want anything as much as I wanted this. Maybe just a little bit so I can buy a house or something. Maybe I could buy a nice car. But that wasn't gonna happen. And there was a contract that they wanted me to sign — it was an employment contract — and there was literally nothing in it for me. I had a family. I had twins that I didn't know I was gonna have, and there was no money to take care of them, and there was no money to buy a home. We were living with relatives, and I was on call 24 hours a day, which was okay — it was all okay. But I couldn't move on; there was no future. There was the future of being Vinnie Vincent of KISS and what that was, but, financially, there was no future in it for me. And I didn't want to be a royalty member, although that would have been nice. But that's not what I asked for. I just asked for something that could take me out of living in an apartment or with my relatives, and maybe a nice car instead of driving around in a car the size of a can of tuna. And while I'm on the road, I've got a family, I've got little children. I wanted to know that they were well taken care of and at least that some of my value, my worth to them would have been special to them and said, 'Look, we can afford to make this work for you,' and they just didn't." Vincent said that everything came to a head at the end of "Lick It Up" tour when "the pressure" on him "was so, so, so unbearable to sign" the contract which was presented to him, which he described as "all for us and none for Vinnie. I said, 'I can't, I can't, I can't. Just please treat me better than this and everything will be fine,'" he recalled. "There was nothing. I never saw any royalties during the time I was in the band; it was just a paycheck, that I took home 550 bucks a week. So after the 'Lick It Up' tour was a success and I'm thinking, 'We have a great band. This is a new chapter. This is now…' The makeup came off. This was probably for Gene [Simmons] and Paul [Stanley] a really difficult time, because the makeup was what the band was. To remove it, I think, was a bit of a relief. This is my opinion — it was a bit of a relief, but [there was also] a bit of fear, trepidation, because you didn't know what was coming. But 'Lick It Up' said, even with Vinnie, this worked. The songs were great, the reception was great, the tours were great. And at the end of the 'Lick It Up' tour, I remember… The last thing we said to each other was, 'We're gonna record a new record. Come back in about two months with your new songs.' Everybody said, 'Well, see you then. We're all gonna record our new songs, demo them, bring them together and see what we've got for the new record.' I recorded and demoed [future VINNIE VINCENT INVASION songs] 'Boyz Are Gonna Rock', 'Shoot U Full Of Love', 'No Substitute', 'Animal' and 'Twisted'. Those were the five songs that I wrote that I was gonna bring back. They were demoed, and I said, 'This is gonna be one hell of a KISS record, and I think they're gonna love them.' So they asked me to come back, and I said, 'I wanna come back, but I've got to survive. I can't survive on this. And I'm coming back with a great album. Can't we make this work?' And, unfortunately, the answer was no. 'Unless you sign the contract, you can't come back.' And I said, 'You know what? This is gonna break my heart. I can't come back.' So then, about a month later, in May of '84, they sent me a letter saying, 'Well, you're fired.' I guess it was redundant because I already said I wasn't coming back if you can't make this work. And that's what happened. And it broke my heart." Vincent also talked about his "20-year-lawsuit" against his former bandmates, alleging unpaid songwriting royalties. He said: "It could have all been avoided. It was senseless, because there were millions of dollars in warranties. And I tried for four fucking years — from '91 to '97 — to say, 'Can't we just work something out?' This wasn't something I wanted to do; this was the last thing I wanted to do. But right is right, and I'm willing to… Just show me some humanity, just a little compassion. Maybe just help me out — settle with me. Just something to make all of this just have been worth it for me. And they said 'no.' And they hurt me deeply — deeply, deeply, deeply, fucking deeply — and there was nowhere to go but to file this lawsuit. "The miracle that I survived that lawsuit was probably as miraculous as surviving what happened to me in 1984," he added. "And I just put it behind me. We eventually settled everything that we had between us, all the problems, about seven years ago. But I was in hell for 20 years, and it was my hell — nobody knew it. And I saw the world going by, I saw what everybody was saying about me, I saw what everybody in the band was saying about me, and I said, 'What a shame. What a shame.' There was no reason for it. I mean, we could have had — in my opinion — such a fucking great band. We still can, we still can, because that magic never ends. I still love them. I mean, it's never gonna go away. So when you respect — and I do dearly respect Gene and Paul with all my heart; I love them and I always will. They gave me this. With the good came the bad. But the magic that we have together never dies." Vincent said that he had a fond recollection of his last collaboration with KISS, which happened when he was brought in to co-write "Unholy", "Heart Of Chrome" and "I Just Wanna" for the band's 1992 album, "Revenge". "I didn't see them from '84 to '91," he said. "'91 was our first meeting again after VINNIE VINCENT INVASION. And Gene said, 'We're recording a new record.' I think I saw Gene in a recording studio. 'Give us a call. Let's work together.' And I said, 'Ah, I'd love to see you.' And then 'Revenge' happened and those songs. And I said, 'This is the moment. This is the band. This is it.' 'Unholy' was Gene and I; that was our baby. Paul and I wrote two songs, and we worked together for a year on that record. And it was another fun time. I mean, every time we worked together, it was just a joy. The magic, it's something that I can't put into words. 'Magic' is not the right word for it, because it's electric when you just… Something that happens when you plug in something and there's electricity here and it just works. So it turned out to be a great record and a lot of music that I'm proud of." Vinnie Vincent joined KISS in 1982, replacing Ace Frehley. As the "Ankh Warrior," he toured with the group in support of "Creatures Of The Night", on which he played lead guitar on six songs prior to becoming an official member of the band. From there, KISS wrote and released "Lick It Up" — their first album without makeup — in 1983, a recording on which Vincent co-wrote eight of 10 songs, including the title track, which remains a staple of the group's live performances to this day. In recent years, Vincent has been the subject of a number of rumors about his gender identity, including that he has been cross-dressing and that he has undergone a sex change. Last year, Vincent was the focus of a Swedish TV documentary called "KISS Och Gitarristen Som Försvann" ("KISS And The Guitarist Who Disappeared") which apparently tried, unsuccessfully, to track Vinnie down and get him to sit down for an interview.

Reunited VIO-LENCE Plus Members Of TESTAMENT, EXODUS, DEATH ANGEL, FORBIDDEN Perform At 'Killian On Command' Benefit Concert (Video)

Sunday, January 21, 2018 - 21:00

TESTAMENT, EXODUS, FORBIDDEN and VIO-LENCE members performed at a benefit concert for VIO-LENCE singer Sean Killian last night (Saturday, January 20) at The Midway in San Francisco, California. "Killian On Command: An Evening Of Vio-Lence" saw the musicians play only VIO-LENCE material spanning the band's entire catalog of songs written from 1985 through 1992. They were joined by other heavy hitters from DEATH ANGEL, KAOS, ILL NINO, FANG, ATTITUDE ADJUSTMENT, VALOR & VENGEANCE, I AM MORBID, PSYCHOSOMATIC, D.R.I., ANNIHILATION, MERCENARY and SACRILEGE B.C. King Arthur's bastard son MORDRED supported and DRESS THE DEAD kicked everything off. Katon De Pena of HIRAX DJed the show, and DJ Will of KNAC was the host of the evening. "Killian On Command: An Evening Of Vio-Lence" concluded with a performance of the VIO-LENCE classic "World In A World" featuring four-fifths of the band's classic lineup — Robb Flynn (guitar), Phil Demmel (guitar), Perry Strickland (drums) and Dean Dell (bass), with Flynn handling lead vocals. (Killian could not perform with the other members due to his health condition). Demmel and Flynn are both now in MACHINE HEAD. The entire event was livestreamed by BB TV and can be seen on YouTube at this location. Additional fan-filmed video footage is available below. Killian was recently diagnosed with stage four liver cirrhosis, which was caused in part by a genetic condition called hemochromatosis. He is currently a candidate for a live donor transplant. A living-donor liver transplant involves transplanting a portion of the liver from a living donor into a recipient whose liver no longer functions properly. Sean will remain a candidate only as long as he is healthy enough for such a transplant. Sean's blood type is O+ and a matching donor must have type O+ or O-. Once this window closes, he will be reassessed to determine if he will be placed on the official list for a donor liver through UNOS (United Network for Organ Sharing). The "Killian On Command" organizers said: "The Killian family is not privy to any information about possible donors and where they are on the waiting list until it is confirmed they have an actual donor. Living or deceased. So the more volunteers we have for bathing donors, they better the chances are we get Sean one!" A GoFundMe page raising money for Killian's medical expenses can be found at this location. The final stage of cirrhosis of liver is considered as the most dreaded phase of the condition. If the patient is diagnosed during this stage, the life expectancy of the sufferer — without a liver transplant — is said to be one year to three years. Megaforce Records reissued VIO-LENCE's classic debut album, "Eternal Nightmare", with a live bonus CD in June 2005. The bonus disc was recorded on December 14, 2001 at Slim's in San Francisco.

LACUNA COIL Gets Theatrical At Special 20th-Anniversary Concert In London (Video)

Sunday, January 21, 2018 - 20:00

Italian heavy rockers LACUNA COIL celebrated the 20th anniversary of their debut by playing a very special show, dubbed "Nothing Stands In Our Way", this past Friday (January 19) at London, England's O2 Forum Kentish Town. The unique extravaganza, which included visual effects, circus artists and enhanced stage production, was professionally filmed and recorded for future release. The setlist was as follows: 01. A Current Obsession 02. 1.19 03. My Wings 04. End Of Time 05. Blood, Tears, Dust 06. Swamped 07. The Army Inside 08. Veins Of Glass 09. One Cold Day 10. The House Of Shame 11. When A Dead Man Walks 12. Tight Rope 13. Soul Into Hades 14. Hyperfast 15. I Like It 16. Heaven's A Lie 17. Senzafine 18. Closer 19. Comalies 20. Our Truth 21. Falling 22. Wide Awake Encore: 23. I Forgive (But I Won't Forget Your Name) 24. Enjoy The Silence (DEPECHE MODE cover) 25. Nothing Stands In Our Way Fan-filmed video footage can be seen below. LACUNA COIL vocalist Andrea Ferro told Metal Nexus last fall that the 20th-anniversary concert would be "really special... with songs we've never played before, songs from the very early releases, and there's going to be interaction with a gothic circus doing stuff while we play. It's going to be special — unique and special." LACUNA COIL singer Cristina Scabbia explained to Tattoo.com that "there is a reason" January 19 was chosen as the date for the anniversary show. "It's because 1/19 is recognized as 'Lacuna Coil Day,' because we have a song that's called '1.19', so the people from the fan club and the fans decided to declare it 'Lacuna Coil Day,'" she said. "And we thought about making a special show in London, because, logistically, we thought it was the easiest way to reach, even for people who are not coming from Europe, our area. Usually the flights are cheaper. Like, if you come from the States, it's easier to reach London than Milano, for instance, [which] is our hometown. So we thought about London." LACUNA COIL is working on its first-ever book, also titled "Nothing Stands In Our Way", which is scheduled to be published later in the year. "Nothing Stands In Our Way" is described as "the full 20-year story of the Italian gothfathers as told by the band in their own words. Illustrated throughout with rare and candid photographs, memorabilia and personal artefacts, it will see founding members Scabbia, Andrea Ferro and Marco Coti Zelati sifting through the birth, growth and full flowering of the band to tell 20 years of LACUNA COIL. "Nothing Stands In Our Way" will be available around the world in two editions, the Classic and the limited-run Signature set. Ferro told the Impact metal channel last year that LACUNA COIL fans will have to wait until at least 2019 for the follow-up to 2016's "Delirium" album.


Sunday, January 21, 2018 - 19:00

Glenn Hughes (DEEP PURPLE, BLACK COUNTRY COMMUNION) and Chad Smith (RED HOT CHILI PEPPERS) appeared as guests at this past Friday's (Janaury 19) "G3" concert at the Orpheum in Los Angeles, California. The "G3" tour features Joe Satriani, DEF LEPPARD guitarist Phil Collen and DREAM THEATER axeman John Petrucci. Hughes and Smith joined the three guitarists for a rendition of the DEEP PURPLE classic "Highway Star". Fan-filmed video footage of the performance can be seen below. Smith and Hughes are featured on Satriani's 16th studio album, "What Happens Next", which was released on January 12 via Sony/Legacy Recordings. It marks the first time Smith and Satriani have recorded together since their work in the supergroup CHICKENFOOT. Asked by radio personality Eddie Trunk how Hughes came to be involved with the project, Satriani said: "Just before [Glenn] put out his last solo record, which is mind-blowingly amazing, I had it in my mind that he would be a great bass player [to play on my record]. But I just thought it was a crazy thing to think of, because maybe the first thing that popped into my head was why would he ever say yes to just play bass on an album, because he's just this incredible singer. But it was sort of circulating in my head as I was doing the tour and I was thinking, 'Yeah, that would be so cool, 'cause then, if he did that, I could do this.' And then Chad's drumming popped into my head, and then I realized, 'You know, they've played a lot together, they've recorded together. I wonder if they would be willing to be the rhythm section for an all-instrumental record.' "I innocently sent out these invitations, and so that's basically what happened — I sent out the invitation and just waited to see what was gonna happen, but I got immediate response from both of them that they were totally into it," he continued. "And the scheduling was crazy, and that's why we finished it so early, because I was really working around the schedule of the CHILI PEPPERS and BLACK COUNTRY COMMUNION and trying to figure out when I could get ten days. And it wound up being ten days, but I had to go to L.A. to do it." Satriani recalled the recording sessions for "What Happens Next", saying that "being at Sunset Sound [studios] with those two guys in the room, that was so cool. I really got what I was looking for, which was a real celebration of rock and soul and groove. Because I really wanted to move forward from progressive elements, from jazz or fusion or other elements of production that I had been working with the last number of records. I thought, 'I wanna make it more focused, more physical, more guitar-player, two-feet-on-the-ground sort of playing and writing about human things — not science fiction and crazy alter egos and all sorts of stuff like that.'" In the end, Satriani said, "I couldn't have picked a better rhythm section; they were just absolutely amazing. And they wound up being… You know, when you've got just three guys recording, everybody's the star, and that's what I got. And I'm so happy."

DEATH ANGEL Guitarist: 'We Pride Ourselves In Being A Little Different From All The Other Thrash Bands'

Sunday, January 21, 2018 - 18:00

Darko Rajić of Metal Jacket Magazine conducted an interview with DEATH ANGEL guitarist Ted Aguilar prior to the band's November 26 concert in Kino Šiška, Ljubljana, Slovenia alongside TESTAMENT and ANNIHILATOR. You can watch the entire chat below. A few excerpts follow (transcribed by BLABBERMOUTH.NET). On the variety found on DEATH ANGEL's most recent studio album, 2016's "The Evil Divide": Ted: "Well, DEATH ANGEL, that's our style. We can play fast, we can play mid-tempo songs, we can play really melodic songs. It's our style. We like it. We like to mix up everything. We love playing fast, but we don't want to do it all the time. We want to do songs like, for example, 'Lost', that's a song if you're feeling it… we don't sit there and go, 'We have to write something like this.' Whatever comes out and it sounds good: 'Yeah, it sounds good. Let's keep it.' That's what we do. We pride ourselves in being a little different from all the other thrash bands. That's what is good about the thrash bands from the '80s from the Bay Area, the Bay Area, L.A. or the East Coast, we always strived to be different from everyone and that's how we got our unique sound. Everyone has their unique sound. TESTAMENT has their unique sound; EXODUS, us, OVERKILL, ANTHRAX, you can tell when you put on a record. Sometimes, DEATH ANGEL likes to write songs like 'Lost'. Sometimes we like to write songs like 'Thrown To The Wolves'." On the stories of legendary METALLICA bassist Cliff Burton headbanging in the front row at early DEATH ANGEL shows: Ted: "Oh yeah. Rob [Cavestany, guitar] and Mark [Osegueda, vocals] told me those stories. Early on in the DEATH ANGEL days, early '80s, maybe mid-'80s, Cliff Burton would be in the front row at their shows, headbanging, getting into it. From what they told me, Cliff was a big supporter of the band. There's times where you see old footage or old photos of Cliff wearing a DEATH ANGEL shirt, so that's really cool. Rest in peace, he's gone, but his music lives on. His legacy. He's always remembered as one of the greatest musicians in metal to this day." On this thoughts on the current thrash metal scene: Ted: "There's a lot of good bands. We've been fortunate enough to tour with quite a few. SUICIDAL ANGELS, HAVOK, we just did a run with WARBRINGER last summer, great guys, amazing. There's a lot of talent, so that's good that there's a lot of bands out there keeping thrash alive. There's a lot of bands and a lot of good ones and there's still more to come. There's so many out there that it's hard to go through them, but the bands that we've toured with have been great. As I mentioned before, HAVOK, WARBRINGER, SUICIDAL ANGELS, BONDED BY BLOOD, HOLY GRAIL, would be one of them; they're one of my favorites right now. It's good that these up-and-coming bands are keeping the music alive, the thrash music alive." On the different musical climates between Europe and the United States: Ted: "It's very, very different. It's just two different cultures. Over here, it's not a good or bad thing, it's just different. Out here [in Europe], it seems more people are more open-minded. When you come to a show, it's more of a celebration, everyone comes, happiness. I don't know…it's hard for me to explain. For example, I have a couple of friends, a couple of people I know in the U.S. who have been to a lot of shows and some festivals in the U.S. and when they came to Graspop [Metal Meeting] in Belgium, their first time, they understood why bands love playing the festivals and playing club shows in Europe. They told me: 'We just had to witness it. We have to see it to understand.' I could sit here all day and try to explain to you, but you just have to come here and experience it. It's just a different culture. When metal in the States, when it kind of went underground in the '90s, it always stayed popular here in Europe." "The Evil Divide" was released in May 2016 via Nuclear Blast. The CD was once again recorded at AudioHammer studios in Sanford, Florida with producer Jason Suecof (TRIVIUM, DEICIDE), who previously worked on 2010's "Relentless Retribution" and 2013's "The Dream Calls For Blood".

MORGAN LANDER On KITTIE's Career: 'Our Story Is Not Always A Happy One'

Sunday, January 21, 2018 - 18:00

James Geiser of Antihero Magazine recently conducted an interview with frontwoman Morgan Lander of Canadian all-female metal band KITTIE about their forthcoming career-spanning documentary, "Origins/Evolutions". You can listen to the entire chat below. A few excerpts follow (transcribed by BLABBERMOUTH.NET). On her thoughts on KITTIE's 20th anniversary: Morgan: "It makes me feel very old. [Laughs] I mean, honestly, I'm honored that we have been able to continue as a band and be relatively relevant and have a fairly stable fanbase and have people that still continue to want to hear new music and listen to us and that sort of thing after 20 years. Not very many bands have that opportunity. I can't speak for everyone. I'm sure everyone does feel this way, but we're truly honored this is something we're still able to do and still able to talk about 20 years after the fact." On whether she had any idea KITTIE would help spearhead a new wave of females playing metal: Morgan: "Honestly, we had no idea. There was no inclination at all when we started. We honestly, we're just a bunch of friends that wanted to have fun. I think we were too young to understand what kind of an impact a band like that could have. So, yeah, we really had no idea at all. Again, it's just like, 'Wow!' It's an honor to be able to say that. There are people out there that cite us as an inspiration, as an influence, as trailblazers, that sort of thing. I think it's really amazing." On the initial obstacles KITTIE encountered when they were starting out: Morgan: "I think we had the age thing against us at that time. We were too young to be legally in bars, so that was kind of an obstacle. [Laughs] I know that sounds kind of strange to think about, even with being in Canada, the drinking age being 19 in most provinces. We were still too young to be actually be legally in the bars, so a lot of shows that we ended up playing, we had to kind of hide out in the back until we went on stage. We weren't even allowed to actually be in the bar portion, so that was interesting. Obviously, until all of us came of age or whatever, but of course, the gender aspect as well, I think, is at the forefront of things. We did have a lot of fans, we also had a lot of critics, people saying they didn't think that we deserved the credit that we got and also didn't think that we were capable of actually writing or playing and producing this kind of music. Those were types of things we encountered early on, especially once we started to really get into the public eye a lot more. Even during our earlier days, there was a lot of that type of thing as well. It was the early kind of explosion of the internet in the late '90s and people were finding new ways to harass people, I guess. [Laughs]" On the creation of "Origins/Evolutions": Morgan: "The documentary has been really a process of about four years, if you can imagine. Four years ago, in I think, March or April, we decided that we would like to maybe explore the idea of for our 20th anniversary, putting out some archival footage, doing a documentary, telling our story, that sort of thing. We started an Indiegogo campaign to raise the funds for that. We raised over 200 percent of our goal, which is fantastic. That left us with enough money to fund the documentary, which surprisingly enough, it actually is quite expensive. [Laughs] It does take a lot of work. I've never made movies before; I've always been in the music industry. It was all a learning experience for me and Mercedes [Lander, drums] as well to put everything together. Over the course of the last few years, we sourced all of our archival footage. We actually have hundreds of tapes of live shows and backstage stuff, stuff that we shot on our phones and on hand-held devices, of various sizes over the years. Like, a lot of stuff from VHS tapes that we had to dub and stuff like that. We went through everything and compiled some of the best footage that most people, if any, have never seen before. Things like the recording of [the band's debut album] 'Spit', which was something that we filmed the entire thing and have never really [showed it], so there's a lot of footage from the recording of the first album before everything kind of happened. A lot of tour stuff. Even some stuff from when Mercedes and I were very, very young, which is kind of fun and interesting as well, as well as pictures and posters and photos and all kinds of stuff. So yeah, it really is going to be the ultimate fan experience. Our story is not always a happy one. There have been a lot of ups and downs and I think it's important that everyone sees and understands that it hasn't always been easy or a cakewalk, but that's part of the strength of the story. We've managed to persevere through everything and it includes also all updated interviews with past and present band members as well as integral people who were integral to our career like [producer] Garth Richardson, a lot of crew people who were there from the beginning and that sort of thing as well. It really is a comprehensive look at what we've managed to accomplish over 20 years. Everyone is there to tell their own story, which I think is important." "Origins/Evolutions" is due on March 30 via Lightyear Entertainment in North America. The three-disc set, which was directed by Rob McCallum, includes a Blu-ray and DVD of the documentary as well as a new live album on CD.

SHANE EMBURY Says Next NAPALM DEATH Album 'Will Be The Most Diverse Yet'

Sunday, January 21, 2018 - 18:00

Christina Rowatt of Australia's The Void recently conducted an interview with bassist Shane Embury of British grindcore pioneers NAPALM DEATH. You can watch the entire chat below. A few excerpts follow (transcribed by BLABBERMOUTH.NET). On the status of the next NAPALM DEATH studio album, which is tentatively due in 2018: Shane: "We started recording some new stuff, four or five weeks ago. We got quite a lot of songs. Hopefully, we will be carrying on in the new year. It will take a while to get finished. It's fast, but there's also a lot of some, I don't want to say 'experimental,' but hopefully once it's done it will go in a few different directions. I don't want to say noise, but there will be some stuff like that, a couple of mid-paced, kind of KILLING JOKE-influenced [songs]. Hopefully we'll veer off in a few directions and it will make the album… it will still be abrasive, but not constantly fast all the time. There is some extremely fast stuff, but we've all been kind of like ticking away at every album, trying a little bit of that and little bit of that, so each step, this one will be the most diverse yet, I hope. On maintaining an element of diversity in NAPALM DEATH's songwriting: Shane: "On the last album [2015's 'Apex Predator - Easy Meat'] we started with a really strange, slow, SWANS-influenced track. Not everyone liked it, but I think actually, most people did like it, but the record label was, like, 'Oh, you can't start an album with four minutes of this.' [I said] 'If you don't like it, just press skip.' [Nowadays], most of the bloody kids like Spotify, so why bother being pressured. They'll just change the track if they didn't like it anyway. I'm not going to say, 'Just because our A&R guy doesn't like it, I'm not going to start an album with this track.' That's kind of the wrong reason, isn't it?" On whether an attitude of defiance is an essential element of NAPALM DEATH and grindcore as a whole: Shane: "I think so. It's also a part of your personality, probably a little bit as well. When I was tape-trading before I joined NAPALM and I was forming bands that we did and whatever, I liked the fact that I was into stuff that people didn't immediately get, you know? All my metal buddies. I come from a heavy metal/rock background, but as I went further and further than what my friends did, so I'd get a kick out of the fact that they didn't understand it. That was funny to me. I thought, 'Why don't you understand it?'" On who he thinks are the originators of grindcore: Shane: "NAPALM DEATH was a band that when they first started, they weren't very grindcore at all in '81, '82, '83 period, they were more anarcho-punk. They were early NAPALM DEATH. It was only '86 when it started to get really fast and that was due to bands like SIEGE and the Boston hardcore scene. They were also mixing it up with stuff like CELTIC FROST from Switzerland. On whether he and vocalist Mark "Barney" Greenway can detect what each other are thinking while composing songs: Shane: "I wouldn't say that. We're quite different. Me and Barn, we're chalk and cheese. He's very outspoken, political. I tend to not comment on any of it. I think with NAPALM DEATH, especially when you're coming into a band, the fact there's not an original member in the band anymore, that's a big point. I've been there since almost [NAPALM's 1987 debut album] 'Scum' came out. I should have played on it, didn't, big regret. But I was offered, but didn't, so that's the only big regret for me because that would have silenced all those people who say, 'You're not really an original member, are you?' But the band sets itself up as a very political kind of band, but I come from a metal background, but yeah, I have particular morals and thoughts about the world, but I'm all about the music. I'm all about making extreme music and making sounds. I got into SLADE, SWEET, JUDAS PRIEST, SABBATH, then I got into grindcore, then I started listening to SONIC YOUTH, PIXIES and MY BLOODY VALENTINE and I like to bring it all together. I'm all about sound. That's my thing. Barney, that's his thing. I don't disagree with him, but that's his thing. My thing is the music and the sounds and the sonics. I'd say we balance [each other], I think." NAPALM DEATH will release a special 2CD, 2LP and digital-download compilation titled "Coded Smears And More Uncommon Slurs" in March 2018 via Century Media Records. This special collection will include a total of 31 songs with a playing time of over 90 minutes, compiling rarities and exclusive earworms spanning 2004-2016 from the whirling gene pool of noise that is NAPALM DEATH. "Apex Predator - Easy Meat" was released in January 2015 via Century Media Records.

DAN LILKER On Early NUCLEAR ASSAULT Catalog: 'They Are Timeless Songs'

Sunday, January 21, 2018 - 18:00

The Jimmy Cabbs 5150 Interview Series conducted an interview with NUCLEAR ASSAULT bassist Dan Lilker (also of BRUTAL TRUTH, ANTHRAX, STORMTROOPERS OF DEATH) at the X Fest, which was held on January 6 in Los Angeles, California. You can watch the entire chat below. A few excerpts follow (transcribed by BLABBERMOUTH.NET). On the "farewell tour" of NUCLEAR ASSAULT: Dan: "The concept is we're not going to come back to somewhere that we have played recently, but we haven't played L.A. for fucking years. But yeah, this would be the last one here. If something came up, like fucking Singapore or Bulgaria and we haven't played there, we'll do it, but we're not going to come back to where we've played in the recent past." On whether he enjoys playing songs live from NUCLEAR ASSAULT's early discography: Dan: "Yeah, sure, because there's people who are totally into that shit. The funny thing, you can see some of these kids, they're 17, 18 years old, they were like new millennials, but they're totally into it. They do their research and I'm not one of these old, bitter dudes like, 'These fuckers weren't alive when I made this record.' I'm just glad thrash metal in general is still relevant. It's an honor." On whether he imagined he'd still be playing thrash upon starting out 35 years ago: Dan: "I had no idea that this time of my life being in my early 50s already that I would still be able to get away with doing this. We could tell that the music we were writing then, we were forging a new genre and it has longevity. That's something that means a lot to me, but yeah, it's fucking awesome that I'm still doing this and like you said, kids who wouldn't even have been born then are still totally into it. No, I had no idea, but I'm psyched, I'm happy. I've played more modern shit since then like grindcore and black metal, but thrash, that's the shit I kind of started on as far as going around, going to Europe, doing records and all that. It's awesome that I can still do this. We got a sold-out show tonight with a bunch of killer bands. It's fucking awesome." On whether the Internet has lessened the anger of the younger generation even in light of the world's current political state: Dan: "The Internet has made people more passive and they could just click a button that says 'Like' instead of going out and doing something about it. I was never politically active. The bands I was in made statements, but I wasn't sitting there fucking protesting, holding up signs or anything. It's true now that, yeah, people are just kind of lamer because they can just click a button and express their emotions like that from the safety of their bedroom. You would say 'You can't get arrested doing that.' But, then if you want to be all conspiracy theory, maybe you can." On whether he still feels the same amount of excitement playing today as he did during his early days: Dan: "Yeah, sure, because it's almost like a trigger when you play that stuff and there's a whole bunch of people going nuts, that makes it timeless. It doesn't matter if it's now or 1987, it's the same feeling. It's a little micro-environment you're in, a little magical place for an hour. Yeah, when I go onstage — I'm usually pretty stoned, too — I go into a dreamland because it's all muscle memory with the riffs, I know what I'm playing, so I enjoy the show and look at people. On how he maintains the physicality to play thrash and extreme metal at an older age and the status of his 2014 retirement from full-scale touring: Dan: "Well, I have more aches and pains than I used to, that is true. I don't tour all the time like I used to. It was like a semi-retirement, which was a polite way to stop doing BRUTAL TRUTH at the time, but I was getting sick of traveling. Getting here from New York, it didn't matter it was one degree out when we left home, it was more about the first flight was late because they had too much fuel on the plane, like dumb shit, then you get stressed out. We barely made our flight here from D.C., my wife wasn't on the flight yet, she had to wait for some fucking gate check. I'm not going to bore you guys with the gory details. I just get too stressed out these days. The airline industry has become very stressful." On whether playing sold-out shows inspires him to write new music with NUCLEAR ASSAULT: Dan: "If I had to be completely honest, we would not be doing that. We're going to be that band that's just going to play the old fucking… I don't want to be the dude who says, 'Come see us. It's our last show,' and then show up next year. As far as writing new music, we did that 'Pounder' EP a couple years ago. I wrote three out of the four songs and went into a little time machine and tried to pretend it was 1985, which I think I pulled off. But I think people who come to see NUCLEAR ASSAULT want to hear the shit off 'Game Over', 'Handle With Care' and 'Survive'. We do play one new song live, but, I don't know, I think the old classics, they're still old classics. Not tooting my old horn here, but they are timeless songs. It's good enough to play those. We have a certain amount of time to play stuff, we have a lot of songs to fit in there and we choose the ones we think people want to hear, so it's mostly old shit so we're not going to bother with new shit." NUCLEAR ASSAULT's "Pounder" EP was released on CD and as a digital download in 2015 via drummer Glenn Evans's own Sidipus Records. Originally formed back in 1984, NUCLEAR ASSAULT bassist Lilker witnessed the birth of thrash metal first as an original member of ANTHRAX, as well as a crucial component to S.O.D. and BRUTAL TRUTH. While many thrash metal bands tempered their aggression with melody, NUCLEAR ASSAULT stuck to its guns throughout and in the process, released such thrash classics as 1988's "Survive" and 1989's "Handle with Care". After an extended hiatus, the group returned in the early 21st century with its first new studio album in over a decade, 2005's "Third World Genocide".

FATES WARNING Drummer Believes Progressive Music Is 'About The Individuality Of The Musician'

Sunday, January 21, 2018 - 17:00

Prior to the group's January 14 performance at the Whisky A Go Go in Los Angeles, California, FATES WARNING drummer Bobby Jarzombek was interviewed by The Jimmy Cabbs 5150 Interview Series. The two-part conversation can be viewed below. A few excerpts follow (as transcribed by BLABBERMOUTH.NET): On the group's plans to record a live album during their in-progress European tour: Bobby: "We have nine shows there, and we're going to record all the shows. The good thing about technology these days is, unlike back in the day where you had a big mobile truck that you had to put outside and record one show, and there's an engineer back there turning knobs and all that kind of stuff, you don't have to do that anymore. You can take your little computer and your Pro Tools and your little plug-ins and get it all straight from the stage, straight though the mixing board, straight through the Pro Tools, record all the performances. We're going to get nine shows; we have some alternate songs that we're doing in two different set lists, so we'll have tons of material. It will be over two hours worth of material to choose from, probably two-and-a-half hours worth of material. I'm not sure what will make it to the live record at this point, but the plan is to record all these shows, listen back to them and all the tunes, and then in the spring release the multi-disc live record." On joining the band in 2007: Bobby: "I think any time you're replacing a drummer like Mark Zonder, who was the drummer for the band through probably the most critically acclaimed progressive era and those records, I think any time you're replacing a drummer of his talent that there's sort of a little bit of that pressure, but I'm a different drummer. I play a little bit stylistically different than he does. I respect everything that he does. As long as I learn those signature parts and play them the way the audience and the fans want to hear it. I kind of do a little bit of my own thing, just because I am a little bit of a different drummer, but I respect the parts, so I play it pretty much that way. I don't think I was intimidated; I think I was just kind of excited to be a part of the band that I had followed for so many years." On his influences: Bobby: "We're all older guys, and FATES WARNING has been around a long time, but I grew up listening to music in the late '70s and listening to pop radio, as we all did, because it was limited stations back in those days. Then I kind of got into, when I started playing drums, actually, just playing along to songs. I think that's the thing — it's important to be not a geek about it and to play the songs that you love to play along with. I did that for years, and then as I started listening to drumming in a little more technical aspect, I started picking up on things, bands like RUSH and Neil Peart, Terry Bozzio, Simon Phillips, a lot of guys that were more progressive. The Frank Zappa stuff, the band U.K. that Bill Bruford and Terry Bozzio both played with, so I got more into the technical aspect, but you never lose sight of the songs, the thing that brought you to music in the first place and to love music. As you go on, you develop your own style, whatever it might be. I think from being more into the heavier stuff, my style kind of lends itself to more the double-bass, but maybe some intricate stuff on top. Every drummer has a little bit of that, but I think the blend, especially with doing a couple of records together with FATES WARNING, we have developed sort of a style that kind of blends with all of our influences. That's what makes music so special – it's the blend of those particular musicians." On the importance of making albums that sound "natural": Bobby: "On our records, we don't do all that crazy sort of quantizing and stuff like that. In progressive music, it can very sterile if you do that. Pop music, because it's dance-based, you can do that, because the listener isn't listening for that. They're listening to that same groove over and over. With progressive, it's about the individuality of the musician, and if you take that away, and you squash it and make it all perfect, you've totally eliminated that. You could have just programmed a drum machine. To me, that's wrong to do with music that's an expression of the individual." On the fact that the band now has fans spanning multiple generations: Bobby: "It's always great if you see a younger kid singing the lyrics to something that was recorded in the '80s. That's the great thing about music. If you think about music the way it was when we were growing up in the '70s or '80s, you didn't really listen to music from the '40s, your dad's music. Only yours. We're in the year 2018, but people are listening to music [from] the '80s, and even '70s or '60s. That's so weird — you think about how 50 years ago, that music that was recorded is a milestone. Not that there's anything wrong with the music from the '40s, because I love the '40s and the '50s, but when I was growing up, I didn't listen to that — I listened to the music I grew up with. You didn't really go back that far. Kids are listening to [LED] ZEPPELIN and whatever classic stuff today." All of FATES WARNING's performances during their current European tour, which kicked off January 18 in Essen, Germany, will be recorded for a live release to be mixed by Jens Bogren. Bogren also worked with FATES WARNING on the band's latest album, "Theories Of Flight", which was released in July 2016 via InsideOut Music. The cover artwork for the CD was created by Michigan artist Graceann Warn. Performed by the FATES WARNING lineup that returned to form with 2013's acclaimed "Darkness In A Different Light" release, "Theories Of Flight" was produced by guitarist Jim Matheos and mixed/mastered at Fascination Street Studios (OPETH, SYMPHONY X).