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Armonight are back with the fourth album

NEROCROMO MUSIC and Heart Of Steel Records are proud to present 'Who we really are' the fourth album of italian rockers ARMONIGHT.
Armonight are back with an excellent Hard Rock sound influenced by the 70's and 80's classic anthems, the band are founded in Vicenza, Italy in 2007 by Fjord and Lara.
The Release contains 12 songs in vein of the spirit of Aerosmith, Heart, Joan Jett and will be available on digital market in 2015, July 20th on every worldwide webstores, iTunes, Amazon, Spotify, Deezer, Google Music, Nokia, Emusic...



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SLAYER's 'Repentless' Certified Gold In Poland

Monday, July 11, 2016 - 05:10

During SLAYER's appearance Saturday night (July 9) at the Jarocin Festiwal in Jarocin, Poland, the members of the band were presented with gold-record plaques for Polish sales of their latest album, "Repentless". "Repentless" debuted at No. 4 on The Billboard 200, having shifted 50,000 equivalent album units in the week ending September 17, 2015. The Billboard 200 chart ranks the most popular albums of the week based on multi-metric consumption, which includes traditional album sales, track equivalent albums (TEA) and streaming equivalent albums (SEA). In terms of pure album sales, "Repentless" opened with 49,000 copies, marking SLAYER's highest-charting album yet. "Repentless" now holds the record as the band's career-highest chart debut in Germany (No. 1), Holland (No. 2), Australia (No. 3), New Zealand (No. 8), the U.K. (No. 11) and on the Japanese International Chart (No. 1). It bowed at No. 3 in Finland, No. 4 in Belgium, and No. 5 in both Sweden and Greece. Additionally, the album debuted in the Top 10 in France (No. 7), Italy (No. 8), Hungary (No. 9), and Japan (No. 10). The follow-up to 2009's critically acclaimed, Grammy-nominated "World Painted Blood", "Repentless" was produced by Terry Date, who has previously worked with PANTERA, DEFTONES and SOUNDGARDEN. The artwork was created by Brazilian artist Marcelo Vasco in collaboration with the band's Tom Araya and Kerry King. As previously reported, SLAYER will join forces with special guests ANTHRAX and DEATH ANGEL this fall for a seven-week North American beat down. The dates start in Cleveland on September 9 and will hit both major and secondary markets across the continent.

AEROSMITH's JOE PERRY Treated by Medics After Leaving Stage During HOLLYWOOD VAMPIRES Concert

Monday, July 11, 2016 - 04:10

AEROSMITH guitarist Joe Perry was reportedly forced to leave the stage during a concert by his side project the HOLLYWOOD VAMPIRES earlier tonight (Sunday, July 10) and was taken to to the hospital. The 65-year-old Perry was performing at the Ford Amphitheater at Coney Island Boardwalk. According to fans who attended the show, Perry sat down on the drum riser while appearing to have difficulty playing, and then left the stage mid-song. Footage taken at the gig shows a frail Perry struggling to perform, then stumbling behind the amp stack. "He had to sit on drum kit and then went behind a small wall and passed out," a concertgoer wrote on Instagram, adding that "FDNY and NYPD carried him off quickly." Video footage posted on Instagram shows HOLLYWOOD VAMPIRES performing a cover of DAVID BOWIE's "Rebel, Rebel" while EMTs carry Perry out on a stretcher. HOLLYWOOD VAMPIRES frontman Alice Cooper later stopped the concert and told the fans that Perry had not been feeling well. "If you notice one of our brothers is not onstage with us, he was very sick before the show,'" Cooper said, according to one concert attendee. Page Six is reporting that he suffered a cardiac arrest at approximately 9:30 p.m. and was taken to Coney Island Hospital, where he was listed in stable condition. RAGE AGAINST THE MACHINE guitarist Tom Morello took to Twitter to write: "Thoughts and prayers out to the great @JoePerry. Cmon man please be ok we love you love you love you!!!" Added MÖTLEY CRÜE guitarist Mick Mars: "@JoePerry Joe hope you get better soon my friend. Rest. That's an order !!!!" Said Slash: "Hey Joe, feel better soon. We're all routing for you! iiii]; )" HOLLYWOOD VAMPIRES consists of Perry, Cooper, actor Johnny Depp and drummer Matt Sorum.

Ex-SLIPKNOT Drummer JOEY JORDISON: SINSAENUM Is Not Just A Project; It's A 'Vision'

Sunday, July 10, 2016 - 20:10

LoudTV.net recently conducted an interview with Frédéric Leclercq, virtuoso bass player of London-based power metallers DRAGONFORCE, and Joey Jordison, formerly of SLIPKNOT and currently of VIMIC, abut their new project called SINSAENUM. You can now watch the chat below. Speaking about SINSAENUM's formation, Jordison said: "When [Fred and I] were talking about it, you can tell someone's generosity within their soul… Like, when you start talking about certain records or a certain style of music, everyone knows… You don't have to be a metalhead to know what I'm talking about, or it can be any type of music, and when you have a kinship, like you know exactly a certain fucking connection, and that someone understands where your head's at and where their head's at..." He continued: "With this type of music, if you fucking research fucking all my interviews from the very fucking first beginning since 1988, 1989, about my love for death metal, my love for black metal, and wanting to always do a project. And I've said it a million times before, and I've said it in a bunch of interviews, but it wasn't until me and Fred… We toured together a lot — SLIPKNOT and DRAGONFORCE — and when we met, we… A lot of bands talk about having, quote, side project or whatever, and it usually falls through — generally… not all the time. But with this one, this was a different type of kinship, especially with this type of music and especially with the people that are involved. So when we were talking, and Fred was talking about the songs that he's written, what I wanted to, and I had this name and I had this fucking vision in my mind, and he had it as well, and it just melded. And when you find that shit, there's no denying it." Jordison added: "We're not doing this just because, 'Oh, this'll just be fun and be a side project.' You know what I mean? It's a vision, and there's a certain heartfelt, permeating force within us that we have to fucking do. So with finding a certain type of fucking counterparts that we have within every member of the fucking band is why we have the band SINSAENUM that we have now." A teaser for "Splendor And Agony", the new video from from SINSAENUM, is available below. The full clip will make its online debut on July 13. The self-titled two-song EP from SINSAENUM was released on June 6. The ten-inch vinyl version of the effort features an embossed logo on the album cover and comes with an exclusive signed inner sleeve. Having worked on some material that owed more to death metal than the power metal of his day job as far back as 1998, Fred had long been concocting a plan to put together an extreme metal project. Having secured the involvement of Stéphane Buriez, a French scene icon with LOUDBLAST for 30 years, it was only after an unexpected message from the U.S. when things began to really take shape. Fred explained: "Joey Jordison sent me an SMS to ask what I was up to, so I told him about those death metal songs." After the former SLIPKNOT drummer had heard the demos, he wanted to know whom Frédéric had recruited to beat the skins. As there was nobody yet, he eagerly suggested adding his own ferocious style. Joey also had the idea for the name SINSAENUM, a fitting combination of the words "sin" and "insane." When it came to choose a voice for the trio’s godless tunes, it actually ended up with two, the main criterion being "death metal with a clear enunciation." The first was no other than Attila Csihar from Norwegian black metal legends MAYHEM and drone masters SUNNO))), another long-time acquaintance of Leclercq's and Jordison's, notorious for his many registers ranging from tortured screams to throat singing. Sean Zatorsky from NWOAHM titans DÅÅTH and CHIMAIRA became the other vocalist. With another countryman of Frédéric's — Heimoth, the brain of eclectic extremists SETH — completing the picture on bass, the material for SINSAENUM's full-length was rounded off and perpetuated at different places. The end result is titled "Echoes Of The Tortured" and was mixed in Fascination Street Studios in Örebro, Sweden, where Jens Bogren (OPETH, KREATOR, DEVIN TOWNSEND) put the finishing touches to 21 tracks that are — in one word — expansive. "Echoes Of The Tortured" will be released via earMUSIC on July 29.

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COREY BEAULIEU: Why TRIVIUM Doesn't Write Music On Tour Anymore

Sunday, July 10, 2016 - 19:10

Pavillon webzine conducted an interview with guitarist Corey Beaulieu of Florida metallers TRIVIUM when the band played at the French edition of the Download festival on June 12 in Paris. You can now watch the chat below. A couple of excerpts follow (transcribed by BLABBERMOUTH.NET). On whether TRIVIUM still writes new music on the road: Corey: "We used to write on tour, but there's so much other stuff going on and so many distractions, it's kind of hard to focus on writing. Maybe if you're warming up for a show, you might stumble upon an idea that you will remember, but we tend to nowadays… We don't write on tour anymore. We just kind of enjoy playing shows, hanging out where we're at. We usually go out and try to find good local restaurants and eat. It kind of helps, 'cause we just kind of enjoy touring and the whole experience. When we have breaks off tour, we do a lot of writing. The last tour we [did] before we came over here, we were home for, like, seven or eight days [after it], and I demoed three new songs in that time. So usually, we just kind of take a break, and then when we have time off at home, we can really focus, and a lot of ideas just come out. So we have plenty of stuff, at least ideas, for material that has come about over the last… well, since [last] record came out, just from free time at home playing." On whether he thinks it's more difficult for younger bands to break through in 2016 compared to how it was when TRIVIUM first came out: Corey: "When we first came out with 'Ascendancy' ten years ago, or eleven years ago, it was at the very tail end of when CDs really sold, and we sold a lot of records. And then each album, the actual album sales [have dropped], but streaming's picked up and it's included in record sales now, so it kind of, I guess, helps bring up your numbers to actually show you that people are listening. But it's been a little different. We were lucky that we started when we did. I think definitely I can see it being a lot harder for new bands to break out, just because of the Internet and technology. Being able to record at home has just given so many people the opportunity to make albums and make demos and put 'em online — put 'em on Spotify and iTunes — that there's so much stuff out there, and then to try to get people's attention, just because we get pulled in so many different ways… There are so many new bands to check out. It's great for the music fan, because if you go out looking, you can find so much cool music that's out there. And then for bands it's a little bit harder, because just to get people's attention and get through all the other maybe not-so-good bands to try to get someone's attention is a little bit tougher. But luckily, we've been doing it long enough that people know who we are, so we're thankful for that." TRIVIUM's "Silence In The Snow" album was released on October 2, 2015 via Roadrunner. The follow-up to 2013's "Vengeance Falls" was produced by Michael "Elvis" Baskette (SLASH, ALTER BRIDGE, THE AMITY AFFLICTION) and was mixed by Josh Wilbur (GOJIRA, LAMB OF GOD). New TRIVIUM drummer Paul Wandtke made his live debut with the band on December 5, 2015 at Knotfest in Mexico. Wandtke previously drummed for the hit musical "Rock Of Ages" and sat behind the kit for KILL HANNAH during the band's main-support run with the SMASHING PUMPKINS.

BEHEMOTH's NERGAL Gets His Visual Inspiration From 'Anywhere'

Sunday, July 10, 2016 - 19:10

Conny Schiffbauer of WDR's "Rockpalast" conducted an interview with guitarist/vocalist Adam "Nergal" Darski of Polish extreme metallers BEHEMOTH on July 2 at the With Full Force festival in Löbnitz, Germany. You can now watch the chat at WDR.de. A couple of excerpts follow (transcribed by BLABBERMOUTH.NET). On whether he switches to another personality when he walks on stage to perform with BEHEMOTH: Nergal: "Well, it's just my inner self manifested in a very radical and artistic way. So, in a way, yeah, I'm becoming someone else, but at the same time, I'm the same person, you know what I mean? I don't know if it's a Dr. Jekyll-and-Mr. Hyde kind of deal. But, yeah, there's some alchemy happening there on stage, and I can physically, calmly feel that I'm just… Like, my voice changes, the way I walk changes — everything changes — once I've got all my gear on me. But then I don't really overanalyze it. It feels very natural to do both — to be offstage and onstage. And, yeah, I just can't live without either one." On when he first starts getting in the mood for a live performance — when he puts on his makeup on or when he walks onstage: Nergal: "Prior to the show, I feel the adrenaline going and there's some chemical process happening within the body and the excitement growing, and, yeah, some kind of anxiety, too, just drives me through the show. And then all the rest is basically just an extra value. The makeup is an extra value, but it's super important. So on a show day, I already feel that it's happening, so I wake up with this feeling here [touches his chest], that it's happening tonight." On when BEHEMOTH decided that the visual aspect of the band's presentation was as important as the music: Nergal: "Well, from the very start. The band started in '91, and we did the second photo session in March '92, and we were already wearing corpsepaint. And I was, like, 16 back then, so from the very started I [decided] that this was gonna be the direction for the band. And then, throughout all the career, it would just develop and it would just change, and we would just switch forms, but the core is the same." On where he gets his visual inspiration from: Nergal: "Anywhere. Anywhere, really. I just try to keep my eyes open to any forms of inspiration, and it's just floating around. It can be a book, it can be… I travel a lot, so I just take pictures, make notes, and I just steal ideas from all over the world." BEHEMOTH completed a North America tour this past spring where the band played its latest album, "The Satanist", in its entirety. In addition to the concert, fans also had the chance to view "The Congregation" exhibition at each venue. Dubbed "a symbiosis of BEHEMOTH and Toxic Vision," the display showcased the collaboration between the two parties. "The Satanist" sold around 10,000 copies in the United States in its first week of release to debut at position No. 34 on The Billboard 200 chart.

DREAM THEATER's MIKE MANGINI Slams Musicians Who Are 'Prejudiced' Against Other Styles Of Music

Sunday, July 10, 2016 - 18:10

Drumtalk, the video podcast by German drummer and videographer Philipp Koch, conducted an interview with DREAM THEATER drummer Mike Mangini last year in Bonn, Germany. You can now watch the chat below. Speaking about how important it is for musicians to stay open-minded and appreciate, or at least recognize, other styles of music, Mangini said: "I think the worst thing that you can do as a musician is to fall for the lie of prejudice through ignorance and not acknowledge what it takes to play other styles or what work it takes just to begin to perceive music. Meaning, how can you say something is musical or not when you can't process it first, when you don't even know what it is? You don't really have a right to judge it — [whether] it's musical or not. You can't make music with it, 'cause you don't know what it is. "You know, this guy that plays brushes… Brushes can be the most musical thing ever in a proper setting," he continued. "Playing the bass drums and cymbals as loud as can humanly and as fast can be can be the most musical thing in the world in a proper setting. "There's a prejudice towards… Let's say a jazz musician… The worst thing a jazz musician can do is to say that 'speed/death metal has no feeling, man — no groove.' Well, that person has probably never stood in front of a P.A system with somebody who worked their butt off to get their feet to move at 15 beats a second or something and those bass drums are flying through a P.A. system. Don't tell me that that doesn't have any feeling, because it practically makes me go to the bathroom; that's how much feeling that has. And then when you see the big picture of all that there is to do, you have respect for other people, you have respect for the work that they've done. And you might not like the music, you might not spend time with the music, but at least you have a respect for it, and it changes you, it changes how you view your own music." Mangini went on to say: "I would have students that wanted to work on their feet, and in order to do that, you have to practice all the time and put hours in and sweat and sacrifice and suffer. And inevitably, a handful of those students came to me saying that a jazz student took the time — they actually took time out of their life — to knock on their door, to open the door and to say to that kid, Why are you doing that all day, man? It's so unmusical, man.' "That's what a musican shouldn't do — put himself into that narrow-vision world where they ultimately get negative toward things that they don't know. Whereas that jazz kid could have learned something from that student practicing the same thing twenty hours a week; he could have learned how to repeat and practice. So maybe when he goes to an audition and he's having a bad day, he can call upon himself and at least be this good [raises hand]. You practice 'till you're that good [raises hand higher] but at least when it counts, you can be that good [lowers hand]. So the metal guy can learn something from the jazz guy, and the jazz guy can learn something from the Latin guy, and the Latin guy can learn something from the steel-drum player. "So the worst thing you can do is choose to be ignorant, because you don't wanna look at what's available and what's out there. You don't have to like it, you don't have to practice it, you don't have to eat it, sleep it and drink it, but it's good to just know about it, so that you ultimately end up being at peace with who you are. You're at peace with the path that you've chosen, and you let other people be at peace with the path that they've chosen, and you respect it." Mangini joined DREAM THEATER in late 2010 through a widely publicized audition following the departure of the band's original drummer, Mike Portnoy, who co-founded DREAM THEATER more than thirty years ago. DREAM THEATER is continuing to tour in support of latest concept album, "The Astonishing", which was released on January 29 via Roadrunner.

TOM KEIFER Would Be 'Very Humbled And Honored' If Asked To Front AC/DC

Sunday, July 10, 2016 - 14:10

CINDERELLA singer Tom Keifer says that he would have been "very humbled and honored" if he had been asked to step in for Brian Johnson on the remaining dates on AC/DC's tour. AC/DC postponed the last ten shows of its recent North American trek after doctors told Johnson he faced a total loss of hearing if he did not stop touring immediately. AC/DC has since resumed its tour with GUNS N' ROSES frontman Axl Rose as a "guest vocalist," with Johnson apparently not returning to the group. In a brand new interview with Zoiks! Online, Keifer was asked what his response would have been if he had been approached to sing for AC/DC as the replacement for Johnson. He responded (hear audio below): "I've seen my name brought up online, and I just wanna say — I guess this is the first time I'm publicly saying this — if I were asked, I'd be very humbled and honored, but I would not leave my [solo] band. I love my band, and we're having a good time out here. This is my home." He continued: "I made a joke the other day. 'Cause someone asked me [about the AC/DC gig], and I said, 'Not for all the money in the bank of Australia am I leaving my band.' So that said, let's get that out of the way, first of all. But if I wasn't in the band, or in this situation right now, I don't think I'd wanna step in those shoes. I think Brian is an amazing singer. That's AC/DC. He's so iconic." Keifer added: "In my opinion… I don't know what the story is with Brian; I don't know all the facts — if it's just temporary or whether he's coming back or returning; I've heard a lot of different things, so it's hard for me to comment on this. But I just don't know that anyone can fill those shoes. Or if it's somebody who's known, it's kind of weird — then it's not AC/DC. It was so cool when they found Brian [after the death of Bon Scott], because he wasn't really known. And then he became known and then he became the voice of AC/DC. They're one of the few bands who have been able to pull that [kind of singer change] off. I don't wanna even touch those shoes." Johnson said in an open letter to fans that he intends to solve his hearing problem and continue recording and touring, although he did not say whether he would be rejoining AC/DC. The vocalist wrote: "My entire focus is to continue medical treatment to improve my hearing. I am hoping that in time my hearing will improve and allow me to return to live concert performances. While the outcome is uncertain, my attitude is optimistic." Johnson had been AC/DC's frontman for 36 years, making his debut on the classic "Back In Black" album. Interview (audio):

GOJIRA's JOSEPH DUPLANTIER On 'Magma': 'I Love The Record And I Cannot Wait To Play The Whole Album Live'

Sunday, July 10, 2016 - 13:10

Guitarist/vocalist Joseph Duplantier of French progressive metallers GOJIRA was interviewed on the June 17-19 edition of Full Metal Jackie's nationally syndicated radio show. You can now listen to the chat using the Podbean widget below. A few excerpts follow. Full Metal Jackie: Joe, what was the most difficult thing about incorporating sadness into [the new GOJIRA album] "Magma"? Joseph: "You know, it was a rough time for me and my family [following the death of my mother]. Mario [Duplantier, GOJIRA drummer and Joseph's brother] and I were in the middle of recording the first [few] tracks. The drums were [done] and I was doing the guitars when my mom was in the hospital, and that was a really, really rough time. So, as usual, when we compose songs, we try to be honest with ourselves and our emotions and deliver whatever is in us in the songs. So it was not an effort to put any kind of emotion in the songs; it's just what we do naturally. There is sadness, yes, but there's also other things. It was a learning experience, the passing of our mom. It taught us a lot, and the way she faced her own departure was really a big lesson for us, 'cause she was very brave and loving. This album is really, really about that experience in the end, even though it didn't start like that, but it became that. And I'm really glad that I was able to express myself and to write and to come up with atmospheres and melodies and direction to this album while I was in that process, 'cause it was really helpful. Every album is a page we turn in our lives and very therapeutic — a real therapy for us, this music. So, yeah, it all makes sense in the end. It's like steps in life, and that's one more step." Full Metal Jackie: You've been living in New York. Tell us, how has New York culture changed the way you express yourself through music? Joseph: "Well, New York is… I mean, New York is incredible. The entire world meets in New York and that's what I like about the city. I've been living in New York for almost six years now and raising a family there. It's a bit crazy, it's a bit expensive, [and] it's an urban jungle. But it is a big influence on the music, of course. Every single thing that we go through during the day when we go in the studio and we are surrounded by a different atmosphere or landscape, different vibes, it influences the music, for sure. I couldn't really say how exactly, but for sure my life changed, and it's more of a hassle every day to make it and to pay the rent and to get all these parking tickets. [Laughs] So, in a way, the music, I think, is more electrified and connected to the international community somehow. My neighbors… I live in a building in Brooklyn where I think there's almost no Americans; there's just people from all over the world. So it is in America, but at the same time, the whole word is right there. And it's a good influence. I like it. It's very stimulating." Full Metal Jackie: Joe, half the band lives in the U.S. and the other half still lives in France. What are the best and worst things about that distance? Joseph: "The worst thing is that we can't see each other all the time, but the best thing is that we don't see each other all the time. [Laughs] I mean, at the end of the day, we still spend half of the year together on a tour bus or onstage. Sometimes, yes, we'd like to have a band meeting or to hang out and talk about something, but for that there's Skype, and there's other ways [to keep in close contact]. Really, I don't think we suffer from that. The reason why I moved, also, to the States six years ago is because I wanted to. A part of me needed a change, and I was really attracted by New York City, and I've been in love with New York for years. So, for me, being there, it makes me feel better, it makes me feel like I belong there, and I needed that in my life. I needed a change, so, in the end, it's better overall, because every member of the band is exactly where he's supposed to be. And the first years, I remember we were rehearsing every Wednesday or every weekend and we'd play a show together and build the foundations of the work together, our music. And after a while, we started to go on tour so much that wouldn't really hang out between tours, because we needed to experience other things outside of touring. So, it's good. And now, when we tour, what we do is we get together for a week or ten days and practice and rehearse and prepare the show and then go on tour, and that didn't change. For example, [I'm] right now in France with my bandmates. My family came with me, and we've had this moment where all is dedicated to that, and then we go on tour. So it's working pretty well. A lot of bands are in this situation anyway." Full Metal Jackie: What was hardest about spending so much time working on "Magma" and how did that make it better? Joseph: "We started to compose the first things, to write the first riffs and write the first lyrics and ideas, when we were on tour back in 2013, a year after releasing 'L'Enfant Sauvage', the previous record. And since then, it's been small steps and little by little, coming up with ideas that really make sense for us and taking a very organic direction. I wanted to sing since a long time and I started to sing on this record, finally. I've been trying to sing on the other records, but it just wouldn't work, because the music wouldn't really fit with what I wanted to do, and this time, it all came together really nicely. And I'm happy with the way it turned out, 'cause it's really what we are today. So it took us a long time, yes, but we toured a lot and there was a lot going on and we built a studio in New York City. So all of that kind of fed the whole process of writing and fed the music with experience and taking time. I think it takes time to release a good album. If we would rush things, we would release albums faster, but it wouldn't be the same quality, I guess." Full Metal Jackie: I know that sometimes bands have to rush records to meet timelines, but I've always been a fan of just… it's done when it's done, and you guys, obviously, took the time you needed and that's what worked. Joseph: "Yeah, we really ignored a lot of deadlines [Laughs]. And we [felt] the stress, we [felt] the pressure, and we want[ed] to please everybody. And some of the fans, they were like, 'Guys, put out some new music! How difficult can it be? Just record a song in one hour and put it online.' Obviously, the record company would like to put out more records, but even us, we would like to put out a record every year; that would be awesome. But that's the way it is for us; it just takes time. We're not lazy or anything; we work pretty hard. It's just… Yeah. [Laughs] It's done when it's done, exactly. I like that." Full Metal Jackie: What's the biggest risk that you're taking with "Magma"? Joseph: "Maybe to have some of our true fans a bit disappointed because it changed. That's the only thing I could see. The fact that it's changing, the fact that there's less demonstration in the music. It's not as death metal-y — it's a little groovier, it's more atmospheric. So, I guess, the biggest risk that we take is being ourselves fully and completely. Even catching up with what we are, because on previous albums, for example, I had things in me that I didn't really express, and I was a bit frustrated. I was still happy with the record 'L'Enfant Sauvage', for example, but a bit frustrated. I really wanted to explore other things. And I guess it is a risk when you have a band — you have a fan base and people expect things from you and you kind of belong to your fan base, to some degree, where they buy the records and they pay the tickets to see you play live. So it's difficult to ignore that and to keep this pure attitude, this joy of playing music and just being a band. Being a band is just getting together and jam. And that's what we try to do. So, in a way, it is a risk, because some people will be, like, 'Eh, fuck that!' But we ignored that. So, in a way, it's a risk, I guess." Full Metal Jackie: You've got TESSERACT for the "Magma" North American tour. Looks like you're gonna have a very busy 2016. Joseph: "Yes, absolutely. Yeah, we're already looking at 2017 to book shows and to decide what we're going to do, since 2016 is pretty much booked. And I know there will be more stuff coming probably before Christmas, after this U.S. tour and stuff, but we wanna make sure to take a nice break for the holidays. [Laughs] But, yeah, it's a blast. I'm really, really thrilled. I'm excited. I love the record, and I cannot wait to play the whole album live and to share this with the fans. 'Cause it's a different experience — the record and the live experience are always very different. It's challenging for us, too, to come up with new songs and a new sound and a new vibe and to try to translate that live. So we're completely focused on that now — trying to translate that new thing, that new era live, and incorporate all the old songs, of course. So, yeah, it's gonna be a busy year and intense for us, for sure."

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STEVEN ADLER Back On Stage With GUNS N' ROSES In Nashville; Video, Photos

Sunday, July 10, 2016 - 11:10

Drummer Steven Adler performed with GUNS N' ROSES for the second time in 26 years on Saturday night (July 9) in Nashville, Tennessee, where he once again joined the group onstage to play drums on "Out Ta Get Me" and "My Michelle". He previously performed the same two songs with GN'R at Wednesday's (July 6) concert in Cincinnati, Ohio. These two shows marked Adler's first two appearances with GUNS N' ROSES since 1990, although he performed with members of the band at their 2012 induction into the Rock And Roll Hall Of Fame. Speculation about Adler having some sort of involvement in the GUNS N' ROSES reunion has been rampant ever since the band made it official with a surprise April 1 show at the Troubadour in Los Angeles. Adler was reportedly going to appear at that gig until he was sidelined by a back injury. The regular GUNS N' ROSES drummer for several years has been Frank Ferrer, who is also part of the current lineup that boasts classic lineup members Axl Rose, Slash and Duff McKagan. Adler was thrown out of GUNS N' ROSES in 1990 due to his heavy drug use, a problem he struggled with for years after his dismissal. The GUNS N' ROSES "Not In This Lifetime" tour continues on Tuesday (July 12) in Pittsburgh, Pennsylvania.

Beyond Refugeeum - BLACK SPACE RIDERS

Sunday, July 10, 2016 - 00:10

German ambient metal troupe BLACK SPACE RIDERS released one of 2015's finest albums, "Refugeeum". This band's knack for marrying retro rock tones with groove-laden psych metal makes BLACK SPACE RIDERS one of the most forward-thinking bands on the planet. As well-fleshed as "Refugeeum"'s songs were, it stands to reason a crop of outtakes existed from those brilliant recording sessions. Four, in fact, plus a pair of ingenious remixes remained, which comprise BLACK SPACE RIDERS's spectacular follow-up EP, "Beyond Refugeeum". These equally terrific songs offense that prompted their rejection from the mother project was their off-kilter natures. In this case, wonderfully so. A band like BLACK SPACE RIDERS stems in great portion from Krautrock, most especially CAN. The opening instrumental "Willkommen" (and later, "Starglue Sniffer") rings like the band satisfying their own CAN wish fulfillments. Building from a serene and minimalist infrastructure, BLACK SPACE RIDERS lulls the listener with its initially sparse sound space filled by a laidback drum roll, blithe bass line and tolling guitar plucks. "Willkommen" grows massive with increasing tension between the bass, guitars and organs. The band not only fills the empty and inviting gaps, it smothers them with flumes of distortion. The up-tempo "Freedom at First Sight" is a brisk mover with copious alternative swirls and a swinging harmony. It's one of the peppiest numbers BLACK SPACE RIDERS has ever written. It still conforms to the band's stratosphere-bound scheme, but this time the band opts for a no-frills rock method. It strikes with an exclamation point and gets right on out. The 6:48 "Droneland" thereafter is the bipolar opposite; yet there's an equally tremendous lilt emitting from the trippy synth swirls setting up a stamping clout that rockets in its own right. The two songs are cleverly positioned together. If "Freedom at First Sight" is the electrifying liftoff, "Droneland" is the anticipatory breach from Earth into the vastness yet to come. The reprise of the psychedelic synthesizers at the end of "Droneland" represent the infinite which BLACK SPACE RIDERS seeks to comb through, album by album. The stripped funkiness of "Starglue Sniffer" will catch some listeners off guard; it's a given. What's incredible about the cut is how BLACK SPACE RIDERS mash CAN and Curtis Mayfield through a super-fly trail of jive grooves and unexpected falsettos while walloping the cut with infectious fuzz grooves. "VRTX RMX" is a remix of "Vortex Sun" from "Refugeeum". Once more, BLACK SPACE RIDERS consults CAN's playbook (along with NEU!), creating a stark electro drone around fragments spliced from the original track. As if BSR hasn't dicked with their audience's heads enough, along comes the DEVO-pumped "Gravitation" remix of "Give Gravitation to the People" from 2014's "D:Rei". If the prospect of an electronic BLACK SPACE RIDERS dance number sounds insane, give it a chance. It's ballsy and it freakin' works. How BLACK SPACE RIDERS remains an underground sensation is chalked up to the simple case of there being too many bands in every corner of the world. This band has gotten downright fearless. Better, BSR knows what it's doing with every crevice, every chord structure, every build-up and every potential dimension it can hurl its explorative music into. BLACK SPACE RIDERS is not merely a moniker.