Heavy Metal News
DEFOX RECORDS & INVINCIBLE RECORDS are proud to announce the record deal with the japanese Thrash Metal band called DEAFLOCK.
Deaflock is an old school thrash metal group formed in Nagoya in 2000, after the demo called simply "Deaflock" and the participation to a compilation "Earthquake A.G.M" the band publish "Reality Of False Pasts",the first album of the group which was showing the old school attitude.
Now the band presents new album titled "Courage to expose all" that contains 9 songs in vein of furious Thrash'n'Death sound, fast and
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GRAHAM BONNET Talks ALCATRAZZ, RAINBOW And Working With YNGWIE MALMSTEEN
Greg Prato of Songfacts recently conducted an interview with legendary rock singer Graham Bonnet (RAINBOW, MICHAEL SCHENKER GROUP, ALCATRAZZ). A couple of excerpts from the chat follow below. Songfacts: What are you currently doing musically? Graham Bonnet: Well, at the moment, Mandy Wheatcroft, who's looking after my business in England, we're putting together an album that's like a special edition of tracks that have never been released. She's putting that together right now. And what we're going to do is put it on my site, GrahamBonnet.com, folks. [laughs] How's that for a commercial? There are some songs that I've had, they've been put away on a shelf and have never been released. It's a mixture of different kinds of music, different kinds of styles, and it's really more where I'm at with my music, because I started off as doing R&B and more pop stuff and I was suddenly put into this bracket of being called a heavy rock singer, which is not what I wanted to do at first. So this shows different sides of my singing and songwriting. It's kind of like Paul McCartney's albums when he went solo after he left THE BEATLES: a bit of reggae, jazz, a bit of everything. So that's what's happening right now. We're putting that together and getting the booklet together with some photos and all that kind of stuff inside. It will be interesting to people who like what I've done in RAINBOW or in ALCATRAZZ or other bands I've been in. It'll be another side for them to listen to. Songfacts: How would you compare playing in the current ALCATRAZZ lineup to the '80s version of ALCATRAZZ? Graham: Well, it's completely different. We have no keyboard player, so it's a smaller band of musicians. What we've done — a secret — is we've pre-recorded keyboards. We play to a click track when we go on stage, because a lot of the music I made in the past has been very heavily keyboard-oriented. So we've had to do that, unfortunately. Our keyboard player actually left — he went to get a real job, like big men do. He decided the music business wasn't for him anymore. He was our keyboard player and second guitar player. His name's John Thomas, and he's a really great guitar player and worked very well with our current guitar player, Howie Simon. He left, so it's completely different. I often think about the original band, the first band we put together with Yngwie Malmsteen playing and then the second band with Steve Vai, and it was a completely different world then. It was very exciting, it was all new, and everybody's going, "Who are these guitar players?" But now there are so many guitar players that have that same kind of style, as well as singers who sing high, it's becoming done to death. But I do miss that feeling of the first band. The first lineup we had was great, with Yngwie playing, and the second with Steve. Then the third one was with Danny Johnson, who eventually went to play with STEPPENWOLF. Danny's a very bluesy player, so he found it hard to fit. He said: "I can't play all this heavy whittley whittley stuff." But he did. And he could. But a better job come along, so he went with STEPPENWOLF for about 13 years after he left ALCATRAZZ. But the first lineup was a great lineup with Yngwie, because it was all new and fresh with this new guitar player, this young kid who everybody loved to death. I kind of miss that. It'd be nice to do it again, but I don't think that will happen. I don't think there'll be a reunion. Songfacts: How did you originally cross paths with Ritchie Blackmore? Graham: That was through Roger Glover. One of my friends, Mickey Moody, was playing for WHITESNAKE at that time, and I think Roger was producing their album. This is 1970-something. Mickey told Roger that I was doing some solo stuff, which was successful in places like Australia and New Zealand. Weird places — everywhere but England. Roger wanted to know what I was doing, so they invited me over to this chateau on the border of Switzerland and France, and they gave me a song to learn. I had to learn a song called "Mistreated", which I didn't know anything about. I didn't know anything about RAINBOW at all, to be honest with you. So I had to buy the albums and learn one song as an audition. Roger phoned me up and said, "Will you come over and do a song with us?" And so I went over there and sang at them and they gave me the job. That was it, really. Then I went home, thought about it, and I said to my manger, "I'm not right for this. I'm not like these other guys, long hair and all the rest of it. I don't fit." But I did in the end. Songfacts: Would you want to set the record straight once and for all regarding if Yngwie is hard to work with or not? Graham: He wasn't at first. [laughs] But he became... he suddenly was engulfed by people telling him how wonderful he was. And when a kid is 19 years old and everybody's telling you how marvelous you are and you could be better than this, how you could be the next Jimi Hendrix, it was very tempting for him, and his ego suddenly inflated. He became not a band member anymore — he wanted to go off on his own. And eventually, he did. It just wasn't working. I could see it happening. Read the entire interview at Songfacts.
TONY MILLS On Leaving TNT: 'I Hate Wasting Days And Singing Songs From The Past To Satisfy Old Fans'
Elle Haus of Full Throttle Rock recently conducted an interview with British vocalist Tony Mills (TNT, SHY). A couple of excerpts from the chat follow below. Full Throttle Rock: You've had a long, fruitful career with TNT. Do you look back on that time with fondness and accomplishment for the work you created? Mills: Not really for the work I created, to be honest, although the third and final album, "A Farewell To Arms", was the best of the three, without a doubt. Full Throttle Rock: But this time really belongs to seven years on stage and not a lot else. Mills: Maybe we did 500 shows or something like that, but not many out of Norway. It has been the most prolific live period in my career, and when I felt the stagnancy and the lack of desire to grow and develop any further, I knew my time was done with the band. I don't think it's sensible to expect new art from the band after thirty years, just a lot of re-living the past and reconstructions of old albums and performances. None of us are getting any younger, but I have a great desire to not stop creativity in my life. I hate wasting days and singing songs from the past to satisfy old fans. Nostalgia wasn't doing it for me. We were never close as friends or anything like that, so there is no great loss, and I have no doubt they will reform the original lineup and just do the whole thing all over again. I wish them good luck on that. I have other releases to come that excite me much more than that. Full Throttle Rock: You've publicly stated that in today's world long gone are the days of going to a shop to buy your favorite artist's new record, with the whole digital revolution of music and downloads. What is your opinion of the state of the music industry at the moment? Mills: The young musicians of today will get different kicks, I guess, but there was nothing like getting a letter back through the post from a record company with a positive response to a demo that you had sent weeks before. Or recording in big studios where you stayed for months; a lot like being on holiday, but creating great music with big name producers. Record advances have all but disappeared, and the market is evolving in many different ways. I often hear engineers saying that they miss the roll of the tape machine in the background. I can empathise with that, although the technology is so much better now. I feel sorry that the traditional record company and its releases have all but disappeared, but on reflection, they also made a mess of a lot of things and they can't do that anymore either. Corporate record companies had many of their own ideas that didn't agree with the artists' ideas at all, but nevertheless were enforced regarding releases and artistic direction. They had no real place in that, but they waved the cheque book and you had your arm twisted in their direction one way or another. I kind of soldiered on regardless through all the changes of the last thirty years, because they were so inevitable. I don't see a whole lot of money in making records anymore; the profit has lay in the performance and the merchandise for quite a while now, so we write and record to support that ethic and do the best we can. Read the entire interview at Full Throttle Rock.
TONY HARNELL: Former TNT Singer And Thyroid Cancer Survivor
"You have cancer." Those three words are among the most dreaded and powerful a person can hear. In the case of Tony Harnell, the diagnosis of thyroid cancer was doubly frightening. A vocalist/songwriter with a four-octave range, Harnell had toured in the U.S. with likes of STRYPER, TWISTED SISTER and GREAT WHITE and appeared on stages worldwide, entertaining legions of fans as lead singer with hard-rock band TNT. But with the diagnosis, he not only faced a delicate surgery to remove two large, cancerous thyroid tumors from deep within his neck, but also the very real possibility that the life-saving procedure could cost him his voice. Harnell thought he detected a small growth in his neck in 2001 and ignored it on a doctor's advice until four years later when, while on tour, he started experiencing pain that intensified whenever he sang. His discomfort continued, but he powered through it for several years until a new physician recommended an ultrasound study and a biopsy based on the ultrasound. Then the unsettling news: he had Papillary Carcinoma, the most common type of thyroid cancer, representing about 80 percent of all thyroid cancers diagnosed in the U.S. Harnell is only one among many: thyroid cancer diagnoses have more than doubled since 1990, one of the few cancers that has increased in incidence rates in recent years. The good news is that thyroid cancer is an extremely treatable disease when caught in its early stages — which is why screenings and self "neck-checks" are vitally important. Also key to a positive outcome is having an expert thyroid surgeon perform the procedure. Harnell underwent surgery to remove the tumors and affected lymph nodes, radioactive iodine treatment to destroy any remaining thyroid tissue, and was placed on thyroid hormone replacement medication to keep his body's metabolism balanced. Because of his occupation and the extensive surgery performed, he also elected to undergo physical therapy to rehabilitate his vocal cords and other muscles affected by the surgery. Harnell made it through his experience with his voice intact and is back to hitting all the high notes in his career. To assist those who are interested in how to perform a self "neck-check" or more information on thyroid cancer or other thyroid-related conditions, AACE has created a dedicated web site: www.thyroidawareness.com.
FOZZY Singer Interviewed On 'Iron City Rocks' Podcast (Audio)
FOZZY singer and WWE wrestling superstar Chris Jericho was interviewed on the latest episode of the "Iron City Rocks" podcast. You can now listen to the chat using the audio player below. In a recent interview with ARTISTdirect, Jericho stated about FOZZY's latest album, 2012's "Sin And Bones": "We worked really hard on 'Sin And Bones'. We had a lot of momentum with the 'Chasing The Grail' record in 2010, and we wanted to keep it going. It was our debut on Century Media, which is the biggest record company we've ever been on, and we knew this was our chance to take things to the next level. We really focused on making 'Sin And Bones' our 'Black Album' [referring to METALLICA's 1991 self-titled LP]. What I mean by that is the Black Album is a very cohesive record from start to finish. It takes you on a journey. All of the songs have a similar vibe, even though they've got different styles. We wanted that for 'Sin And Bones'. We wanted to make a very groove-oriented, dark kind of record you could listen to from the first song to the last and it would take you on a journey. It was meant to be listened to in sequence. Whenever you can do that, it becomes a memorable piece of work. With the reviews we got and the response, it was the highest-charting, biggest-selling, and best-reviewed of our career so far." Jericho also spoke about getting a matching HELLOWEEN tattoo with M. Shadows of AVENGED SEVENFOLD. "M. Shadows and I have been friends for a long time," he said. "That's why I asked him to help us with [the FOZZY song] 'Sandpaper' [off 'Sin And Bones']. He did a great job with the arrangement and the vocal parts. One thing that made us even closer kindred spirits is the fact that we both love HELLOWEEN. We were coming to the Roxy [in West Hollywood] to do a show, and he came down. I was like, 'Dude, we should get a HELLOWEEN tattoo!' We talked about it for a couple of days before and figured out the pumpkin we wanted to get. He's got so many tattoos that his pumpkin was like the last little bit of real estate he had on his arm. I don't have a lot of tattoos, so it was like I had this pumpkin in the middle of my forearm for no apparent reason, so I thought I'd put something around it. I came up with the idea of doing my four favorite bands and putting them all together. It's METALLICA, HELLOWEEN, IRON MAIDEN, and THE BEATLES. It ended up being pretty cool."
FLESHGOD APOCALYPSE's CRISTIANO TRIONFERA Talks To CAPITAL CHAOS TV (Video)
On August 25, The Mighty Z of Capital Chaos TV conducted an interview with guitarist/vocalist Cristiano Trionfera of Italian symphonic death metallers FLESHGOD APOCALYPSE at the DNA Lounge in San Francisco, California. You can now watch the chat below. Also available is performance footage of the San Francisco concert. FLESHGOD APOCALYPSE's new album, "Labyrinth", was released on August 16 in Europe and August 20 in North America via Nuclear Blast Records. The CD was mixed and mastered by Stefano "Saul" Morabito. The cover artwork was once again created by Colin Marks, who was also responsible for several neoclassical pieces of art in the massive inlay. Comments FLESHGOD APOCALYPSE's Francesco Paoli: "'Labyrinth' is THE album for FLESHGOD APOCALYPSE. It's the perfect combination of all our strong points with the best production we've ever had. It's definitely the most FLESHGOD thing we've ever thought with the most FLESHGOD riffs, lyrics, melodies, drumparts, solos, etc. We went deep inside the core of this music, we broke it, and we finally unleashed these eleven songs." Added Tommaso Riccardi: "The concept of this album is based on the myth of the Labyrinth of Knossos and every character related to it. We focused on the philological aspect in order to represent all the elements of the classic world and, through a manic and meticolous research, we managed to create a metaphor with our times, as the maze can be associated with the endless search for what we really are. We're sure you will be stunned by this as much as we are." Interview:
SATHANAS To Enter Studio Next Month
Pennsylvania-based black metallers SATHANAS will enter The Innertube Studio in Ambridge, Pennsylvania on October 19 to begin recording their next full-length album, "Worship The Devil", for an early 2014 reelase via Doomentia Records. The cover art will be created by the Juanjo Castellano (PUTREVORE, AVULSED). SATHANAS' latest album, "La Hora De Lucifer", was mixed at 905 Studios in Ambridge, Pennsylvania and was released via Pagan in Europe, Astral Holocaust in South America and Evil Dead in Asia. Each version of the effort contains a different cover art from such "masters" as Kris Verwimp, Chris Moyen and Daniel Desecrator. SATHANAS is: Paul Tucker – Guitar, Vocals Bill Davidson - Bass Jim Strauss - Drums
RICHIE KOTZEN Describes Songwriting Process For THE WINERY DOGS Debut
Dee Haley of BackstageAxxess.com recently conducted an interview with guitarist/vocalist Richie Kotzen (MR. BIG, POISON) about THE WINERY DOGS, his new power trio with drummer Mike Portnoy (DREAM THEATER, AVENGED SEVENFOLD, ADRENALINE MOB) and legendary bassist Billy Sheehan (MR. BIG, TALAS, DAVID LEE ROTH). A couple of excerpts from the chat follow below. BackstageAxxess.com: The three of you as musicians don't seem to have boundaries when it comes to your playing styles; you really seem to work well together. The first song, "Elevate", does seem to have a MR. BIG-ish sound and you have worked with Billy Sheehan before. How did the dynamics of THE WINERY DOGS differ from, say, MR. BIG or the other bands that you have been in? Richie: The dynamics between me and Billy have always been kind of consistent. We did the MR. BIG thing together and there was a period of time when Billy and Pat Torpey and I were working together with thoughts of maybe doing a project but that never happened. They ended up playing on one of my solo records. Billy and I connected again and I took him with me to Japan when I had the opportunity to open for THE ROLLING STONES. Billy and I have a lot of history, and not just playing together, we like each other and we're friends. It's a good vibe there, so to work with him is easy. He knows how to communicate with me and I know how to communicate with him and we get it done. With THE WINERY DOGS record, it was an interesting process in writing, it was kind of two separate formulas really at play. The first thing was half the record was written in such a way that we would literally get in a room and just jam ideas, whether it started from a bass riff that Billy had or a guitar riff that I had or a drum beat. We would just kind of mess around and end up with these little skeletons of songs where you have a verse and a chorus, or a chord, maybe a bridge or solo section and that sort of thing. We recorded all of those in a very quick way. Nothing that was done proper; just a couple microphones and get it going. Those guys went on the road for a while with another project they had so I kind of laid back and threw around some melody ideas and lyric ideas and I pretty much finished those songs. Some of those songs were "Time Machine" and one called "Criminal", but there's a bunch of them that we did that way. I would record some vocals and send them off and they would make comments on them. We like that or we don't like that, can we keep this, can we keep that. That was kind of how a lot of the record was written. The rest of the songs were songs that really I brought in towards the end. Songs like "Regret" or "Damaged" or "I'm No Angel", even "Elevate". Those were songs that I had originally had demoed in my studio. I remember there was a couple of days that I was kind of pulling up songs and said hey, what do you think about this? Do you want to make it into a WINERY DOGS song? So the ones that ended up on the record were the ones that I had mentioned and then together we sat down and fine tuned those and made them into a little more fitting in with what THE WINERY DOGS are about. That was really the process. We ended up with 14 songs, but unfortunately, we had to save one for a bonus track in Japan and the other for a bonus track in the U.S. There are two different versions of the record floating around. So people who want to hear everything might have to do a little bit of research to get all of the material but when you come see us live you will hear all 14 songs. BackstageAxxess.com: What was the timeline in creating this record? I know you had done an acoustic tour before this came out. Richie: That tour was already booked and in the works prior to the completion of THE WINERY DOGS record so that was already something I knew I was going to be doing. As far as the actual timeline, we had gotten together and Mike Portnoy was the one who really has this engraved in his head, but to my memory, we got together the initial time and we came up with maybe 4 or 5 ideas and I remember going back and finishing the songs, putting vocals on and sending off what I did to the guys, I think I finished 2 of them. We got together again and came up with another batch and at some point we demoed these songs and I went in and sang on these demos and came up with whatever melodies I wanted to sing and lyric ideas. There was one of them that Mike did lyrics on; he demoed it. So then we had maybe 7 or 8 of these songs that existed and we got together at that point to try to start cutting the record. In that process is where I played some of the songs I had laying around and presented them and they became WINERY DOGS songs as well, which were songs I mentioned earlier. In the end, we had 14 songs to cut drums to so we did all that in about two weeks and they took off. I went in and did guitars and vocals. They came back and finetuned everything. They did background vocals, percussion, a couple little lyric tweaks here and there. We sent it off to Jay Ruston to get mixed and we ended up with our record. BackstageAxxess.com: You had mentioned you had some of the songs. Did you have the music to the songs or the lyrics too? Did you write them together? Richie: "Regret" and "Damaged". I have a demo of "Damaged" and it really sounds like a disco song. I have to dig it up one day and put it on a B side. "I'm No Angel" was done, although it was called "Misfortune" and we changed the title. "Elevate" was done in the sense that the chorus existed with the lyrics and the melody and so did the verse, but in two different songs. Originally, that riff and that verse I had in another song with a whole other chorus. It was Mike who decided to put that verse with the chorus that you hear now. When we did that idea, when we put them together, there was a key issue; the verse and the chorus, they sounded weird at first. I remember Billy and I spent a lot of time on that song reconfiguring the bass line and the guitar to make it a smooth transit and that's how that song came to be. "We Are One" was a song that I had the music to all written out and I had the melodies, but the chord progression was different so Billy and I ended up rewriting that as well. There was a lot of skeletons we dealt with and threw some meat on them. There were some that were finished. The ones that were the most finished would be "Damaged", "Regret" and "I'm No Angel" as far as the ones I brought in. The other ones were in different stages of work. Read the entire interview at BackstageAxxess.com.
THE DEVIL WEARS PRADA's '8:18' Projected To Sell 18K-22K First Week
"8:18", the fifth studio album from the Dayton, Ohio Christian metalcore band THE DEVIL WEARS PRADA, is likely to sell between 18,000 and 22,000 copies in the United States in its first week of release, according to industry web site Hits Daily Double. The estimate was based on one-day sales reports compiled after the record arrived in stores on September 17 via Roadrunner THE DEVIL WEARS PRADA's fourth album, "Dead Throne", opened with 32,000 units back in September 2011 to land at position No. 10 on The Billboard 200 chart. Long acclaimed as among one of the most potent and provocative bands in modern American metal, THE DEVIL WEARS PRADA made a massive leap forward with the stunning "8:18". The album — executive-produced by KILLSWITCH ENGAGE's Adam Dutkiewicz and produced by the band along with producer/engineer Matt Goldman (UNDEROATH, THE CHARIOT) — sees the group driving its relentless sonic approach with more might than ever before, giving extreme power to frontman Mike Hranica's grim, emotional lyricism. "8:18" track listing: 01. Gloom 02. Rumors 03. First Sight 04. War 05. 8:18 06. Sailor’s Prayer 07. Care More 08. Martyrs 09. Black & Blue 10. Transgress 11. Number Eleven 12. Home For Grave 13. In Heart THE DEVIL WEARS PRADA has announced details of an upcoming North American headline tour. "The 8:18 Tour", which will see the band accompanied by THE GHOST INSIDE, VOLUMES and TEXAS IN JULY, gets underway November 2 in Detroit at the Royal Oak Music Theatre and continues through December 20, wrapping in Toronto, Ontario, Canada. Singer Mike Hranica commented: "We've loved playing two new songs over the course of this year, and with that being said we're really excited to debut more material live. For me, '8:18' is meant to reflect a live sense of vocals, so doing another headline tour like this is going to be excellent."
RUDY SARZO Interviewed On 'The Hellion Rocks' (Audio)
James Anaya of "The Hellion Rocks" on Bleach Bangs Radio recently conducted an interview with legendary bassist Rudy Sarzo (OZZY OSBOURNE, DIO, WHITESNAKE, QUIET RIOT). You can now listen to the chat in the YouTube clip below. Asked about his current gig as the touring bassist for the Geoff Tate-fronted version of QUEENSRŸCHE, Sarzo told Frankie DiVita, radio personality at Southern California's 96.7 KCAL Rocks: "[The reception from the fans has been] incredible. I mean, going out there and just watching the audience react to what we're doing. We're actually performing the whole 'Operation: Mindcrime' record — every single song — and it's just such an iconic album; it's a timeless piece of music." Regarding how performing with QUEENSRŸCHE is different to what he has done with his previous bands, Sarzo said: "I have not in the past ever toured doing a concept album. Once you do a concept record, you perform it live, you're telling the story for an hour-plus rather than telling vignettes, which is separate songs. So it's a whole different mindset, because there's much more to grab onto as a performer. Rarely do you ever get to perform a whole album, even if it's the band or the album that you recorded… unless it's the first tour, like [with QUIET RIOT's] 'Metal Health', yes, we did the whole album, because that's all we knew. And we started headlining, so we had to, like, find rejects — songs that did not make the album — and start including them in the set. But as far as a concept album, that there's a storyline to it, it's a very unique situation, to go on stage like that." On the topic of what it's like to perform with Geoff Tate, Sarzo said: "Oh my God! He's unbelievable. Just to be on stage next to him — the power and his passion, it's contagious."
PAPA ROACH Frontman Talks To Missouri's 105.7 THE POINT (Video)
Donny Fandango of the St. Louis, Missouri radio station 105.7 The Point conducted an interview with vocalist Jacoby Shaddix of Californian rockers PAPA ROACH during this year's Carnival Of Madness tour. You can now watch the chat below. In an interview with Mosh Pit Report, PAPA ROACH drummer Tony Palermo stated about the progress of the songwriting sessions for the band's follow-up to last year's "The Connection": "We're working on ideas. We always lay stuff down in the back of the bus just to keep it flowing. I'll come up with beats, I always do a lot of voice memo stuff just to get it down quick if I have an idea that pops into my head and I don't wanna forget it. I just do a 10- or 15-second voice memo in my iPhone. It's usually me breathing heavy into the phone in a beat style then I'll come in [to the recording setup on the tour bus] and lay it down on this little keyboard here. It doubles as a drum set, which is weird, but it works. We put stuff together on the computer, and once we get into the actual studio in writing mode, then we go through all the stuff and decide what's good and what sucks, or isn't PAPA ROACH. It's cool. There's a lot of down time on tour, so it's a good tool to keep it flowing so you're not like stuck writing 15 to 20 songs for a record in 30 days. It's really hard to do that." Palermo also spoke about a number of PAPA ROACH shows being canceled due to Jacoby Shaddix's vocal issues. "I don't know if it's worse for [the fans] or for us," he said. "We pride ourselves on playing rock 'n' roll music live to people, and when something unfortunate like that happens, I know people who travel, like plane tickets, hotels, but you know, we're also losing money. It's not really about the money, though, it's just, for us, you gotta take care of that and get it better so you have a career. Like last year, when we had to pull off of Uproar, it was so bad. We played three shows and then he just couldn't sing anymore; he had to go in and get his voice operated on. It was that serious and that drastic. We just went through it again a little bit, but he didn't have to get an operation, he just had to go on a little more strict vocal rest and got paired up with a new vocal coach that showed him different techniques than he'd been using." PAPA ROACH's latest album, "The Connection", was re-released in Europe as a special tour edition on May 6 via Eleven Seven Music. The effort contains a bonus DVD of a concert at Club Nokia in Los Angeles featuring performances of new songs as well as the band's biggest hits, including "Still Swingin'", "Give Me Back My Life", "Before I Die", "Last Resort" and "Between Angels & Insects". "The Connection" was produced by rock veteran James Michael (SIXX: A.M., HALESTORM) and John Feldmann (PANIC AT THE DISCO, THE USED, BLACK VEIL BRIDES). The CD sold 22,000 copies in its first week of release to debut at No. 17 on the Billboard album chart.