Music News



  • Ever since covering Metallica's "Enter Sandman" at the Glastonbury Festival last week, Jack White has been on a cover version tear. He's also done Kanye West' "Black Skinhead" in his set and on Monday night (June 30th) in Paris he wove pieces of six covers into his show, including The Police’s “Message In A Bottle," Talking Heads’ “Psycho Killer," Bob Dylan’s “Isis” plus songs from Robert Johnson, Howlin’ Wolf and Dick Dale. Video from the show is now online. (Consequence Of Sound)  Read more at Diffuser  Diffuser reports Jack White’s two-hour BBC set is now available for your ears  Read more at Rolling Stone


  • Korn has revealed the official details for the upcoming deluxe reissue of 2013's The Paradigm Shift: World Tour Edition. The collection will be exclusively available at Best Buy stores starting July 15th and features three brand new songs, including "So Unfair," "The Game Is Over" and the just released single "Hater." A second disc of live tracks is also included. (Blabbermouth)  Read more at Loudwire  Loudwire posts Korn fan testimonial video - tattoo artist Susann Sparbrod  


  • P.O.D. plans to record an album containing acoustic versions of some of its biggest songs and has launched a PledgeMusic campaign asking fans to help fund it. The band said, "We’ve been hard at work in the studio and have already finished over half of the album. We’ve been having a lot of fun with it and it’s got a really raw, stripped down feel to it.” The band has come up with a slew of incentives for fans who contribute to the album's costs, including signed CDs, phone calls, Skype instrumental lessons and even a private house concert. (Loudwire)  Read more at Blabbermouth

CHECK IT OUT: Find  out more about P.O.D.'s PledgeMusic campaign at

Watch Jack White work "Message In A Bottle" into "Steady, As She Goes":

Here's Jack doing some of "Psycho Killer" in "Seven Nation Army":


  • Gregg Allman has been hospitalized for an undisclosed illness and has been forced to cancel a series of Pacific Northwest gigs. Allman's Saturday show (July 5th) at Spokane, Washington's Martin Woldson Theater at The Fox is being postponed. Pollstar.composted that tickets will be honored for the new date -- which is still to be announced. Allman's July 1st concert in Boise, Idaho, at the Morrison Center will also be rescheduled, with his July 2nd performance at Seattle’s Woodland Park Zoo canceled, with tickets set to be refunded.
    • Allman's health issues have plagued his recent tour dates. Back in April, a broken wrist curtailed the end of his solo Australian tour, and a bout of bronchitis spoiled the Allman Brothers Band's "March Madness" gigs in New York City -- the make-up dates for which have been included as part of the band's live swan song in October.
    • Gregg Allman will next appear on July 19th in Century City, California as part of the “Country In The City” concert. 


  • 149 Bob Dylan acetates have been discovered in a building in New York's Greenwich Village, where Dylan rented space in the late-'60s or early '70s. The discs feature alternate mixes and unreleased material from Dylan's 1969 album Nashville Skyline and 1970's Self Portrait and New Morning sets. Acetates are not vinyl records and are created from lacquer-coated blank discs never intended for multiple plays -- merely test listenings. 
    • There's been no official word on the find from Dylan's camp, who just chronicled that era on the critically acclaimed four-disc vault collection The Bootleg Series, Vol. 10 - Another Self Portrait (1969-1971). (The Guardian)  Read more at Ultimate Classic Rock, Diffuser, Billboard and NME


  • The first Janis Joplin U.S. postage stamp has been unveiled. The stamp is due to be available sometime in August. The Joplin stamp is part of the series that previously honored Jimi Hendrix and Johnny Cash. (Linn's Stamp News)  Read more at Ultimate Classic Rock and Rolling Stone
  • CHECK IT OUT: The new Janis Joplin stamp: 


  • Two busses from the current Styx, Foreigner, Don Felder tour caught fire yesterday (July 2nd), with the first bus igniting and destroying the second in Philadelphia. Styx’s publicist told Ultimate Classic Rock: “No one was hurt and there’s no cause determined yet. It’s a Styx crew bus that caught on fire. All the buses for the Soundtrack of Summer tour are parked in a secure parking lot in downtown Philadelphia.” Foreigner's manager Phil Carson added, “We’re thankful everyone’s ok, and can now officially say the Soundtrack of Summer Tour is on fire.”

CHECK IT OUT: The Styx tour busses on fire in Philly:


  • Blabbermouth reports SLIPKNOT frontman Corey Taylor has revealed to the "Loudwire Nights With Full Metal Jackie" radio show that the band's long-awaited follow-up to 2008's "All Hope Is Gone" is "98 percent done." He added: "I'm in the process of heading to the studio to give a listen, see if there's anything we need to touch up. But yeah, it is very close. The next step is the mix, and we're going to try to get it out very soon. There will be big announcements soon. Big things to hear, soon. That's really all I can say about it. I know we're anything, if not diligent to our plan. The plan is to just slowly but surely get people to lose their minds for the next couple of months with just little stuff here and there leaked."  SLIPKNOT's next CD will be the band's first since the 2010 death of bassist Paul Gray and December 2013 departure of drummer Joey Jordison, one of the group's founding members and key songwriters.  Asked what has been most fulfilling about working on new SLIPKNOT music that he never experienced before, Corey told Full Metal Jackie: "This one, it just feels, there's something weird about this one. Obviously this is the first album we're making without Paul.  "After everything we went through, there's a catharsis that comes with this, being able to throw all the emotion and aggression out that we've been holding onto. At the same time, getting to be creative again. Feeling that juice coming back into us. It's been a real positive experience just from an artistic standpoint, a lyrical standpoint.  "We're making an album that's not just a reflection. Let's just get new music out there. There's something very vital with what we're trying to do. There's something very visceral with the emotion we're playing with and trying to tell the story of a band that's gone through hell, and yet we're back. It's been really fulfilling."  Corey recently described the musical direction of the new SLIPKNOT material as "a great mesh of [2001's] 'Iowa' and [2004's] 'Vol. 3: (The Subliminal Verses)'." He explained: "You've got the gorgeous melodies and the artistic direction of 'Vol. 3' and then you've got the absolute brutality of 'Iowa'. And I think people are gonna lose their minds when they hear it."  Even though SLIPKNOT's last album, "All Hope Is Gone", came out in 2008, Taylor said, "The good thing is we've always been writing, so there's a ton of stuff that we're pretty stoked on. It's exactly what you want it to be."  SLIPKNOT percussionist Shawn "Clown" Crahan told The Pulse Of Radio a while back that he has high hopes for the band's next album. "That record is going to be, I predict, one of the most serious things that we will have ever comprehended that we've ever done in our life," he said. "And we pretty much say that on every record, but I really feel that when the time comes, what will be on hand is going to be something almost unimaginable."  The band is rumored to have recruited drummer Jay Weinberg to play on the new album. Weinberg is the son of Max Weinberg, longtime BRUCE SPRINGSTEEN AND THE E STREET BAND drummer. SLIPKNOT announced in December 2013 that it had parted ways with Jordison. The band has not disclosed the reasons for Jordison's exit, although the drummer issued a statement in January saying that he did not quit the group.  Read more at Loudwire
  • Blabbermouth reports GODSMACK will release its new album, "1000hp" (One Thousand Horsepower), internationally via Spinefarm Records on September 1. The CD will be made available domestically on August 5 via Republic Records.  Few bands have so consistently and successfully championed the cause of hard rock as GODSMACK. Since the release of their self-titled debut (1998), the Boston quartet — Sully Erna (lead vocals, guitar), Shannon Larkin (drums), Robbie Merrill (bass) and Tony Rombola (lead guitar) — have notched up a remarkable set of facts 'n' stats in the U.S. and beyond: these include four Grammy nominations, four platinum awards, 20 million records sold, 3 consecutive U.S. #1 albums, unmatched airplay records at radio, and many more…  Now, in 2014, The 'SMACK is back with both a new single — "1000hp", a #1 debut on the U.S. iTunes Rock Chart — plus a rekindled desire to take their signature sound to the international arena, with the single a potent point of attack.  "I think you can hear a real hunger in the sound," says Erna. "We're all pretty fired up at the moment, and that extends to taking our music overseas. It's time to give some real focus to our touring activities outside of North America, and we think this new single will make our intentions clear. It's one for the fans, and that means our fans everywhere…"   Taken from the forthcoming album of the same name, the follow-up to 2010's "The Oracle" (one of the aforementioned chart-toppers), "1000hp" sees GODSMACK in fifth gear right from the start — a raw, thrashy, punked-up call-to-arms that documents the band's journey from the Boston clubs, promoting a debut album recorded over a weekend for $2600, to the arenas of the world.  That first outing was subsequently picked up by Republic Records/Universal and has now sold in excess of 5 million copies, but it's the backs-to-the-wall struggle of the early days that GODSMACK sought to tap into for "1000hp", single and album alike…  "Yeah, we made a conscious decision to go back to the streets of Boston for this one," reflects Erna. "It doesn't just capture the spirit of the city. It's GODSMACK!"  "It's a kick-ass rock tune from what I feel is our most kick-ass record!" says Larkin about the single, which leads off the album. "There's a punk edge and a different energy." Produced and mixed by Dave Fortman (SLIPKNOT, EVANESCENCE) working closely with Erna, "1000hp" (the album) was recorded in GODSMACK's new headquarters just 30 minutes from the heart of Boston, and the band's calling-card weight, groove, power and spiritual tone are in evidence throughout, tempered here an' there by more reflective moments, and — in certain cases — something of a new drift.  But it's "1000hp", the single, that sets the tone for the record (10 tracks, plus bonus cut "Life Is Good"), with its "badass" '65 Chevelle engine bursts and "turn that shit up louder!" chorus, and it must surely feature in the live set when the band hit the road for the U.S. Uproar Festival tour this August.  In the past, the four have appeared at a host of major events (Ozzfest, Mayhem, etc.), and toured alongside some of rock's foremost legends, the likes of BLACK SABBATH and METALLICA; now it's time for GODSMACK to build their story on a truly global scale, with European dates already being discussed.  "We've had some great experiences playing overseas in the past," concludes Erna, "and we can't wait to return to the roads of Europe and beyond. The new single looks back to our earliest days as a band, when we were starting to build a following, so our history is all about growing the GODSMACK name through hard work and hard touring. We're ready to show everyone what GODSMACK stands for!"  Check out an interview with singer Sully Erna at Blabbermouth and Loudwire


  • Blabbermouth reports in a brand new interview with OC Weekly, KISS guitarist/vocalist Paul Stanley spoke about his life-spanning memoir, "Face The Music: A Life Exposed", in which he outlined a number of incidents where he was fed up with different members of the band at various times, like drummer Peter Criss going on a racist rant at a Chinese restaurant and quitting the band for a few days and crawling back. "[Peter] didn't crawl back," Paul corrected the interviewer. "He swallowed his pride and pseudo machismo and came back. But part of the dynamic of the band was to have to pragmatically deal with the fact that two of the guys were often times more interested in sabotaging the band, sabotaging [bassist/vocalist] Gene [Simmons] and I, than doing the right thing. And they (Criss and guitarist Ace Frehley) also wanted equal say when they didn't do equal work."  He continued: "Part of what we gave the public was the myth that the four of us did everything together and contributed equally. That was something we wanted to maintain in the spirit of the bands that we loved and pictured doing that. The problem was that the guys in the band began to believe it themselves!"  Asked what it is about him and Gene, considering they are opposite personalities, that keeps them together and allows them to maintain that friendship and brotherhood over 40 years later, Stanley said: "It's hard to define and distinguish between friendship and brotherhood. I certainly see him as a brother, although we don't always agree on how to treat your brother. At the end of the day, I know he will be there for me and me for him. My issues have always been more rooted in participating evenly and equally and still ending up with a equal share of money. I didn't want it with Peter and Ace, why would I want it with Gene? He wasn't doing his job and he was off doing other things and being paid for those things. I felt like if he's wasn't going to do his job and gonna go elsewhere. It was like he took less here or he gave me some of what he was doing elsewhere. That was an ongoing problem. But look, at this point we made the life for each other that each of us could only have dreamed of, and those lives have very little in common. I'm sure Gene would no more want to live my life than I live his. But there's a bond there because we made it possible for each of us.  Frehley recently shared his thoughts on why his former bandmembers weren't so keen on performing together during their induction into the Rock And Roll Hall Of Fame earlier this year. In the July issue of Guitar World, Frehley explained, "I think the reason they didn't want to get together with the original members was because they're afraid of history repeating itself… When we did 'Unplugged' in 1995, you saw what happened: because the fans were so excited about me and Peter playing with those guys, they had to scrap their last record with then-current members Bruce Kulick and Eric Singer and do a reunion tour. Although at this point I don't think Peter could do a two-hour show and a full tour. But I still got the chops. I definitely blow current KISS guitarist Tommy Thayer off the stage.  Read more at Loudwire
  • Blabbermouth reports Niclas Müller-Hansen of recently conducted an interview with former PANTERA and current DOWN singer Philip Anselmo. A couple of excerpts from the chat follow below. You quit school in 12th grade. Have you ever regretted not getting an education?  Phil: No, there was nothing more for me to learn. I was advanced because I was smart when I applied myself and I had four credits left, which meant I could get there early in the day and leave at noon. The credits were two PEs, mythology, which I adore and love and wish I would've studied more of and geometry. I had a terrible teacher in geometry. She hated me, I fucking hated her and it was like a makeup class. I was doing, at the time, four or five a week gigs at night and getting home at six in the fucking morning, so for me, my homework was on stage. Don't get me wrong — there are certain subjects, like history and mythology, that I wished I had applied myself more and had a better foundation. I enjoy history especially and literary works that you still read. If you look at the fucking Bible and the way it's written, it's very powerful. The text and certain use of antiquate and archaic language is powerful and I love it! I'm a wordsmith, so it's intriguing. Were your parents okay with you quitting school?  Phil: They hated it! They fucking hated it! I remember I came home and said, "I'm fucking quitting school!" and on the very next day my mom was on her way to work and she leans in my doorway and says, "This is the saddest day of my life." My stepfather kicked my door in and goes, "You better start looking for a job if you're not gonna go to school!" I fucking had a job; I played gigs. I was making zero money, but I was, like, "Have a little faith in me, will ya!" She doesn't complain too much now that I've bought her a house with a pool and a car. I can understand it though. "Hey mom, I'm gonna be a rock star!" and she's like "No, you're not." [Laughs] After all the stuff you've been through and experienced, if you had a chance to go back in time and give some advice to your younger self when you quit school to become a rock and roller, what would it be?  Phil: I would say, knowing what I know now, stay off the drinking. Quit fucking drinking so much and take better care of your body. Make sure your core is strong, keep your back strong, because you don't wanna go through what you went through when you injured yourself and made every rookie mistake in the book with drugs, escapism and all of that. You don't play music, initially, to get chicks and drugs. You do it because you love music. That's the big reminder. I would definitely say. Do it for the love of music and everything else will fall in line eventually, or not. Take the chance, be a lifer, or at least grind it out till you find out.  Read the entire interview at
  • Blabbermouth reports Rob Halford says that the recent controversy surrounding IRON MAIDEN frontman Bruce Dickinson's apparent condemnation of the JUDAS PRIEST singer's use of a teleprompter during live performances is much ado about nothing.  A teleprompter, or autocue, is a display device that prompts the person speaking with an electronic visual text of a speech or script, and it is usually used by singers — including Halford and BLACK SABBATH's Ozzy Osbourne — who are getting on a bit and have a large body of work to remember.  "I never realized that people were using autocues," Dickinson told The Guardian in a recent interview. "What the fuck is that all about? People pay good money and you can't even remember the sodding words."  He continued: "The daftest one I ever saw was [JUDAS PRIEST's] 'Breaking The Law'. It's on the fucking autocue. 'Breaking the law, breaking the law/Breaking the law, breaking the law/Breaking the law, breaking the law/Breaking the law' — guess what? — 'breaking the law.' It's ludicrous."  Asked by Nikki Blakk of the San Francisco, California radio station 107.7 The Bone to respond to Dickinson's comments, Halford laughed out loud and said: "What we British say is it was just a storm in a teacup [Editor's note: 'Storm in a teacup' is a British variation of 'tempest in a teapot,' an idiom meaning a small event that has been exaggerated out of proportion]."  He added: I love Bruce. I love Bruce. He's a great friend of mine. And he's very outspoken. [He's a] great frontman, a great singer from a great band. And, you know, these things are said in many ways, and I'm sure he didn't mean it in any other way than Bruce sometimes goes off in one of his rants. You know, it's just the way it goes.  "But, yes, storm in a teacup. Storm in a metal teacup."  In a 2010 interview with the QMI Agency, Halford spoke about how using a teleprompter helped him when he was asked to fill in for Ozzy with BLACK SABBATH for a show after Osbourne was taken ill. "[Like Ozzy], I use a teleprompter now too because I do so many things," he said. "I can't remember. I wish I was like my mate Bruce Dickinson and could do everything, but I need that safety blanket."  During the 2005 edition of Ozzfest, the traveling festival's founder, Ozzy's wife and manager Sharon Osbourne, famously cut the venue's public-address system and the main stage's power on at least three occasions during MAIDEN's performance at the tour's final stop in Devore, California because she said that Dickinson was "talking shit about my family, night after night," and was being "disrespectful" to her husband during Bruce's "nightly outbursts from the stage" by saying that "we don't need a teleprompter' (like Ozzy)."  Read more at Loudwire, Ultimate Classic Rock and Classic Rock
  • Blabbermouth reports "Celebrating Jon Lord - At The Royal Albert Hall" will be released on DVD, Blu-ray and CD on September 26 via earMUSIC.  It was in 2006 when, once a year, a group of stellar musicians and stars of rock started meeting up in London for a night of live music. The main intent was to raise money for a charity called The Sunflower Jam.  At first the rumours about these sessions with DEEP PURPLE, Robert Plant, Brian May and Alice Cooper were too good to be true, to the point that a few thought that they were nothing else than an urban legend.  "The Jam", as it soon started to be called, quickly became a cult night. A real must first of all for the artists themselves, finally free and happy to leave their commercial thoughts outside the venue and able to enjoy playing music together with colleagues, friends and maybe even secret rivals and for the audience, who often could simply not believe their eyes.  The Sunflower Jam started as an idea from Jacky Paice, who very often could count on the drumming of her husband Ian. Who would turn down playing with him?  The first editions were mainly open to guests and music business professionals that would contribute to the charity. Later "The Jam" became too good not to be available for the public.  It is in one of the earlier SFJs that Jon Lord played for the last time with his friends with DEEP PURPLE, duetting in a peaceful "war of Hammonds" with Don Airey, who had replaced Lord in DEEP PURPLE when he decided it was enough with a life spent on the road, and after a lifetime dedicated to rock and roll, Lord left to concentrate to his first love: classical music and the combination of rock elements in it.  Lord sadly passed away in 2012. Considering the amount of respect, friendship and love expressed on any occasion by anybody who had worked, played or simply met Jon, it is not a surprise that the 2014 Jam would be dedicated totally to his music. The night turned out to be an historical moment in rock music: A full orchestra, a director — Paul Mann — crazy enough to give wonderful arrangements to a repertoire going back and forth through fifty years of music, many old friends for an unforgettable night.  All the wonderful musicians who played at the "Celebrating Jon Lord" Sunflower Jam have left a precious mark but how not to mention the 45 minutes finale by DEEP PURPLE, the PURPLE Mk III songs played by Paice with the old friend Glenn Hughes, together with IRON MAIDEN's Bruce Dickinson, Rick Wakeman of YES fame, Steve Balsamo (who sang in the late Jon Lord band and in his last studio album "Concerto"), members of THE TEMPERANCE MOVEMENT, ex members of WHITESNAKE, Bernie Marsden and Micky Moody, the "modfather" Paul Weller.  Ian Paice remembers the "Celebrating Jon Lord" night with vivid memory considering the time all the artists had to rehearse the music for the concert (in DEEP PURPLE's case two hours the day before the show!), the resulting performance were nothing less than miraculous. A testament to the quality of the players and love for Jon and his works.  "It was like no concert I have ever played," Paicesaid. "To a person everyone in the Hall was there for a common purpose to honour a wonderful man and a great musician. The Royal Albert Hall is fairly large venue and can be intimidating, but that evening it was more like a gathering of friends at their local,(if slightly oversized) pub than a regular show.  I believe all the artists, the people in the audience and even the crew helping to make the show work, felt the difference that night."


  • Blabbermouth reports **UPDATE**: Nergal has now removed the photo in question from his Instagram account.  The original article follows below.  BEHEMOTH's Adam "Nergal" Darski recently posted a photo on Instagram of him hanging out backstage at the FortaRock festival in The Netherlands with Swedish musician Tobias Forge — believed to be none other than Papa Emeritus II, the frontman of Swedish occult rockers GHOST, who go to great lengths to keep the identities of their bandmembers a secret. The photo was accompanied by the caption "If you have ghosts... U have everything;)", a line from the ROKY ERICKSON song "If You Have Ghosts", which was covered by GHOST on their EP "If You Have Ghost", released in November 2013.  BEHEMOTH and GHOST shared the stage at FortaRock, which took place on May 31 in Nijmegen.  Besides singing for MAGNA CARTA CARTEL, an experimental rock outfirt, Forge has also spent time in hard rock and metal acts REPUGNANT and SUBVISION.  In an early 2012 interview with Full Metal Jackie's nationally syndicated radio show, one of the "Nameless Ghouls" from GHOST was asked whether he can foresee a day when the members of GHOST won't be anonymous anymore. He said, "I think there is a difference between being anonymous and unmasked. Where SLIPKNOT actually wear masks still, while KISS during their unmasked days didn't. Obviously, it's a thing of the times.  "What we're trying to do, it's very hard to maintain. If the actual goal was to not be known, we try to maintain that, but in the long run, we can't really expect that to be something everlasting. Most of our fans are actually quite keen on not knowing, which works to our favor, but I think there is a difference between people knowing who is behind the mask or being unmasked.  "We can't really see ourselves going up on stage and afterwards just dropping the masks saying, 'Oh, it's me, it's me, actually. Can you see?' No, no, no… We don't want that. We don't want to spoil it. That's the whole reason why we are anonymous and we try not to show ourselves. We try to eliminate, not the human aspects, but the humane aspects, if you want. We want to put Papa Emeritus in the limelight. He's supposed to be the living character, even though rigor mortis has basically set in in his poor old body. But that's the face of the band. He's the person, everybody else are just puppets."  In a separate 2012 intervie with, one of the "Nameless Ghouls" from GHOST said: "The initial thought of doing this anonymously was because we didn't wanna sort of have any personality and we didn't want to have faces interfere with the reaction and the overall mindframe that we wanted for the crowd to be in, and ourselves to be in, in a GHOST context. Whereas I really don't think that any of us could have understood that the anonymous thing would be such a turn-off. So when we actually really go at length to be anonymous just to focus on the music, now there are a lot of people focusing on the fact that we're anonymous, and it sucks. On the other hand, I think that being a band with the ambition of taking what you're doing to someplace else and levitate, I think that now with a bit of hindsight we see that what goes around when you're in a band that's sort of semi-successful, I think that being anonymous really helps you focus on what really matters. Putting on a good show, etc.  "There are a lot of bands out there, especially young bands, they seem to forget about why they're actually at the place they're at. Because there are so many other things that you can dive into when you're a band on the road, doing festivals, etc, there are a lot of other things that can occupy your time.  "It can be hard to be in a band when nobody recognizes you. But it has its benefits, especially when you're on tour with other bands and you see how they're approached by other people, what's expected of them. Whenever there's a crowd outside a venue, waiting for the bands to hang out, we pass as roadies."  Read more at Classic Rock
  • Blabbermouth reports a $1.8 million-dollar suit against San Francisco Bay Area metallers MACHINE HEAD, their manager Joseph Huston, record label Nuclear Blast, and current bassist Jared MacEachern filed by the band's former bassist Adam Duce (pictured) was settled out of court yesterday (Wednesday, July 2). The terms of the deal remain confidential, but both sides were able to reach a satisfactory agreement.  All claims in the dispute have been dropped against all parties named, including but not limited to the $800,000 claim against the band for breach of fiduciary duty and interference with prospective economic advantage, as well as the $1,000,000 defamation claim against MACHINE HEAD singer/guitarist Robb Flynn regarding a blog he posted on the band's official web site and associated social-media sites.  The settlement between MACHINE HEAD and Duce was mediated by Gail Migdal Title, with the litigation team for MACHINE HEAD handled by Kari Keidser, Dawn Coulson and Randall Rich of Epps & Coulson, along with longtime MACHINE HEAD entertainment lawyer Scott Harrington.  In his original complaint, Duce claimed that MACHINE HEAD's 2009 tour, which included dates with METALLICA, grossed more than $2 million. A 2012 Europe tour grossed more than $3 million, he claimed.  Flynn wrote about Duce's departure in a "diary entry" on MACHINE HEAD's web site by "directly attacking plaintiff's work ethic," Duce said in the complaint.  Duce claimed that no agreement was ever made about his share of future royalties and profits. He said the other bandmembers "simply kicked him out of the band and presumed he would forget about over two decades of hard work, dedication, and effort he put into the Band." Duce also said his likeness was used on the band's web site and in promotions without his authorization.  MACHINE HEAD will embark on the "Killers & Kings" tour in the U.S. on July 8, with support from ANTI MORTEM.  MACHINE HEAD's eighth album — the group's first with MacEachern — will be released in November via Nuclear Blast.  MacEachern made his live debut with MACHINE HEAD on June 24, 2013 in Spokane, Washington.  Adam Duce photo above courtesy of  Read more at Loudwire
  • Blabbermouth reports TESTAMENT's original bassist, Greg Christian, who was most recently forced out of the band earlier this year, has posted the following message on his Facebook page:  "Fuck it. Last week I said I'd do this, so here it is. And if this gets picked up by any sites, all I have to say is, I can say whatever the fuck I feel like on my own page. If you don't like it, don't read it. I'm in the US of A and this is my free speech.  "Anyway…  "The last straw [that led to my split with TESTAMENT was as follows]. [I was] sitting at the bar in the Seoul/Incheon airport [in South Korea], with a couple of the entourage, and Chuck [Billy, TESTAMENT singer] walks up and casually says he just spent three grand, cash, on a first-class upgrade. [He] said he thought it was worth it to be more rested for the first Euro show, [which was to take place] in a couple days. Then, of course, Eric [Peterson, guitar] gets up and walks over to the ticket counter (gotta keep up with the Jones's or the Kardashians or whoever lol).  "[Here's some] perspective. As my employer, in a business I helped start and put (at that time) just over 20 years into — 12 then 8 — and helped build from nothing the first time and helped resurrect from almost nothing the second time, this $3K for one first-class upgrade stuck in my mind, and when I got paid a couple weeks later, I was just thoroughly disgusted and done with TESTAMENT. 'My employer' thinks that his ass being in a more comfortable seat for one ten-hour flight is worth more than I was worth for five festival performances (on two continents — neither this one), a half dozen shitty flights plus a week and a half away from home and my family.  "I did this as a job…  "I don't make anything off anything else, so it's not a situation where I get anything off the back end. In other words, promoting the band only helped my employers — not me.  "I made $350 a day for show days, $175 a day for travel days / days off since 2005 — with not a penny more and no PD's [per diems] so I had to spend about $300 out of pocket to eat in hotels and airports — or starve.  "I don't know actual numbers‬ — no one ever told me — but I heard rumors the band made $100K just for the one Korean show and watched both Chuck and Eric spend $$$ like it was true (of that I got about $700).  "That's disgusting.  "Tune in next week if you want to read about a 'band meeting' a few years ago in Sao Paulo, Brazil (the last time I tried to talk to those guys about $$$) and hear a few of the things that were said…  "Beyond ridiculous…"  In a recent interview with Germany's Rock Hard magazine, TESTAMENT guitarist Eric Peterson stated about Christian's latest departure: "Well, you know, I'll just say this… Greg, basically, I think, was basically struggling in his mind with what he was doing. And he just seemed very unhappy on tour, and he has a lot of different reasons; he can only describe that. But he just seemed very unhappy, and we just let him go. Like, 'OK, you're unhappy. Then go.' 'Cause it was a lot of tours where he was unhappy. That's all I can really say about that. Steve DiGiorgio came onboard for the Soundwave tour we did in Australia. Steve DiGiorgio is great. We hadn't played with him for awhile, but it's awesome."  Speaking to, TESTAMENT singer Chuck Billy stated about Christian's split with the group: "Well, I think Greg, he informed us that he wasn't going to be participating on the new record release and that was his last tour with us. We knew we had Australia coming up, so, of course, Steve DiGiorgio was probably one of the first ones to come to mind. He did 'The Gathering' record with us and we enjoyed that whole cycle of touring, so he was definitely, probably, our first choice. We didn't want to go through auditions and do all that. We just knew that he was here, and he could do it, and it was killer."  Asked if there was a particular reason that Greg just had enough of it, Billy replied: "Well, I think that the last tour he just wasn't getting along, and he just decided that that was going to be the last tour with us, so we just kind of said, 'Well, okay. I guess we'll have to maybe look for what's coming up in the future.' You know — there's nothing we can do."  Christian was forced to leave the band's North American tour with LAMB OF GOD and KILLSWITCH ENGAGE in November 2013 for "personal reasons." Filling in for him was EXODUS bassist Jack Gibson.  Read more at Loudwire
  • Blabbermouth reports on June 18, Metal Mark of conducted an interview with SHADOWS FALL singer Brian Fair at the Knitting Factory in Brooklyn, New York. You can now watch the chat below. A couple of excerpts follow (transcribed by BLABBERMOUTH.NET).  On when fans can expect to see the follow-up to 2012's "Fire From The Sky": Fair: "Yeah, hopefully we can get some stuff going on. It's been tough, the last couple of years. I had my first kid and Jon [Donais, guitar] joined ANTHRAX, and it's definitely made things a little more difficult just to all kind of have the same free time at the same time. But hopefully we can get some shit going. We've got his tour, and then we're going to Europe with UNEARTH, and then we're probably gonna do another U.S. run sometime in the fall, and then see where we're at. Those [other] guys [in the band] have always got riffs they're putting away in the bank, so hopefully we'll get some new stuff soon. But I don't know even know if we wanna go traditional record at this point. I almost wanna do an EP we crowdfund and give away for free and then drop a new song every month — do something wacky like this. The music industry is all upside down, so let's try and do something different. It's, like, fuck it."  On his DOWNPOUR project, which also features Matt LeBreton (FROZEN, CANNAE) on guitar, Pete Gelles (BIRCH HILL DAM, SORROWSEED) on bass and Derek Kerswill (ex-UNEARTH, SEEMLESS) on drums:  Fair: "DOWNPOUR's been a lot of fun. It kind of started with Derek Kerswill, who used to be in UNEARTH and plays with KINGDOM OF SORROW and was in SEEMLESS with Jesse [Leach] from KILLSWITCH [ENGAGE] — and actually was in SHADOWS FALL for a minute. [He's been] a great friend of mine forever. And he hit me up and he was, like, 'Man, I've been working on these songs with our friend Matt for years,' and he was, like, ''We're looking for a singer. I know you've got a million things going on, but I'm gonna send it out.' And I heard the songs, and I was, like, 'I don't care what's going on; I wanna be a part of this.' It's just awesome stuff. We finished, I think, six songs for the record with vocals, and I've got about five or six more to do. We're hoping for maybe a fall release, but we don't wanna rush it. Since it's been two years of getting these songs right and getting all the music tight, there's no reason to rush it now by a few months. But it is happening; it's coming. And, again, I think we're gonna do something non-traditional with the release. We don't wanna kind of go the normal way, so we'll see. And we definitely wanna put it out on vinyl. All we do after practice is have vinyl parties, so we've gotta keep the vibe going. But the songs are killer, man. They're kind of a weird mix of a lot of stuff we grew up listening to; there's a lot of PANTERA in there, there's a lot of TOOL, even some MESHUGGAH in there. And then just a lot more just big, old crazy riffs. It's a lot different from SHADS, which is more in the thrash metal kind of world, [with] a lot of shredding. This is a lot more grooved out, wide-open stuff, so it's been a blast."  "I do see it more of a studio project first and then we'll probably play some shows here and there. None of the guys are really in a place where they can tour. Our guitar player is a prison guard, so he can't get much time off — he's busy choking people out — and Derek's kind of working full time these days and teaching a lot of drums. So we don't plan on touring a bunch. Maybe the right circumstances will come up where everyone can get some time off, but we're gonna be making music for awhile; so it's not gonna be a one-and-done type of thing."  "Fire From The Sky" sold around 10,000 copies in the United States in its first week of release to debut at position No. 38 on The Billboard 200 chart. The CD was released on May 15, 2012 via Razor & Tie.  Recorded at Zing Studios in late 2011, "Fire From The Sky" reunited SHADOWS FALL with longtime friend, producer/engineer and KILLSWITCH ENGAGE/TIMES OF GRACE guitarist Adam Dutkiewicz (THE DEVIL WEARS PRADA, ALL THAT REMAINS). The album was mixed by Brian Virtue.
  • Blabbermouth reports Johan Jakobsson of recently conducted an interview with guitarist Wolf Hoffmann of German/American metallers ACCEPT. A couple of excerpts from the chat follow below. Describe the [new ACCEPT] album ["Blind Rage"] with one word.  Wolf: This is, like, a project that took us almost a year and so much went into it, there's no way to describe that sort of thing in one word. It just feels right to me, but I don't know. I'm so fresh coming out of this thing I can't even describe it. We've been in this position many times in our career; you work so hard on something and you release it and you have no idea if it's gonna be good or bad. I have a better feeling now, I think I've been doing this long enough where I can say to myself, "I'm pretty certain this is gonna be a good one." I feel really strong about it, but at the end of the day, I have no idea. It's up to the fans to really decide how much they like something and how much they don't. I'm just the cook! Other people have to eat the food and tell me if it's any good. To me this one feels stronger than the last one but I've been wrong before. I'll let the fans decide. How do you go about writing songs?  Wolf: A lot of it is riff based; it starts with a groove and a riff that we really like and we feel like oh, this has got a good feel to it and we feel like, this really feels like it can go somewhere. Some riffs, like "200 Years", or for instance "Dying Breed", from the get-go had a really solid old-school ACCEPT feel to them. A lot of times it starts with a riff. We spend the most time trying to get to the core of the song, the chorus idea, that's usually the hardest. Once we got a good chorus idea and hooklines, then you're almost halfway home. The rest is just fun stuff. The hard part is really coming up with a good chorus and a good strong overall core of the song. Anybody can shred and make a lot of noise for three minutes, but is it really anything that is memorable and something that people can latch on for the first time listening? There are songs on this album that are quite similar to those on the last couple of albums. Wolf: That's what we try to do. Better without being different necessarily. You can't always get into new territory because then people are gonna say it doesn't sound like ACCEPT. So you want it to sound like ACCEPT but you don't want it to be something that's so reminiscent of something you've already done that people are gonna say it's the same old, same old. It's got to have enough fresh stuff in it, but not too much. You can ask any band that's released that many records, at a certain point it gets tougher and tougher. That is probably the main reason why bands take longer and longer between albums. Why is it that in the '80s people is used to make two records a year and now they make one every seven years? Because they have pretty much come to the point, I think, where it gets so hard to come up with something that's relevant. You have a long career behind you but hopefully also a long career in front of you. Wolf: Yeah, I think honestly the best is yet to come; we have the best part ahead of us because all this feels like a fresh start. We're just getting started! Imagine all this five years ago, all of us were doing something completely different then. Peter [Baltes, bass] was doing his radio stuff, I was a photographer, Mark [Tornillo, vocals] was an electrician in New Jersey. We didn't think anything like this would happen again. We all grew up with '80s metal and loved what we were doing, but pretty much it was all behind us. All of a sudden this idea was created out of nothing. Why don't we start ACCEPT with Mark because there he is? He just walked into our lives and we didn't have a label, we didn't have a tour, we had nothing. We didn't even have a band; we just called the other guys because they were the natural choice. We didn't have a machine behind us, no publicist, no nothing and here we are four years later, three albums under our belt, we've toured the world. Who would have thought? It's a miracle story, it changed all our lives. It changed my life.  Read the entire interview at


  • Blabbermouth reports on June 29, Kaaos TV conducted an interview with guitarist Sven Atle Kopperud (a.k.a. Silenoz) of Norwegian symphonic black metallers DIMMU BORGIR when the band played at the Tuska open-air festival in Helsinki, Finland. You can now watch the chat below.  Asked about the progress of the songwriting sessions for DIMMU BORGIR's follow-up to 2010's "Abrahadabra", Silenoz said: "We are still just writing individually and sometimes together. But we are not really far into the process. We just take it as it comes and we always make it when it's the right time. So I wish we could have had the album ready now, but we don't, so we just have to accept it the way it is and make the best out of it. But I think when we come with a new album, it's gonna be something that we can stand behind and which represents the band where we are at the moment."  He continued: "We always usually take two to three years between each release. Now it's been already four years. But it will take the time it needs to be great… I think it's also important not to rest on your laurels too long. I think it is gonna be what it is. If it takes another two years, then so be it, but hopefully not. [Laughs]  "It would be good to have [the album] done by this time next year, and have everything done by that time, but we'll see what happens. A lot of things have to happen before we can go the whole way."  Regarding the direction of the new material, Silenoz said: "I think what we've done so far is kind of primal sounding, maybe more simple. But that's what I felt with the last album too, because that's what you feel when you're doing in the beginning of a process. So it's hard to say. But maybe more aggressive and more simple. We'll see. It can all change tomorrow. [Laughs]"  DIMMU BORGIR's most recent touring lineup included Geir Bratland (APOPTYGMA BERZERK, THE KOVENANT) on keyboards and Terje Andersen (a.k.a. Cyrus; SUSPERIA) on bass.  "Abrahadabra", the ninth album from DIMMU BORGIR, was released in Germany on September 24, 2010, in the rest of Europe on September 27, 2010, and it was made available in North America on October 12, 2010 via Nuclear Blast Records.


  • Blabbermouh reports death metal veterans CANNIBAL CORPSE will unleash their first-ever official authorized biography in September. Written by Joel McIver, author of "Justice For All: The Truth About Metallica" and biographies on BLACK SABBATH, SLAYER, SLIPKNOT and QUEENS OF THE STONE AGE, "Bible Of Butchery - Cannibal Corpse: The Official Biography" will contain over 150 pages loaded with photos from the band's collection.  In a 2012 article for The Quietus, McIver praised CANNIBAL CORPSE's songwriting skills, writing: "You'd be forgiven for assuming that songs such as 'Fucked With A Knife' and 'Stripped, Raped, And Strangled' came (at best) from spotty adolescent virgins or (at worst) violent psychopaths. The truth is that the members of CANNIBAL CORPSE are neither: by and large, they are settled men in their forties with marriages, mortgages and families. They simply happen to be very good at telling horror stories that scare people because they're about real people committing real atrocities, as opposed to those staple heavy metal inspirations, zombies and Satan.  "These mesmerizingly aggressive songs may be unsettling, but they're as legitimate a form of entertainment as any other extreme expression of creativity, whether it's film, music or any version of the concrete and abstract arts. This is not to say that CANNIBAL CORPSE's expert brand of death metal has to be analyzed with an ironic eye, like some dickhead who has just discovered his first Lovecraft novel. You're allowed to enjoy it. This is music which, if you so choose, will motivate you to leap off the sofa and climb the walls, shrieking like a fool. Or, if you prefer, turn the volume up to unsociable levels, sit back and immerse yourself in the annihilation of the senses, an all-enveloping perceptual blackout that resembles the flotation-tank experience in reverse. There's plenty of evil fun to be had here, so embrace it. Thousands already have.  "When it comes to the lyrics, it's really time for us all to grow up and stop being so offended. Who is responsible for the horrific events which inspire CANNIBAL CORPSE's songwriting? Society itself, and it is you and I who make up society. You may be shocked by these songs, and rightly so — but there are real murders and real rapes aplenty out there out there in our lovely world. In comparison, such social ills reveal death metal's true nature as a form of entertainment. Violent entertainment, but entertainment nonetheless, and it's here to stay."  CANNIBAL CORPSE will release its new album, "A Skeletal Domain", on September 16 via Metal Blade Records. The band switched gears for the new CD, opting to work with producer Mark Lewis (THE BLACK DAHLIA MURDER, DEVILDRIVER) at Audiohammer Studios in Sanford, Florida, after having tracked their previous three outings ("Kill", "Evisceration Plague", "Torture") with Erik Rutan.
  • Loudwire reports Fozzy’s Chris Jericho discusses being a metal ambassador, shares his festival survival tips
  • Loudwire reports Upon a Burning Body unveil new songs; mocked over missing person hoax
  • Loudwire reports casting notice for Nirvana’s "Smells Like Teen Spirit" video surfaces  Read more at Diffuser and Spin
  • Diffuser reports Beverly release new record, play (literally) hot show in Brooklyn
  • Noisecreep posts Battle Royale: The Pretty Reckless rise, but Lzzy Hale + Lindsey Stirling top countdown
  • Classic Rock reports multi-instrumentalist Rob Reed has released a video featuring performance music from his upcoming album "Sanctuary"

  • Classic Rock reports having relocated from their native Australia to England this year, Calling All Cars have been making friends quickly off the back of a series of thrilling live performances. Ahead of the release of their "Raise The People"  bassist Adam Montgomery said about their move, their future plans and their upcoming appearance at this weekend's Sonisphere festival
  • Classic Rock reports prog rock supergroup Escape The Cult have released a video for their debut single "I'm Absolute"
  • Rolling Stone reports watch Nick Cave bring "Goth Explosiveness" to L.A.'s Fonda Theater
  • Rolling Stone posts Flashback: Led Zeppelin's final concert with John Bonham
  • Spin reports 7 albums to stream: Robin Thike, Judas Priest, Braid, and more 
  • NME reports Arcade Fire's Win Butler spins Bowie, Michael Jackson and Fela Kuti in DJ set at London pub
  • NME reports Jake Bugg: "I hate music festivals so much"
  • NME reports The Black Keys say Open'er has "ten times the energy" of Glastonbury as they play Polish festival
  • NME reports Courtney Barnett covers INXS' "Kick" album in full
  • NME reports Arcade Fire try not to "wake the rich people up" as they play London's Hyde Park
  • Blabbermouth posts video of Finnish band Steve 'N' Seagulls, which recently made headlines by releasing its dueling banjo-standup-bass-washboard-and-more take on the Iron Maiden classic "The Trooper", has returned with a rendition of "Holy Diver", the title track of Dio's 1983 debut album.  Read more at Loudwire
  • Blabbermouth posts video of A Nameless Ghoul playing a game of "True Or False" at Belgium's Graspop Metal Meeting
  • Blabbermouth posts new music from legendary rocker Ted Nugent, "I Love My BBQ" from "Shutup&Jam!", out Tuesday, July 8 on Frontiers Records  Read more at Ultimate Classic Rock
  • Blabbermouth streams new album streams from technical death metallers  Origin  "Omnipresent" out July 8 via Nuclear Blast
  • Blabbermouth posts new music videos from frontman for the Chiristian hard rock band StryperMichael Sweet, "Coming Home",  from new full-length solo album, "I'm Not Your Suicide"; Swiss folk metallers Eluveitie, "King" from new album, "Origins", out August 5 via Nuclear Blast Records and Northern Finland thrash metal veterans National Napalm Syndicate, "The Church Of The Rat" (Lyric Video) from band's new mini CD, "Lex Talionis" via Violent Journey Records

  • Blabbermouth posts interviews with Seether bassist Dale Stewart, drummer Stix Zadinia (real name Darren Leader) and singer Michael Starr (real name Ralph Saenz; ex-L.A. Guns) of Los Angeles glam-metal jokesters Steel PantherSkid Row bassist Rachel Bolan and guitarist Dave "Snake" Sabo; guitarist Corey Beaulieu of Florida metallers Trivium; former The Agonsit and current Arch Enemy singer Alissa White-Gluz; guitarist Frank Novinec of Connecticut hardcore/metal masters Hatebreed; singer Nathan James Biggs of the Anglo-Swedish modern metal powerhouse Sonic Syndicate and Mårten Hagström and Jens Kidman of Swedish experimental extreme metallers Meshuggah

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