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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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NEW YEARS DAY, STITCHED UP HEART, ONCE HUMAN Frontwomen Are REVOLVER's 'Hottest Chicks In Hard Rock'

Sunday, April 23, 2017 - 15:00

NEW YEARS DAY's Ash Costello, STITCHED UP HEART's Alecia "Mixi" Demner and ONCE HUMAN's Lauren Hart appear on the cover of Revolver magazine's "25 Hottest Chicks In Hard Rock" April/May issue, which will hit newsstands on May 2 and is available for purchase online right now. You can view the cover below, which was photographed by Travis Shinn. Behind-the-scenes footage from the cover shoot can be seen below. Asked what "the most fucked up thing" is that they have seen in the music industry, Demner said: "Oh, boy. I think one thing that's really, really challenging is that you still have to keep proving yourself over and over and over again when it should be just as simple as, 'Hey, I'm just here to make some music and I hope that you like it.' It's a simple thing, making music, but it turns into a lot of stuff that really doesn't matter." Added Hart: "I guess that there's just so much drama in heavy metal. I was thinking this music would have the least amount of drama, because we're a bunch of kids that were all kind of different. And we were the underdogs. The outcasts. So I thought it would be more unified." Costello said: "The most fucked up thing I've ever seen personally is watching people in bands take advantage of their power and their influence over people. I toured with a band where the singer was a guy and he used his position to take advantage of fans. Younger ones. And it was actually pretty controversial because I came forward about it at the time. And a lot of people didn't believe me at first and I ended up getting kicked off the tour because I was so unhappy about what I saw. At the time, it was a big controversy for me, but it finally came out that I was right." Asked what they stand up for, Demner said: "Hopefulness. I don't want to write a song that's going to bring somebody down and not be able to lift them back up. Because we're so moved by music. Why write something that's going to make you feel bad?" Added Costello: "In music and in general, I have the same message: Don't let anybody take advantage of you. Don't get pushed around. Don't let anyone step on you. You have to be your own hero, you have to be your No. 1 fan, you have to be the strongest person in your court. I'm a big advocate of the idea that if anybody says anything bad about you, go up there and take them down." Stated Hart: "I also don't like seeing anyone get taken advantage of. For some reason, that's a sore spot for me. Maybe because I was sort of picked on a lot when I was a kid and didn't really find my voice until I was older. So now that I've grown out of that, if I see someone getting taken advantage of, I get really angry about it and want to be their voice."


IRON MAIDEN Kicks Off 2017 Leg Of 'The Book Of Souls' Tour In Antwerp, Belgium (Video)

Sunday, April 23, 2017 - 14:00

British heavy metal legends IRON MAIDEN kicked off the 2017 leg of "The Book Of Souls" European tour last night (Saturday, April 22) at Sportpalais in Antwerp, Belgium. The band's setlist was as follows: 01. If Eternity Should Fail 02. Speed Of Light 03. Wrathchild 04. Children Of The Damned 05. Death Or Glory 06. The Red And The Black 07. The Trooper 08. Powerslave 09. The Great Unknown (live debut) 10. The Book Of Souls 11. Fear Of The Dark 12. Iron Maiden Encore: 13. The Number Of The Beast 14. Blood Brothers 15. Wasted Years Fan-filmed video footage of the concert can be seen below. MAIDEN's European tour consists of a total of sixteen dates, including three shows in Germany, eight in England, two in Scotland and one each in Ireland and Wales. The U.K. leg marks MAIDEN's first full UK arena tour in six years. The Antwerp concert was MAIDEN's first appearance in the city since the "Killers" tour in 1981. The German leg will see MAIDEN perform in Oberhausen, Frankfurt and Hamburg before dates in Nottingham, Manchester, Sheffield, Leeds, Newcastle, Liverpool, Birmingham, London, Glasgow, Aberdeen, Cardiff and Dublin. SHINEDOWN is providing support act on all sixteen dates. Prior to the tour, IRON MAIDEN bassist Steve Harris said: "As it's been so long since our last full U.K. arena tour, we really wanted to get to our fans in as many cities as possible. We're really looking forward to it, especially visiting places we haven't been to for a very long time, like Leeds, where we haven't played since 2005, and Liverpool, where we haven't played since 1990. "The whole band is really enjoying this tour and although we love playing festivals and stadiums, it is terrific to return to the intimacy and atmosphere of arenas. "The songs from 'The Book Of Souls' album and the new Maya-themed Eddies and stage sets have gone down really well and fan reaction has been amazing. And, of course, we know our fans appreciate us playing a lot of the older songs too, which we will continue to do." "The Book Of Souls" is MAIDEN's first ever double studio album and their most successful chart-wise to date, debuting at the No. 1 spot in over 40 countries around the world and No. 4 in the U.S.A. IRON MAIDEN's "The Book Of Souls" world tour will return to North America for an extensive series of arena and amphitheater shows in June and July. Support on the trek will come from GHOST.


TOBIAS FORGE (a.k.a. PAPA EMERITUS): 'GHOST Was Never Formed As A Band'

Sunday, April 23, 2017 - 02:00

GHOST frontman and founder Tobias Forge, who performs as Papa Emeritus, says that the group was "never formed as a band" and was always essentially a one-man project, with many session musicians coming and going over its seven-year existence. Earlier in the month, Forge was sued by four ex-members of the Swedish act who accused Forge of cheating them out of their rightful share of the profits from the band's album releases and world tours. That may have led to Forge's wholesale firing of the group at the end of 2016. The lawsuit was filed just a month after guitarist Martin Persner — who was not one of the four former Nameless Ghouls behind the court action — announced that was a member of GHOST for seven years prior to exiting the band in July 2016. In a an interview conducted by Nicolas Gricourt of France's Radio Metal on March 28 — less than a week before the existence of the lawsuit was first reported by the Swedish media — Forge was asked how he felt about Persner's decision to go public with his identity a little over six months after he left GHOST. Tobias responded: "It was pretty much what I had expected, so it wasn't like a big shock. There's not much to say more than that. It was perfectly in line with what I expected." Confirming that he didn't speak with Persner prior to the guitarist's decison to "unmask" himself, Forge concurred that the move "does, obviously, take away the mystery from [Persner]." But, he added, "That's fine. That's perfectly okay." Asked if the Nameless Ghouls are, or were, under a contractual obligation to not reveal their identities while they are in GHOST and after they leave the band, Forge said: "Well, I think that one of the mistakes was not putting a lot of pressure on them in doing that. So let's just say that, obviously, there was no such clause because I thought that was sort of part of the settlement agreement. But it wasn't. So there was no effective ban on hiding or… there was no ban from revealing your identity." Regarding his reasons for replacing the entire GHOST band at the end of 2016, Forge said: "I can't tell you the whole story, but without going into detail, the one thing that has always been a fact is that GHOST was never formed as a band, and its first lineup was formed after the first record was recorded, and it was just a live lineup. And from that lineup, it changed many times. "If you've followed us from when we started playing live in October 2010, you will notice that there has been numerous changes over the years. And none of the people in the lineup that was in November last year had ever played on [GHOST's 2010 debut album] 'Opus Eponymous', for example. "We never formed the band together; it was always sort of… I guess a BATHORY sort of band, where there was people playing live, and the people playing live [were] not necessarily the same that played on the records. On 'Opus' and [2015's] 'Meliora', there's a drummer that has never played with us live, for example. So, from my end, it's never really been… What some fans seem to think is not true. So, for me, it's just a matter of… People will… further down the line, they will find out that what they're saying or what they're thinking is not correct, is not based upon truth, but that's fine. It's okay. No worries." Asked if one of the benefits of having an anonymous band was that GHOST could undergo lineup changes without the usual public drama that accompanies such personnel shuffles, Forge said: "Over the years, that has been convenient, obviously. But there's always chatter. There's been chatter about new members for years. If you look into the… you know, more of the [online] fan groups, they've always noted when there was a new Ghoul. But, yeah, of course, there's the benefit of… it doesn't necessarily turn into a media pie-throwing contest, which is nice. Yeah, it helps. But the costumes and everything has also been the band's curse for all these years, because that is the one thing that gets people confused when it comes to their importance. "It is difficult to be that band that doesn't do things the way other bands do it. It's a blessing and a curse." He continued: "I love doing GHOST — it's fucking great, it's a great job, the best job in the world — but it definitely comes with a lot of baggage that was… It's easy to see that now, of course… Getting this or that person into a mask and taking that person out on a world tour, with everything that comes with that, will be a problem, because most people that are sucked into the idea of playing rock music do so because they want to get known and they want to get recognition. I'm no better — I want recognition as well — but I don't necessarily want it in the form of 'likes.' I'm battling human nature here, so it's… I've sort of given up that struggle, that fight you cannot win." Pressed about how he manages to keep GHOST's signature sound intact when he is changing the entire band or just a part of it, Forge said: "I have to teach them to play how I play it; that's how I do it. That's how it always works… Oftentimes the key is to teach them to think more simple. I'm an okay drummer, I'm an okay bass player, I'm an okay keyboardist, and I'm a quite good guitar player. And the trick is just to get them to underperform [laughs] together. And that helps if you have instrumented everything. Because my way of bass playing is all over the bass playing, my way of drumming is all over the drumming, and my form of keyboard playing is all over the keyboards, so the only thing I have to teach is, like, 'This is how you play this riff.' 'But it's so easy.' 'Yes, that's the point.' I mean, it's time consuming, of course — it's time consuming when you have to teach everyone to, sort of, adopt a style, but that's how it started." He added: "As I was saying, 'Opus Eponymous' was recorded with a session drummer and nothing else. So that sort of set a tone — this is how it sounds, and this is how it's supposed to sound, and that's what it has been developing from. And that in itself becomes a little bit of a… It's both a blessing and a curse again." The GHOST lawsuit, filed in the district court of Linköping, Sweden, where the band was originally based, claims that Forge solely controlled the group business affairs without input from anyone else in the band, while also carrying out management duties. The four musicians are asking the court to order Forge to disclose GHOST's revenues and expenses for the financial years 2011 to 2016 and reveal the company's assets as of December 31, 2016. If Forge fails to act as ordered, the musicians are asking the court to force Forge to pay a penalty of approximately $22,000 or an amount that the court considers reasonable. The lawsuit alleges that Forge has been collecting all revenues from sales of the band's merchandise and recordings since the band was formed in 2010, and has insisted that the "company" was not yet profitable while at the same time refusing to disclose financial statements. The situation allegedly became dire in 2012, when the band members did not receive any compensation at all. Forge was finally pressured to pay them, which he did only sporadically while still claiming that the band was broke. The four musicians were allegedly offered two separate contract proposals by Forge in 2016, which they rejected as "slave agreements." In a statement explaining the lawsuit, the musicians officially revealed their identities as Simon Söderberg (Alpha; member of GHOST from 2010 until 2016), Mauro Rubino (Air; member of GHOST from 2011 until 2016), Henrik Palm (Eather; member of GHOST from 2015 until 2016) and Martin Hjertstedt (Earth; member of GHOST from 2014 until 2016. The new lineup of GHOST is rumored to include musicians who have previously played with THE SISTERS OF MERCY, KORN, PENDRAGON and BLOODBATH. [Special thanks to Nicolas Gricourt and Radio Metal for providing BLABBERMOUTH.NET with the original English-language audio from which the above quotes were transcribed.] ghostmeliorapromobwbiggernew_638 ghost2015bandpromonew4_638

HELLYEAH Frontman On Touring With KORN: 'We Have A Lot Of Respect For One Another'

Sunday, April 23, 2017 - 00:00

In a brand new interview with AntiHero Magazine, HELLYEAH frontman Chad Gray spoke about the band's recent European tour as the support act for KORN. He said: "I've been a fan of these guys [KORN] since '95, way before I was singing and doing it professionally. I saw them play in fucking a theater opening for MARILYN MANSON and fucking DANZIG, and they had no space. It was the five of them lined up across the front of the stage, the drums were in the middle, Jonathan [Davis, vocals] and Munky [guitar] were on one side, Head [guitar] and Fieldy [bass] were on the other side. And they just came in and I've been a fan of the band for about like four or five months. So, I knew about them. So many people did not. Like, 'You fucking know KORN?' It's one of these kind of things when you know a band and nobody else does. It's, like, 'How do you not know about this band?' I remember so many people, after 'Life Is Peachy' was out, [I would tell them], 'I like fucking KORN.' Who? And I'm, like, 'KORN! How can you fucking not know about this band? They have two records out and they are fucking awesome!' And they came in and played, and they just fucking blew it up. I mean destroyed it. It was awesome. And I have been a fan ever since. And me and Jonathan go way back. MUDVAYNE [Chad's former band] supported these guys a couple different times." He added: "What's more important to me, because I'm a fan, I love their music. But the really cool part is being friends. And we are friends, we have a lot of respect for one another. We've been friends for a long time. So, there's a lot of mutual admiration. I love what he does and he loves what I do. The band, he loves us and the KORN crew loves us. We love [KORN] and crew and it's a fucking win-win all the way around." HELLYEAH's fifth album, "Unden!able", was released in June 2016 via Eleven Seven Music. The effort marks the first time HELLYEAH's current lineup — Gray, guitarist Tom Maxwell, guitarist Christian Brady, drummer Vinnie Paul Abbott and bassist Kyle Sanders — has recorded together as a unit. kornhellyeaheurotour2017poster


Saturday, April 22, 2017 - 18:00

METALLICA frontman James Hetfield has paid tribute to Iggy Pop on his 70th birthday, calling the rock icon "not only a survivor but a huge inspiration." Hetfield made his comments in a video message that was posted on Iggy's Facebook page. The METALLICA singer said: "Hey, Iggy. Happy 70th birthday. You don't look a day over 30. I've enjoyed immensely getting to know you over this year and have nothing but respect and love for you and what you've done for rebellious music. And I just wanna say that you're not only a survivor but a huge inspiration for me as I battle on into older age and enjoy every moment of it. So I think everyone there, in honor of Iggy and his 70th, should take their shirts off. Yeah! Have the faith! Keep the faith, brother! Take your shirt off." METALLICA and Iggy Pop performed THE STOOGES song "T.V. Eye" on March 5 in Mexico City. Pop was the opening act for METALLICA at each of the three shows METALLICA played at the Foro Sol venue, where the two acts were seen by a total of nearly two hundred thousand fans. METALLICA welcomed Pop on stage for the final encore, with frontman James Hetfield telling the crowd: "METALLICA has much respect for the man coming out here to sing a song with us, and we're grateful that he's been able to be on this Mexico City tour with us. Please show your sign of respect and love to Mr. Iggy Pop." THE STOOGES singer came onstage for a blistering rendition of the "Fun House" classic, with Pop and Hetfield screaming together on the "Right on!" portion of the bridge before sharing some call-and-response vocals on the third verse.

James Hetfield of Metallica sums it up! You're an inspiration to so many, Iggy!

Posted by Iggy Pop on Friday, April 21, 2017

SOILWORK Frontman: 'I Can Get Sick Of The Metal Scene Sometimes'

Saturday, April 22, 2017 - 17:00

Matt Mills of Far Beyond Written conducted an interview with vocalist Björn "Speed" Strid of Swedish metallers SOILWORK prior to the band's March 16 date at the O2 Forum in London, England as the support act for KREATOR and SEPULTURA. You can listen to the full chat below. A few excerpts follow (transcribed by BLABBERMOUTH.NET) On the band's 2016 B-sides and rarities album "Death Resonance": Björn: "Basically, we had some leftovers from 'The Ride Majestic' that didn't really fit the flow [of the album], but they were really cool songs. At the time, we were also going through the vaults and found a lot of tracks that have only been released in Japan before and some had not been released at all. Some had been on video games and stuff like that. There was also the EP, 'Beyond The Infinite', that was only released Japan. We kinda pissed off the rest of the world. We didn't really expect that; it was leftovers from 'The Living Infinite', but people really seemed to like those songs. Some of the songs on the compilation are slightly more progressive. Now it makes sense why they didn't fit back then, but I think we are slightly more progressive again, so it makes sense timing-wise as well, I guess. There's some cool tracks on there." On whether SOILWORK would attempt something like their 2013 double album "The Living Infinite" again: Björn: "I doubt it, but it was fun. It was definitely the most fun recording we experienced. There was such a nice flow and nice vibe in the studio. We really loved recording it at Fascination Street [Studios] with [producer] Jens [Bogren]. It was in the countryside and at the end of the summer. I don't know… there was a certain vibe to it that was very inspiring." On how the band approaches their live setlist: Björn: "We try to not become too nostalgic. We're still out there promoting our latest album, 'The Ride Majestic'. We always try to make it a nice mix, but also sort of focus on our latest effort." On whether the band has started writing new songs: Björn: "Yeah, we have been discussing. We might have the title, but we don't have any music at all, which is interesting. It's usually the other way around. I think we'll slowly get into writing-mode maybe sometime in the summer and then maybe record at the beginning of next year. We're going to take our time, I think. We did so much touring for this album. Last year was absolutely insane." On whether revisiting their old material and B-sides has given SOILWORK inspiration for their new album: Björn: "I think so. It was also a matter of grasping how you evolved musically and going back and listening to some of those tracks, or at least some of the memories. I remember for example, 'Martyr', the song, I was so mad that it didn't end up on the album at the time. [Laughs] I let it go, but it also brought it back, like, 'That's a cool song! Why wasn't that on the album?' But at the same time, it also makes sense, looking back. There are a lot of songs that had a playful approach to them. I think that's where we were at, but yes, absolutely I do get inspired by the past." On whether he would get tired of playing melodic death metal in SOILWORK if he didn't have his classic rock-oriented THE NIGHT FLIGHT ORCHESTRA side project: Björn: "If it wouldn't be that, it would be something else. I'm a metalhead, but I'm also a rocker, so I'm 50/50. I think it's really good for me. Plus, I think I've developed a lot as a singer through that band and I've brought it with me to SOILWORK as well. But no, I can get sick of the metal scene sometimes because I don't really find that many new bands that have something unique to say, but then again, sometimes you run across some bands and you're like, 'Wow, this is amazing!' I don't want to be cynical about it at all. I'm just having a hard time finding interesting stuff, but when I do, I promote the hell out of it for sure. I still really enjoy performing and writing melodic death metal. It's fun because…we can still evolve as a band. We keep doing that and I think we still have so much to say." On the newer metal bands he finds interesting: Björn: "I can mention TRIBULATION. They're one of my absolute favorites. That was like, 'Wow.' It's not something completely unique, but I think it was a unique expression somehow. I really like the vibe of it and the melodies. I really enjoy seeing them live as well. I don't go that much to live shows, at least not metal shows, but I went to see them live and I was blown away." On his memories of the famed Gothenburg, Sweden melodic death metal scene: Björn: "We started in Helsingborg, which is three hours south of Gothenburg. We were not there, like in Gothenburg while all those bands were hanging out, but we also went up to Gothenburg to record our albums. That's how we got to know everyone. It was a very creative time. People also tend to romanticize the thing a little bit too much as well, but there was so many good albums coming out, obviously, and then again, I think most bands were sounding the same. I think today, most of those bands from that time have developed their own sound, so it's more diverse today. It is more interesting in a way today because back then, you could barely tell the bands apart, including ourselves, maybe." SOILWORK recently announced the addition of 25-year-old drummer Bastian Thusgaard to the group's ranks. Thusgaard has been blazing the kit for the band for the past ten months, but will make his official debut as a permanent member of the band at their upcoming summer festival performances. SOILWORK's most recent studio album, "The Ride Majestic", was released in 2015 via Nuclear Blast.

Watch PHIL RUDD Perform AC/DC Classics In Savigny-Le-Temple, France

Saturday, April 22, 2017 - 17:00

Fan-filmed video footage of former AC/DC drummer Phil Rudd and his solo band performing on April 21 at L'Empreinte in Savigny-le-Temple, France can be seen below. Rudd was ousted from AC/DC when he was sentenced to eight months of home detention by a New Zealand court in 2015 after pleading guilty to charges of threatening to kill and drug possession. Rudd appeared to take responsibility for his dismissal from AC/DC, saying: "I was just being a fucking dickhead. I shot myself in the foot. You make your own bed, mate. You make your own mistakes and you have to deal with them and that is what I have done. Hindsight is 20/20." Rudd, who has appeared on all but three of AC/DC's 18 studio albums, has just kicked off his first solo tour in support of his 2014 solo debut, "Head Job". It was the release of that album that led indirectly to Rudd's arrest, with the drummer allegedly so angry at a personal assistant over the way the record was promoted that he threatened to have the man and his daughter killed. Rudd's replacement in AC/DC is Chris Slade, who also did a three-year stint with the group from 1990 to 1993. In a recent interview with Kaaos TV, Rudd stated about the AC/DC songs he is performing with his solo band on the group's current European tour: "[Those are] the ones I like, that I feel I contributed a lot to, with just the way I played them. We don't wanna be a covers band, so we just brought in two or three [AC/DC tracks]. Because we're playing the Bonfest [the annual celebration of the life and music of AC/DC legend Bon Scott, who died in 1980 at the age of 33] on the 28th of April in Scotland, so we've got three of Bon's songs that we're playing, and hopefully we'll do them well for the fans in Scotland." Asked if he would like to play with AC/DC again in the future, Phil said: "I'd like to be involved with Angus [Young, AC/DC guitarist] again, maybe on the next album or something. But I still have some traveling restrictions, and I'm not sure if I can go to America or not. I've got some lawyers doing some work so I can go back to America, but I'm not too sure. So I have some limitations on what I can do, and I'm just making the best of my situation at the moment." Rudd played with AC/DC from 1975 until 1983, and then again from 1994 through 2014. He first appeared on the band's second album, 1975's "T.N.T."


PÄR SUNDSTRÖM Says Some European Journalists Called SABATON 'Heretics' For Headlining Over ACCEPT

Saturday, April 22, 2017 - 16:00

Greece's "TV War" conducted an interview with bassist Pär Sundström of Swedish metallers SABATON prior to the band's March 8 show at Piraeus 117 Academy in Athens, Greece with ACCEPT as direct support. You can watch the full chat below (the interview starts around the 20-minute mark). A few excerpts follow (transcribed by BLABBERMOUTH.NET). On the turning point in SABATON's career: Pär: "There has been many turning points. Well, points, where I see, 'Okay, we are ready for the next level.' The first one was 2004 when we recorded 'Primo Victoria'. I was listening to it and I realized, 'This is good enough. This is so good that it can get somewhere.' 'Metalizer' [2007] was just a cool album. It was nothing that I felt like it would be something big, it was just a cool album in some ways, some good songs, some not-so-good songs, but it was a cool album. 'Primo Victoria' was 'Wow!' So that was one thing. With 'The Art Of War' [2008], it was also one thing because it brought us outside of Sweden to a wider audience. We could tour. We got appreciated in some media, they wrote 'This is a cool band.' We got reviews and stuff, then a big turning point was a bit later as well, we signed a contract with Nuclear Blast, making our albums available worldwide. That was 2010. That was one thing. Around 2012, we were kind of really going towards something, but that's when we split up with the band because some people thought it was too much. It was not what they wanted when they started. It was completely different." On why SABATON lost four of its members (who went on to form CIVIL WAR) in 2012: Pär: "They saw that it could be possible, that it could be done, but it would require too much. That was the main thing why we went different ways. I said, 'Okay, I believe in it. I will take it to the next level. If you guys also want to take it to the next level, you know what is required. It requires to tour this over two hundred days in a year and a lot of energy and sacrifices, but we can make it.' And people [went] 'No, no.' That's why we are now in two different bands. They tour when they feel like it and we tour all the time." On whether bands like AMON AMARTH, GHOST and SABATON are using bigger stage productions to appeal to younger audiences: Pär: "I'm not sure exactly why others do it and why some don't do it. It is very costly and it requires a lot. Also, a lot of regulations are popping up all the time making things complicated to use and do. We do everything by the book which makes it very complicated. I know a lot of bands do it without asking permission, so to say, and that makes it more possible and cheaper. If something happens, it's going to be trouble for the band. But, of course, I think that as a fan, you ask of something more of a band. Some bands, they look good when they are stripped down. SABATON works fine stripped down in a small club, but when you want to move to a bigger place, you have to fill up the stage with something. Even if we are an active band running around the stage, I still don't think it's enough." On ACCEPT opening for SABATON in certain European markets despite ACCEPT's legendary status: Pär: "We've heard the same, funnily enough only from a few countries. There was a few other countries where we also heard it. Actually, I was a little bit sad in some ways. We did some co-interviews together with Wolf [Hoffman, guitar] from ACCEPT. We did triple interviews where we and ACCEPT were doing together with journalists in front of the tour. They even approached us in kind of an evil way saying, 'You are heretics. You are blasphemy' and stuff like this. Then Wolf is there, and he's like 'Hey, this is not like we signed a contract that we have to do something we don't want to do. We are here because we want to be here. This is a great opportunity for ACCEPT. These are my words. I am here because I want to be supporting SABATON. I'm not here because of any other reason. If I didn't want to be here, I'd stay home. So, how can you be angry about this? This is a great opportunity for people to discover ACCEPT and yes, as a matter of fact, these days SABATON pulls a bigger crowd than ACCEPT. It's no secret.' It would be odd and more people would be disappointed if they played a longer set these days. For us, this is a good thing. For ACCEPT, it's a good thing. For the fans, it's a good thing. I don't see the problem, really. "Okay, if some people say 'ACCEPT is this legendary band, how can they open for you?' But if they are so big and legendary, why don't people go out and buy their albums if they have so many fans that complain? But you're right, they don't support them that much [in Greece]. For ACCEPT, it's great, they have a new audience now. Every night, you see a lot of young people in the crowd and they're like, 'Oh, wow!' A lot of people can sing along to their tracks. I think it's great. ACCEPT is still, even though they are quite old compared to us, they are still doing great albums, great shows and I think they still have a lot of things to give. That's one of the reasons. If they weren't interested in continuing with the band, they'd go 'We're not interested in the young crowd anyway. We'll stay home and we won't do this tour.' Now, they are even seeing there is a couple of years more for ACCEPT in the future, which is great." SABATON began the North American leg of their "The Last Tour" headlining trek on April 20 at The Trocadero in Philadelphia. The tour will hit seven Canadian cities plus Chicago, Anaheim, Dallas, and conclude at the The Fillmore in Silver Springs, Maryland on May 22. SABATON's eighth album, "The Last Stand", was released last August via Nuclear Blast.


LIFE OF AGONY's MINA CAPUTO: 'I'm Just A Woman Born Without A Uterus'

Saturday, April 22, 2017 - 15:00

France's Loud TV recently conducted an interview with LIFE OF AGONY frontwoman Mina Caputo (formerly Keith Caputo). You can watch the full chat below. A few excerpts follow (transcribed by BLABBERMOUTH.NET). On the motivation behind LIFE OF AGONY's new "A Place Where There's No More Pain" album: Mina: "We were offered a couple of labels, offered some really good deals. We weren't really looking to make a record, not right now anyway. We were just enjoying being out there in the world and catching up on a lot of lost time that we missed with one another. I had been through some changes the past ten years; all the boys had children. We do all different kind of creative things. Alan [Robert, bass] has his coloring books that are on top of the world right now. His comic books, I'm doing my solo music and different musical projects. We were all doing live gigs. We really enjoyed this time around, the past few years, having a great time, a lot of fun. We fired many people, we keep it really small now, just really close with the band. We got some offers and when we started getting some offers, we started kicking around some ideas and one thing led to another, a year and change later, 'A Place Where There's No More Pain' was born. "I think the motivation, really, was to make up for lost time. I could say that personally, for me, it was the album to make amends with my brothers, with my family, for all the trouble I've caused them throughout all the years. [Laughs] For me, that's the heart of it. Plus, I love the band, I love the songs that they write, I love singing for them and being with them. They're my biggest allies and my biggest friends. We're enjoying each other's company more than we ever have in our lives, so why not take advantage of really good times while it lasts? Because life is fleeting; life goes by so quick." On how it felt being back in the studio with LIFE OF AGONY: Mina: "It felt great. I had the best time, the most creative time laying down vocals and melodies than I ever have for this band. This was the fiercest I've ever been. The most deliberate. [I] had an amazing, amazing time creating and helping to bring the songs to the point where they needed to be. That's my life. That's my passion. I'd rather stay in a studio, in a recording studio, than anything else. If I didn't have to go out on the road to take care of my family and my dog, I'd probably stay in the studio making records every year. That's where my true passion is. It's in the studio, it's being a doctor, it's giving birth to songs and melody and lyric that becomes soundtracks to people's lives. I love the studio. The studio is sometimes better than sex for me." On whether she feels better than ever after coming out as transgender in 2011: Mina: "Absolutely. I'm living my life the way I always intended it to be, but didn't have the strength or the courage to let the lady out. Now that I have and I'm transitioning almost ten years now, I became an old lady real fast. [Laughs] It's a cruel world. I'm not going to let the cruel world stop me from being me. I don't give a fuck who likes it, who doesn't, I'm not here to please people. If you don't understand, then fuck off. I don't care if you don't like people like me or whatever, you don't understand it because you can't look deeply within your own self. Those are usually the people that dislike people that follow their dreams. I'm just going after my dreams. One dream after the other, I'm living it. That's the purpose of my life. I live my dreams and one of my dreams was to honor the feminine. I'm just a woman born without a uterus. I don't have the tools. I don't have the physical 'down there' to give birth, that's all. I'm no different than any other girl on the street. In my personal view, if you really knew who I was intimately, I think people would say the same." On how long ago she started feeling like a girl: Mina: "Since I was six, seven years-old, maybe. I always knew. I was just afraid. I grew up in the '70s and the '80s, so back then, it was very, very different than it is now. That's part of the point. I'm not like everybody. The more you walk into your fear, the easier life becomes because then you realize fear doesn't even exist. It's a charade, it's a game. The institutions play with us, all the institutions set into place for humanity creates fear and that's why they got everybody running around like sheep and slaves because everyone is afraid. I'm not afraid anymore. I don't give a fuck. I don't care what you think, what you say, just don't touch me because then I'll get Brooklyn on you and I might have to, I don't know, stab you in the fucking neck because if someone tries to harm my life, I'm going to do whatever I have to do to protect my life, or protect one of my friends. I'm still an angry, violent person. I'm fucking very angry. From society. 'You can be yourself, but not like that!' That's society. Very hypocritical, very fear-based and very counterproductive. The institutions set into place for humanity, the school system, the healthcare system, the food systems, the political systems, they should all be ashamed of themselves. They all should be ashamed of themselves. They're all big fuck-ups. It's fucking humanity, man. Humanity's taking some weird fucking turn. But I don't know if that's the way it's supposed to be. Are we supposed to destroy ourselves? I don't know. No one knows nothing. I don't care who you are. You're the fucking pope or [British physicist] Stephen Hawking, no one knows shit. No one knows the origin of life. No one knows why we're here, but you need to create why you're here. We're here to have fun, to feel good, we're here to give each other unconditional love and encouragement, we're here to protect one another. But the way the institutions are, unfortunately, they don't teach that." "A Place Where There's No More Pain" will be released on April 28 via Napalm.


ICE-T Talks Friendship With MEGADETH's DAVE MUSTAINE (Video)

Friday, April 21, 2017 - 23:00

In a brand new interview with Music Choice, Ice-T explained how MEGADETH leader Dave Mustaine came to make a guest appearance on "Bloodlust", the latest album from the hip-hop legend, actor and director's metal band BODY COUNT. He said (see video below): "What happened is, BODY COUNT, when we came in the game over twenty years ago, we debuted at the Lollapalooza tour. Once we got in, and they saw we were serious, every rock group became our friend. People were coming out of the woodwork, whether it was SLAYER… all these different groups were, like, 'Yo, I see what you're doing, and it's unique, and, uh, we down. And if you're ever getting ready to make a record, call us.' The first person was Dave Mustaine. And Dave has been a fan… I've been a fan of Dave for years, but I learned about Dave Mustaine a long time ago because when I did the 'Original Gangster' album, he reviewed my album. They asked him, 'What's your favorite album this year? Five favorite albums?' He said, ''O.G.', 'O.G.', 'O.G.', 'O.G.' and 'O.G.'' So my boy's, like, 'Yo, you've gotta go meet this motherfucker, right? So I met Dave Mustaine. I'm, like, 'Okay, you're the business. You're MEGADETH.' I was like 'This shit's badass.' So, we became friends but never had a chance to work [together]. So, I called Dave, and Dave was, like, 'I'm on it. What do you want me to do?' So the first verse, the first voice you hear on the new BODY COUNT album is Dave Mustaine doing that announcement." "Bloodlust" was released on March 31 via Century Media Records. The disc was recorded with producer Will Putney (MISS MAY I, UPON A BURNING BODY), who also helmed 2014's "Manslaughter". The new CD features additional guest appearances by Max Cavalera (SOULFLY, SEPULTURA) and LAMB OF GOD frontman Randy Blythe. The effort also contains BODY COUNT's medley of the SLAYER songs "Postmortem" and "Raining Blood". Pictured: Ice-T at Music Choice Studios on April 20, 2017 Photo credit: Music Choice / Juan Navarro